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Producer Gary Foster On Why Abusive Set Behavior Happens & How The Industry Can Stop It – Guest Column

(deadline.com)

My dad always used to tell me: “Be nice to people on your way up, because people like to kick those who bullied them when they are on their way down.” We’ve all heard some version of this advice. He wasn’t really telling me to be nice. He was warning me about the bullying, kicking and knocking down that everyone in this industry has experienced.

I’ve learned a few things as I have made my way, most importantly, to be kind and treat all humans on set with respect. It’s simply not true that you have to be a jerk [asshole] to get ahead. People who treat others badly always pay a price for it, one way or another—on the way up or on the way down, out of their pockets or out of someone else’s. Yet, treating people well has not hampered my career at all. In fact, on every set, I’ve been able to get people to perform above and beyond because everyone I’ve ever worked with actually wants to do a great job—at least until someone starts kicking them.

When the film Short Circuit was greenlit in 1985, I was given my first producing role, suddenly in charge of hundreds of cast and crew members. As with any production, issues arose—including interpersonal conflicts, inappropriate behavior, and problems around unaddressed unconscious or conscious biases. I had no warning that the role I would be stepping into went beyond making the film, but in fact – I discovered that, along with filmmaking, I was also stepping into a much more critical position, charged with responsibility for the crew, cast members and their well being. I had never taken a class in people management, conflict resolution, nor had I (or most producers on set) been trained on how to be a de facto HR executive, which it turned out is a significant part of the job. I had controlled a script that someone wanted to finance. Those were my credentials. I was qualified for the job of Associate Producer… not Associate Leader.

By: Gary Foster

Continue Reading at deadline.com

Coming Soon: The Film Academy’s “Inclusion Standards” Form (deadline.com)

A word to wise film producers: Start tracking the racial, gender and disability status of your employees now. The film Academy’s Aperture 2025 inclusion program is closer than you think.

Because once again, an important point is tucked in the fine print.

When the Academy of Motion Picture Arts and Sciences announced its plan to require that Best Picture contenders meet at least two of four inclusion standards aimed at increasing screen depictions or employment of underrepresented groups—women, specified racial and ethnic groups, LGBTQ+ individuals, people with cognitive and physical disabilities, and those hard of hearing—it was careful to put full implementation far in the future. New standards will be imposed for the 96th Academy Awards. Those occur in 2024. Given more immediate concerns with the Covid-delayed 2021 Oscar show, it all seems very distant.

By: Michael Cieply

Continue Reading at deadline.com

The EU’s Initiative to Redress the Effect of COVID-19 on the Entertainment Industry

(natlawreview.com)

Almost a year ago now, the pandemic outbreak disrupted the worldwide entertainment industry – and in particular, film and television production. Similar to the US, European audio-visual productions were halted, movie theaters were closed, events, premieres and entire marketing and distribution campaigns were postponed or cancelled.

Cinemas across the European Union saw a 69.0 % drop in box office numbers in 2020, accounting for a total decrease of €4 billion in revenues compared to 2019¹. With movie theaters on the brink of bankruptcy, postponed productions with huge increases in costs (in part due to COVID-19 safety measures), and a consumer attitude that shifted rapidly to online content consumption, the old business models will probably disappear even faster than anticipated.

In order to combat the negative effects of the crisis, the European Union (EU) stepped in with various programs to support the cultural and creative sectors, as well as artists in all of its Member States.

By: Alina Condurat

Continue Reading at natlawreview.com

Wexford film studio on hold as objection filed

(irishtimes.com)

Plans for a €20 million film studio in north Wexford have to be put on hold following an objection against the scale of the project in a quiet rural area.

Tara Studios will have to wait another four months to find out if it has been successful in seeking approval for its plans to develop what it claims will be one of the largest film production facilities in Ireland at Borleagh Manor around 5km outside Gorey, Co Wexford.

The company which was established by the former chief executive of Pinewood Studios, Ivan Dunleavey and film financier, John Gleeson, plans to construct seven sound stages, ten workshops and associated production facilities within the grounds of Borleagh Manor, a listed 19th century Georgian building on 160 acres of woodland.

By: Sean McCárthaigh

Continue Reading at irishtimes.com

Blue Ant Media and Content Catalyst Fund Partner to Back Female Creatives in Unscripted – Global Bulletin

(variety.com)

In today’s Global Bulletin, Blue Ant Media and Content Catalyst Fund team to promote women creatives working in unscripted; Abacus Media Rights secures rights to “Four Hours at the Capitol”; La Biennale di Venezia opens the call for applicants to this year’s Venice Gap-Finance Market; Goldfinch picks two video game IPs to develop as film and TV projects; and Fremantle acquires “Good With Wood” in several key territories.

UNSCRIPTED

International production, distribution and channel operation company Blue Ant Media will partner with Julie Bristow’s recently launched development and funding outfit Content Catalyst Fund (CCF) to develop, produce and distribute female-led unscripted content for the Canadian and global marketplaces.

CCF will handle scouting and identifying standout unscripted project ideas for development and eventual production, focusing on true crime, lifestyle and documentary series. Blue Ant will then step in and produce and eventually distribute the selected projects in collaboration with CCF, with Bristow acting as executive producer.

By: Jamie Lang

Continue Reading at variety.com