Cinegirl #001

LETTER FROM EDITOR-IN-CHIEF

Dear Reader,

I hope you’re well. Yes, this is Cinegirl’s first print issue! And what a feat.

I knew that Cinegirl was the vibe for our community ever since its launch back in 2018. At the time there was a magic about this publication - the feeling of risking everything for a dream that nobody sees but you. I’ve kept that energy with me, from day one. As Editor-in-Chief, I will keep coming at you diligently with what we’re all about. Here we are with the first Winter Issue 2022 - print.

My first ever amorous encounter with a publication was when I was a little girl, skipping through a digest-sized comic series featuring famous cartoon characters. The smell of that paper - it’s unforgettable really. I almost picked up a whole crate of them at a car boot sale for a song not too long ago.

The argument of digital versus print is banal. We are here to skip over that hackneyed thinking. And by the way, #FilmIsNotDead. We all know that too.

Don’t you love our new palette? Touching these pages. There is something about our rapport with print. It’s so authentic. Real. Dare I say, bracketed with a sense of belonging.

We hope you enjoy this first print issue and let us know what you think. You can DM and find us over @cinegirlmag.

Cinegirl Issue N.20 Winter Issue 2022 info@cinegirl.net www.cinegirl.net @cinegirlmag Published by Cinegirl

FOUNDER & EDITOR-IN-CHIEF

ART DIRECTION & GRAPHIC DESIGN

COPY CHIEF CONTRIBUTING PHOTOGRAPHER

CONTRIBUTING WRITERS

Francesca R Zerenghi Margot Babenosheva Sienna Beckman Nic Roques Anna Halasz Briony Puddepha Carlotta Beck Peccoz

Francesca Zerenghi Lauren Devine Louise Howland Léa Aubigne Oriana Gregorj Sarah Scott Tom Watts

Cinegirl is published quarterly by Cinegirl. Cinegirl is printed in the UK and distributed world-wide. All rights reserved. Reproduction without permission is prohibited. The publication is not responsible for unsolicited materials. For subscriptions, feedback and address changes please contact us info@cinegirl.net.

Loop Talent is a boutique, female-owned HOD Agency and Crew Diary Service for the media production industry.

The Agency side of Loop Talent, managed by Founder Lucy Price and Senior Agent James Dawson, represents a brilliant roster of below the line talent.

CINEMATOGRAPHERS INCLUDE:

Daisy Stone joined Loop Talent in 2021 to launch the Loop Talent Crew Diary Service, building up a client list of crew members working in Film, TV, Commercials and Music Promos.

Since launching the Diary Service, Daisy has championed women and non-binary people in roles where they’re typically underrepresented – mainly within the camera, sound and lighting departments.

Daisy states, ’As a member of the LGBTQ+ community, representation matters, and I’m proud to manage a diverse and wonderful roster of female & non-binary ACs, Steadicam operators, DITs, Sound Recordists, Gaffers and Sparks’.

Please meet our wonderful Loop Talent Crew roster:

Laura Seears (she/her) - Steadicam; Lou Macnamara (she/they) - Focus Puller; Lou Harris (she/her) - Focus Puller; Catharina Scarpellini (she/her) - Focus Puller; Emmy Robinson (she/her) - Focus Puller; Lea Aubigne (she/her) - 2nd AC; Patrycja Cygan (she/her) - 2nd AC; Nina Mangold (she/her) - 2nd AC; Evangeline Perkins (she/her) - 2nd AC; Rebecca Richards (she/her) - 2nd AC; Em Turner (they/them) - 2nd AC; Lauren Hyslop (she/her) - Camera Trainee; Grace Pogonoski (she/ her) - Camera Trainee; Judy Tett (she/her) - Junior DIT; Elena Armellini (she/her) - Gaffer; Camilla Dazzi (she/her) - Spark; Rowena Colman (she/her) - Sound Recordist

Stay in the Loop @looptalent

THE WONDER WOMEN MENTORING PROGRAMME SUPPLEMENT PICKS FOR 2023

THE ART AND CRAFT OF COLOUR GRADING CATHERINE GOLDSCHMIDT CAMILLE ADOMAKOH CALL SHEETS

MEET THE CREWING COMPANY

DON’T WORRY DARLING, YOU DIDN’T MISS MUCH CASTING THE FUTURE FILMMAKER FOCUS

BY SARA CHRISTIE HOW TO WRITE GOOD WELCOME TO THE CINEGIRL BOOK CLUB NETFLIX’S NEW AD-BASED PLAN AND THE STREAMING WARS

BEHIND THE CAMERA

CINEGIRL’S PICKS • BABE CITY FC

THE WONDER WOMEN MENTORING PROGRAMME

Interview with Ria Hebden, TV presenter, Creator of Wonder Women TV brand

Wonder Women was initially created as a talk show by TV presenter Ria Hebden, to feature inspirational stories of women in TV to encourage other women to fulfil their dreams. ‘Wonder Women aims to inspire, empower and inform viewers by sharing the real-life experiences of diverse, successful women who work in the same industry but in different roles, to encourage viewers to dream big, believe in themselves and fulfil their true potential.’ www.wonderwomentv.com/about.

The Wonder Women Mentoring Programme was launched in 2021, with then initiative of supporting and elevating women in TV and the creative industries who are already mid-senior level in their career, who face struggles to achieve their career goals. I talked to Ria about the objectives and achievements of the scheme.

Anna Halasz (AH): What is the Wonder Women Mentoring Programme? How did you get the idea to create this project?

Ria Hebden (RH): The Wonder Women Mentoring Programme felt like the next step of the evolution of the Wonder Women brand. It was created out of an industry need to help elevate diverse women who work in television. When we listen to people who come to Wonder Women Live, our annual live event that we hold every year on International Women’s Day, they would often say that they didn’t have a mentor. I thought, let’s listen to everybody! Let’s try to implement some change. I’ve personally been mentored before, and I mentor lots of young people each year, so I see and feel the personal value of having a mentor. It feels good to share with others what you’ve learned. Since we launched the programme last year, the individual success of the women who took part has been unbelievable. It has also been wonderful to hear how much the mentors and the coaches who deliver our master classes throughout the year have personally benefited from it as well. It feels very holistic, positive, and rewarding. It’s a good thing to do to support other women in the industry.

AH: I agree, it’s a very important thing to do! How did you gather the mentors to participate?

RH: I tapped into my network of people who I have met, worked with or connected with throughout my 18 years in television. I was also approached by people who said to me, ‘I see what you do now, and I’d love to be a part of it’, which is wonderful. It’s funny, I sometimes look at our cohort of mentors when I create the artwork to announce who they are, and I have to sit back and appreciate them. I think to myself, ‘Wow, that’s quite an impressive roster of women who you’ve got to commit to share their learnings and wisdom with someone for a whole year!’ I don’t think we reflect enough on what we’re able to achieve, when we really focus on creating something.

With the coaches, I’ve either discovered them on LinkedIn or heard about great experiences through my network and thought they could be an amazing person to bring into the programme, because they specialise in a specific subject. I’m very pleased with the people that we’ve got on board this year.

AH: What is the difference between a mentor and a coach?

RH: If you’re part of the mentoring programme, you’re assigned a mentor for a whole year. You meet with them for one hour every month for twelve months. They help by committing time to you, listening to the challenges that you’re going through, and also hearing what your goals and dreams are. Then they help you to devise a strategy on how you can hit those goals. In addition to the one-to-one mentoring sessions, you also have a monthly meet up with the other mentees to take part in an online master class. The master classes are tailored to address specific issues which hold women back from progressing in their careers, such as impostor syndrome, how to speak with confidence in meetings and in public forums, and how to negotiate at a senior level. This training and these skills are crucial to help people get to the next level in their careers.

AH: What does the mentor and the mentee usually do during the mentoring relationship?

RH: In any mentor-mentee relationship, the key is to communicate that the process is solely driven by the mentee. It’s not the mentor’s

responsibility to tell you how to get where you want to be. It’s about you reflecting on your personal career and development, identifying the progress you’ve made and what challenges are holding you back, and then to start working on yourself to strategize on where you want to be and how you might get there. Your mentor is essentially a sounding board to listen to you and to work out ways to help you achieve those goals by leveraging their connections in the industry. What I love about the mentoring programme is that it’s also about being part of a collective of women who are going through similar experiences and knowing that they’re not on their own. That is very powerful, because they essentially become part of the Wonder Women community. It gives people so much confidence, because we know how lonely it can be sometimes as freelancers.

AH: This community sounds really inspirational, I love how you speak about it! How can people apply for this programme? What are the criteria?

RH: Firstly, I would recommend signing up to our monthly newsletter at wonderwomentv.com. That way, you’ll get news of our monthly inspirational podcast, our Wonder Women Live events, industry news, job opportunities, and achievements and successes of previous mentors or mentees. Most importantly, that’s also how you’ll find out when applications open for the next cohort of the mentoring programme. The criteria that we request is that you have at least seven years of experience in the industry, because the focus of the Wonder Women’s Mentoring Programme is to help elevate women who are at mid-senior level in their career. Targeting women who, for example, may have stepped out of the industry to have a baby and who are now coming back and experiencing some of the challenges of the industry that we know exist. Another example might be that you work as a freelancer and you would like to move into a more corporate editorial role, or vice versa. Or you’ve got the transferable skills and passion for television, and you want to move forward. We welcome diverse women with a focus on women from underrepresented groups, such as thosefrom the LGBTQ+ community, people from working class backgrounds, people living with a disability, people who live outside of London, people of different ethnic backgrounds, and anyone who identifies as female.

AH: That’s amazing! What do you think the biggest issue is that women face to maintain or get a job in the creative industry? For example, you mentioned having a baby.

RH: I think there are a number of things. Unfortunately for women, society has imprinted limiting beliefs on what’s possible for us. For example, imposter syndrome affects many talented and capable women and prevents them from putting themselves forward for roles that they’re more than qualified for, because they may not feel that they fulfil all the requirements of a job spec. This is why we specifically tailor our monthly master classes to address issues of confidence, encouraging women to actively put themselves forward, to overcome impostor syndrome, and to confidently negotiate. Sadly, due to societal pressures and lack of industry training, we’ve not developed these skills. I also think that Television, as an industry, isn’t good at looking after working parents. That’s something that I have definitely experienced myself. Before I was a presenter, I was a publicist in television, and I had my son while I worked at Discovery Channel. It was a brilliant place to work, because they had a forward-thinking attitude about how they could support working parents. I remember the day I told them I was pregnant and within an hour, I had somebody come and assess my desk and chair to check if it was appropriate for my back as my tummy grew. It was extraordinary! But I quickly learned that it wasn’t like that for everyone. Thankfully, I felt supported throughout my first pregnancy and returned to work after having a year off, knowing that the nursery for my son was just across the road. I think for parents who work in production on location and in studios, it’s much tougher.

Having robust childcare is key, but as Britain is one of the most expensive countries in the world for childcare, it’s a real struggle. I do think being a parent makes you better at your job; the life experience that you gain and contribute to the industry is priceless. We just need a framework in the workplace to support us better. By this I mean creches on site, more flexibility with working patterns, job sharing opportunities, and more affordable childcare.

There’s been some great work done recently by groups like PregnantThen Screwed and ShareMyTellyJob who have campaigned aggressively this year to change things at industry and policy level, which is amazing. But the battle continues.

AH: Would you say that personally, this was your biggest challenge that you needed to face during your career?

RH: Massively, yes. When I had my son, I was in a permanent, secure

job. I was able to negotiate what I needed in order to come back to work and be happy. I experienced the difference when I had my daughter five years ago, as I’m now a freelance TV presenter. With my daughter, I had to make sure that I put enough money aside, because I was taking time out of work to care for her. Because of this, I didn’t have as long a time off from work as I did with my son. I do think having that different experience gives you perspective and more empathy towards the challenges that other parents in the industry are experiencing. I imagine things are considerably more difficult for single parents, which is why we all need to engage in making the industry more supportive for working parents. I also think that there’s an industry acceptance with certain roles that those challenges are always going to be there, which isn’t necessarily fair, as this is where the disparity of opportunity to progress creeps in between men and women in the same roles. For example, if you want to be a series producer, you’re undoubtedly going to have to spend time away from your kids filming on location. It’s also about timing. We have to be honest with each other about questioning if this is the right time to go for a specific role. Is now the right time or should you wait a year while your baby’s little and then go for it when they’re older? Do you see why it’s so problematic that women have to face such choices? Instead, as an industry, we could come up with supportive ways to enable working parents to climb in their careers whilst also raising the next generation!

AH: Do you think that people are more open-minded towards diversity in the creative industries?

RH: There’s a lot of fantastic work that’s been done amongst the broadcasters, I definitely feel the positive impact. We’re certainly seeing more diverse faces and voices on screen, which is wonderful, because ultimately, viewers at home love to see themselves represented.

I’m also seeing progress internally within organisations. It’s great to see the schemes and action plans that have been put in place to elevate people of colour, people living with disabilities, and people from lower socio-economic backgrounds working in production and in corporate roles. It’s hugely important, because the TV shows are benefiting from this new energy, new skills and new experiences. However, if you look at the people on the boards of the major broadcasters and who the key decision makers are, there’s still room for improvement.

AH: That’s really true. What do you think has been the most successful achievement since you established the Wonder Women Mentoring Programme?

RH: I think the individual achievements of the people that have taken part have been the programme’s biggest success. I love the fact that once we’ve selected everyone for the programme, we ask candidates to write down a short-term, mid-term and a huge scary goal -one that’s so big that if it were to come true, their head would pop off! Looking back on last year’s cohort, I’m proud to say that several women achieved their big, scary goals.

It always fascinates me how we sometimes sit there and think, ‘Who am I to want to go for that amazing job?’ All the while knowing that we could totally do it if we were given the opportunity! But we still don’t apply. Why does that happen to us? My advice is to not overthink it. If it excites you and if it feels a little bit scary, know that you’re going to grow from the opportunity. Think of how amazing it could be if you just went for it and you actually got it. Put yourself out there and go for it because you really could be living your best life.

AH: What are the next plans for the Mentoring Programme and what’s coming up for Wonder Women TV?

RH: We’ve just launched the next cohort for the mentoring programme this year. We had hundreds of incredibly talented women apply and we’re already planning next year’s Wonder Women Live, which will be on International Women’s Day, the 8th of March. We’ve got some incredible speakers booked already, including Lorraine Kelly OBE and Nicola Hill, the CEO of The Garden. So make sure you look out for tickets via the newsletter. We’ve also got a new podcast series launching in the New Year as well, which is super exciting. At the moment, I know it can feel like there’s a lot of doom and gloom going on in the world, but we’re focusing on building our community. There’s a lot to be thankful for and positive about, and I’m proud of the fact that the Wonder Women network is all about shining a light on the positive stories and the great work that women are accomplishing in the television industry.

SUPPLEMENT PICKS FOR 2023

How many of us open the kitchen drawer to find a number of supplements rolling around in their bottles, hardly touched? You end up standing there scratching your head trying to remember why you bought them in the first place. And you’re not alone. Interestingly (but not that surprisingly), more women take supplements than men. The biggest sellers are women’s multivitamins, those aimed at beauty (hair, skin,nails) and probiotics. It is also suggested that women typically use supplements to enhance their overall health and wellness, fill any nutrient gaps in their diet, increase energy and support bone density, immunity and heart health. So there are plenty of reasons for us to buy tablets, capsules and powders! With all the advertising on social media, it is easy to get excited about a supplement promising shiny hair,youthful skin or boundless energy levels to get us clicking on the buy now button. But before you do, read on for my top picks that might just make a difference to your health for the year ahead.

Vitamin D

There’s been a lot of talk about vitamin D recently, and if it’s in your multivitamin, you probably think you’re getting enough. Unfortunately, that’s not always the case. Government guidelines vary from country to country and the current recommendations are approximately 600IU/15mcg daily for an adult, which is the max quantity you are likely to get from a multivitamin. However, even with these guidelines, many of us are deficient, likely due to the use of sunscreens, not spending enough time outdoors in the sunshine, as well as genetic mutations which inhibit the absorption of vitamin D. An adequate blood level is above 50nmol/litre, however much of the research suggests an optimal range of 100-150. When looking for a vitamin D supplement, always choose D3 over D2, as it is much more bioavailable to our cells. Don’t be scared to take a high strength vitamin D of 4000IU (especially in winter), as it is so important for hormonal health, immune function, calcium balance (which links to bone density), and also reducing our risk of chronic disease onset such as autoimmunity, cardiovascular issues and dementia. These are surely reasons enough for D3 to be included in your daily supplement routine!

Berberine

Berber-what? This is one of my absolute favourite supplements for its many roles in the body and its incredible benefits to health. Berberine is a bio active compound extracted from several plants and has been used in traditional Chinese medicine for centuries. One of its actions is to activate an enzyme called AMPK, which helps to regulate your metabolism and may support healthy weight loss. Berberine is fantastic for blood sugar balance. Many studies show that it can significantly reduce high blood sugar levels by supporting insulin in the breakdown of sugars in cells, decrease sugar production in the liver, and slow the breakdown of carbohydrates in the gut. Berberine is also linked to heart health and studies have revealed it may reduce bad LDL cholesterol and triglycerides, but raises our good cholesterol (HDL), which reduces our risk of future heart disease. Alongside this, Berberine has also been linked to increasing those important beneficial bacteria in the gut that are vital to overall wellness. Combining Berberine supplementation with a diet rich in vegetables and whole foods, while avoiding refined carbohydrates and sugars as much as possible may enhance our health in many ways, reduce weight, and support metabolism. Taking 500mg 2-3 times daily is recommended.

Magnesium Glycinate

Magnesium is one of the most important micronutrients, because it is essential for the normal functioning of our cells and organs. In supplement form, there are many combinations, with some being less absorbable than others. Stay away from magnesium oxide, as it is poorly absorbed and an absolute waste of money. I recommend using magnesium glycinate, as it is very bio-available to our cells and is good for correcting any deficiency. It’s also gentle on the tummy and does not

have a laxative effect like magnesium citrate. In this form, magnesium is combined with the amino acid glycine. Glycine works alongside various chemicals in the brain that promote feelings of calm, may support a better night’s sleep, reduce anxiety, and aid stress relief. Managing stress, restoring calm, and sleeping well is integral to our health and is as important as a healthy diet and regular exercise. As part of a solid bedtime routine, I would suggest taking 200-300mg about half an hour before bed. If you’re stressed and need it for its calming effect, take 100mg 2-3 times throughout the day with a meal or snack.

Glutathione

Glutathione is one of my go-to supplements and should be on everyone’s shopping list. It is the most powerful antioxidant that the body produces to protect our cells from oxidative damage. Our cells are constantly undergoing various chemical reactions, which create free radicals. If our cells can’t clear these free radicals out of the body, an imbalance occurs and we are at risk of oxidative damage. Glutathione also supports optimal liver detoxification. Maintaining adequate levels is essential for our body’s ability to detoxify. So why should we supplement if the body already produces glutathione? Unfortunately we are all at risk of reduced glutathione production due to aging, insomnia, infections, trauma, stress and poor diet. With these reasons alone, many of us are at risk of having depleted levels and taking a supplement can give our body a helping hand. Like a good quality multivitamin, it is almost imperative that everyone uses glutathione as part of their daily routine. Taking around 500mg every day for overall health maintenance is recommended.

EFA’s - Omega 3

Essential fatty acids are important fats that our body cannot produce and we are totally reliant on getting enough through certain foods. Unfortunately, the western processed diet is not a promoter of these fats, which are mostly found in oily fish, avocado, nuts, and seeds, as well as grass fed or wild meat. If we are not eating these foods on a regular basis, we are at risk of deficiency. Most of us get more than enough omega 6 and 9, but are lacking in omega 3 This unfortunately alters the delicate ratio of these fats in the body, which is exceptionally detrimental, because when we get too much omega 6 and not enough omega 3, we risk many health problems, including chronic inflammation. Research supports omega 3s’ role in keeping our organs, such as the heart and brain, healthy as well as lowering inflammation and supporting our immune function. EFA’s also play a role in hormone production and regulation, and may be helpful for conditions such as PCOS and skin conditions like eczema. So if you’re not fond of oily fish (one of the best sources of omega 3), you can supplement with cod liver oil or fish oil or a vegan option made from plant-based marine algae and flaxseeds. Always ensure any cod liver or fish oil supplement comes from a reputable brand and that they are regularly tested for mercury contamination.

THE ART AND CRAFT OF COLOUR GRADINGWITH JO BARKER

How did you get into colour grading?

It’s been a gradual but steady evolution towards colour grading for me, perhaps unlike the traditional routes to the role. I’ve known I wanted to work in film since I was quite young. I had a relative in the business who was a strong influence on me in that regard. I studied at Prague’s Film & TV School of Performing Arts (FAMU) and my early career was as a film archivist. I then moved into post production as a dailies operator, where the next stage in the process would be passing material onto colourists, so I learned lots about the impact that creativity in the grade can add to a final picture. I moved into on-set work as a DIT (digital imaging technician) and that led to being a dailies colourist, where speed and efficiency in applying looks to rushes really honed my eye. I got to work with some amazing DOPs during that time. The next logical step in my mind was to return full time to post production and be able to control the final colour grade to a much greater level of depth and creativity.

What would be the best way (if there is one) to become a colourist?

The industry is much more accessible these days, despite there still being many barriers to entry that need to be broken down. I don’t know if there’s one best route, but I would definitely not be as useful to the colour grade process without my on-set experience working with DOPs to understand their vision through the shoot. So I would recommend getting some practical on-set experience where you can.

The importance of technical knowledge is key. However, does this ever affect your creativity or the overall aesthetic of the project? And if so, how do you navigate this?

The power and speed of the technology available to colourists now is phenomenal, but for me, creativity is still bound in the relationships between the filmmakers. So more important than what technology can do, is the reason behind each creative choice. I have to ask myself: do my decisions in a colour grade serve the vision of the DOP and the Director? Building that relationship, that creative trust, is the key to keeping the technology in service to the colour grade, not leading it.

In your view, what makes a good colourist?

I think being able to find that balance in the process of giving your best additions to the material and keeping your client on board with you on that journey is what makes a good colourist.

Being able to listen to and understand filmmakers and guide them through the process is often as important as the technical input that’s needed. For me, it always comes back to that creative relationship in service of the work.

What is the most memorable project you’ve worked on?

I’d have to say Outlaw King really stands out. I was on set in the Scottish Highlands for three months processing footage from multiple cameras, delivering multiple times per day, so the director could review all the rushes at the end of each day. The volume and speed of the workflow combined with extremely challenging but beautiful conditions was something I had never experienced before. I made a lot of close friends on that shoot, which also makes it all the more memorable.

If you could give one piece advice to your past self, what would it be?

I think I’d say to myself that all experience is good experience. You don’t know what the role you’re doing right now will lead to in the future, and that should be something to embrace. And also, keep your creative eyes open always. Be sure to draw creativity and influence from all genres and artforms. It will massively help you grow as an artist.

www.digitalorchardgroup.com

CATHERINE GOLDSCHMIDT: CINEMATOGRAPHER, HOUSE OF THE DRAGON AND MORE

Francesca Zerenghi (FZ): When did you decide that you would become a cinematographer?

Catherine Goldschmidt (CG): During my time at university, I learned that cinematography was a job, which I never knew before. I found myself on student film sets for the first time, where the roles were delineated in a way that mimicked professional film sets. I was immediately interested in being near the camera. After university, I moved to LA and started working as a camera assistant and shooting short films on the side.

FZ: I remember you once told me that when you were little, you weren’t allowed to watch television.

CG: Yes, that is true.

FZ: How did that influence you?

CG: It just meant that I grew up a huge fan of movies and my family and I would visit the cinema all the time.

FZ: Do you feel like you got the support you needed, considering that not many women were working in the camera department when you started? Do you notice differences compared to now?

CG: For my very first job as a camera assistant, I was hired by Paula Huidobro AMC. We’re still very close friends and she remains an inspiration to me. She also attended the American Film Institute (AFI), so I started to meet some of her friends who were also AFI Alumni. Petra Korner AAC, who I never actually worked for, was in that same circle. I remember meeting Petra and talking about getting into AFI, and she was incredibly supportive. There have been many women all along my personal journey who definitely helped make me feel supported from the beginning.

FZ: Maybe that prompted you to create illuminatrix?

CG: Yes, probably. I think even though I had had women in my sphere

all along, or maybe it’s because I had women in my sphere, it didn’t seem unusual. I was never paying attention to the numbers and I don’t think it was in the cultural zeitgeist either. It wasn’t until I moved to England (towards the end of 2014), when I met Vanessa Whyte (cinematographer and co-founder of illuminatrix) that it really solidified this need for a women cinematographers’ collective. Kelly Amundsen, an industry colleague, organised a few memorable ‘ladies who light’ meet-ups, which grew into a virtual group, and then towards the beginning of 2016, Ness and I decided to start a more formal, publicfacing group of female DOPs, which became illuminatrix.

FZ: Things in the industry are changing, maybe not as fast, but there is definitely more support, more networks and more peer support for women aiming to step into the camera department.

CG: Yes. I definitely think changes are happening. When we formed illuminatrix, there were three female members of the BSC, and now that number has increased dramatically. This is already a positive indication of change.

FZ: I always check movie credits and there are a lot more women across all roles, not only in the camera department, which is great.

CG: Yes, and there are many more women getting nominated for awards too. This was the goal all along. When we first started in 2016, everybody was saying ‘50/50 by 2020’ and that hasn’t happened yet, but I feel positive and aware that we are all collectively working towards that.

FZ: I can’t wait to ask about your experience working as a Cinematographer on House of the Dragon (Episode 8). How was this experience and how was it being the second woman

cinematographer in the Game of Thrones (GoT) world?

CG: As far as House of the Dragon goes, there were four Cinematographers. I was the only woman, but it was an equal split within the directors. That is a huge improvement over GoT.

FZ: Did you enjoy the challenge of working on House of the Dragon?

CG: I enjoyed the challenge of working at a larger scale than I had ever worked before. The sets were bigger than anything I’ve been responsible to light before. Geeta Patel (Director) and I felt responsible for treating every character’s story with the attention and respect they deserved, and in our episode, we focussed our attention on the hero triangle of Rhaenyra, Alicent and Viserys. With so many character arcs to track, it was important for us to hone in on these three characters to inform where we would put the camera, how we would move it and frame it, and how I would light the scenes. All the creative decisions we made came essentially from these three hero characters and their emotional states.

FZ: You have to keep the same consistency of the lighting, correct?

CG: For our episode, we were actually encouraged to make changes, because in the story, it’s eight years later than the previous episode. You see the shift in the production design and on the lighting side as well. For the first time, Alicent is in charge of the Red Keep, and she’s become more religious since we last met her, so we talked about the Red Keep being more austere and more stark. Lighting-wise, I was going for colder, harsher light, more shadows, more contrast, and more of a gothic look to compliment this character change. However, because episode nine picks up directly after our episode finishes, I discussed all this with the Episode 9 DOP Alejandro Martinez, to ensure that what we were doing would transfer over nicely to what he and Director Clare Kilner were planning also.

and co-founder of illuminatrix, Catherine Goldschmidt, shares her journey from camera trainee to working with the Alexa 65, and how she used the large format frame to create the visual language on House of the Dragon Episode 8 - The Lord of the Tides.

FZ: I absolutely felt that mood and picked it up throughout the entire season.

CG: What was the same was that we were shooting with the same cameras, lenses, crews and very hands-on showrunners Miguel Sapochnik and Ryan Condal, who wanted classic camera moves in the style of David Lean. Everybody was told we were shooting a historical epic rather than a fantasy. In fact, anything that seemed to push the fantasy element too hard was reined in, and instead we focussed on asking,‘What’s the reality’? This realistic tone contributed to the continuity of the look of the show and the overall visual language of this series.

FZ: You worked with the Arri Alexa 65.

CG: Yes, which was great. I had never worked with that camera before.

We were working with a minimum of two cameras at a time, and we frequently worked with three and sometimes four cameras. All the other cameras were Arri Alexa Mini LFs. For A camera, we shot with DNA 65s and for the LFs, we shot with DNA LFs, so they’re the same family of lenses for different cameras, and different formats essentially.

FZ: How did you find working with the Alexa 65?

CG: It’s exciting because the analogy is: I’ve been painting small portraits and now my canvas is so big, I can now paint epic landscapes in so much detail! With a bigger sensor, you feel like you can photograph these massive sets more easily in all their grandeur. It’s raising the bar on epicness that this show constantly asked us to achieve. That being said, however, we also had a lot of fun using the bigger sensor to do portrait work. One example of this in our episode is how we photographed King Viserys, as he is getting weaker and

weaker and approaching death. As always, we wanted to put ourselves in his shoes, and we had these wonderful T-series DNAs that had a really beautiful focus fall-off around the edges of the lens. Paired with the Alexa 65, Geeta and I fell in love with the idea of shooting Viserys on these lenses whenever possible, to show in a subconscious way his growing isolation and his slow fade out from reality.

FZ: Where do you get your inspiration from? How do you keep your creative juices flowing?

CG: Good question. Of course, I watch movies and television, but the busier you get, the harder it is to make time for that. I love going to museums and to the theatre. I will say, in all honesty, I’m not as big of a photography buff as some of my peers. I don’t have a big collection of photography books or anything like that, but I do like taking photographs and I’m trying to do more of that! All these things help me to stay active and engaged with the world.

FZ: How do you look after your mental health?

CG: I do yoga, go running, and try to take breaks. One of the challenges of freelancing is that in between jobs, you can just hole up on your own sometimes. You work so closely with such a large group of people for months, and when the show is over, that ‘family’ just breaks apart and suddenly you wonder where your community went! Also, I think coming out of Covid, it’s difficult to feel connected to each other again, but it’s important. That’s partially why we started illuminatrix - to build and be part of a growing community. We support and motivate each other. If something is stressful on set, we reach out to each other and talk through how to deal with certain difficult work situations, and motivate each other to keep going. It’s invaluable and I don’t know what I would do without it.

CAMILLE ADOMAKOH: COSTUME DESIGNER

Camille Adomakoh was at the height of her career in marketing communications in the finance world, when she chose instead a more creative, collaborative and spontaneous role in Film and TV as costume designer, working on engaging projects that carved her influence to place a visual spotlight on untold stories and characters. Her contagious creativity has landed her to work on projects in luxury fashion, like Dolce & Gabbana and Versace, and with huge platforms like Netflix and Sky, working with numerous internationally renowned filmmakers. She constantly exudes her vibrant and unique style. It’s important for her to share her story and journey, which has not been a conventional road and hasn’t been easy, but it has been a rewarding experience.

Francesca Zerenghi (FZ): Did you study Costume Design?

Camille Adomakoh (CA): Not at all. I literally fell into this industry. I came from a marketing communications background in management consultancy and corporate finance for hedge funds. I was always into fashion, and I was always unique in my sense of style - very courageous and adventurous. It’s probably part of being a born-andbred Londoner, but my sense of style was also always nurtured by my mother Mary, who is my forever muse.

FZ: Where did fashion fit into your corporate life?

CA: I had a side business as a fashion columnist for the luxury lifestyle magazine Matchbox, and this enabled me to keep up to speed with the fashion design industry. I also started a personal styling service for my colleagues and other clients, which kept my creative brain ticking over.

FZ: That sounds like an ideal combination.

CA: It was, in many aspects. Sadly my mother became unwell, and I recall returning from a work trip from New York knowing I was going to

help care for my mother and eventually make difficult decisions about my career. I was adamant in finding a way to make this work and I did. So, in 2010, I left my job in the corporate world and became a freelance writer and fashion stylist.

FZ: How was this transition? It sounds intense.

CA: Yes it was. I started a fashion blog and continued to write a style column for Matchbox magazine. I was eventually headhunted by Dolce & Gabbana in 2011, where I met my mentor and lifelong friend Dennis Valle, who was their CDO in Milan HQ. I started to write their online campaigns and style features remotely, which was an incredible creative outlet for me. It gave me the drive and the means to continue looking after my mother while being a freelancer. During fashion season every quarter, I attended fashion shows in Milan and met many exciting industry peers. When Dennis moved on to Versace in 2013, I moved with him, as did several others from his team.

Gianni Versace is one of my design heroes, so it was a beautiful experience to work under Mrs Donatella Versace and her teams in the Maison. I worked with Versace right up until 2020. But my mother passed away in January 2014 and my world fell apart. I treasure that time I had with her. I was living my most authentic life in adverse times. I was freelancing as stylist and writer in an invigorating fashion world, while also being in this bubble as a full-time carer. It was demanding, but it allowed me to have many awakenings. I learned to be grateful for the present and to appreciate the resilience I had to keep going with hope in my heart. That experience led me to when I am today.

FZ: What happened after that?

CA: In December 2014, I attended a fashion party in London and was approached by a lady who said she thought I was a great stylist and offered me the opportunity to design the costumes in her movie. We met for lunch and then fast forward to 2015, I designed my first indie movie called We Are Tourists in northeast France. It was a real baptism of fire. I unearthed hidden skills I naturally possessed for costume design and learned that the crew, my team, often felt like family. I just knew this was what I was always meant to do.

FZ: Talk us through your creative process.

CA: When I read a script, I try to envisage what the costumes look like. The director’s brief is mainly where I get a feeling, and then I start building the costume in my mind and mapping it out visually. What you wear often depends on how you feel. I always incorporate stylepsychology in my prep, and ask myself, ‘What colours would motivate them and speak to their character?’ It’s always about the characters, and it’s about me telling their character story through costume design.

FZ: That is certainly very visible through the strong variety of your portfolio.

CA: I’ve honed my craft in the indie and freelance space. The projects I’ve worked on range from historical period films, thrillers, comedies, commercials, dramas, music videos and luxury fashion videos. Having worked so long on independent projects means that I have an intuitive creative input and a more hands-on approach when working with my team.

FZ: If you could pick two most memorable projects, what would they be?

CA: The first one would be Drunk History: Black Stories with Comedy Central (dirs. Adjani Salmon, Stephané Alexandre, Femi Oyeniran, Cast: Scorcher, Zeze Millz, Leticia Hector, Lola Jagun, Femi Oyeniran). Being able to tell positive stories about historical Black figures from the 1700s through to the 1950s also allowed me to honour part of my history as an Ashanti woman. The historical stories are told with comedic narration, but the actual visuals are authentic to the period. I had the opportunity to design costumes across 250 years of Black history, and that was a pivotal moment in my career. That programme won a Broadcast Digital Award in 2022.

FZ: And your second pick?

CA: I have two more. The Weekend Away starring Leighton Meister, Ziad Bakri and Christina Wolfe, directed by Kim Farrant. That was a thriller with Netflix set in Croatia, and even though it was an indie, it was a surprise worldwide hit. It was #1 in 93 countries, garnered great reviews, and trended for a long time over the summer. Shooting in Croatia presented many challenges that had to be overcome, but the cast were a dream to work with. This was a career milestone that I’m very proud of. The other one is Christmas Carole with Sky (dir. Ian Fitzgibbon, Cast: Suranne Jones), which is coming out in December 2022. This is a comedic take on the traditional Christmas Carol story. It’s a feel-good Christmas movie and the work environment was wonderful. The costumes were fun to design and it was such an enjoyable experience throughout.

FZ: Would you call yourself a perfectionist?

CA: Yes, definitely. And my core team would say yes too (laughs). I know I should delegate a bit more, but I feel like being the nucleus is important. Each project is new, so I have to be present. There are not many people in this industry that look like me, and I know there is a responsibility for me to bring a new energy and face in costume design. My teams are always a real world mix of culture and race.

FZ: What do you think about ‘change’?

CA: Change to me means opportunity. Change means seeing me, as a black costume designer on high profile projects, as normal. On some sets I still get asked, ‘How did you get this job?’ How am I supposed to reply to that? But I get it all the time. Change is about freedom. It means the freedom to work on whatever I want within this space, without being judged or type-cast. I want to work on the projects that inspire me. A unique body of work is my goal. I am committed to keep pushing the envelope through my work, with integrity.

“Most of my working life I’ve always been the ‘only one’ in spaces”

CALL SHEETS

Before any shoot, you will be sent a call sheet. If you have never seen one before, it can be overwhelming to look at, because of the sheer amount of information on the document. I will help you break down the different sections of the call sheet and what to look out for. Usually people will just simply look at their call time, wrap time and lunch, and then be done with it. This information is important, but if that’s the only thing you look at on the call sheet, you’ll miss out on so much information the AD team has carefully spent time collecting for you. Usually commercial call sheets and narrative call sheets come in different formats, so it’s essential to take the time needed to get to know both of them. (And if you work in the camera department, you’ll almost definitely need some of the information provided on the call sheet for your camera notes.)

A good call sheet is crucial to a good shoot. As 1st AD Charlie Elliot said to me, ‘A good call sheet is accurate and easy to read. Attention to detail on the call sheet shows attention to detail in the AD department.’ So much work gets put into making the call sheet, so don’t take it for granted! There are many departments on a set, and each of them needs to complete different tasks and prep different props or kit or information from one day to the next. Here are some examples of the type of information that is on a call sheet and how they are helpful: an accurate headcount of number of people on set so the caterers can plan accordingly; if there are lots of Supporting Artists on a given day, the production team will need to book extra mini-buses for transporting them; if there are more crew than usual, extra radios will need to be ordered; the exact scenes that will be filmed on each day, so the art department has the correct set and action props ready… The list is endless! Imagine the coordination and planning the AD team needs to accomplish, so that everyone has a clear understanding of how the day will go. And Charlie is right, a good call sheet helps the rest of the crew trust the AD team. It gives us a hint of how the day will go. I’ve had an

experience where the call sheet had the wrong postcode for location moves, so having all the information correct is a must. Some 2nd ADs like to add some personal touches to call sheets to make it more fun. I’ve seen call sheets with a quote of the day or, if it’s a comedy show, a joke of the day. One of Charlie’s 2nd ADs makes a special Halloween call sheet with spooky names and fonts!

On narrative shoots, the top section of the call sheet comprises of the names of the top producers and director, the title of the project, the production company, the date, and the type of day you are working (this can be a Standard Working Day [SWD - 1hr lunch break], a SemiContinuous Working Day [SCWD - 30min lunch break] or a Continuous Working Day [CWD - no lunch break]). On the right-hand side, you’ll have the Unit Call Time in big, bold numbers, what time breakfast is available, and the pre-calls (this is when some crew members have to arrive before the Unit Call). These are not as obvious as the unit call, so take time to read carefully if you are needed for a pre-call! Underneath, you have the role, name and mobile numbers of the production team and AD team, including the runners and unit manager. It’s a good idea to save these numbers in your phone, because they are the people you will need to call if you are lost on your way to location or if you’re running late. Underneath these names, then you get the weather forecast and temperatures (if you are shooting outside, make sure you are prepared for wet weather). Below the weather, you will find the information about the shooting location: location address, unit base address, tech vehicle parking (where your camera/lighting/ art department trucks will be parked for the day), crew parking, crew catering, and nearest public transport stop.

In the email that the call sheet is sent out in, you will also see a document called MO - this is the Movement Order. Check this to know where you need to meet in the morning, whether you should go straight to the location or meet at the unit base and then take a minibus to the

‘ALL DEPARTMENTS CAN BE BETTER IF THEY READ THE CALL SHEET.‘

- CHARLIE ELLIOT

location. If you have any doubts, check with your team or production the day before. They are there to help you. To finish the top section of the call sheet, you have general information about what to do and not to do during the day. For example, it might say ‘Cast and Crew are not allowed to post any photos or videos on social media’, or ‘Please do not bring any snacks or foods containing nuts into the location or unit base due to a severe allergy’, or ‘Mandatory lateral flow testing at unit base before entering location’, or ‘Extra cold weather today, please bring jumpers to keep warm’.

The middle section of the call sheet will be the day’s schedule. It will list the order of the scenes being shot that day, which actors are in those scenes, what props or SFX or picture vehicles are required for each scene, and how many pages each scene is. This can often be overlooked, but going through this will put you ahead of the game. This part of the call sheet will tell you if and when there’s a location move, if there will be a second unit heading off to another location on their own, if there is a big stunt, fake blood, a low loader, an underwater team, animals on set, a closed set, and so on. This information is essential and will help you organise your day, anticipate the next move, and always think ahead. If there’s fake blood or fake rain, then you might want to bag the camera and put a clear filter at the front of the matte box to protect the lens and camera. If you are on a low loader, you will need to think about what goes on the loader, what stays at the rigging base, where you are rigging, do you have a follow vehicle or not, etc. If you can see this information on the call sheet ahead of time, you can prep these questions and solutions as soon as possible. Below the scenes, you have the names of the actors and their character names (also called runners and riders). In the morning, I’d suggest grabbing a physical copy of the call sheet and sides (‘sides’ are an A5-sized call sheet plus the pages of the script being shot that day), cut the artist and character names out, and then stick them to the side of the eyepiece or side of the camera with clear tape for the DOP, so they can use it as a quick reference and don’t have to struggle to remember actor names (they have so many things to think about already!).

Below the actors, you have all the departments and the HODs’ names and mobile numbers listed. Keep these numbers and names handy as well, you might need to get in touch with them or remind one of your

team members of their names. Under the HODs, it will list the advanced filming schedule for the next two days, which is a list of the scenes that will be shot and in what order, so you can anticipate what will be needed for those days. Any information to help you plan ahead is helpful, but also keep in mind that the advanced schedule are always subject to change, depending on how any given shoot day has gone.

For commercial call sheets, most of the information will be the same, but the format will be slightly different. In addition to the location, call time and all details mentioned above, we have The Client, The Product, and the Heads of the production company. Be very aware of who the clients are on set, and ensure they have a monitor available to them to look at the product shots. Ultimately, they have the last say on whether they are happy with the shot of their product.

Finally, at the end of the call sheet, you can usually find informational links regarding mental health help and wellbeing helpline numbers. In an industry where we don’t have any proper HR department and it isn’t a widespread trend to have wellbeing officers on set yet, these links can be an excellent way to access quick support when you need it most. You will most commonly find the TV&Film Charity helpline number and website link. We have long and intense days - sometimes weeks and months - where we struggle to think of anything but work. It’s important to take at least 5 minutes to check in with yourself and, if needed, talk to someone if it all gets to be too much. Another link and helpline that I find incredibly helpful is Strut Safe. In the winter here in London, days are getting shorter and it gets dark by 4 pm, which means most of the time we have to walk home in the dark. This can be very uncomfortable for a lot of us, so if you feel unsafe or just need company on your walk home, you can call Strut Safe. They’ll put you through to someone who will stay on the phone with you until you get home safe. You’ll also see mentions of the Mark Milsome Foundation (safety on set) and albert (reducing environmental impact), both of which are very important.

All in all, the call sheet is an incredibly important document. You can only benefit from taking it seriously and reading it thoroughly. It will make you a better crew member, and it will also help you remember names, which always gives an excellent first impression on the first day! It’s a big mistake not to read it, so if you still aren’t convinced…READ

IT (please).

‘The call sheet reminds us that we’re an entire crew working together, rather than individual departments working in isolation.’

- Charlie Elliot

MEET THE CREWING COMPANY

An organisation that makes freelancing easier

The Crewing Company was established in 2005 as an initiative to connect freelancers in media production and post-production with clients who seek talent. It equally facilitates finding work and finding crew with a unique connection network and matching system. I caught up with Aimée Johnston (Talent Manager) and Laura Davis (Managing Director) about their organisation and how they help create positive change in equality and diversity in the creative industries, as well as how they have established an honest and amicable relationship between the company, the clients and the freelancers.

Anna Halasz (AH): What is The Crewing Company and what are your responsibilities here? What was your background before coming to this company?

Aimée: The Crewing Company is a media recruitment agency that has a roster of around 700 freelancers that span from pre-production, production and post-production and has a directory of clients. We essentially match freelancers up with job requests, such as branded content or unscripted TV, that come through from clients. My role is Talent Manager, and as of last week, I’ve been here for one year. I come from a TV background as a prior freelance producer. With that experience as a producer myself, I bring across that knowledge to The Crewing Company through interviewing new freelancers who want

to join our roster, as well as helping with career development and managing profiles of freelancers who are currently active on our roster. In addition, I like to keep my fingers in various pies in terms of events, industry trends, and running the Rising Talent Programme, which I can talk more about later. I also run our own events as well, which aim to educate our freelancers and clients on what’s going on in the world of media production.

Laura: I’m the Managing Director of the company. I look after the overall strategy of the company and look at the future of how we can grow. I’m very passionate about making sure the team members are happy and feel included in how we run as a company. I am also responsible for dealing with the operational side of the business, which includes a bit of compliance, a bit of accounts, and a bit of everything. I collaborate with most team members, and help to make sure every department is running smoothly.

Often, I look at freelancer applications together with the bookings team and figure out the areas that we’re lacking and what needs to be improved. We work hard to make sure both the freelancer and the client experience is a good one. We’re lucky because we’ve got a really supportive and friendly team. I’ve been here for 10 years now. Prior to The Crewing Company, I studied photography at university, then I worked as a photographer on cruise ships for three years. Later, when I decided to move to London, I wanted to get into TV and film, as it had always been a passion of mine. It was a difficult industry to crack into, particularly because there was a recession at the time. I couldn’t get any jobs in production, but I applied for a role as a Bookings Assistant at The Crewing Company and I got the job here. Over the years, I have worked in every role from Bookings Assistant, Consultant, Senior

Consultant and Client Relationship Manager. Around two and a half years ago, I had the pleasure (and challenge) of becoming the MD in the company I love. It’s been a long journey, but a great one too.

AH: What’s the process of connecting the freelancers with the clients?

Aimée: We have four Account Managers and a Head of Bookings that pair the freelancers to the job requests. Whenever a request comes in, our responsibility is to provide the client with the most appropriate freelancer for that job. We have met every freelancer on our books (currently just under 700 people), so we often know right away who would be great for a role that comes in. We’ve got an in-depth CRM system that we use to run searches on our freelancer database to help find the most skilled person for the job. We will do a match in terms of skill set, availability and eligibility for that specific role. We then reach out to freelancers to find out if they are interested in being put forward. We try not to dilute and cast our net super wide because, ultimately, we don’t want to ask 100 freelancers about one job, when we know only one of them is going to get it. To avoid unnecessary workload and disappointment, we finesse the targets who we think are the best people for that job. If the job request is very niche, then we might just email one person if there is someone who matches every requirement. However, sometimes we ask a few freelancers, because availability of freelancers is usually complicated. The Account Managers will try to get as much information as they can from the client, such as a creative brief, budget and rate. We’ll forward as much information as possible to the freelancer, which gives the freelancers a chance to decide whether to be put forward for that job or not.

Afterwards, we send the client the short list of freelancers that have agreed to work with them, and then it’s up to the client to select who they want to work with. We pride ourselves on being a transparent company. We feel that we are quite different from other recruitment agencies, as we have a personable relationship and approach with our freelancers. We think carefully about who we’re putting forward and treat them as a person rather than a commodity.

AH: How many job opportunities can a freelancer get? How long does it take for someone to get a job?

Laura: It’s a difficult question, because it varies so much from freelancer to freelancer. We’ve got some freelancers that have been with us for 15 years and we’ve booked them almost everysingle week of their time with us. Others we have managed to get in with a few clients and then they have two or three clients that think they’re brilliant and continuously book them. Others, it might be that they only get booked once a month, or once every six months or once a year. Our aim is always to get freelancers as many jobs as possible, to help widen their client base, as well as help progress their careers. Occasionally, it just doesn’t work out that way. This can be for a variety of reasons; it might be that we don’t get many job requests in their skill set, or the freelancer has many of their own existing clients they are busy with.

If we think a freelancer holds a skillset we don’t get a great deal of demand for, we’re very honest about it when we meet them to help manage expectations. The industry can still work in a ‘word-of-mouth’ way, so there are some roles that clients won’t often come to agencies for, and they will use an existing contact to work with instead. We also encourage our freelancers to get work outside of our agency as well. We’re a non- exclusive agency, so we think it’s beneficial that they’re not relying on us to get all of their work. If we’re not getting people work, we try to recognize that quite quickly. We will also speculatively send CVs out to clients that we’ve worked with in the past to see if we can drive more interest to that freelancer. In addition, if a freelancer is continuously in touch and communicating with us by sending us new CVs and reels, that helps a lot because we’ve got up to date information and they’re actively telling us that they’re available, so we know they are keen for work.

AH: Do you advise freelancers on how they should showcase themselves?

Laura: We don’t generally give advice on this, unless the freelancers ask for it specifically. However, when we bring a new freelancer onto our roster, we write a pitch on them and their skills, which we then send to the freelancer, so they can see what we will be sending to the clients. We often get positive feedback on these, because it allows the freelancer to see themselves written about in a new way.

AH: That’s really nice! How do the clients find your company?

Do

you advertise yourselves?

Laura: I was actually talking to our Marketing Executive, Magda, about this yesterday, because we don’t advertise. A great deal of our work has come to us through word of mouth, from when we first started sixteen years ago. Steph Asplin, who created the company, was working in production herself, so she went through the Yellow Pages and essentially looked at every single production company and reached out to them. Over the years, the company has built up a reputation for itself. We have been very lucky that the industry talks, and work has come to us through people just talking about their positive experiences with us and our freelancers. If we do a really great job for a freelancer and they get lots of work, they’re really happy with being part of the company. This means they might then tell another freelancer about their

experience, and those freelancers might also be production managers that work in a production company. We get a lot of repeat business as clients move from one production to the next. Overall, we get most work by word-of-mouth.

Aimée: We do a great deal of networking at events as well, to promote ourselves. We go to big media expos as well as smaller events where we know that CEOs of production companies will be. There are a lot of new production companies that appear all the time, and we often get calls from new clients, which is great. We also have a subscription to Broadcast Now, to keep an eye on industry news and new production companies. We might send them an email to say hello and let them know who we are and what services we provide, should they ever need us. The Account Managers and Head of Bookings also do a great deal of business development, and are consistently strengthening their relationships with new and existing clients.

Laura: To add to that, Aimée’s background is production, so in the year that she’s been with us, she has brought us new clients she already knew in the industry.

Aimée: When you’re a producer, you’re connected to a lot of people. TV is a relatively small world, especially if you’re moving around quite a lot.

AH: What are your experiences so far? Does your company make it easier for freelancers to get jobs? Any highlights, success stories?

Aimée: We do have freelancers come to us quite often and say that we’ve really helped them to have a successful career as a freelancer. As we said, we’re sort of an extra pair of eyes to try and amplify their client base. We also helped freelancers who want to transition roles or genres. I had a catch up with a freelancer who had been an editor for ten years but is now doing more Producer-Director work. We’re going to help redo their CV and assist them in moving into their new role. The clients trust us that we’ve selected our freelancers carefully and that they’ve gone through the full recruitment process, rather than if they were to hire someone directly, who might have less experience.

Laura: We’ve established strong relationships with clients over the years, such as the BBC, ITV, Channel 4, lots of well known production companies, and many branded content clients too. As Aimée said, the

‘We need to listen to new voices, because the industry depends on it. With these initiatives, we’ve definitely seen positive change and an increase in terms of attention being driven towards it.’

- Aimée

biggest success stories for us are people being able to earn a living as freelancers, doing what they love. The freelancers do the hard work. They’re the ones providing their skills and impressing the client, but we’re there to support them, to make connections and help them build on their client base.

AH: It’s amazing that there’s an opportunity to grow here! How long do freelancers work with you?

Laura: There’s no time limit. We essentially keep people on as long as they and we are all happy. As I said, some people have been with us since we began. Some just joined us a month ago and we’ve already booked them for their first job. Some freelancers build up a pool of their own clients and decide being part of an agency isn’t right for them. We want people to be with us as long as it’s benefiting their careers and they’re enjoying being part of the freelance community.

On the negative side, and on very rare occasions, we might have to remove a freelancer from the books if we’ve had negative feedback for them. However, this is always an open conversation where we will speak with the freelancer and get the chance to have a discussion first. Our main aim is to assist people in being better at what they do, but on the odd occasion, it just might not be a good fit. We strive to ensure our talent remains top quality and that our freelancers have the right attitude, are collaborative, flexible, adaptable, hardworking and communicative. We require two references from everybody we interview, so we can understand their work ethic and which of their skills will suit our clients. Once a freelancer is fully onboarded (with all the relevant RTW checks), we do everything we can to allow them to have a successful journey with us.

AH: Let’s dive into other topics: Do you think that diversity and inclusion is changing in the creative industries?

Aimée: During the twelve months that I’ve been at The Crewing Company, I’ve had the opportunity to go to events with Laura where the panellists were talking about diversity and inclusion. There are some really positive improvements going on out there. I think people have been forced to rethink the industry during and after the pandemic. Especially with people having the opportunity to work from home, there are a lot of positive outcomes, like paying more attention to mental wellbeing and prioritising spending more time with family. It has always been an ongoing conversation how we can diversify the industry, because it can be quite exclusive and historically difficult to break into. I think the pandemic proved that a lot of new initiatives can actually work and are worth putting funding and efforts into. We need to listen to new voices, because the industry depends on it. With these initiatives, we’ve definitely seen positive change and an increase in terms of attention being driven towards it. More people are focusing on making sure the industry as a whole is more reflective of the society we live in. There has also been an increase of apprenticeships and mentorship programmes,

so that people from underrepresented communities can get better access to the industry, while also being supported. Age diversity is important as well. There are programmes out there to help people returning to work after a long career break or for people who thought they are too old to work in the creative industries. There are also training programmes for people from underrepresented communities, and these programs often have direct access into companies like Channel 4 Another great initiative is the Share My Telly Job. Michelle Reynolds, who is the co-director of the company, was on a panel of our recent TCC talks event last month. They have been given some funding to pair up job sharers across high end TV and Film, which is amazing.

In addition, we have our own programme called Rising Talent, which is an eight-month programme, open to people who just started embarking on their role as a freelancer in the media industry. We are currently in our first year, so it’s still in its pilot phase, but it’s proven to be successful. We commit to bringing ten new people on our books for eight months and we pair them up with a mentor - one of our current freelancers who’s working in the same role. Our aim is to get them their first job or at least one job with one of our clients, and along the way, they can benefit from the support of a mentor and the workshops we provide. We play a part in helping with diversity and inclusion, because we have encouraged applications from media training organisations such as Mama Youth and Media Trust, who are dedicated to giving marginalised people a stronger voice, as well as a variety of universities. However, it’s not just for young people or entry-level freelancers; next year the Rising Talent programme will be open to anyone who might need that support while they are embarking on their career as a freelancer in media.

Laura: I think the industry is definitely changing for the better, but there’s still a long way to go. As Aimée said, there are so many initiatives out there that are trying to make the industry a more inclusive place and are committed to making sure that it happens. And the change doesn’t just have to happen at a junior level, but diversity needs to be seen in senior levels as well. If a company has been led by the same people, which is often not a diverse workforce, then it’s never really going to change. There are people out there who are ready to step up in their careers, but they’re just not being recognized. Some companies are now creating these opportunities to make sure positive, inclusive change is coming from the top too. We are aware that it’s a long-term goal and a long-term commitment that has to come from everywhere.

AH: Absolutely. Do you notice any differences between the payment rates of men and women?

Laura: Generally speaking, our clients usually work within industry standard daily rates. Whatever the role is, there are standard industry rates and we do our best to stick within those, or at least guide the client towards these if they are coming to us with lower rates than these. It doesn’t matter whether we’re putting forward a female or a male,

‘We strive to ensure our talent remains top quality and that our freelancers have the right attitude, are collaborative, flexible, adaptable, hardworking and communicative.’

- Laura

they’re going to be paid the same rate. We have in depth conversations with freelancers on what rates they are happy with before joining us, and interestingly as far as we see, there’s not often a difference between what a female editor would charge vs a male editor, for example, which is promising. It is such an interesting question and always worth monitoring to make sure rates stay equal. There are great organisations such as BECTU for freelancers in the industry, that are really helpful for any freelancer when trying to set their rate. It is something we will continuously monitor, and if we met a female freelancer and felt they were charging lower than usual rates, we would question them as to why and help guide them towards a rate that is more reflective of their skillset.

AH: What role do you think organisations like The Crewing Company play in supporting equality, diversity and inclusion in the creative industries?

Aimée: In terms of our freelancers that we’re putting forward for jobs, we choose whoever the best person for the role is and who has the right skill set for the job. There is still gender imbalance in the industry unfortunately, and this is something we are trying to balance out in regards to who we represent. It is a long term journey, because it’s about making education and media jobs more accessible to more people early on. In terms of selecting freelancers for jobs that come to us, our CRM system helps make sure the selection process is as fair as possible, as it helps us match the freelancer up depending on the requirements of the job, rather than by gender or personality type. When we’re interviewing people, we’re looking at their skill set and using that as a guide for if we think we can realistically get them work.

In terms of what we’re doing as a company, the Rising Talent programme is hopefully helping to diversify the industry a little bit more, because we’re trying to create an access route into the industry for anyone who wants to apply. We will fairly look at the applications and skill sets, rather than where you come from or what your background is. If we feel you’ve got a particular amount of experience to offer our clients, we will bring you on and we will nurture your ambitions to work as a freelancer in that role.

We are also consistently trying to drive conversations forward about the importance of positive initiatives in the industry that will help nurture everyone heading into the industry, and help people stay in the industry. We hold TCC Talks quarterly, where we invite panellists to discuss important issues in regards to the industry and what is being done and what needs to be done to make sure it is an inclusive place to work.

AH: What do you find special about The Crewing Company? In what ways does it stand out, compared to other recruitment agencies?

Laura: We try to be as personable as possible. When we’re speaking to freelancers, we invest time and energy into the conversations and make sure they feel they are being heard and seen.

We also care about the industry as a whole. We are not just thinking about what jobs we can get to our freelancers, but we care about how the industry is being shaped, what conversations are happening, and how we can make sure that this industry continues to thrive. We always

have to think ahead and know what’s happening out there, so that we can continue to get freelancers work and help clients continue to make great content. From last year in particular, by doing Rising Talent and TCC talks, we have not only tried to drive forward conversations, but also keep them alive. It’s important for us to know what’s happening out there in the industry, so we can plan ahead. In fact, our responsibility is probably much bigger than we’ve ever realised. As an agency, we have a responsibility to make sure we are pushing important conversations forward and helping people connect and draw upon those lines of communication with each other.

Aimée: We realise that as an agency, there’s a huge opportunity to help shape the industry and make it a better one in terms of inclusion, diversity, and all areas that need to change for the better. We’re in touch with all these amazing freelancers, clients and university contacts, so we have a responsibility and an impactful opportunity to help make the industry a better place for everybody. We pride ourselves on being an agency that uses these opportunities for good, because I don’t think there are too many agencies out there that do that as we do.

AH: What do you enjoy most about working at The Crewing Company?

Aimée: I absolutely adore working for this company, because their core values are amazing. Transparency and honesty are at the helm of the company. The community within the team and the staff is lovely to work alongside. Laura is an amazing MD, because she’s always thinking about making sure that there’s not too much hierarchy within the company. Everybody is heard and everybody can contribute ideas. It feels like a collective, collaborative effort. I haven’t worked at many companies where this is the structure, so it’s really refreshing. I would say that we’re proof that this kind of structure can work well and have a positive impact. On a personal level, in my role as a Talent Manager, I’d say it’s a fairly new role for companies to have, because it started off as more of an HR role. Now, it’s a role that looks at working cultures within the industry or within the company. It’s an incredible opportunity to be able to create and curate events like the TCC talks, where we can bring people together and talk about important topics and industry trends. That is a really enjoyable part of my job. In addition, being able to run a programme like Rising Talent is especially rewarding, because it can be so beneficial to help people get a leg up into the industry.

Laura: For me, it’s the collaboration. I’m very lucky with our team, because I feel that everybody collaborates well. Everyone has different strengths and ideas that they bring to the table and everyone is consistently thinking about how we can evolve together, how we can communicate better, and how we can streamline our processes. That collaboration is crucial, particularly for me, because as an MD, the weight that I carry on my shoulders can feel quite heavy. Being able to share that with my team and having people who are mature, trustworthy, kind, empathetic and who offer meaningful solutions is wonderful. The people who started and ran The Crewing Company throughout the sixteen years of its existence have added masses of value to this company. It’s very important for me that I continue to progress and keep the quality of standards high. It’s important we continue to maintain a company where people want to work with us, because they trust us. That’s the part I love most.

DON’T WORRY DARLING, YOU DIDN’T MISS MUCH

Can you believe it’s been almost two months since the release of Olivia Wilde’s Don’t Worry Darling (DWD)? From spit gate to Shia gate, early September saw the internet abuzz with speculation about the film’s offscreen antics – with online sleuths and major news outlets scrutinising everything that may or may not have happened in a painstakingly granular fashion (why were Chris Pine’s legs crossed during his interview with Harry??). When the film was finally released, the irony of the sensationalism surrounding it wasn’t lost – with Wilde astutely observing that ‘all of this is really what the film’s about… [the] narratives we’re fed and whether we choose to accept them or question their sources’. Aside from the gossip, the film itself was received terribly by critics, earning a meagre 39% rating on Rotten Tomatoes. Interestingly, audiences seemed to enjoy it more, awarding DWD a respectable 74%. Now that the drama has dissipated (somewhat… remember the Nanny’s tell-all a few weeks ago?) and the dust has settled, let’s take another look at the film itself with fresh eyes and ask the question – was it really that dreadful?

The short answer is no – it wasn’t really dreadful, but it wasn’t really good either. For context, DWD is set in a 1950s Stepford Utopia where everything is artificial and sickly sweet. It follows two picture-perfect newlyweds Alice (Florence Pugh) and Jack (Harry Styles) in their shiny gated community somewhere in the Californian desert. Jack, Alice and all their neighbours work for the elusive Victory Project – but of course it’s the men that play an active role in the organisation, while their wives stay at home cooking and cleaning. Everyone is having a grand old time living the American Dream – until the cracks start to show at a party hosted by the cultish captain of the ship, Frank (Chris Pine), a character based on the divisive Dr Jordan Peterson. It’s here where Alice witnesses the mental breakdown of one of the fellow wives, and from that point, she journeys to unearth the secrecy of the Victory Project, eventually learning that she’s been living in a dystopian simulation constructed by Frank. Even worse, it’s golden boy Jack that’s forced Alice into this misogynistic hellscape against her will. An Orwellian, incellian paradise, it seems that DWD is Hollywood’s first exploration

of incel culture. Over the last few years, this phenomenon has been steadily gaining traction in the real world, culminating in the emergence of Andrew Tate – the bigot who was briefly crowned the most Googled man on the planet, before being rightfully banned from every social media platform. Critics argue that DWD’s treatment of the topic isn’t an insightful one, leading to a dead-end. I’d argue that storytelling doesn’t have to be a problem solver and that acknowledging the existence of an issue through the lens of observation can be enough.

Besides a fascinating concept, the most memorable aspects of this film are the gleaming cinematography and stylistic choices. Immediately arresting, the DWD landscape is defined by a dreamy colour palette, somewhere between Tim Burton’s suburbs in Edward Scissorhands and the signature candy colours of Wes Anderson. From start to finish, you simply can’t take your eyes off it. The score is equally dreamy, thanks to composer John Powell, making for a truly indulgent, immersive experience. People may have laughed, but it seems Harry Styles was right all along - ‘It feels like a movie’.

Yet while the heart of the story was compelling, and the style and cinematography was gorgeous, there’s a lot left to be desired in DWD. Gaping plot holes consistently jolt the viewer from enrapturement. Halfbaked symbolism feels empty and devoid of meaning. The pacing is so sluggish that the film feels much longer than its runtime. And, there’s no nice way of saying this, Harry Styles’ acting was poor. Thankfully, a stellar performance from Florence Pugh was enough to keep viewers engaged. The nuance she brings to any character – from the tortured Dani in Ari Aster’s Midsommar to her Oscar nominated portrayal of Amy March in Greta Gerwig’s Little Women – is truly spell-binding. Supporting performances from Wilde and Gemma Chan also packed a punch.

A brilliant idea that was poorly executed, the film will most likely be forgotten amongst the slew of dystopian thrillers we’ve seen over the last few decades, but kudos to Wilde for a bold effort and brava to Pugh for an exceptional performance.

CASTING THE FUTURE IN CONVERSATION WITH MATILDA JAMES CDG

Firstly, how would you describe the role of the casting director?

As a casting director, you are there to support the director and producers to realise their visions and to try and make those visions align in a way that is creatively fulfilling all around. That encompasses everything from the administrative side, putting together lists of names, and being the contact person for agents, to being in the auditions and reading with the actors, to negotiating the deals. The really wonderful part is putting the puzzle together. Directors don’t always know what they are looking for when they’re starting out on a project. It’s like being the optician trying different glasses on them: could it be this? Could it be that?

Whatever medium you’re working in, you’re trying to find the perfect coalition of people to put that piece together at that moment in time, always knowing that there will be millions of different versions of it. On the most satisfying projects, each person you add into that group has an effect on the rest - it’s a proper ensemble. Even when you do a recast of the same production, you never end up with the same thing. Each iteration of a cast is going to be different, depending on who you put together, and that feels rejuvenating and exciting.

For me, the thrill of the job is about seeing endless potential in actors and admiring that work. It’s about trying to find the right balance between the fundamental belief that anybody is capable of playing anything, and also the knowledge that there are things that some people are more suited to play than others. I love finding the most appropriate set of strengths to play into a project and keeping everyone’s eyes open to who is capable of surprising expectations too. That’s always very exciting. I guess the core of the role is to know actors. Your job is to have the long list. I need to know who is out there, who’s about to break through, who’s doing what, and who’s looking for what. And it’s also about being able to sell the project as the right one for that particular actor at this particular moment.

So there is a list! Do you have a database? How do you go about it?

I’ve got so many lists! Whenever I see plays, film, tv, anything, I’ll add names to this mega long rolodex. I write lots of notes after every audition session. Sometimes it could be years between seeing someone perform and then suddenly thinking, ‘They’d be great for this…’ And then there’s the juggle! When I was at the Globe, there would be a

group of actors who used to work there often. It was useful to have people who know how to use that brilliantly specific space; they had such expertise in how to play that space and make it work vocally, comedically, pace-wise etc. There was a real happy familiarity in all of that. Then to match that group with a bunch of new people who’d never played there before, who were super excited and bold, that’s how you get the thrill around it. That way nobody takes anything for granted. It’s important to balance the familiarity with opportunities around access for newcomers. That’s part of the responsibility of the casting directorbuilding a scaffolding that keeps the thing anchored, but also figuring out what the right spice mix is to bring to that too. What a terribly mixed metaphor… but you get the idea!

From paper to the screen (or stage), what’s your journey to bring characters to life?

You have to go back again and again to the script and to the character. Asking yourself who these characters are and how to bring them alive off the page. Who do I think of first? And then, often what’s more interesting is, who do I think of second? And that’s the thrill of it. So many people could play this part and they would take the same story in a different direction.

Then I’ll start checking actors’ availabilities and sending out the script to set up conversations or auditions or self tapes. After that, I’d start making offers and negotiating deals. Then, depending on the project, I have heaps of logistics and schedules to coordinate. Sometimes people ask if a casting director is on the side of the actors or of the project. I hope that’s a false opposition, because I try to be very transparent in the way I work. I’m conscious that as you scale up, in the film industry especially, those conversations get much more complicated. Personally, I’m not very good at pretending there’s a game, because I just don’t want to waste anyone’s time. Trying to develop those relationships where that is reciprocal can be hard, because sometimes it feels like everyone is serving their own agenda. But I feel like assuming best intentions and just being really clear makes me at least feel ok about my part in all those dynamics. Regardless of the scale of the project, I always want to make sure everyone feels hosted properly. It’s really important in those conversations between actors and directors is navigated delicately. Sometimes the director has a lot of power in the situation, or sometimes the actor does, because they’re a big name who could help green-light the project. My job is to try to set up that space so that they’re both having the best conversation that they can,

where nobody feels like they can use their power in anything other than a constructive way for the whole thing to work. That feels, to me, very important. I would hate it if anybody came away from a scenario that I helped set up and they felt like it was not worth their time.

What would you suggest to actors to prepare for an audition? It’s not about being able to be anything they want you to be. It’s about who you are. Trust your instincts. And ask questions so you don’t throw yourself off with overthinking. You’ve got to be really strong in your audition muscles, so that you don’t drive yourself mad. Pick it up, do your brilliant thing, then put it down. The same goes for self taping. Get the background and lights set up, do your thing, bang it out in an hour, and then go off and enjoy your day.

Also the industry is changing so much and still figuring itself out postpandemic, and there’s a lot of chat around how to get back in the room. Nothing makes me happier than being in the room, so I will always push for in-person auditions whenever I can. But the truth is, self-taping makes lots of things more equitable -being able to do much wider searches, catering to people who aren’t able to travel, and saving money for both the actors and the production. My main issue with selftaping is that it cuts down the space for actors to ask questions and get feedback. I always try to give useful context ahead of time where I can, but I’d always recommend for actors to always ask for the information you need to do your best work!

And how should a director prepare for an audition, a rehearsal or actors’ work?

That’s such a good question, because I think we have completely bought into this idea that the director knows what they’re doing and it’s everyone else’s job to facilitate that. The assumption is that we must all leap to the way the director wants things to happen, because that’s their ‘process’, but that doesn’t necessarily mean that it works for everyone. When people trust each other, everything works better. That for me is the director’s job: to host the space so that everyone is brought in on the right terms. A director needs to lead from the front and be prepared to be held accountable for that too.There’s something extraordinary about giving your work away as a writer; about knowing that at some stage, it gets handed to other people to be made real. As a writerdirector, you get to control more of that journey, but you have to be aware of your own desire for control. I think ideally, that needs to be disrupted by the presence of other creatives. It’s important that you’re

up for that disruption. You’ve invited other people with excellent minds into the room, so you have to be open to where that goes. That should be a really exciting provocation. When that’s all done well, everyone is engaged in what’s important: the creative work being done. Then it’s much easier to have a good time, even when things get complicated. Talking about the ethical aspects of the process, I can feel a change is happening. I’d like to know your experience about this shift in representation and narrative.It is exciting, but it’s complicated too. We’ve got to keep pushing. Many people have talked much more eloquently than I could about the difference between more diverse casting and really shifting the balance around what stories get told. Creating meaningful change in the way stories are told is bigger than just casting more representatively. We want more and better roles for people who have historically been underrepresented, of course, and it’s just beautiful to see more and more mainstream work that reflects the world around us more accurately, but it also needs to be part of a more systemic change around who gets to tell their stories in the first place. And that’s the harder work, because that is about power dynamics and hierarchies and systemic racism. I’m here for some loud challenging of the status quo around what audiences ‘want’ or ‘need’ and who gets to decide that… As if audiences want or need only one thing!

What would you like to work on more in the future?

So many things! I’d love to do more comedy because nothing makes me happier than making people laugh.The work with the Murmuration collective is exciting, because it allows us to work really flexibly across more projects than any one of us could handle on our own. I’m excited about building that. And I remember a friend saying, ‘We know what the world looks like when it ends’. Hollywood has told us about apocalypse and Armageddon and all of the rest. I guess I think it’s a real privilege to be able to put stories into the world when the world feels really rocky. I wonder how we can make stories that help imagine a better, fairer, kinder version of things too. At risk of sounding Pollyanna-ish, it’s like saying: let’s imagine what happens when you have faith in something, what happens when you are not cynical. Let’s imagine what happens when we try to find a way out of something that is painful and grow through it. We need to see big and little human stories about how we’re all mainly contradictions but we’re trying our best. That’s always been the stuff that I’ve loved watching and that has undone me somehow. So more of that please!

FILMMAKER FOCUS:

IT DOWN!

Documentary producer and director Celia Aniskovich dials in to discuss her latest feature documentary, BURN IT DOWN!, and the perils and rewards of working with vulnerable contributors to elevate sensitive and culturally resonant stories through film.

Lauren Devine (LD): What draws you to documentary filmmaking?

Celia Aniskovich (CA) : I’ve always been very interested in how and why we tell stories, and the power of storytelling. After graduating, I worked in news. While I still consume a lot of news content, I quickly became disillusioned by the restriction of only having thirty seconds to tell a story that needed a lot more narrative spaceparticularly when it comes to social justice issues, holding truth to power, and trying to expose injustices. A story is never black and white; we’re all complicated. Working in a format better suited to exploring those issues thoroughly, really excited me. I couldn’t get out of bed in the morning if I didn’t feel as though I was adding something to the world. I try to only take on projects and pursue stories when I feel as though we can speak a truth, big or small. It might be a very small help, or it might get a wrongfully convicted person out of prison. I have watched films that have quite literally saved people’s lives. I am always drawn to the possibility that our work can change and save lives. I’ve worked on several projects about domestic violence, because it’s an issue I care a lot about. As

you’ve noticed, I do a lot of ‘dark’ work, but nothing affects me more than violence against women. What I’ve loved about making these films is the broader conversations that are opened up within families and relationships about the universal reality of this issue. While making SURVIVING JEFFREY EPSTEIN, we came up against this notion of the perfect victim. As filmmakers, we sometimes have to discuss how to make a victim more ‘likeable’ to an audience. How do we stop viewers writing someone off because they’re too opinionated, not from the right socio-economic class, or not the ‘right’ race? It’s so infuriating. I’ve never met a woman who hasn’t struggled to be believed, in one respect or another. SURVIVING JEFFREY EPSTEIN was a particular reminder of this problem, and it was certainly present throughout BURN IT DOWN as well.

LD: How did you come to direct BURN IT DOWN?

CA: Dorothy Street Pictures had the initial idea. Amidst the current landscape of Woodstock ‘99 films, co-directed with Tim Travers Hawkins, BURN IT DOWN is the only one made largely by women. We needed to represent voices that other films weren’t representing, that are too often marginalised, specifically women and people of colour. It was important to get these women in front of and behind the camera, to make sure we were talking to people like Melky Jean, who was one of the only black women at Woodstock ‘99. Capturing these perspectives and their targeted rage, with a message that needs to be heard, was important. During interviews, I watched these women, in real time, doing what women in most social settings do all the time: self-censor, pull back their rage, and control their temper, because they know that getting worked up will make them be written off as emotional and overdramatic.

LD: Knowing that sexual violence would feature in your discussions with the women interviewed for BURN IT DOWN, how did you prepare for those conversations?

CA: That’s a big question. I can’t cry in an interview; I have to remain a safe place for the interviewee to have their own reactions. This restraint comes with experience, but also with remembering what we are trying to do and asking what is needed to get to the heart of the issue. I read the police reports of the sexual assaults on Kathleen Hanna with the cameras rolling, because I knew I was going to find it difficult to get through them in any other way. The language of those reports, the numbers and statistics, is so clinical. Capturing Kathleen reckoning with the lack of humanity in the reports helped to recentre the humanity of the women at the heart of this story.

LD: How did you prepare the contributors for these interviews?

CA: In interviews that discuss personal trauma, like those for BURN IT DOWN and the Jeffrey Epstein interviews, I make sure each person understands exactly where our conversation is going to go. They need to know what is coming and to emotionally prepare. In some instances, for example, we would be discussing something as sensitive as the details of a rape case. We discuss what they are comfortable talking about and not talking about before the cameras are rolling. I never share my questions ahead of time, but I do make sure each contributor knows what we’re going to cover. It’s also important for them to know that if a question comes up that they don’t want to answer, they can say so and we will move on. However, for example, if I had shared the police reports with Kathleen ahead of time, her reaction would not have been captured and featured in the film. I’m glad we did it, and Kathleen was happy to have it done that way, too. That was real, raw emotion. There are moments as a filmmaker when you have to take a

risk. Sometimes it works out, and sometimes it doesn’t, but you have to trust your instincts.

LD: You also interviewed John Scher, the promoter of Woodstock ‘99, presenting him with evidence that the festival’s mismanagement contributed to a culture of misogyny and incidents of sexual violence. How was this interview experience for you?

CA: It was not easy to get John in the film. He did not want to talk. I also knew that he could storm out and end the interview at any time. You never know what to expect, so it’s critical to prepare for everything. When I walk into an interview like that, I have to prepare the crew and make sure they know that no matter what happens, you cannot move; you cannot turn off your camera; you cannot leave. I knew how important what John said in that interview was going to be, so I had to just sit there.

I think it’s important to say that John was not mad at the end of his interview. I was not trying to catch him in a lie, or make him look bad. I read the same police reports to him as I did to Kathleen Hanna, and asked the same questions that I asked Kathleen. Almost 95% of my questions are identical for each interview; I ask the same questions to give everyone the same opportunities to respond. Audience reactions to John’s interview are a very interesting part of the story. People audibly gasped in the cinema at the London Film Festival premiere. I don’t think John believes that anything he said was an issue, and that is why we need to keep having these conversations. Those interviews are always hard, but the challenge and the story motivates me.

LD: It seems that we are yet to see an industry standard for how to approach issues of contributor care in documentary filmmaking. What do you think the industry can do to create safer spaces for vulnerable contributors to share their stories?

CA: As the documentary genre grows, becoming as popular and successful as scripted narrative film, contributors and documentary subjects are increasingly garnering mainstream fame. We’re getting to a place with documentaries where the stories aren’t just real people’s lives anymore, but they are becoming fodder for Halloween costumes. My response to this is that contributors are not characters; they are human beings.

There’s the adage, ‘Don’t do more harm’. We have to incorporate a more sensitive approach with vulnerable contributors and remember that they don’t owe filmmakers anything. If they feel as though contributing to a film’s story might benefit them or the rest of the world, that’s amazing. I’m never going to berate someone who doesn’t want to be in a film. There’s always some convincing that has to be done, but I won’t pressure or strong-arm someone into being in a film. I’m not interested in re-traumatizing anyone, or adding to their hurt. You can’t always do good, but don’t do more harm.

That said, there is no greater moment than when a film empowers someone enough to say, ‘This happened to me too. Thank you for believing me’. If one person can watch a film like BURN IT DOWN and feel that they are heard, and that they are believed, we will have done our job. My greatest hope is that survivors will continue to see and to hear their stories reflected in these films, and to realise that they are not alone.

This interview has been edited for length and clarity.

Who is Sara Christie?

Who am I? I am my brand. My brand is an extension of me, my values and my love of using accessories and style as a form of freedom, empowerment and expression. I am a mother and a partner and a designer and an entrepreneur.

What made you launch By Sara Christie?

bysarachristie was born out of many reasons: Not being able to find what I was looking for was the very beginning. Sourcing a perfect statement chain that was at the right price, without sacrificing on quality, was proving difficult and unsuccessful. So I made a decision to create my own (I had been designing them for high street brands for over 15 years after all!). Selecting the right chain design, size, weight, and finish was exciting. And I did it. I made my first chunky necklace and matching bracelet. It was beautiful. I LOVED It. I had created the perfect statement piece I had been looking for. I felt so proud I had a small order made up for me and my friends, and shared them on Instagram. Soon my followers were enquiring if they could order one too. Clearly, I wasn’t the only one looking for the perfect, knock out statement piece! I had more made. They sold out. I had more made. They sold out too. The #simplechainreaction had begun.

In a time of great political and social revolution, what is the role of fashion/jewellery?

Born during the pandemic, my jewellery was an essential component to bring joy, light relief and connection to a world that had become separated. Never had we been so isolated and reliant on zoom calls to communicate professionally and personally.

Dressing from the waist up was a reality for many. Popping on your bysararchristie chain was the perfect finishing touch to elevate not only your look, but your mood too. Effortlessly. We all needed that little something extra to make us feel good and sit a little straighter. The only weight we wanted to feel on our shoulders was that of The Boss, The Warrior and The Queen chain necklaces.

We cannot talk about fashion without sustainability, kindness and business.

My time spent working for a large retailer taught me many valuable lessons. The essential values of kindness, partnership, and friendship in business. Process, time, and cost: without these values, business has no joy or purpose at all. I have witnessed fashion getting faster, cheaper and more reactive. Time and consideration for quality and design

were being compromised, as manufacturers were being driven down on their price in favour of volume. Selling in large numbers was the priority, pushing down prices, and ultimately squeezing manufacturers on their margins. This really jarred me, as I understood what that meant for them in reality. I was falling out of love with the constant demands for newness and the six seasons expectations. Ultimately, this sparked my decision to leave the high street in 2017 I believe in buying better, buying less and really, really using what you buy.

‘Better looks beyond: beyond a season, a trend, a moment.’ It was this insight and foresight that became my inspiration and motivation to design and create collections that were timeless in character, designed with purpose, elevated from seasonality and fast fashion, and made to last. Seasonless simplicity, versatility, functionality and style are at the very core of my brand.

WASTE NOT WANT NOT

It is through the success of Handbags Made to Order that I have been able to produce my new collection called Waste Not Want Not. A small collection of small leather goods made from offcuts and left over leather from the Made to Order orders.

Where do you find inspiration?

My Jamaican grandparents’ style and the Windrush generation.

I have had a love affair with classic style and fashion ever since I can remember. Heavily influenced by my Jamaican grandparents, dressing well was seen more as a sense of pride rather than dressing in the latest looks and trends. It was this style that influenced my final collection for my BA hons fashion degree at Nottingham Trent. My final collection saw me look deeper into the Windrush era. Fashion for the first Windrush generation was influenced by the styles of 1940s jazz musicians and American Cinema. Dressing well was a means of respectability and self-importance, a way to rise above the stereotype in the face of hostility.

‘I’m instinctively drawn to classics that can be reimagined. I love capturing a vibe and an essence of Black style that is in my DNA’

I’m a big believer in cognitive empathy. There are two kinds of empathy: emotional empathy and cognitive empathy. Emotional empathy is what most of us are familiar with when we use the word ‘empathy’. For example, you see that someone is upset, and in turn you also feel upset. Cognitive empathy however is mentally projecting yourself into that person’s experience. If I was in their position, how would I feel? And why would I feel that? It’s separating yourself from your own sense of self and adopting someone else’s, in order to understand what their experience is on a more fundamental level.

Writing an article for writers as a Director of Photography masquerading as a writer is an alarming position to be in. They’re going to know I’m an imposter. So I did what any good writer would do, I used cognitive empathy. I put myself into the mind of a writer and tried my best to understand what it is to be a writer.

In order to do this, I opened up a new document and stared at the blank page and flashing cursor for three hours. I then drank a carafe of coffee and found some house work to do. So far so good, I think I’m getting the hang of this.

HOW TO WRITE GOOD

I rarely encounter writers in the wild, despite the profound effect they have on my own work. By the time I see a script, it’s already in its finished form: ‘absolutely definitely final draft no more changes 12’. Without the scripts spilling from the minds of writers, the rest of us filmmakers have nothing to make. The whole industry relies on these foundations to build on. This interconnectedness across the industry as a whole is fascinating to me. It’s a sprawling web that connects every aspect of film. Something I’m endlessly curious about is understanding the ‘why’ of…well, anything. For example, in my own daily job we talk about camera motivation. Why is the camera moving? What is motivating it? By thinking about it and answering that question, the end result is that you have cinematography that is that much more harmoniously integrated as a whole into the film. Do this across all departments, and you end up with a tangible yet hard to define authenticity to a film that will set it apart from others around it. It’s similar with Directors and Actors. Actors want to know why their character is doing something, because it will have a crucial effect on their performance. ‘What is my motivation?’

It’s like an iceberg.

The ‘why’s are the large portion of the iceberg that’s below sea level. They are unseen, but able to hold the iceberg high above the water, because of the amount of depth it has.Remove the bottom part of an iceberg, and the top will then sit much, much lower in the water. There is nothing to hold it up. You need that unseen mass to lift the visible part high into the air.

Writers come in two main flavours. You have the neat Writer and then if you add a mixer, you get the cocktail variation of Writer/Director. While there are some obvious differences, we are going to be focusing on the Writer aspect of both flavours. I’m a little unclear on the specifics of writing in the industry and the career progression that goes with it. So I spoke to someone who does know the specifics and with 20 years of experience, is in a well-informed position to learn from.

I left my blank page and blinking, judging cursor, and went to meet Andrew Mills, Agent at Revolution Talent. We sat down in a cosy corner at the Soho House on Dean Street. The coffee jitters from the previous carafe informed me that tea was perhaps a better choice now. Hopefully he would still take me seriously as a writer, despite my lack of coffee.

In my quest to unpack the whole film industry, one article at a time, this idea of ‘why?’ is a main driving force. It’s one of my favourite questions to ask the people I interview too. We all have different routes into the industry, different backgrounds, and we’re all drawn to different aspects for different reasons. Working in a storytelling business, I don’t think I’m alone in my fascination with all these different experiences, motivations and personalities.

I opened my skull-covered, Paris Catacombs notepad and read the first question prompt to myself. Conversation with Andrew had flowed so easily that I almost forgot to shut up and ask some questions.

Tom Watts (TW): What attracted you to becoming an agent?

Andrew Mills (AM): When I started out, I wanted to be a book agent, because I wanted to work with novelists. It was through applying for those types of jobs, that I ended up meeting a screen agency. I was quite a big film fan, but I hadn’t made the connection that screenwriters had agents in the same way that prose writers do. I was lucky enough to get an assistant role in a screen agency thinking it would be a good way to learn, but actually just really enjoyed it and I didn’t look back. I wasn’t focused on working in film or TV specifically, but just working with writers. By working with screenwriters, working with directors very quickly become a part of that as well.

TW: What is it about being an agent that you enjoy and gives you career satisfaction?

AM: I like the fact that as an agent, you get to work very closely with talent. I like the fact that you get to dip your toes into nearly all the different areas of film and TV making from the beginning through to the end of the process. I love it when I’ve started working with someone who I believe in and have been able to help them get stuff made and work on really exciting projects. That’s the really satisfying bit of it.

TW: What does the Agent and Writer relationship look like?

AM: We’re really managers of a career. So if somebody’s able to say, well, this is my five and ten year plan, then the first conversation is about how we would try and build towards that. For a brand new talent, I’m looking for ways to break them into the industry and to introduce them to the people that might want to work with them. As a client becomes established, I’m trying to support them making their own projects or working towards the projects that they’ve always wanted to work on. For some people, that might be original projects and for other people, that might be working on pre-existing projects, like a massive TV show or a movie franchise or something like that. It’s career guidance along with all those other classic things that people think of agents doing, like

protecting rights, contracting, invoicing, and setting up meetings. Behind the scenes, on behalf of the whole client list, I’m also doing my own meetings, going out to get to know producers and development teams and financiers.

TW: That’s an interesting point. Those relationships which affect your access to work, our industry is absolutely reliant on them at every level. In my own career as a DOP, my access to work is based on my relationships with Directors and Producers. What are the roles of the people you need to talk to to get access for your clients?

AM: On the whole, it’s producers and production companies in TV and film. If there’s a big indie production company that makes several shows a year, then it’s important to know them. They know to come to us when they’re looking for either clients or talent to work on a project they have, or also if they would like to find new original projects. We also get to know the key funding bodies like the BFI and the regional funding bodies. Then obviously the big entities like BBC, Sky and Channel 4, who make a lot of their own content. We have to keep close tabs on the industry, as it were. It’s also worth knowing what people are making, simply because if a client says, ‘I’m going to spend six months writing up this idea’, but we’ve heard there’s something very similar already in development somewhere else, we can perhaps guide them towards what’s best for them to spend their time on.

TW: If a writer wanted to approach an agent for representation, what would you want to see from them?

AM: It’s about the body of work that they’ve got. As a writer, you don’t necessarily need anything produced. Your work could simply be speculative material, because if the talent is there, we can work with that. If you want to write in film and TV, you want to have at least one sample of each. One error I see a lot in writers asking for representation, is they say, ‘Here’s episodes one to six of my new drama series’. I just think that’s a waste of time. What they could have done is maybe have three or four amazing different scripts for different formats, because ultimately, if someone really loves a project, they should be paying you to write episodes two to six. I would prefer a great pilot with four or five pages about what’s going to happen next. I think a writer is much better served having two or three samples and outlines, and then ideas for other scripts, rather than a whole season of a show.

TW: So you don’t want to get too focused on one idea that might not happen when you can do five and maybe one of those will happen?

AM: Exactly. If you meet someone and you talk about your idea and they happen to say, ‘I’m not into that idea’, or ‘We’re developing something a bit like that already’, or ‘That’s too close to this other show’, what you want be able to do is move on to your next idea and talk about that one.

TW: We work in a creative industry, but it’s also an expensive industry. How important is commercial viability and is raw creative talent enough?

AM: Obviously, the perfect answer would be, ‘We only ever represent people because of their art that we believe in’. But the screen industry doesn’t work like that. Whatever you’re making costs a lot of money, and as a creative, you’ve got to respect that because usually it’s

somebody else paying, not you. As a director, you might have to make the odd creative compromise to have your project financed, and as a writer, you might have to accept certain things in your script will change, because a broadcaster wants to go in a certain direction. It would be lovely to only represent pure artists and facilitate them doing exactly what they want to do. We can do that sometimes and it’s wonderful. Pure art can definitely be financially viable. It might be harder to find the people that will do it or it might be very easy, depending on if you happen to make the kind of art loads of people want to enjoy. For me, I think you have to have both commerciality and art. Otherwise, what’s the point? It’s gotta be fun. But also, you’re quite often spending public money, right? You don’t necessarily answer to one person who’s writing the checks, but you answer to charities and the National Lottery funding bodies, where they have a duty to their criteria that they need to service to justify the funds. Sometimes that fits in exactly with the filmmaker or writer who’s doing that kind of work. Other times, the projects need guidance to fill some of those criteria.

TW: Whether it’s socio-economic background, race, sexuality, gender or wherever someone’s experiences have come from, is that diversity important to you as an agent?

AM: Yes, definitely. Representation is very important. Broader representation is good for the industry as a whole, because alternative perspectives in storytelling enriches everybody. If I was specifically going to go out and look for a client, I would probably begin by focusing on less represented groups. It’s quite difficult for me to talk about it, because I am not from any under-represented group, but I feel from my day-to-day life that the industry is warmer. It’s a more open place than it has been in the past, but it’s not moved far enough yet. Representation is fundamentally very important. It’s not just for fairness and equality either, but for better storytelling too.

TW: That’s a really good point. Representation is an important defence against the homogenization of media that we consume. We need disruption there. Throw the norm out the window.

AM: Yeah, if you want stories from a different perspective, you should definitely have it told from those perspectives as well. ‘Authenticity of voice’ is perhaps the buzzword at the moment. If we talk to any commissioners and broadcasters about projects, they will want to know, is it authentically told? That is where things are beginning to really feel exciting.

Creativity doesn’t exist in a vacuum. It’s the sum of all the experiences, emotions, and frustrations; our highs and our lows that simmer away until they compel us to give them life through art. When I’m talking about authenticity, I’m talking about that creative cocktail that is unique to you. What stories do you want to tell? Why?

WELCOME TO THE CINEGIRL BOOK CLUB!

This is a new space we’re trialling to hit you up with some of the best novels, short stories and other works of fiction we’ve recently read and would love to see on the big (or small) screen.

So, who are we? I’m Briony and I’m one of the OG writers here at Cinegirl (humble brag). I absolutely love reading, but in all honesty, it’s something I dip in and out of depending on my mood. For me, that’s part of the joy of reading: it isn’t a skill we lose and we have total control over what pace we take and what stories we invest in.

2022 has been a strong reading year for me. I’ve not only read plenty of brilliant books, but I’ve engaged in a lot of great conversations about them… and I want more! We’re trialling the Cinegirl Book Club to spark conversations, share our love of reading and celebrate some brilliant writing. We’re also not strangers to the fact that many of the films and TV series created in recent years have been inspired by or based on long form fiction (hello, Reese Witherspoon). Sometimes, you read something so atmospheric and visually evocative that you just know it’ll pop on camera. So, here are a few of the books we’ve read and loved, and would be more than happy to see as film and TV adaptations over the next few years.

Notes on an Execution by Danya Kukafka

‘Average men become interesting when they start hurting women. I am tired of seeing Ted Bundy’s face. This is a book for the women who survive.’ Little more can tell you about this powerful novel than this quote, which completely flips the story of the serial killer on its head. We’d love to see Kukafka’s compelling novel depicted on screen after years of crime dramas where the deaths of (predominantly female) victims have been glamorised and glorified.

People Person by Candice Carty-Williams

Author of the Sunday Times bestseller Queenie, it’s hardly surprising that Candice Carty-Williams has written another hit. Following a disjointed group of siblings with the same father, People Person explores family dynamics in a way that pushes boundaries and makes you feel hundreds of emotions all at the same time. Carty-Williams’ depiction of characters is unmeasurable, and we’d love to see this as a TV dramedy with the relationships at its core.

There’s No Such Thing as an Easy Job by Kikuko Tsumara

Good writers keep their readers occupied with plot twists and turns. But brilliant writers keep their readers engaged with mundanity. Japanese writer Kikuko Tsumara is an expert at unsettling readers through societal pressures, and in this case, that means employment. We’re a bit tired of stories about the ‘girl boss’, and Tsumara offers a refreshing and unusual take on normal working people - something we’d love to see more of on the big screen.

Detransition, Baby by Torrey Peters

Torrey Peters’ debut novel is definitely one that’s difficult to forget, in a great way. A tender exploration of parenthood, gender, love and trans life, this story offers an invigorating new look at the nuclear family and our perception of, well, lots of things. It’s quite a dense read with lots to unpick, but Peters’ wit is hard to match and we’d love these characters taken to TV to dive into their motivations and expand beyond the ending of the novel.

The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

If there’s one thing Jenkins Reid is brilliant at, it’s setting the scene. Set in twentieth century Hollywood during the rise of the cinema, The Seven Husbands of Evelyn Hugo has plenty of scope to visually dazzle, while telling a poignant story about a woman who is forced to hide her relationship and identity. Jenkins Reid’s successor, Daisy Jones and the Six, is soon to be released as a TV mini-series, so we wouldn’t be surprised if someone snaps this story up too.

Have any suggestions for the Cinegirl Book Club? Fancy sending us a short story you’ve written to potentially feature in a future edition? Got loads of opinions about books? We want this to be an open and inclusive space and we’d love to hear your ideas, so feel free to slide into our DMs on Instagram at @cinegirlmag.

NETFLIX’S NEW AD-BASED PLAN AND THE STREAMING WARS

Netflix is arguably the largest SVOD (Subscription Video on Demand) platform. Yet, in these competitive digital times, that does not seem to be enough to capture and retain users. As streaming giants like Disney+, Amazon Prime, Hulu and HBO Max continue to grow, Netflix has had to think outside of their business model and come up with a different way to diversify their offering. In April 2022, they revealed that they would introduce a new subscription plan at a cheaper monthly price. However, this would not come without a downside, as it would include advertisements. On November 3rd, Netflix teamed up with Microsoft and launched the anticipated ad-based subscription plan, called Basic with Ads, allowing users to sign up for a monthly fee of £4.99, compared to £6.99 for their Basic plan.

Based on what type of content is being watched, advertisements are shown before and during most TV shows and films, on an average of four to five minutes of ads per hour of content. The ads range from anywhere between 15 and 30 seconds in length, and just as with the Basic plan, it allows for a maximum resolution of 720p. Some content is not available to watch under the ad-based plan due to licensing restrictions, such as House of Cards, Peaky Blinders, The Good Place and Arrested Development. This is possibly because, their licensing contract would not have included AVOD (Advertising Video on Demand) when it was agreed. However, we can assume that, considering this change, their recent and upcoming acquisitions will include AVOD in order to be available for theirad-based subscribers.

In the meantime, Netflix continues to increase their supply of original content, with additions such as The Watcher, Dahmer – Monster: The Jeffrey Dahmer Story, Luckiest Girl Alive and Blonde to satisfy contentthirsty audiences. With the vast amount of quality content spread across several streaming providers, it has never been harder for users to pick a platform to subscribe to. And between all of them, it is a battlefield not only to capture people’s attention, but also to keep their current subscribers hooked.

Netflix revealed they lost nearly a million subscribers in the first half of the year, dropping to 220.67 million subscribers. They also posted a loss, which caused their share price to crash not once, but twice. Meanwhile, their main competitor, Disney, continues to grow, reaching 221.1 million subscribers (though this includes subscribers to Disney+, Hulu and ESPN+, as they all sit under the Disney umbrella). It is the first time they have overtaken Netflix in subscribers, as this is the first time Netflix has seen such a decrease in subscription in more than a decade.

Since it was launched in 2019, Disney+ has kept thriving. It not only offers classic Disney movies, but also a line-up of original content such as The Mandalorian, Obi-Wan Kenobi and WandaVision, which has proved to be a tough match for Netflix. This year, Disney+ reached 152.1 million subscribers, while the sports streaming service ESPN+ reached 22.8 million subscribers, and the broadcast TV show service Hulu rose to 46.3 million subscribers. However, despite gaining 14.4 million subscribers, the Disney franchise revealed they lost $1.1 billion. They announced they will also be launching an ad-supported service, arriving in the UK in 2024. Furthermore, millions of their subscribers in India might be at risk, as Disney+ Hotstar has lost the rights to stream cricket league matches, which has resulted in an unfavourable forecast for the last quarter of the year. Analyst at PP Foresight, Paolo Pescatore said, ‘The quest for subscribers comes at a cost and success is not guaranteed’. Everyone wants a piece of the subscriber pie, and just to make it more difficult, further competitors have come into the play, such as Warner Bros and HBO. A highly competitive market will eventually saturate, putting up barriers for newcomers, which is what is happening at the moment. This past year, CNN closed their news-based streaming service only a month after launching, after spending more than $300 million to bring it into existence. The pandemic accelerated the growth of the streaming market at an exacerbated rate. Yet, the subsequent economic crisis is causing the downfall of what could be considered the golden age of streaming. Now, streaming services must focus on strategies that revolve around customer retention, more than attraction.

In the UK, the streaming market is not only very competitive, but it is also shrinking. Rather than joining further platforms, consumers are swapping services, if not abandoning them altogether. Research by the firm Kantar suggests that in the first quarter of this year, more than 1 million British households cancelled a streaming subscription, particularly younger people. This can arguably be attributed to the rise of living costs. Home entertainment is not an essential expense, and users are becoming more conscious when it comes to spending on streaming services and deprioritizing them. Not even massive productions like Rings of Power and House of the Dragon proved to be enough to offset the fall of overall subscriptions.

Consumer attitudes and media habits are constantly changing, especially among younger ages. Data collected by Kantar suggested that audiences under 24 years old are the most likely to cut back on streaming, turning to low-cost services such as TikTok, BBC iPlayer, Channel 4’s All4 and

ITV Hub. In their research, surveyed youngsters also said they preferred Disney+ due to the quality of their shows. Understandably, users turn to Disney, as they are guaranteed to have new content to consume on a weekly basis, from the Marvel franchise, Star Wars, or even the Kardashians. In comparison, Netflix drops a whole season of Stranger Things or Bridgerton only every year or two.

Customer retention has gained emphasis, with engagement becoming a crucial strategy to survive. Streaming platforms must not only provide their subscribers with the programmes they enjoy, but also compelling new content to keep them coming back, which is easier said than done. A survey by Nielsen suggested that 20% of users said they cancelled a service after watching all the programmes that they were interested in.

Being a key weapon, content has become the main differentiator among streaming services. Perhaps, the creation of further franchises, expansion of the existing ones and altering their delivery strategy would help Netflix to improve its value in the eyes of their customers, in addition to improving their recommendations algorithm. Yet, the answer is never simple.

On the grounds of advancement, Netflix will also introduce a feature that allows subscribers to transfer their profile to another account. The Profile Transfer tool is intended to help users split their accounts and be able to keep their watchlists and personalised recommendations. However, this is a double-edged sword, as it will also result in removing people using others’ accounts. In countries like Honduras and Argentina, users caught streaming Netflix from places outside the ‘home location’ are required to pay $3 per month to include the additional locations onto their subscription plan.

Yes, the streaming wars are a thing, and it is certainly not an easy fight.To succeed, they must master their engagement strategy and keep adapting to the ever-changing market that surrounds them. Despite being a pioneer, Netflix has had to respond to market trends in order to satisfy consumer demand, particularly the past couple of years. To continue to move forward, it is crucial that they keep evolving and remind their users of why they are an essential expense to keep recurring. Cost and content are vital for their subscribers, and those are the main attributes they are likely to be focusing on for further expansion. The coming years will surely bring more changes to the streaming industry. What’s next? We cannot know. Regardless, the streaming industry continues to be the future of Hollywood (and film in general), and one way or another, it is here to stay.

WOMEN BEHIND THE CAMERA

Visibility is a first step towards equality. Women Behind The Camera (WBTC) is a community of women, trans and non-binary UK film crew working in the UK feature film, TV drama and high end commercials sectors of the industry. WBTC was created out of a need for a wider representation, to provide more access to opportunities to its members and help producers and directors crew up in a diverse manner. Our database provides producers with easy access to highly skilled women, trans and non binary crew including those behind the camera as well as lighting, grips, video playback and digital imaging technicians. We hope to facilitate the process of hiring diverse talented crew through the website & database, and we encourage women, trans and non binary crew who work in Feature Films TV Drama and High End Commercials to join our community by emailing us at wbtc. contact@gmail.com. We provide extra support to our community members through practical workshops (free) which will enable them to learn specific skills from industry experts. Our summer Steadicam and Operating workshops have been a great success and we will continue providing many more in the new year. Our networking events are a hub for all people working behind the camera to come together and support our organisation. The summer party hosted by The Mill, Technicolour Creative Studios in Soho, was a great example of the importance of having a support network and a place to celebrate one another, give advice, and share information. As the organisation is growing and the demands increasing, we have had five additions to the team to support the needs of the community.

The team is made of co-founder Aga Szeliga who oversees the work of Chantal Richardson (Operations), Johanna von Salmuth (Social Media), Kristi Gilligan (Database), Lucrezia Lulu Pollice (Events / Workshops / PR) and Nuria Pérez (Website Design).

It’s a community built by its members, and over time the numbers have grown, as has their strength together

Follow us here @women_behind_the_camera www.womenbehindthecamera.co.uk

CINEGIRL’S PICKS

Film Festivals and Tradeshows

Berlinale

February 16-26, 2023 www.berlinale.de

Sundance Festival

February 19-29, 2023 www.sundance.org

BSC Expo

23-25 February, 2023 www.bscexpo.com

BFI Flare: London LGBT Film Festival

March 2023 www.bfi.org.uk

Miami Film Festival

March 3 - 12, 2023 www.miamifilmfestival.com

NAB Show

April 15-19, 2023 www.nabshow.com Festival de Cannes 2023 May 16-27, 2023 www.festival-cannes.com

Euro Cine Expo

June 30th - July 1st www.eurocineexpo.com

Biennale Cinema - Mostra internazionale d’arte cinematografica 30 August- 9 September, 2023 www.labiennale.org

Raindance Film Festival

Autumn 2023 www.raindance.org

TIFF Toronto International Film Festival

September 9 to 18 2023 www.tiff.net IBC 2023 15-18 September, 2023 www.show.ibc.org

London Film Festival October 2023 www.whatson.bfi.org.uk/lff

BABE CITY FC

Babe City FC was founded by Molly Manning Walker as a way to see mates for a casual kickabout. In under a year and a half it has become the most amazing community of women and non binary people who work within the Film and TV industry. As a football team we have joined leagues, won leagues, left leagues, joined new leagues and played tournaments; but as a group of people we have forged the most unbelievable friendships and created an incredible, safe, fun and inclusive space amongst like minded people who understand the trials and joys that come from being in the industry.

People from all departments play for the Babes and as film hours and days are unpredictable we operate on a very much drop in and play when you can system - which means you never feel bad if you’re on a long job and can’t turn up for a few months.

As a team, Babe City FC stands for inclusivity, kindness and respect both on and off the pitch and being part of this team has given all of us a real feeling of support if we ever come across anything on set that doesn’t align with these values. We started making merch for us but we have been selling it on our website with the sentiment that wearing it is

a statement of solidarity: Committing to a future where sets run not with racism, sexism and homophobia, but with collaboration, kindness and joy. It’s a dream to turn up to set and see crew in the merch as it feels like we’re making real space for women and non binary people within our industry. We have some really exciting ideas we’re discussing about getting young people into the industry and we’re seeing where we can take the Babes not only in football but as a group that could be useful to other people.

Babe City FC is not for profit and is sponsored by Panavision. Follow us on @babecityfc Website: www.babecityfc.co.uk

A unique destination for creative people to come together.

CREATIVE SPACE

81 Charlotte Street, London, is an exciting collaboration between CVP & ARRI, designed as a destination that celebrates all aspects of our community, from early access to the latest production solutions - including the ALEXA 35, Mini LF, Trinity 2 - to learning, socialising and networking.