Women In Film has announced recipients of the 2014 Crystal + Lucy Awards honoring exemplary women in the entertainment industry. Cate Blanchett will receive the 2014 Crystal Award for Excellence in Film. The Lucy Award for Excellence in Television goes to …
“We live in a sexist world and Hollywood is at the heart of it,” said Rory Kennedy today at the Sundance Film Festival’s annual Women In Film panel. “The financing structure of Hollywood films is also part of the problem,” added fellow panelist Valerie Veatch, the director/producer of the HBO Docs film Love Child. “Women not playing nine rounds of golf stops us from having access to the money, to the hedge funds and the other financing,” she added.
Dear White People producer Effie Brown, producer Lori Cheatle of HBO’s Captivated: The Trials of Pamela Smart, Web Junkie co-director/producer Hilla Medalia, Rich Hills co-director/producer Tracy Droz Tragos, joined Veatch and Kennedy on the panel Sunday. The daughter of Robert Kennedy, the director/producer’s Last Days in Vietnam docu debuted at the festival on January 17. This is WIF’s eighth annual panel at Sundance.
Today’s panel comes less than a week after San Diego State University’s Center for the Study of Women in Television and Film released its annual Celluloid Ceiling Report.
Seven filmmakers were awarded finishing funds today from the Women In Film Foundation’s annual grant program, which is in its 28th year. 113 feature length narrative, docu, and short films were submitted this year for consideration under the program’s criteria of being films by, for, or about women. Past recipients Freeheld, a 2007 short, and 1994 docu Maya Lin: A Strong Clear Vision went on to nab Oscars. Cash grants and in-kind production services went to these 2013 winning projects:
Laura Linney last night received the The Crystal Award for Excellence in Film at Women in Film LA’s annual Crystal+Lucy awards gala at the Beverly Hilton. A three-time Oscar nominee and three-time Emmy winner, she was introduced by producer-director Alan Poul and gave an acceptance speech that one Deadline insider at the event called “the best I’ve heard in years”. Said Linney: “Rarely do you have a scene with other women, very few women are on the crew, and what few female executives arrive tend to keep to themselves. … This is a problem”. Here’s the full transcript:
Thank you Alan for that exceedingly kind introduction. And thank you to the board of trustees of Woman in Film, not only for this honor, but for all of the work that you do to encourage and improve the landscape for women in our pursuit of both art and commerce within this entertainment industry.
My relationship to film and television started, by Hollywood standards, relatively late in my life. I was born into the theatre which claimed my heart since childhood. I loved film, I loved going to films, I loved SEEING people think and react: I marveled at the acting skills and choices that were made and cinematic storytelling, but it was a world that intimated me greatly and one which felt foreign and very far away.
But life is full of many surprises, and after my days at Juilliard, my very wise agent, the late Brian Riordan, ever so slowly encouraged me to dip my toe in the film waters. I resisted, but he prevailed. I was a day player on a few films which was fun, did a commercial or two, and then was cast in Armistead Maupin’s Tales of the City, which changed my connection to camera work and indeed, changed my life. I will never forget the day that the penny dropped. We were filming in a grocery store, and Parker Posey and I were traveling with our grocery carts, with great energy, from the frozen food aisle to the vegetables. I rarely had had so much fun, and it was on that day that I realized that there would have to be room in my life for two loves…..and I gave myself permission to be a film/theatre bigamist.
As I spent more and more time on sets, a few surprising and alien patterns began to emerge. An enormous amount of time and energy went into conversations about the color of my hair. Producers, all male, would shake their heads in dismay, and send me back to the colorist with some idea of what they wanted with their very specific and helpful straight man vocabulary of “MORE” blonde or “LESS” blonde. ( I always thought they were trying to re-create a color from some old flame). It became absurd and predicable and a complete waste of time…..I have been more shades of blonde then you can possibly imagine. And it is a miracle that I have a strand left in my head.
Unlike in the theatre, I soon realized that for the most part I was surrounded by men. A lot of really wonderful men as well as some not so wonderful ones. As an actress in film, it is very easy to become isolated just due to the ratio of gender inequality that exists. Rarely do you have a scene with other women, very few women are on the crew, and what few female executives arrive tend to keep to themselves. You have fewer and fewer women to turn to for help or advice, and information is not easily shared.
Applications are now being accepted for the Women In Film Foundation’s 2013 Film Finishing Fund grants, it was announced today by FFF Committee Co-Chairs Betsy Pollock and Nancy Rae Stone. The application period continues until April 29, 2013, and the winners will be announced in October, 2013. Since its inception 28 years ago, the Fund has awarded more than $2 million worth of grants to over 170 films from all over the world.
The Women in Film’s Film Finishing Fund, which awards grants of up to $15,000 to filmmakers making projects by, for and about women, is seeking submissions for the 2012 cycle. Applicants should hurry, since the entry process began in January — though it was only announced today — and closes May 18. The in-kind grants cover such post-production needs as online editing, closed captioning, color correcting and more. Now in its 27th year, the Women in Film’s Film Finishing Fund has awarded more than $2 million in funds to help complete 170 films. Among those are the 2008 documentary short Oscar winner Freeheld, and the 1994 Oscar-winning documentary Maya Lin: A Strong Clear Vision.
Los Angeles, CA – March 7, 2012 – The Women In Film Foundation’s Film Finishing Fund (WIFF FFF) supports films by, for and about women by providing cash grants of up to $15,000 and in-kind donations. The in-kind grants may include post services, such as online editing, sound mixing, color correction, closed captioning, in addition to others. The new grant cycle is currently open and WIFF FFF is accepting submissions. Filmmakers who are eligible may find more information and apply through: www.wif.org/fff.
Los Angeles, CA (April 5, 2011) – Since 1977, Women In Film, Los Angeles (WIF LA) has chosen to honor some of the most creative, dynamic and forceful women in the entertainment industry, those who excel and lead by example. This year’s prestigious Crystal + Lucy Awards®, a gala
Los Angeles….Today outgoing President of Women In Film, Jane Fleming announced that Academy Award winning producer, Cathy Schulman, has been elected the new President, with her three-year term beginning officially on January 1, 2011.
“I am thrilled to announce that Cathy Schulman will take over as the next President of