#Amy Adrion

[lascitasdelashoras]

Amy Adrion - Half the picture

[fuckyeahwomenfilmdirectors]

June 2018 U.S. Theatrical Film Releases Directed By Women

June 1 Social Animals dir. Theresa Bennett (LIMITED + VOD) The Texture of Falling dir. Maria Allred (LIMITED)

June 8 Half the Picture dir. Amy Adrion (NYC only) Nancy dir. Christine Choe (LIMITED) Westwood: Punk, Icon, Activist dir. Lorna Tucker (LIMITED)

June 15 The Year of Spectacular Men dir. Lea Thompson (LIMITED) Set It Up dir. Claire Scanlon (NETFLIX ONLY)

June 22 Boundaries dir. Shana Feste (LIMITED)

June 29 Leave No Trace dir. Debra Granik (LIMITED) Woman Walks Ahead dir. Susanna White (LIMITED)

[profeminist]

“To watch Amy Adrion’s Half the Picture is to hear firsthand accounts of every kind of gender-based discrimination you could possibly encounter in Hollywood. Interviewing a slew of female filmmakers, including Ava DuVernay (A Wrinkle inTime), Lena Dunham (Girls), Catherine Hardwicke (Twilight), Patricia Cardoso (Real Women Have Curves) and Patricia Riggen (Under the Same Moon), Adrion’s documentary is an exhaustive look at the current U.S. Equal Employment Opportunity Commission (EEOC) investigation into discriminatory hiring practices in Hollywood. While many recent studies and statistics point out the obvious—namely, that female filmmakers are all but absent from the top studio pipeline and rarely get afforded the opportunities of their male counterparts—this crowd-funded pic anchors those numbers in specific anecdotes. And yes, the more you hear directors of hits like Fifty Shades of Grey, Wayne’s World and Brave tell the same stories over and over again, the more you see how systemic of a problem this is.

Given that minority women only make up 0.006% of feature film directors, Adrion taps filmmakers like Gina Prince-Bythewood (Love and Basketball) and Nisha Ganatra (Chutney Popcorn) to talk about their experiences in such a white-dominated field. Mexican director Riggen, for example, shares how frustrated she was after her first film – which cost $1.7 million to make and made $23 million at the box office – didn’t lead to many directing offers. She also talked at length about her experience finding her authority undermined on set. As director of Chilean miners flick The 33, Riggen shared how a unit director (yes, a white guy) kept overruling her and setting the schedule for production. It became an untenable situation, especially once she saw what he was shooting—not that the producers paid her any attention. It was only when her editor (yes, another white guy) spoke up that they agreed the unit director’s work wasn’t gonna fly. It was a victory only until she got stuck with re-shooting what he’d done. “That’s just a little example of what I went through—in that movie,” she tells Adrion. “And what I go through, normally.”

Read the full piece here

[femaledirectedfilms]

Certainly, everyone in person has been supportive, but if you look at any article online that talks about representation, the call for more female directors, or asking for parity — the comments you will find on those articles reveal a great discomfort and fury that people are experiencing when these issues are brought up. Women are half the world and it's often presented as if we're trying to get special access or special treatment for our group. We are half the world and to fight for a seat at the table should not be a radical act, but it is.

Amy Adrion, whose documentary Half the Picture chronicles the struggle faced by female directors in Hollywood. (source)

[oldfilmsflicker]

Wherein I talk about Laura Steinel's Family, Julia Hart's Fast Color, and Amy Adrion's Half The Picture

[bakerloo]

[dreamer-angel-liar]

A weird kind of six-degrees of separation connection I have with the Old Guard is that my writing professor (Amy Adrion) directed a documentary called Half the Picture, a doc about women directors. In that doc, Amy Adrion interviewed Gina Prince-Blythewood, who directed the Old Guard. IDK I just think this is a really cool connection I have to one of my favorite movies on Netflix atm.

[deactivated-ffusie]

okay but seriously i need to post more art

[bradyoil]

Director Amy Adrion Discusses Her Debut Docu "Half The Picture" - A Must See!

Director Amy Adrion Discusses Her Debut Docu “Half The Picture” – A Must See!

[powerpress]“Half The Picture”Director Amy Adrion stops by the podcast to talk about her amazing, insightful film. HALF THE PICTURE consists of interviews with high profile women directors including Ava DuVernay, Jill Soloway, Lena Dunham, Catherine Hardwicke and Miranda July, among many others, who discuss their early careers, how they transitioned to studio films or television, how they balance…

[get-into-film]

Sundance 2018 - Amy Adrion interview 'Half The Picture'

[lascitasdelashoras]

Amy Adrion - Half the picture

[filmstopia]

Half The Picture - Official Trailer 2018 - Gravitas Ventures

New Post has been published on https://is.gd/YfA4ZQ

Half The Picture - Official Trailer 2018 - Gravitas Ventures

HALF THE PICTURE is a documentary about the dismal number of women directors working in Hollywood, using the current EEOC investigation into discriminatory hiring practices as a framework to talk to successful women directors about their career paths, struggles, inspiration and hopes for the future. Directed by: Amy Adrion Cast: Rosanna Arquette, Jamie Babbit, Emily Best

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[independentfilme-blog]

New Post has been published on http://independentfilme.jetzt-24.de/half-the-picture-trailer-1-2018-movieclips-indie/

Half the Picture Trailer #1 (2018) | Movieclips Indie

Check out the new trailer for Half the Picture directed by Amy Adrion! Let us know what you think in the comments below. ▻ Buy Tickets to Half the Picture: … source

The channel sponsor is: https://www.facebook.com/GoMovieSpace/

[mrmichaelchadler]

Half the Picture

“This is the first time I’ve watched 20 films in 10 days, and I love movies. And the one thing I really took away from this experience is how the world views women from the female characters that I saw represented. And it was quite disturbing to me, to be honest.”

The documentary “Half the Picture” opens with this frank and provocative observation from actress Jessica Chastain when she served as a Cannes juror in 2017—even after Sofia Coppola became just the second woman in 70 years to be honored with the festival’s best director prize for her work on “The Beguiled.” It sets the tone of this cogent examination of why female filmmakers continue to struggle to rise through the ranks in Hollywood—and why it pretty much remains a “straight white male boy’s club” despite such notable money makers in recent years such as Phyllida Lloyd’s “Mamma Mia,” Catherine Hardwicke’s “Twilight,” Sam Taylor-Johnson’s “Fifty Shades of Grey,” Kathryn Bigelow’s “Zero Dark Thirty,” Jennifer Lee’s “Frozen” (alongside co-director Chris Buck) and, of course, Patty Jenkins’ “Wonder Woman.”

Documentaries that rely on a steady stream of talking heads—interspersed here with fleeting film clips���usually are not my favorite. However, when those heads belong to talented and perceptive women who rarely get a chance to speak their minds let alone get hired to make a movie, I can definitely make an exception. “Half the Picture” rounds up a diverse group of 40 or so TV and movie directors—black, white, Asian, Hispanic, members of the LGBT community, old hands and fresh faces—as well as journalists, academics, activists and others involved in the fight to open more doors for women so they can get the same work opportunities that their male counterparts take for granted. No men, however, are allowed.

One might wonder why the lauded likes of Coppola and Bigelow, the only female to ever win a directing Oscar for “The Hurt Locker,” don’t chime in. But director Amy Adrion in her feature debut has gathered enough varied voices and personal anecdotes to provide plenty of valuable insights into why it is that women make up about half of all film-school directing majors but represent less than five percent of  directors behind of the top-grossing U.S. films for the past 10 years. And the number of female minority helmers is positively miniscule—.006 percent. Yes, this has been a hot topic for a number of years. But the fact that it hasn’t gotten better and has even grown worse has taken on some urgency of late, given the ever-growing #MeToo movement. Some men clearly have grown too accustomed to using their of power perches as a way to prey upon and abuse women in the industry without suffering the consequences—or to look the other way when big moneymakers behave badly.  

The initial question addressed by Adrion is how certain ladies first came to find themselves behind a camera. Penelope Spheeris of “The Decline of Western Civilization” music docs’ fame, still hilariously feisty at 72, got her start by being able to carry the then-heavy equipment used by crews. She even continued to do her job while eight and a half months pregnant. “The kid was fine,” she says with typical sass. When Spheeris worked on the first season of “Saturday Night Live,” her main job was showing comic Albert Brooks how to make movies. But producer Lorne Michaels—she does a wicked impression of him—never gave her a similar break on the show. Feeling guilty, he hired her to do “Wayne’s World,” which became both a huge comedy hit in 1992 and her calling card.

Ava DuVernay was a publicist who secretly pursued becoming a filmmaker in her early 30s and got a boost as the first African-American woman to win a directing award at Sundance for 2012’s “Middle of Nowhere.” Jill Soloway, creator of Amazon’s “Transparent,” was a writer for HBO’s "Six Feet Under" who got tired of other directors failing to do her scripts justice. Martha Coolidge scored her 1983 debut “Valley Girl” because the producers wanted a woman to direct what they considered a “sexploitation” film. She saw it as an updated “Romeo and Juliet” fairy tale. One caveat: She had to agree to feature naked breasts in four scenes. No problem.

Their rise and that of others would encourage the next generation of female storytellers. As an undergrad in college, Tina Mabry (OWN’s “Queen Sugar” series, created by Ava DuVernay and Oprah Winfrey) desperately wanted to go to film school after noticing that 2000’s “Love & Basketball” and 1999’s “Boys Don’t Cry” both had women directors—namely, Gina Prince-Bythewood and Kimberly Peirce, who share their own stories with Adrion.

But the playing field is far from equal. Unlike men who hit the jackpot their first time out or score an indie winner early in their career and reap rewards for their efforts, achieving a blockbuster doesn’t necessarily put women on the most wanted list. Spheeris didn’t get to cash in by directing “Wayne’s World 2”—a guy was hired instead. But, as she notes with a knowing grin, “It’s cool. It flopped.” Little wonder she has basically stopped making movies all together, especially after doing soul-depleting money grabs like “The Beverly Hillbillies” and “Black Sheep.” “I make houses,” she says of her shift into real estate. “It’s like making a movie. I’m telling all these dudes what to do”—a statement punctuated by a self-aware laugh. But unlike a movie, she adds, “no one is dicking around with it.” 

As for Hardwicke, she thought she would be offered an office on a studio lot or a three-picture deal after kicking off the “Twilight” franchise with a box-office bang. Instead, she was paid half as much for her next film and men were hired to oversee the four subsequent sequels by building upon her vision.

One of the more infuriating examples of a terrific female talent being mistreated came at the hands of Pixar. Brenda Chapman, the animation studio’s first-ever female director—who put her heart and soul into creating 2013’s “Brave”—was asked to leave the project due to the ever-popular “creative differences” and was replaced by a man, Mark Andrews. At least Chapman got to go onstage when the film won an Oscar and thank her own daughter, Emma, for being her inspiration.

An array of roadblocks, from genre biases when it comes considering a woman to oversee horror, sci-fi or action films to the fact that 73% of critics on Rotten Tomatoes are male, stands in the way. And, yes, motherhood can be a challenge given the hours and devotion that filmmaking can require. But this is no pity party. There is a sense that sisters are doing it for themselves and each other as more female decision makers make inroads behind the scenes. The best news is that an investigation by Equal Employment Opportunity Commission found discriminatory practices at each of the major studios—and talks are ongoing to settle those charges. “Half the Picture” may not fill in all the blanks but it is a start.

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