DOCSLIB.ORG

Gloria Colangelo – AICP East Board – Personal Statement Our Industry Is at a Crossroads, and I'm Here Because I Have Somet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gloria Colangelo – AICP East Board – Personal Statement Our Industry Is at a Crossroads, and I'm Here Because I Have Somet Gloria Colangelo – AICP East Board – Personal Statement Our industry is at a crossroads, and I’m here because I have something to contribute. In many ways, it started for me as a family business. Three decades ago, my brother-in- law, a DGA First, recommended me for a job as a receptionist at a production company. My sister was an 829 costume designer, and my older brother was well-known for his craft service and catering. My younger brother is in Local 600. Now, I’m the Executive Producer running one of the most recognized tabletop companies in the world: MacGuffin Films. Ten years ago, I led an expansion that saw the opening of a live-action sister company, Assembly Films, and since then we’ve continued to grow—no small feat in these challenging times. Of this I am immensely proud. During my years in the industry I’ve seen change. Some of it has been for the better, but as we are all too aware, we face struggles in today’s economy. I understand firsthand the challenges presented by outsourcing, insurance, staffing, unions, decoupling, and cost consultants. As a producer, I’ve never been one to sit back and let others lead the charge. I believe in being part of the solution. I offer a new voice, and with it a fresh perspective, passion, and dynamic energy. But most of all I bring thirty years of experience and an intimate knowledge of every aspect of this industry. I’ve been a leader in the trenches, and I know what I have to offer in the boardroom. So as I see it, I could bemoan the difficulties we face but would rather roll up my sleeves and get to work. Because if there’s one thing I’ve never been short of, it’s work ethic and ideas. So if I’m invited to join the AICP East Board, I’m confident that together we’ll be able to bring about positive growth for the industry we all love so much. 411 Lafayette Street, New York, NY 10003 212 529 3100 www.macguffin.com Gloria Colangelo – AICP East Board – Biography With three decades of experience in the industry, I approach production with the benefit of having performed it at every level. I’ve been a PA, Production Coordinator, a Line Producer, and a DGA 1st Assistant Director. I’ve worked for some of the finest production companies in New York City including Pytka, Geraldi, RSA, Tardio and Propaganda Films. I produced two spots that won AICP Awards and are currently in the MOMA Permanent Collection. After about ten years of freelancing, I found my home at MacGuffin Films. I worked my way up to Executive Producer, and I’m proud to still hold this role at a company that continues to promote women and amplify their voices. In 1997, I was instrumental in launching sister live-action company Assembly Films. Currently, I oversee the studios and the bidding for both MacGuffin’s tabletop and Assembly’s live-action productions. I continue to work closely with clients, agencies, and crews at the ground level, across the country and around the globe. 411 Lafayette Street, New York, NY 10003 212 529 3100 www.macguffin.com .
Load more

Recommended publications
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • Directors Guild of America, Inc. National Commercial Agreement of 2011 Table of Contents
    DIRECTORS GUILD OF AMERICA, INC. NATIONAL COMMERCIAL AGREEMENT OF 2011 TABLE OF CONTENTS Page WITNESSETH: 1 ARTICLE 1 RECOGNITION AND GUILD SHOP 1-100 RECOGNITION AND GUILD SHOP 1-101 RECOGNITION 2 1-102 GUILD SHOP 2 1-200 DEFINITIONS 1-201 COMMERCIAL OR TELEVISION COMMERCIAL 4 1-202 GEOGRAPHIC SCOPE OF AGREEMENT 5 1-300 DEFINITIONS OF EMPLOYEES RECOGNIZED 1-301 DIRECTOR 5 1-302 UNIT PRODUCTION MANAGERS 8 1-303 FIRST ASSISTANT DIRECTORS 9 1-304 SECOND ASSISTANT DIRECTORS 10 1-305 EXCLUSIVE JURISDICTION 10 ARTICLE 2 DISPUTES 2-101 DISPUTES 11 2-102 LIQUIDATED DAMAGES 11 2-103 NON-PAYMENT 11 2-104 ACCESS AND EXAMINATION OF BOOKS 12 AND RECORDS i ARTICLE 3 PENSION AND HEALTH PLANS 3-101 EMPLOYER PENSION CONTRIBUTIONS 13 3-102 EMPLOYER HEALTH CONTRIBUTIONS 13 3-103 LOAN-OUTS 13 3-104 DEFINITION OF SALARY FOR PENSION AND HEALTH CONTRIBUTIONS 14 3-105 REPORTING CONTRIBUTIONS 15 3-106 TRUST AGREEMENTS 16 3-107 NON-PAYMENT OF PENSION AND HEALTH CONTRIBUTIONS 16 3-108 ACCESS AND EXAMINATION OF BOOKS RECORDS 17 ARTICLE 4 MINIMUM SALARIES AND WORKING CONDITIONS OF DIRECTORS 4-101 MINIMUM SALARIES 18 4-102 PREPARATION TIME - DIRECTOR 18 4-103 SIXTH AND SEVENTH DAY, HOLIDAY AND LAYOVER TIME 18 4-104 HOLIDAYS 19 4-105 SEVERANCE PAY FOR DIRECTORS 20 4-106 DIRECTOR’S PREPARATION, COMPLETION AND TRAVEL TIME 20 4-107 STARTING DATE 21 4-108 DIRECTOR-CAMERAPERSON 21 4-109 COPY OF SPOT 21 4-110 WORK IN EXCESS OF 18 HOURS 22 ARTICLE 5 STAFFING, MINIMUM SALARIES AND WORKING CONDITIONS OF UNIT PRODUCTION MANAGERS, FIRST ASSISTANT DIRECTORS & SECOND ASSISTANT
    [Show full text]
  • The WGC Showrunner Code Found Its Origin in the Largest Gathering Ever of Canada’S Top Showrunners
    SThheowWrGuC nner Code • From WGC members to WGC members • Insights into the craft and business of showrunning in Canada WGC SHOWRUNNER CODE The WGC Showrunner Code found its origin in the largest gathering ever of Canada’s top showrunners. In 2009, the WGC invited more than thirty member showrunners – those working on one-hour dramas, half-hour dramas and half-hour comedies, for kids and adults, in both extended run and limited run – to share their experiences of and insights into the craft and business behind the role of the showrunner. A common thread emerged: to create a good show, a production needs the formative hand of a practiced showrunner, and that writer needs to see the process through from story- breaking in the writers’ room to fine cut in the edit suite. The showrunner’s world is fraught with challenges – not the least of which is the resistance some producers bring to even acknowledging that “showrunner” is a position that exists, let alone one that should be occupied first and foremost by a writer. Writers and agents came to the WGC seeking some assistance in establishing a standard set of terms for showrunners to negotiate. The WGC Showrunner Code establishes guidelines for individual negotiations. (Note: The WGC Showrunner Code was updated in January 2013 to reflect the showrunners’ increasing involvement in the creation of convergent digital content – see page 11.) The WGC Showrunner Code sets out the conditions under which the showrunner is best positioned to ensure he or she can realize their vision and deliver the best show possible.
    [Show full text]
  • What Does a TV Producer Really Do? 3
    CHAPTER What Does a TV Producer 1 Really Do? The definition of a producer: An idealist, a realist, a practical dreamer, a sophisticated gambler, and a stage-struck child. Oscar Hammerstein THIS CHAPTER’S TALKING POINTS I . The Producer’s Domain II . Defining a TV and New Media Producer III . The Many Roles of a Producer IV . Producers’ Titles and Job Descriptions V . The Need for People Skills I. THE PRODUCER’S DOMAIN Television has affected—and reflected—the culture of global communications for over a half-century. And now, the explosion of new media shows every sign of having a simi- lar impact, as it bursts onto the scene with innovative possibilities and real challenges. Even the very word itself, “television,” takes on new meaning. As we enter this extraor- dinary era of media transition, traditional television programming, viewing habits, adver- tising models, and delivery systems must inevitably change with the times. TV and its new media offshoots must be fed, and it’s the producer who feeds them. The producer is central to every aspect of a project—from the wisp of an idea to a tangible piece of work. In theory, a producer has unlimited potential to educate and entertain. But the trade-off is intensive hours, stressful demands, and myriad responsibilities. The demands of viewers and the appetites of commerce require a continuing stream of unique programming, or content , for television and new media to survive. This content can range from sitcoms on NBC and TV movies on Lifetime, to internal corporate train- ing videos for IBM, or segments for CNN cable news; from one-minute “webisodes” for mobile phones, or an intricate video game, to 24/7 content for online channels—regard- less of the delivery system, each of these content formats has a producer in charge.
    [Show full text]
  • FAQ About Film Production — 1 Action Movie Makers Training
    Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki.
    [Show full text]
  • Production Biographies Moira Walley-Beckett
    PRODUCTION BIOGRAPHIES MOIRA WALLEY-BECKETT (Executive Producer/ Writer – Episode 107) Moira Walley-Beckett is a multiple award winning playwright, television writer and screenwriter. She is the Series Creator and Executive Producer of “Flesh and Bone.” Before creating “Flesh and Bone,” Moira spent six years as a writer and Co-Executive Producer on the critically acclaimed AMC series “Breaking Bad.” For her work on the show, Moira has won a total of three Emmys®, three Writers’ Guild Awards, three AFI Awards, three Saturn Awards, two PGA Awards, a Golden Globe, a Peabody, and a Pen Literary Award nomination. In 2014, Ms. Walley-Beckett received an Emmy Award® for “Outstanding Writing for a Drama Series” for her final “Breaking Bad” episode entitled “Ozymandias.” Moira has had a long and diverse career in the arts. She started her dance career at age three, training seriously in ballet and jazz through her teens. She then danced professionally in Canada for several years. She made the transition into musical theater, starring in many productions, as well as playing and recording with her rock band, Bimbo Du Jour. Before transitioning into writing, Moira was an actor in film, television and theatre. She has performed in over 30 theatrical productions in Canada and the US, and guest-starred in over 25 television shows. Before her tenure as a writer on “Breaking Bad,” Ms. Walley-Beckett wrote on the NBC drama “Raines” and “Eli Stone” and “Pan Am” for ABC. Currently, Moira has a feature film, The Grizzlies, in development with Kennedy/Marshall and Northwood Productions, as well as two new TV series in development.
    [Show full text]
  • Glossary-Of-Film-Terms.Pdf
    Glossary of Terms While there are many job descriptions on a film or television set, these are the people you might come into contact with: Assistant Director (A.D.): Carries out the Director’s instructions and runs the set. The First A.D. is responsible for preparing the production schedule and script breakdown, making sure shooting stays on schedule and on budget. The Second A.D. is responsible for distributing information and cast notifications, keeping track of hours worked by cast and crew, management of extras, signing actors in and out, preparing call sheets and is in charge of the Production Assistants. Buyer : Responsible for buying or renting props, furniture, costumes and other items on behalf of the Art Department. Art Director : Reports to the Producion Designer and directly supervises the art department as they design sets and create graphic art for the production design of the film. Works closely with the Construction Coordinator to oversee set construction. Best Boy: Chief assistant to either the gaffer or key grip. Responsible for the daily running of the lighting or grip department. Camera Operator: Operates the camera under instruction from the Director of Photography. Casting Director: Supplies actors for the film or television show. Construction Coordinator : AKA the Construction Manager, this person supervises and manages the physical construction of sets and reports to the Art Director and Production Designer. Craft Services: Provides on-set snacks and drinks for cast and crew. Not the same as the caterer. Director: The person in charge of the overall cinematic vision of the film and the performance of the actors.
    [Show full text]
  • High-End TV Skills Fund Producer's Handbook
    Doctor Who © BBC Studios Doctor High-end TV Skills Fund Producer’s handbook www.screenskills.com | @UKScreenSkills | April 2020 Producer’s Handbook Welcome to the “Producer’s Handbook” Contents Being a producer............................................................................................................................. 3 The role of producer in high-end TV ............................................................................................ 3 How productions work ..................................................................................................................... 3 Pre-production ............................................................................................................................. 3 Script ....................................................................................................................................... 3 Recruitment ............................................................................................................................. 3 Casting .................................................................................................................................... 4 Scheduling and budgeting ........................................................................................................ 4 Approval of key facilities........................................................................................................... 4 Health and safety (H&S) .........................................................................................................
    [Show full text]
  • WIF to Host Inaugural #Voteforwomen TV Summit
    FOR IMMEDIATE RELEASE WIF (WOMEN IN FILM, LOS ANGELES) TO HOST INAUGURAL #VOTEFORWOMEN TV SUMMIT The Full Day of Programming Will Take Place on Wednesday, June 23, 2021 LOS ANGELES, California; June 17, 2021 — WIF (Women In Film, Los Angeles) announced today their first-ever TV Summit gathering together the creative forces behind more than twenty of the television projects likely to be recognized with nominations at the 73rd Emmy® Awards, which will be announced on July 13. For two years, WIF’s #VoteForWomen campaign has been amplifying the women whose work behind the camera is deserving of consideration for our industry’s major awards. As the Emmys® race accelerates, WIF is hosting conversations with women creatives working on television content spanning all genres and formats. This series of programs will culminate on Wednesday, June 23 with WIF’s first-ever #VoteForWomen TV Summit, comprised of virtual panels offering audiences the opportunity to hear from women creatives behind different series in conversation with each other on topics about the art, craft, and business of television—and learn about the industry they are transforming—as well as two panels highlighting series brilliantly executed by Black creatives. The events are free and will be available for all to view on WIF’s YouTube channel at youtube.com/wiflavideo beginning June 23 for Television Academy members to watch and consider the work of these talented women before nominations-round voting ends at 10:00 p.m. on June 28. To register in advance for the Summit, and see the rest of WIF’s #VoteForWomen interviews throughout the month of June, visit wif.org/voteforwomen.
    [Show full text]
  • Production Crew & Talent
    VISIT SANTA BARBARA & FILM COMMISSION Office: (805) 966-9222 Fax: (805) 966-1728 www.filmsantabarbara.com Countywide, Online Location Library with 35,000+ Photos PRODUCTION CREW & TALENT ACTORS / MODELS CAMERA OPERATORS & ASSISTANTS HELLO GORGEOUS MODELS Shannon Loar-Coté (Agent & Owner) GREEN, ERIC J. – Director, Producer, Camera Direct: (805) 689-9613 Operator of reality and documentary Email: [email protected] Direct: (310) 699-4416 Website: www.hellogorgeousmodels.com Email: [email protected] Location: Santa Barbara, CA Location: Santa Barbara, CA About: A full service, licensed model and talent Experience: 5+ years as a director/producer on agency in Santa Barbara, California. reality shows such as Couples Therapy with Dr Clients: Samsung, Oprah Winfrey Network, Pier 1 Jenn on VH-1, Family Therapy on VH-1 and Imports, Hennessy, Kimpton Hotels, Kay Jewelers, Famously Single on E!. 10+ years experience Nationwide Insurance, William Sonoma shooting mostly reality and documentary style. Have shot most seasons of Celebrity Rehab With STEVENS, CINDY – Casting Director Actors Dr. Drew on VH-1, Mobbed on Fox and Food Talent Registry/Kids Casting of Santa Paradise on Travel Channel Have shot with most Barbara County (Owner) ENG style cameras both SD and HD. Direct: (805) 350-0387 Owner of a Canon C100 camera package, LED Email: [email protected] light package and audio gear. About: A full service talent registry for actors with all levels of experience, and production. Connecting MATHIEU, PAUL - Producer / Camera Operator talent with production: film, theater, commercials, Owner of West Beach Films voice over, models, etc. Direct: (805) 448-9261 Email: [email protected] Website: www.westbeachfilms.com ANIMATION DIRECTION Experience: West Beach Films is comprised of a seasoned team of both union and non-union ENGLISH, KEITH - Animation Director production crew, and sources gear and services Screaming Pixels locally whenever available.
    [Show full text]
  • POST PRODUCTION PROCESS and POSITIONS
    POST PRODUCTION PROCESS and POSITIONS PRODUCERS Executive Producer - is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum. Producer - A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project. Associate Producer - Shares responsibility for creative and business issues. DIRECTION Director - The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred. POST PRODUCTION SUPERVISION Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant.
    [Show full text]
  • Andrew Tenenbaum, [email protected] FULL BLOOM
    ANDY MCELFRESH 818-693-9647 [email protected] Contact: Andrew Tenenbaum, [email protected] FULL BLOOM (Reality/Competition) 2020 Writer/Senior Producer Crown Media/HBO Max CHASING THE CURE 2018-2019 Consulting Producer / Writer TBS/TNT, Lionsgate and B17 Productions THE PRESIDENT TEST (PRESENTATION) 2019 Consulting Producer / Writer TBS/TNT, Boardwalk Pictures KILLROY WAS HERE (FEATURE FILM) 2017-PRESENT Co-Writer and Producer with Kevin Smith Ringling School of Art and Design EDUMACATION (PODCAST) 2013-PRESENT Smodcast Write and co-host weekly science podcast with Kevin Smith SNOOP DOGG PRESENTS: THE JOKER’S WILD 2018 Writer TBS DEAR GOD (Development) 2018 Consulting Producer Sony THE AWESOME SHOW 2016-2018 Consulting Producer/Head Writer Universal Television Alternative/NBC INTELLIGENCE PILOT (SINGLE CAMERA COMEDY) 2017 Co-writer with Kevin Smith CBS Studios GEEKING OUT (1/2 HOUR TALK/VARIETY) 2016 Consulting Producer Matador/Weinstein Co./AMC SCREAM TEAM (1/2 HOUR HIDDEN CAMERA) PILOT 2016 Consulting Producer NBC Studios/NBC UNTITLED KEVIN SMITH PILOT (SINGLE CAMERA COMEDY) 2015 Co-writer with Kevin Smith CBS Studios EDUMACATION GAME SHOW PILOT 2015 Co-producer and on-air presenter A. Smith Productions | 1/2 Hour Pilot presentation for TBS YOGA HOSERS (FEATURE FILM) August 2016 release Smodcast Films Producer and Special Effects Supervisor THE TONIGHT SHOW WITH JAY LENO 2010-2014 Writer, Director, Graphics Lead Wrote, produced, shot, edited and packaged more than 700 segments over the 14-year run NBC Studios SHORTCOM (TV PILOT) 2013 Co-writer, Co-executive Producer with Kevin Smith 20th Century Fox Television THE JAY LENO SHOW 2009-2010 NBC Studios Writer, Director, Graphics Lead THE TONIGHT SHOW WITH JAY LENO 2001-2009 NBC Studios Writer, Director NIGHTCRAWLERS (FILM) 2008, IN PREPRODUCTION Warner Bros.
    [Show full text]