Downloadable Check out Industry and Stunts Or Printable Monitoring Government Resources Grip/ Gaffer Forms That You Can for Funding Programs, Transport Customize
Acknowledgments
We are indebted to the many individuals across the entire industry who helped bring this project into being; and, in particular, to the members of Canadian Unions for Equality on Screen (CUES) who first identified the need for this resource. MediaPLUS+ was made possible by the invaluable financial support and creative contributions of the following organizations and groups.
Women In View gratefully acknowledges and thanks the Ontario Media Development Corporation, Telefilm Canada, and the Canada Media Fund for their support of the research and writing of MediaPLUS+. Any opinions, findings, conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the funders. The funders, the Government of Ontario, the Government of Canada and their agencies are in no way bound by the recommendations contained in this document.
Cover photo: Mina Shum, Director, Meditation Park Joss Maclennan Design
2 WOMEN IN VIEW | MediaPLUS+ Diversity isn’t the question. It’s the answer.
Since 2012, five annual Women MediaPLUS+ is intended for St. John’s to Victoria, hearing in View On Screen reports on people working in every part of about overt discrimination employment in Canadian media the media who believe change and abuse, as well as the have documented the lack of is imperative, and who want everyday, unconscious bias diversity onscreen and behind the to be part of that change. This that still marginalizes women camera. You’d never guess from booklet is designed to open up at every level of production. industry statistics that 51% of our the discussion, to help all of us We don’t claim to have all the population is female; one in five “nudge” each other, along the answers here, but we hope this Canadians is a racialized minority; entire production chain, into discussion will continue so we and Indigenous people are the expanding our horizons, one can find answers together. fastest-growing population group purposeful decision at a time. Rina Fraticelli in Canada, with close to half the Indigenous population younger Over the past two years, we’ve Executive Director than 24 years of age. spoken with people from Women in View
It’s time to create media by and about who we really are – a population that includes women of every race, culture, age, region, language, disability and sexual orientation. As filmmaker Aisling Chin-Yee stated in a recent interview, “We are not the problem. We are the solution to your problem.” Join the conversation
Throughout 2018, Women in View will be hosting workshops and conversations about gender equity and diversity across Canada. Go to mediapluscanada.ca to find out the one nearest to you — or to ask for help in organizing one of your own.
WOMEN IN VIEW | MediaPLUS+ 3 Mary Kills People writer’s room (L-R): Lara Azzopardi, Supervising Producer; Morwyn Brebner, Executive Producer; Marsha Greene, Producer; Tara Armstrong, Creator and Executive Producer; Justin Giallonardo, Script Coordinator
4 WOMEN IN VIEW | MediaPLUS+ Real stories about real people
When I was in high school, Indigenous and people of I ran for student council. But colour, the LGBTQ community, after some incidents involving and people with disabilities. hate speech, I decided to drop And if you’re reading this, you out of the election. I told a have an opportunity to do the guidance counselor about the same. Because what I said racist incidents I’d experienced to that guidance counselor is and said, “I don’t want to also true – it can’t solely be the work for a school that doesn’t responsibility of marginalized work for me.” And I remember people to change an industry her response so clearly: she that has largely shut us out. said if I wanted to change the system, I needed to be in the Some of you might not be system. aware of these issues. Others won’t have the tools or training I was furious. I couldn’t to address them. My hope believe she thought it was is that this booklet will offer my responsibility to fix ideas and resources to help the problem. What about you increase diversity on and the principal? The Student off-screen. Because diversity Handbook with a lengthy Code equals specificity, which of Conduct? Surely the path to means authenticity, which justice wasn’t up to a 17-year- reflects both our reality and old! Now I know – all too well our universality. If our goal as sometimes – my guidance content creators is to tell real counselor had a point. stories about real people, this is where we must begin. I didn’t become a screenwriter to change the industry. But —Marsha Greene when Women in View asked Toronto writer/producer Marsha me to collaborate on this Greene has written for Global’s booklet, I realized I had an hit series Private Eyes, ABC’s opportunity to work from Ten Days in the Valley, and the within to change a system critically acclaimed Mary Kills Marsha Greene that marginalizes women, People for Global and Lifetime.
WOMEN IN VIEW | MediaPLUS+ 5 The True North: strong and diverse
The Canada we see on TV – PEOPLE featuring a disproportionate WITH number of men compared to CANADA IS... DISABILITIES women, and with a minimum of diversity in either gender – is % nowhere near as colourful as the 15 Canada most of us live in. RACIALIZED This data from Stats Canada shows who we really are. MINORITIES How does it compare with the world of your production and on % your screens? What can you do to 19 make it better WOMEN %
*This stat is not from Stats Can51 & highly contested 6 WOMEN IN VIEW | MediaPLUS+ If you film it, they will come!
INDIGENOUS MOVIEGOERS: 5 % 52% ARE WOMEN WOMEN-LED LGBTQ FILMS MADE 5 % 6X THEIR INVESTIMENT FILMS WITH FEMALE LEADS EARN MORE
WOMEN IN VIEW | MediaPLUS+ 7 What we’re up against
Recognizing the Lack of awareness Unbalanced support for obstacles is a key step of the prevalence of the dissemination of gender inequality in working to get rid 1 6 female‑created content of them. Research on Conscious and Low representation gender equity in the unconscious gender of women on European audiovisual 2 bias at all levels of the 7 commissioning and sector* has identified industry funding panels, as well the major barriers as on supervisory and executive bodies preventing women Lack of willingness to invest in financially from working in the Unequal pay between 3 ambitious female- industry on equal women and men created audiovisual 8 terms with men. content Failure to support Unequal distribution parents and caregivers, between women and 9 and non‑reconciliation of 4 men of funding for work/life balance in the audiovisual content sector
Unequal investment Unequal access on the part of equity to employment 5 10 opportunities investors between women and men 10obstacles
• Recommendations of The Committee of Ministers on gender equality in the audiovisual sector to member States of the Council of Europe, 27 September 2017
8 WOMEN IN VIEW | MediaPLUS+ TIPS & TOOLS TO GET YOU STARTED
Sarah Thomas Moffat, Director of Photography
WOMEN IN VIEW | MediaPLUS+ 9 Employers’ checklist
things you can do right Track your now 1progress 5 Numbers don’t lie. When the absence of diversity is Look Everyone in a position the norm, you can mistake outside to hire – both men the smallest step for a major leap forward. Numbers tell your circle and women – need to 2 a different story. Record and You don’t know who you check their privilege report the actual gender don’t know. and start opening and racial diversity in your doors to cast and workplace from the top down. If you aren’t checking out crew who deviate Then use that reality check to the films of newcomers, from the old norms. set goals. Use the monitoring seeking out prizewinners form on page 16 of this at indie festivals or It’s not always easy – booklet to get you started. routinely asking people real change requires outside your immediate effort. But it pays off circle, you likely have no big time. Here are idea of the talent out there. some tips to get Set goals: Commit to you started. hiring one or two new women in each production. Commit to making half of new employees diverse.
10 WOMEN IN VIEW | MediaPLUS+ Hire the women Stand by 3 you train 5 your gal We know: it’s hard to tell someone Do bring women onto you’ve hired in the past there isn’t a your set to shadow, 4 spot for them this time. Or that they intern and train in Congrats! weren’t exactly stellar. But don’t preparation for hiring use “affirmative action” as a shield. them, but don’t stop You’ve hired a You’re not only throwing your new there. Hire them. talented individual hire under the bus, you’re feeding Sponsorship and who has a lot to offer the destructive misconception that mentoring means your project. diversity hiring is not talent-driven hiring. recognizing a talented Now make sure you individual and take full advantage Note that a London School of actively championing of what they have Economics study proved the reverse her both within your to offer. Tokenism is true: quotas can work to weed out own productions and doesn’t help anybody. incompetent men. across your network of influence. Don’t hire, or consult with a person of colour, or other rep Take the pledge of a marginalized ACTRA Toronto is asking producers community only to “Take the Pledge” as part of to disregard their their #ShareTheScreen campaign. view. That’s not Check it out at actratoronto.com/ consultation. That’s sharethescreen exploitation.
WOMEN IN VIEW | MediaPLUS+ 11 Women’s checklist
2 Be bold Apply for every position you’re interested in, every Connect with opportunity that speaks to 5 you. Studies indicate that other women men typically apply for any 1 position for which they Think beyond the Old have even half the skills We’re all in this Boys’ Network and focus called for; women typically together on tapping into the New expect to fulfill 100% of the Women’s Network. If your skills before they consider Women at every union, guild or association themselves eligible to apply. has a women’s caucus and/ stage of their career Nobody has it all. or diversity committee, can help advance join it. If it doesn’t, start gender diversity, one. There are lots of Don’t get both for themselves organizations and events caught in the and for others. where you can connect training loop with others in your field. 3 Check our online resource Every professional wants to page and add to it. You’ll be as expert as possible, and find soulmates, as well to be on top of technological as prospective partners, developments and trends. But employers and future don’t get caught in a cycle employees. And when you of perpetual training. Every pay it forward, always make “experienced” professional sure you’re looking out for started somewhere. You’ll all your sisters. continue to learn as you work.
12 WOMEN IN VIEW | MediaPLUS+ Decode the 5 Backlash Somewhere on the road reverse discrimination? to equity, you’ll likely What am I supposed to encounter comments like do about my mortgage 4 these: or my kid’s tuition?” Rejection Translation: I’m not “I’m all for diversity, troubled by the fact that isn’t personal. but it doesn’t do anyone majority of episodes are Or fatal. any good if someone is still being given to men; given a job they’re not Or necessarily a reflection but if a woman is being ready for.” Translation: of your ability. It’s a hired, her episode is the “The new guy we hired fact of life in this highly one I was supposed to last year for the first competitive, risk-averse have. time was a nice kid, with industry. That doesn’t new energy. And my pal The good news? A mean you shouldn’t get heard he did amazing at backlash is proof that truly pissed off when a the indie film festivals. progress is being made position you know you But this gal is a risk.” and our diversity is would have rocked goes to being felt. someone more entitled and Or: “ The boss just told less perfect for it. Remind me he’d love to give me yourself that it’s the system an episode again this that needs fixing – not season, but he’s got to you. So see what you can hire a woman. Isn’t this do about fixing it. And meanwhile, keep applying.
WOMEN IN VIEW | MediaPLUS+ 13 Practice safe sets A safe workplace means zero tolerance for discrimination based on gender, race, sexual orientation or ability
Take harassment Watch your language members. Make sure your union has effective reporting and assault Sexist, racist, and homophobic strategies for workers who’ve “jokes” are all too common. seriously been harassed by their peers. Adding “just kidding” after Being the “token” woman an offensive remark only or racialized minority on a makes matters worse. And set (or anywhere else work asking experienced female Call for is conducted) makes you crew members if they need government action an easy target. Everyone help carrying their equipment has a responsibility to Given the dangers and – however well-intentioned – acknowledge and to act on disincentives to individuals can imply to them and others what they see. However, it’s bringing charges, there that you don’t see them as up to the boss to establish is an urgent need for a fully capable. a firm, widely-promoted government-empowered policy of zero tolerance space where women with real consequences. Implement a safe (and, in some cases, men) who are harassed Like immediate dismissal. reporting system in their workplaces can If you treat the women It’s important to understand safely report without fear you’ve hired with respect, if why victims of harassment of reprisals. An arm’s- you shut down the “locker often don’t report it. Not length ombudsman could room talk” when they’re everyone can afford to risk also allow for a record of not around, your cast and losing their job or being reports to identify patterns crew will follow. And your blacklisted. And harassment of abuse; and be used, with set will be a happier, more isn’t restricted to bosses. It proper permission, as a productive place. also takes place between resource for potential legal fellow crew and team action.
14 WOMEN IN VIEW | MediaPLUS+ The importance of speaking out
“I witness our DP constantly put down our female grips. They get flustered, which results in mistakes that cause even more put‑downs. And other crew members feel obligated to laugh along.” “Many times I’ve been chatting to a director only to have a more “important” male crew member literally place his body in front of mine to interrupt and have his own conversation.” Sarah Thomas Moffat is a director of photography with Sarah “If someone says over 20 years’ experience. something racist and I report She is also the founder and it to my producer, either I’ll be told Thomas administrator of a private I’m being too sensitive or that person Facebook group where will just get a ‘warning’ and I’ll have to female crew can share their keep working with them for the rest of the Moffat show. And when it comes to hiring on concerns. Since its inception the next show, I probably won’t in 2016, it has grown to almost 1,000 members, get the job. So where is the expanded to include offline gatherings, and become incentive to report?” a powerhouse of resources with women sharing professional experience, advice and opportunities.
“It started with women of all ages reaching out “When an issue arises, to me with stories of harassment, gender-based I always try to stay calm, keep rejection, pay inequity, bullying,” says Moffat. Being my voice even, and rationally explain the problem, because I don’t want “heard” is critical. “That’s why the group has grown to fall in to the ‘angry black woman’ so rapidly. Women are bringing other women into this stereotype and have my point safe space. The support and trust they are building of view dismissed.” is creating positive change in their lives, both in the workplace and at home.”
WOMEN IN VIEW | MediaPLUS+ 15 Check your progress
What gets Position Female Male Racialized Indigenous counted Executive Producer Director
gets done Screenwriter
Lead Actor # Principal Actors Producer Monitoring forms can Line Producer be used at the beginning Assistant Director and end of production to Production Manager Locations track department heads. Continuity Forms can also be Casting replicated and expanded EXAMPLE Director of Photography to work within individual Go online at Camera Operator departments. mediapluscanada.ca Special Effects to get downloadable Check out industry and Stunts or printable monitoring government resources Grip/ Gaffer forms that you can for funding programs, Transport customize. both federal and Production Sound provincial, that can help Art Department offset the cost of new, Editor non-traditional hires. Composer Special Effects/ Animation
Thanks to the Swedish Union for Theatre, Artists, Media and Swedish Performing Arts
16 WOMEN IN VIEW | MediaPLUS+ The view from her
Marie Clements, Director, The Road Forward
WOMEN IN VIEW | MediaPLUS+ 17 The view from her
Nathalie Younglai
Writer/director Nathalie Younglai she says. In fact, people of colour has worked on ‘Til Debt Do Us have even more insight, “because Part, Dino Dana and Bellevue. She we’ve had to our whole lives founded Indigenous & Creatives of examine what it is to be white. Colour in TV & Film, is a recipient Because at some point we’ve all of Toronto ACTRA Diversity asked, ‘how can I be more white Committee’s Sandi Ross Award, to be accepted in this society?’ ” and works on the Writers Guild of Canada’s Diversity Committee to help producers and showrunners identify people of colour for roles “There’s this perception in their productions. that one person of colour As for the “meritocracy” equals diversity. But one argument, Younglai doesn’t buy it. person is a token. We need “Look at all the producers’ children to get to a place where who don’t have much on their there are more people of roster, but who get those chances. If you’re going to take that kind of colour in all different roles chance on a friend’s kid, why not so we can have a powerful take the same chance on a person voice.” of colour?” And when you do hire a POC, don’t expect them to only write the “diverse” characters,
18 WOMEN IN VIEW | MediaPLUS+ Maya Bankovic
For cinematographer Maya Bankovic able to avoid “teaming up with “You have to look outside (Working Moms, Below Her Mouth), people who are going to doubt the ‘lists’ for talent, you” but starting out, she admits, there’s a lot of responsibility that especially in technical comes with photographing people, “scripts would come to me that and that means including diverse were shocking. They wanted fields. Look in the narratives. Finding crew whose a woman to lend credibility to documentary field and sensibilities are suitable to the something that was otherwise independent film world for project is key. “It’s really basic stuff – sexist.” Those projects don’t come women who are brilliant, don’t make homophobic jokes, don’t to her anymore. “I know I’m talented, with a lot to say.” make transphobic jokes.” putting the right energy out there based on the work I’m getting. Things are opening up, she says, When we have an opportunity but it’s important to keep pushing. to communicate with people by “There’s an underlying notion that the millions, it’s such a waste tokenism or quotas got me the job. I to simply produce the same old find it to be a micro-aggression and fairy tales. I’m doing work that is sexist.” With more experience she’s authentic to me.”
WOMEN IN VIEW | MediaPLUS+ 19 The view from her
Noelle Carbone
Writer/producer (Rookie Blue, entertainment? For me, being a “If you tell stories Saving Hope, Cardinal, Wynonna lesbian who grew up in a blue about marginalized Earp) Noelle Carbone is also a collar town, in a tight-knit Roman communities – and co-creator of the Lexa Pledge, Catholic Italian family, the answer is a guideline for writers and absolutely YES.” you tell those stories creators committed to producing respectfully, says As a storyteller, Carbone wants meaningful arcs for recurring Carbone,” those to reach queer kids who feel LGBTQ characters – for example, communities will show refusing to kill a queer character isolated, closeted, or ostracized solely to further the plot of a by families and friends because up for you in a big, big straight one, and recognizing that of their “otherness” and let them way. So if writing to the deaths of queer characters see characters like themselves make the world a better represented in a positive light – can have deep psychosocial place isn’t enough ramifications for viewers. “falling in love, being accepted, getting married, having families, incentive, maybe a “Do writers owe anything living happily ever after, and ratings boost is.” to their audience other than kicking ass.”
20 WOMEN IN VIEW | MediaPLUS+ Director Dawn Wilkinson (Kim’s “Look at the worlds you’re Convenience, Dino Dana, Nashville, creating and ask yourself whose Dawn Reign) says her whole reason for story you’re telling. If it’s not getting into directing “was to see myself represented. There are so your own or not something you Wilkinson many people who are just starting know intimately, find talented to see that, and we need more.” But creators who share it wasn’t an easy road. “The reason your vision but I’m working is because I refused to give up when there was no bring a new opportunity. I refused to give up until perspective the opportunities came.” you don’t
Wilkinson encourages women have.” to explore their own goals and strengths and figure out the kind of work they are most fit for. “I get hired on shows where there are a lot of female characters with interesting stories, or Black characters. I don’t look at it as limiting, I think, great – there’s something in here I can also relate to or connect with.’
Wilkinson definitely sweats the small stuff – from how to approach old tropes like “having women run in high heels” to the casting of background actors and racial representation in a scene. “I’m creating that world with the background. I’ll be specific, so that I am reflecting the world that I see.”
WOMEN IN VIEW | MediaPLUS+ 21 The view from her
Alethea Arnaquq-Baril
Alethea Arnaquq-Baril is an Inuk seal-product bans. She says that “Western media that producer and filmmaker and because Inuit culture is primarily an excludes stories of women owner of Unikkaat Studios. She is oral culture, there is little written only tells half the human based in Iqaluit, Nunavut and has in Inuktitut about the past and she cultivated a worldwide audience feels compelled to record it “while story. Excluding stories with films about her culture the last elders that traditionally of non-white folks is even (Tunniit: Retracing the Lines of lived on the land are still alive.” more limited. Let the Inuit Tattoos, the award-winning stories of women and National Film Board animation “Probably the most powerful Lumaajuuq: The Blind Boy and the thing I could do for myself and my people of colour creep into Loon.) fellow Inuit is to be a documentary our collective narrative filmmaker, because I don’t know and I promise, there will Her most recent film, Angry Inuk, how else I can contribute to is about the importance of the helping our voices be heard on the be riches.” seal hunt to Inuit culture, and world stage, on issues that are the damaging consequences of critical to us.”
22 WOMEN IN VIEW | MediaPLUS+ Kadidja Winnifred Jong Winnifred Jong has been a script supervisor for 15 Haïdara years, most recently on Frankie Drake Mysteries, As a scriptwriter with for which she also directed all six webisodes. The roots in Québec and shift into directing came five years ago, when she Mali, Kadidja Haïdara started 2nd-unit directing on shows like Flashpoint makes it a point to and X Company. Still struggling to get hired to direct include characters from a wide range of backgrounds episodic TV, she’s now making shorts that have in the TV and web series she writes – notably Les appeared in film festivals around the world. Béliers, Quart de vie and Le chalet. “While I’m seen as ‘diverse,’” says Jong, “I’m also “Producers often tell me we won’t find actors for the diverse in my taste and talent – I’m just as capable of roles I write, but I’m determined. I come prepared directing sports or action or other genres as I am in with lists of names, and get involved in casting. telling stories about my own culture.” We may have to do more auditions, but we always As a long-time script supervisor, Jong is aware people manage to find the right person. And it pays off: in the might find it hard to think of her as a director. end, the series brings a new perspective and is more But after working attuned to reality.” with nearly every It’s not that decision-makers are actively opposed to director and actor out greater cultural diversity, in her view, but that they there, she’s been in don’t necessarily see its value. “It’s a chicken and egg a unique position to situation,” she says. develop her own style. “I understand story,” “We aren’t aware of many diverse actors she says. “One reason because there are no roles for us to see I’ve done so well as them in; but the more diverse roles we a script supervisor, create, the more visible they’ll become.” I think, is because I know how to protect Haïdara is proud that her efforts have borne fruit: those stories – which producers who once came to her with all-white is the ultimate skill casts now include more diverse characters in their for any director.” proposals.
WOMEN IN VIEW | MediaPLUS+ 23 The view from her
Margot Ready
Margot Ready is an art director and production designer based in Vancouver who has worked on Bates Motel, Power Rangers, Man of Steel and The Magicians.
“I’ve worked with many terrific crews, but the series I am working on now, The Magicians, is a completely new Trey Anthony experience. Almost Trey Anthony is an award-winning playwright, half the directors actor, stand-up comedian, and the writer/creator/ are women, the star of Global’s ‘da Kink in my Hair. Her play, How A-camera operator Black Mothers Say I Love You, is being adapted is a woman, there are three female dolly grips.” It’s by Conquering Lion Pictures, directed by Clément an empowering atmosphere. “We’re not there yet, Virgo. But she laments the current TV scene – but I see more than a glimmer of light. I’m excited token Black nurses or cops, Asian lab techs, and a about where I am, the work I’m doing now, the lack of follow-through in fostering new voices. “I barriers that are breaking down.” Her dream? can’t tell you how many diversity workshops I’ve “I’d love to design a big sci-fi feature. To create a been to, and there’s no follow-up – no effort to get cinematic world as big and complete as the Star us in rooms, get us writing or producing, to make Wars films I fell in love with as a young woman.” the training pay off.” For her, “being Black, being a woman, being queer,” the only thing to do is keep telling her own stories. “I have to push through, just doing the stuff I want, how I want.”
24 WOMEN IN VIEW | MediaPLUS+ Christine Willes
Christine Willes is an actor in theatre, film and TV (You Me Her) as well as a long- Martine Chartrand time activist, currently on the board of the Union of Martine Chartrand is an acclaimed animator whose British Columbia Performers (UBCP/ACTRA) and chair shorts (T.V. Tango, Black Soul and MacPherson) have of its Women’s Committee. She sees some hope in won numerous awards including the prestigious rising awareness: “Certainly the Weinstein scandal Golden Bear at the Berlin Film Festival for Black Soul. unleashed an activism I haven’t seen in my 40-plus “I was one of a very few culturally diverse women year career to date.” But she’s less interested in working in animation,” she says “and I’m grateful to analysis of the issues, and focused more on action: Therese Descary at the NFB for giving me my first “The discussion of what causes or contributes to opportunity to direct.” Distressed by the negative gender inequality is a colossal dodge. I’d rather put representation of Blacks in the children’s cartoons of my energy toward change.” her youth, she was determined to represent Blacks One key tool is data, she says. “In Vancouver, we’ve with dignity. been collecting stats about the percentage of work Chartrand believes it’s vital to counter ignorance that goes to women and the percentage that goes and in particular to keep pushing producers and to men. Over five years, the average hasn’t changed: distributors who are reluctant to trust women of 65% goes to men; 35% to women.” She highly colour. “Having citizens from many cultures is a recommends the use of a pre-production checklist of source of our society’s wealth,” she says, “and all staff, from performers, writers, directors, directors openness to the ‘other’ is a hallmark of our age.” of photography, and producers, to crew members.
“I advise young directors to cling fiercely to their “Everyone needs to stop and ask ideas and to surround themselves with people, both themselves: Have I considered gender in production and distribution, who believe in their equality in hiring?” she says. “It’s very, projects.” She is hopeful because, worldwide, she very simple. Hire more women.” sees more and more women of diverse cultures directing animation. WOMEN IN VIEW | MediaPLUS+ 25 The view from her
Alex Bulmer
Alex Bulmer is an award-winning playwright, director, performer and screenwriter (for the BAFTA-nominated Cast Offs), as well as a consultant for the inclusion of artists with disabilities in all cultural arts and industries. After becoming blind in adulthood, she says, “I started to really develop an appreciation for language, how words can be a bridge between isolation and being part of the world around you.” She laments the lack of screenwriters who are disabled: “I’m so tired of hearing ‘it’s not about the writing, it’s about the casting.’ It’s about both.”
Alex is all for progressive casting (“Why not a deaf performer as Juliet? Writing that has existed for centuries is screaming out for re-invention”) but “including disabled people in our contemporary media needs to be about both casting and also about developing new story lines.” ”Let’s face it, a story line hinged on Meanwhile, she advises actors with disabilities to driving off in a car isn’t going to be a get as much training as possible, and warns against blind person’s casting call. But why “getting yourself into a state of being permanently not a story line with the unique and angry.” The key to change is to keep the dialogue compelling details of a blind person going. “It’s important for disabled people to have a making a quick get away? What does balance of pushiness – voicing the feeling of inequality or lack of inclusion – as well as gratitude when change that look like, how does that happen? is being attempted.” What great television that would be!”
26 WOMEN IN VIEW | MediaPLUS+ Diversity pays off
Nimisha Mukerji (Director) and Michela Luci (Actor) Dino Dana
WOMEN IN VIEW | MediaPLUS+ 27 Diversity pays off
“It’s important to project Tracey a fearlessness. As director, you’re the Deer captain of the ship, and no one wants to see Tracey Deer is a Mohawk writer, film director and the captain worried producer, best known for her about the storm. APTN series Mohawk Girls. Make a decision, and It ran for five seasons to a charge ahead. Don’t target audience of women second‑guess yourself.” 18-34, but ended up attracting a significant number of males and older viewers as well. “I think Mohawk Girls has respect their vision, and the shown the larger industry fact they know what they’re that diverse stories resonate talking about: “You need to with all audiences. It’s about get out of their way and let specific people in a specific the magic happen.” place, but the themes are Tracey Deer universal.” For creators, she says finding caption the right collaborators is key. Mohawk Girls cast (L-R): Jennifer Pudavick, “I grew up in this country that “A lot of my work has been Brittany LeBorgne, Heather White and told me that as an Aboriginal with APTN, which is about Maika Harper person I had no prospects, supporting Aboriginal stories. that expected me to be They’ve just allowed me nothing but a nuisance. to do what I do. It’s about My guiding force for the last a connection and finding 20 years has been: I need to people as passionate as you prove them wrong.” are. Because when you get Her advice to producers who challenged, you’ll have all work with women and people these defenders around you of different backgrounds is to as well.
28 WOMEN IN VIEW | MediaPLUS+ 28 WOMEN IN VIEW | MediaPLUS+ Diversity pays off
Michelle Latimer
Michelle Latimer is a director have had their stories told (Alias), actor (Blackstone), for years? You’re an artist, and curator (ImagineNATIVE you’re a storyteller. You’re Film & Media Arts Festival, an Indigenous woman. Your Hot Docs International experience has value.” And no Documentary Film Festival) one had ever said that to me. I of Métis/Algonquin descent. grew up in a place where you She’s especially proud of her shoved down your diversity. Viceland series Rise, about And you were successful contemporary Indigenous life: if you were able to shove it “Our show had the highest down far enough. So it helped social media numbers for any me so much for someone to new series for VICE.” say the very thing that you Latimer credits a female have been trying to hide has producer for helping her find value.” Michellecaption Latimer her voice. “I was producing In Winnipeg, where Rise is a lot for men. And she pulled filmed, Latimer makes a point Latimer directing her short film The Underground me aside and said, “Are you of hiring women, and has a going to do it for men who predominantly Indigenous crew. “It means more effort, “We’re living in a global because you’re going to be on society. They want good phone calls and in meetings stories. They want things defending your choices. But that’s what you sign up for if that will resonate, and you’re in a position of power transcend race and and you’re committed to gender.” seeing change.”
WOMEN IN VIEW | MediaPLUS+ 29 WOMEN IN VIEW | MediaPLUS+ 29 Diversity pays off
Christin Simms and J.J. Johnson
Sinking Ship Entertainment has stories: “Writers from different a boatload of Emmy wins and backgrounds pitch ideas we’d nominations for its kids shows never come up with on our (Odd Squad, Annedroids, own – on Dino Dana, our Bookaboo, Dino Dan) which characters have deeper, richer have sold worldwide, including stories than anything we could a recent deal with Amazon come up with.” for Annedroids, a live-action/ Christin Simms and J.J. Johnson of Sinking CG series starring a girl who’s “It takes some effort off the Ship Entertainment into STEM. A big part of their top – asking the WGC for success, says founding partner help finding writers; doing J.J. Johnson, is down to one more open calls with casting; thing: diversity. “Diversity is bugging agents to send more an important social issue, but names – but the rewards on the truth is it makes business the back end far exceed the sense as well.” little extra work it takes at the beginning,” says Johnson. The company has partnered “There’s more eagerness with Women in View’s 2xMore and innovation from both initiative to hire more women actors and crew members. directors on Dino Dana. “It’s Female crew members have now a competitive advantage responded so positively to on our biggest-selling show,” female directors. Everyone says Johnson. ”We have a comments on how different it whole new talent pool.” feels to be on set.”
Christin Simms, head of development, knows how diversity can lead to better
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“One reason for making Baroness Von Sketch the show was to create jobs for ourselves, Forty-somethings Jennifer Whalen, audience that includes women and since it becomes much Carolyn Taylor, Meredith MacNeill men, of all ages. “Women in their harder for women to and Aurora Browne have made 40s make up a significant portion Baroness von Sketch a hit show of audience that still watches get hired after 40.” on CBC in Canada and IFC in the traditional television. And the old — Jennifer Whalen US. “We had to create jobs for model isn’t working anymore. It’s ourselves,” jokes Whalen, “since it time to think outside the box.” becomes much harder for women to get hired after 40.”
Women still aren’t allowed to fail the way men are, she says. “With guys, there’s always a reason: He had a bad night. The production had problems. The show wasn’t promoted. When a woman fails, it’s because she wasn’t up to the job and the experiment of hiring her in the first place failed.”
What drove Whalen was “a deep thirst to see women portrayed as I know them to be,” she says. After working on comedy shows led by men, it comes as a huge relief to write jokes about women, by women, for women, without passing it through a male lens. “It’s taking away the female mystique, looking at the real female.” The result is a growing Baroness Von Sketch Show cast (L-R): Aurora Browne, Jennifer Whalen, Meredith MacNeill, Carolyn Taylor WOMEN IN VIEW | MediaPLUS+ 31 WOMEN IN VIEW | MediaPLUS+ 31 Diversity pays off
Samantha Wan
Actor and filmmaker Diversity behind the camera Samantha Wan is the co- is also important. Having an creator and co-star, with Asian director, for example, Amanda Joy, of City TV’s was important to Wan sitcom Second Jen. Wan also because, “when we were plays Zoe Chow in Global’s hit setting out food for the dinner detective series Private Eyes. scene, our director was able to tell props how to set the “Amanda Joy and I made table and redress certain food Second Jen because we that didn’t look right, even if it weren’t seeing ourselves took more time. Authenticity represented on screen.” is in the details and it’s helpful Having been on both sides of to have more than one set of the diversity challenge (writing eyes to catch them.” and casting), Wan knows first- As for other Asian female hand the barriers to casting creators, Wan says, “find racially diverse characters. Samantha Wan mentors. They won’t be What’s needed, she says, Asian” – she laughs – “but is for agents to put diverse there are a lot of great people Samantha Wan and Amanda Joy star in clients forward for leads Second Jen who want to help. It helps you (even when not specified), for keep moving forward.” casting directors to present pools that are sufficiently diverse, and for broadcasters “It’s about hiring. and producers to develop Don’t hire one, hire at greater trust in new faces. least two or three, or “Every level needs to stop passing the buck and take else you force them to responsibility for their part.” be the token”
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Amy Cameron
Amy Cameron is an award- Cameron is a firm winning journalist, author, TV believer in opening writer/creator and producer. doors for women, Prior to co-founding Cameron Pictures with her sister Tassie from the CBC hiring Cameron (Rookie Blue), Amy 50% female directors was Executive in Charge of to groups like Women Production at CBC TV Drama On Screen working to for Book of Negroes, winner of develop female creators. nine Canadian Screen Awards and an NAACP award. risk.” The result is that the She’s a firm believer in same people get hired again initiatives such as CBC hiring and again, with few chances 50% female directors. “These for newcomers. Amy Cameron and Tassie Cameron on the set efforts work,” she says. “Many “I also think it’s partially a fear of Mary Kills People of the directors and writers I of exposing a hole in their met through those particular knowledge: how do you find examples are now people I am a diverse cinematographer Caroline Dhavernas and Richard Short in hiring on our productions.” or a writer with disabilities? Mary Kills People The biggest obstacle for many How do you ask agents only in the industry, she says, for their LGBTQ directors? is fear. “On paper, diversity How do you dismiss a swath makes sense. Who doesn’t of people just because they’re want a fresh perspective in a male and not female? If you creative industry? In practice, don’t have the language or though, when people are understanding to explain why building a crew, begging for it’s important to work with financing and shooting a series diverse creators, it becomes by the skin of their teeth, they an awkward conversation don’t want to take on any more really quickly.”
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Isabelle Hayeur
Isabelle Hayeur is a producer beginning to show results. and director of indie features, The NFB, TFC and SODEC, for including La bête de foire, Les example, recently announced Siamoises and Le Golem de measures to achieve gender Montréal, as well as dance equity. films such as Une courte histoire de la folie (A Short “We still have work to do,” History of Madness). says Hayeur. “In particular, in the fields of advertising, She is the president and one digital media and gaming of the founding members where women continue to be of Réalisatrices Equitables, under-represented, especially the influential Québec in creative positions.” organization of women directors. “We gathered She wants to see producers data that demonstrated that and distributors pay greater women received less than attention to women audiences. “They would Isabelle Hayeur 15% of public investment in feature films,” she said. benefit from representing “Something had to be done.” the real lives of women,” Réalisatrices Equitables, Board of she says,” as well as their Directors 2017 The organization produced imaginative worlds.” And she research, lobbied decision- wants to see more directing makers and has undertaken jobs offered to women. numerous activities promoting “Greater diversity will unleash directors. Ten years later, their new talent. Great work efforts in partnership with can come from the most those of other organizations unexpected places.” like Women in View are
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Jennifer Kawaja
For Jennifer Kawaja, co-owner just about affirmative action with Julia Sereny of Sienna Films in front of and behind the (Cardinal, I Claudia, Combat camera. “Real diversity Hospital), the question of across race, class, gender, diversity in film and TV boils down sexual orientation, diversity of to what kind of world we want to thought and so on, involves live in. “Why would anyone want a much deeper reflection to be part of creating a society of ourselves, our biases, that disenfranchises and erases and about what gets made Jennifer Kawaja some people’s lives and stories and by whom. The key is in favour of those of a small to get serious and humble minority?” about understanding how inequity functions, and to Karine Vanasse and Billy Campbell in Cardinal People have good intentions, seek out how we can do and want to do the right thing, that personally, corporately, she says, “but most people institutionally.” making decisions in our industry, and creating work that gets made, were inculcated with “Increasing diversity fairly conservative white, forces us to create better upper‑middle-class, able‑bodied, stories, it makes us a heteronormative ideas about what is interesting and desirable richer, less parochial, in terms of what we create and more interesting and program.” integrated society. The industry is starting to pay You can’t have good more attention to women and storytelling without what race now, she says, but it’s not I call deep diversity.”
WOMEN IN VIEW | MediaPLUS+ 35 WOMEN IN VIEW | MediaPLUS+ 35 Get inspired
Don’t let anyone tell you that there aren’t more than enough capable women to take up 50% of the jobs in every media occupation. Check out our short Aleysa Young, Director, Kim’s Convenience video, Women Make Media, for a glimpse of the tip of the iceberg of talented Canadian women working at every stage of media production. Find it at mediapluscanada.ca
Ruba Nadda, Director, Frankie Drake Mysteries Women Make Media Director: Mars Horodyski Cinematographer: Christine Buijs Editor: Pauline Decroix Writer: Ellen Vanstone Producer: JP Nynkowski Music: Give a Little written by Lexie Jay and Jon Fedorsen. Performed by Featurette Post Production: Tattersall Sound and Picture
Mars Horodyski, Director and Christine Buijs, Director of Photography, Women Make Media 36 WOMEN IN VIEW | MediaPLUS+ Dawn Wilkinson, Director, Kim’s Convenience Chalini Kulandaivelu, VFX Artist, Take 5
Jordan Canning, Director, The Detail Jane Tattersall, Tattersall Sound and Picture
Yvonne Collins, B Camera, The Detail Andrea Rusch, Asisstant Re-Recording Mixer, Tattersall Sound and Picture WOMEN IN VIEW | MediaPLUS+ 37 Quick takeaways
DON’T... DO...
Don’t have a Take the time and token woman attention to light every or minority skin colour writer in the appropriately. Make sure writers’ room, only your makeup department has products to dismiss everything she says. for every skin colour.
Don’t assume a man over 40 can still Make sure everyone knows you take be a love interest but a woman over inclusiveness seriously at all levels and not 35 can only be his mother. just in junior or support positions.
Don’t ever cast a white actor to play Make sure every location/set/audition a racial minority character.* space/office including washrooms and private change facilities is physically Don’t ever cast a white actor to play accessible; and that people with disabilities an Indigenous character.* are not inconvenienced or marginalized as Don’t ever cast a non-disabled actor they travel to and from set. to play a character with a disability.* See hiring women as an advantage, Don’t be afraid to ask about not a risk. appropriate language or behaviour Check out the many, many resources, if you are uncertain. A question, guidelines, articles, groups on our website sincerely and respectfully asked, is and elsewhere to find ways to make your never inappropriate. productions as dynamic, creative and * Unless you’re making a historical film innovative as they can be. about a white actor who played a racialized or Indigenous character, or a non‑disabled actor who played a person with a disablity!
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Founded in 2010, Women Executive Director Editorial Director: Rina Fraticelli in View is a national not-for- Rina Fraticelli Editor: Marsha Greene profit organization dedicated to strengthening gender and [email protected] Writer: Ellen Vanstone racial diversity in Canadian Translator: Hélène Lajeunesse media. We do this through Co-ordinator Project Manager/Researcher: Amber- a range of initiatives that Amber-Sekowan Daniels Sekowan Daniels aim to generate awareness, [email protected] Design: Joss Maclennan Design/ promote talent and spark Denise Maxwell, Joss Maclennan dialogue across the full spectrum of production, Board of Directors Québec Editor: Sophie Bissonette policy and artistic arenas. Aisling Chin-Yee Communications: Innovate By Day Since 2012, Women in Annette Clarke Photo credits View’s On Screen reports Tracey Deer (Chair) have documented the Page 3: Jennifer Rowsom Jill Golick (Treasurer) representation of women Page 4: Katie Demois in Canadian media. The Aisha Jamal (Secretary) Page 9: Laura Loaiza organization is currently Lizzy Karp leading a national campaign Page 23: Christine Buijs Jan Miller to shift the media landscape Page 25: Marie-Hélène Panisset (Vice Chair) towards greater diversity Martine Chartrand photo/ through programs like Liz Shorten (Founding Chair) Caroline Hayeur; 2xMore and Five in Focus Christine Willis photo/Kevin Clark and the MediaPLUS+ Women in View toolkit. We are currently Page 26: Michael Achtman developing Roll Call, Suite S-21, 401 Richmond St. W, Page 34: a national database of Toronto, ON. M5V 3A8. Isabelle Hayeur photo/Denis Lord; Canadian women in media. +1-416-304-9398 RE Board of Directors/Eve Lamont [email protected] Back cover: Setti Kane www.womeninview.ca Back cover photo: Christine Buijs, Director of Photography, Women Make Media
WOMEN IN VIEW | MediaPLUS+ 39 Join the conversation Check out additional information, ideas, and downloadable resources on the website. We’d love your feedback.
Throughout 2018 Women in View will be hosting workshops and conversations about gender equity and diversity across Canada. Go to our website to find out if there’s a session near you — or to ask for help in organizing one of your own. mediapluscanada.ca
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