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Home , America Divided, Amy Ziering, Chain Camera, Chasing Coral, Chasing Ice, Cinema for Peace

Bonnie Abaunza Neal Baer Diana Barrett Peter Bisanz Johanna Blakley Caty Borum Chattoo Wendy Cohen Nonny de la Peña Leonardo DiCaprio Kathy Eldon Eve Ensler Oskar Eustis Mapping the landscape of Shirley Jo Finney social impact entertainment Beadie Finzi Terry George Holly Gordon Sandy Herz Reginald Hudlin Darnell Hunt Shamil Idriss Tabitha Jackson Miura Kite Michelle Kydd Lee Anthony Leiserowitz Tom McCarthy Cara Mertes Sean Metzger Pat Mitchell Shabnam Mogharabi Elise Pearlstein Richard Ray Perez Gina Prince-Bythewood Ana-Christina Ramón James Redford Liba Wenig Rubenstein Edward Schiappa Cathy Schulman Teri Schwartz Ellen Scott Jess Search Fisher Stevens Carole Tomko Natalie Tran Amy Eldon Turteltaub Samantha Wright Welcome

to the test — a major university research SIE’s work to date: the most effective Welcome center focused on the power of strategies for driving impact through entertainment and performing arts to storytelling; the question of when, inspire social impact. The structure of within the creative process, impact Note this new center would be built upon three should first be considered; the key role pillars: research, education and special of research to explore, contextualize initiatives, and public engagement, and help define the field; and the programming and exhibition. importance of partnering with the right allies across the entertainment At the time, there wasn’t a university and performing arts industries for new model fully focused on this topic that ideas, special projects and initiatives. I could draw upon for information as the field was in its infancy. That would SIE is an idea whose time has come. change in 2007 when I met visionary As our world has become more complex philanthropist, Jeff Skoll. Jeff was in and challenging, artists, scholars, the early days of building educators, and industry leaders are Media — a great company whose vision realizing the true value of social impact Teri to use the power of story to not only entertainment — not just in terms of Schwartz entertain but to inspire social impact moving and changing people from aligned with mine at the educational all walks of life by creating deeper Dean, UCLA level. Jeff has played a crucial role in meaning and connections for all of School of Theater, and Television shaping the ideological foundations of us, but also by a new-found belief this emerging field. Through Participant in the double bottom line: that you Media, he has produced and supported can do well and do good in life. some of the most iconic, award-winning SIE to date, including Oscar® In my own contribution to this report, We stand at a critical winners Spotlight, , and An found within The Bigger Picture section, intersection in our human Inconvenient Truth, amongst many I expand on my work in this field and history where there is a need other brilliant films. Without question, explore strategies and opportunities for new, diverse voices to be I was very inspired by what Jeff and his for educators working in this space. heard — for powerful new team were endeavoring to accomplish. I forged ahead with the confidence that I hope you find this report very stories to be told. we were doing something meaningful useful and engaging. I am so optimistic that would have lasting impact at both about the future of SIE. Its promise and Story has the ability to build bridges the industry and university levels. possibilities are limitless. Please consider of understanding, tolerance, empathy this an open invitation to join us on this and respect, helping us to make sense In 2009 when I became the Dean amazing journey — we look forward to of our lives and the world around us. of UCLA TFT, I brought the idea for welcoming you on board. The time has come to use the infinite the center with me as part of an power of story, as expressed through overarching vision and set of goals entertainment and performing arts, for the School. We were fortunate to inspire social impact. that it was a vision shared by Jeff who made a transformational leadership We are the Storytelling School. We gift of $10 million to name and endow believe that story can both delight the new Skoll Center for Social Impact and entertain, and enlighten, engage Entertainment at UCLA TFT (Skoll Center and inspire change for a better world. SIE) in 2014. We are deeply honored This is our vision at the UCLA School of and grateful to have this remarkable Theater, Film and Television (UCLA TFT). center bear Jeff’s name and reflect We are nurturing and developing a new his profound core values and mission generation of diverse artists, scholars to make the world a better place. and industry leaders aligned with our ideals and united in the pursuit of new The State of SIE is the Skoll Center creative work and research that makes SIE’s first major publication: a report a difference in the world. that aims to map and explore the emerging field of social impact My own path into social impact entertainment. We’ve gathered opinions entertainment (SIE) has been a long and key insights from some of the most one. In early 2003 when I first became compelling voices across this landscape, To explore the digital version of the report (complete with interactive map), find out more about our work and hear a university dean, I began working on an exploring many of the major themes about upcoming events head to www.thestateofsie.com idea that would put my life philosophy that have defined the Skoll Center

3 What is SIE?

When I was 35, I found myself documentary, Beyond Our Differences, We want it to be used as a guidebook This report pulls together all of their The State of SIE Five Key The State which explored the commonalities for creative storytellers looking to amazing work in one place, for the in an unexpected and humbling Considerations for SIE of the world’s religions, how leaders engage audiences in solving real-world first time, and is intended to serve as position working as a lowly, This report looks at the work of of divergent faiths tackle some of the challenges, which are often too big an accelerant as well as a resource for practitioners in the emerging of SIE unpaid intern for the Central toughest challenges of the modern age, or complex for any single person to people looking to work in the field of SIE. space of social impact Tibetan Administration in the entertainment. By collating their and what inspires them to do so. take on. insights, we’ve detailed our Five foothills of the Himalayas. Overview of key findings Key Considerations for SIE. This report explores Although I didn’t have a name for it at Our aim was to bring together key Given the state of our world today, the landscape of social I was soaking wet in a monsoon, the time, this project was my first major research from any and all relevant there is an underlying assumption trying to capture the essence of the introduction into the emerging ecosystem disciplines, to codify that knowledge that entertainment, mass media and impact entertainment Dalai Lama’s teachings with a camera we now call social impact entertainment, and to hopefully reveal something new the performing arts can drive social through the insights of the that had probably seen its heyday in and it set me on the meandering path about our field in the process. change because they shift attitudes, the era of Betamax. to my work at the Skoll Center for Social shape our culture and generate empathy. experts who know it best. Impact Entertainment at the UCLA School The report is not about a single company, However, the dynamics for each media I had already climbed the ladder of Theater, Film and Television. studio or organization. Instead, we are intervention can differ wildly. Peter Bisanz introduces 1. Focus on the story in but was consumed by drawing from the creativity, ideas and Tell the best story you can this exciting space and doubts about my ability to have an The purpose of this report research of many industry experts, As a result, among theorists there to reach your . its transformative effect impact there — since social impact The State of Social Impact Entertainment institutional practitioners and key thought is a broad consensus that there is entertainment (or SIE) really didn’t exist is our first attempt to capture this field leaders from across the SIE ecosystem. no “one-size-fits-all” approach to upon the world. at that time — so I left it all behind for as it exists today. We’ve explored the the creation of SIE, the social impact graduate school in England to study key components of SIE; what works campaigns that accompany it or for social entrepreneurship. to engage audiences on social issues; the measurement of its impact. why SIE’s financial potential is growing Two years and a master’s degree considerably; which metrics most There is a unanimous call to consider later, and still trying to find my way, accurately reflect its impact; what the You want to make the unique context of each piece of I realized that all of the reasons I had established theories of change are and, SIE, as well as the context of the issues 2. Know your issue originally, so passionately, pursued a perhaps most importantly, how all of sure that your audience it seeks to address, from the outset. Understand the real world of your story and determine your career in film were united in the amazing this relates to mainstream Hollywood. walks away with a clear Theorists also agree that defining and intended impact at the start. Peter opportunity in front of me. I finally felt understanding of the planning for your impact at the start Bisanz that what I was doing — what I was Whether you are the head of a studio steps they can take in of the creative process will likely maximize recording — could truly have an impact. looking to develop a social impact team, the positive effects of a given piece of Executive Director, That was the feeling I had previously or a filmmaker trying to learn how to their own lives to be part content. However, maintaining a degree Skoll Center for Social Impact been searching for in Hollywood. create a social impact campaign, The of the change you are of flexibility is key: you have to be ready Entertainment, UCLA State of Social Impact Entertainment is seeking to create. and able to adapt your plan as your School of Theater, Eventually, this realization led me to designed to help you create work that project takes shape and is released 3. Find the best partners Identify and partner with Film and Television write, direct and produce a feature-length makes a positive difference in the world. — Leonardo DiCaprio (p. 51) into the world. leading organizations and people working on your issue. Beyond Our Differences set photo, 2007

Doc Society’s Impact Field Guide & Toolkit Whether an issue is relatively known or unknown “Analyzing the story environment” and whether there is strong and organized opposition or little resistance, are both key in determining which kinds of films succeed and also in defining what success looks like. 4. Think about Weak opposition distribution differently Create a distribution Fresh : Reveal Familiar : Spotlight plan that activates all relevant Unknown issue (to your target Known issue but still little shareholders, stakeholders and audience) and little or weak opposition. or weak opposition often calls communities of action. They favor films that dramatically for films that can put the Known issue reveal what’s going on. spotlight on a tired issue.

Entrenched : Humanize Unkown issue Unkown Hidden : Investigate Unknown issue (to your target Known issue (and so possible fatigue from audience) but strong and target audience) and strong opposition organized oppositional forces to your story and campaign, often need may require your film to prove no more new facts or assertions but simply 5. Evaluate, learn the case, to investigate. to humanize the affected communities. and share Strong opposition Assess what you have done and pass on key learnings.

— “The Impact Field Guide: Analysing the Story © Entropy Films and respective production studios and distributors Environment.” Doc Society, 2017, impactguide.org/ introduction/analyzing-the-story-environment/.

4 The State of SIE 5 What is SIE?

There is also some urgency for greater Creating Impact Through Media Participant Media collaboration by all the stakeholders Marketing and Impact involved in SIE. Though there are clear According to Deepening Engagement for Lasting Impact, a study commissioned by the Bill & Melinda “Our process” leaders in certain fields, like Doc Society Gates Foundation and the John S. and James L. with their Impact Field Guide & Toolkit, Knight Foundation, “All communications efforts are or the #PopJustice series of reports built by engaging individual people. If you want to create change at the group or systems level, produced by Liz Manne, Unbound it’s important to recognize the difference between Philanthropy and the Nathan Cummings getting individuals who see your media to behave Changed conditions Foundation, there is still work to be in a certain way, and having those behaviors integrated as norms, policies or shared practices.” done to bring the entire ecosystem closer ­— together. It’s our hope that, by covering Learning for Action. Deepening Engagement for Lasting the various different media forms and Impact: A Framework For Measuring Media Performance And Results. Bill & Melinda Gates Foundation and the Policies disciplines within SIE — as well as its John S. and James L. Knight Foundation, Oct 2013, dl.orangedox.com/Media-Measurement-Framework. often overlooked business case — we Social or physical Issues Objectives Tactics Outcomes can inspire a greater knowledge exchange Changed groups, institutions and systems Public conditons (e.g., Social norms discourse poverty, health, Identify the issue in Determine the objectives Determine ideal and Review planned and within the existing community and bring conservation) the film and determine given: content, issue, possible field actions unplanned results. new people into the fold as well. Shared how to frame that issue landscape, partner given: content, partners, standards given the landscape. willingness and resources. landscape and resources. In summary, SIE is an emergent space. Movements Awareness/ It’s essential to recognize that it is shaped knowledge Behaviors not just by the content creators, but also Changed individuals – the funders, nonprofits, and academics Attitudes/belief Process Resource Participant Media. “Marketing + Impact: A Foundation innovation allocation for Comprehensive Film Campaigning.” 2017, p. 26. that help to support them. Awareness/ knowledge What is social impact entertainment? Direct Impacts Cumulative Impacts

Learning from the development of Will engagement with your media build awareness? Expand Will the individuals you engage drive collective, other fields — where theorists have knowledge? Shift attitudes? Motivate behaviors? longer-term changes in the world? personal creative insights in one place, so Given the magnitude of today’s Social Cognitive Theory (SCT) spent considerable time and effort trying, that we might help inform how to navigate challenges — , economic The most commonly applied and failing, to agree on a single definition this ever-changing landscape. inequality, forced migrations and any theory in the area of entertainment- — it is our hope to show you what SIE is, number of other problems — it’s easy education is SCT. Most generally, how it works and how to create it, rather Examples and case studies for people to get discouraged about SCT contends that in addition to direct, experiential learning, than attempt to simply define it. However, the creation of SIE is more issues you’re attempting to address. The work of our contributors has also their capacity to make a difference people learn vicariously by than a simple process — it’s a creative Building your social impact campaign highlighted where SIE has been deployed in the world. But as the case studies in observing models. That is, To do this, we’ve referred to existing that relies on the many facets in conjunction with these experts can to particular effect. Similar to the theories this report reveal, SIE can play a critical models, such as those on television, transmit ‘knowledge, values, theories of change, impact frameworks, of communication in order to effect maximize your potential impact, as of change, each of the processes discussed role in catalyzing significant change. cognitive skills, and new styles and the experience of leading change. While no summary can do highlighted by Wendy Cohen (p. 182) are unique to the work they support, of behavior’ to viewers. practitioners, many of whom have shared justice to the richness and depth of this and Bonnie Abaunza (p. 138). but key themes did surface. Namely, For example, the film Blood Diamond SCT contends that media their stories and learnings in this report. report’s diverse elements, there are Five the importance of identifying issues, was released with a coordinated messages are particularly likely to influence outcome expectancies Key Considerations for SIE that were 4. Think about distribution differently objectives and tactics as early as possible campaign to enlist audiences as and self-efficacy when they feature Several common themes emerged continually cited by our contributors: — Create a distribution plan that — and then sharing this information with citizen activists and successfully successful characters with whom the during this process. While different surrounds your work and activates all stakeholders throughout the project — sparked global consumer demand viewer identifies, perceives as similar to himself or herself, and/ models may have a different number 1. Focus on the story — Tell the best all relevant shareholders, stakeholders in order to build an integrated approach for conflict-free diamonds. or finds attractive. of steps, or use different terminology, story you can or you will never reach and communities of action. Dustin that influences outcomes. — most of them ultimately describe the your audience. This mantra has been Lance Black and Carole Tomko Similarly, Oscar®-winning Moyer-Guse, Emily. “Toward a Theory of Entertainment Persuasion: Explaining following process: repeated by all of our contributors, from explain how they did this for their documentary An Inconvenient the Persuasive Effects of Entertainment- Education Messages.” Communication filmmakers Tom McCarthy (p. 20) and respective projects 8 (p. 110) and Truth helped shift global opinions Theory, vol. 18, no. 3, 2008, pp. 407–425. Fisher Stevens (p. 50), to Participant (p. 124). on climate change, one of the most Engagement Media’s David Linde (p. 32) and Elise contentious issues of our time, Pearlstein (p. 66). 5. Evaluate, learn and share — As the world becomes and mobilized a new generation of Assess what you have done pioneering environmental activists. Raising Awareness 2. Know your issue — Fully understand and pass on key learnings. Doc more fractured the real world of your story and then Society’s Impact Field Guide & Toolkit and perilous, it’s The documentary Food, Inc. got determine your intended impact and the Center for Media & Social to content creators to hundreds of thousands of people Change of Attitudes at the start. The importance of Impact’s Assessing the Impact thinking about how they could improve this consideration is evidenced by of Issues-Focused Documentaries tell the stories that move their diet and help protect the planet. contributors like Joshua Oppenheimer are just two best-in-class examples us forward as a species And finally, SoulPancake’s Kid President (p. 54) and Neal Baer (p. 88). of how to do this effectively. videos engaged a new generation in the Mobilization on our sacred planet. increasingly critical issue of citizenship. 3. Find the best partners — Identify and We don’t presume to have all of the — Rainn Wilson (p. 121) These projects are just a few among partner with leading organizations answers. However, in creating this report a growing number of powerful SIE Social Change and people already working on the we have collated practical theories and catalysts.

6 The State of SIE 7 What is SIE?

The business case for social Diversity sells, and ignoring such stories Building a core competency Composition of US TV impact entertainment US TV home audiences and audiences is no longer a viable Many consumers today are familiar with Generation Z: home audiences by race and ethnicity Today’s audiences are conscious Study after study has shown that option. Hollywood is leaving money on the term “greenwashing” — the deceptive Generation Z accounts for 26% The composition of TV audiences consumers, for whom social impact audiences are affected by what they of TV audiences in the US. by race and ethnicity is changing, the table by not delivering content to marketing some companies undertake is an important consideration. watch. So, if you’re a content creator with Generation Z the most diverse. these demographics — just look at the to suggest they are environmentally wanting to get your message across, success of series like Empire, Atlanta, responsible, without actually doing the 9% there’s no more powerful way to do it Black-ish, and Fresh Off the Boat, or hard work to make their businesses and 94% Greatest Generation 71% 56% than through entertainment. Moreover, White White theatrical juggernauts like . our planet more sustainable. believe companies should help address social and the exponential changes in technology environmental issues mean entertainment is no longer a siloed Despite how progressive the By contrast, other companies are endeavor. Its influence is everywhere, 26% entertainment industry may feel as embracing transparency and tackling including business, and therefore what’s 24% Gen Z a whole, in some ways it has fallen the challenges of sustainability head- 89% good for entertainment can be good for behind. Changes in consumption on, earning the business and loyalty of would rather buy from a Boomers business as well. models and shifting demographics environmentally conscious customers. company supporting social and environmental issues over mean that it’s more important than 22% 2% one that does not, but just 65% Contrary to old misconceptions that 20% Other ever for your content to cut through One could make a similar argument for pay attention to company’s Millennials 5% Asian American associating your content with a cause Gen X the clutter in order to connect with what we might term “screenwashing” in CSR efforts when deciding what to buy somehow limits your profitability, the 2% Other 15% audiences. This is where SIE can give our space — the superficial appearance changes sweeping across society today Asian American Black you a competitive advantage. On the of an ethical commitment to the greater 3% — particularly in terms of demographics, other side of the equation, it can be good, without really integrating the ethos 13% Black 81% distribution models and consumer 22% a real liability if your consumers don’t of SIE into your content or organization. believe they can have — Hispanic an impact on social appetites — actually show the opposite “The Nielsen Total Audience Report: Q1 2017.” feel you are doing enough — or worse, Ultimately, such entertainment just leaves 11% Hispanic or environmental is true: audiences are demanding content THE NIELSEN TOTAL AUDIENCE REPORT, Nielsen, that you are doing it wrong. audiences cynical and hungry for better 2017, nielsen.com/us/en/insights/reports/2017/ issues by using that engages with social issues. the-nielsen-total-audience-report-q1-2017.html. Boomers Gen Z content, ripe for the picking by more social media genuine SIE practitioners. What’s more, the increasing number of mobile devices and the rise of over- Entertainment leaders who truly invest the-top (OTT) are driving more and Millennials and Gen Zers are quickly Oscar® winners for Best Picture How stories change the brain in developing SIE as a core competency more content through the Internet. cutting their cords and interacting with were works of SIE — much of Hollywood Stories that are personal and will continue to build more competitive emotionally compelling engage Attention spans are shorter than ever, content on their cell phones in ways has been slow to recognize these more of the brain, and thus are brands that capture audiences’ loyalties and audiences don’t just have more that are radically different than the shifting tides and the rise of this better remembered, than simply and, as a result, their dollars. This will choices — they have greater expectations. generations before them. At the same “conscious consumer.” As a result, stating a set of facts. create more enduring, less transactional time, these younger audiences are the industry has lost out on many There are two key aspects to consumer relationships that in turn effect an effective story. First, it must

seeking to align their spending with SIE opportunities. capture and hold our attention. positive change in the world. — their values. In a 2017 report, Cone The second thing an effective “2017 Cone Gen Z CSR Study: How to Speak story does is ‘transport’ us into Z.” Cone Communications, conecomm. Communications found that 94% of All of this goes to show that Hollywood Building SIE as a core competency though com/research-blog/2017-genz-csr-study. the characters’ world. Yearly spend on entertainment Gen Zers believe companies should be takes not only a real commitment, but also between generations no longer needs to be wary of issue- a new understanding of this space. For Generation X and younger are spending addressing social and environmental driven content. When properly executed, significantly less on entertainment than issues. A further 89% indicated they would SIE can provide greater access to highly years, studios and production companies older generations, most likely because of the rather buy from a company supporting activated and hard-to-reach audiences. have financially supported corporate Exactly how these changes will proliferation of free content online. It is critical social responsibility (CSR) via third-party for entertainment companies to find new ways social and environmental issues over And, when we begin to factor in the be implemented, take shape and to find and engage these generations. one that does not. Like never before, other massive demographic shift of our initiatives. However, as we have seen hopefully blossom is yet to be seen. consumers are demanding the companies time — that populations are, year by recently through many of the statistics However, there are those whose work -36% they engage with make a positive year, increasingly diverse — another key referenced above, it can be hugely now offers practical steps the industry $3,613 difference in the world, and they are aspect of SIE comes into focus: its ability profitable, not to mention impactful, to can take in order to build systemic between per year generations even willing to pay a premium for it. to connect to previously underserved reflect CSR values in your core products — change. We’ve spoken to key practitioners Average and underrepresented audiences. i.e. on screen. CSR and SIE can be closely in this space, including Dr. Ana-Christina American: The corresponding scramble to meet related and often overlap, but under this Ramón and Dr. Darnell Hunt — co-authors $2,913 per year these new demands has thrown the According to the most recent UCLA new model, your efforts can not only of the Hollywood Diversity Report — and $2,311 industry into an entirely new era of Hollywood Diversity Report, in 2016, enhance the perception of your brand, Cathy Schulman, President and CEO per year competition, often blurring or upending diverse audiences bought 54% of the but also directly profit your organization. of Welle Entertainment, about the ways the boundaries that once separated tickets for Captain America: Civil War, in which the industry can and should — entertainment and technology. Because the highest-grossing film of the year, Zak, Paul J. “How Stories Change the Brain.” Despite these efforts — and in line with tackle these issues. Greater Good, 17 Dec. 2013, greatergood.berkeley. of its flexibility and the fact that it sparks and the majority of tickets for five of edu/article/item/how_stories_change_brain. a greater understanding of our world increased audience engagement — both the other top ten highest-grossing films today — our industry has struggled to Closing the gap between rhetoric and on and offline — SIE is a perfect fit for in that same year. More recently, hits match ideals with actions, as the #MeToo, reality will take time, money, creativity this new paradigm. such as Crazy Rich Asians and Black #OscarsSoWhite and TIME’S UP movements and most of all determined leadership. Born 1965–1980 Born 1981/later Panther have revealed it’s possible, and have revealed. This has become a critical Consistently generating effective SIE — “Table 2600. Generation of Reference Person: Annual Expenditure But, despite the critical acclaim of indeed lucrative, to cater to historically conversation in Hollywood helping to on a global scale will be very challenging, Means, Shares, Standard Errors, and Coefficients of Variation, Consumer “cause films” during awards season — underserved audiences while still holding support the much-needed changes around yet no less vital to our industry’s future Expenditure Survey, 2016.” Consumer Expenditure Survey, U.S. Bureau of Labor Statistics, Aug 2017, www.bls.gov/cex/2016/combined/gener.pdf. arguably at least 5 out of the last 10 mass-market appeal. diversity and inclusion as well. as it is to that of our world.

8 The State of SIE 9 What is SIE?

SIE Key Takeaways access to other engaged shareholders break through to underserved talent 16, in total — that they just started UCLA’s Hollywood dropping me and my older brother and stakeholders working in the same Diversity Report 2018 seeking new opportunities and overlooked SIE comes in many forms. From digital space. By leveraging partnerships — Films with casts that were from 21% audiences who are hungry for content off at the theater and having us short form to feature films, television and any resulting networks — you can to 30% minority enjoyed the highest that’s tailored to them. walk home. Week after week, I just series, plays and virtual reality, the achieve a multichannel approach to median global box office receipts couldn’t get enough of Luke, “the hero’s When you can make and the highest median return on increasing diversity of mediums allows development and distribution, which investment, while films with the most SIE is not a fad — it’s the future. journey,” and how he managed to save content creators to define their impact audiences empathize is vital to creating impact. racially and ethnically homogenous Research reveals that young audiences the galaxy. first, and then identify the best channels with something they casts were the poorest performers. increasingly prefer companies, products, through which to communicate their initially felt wasn’t Outcomes matter. If we want the field services and brands that make a positive I became so captivated by movies message. The most impactful SIE is not of SIE to grow, we have to learn from impact in the world. The idea of a triple in general. I felt they offered me the bound to a particular form — it uses the relatable, that’s the first our mistakes as well as our achievements. bottom line — evaluating your company’s most meaningful opportunity to make right tools to raise awareness, to drive step toward change. Identifying the right measures of success 21-30% performance from a social, environmental a difference in this world. Even if I engagement and to inspire action. is essential if you want to understand minority cast and financial perspective — matters in never had the chance to save an entire — Don Cheadle (p. 25) your impact, replicate it, and increase it members the entertainment industry too, especially galaxy, at least I could help tell stories If you want to make an impact, start in the future. As most businesses discover at a time when delivery platforms and that made the world a better place. with a great story. Good intentions sooner or later, it’s hard to improve what loyalties are in flux like never before. And at its simplest, this remains the alone aren’t enough in the entertainment you don’t measure. For companies to sustain their influence central opportunity of SIE. industry, so creators need to trigger Effective SIE requires building strong — among consumers and talent alike, they Hunt, Darnell et al. Hollywood Diversity Report 2018: people’s deepest emotions if they hope partnerships. It’s imperative to collaborate Embracing diversity on and off screen Five Years of Progress and Missed Opportunities. must take a holistic view of what they In an era of unprecedented global UCLA College of Social Sciences, 2018, socialsciences. to move them into action. Dramas should with the key people and organizations is key. In this highly fractured, ever- ucla.edu/wp-content/uploads/2018/02/UCLA- create and what they can offer. challenges, our industry has an urgent captivate, comedies should make people working on your issue. These partners changing entertainment landscape, it Hollywood-Diversity-Report-2018-2-27-18.pdf. responsibility to make a significant, cry from laughing, and documentaries are often present long before you arrive is no longer just the big three networks Looking ahead more catalytic impact on the real should challenge, inspire and inform and will remain long after you leave. They clamoring to provide content to the I was seven years old when the movie world. Together, we must all rise to the viewers. Great SIE can sometimes do can therefore offer critical knowledge lowest common denominator. It’s now Star Wars came out, and I made challenge. May your best work, and all of these things. around which to build your work, plus more important than ever before to my parents take me so many times — our greatest impact, lie ahead.

Diversity in Hollywood CAA diversity study 2017 The Hero’s Journey According to Dr. Stacy Smith, Founder and According to the USC Annenberg CAA’s definition of a “truly The hero’s journey — the archetypal Call to adventure Director of the Annenberg Inclusion Initiative School of Communication and diverse” film is a film with a story pattern described by at USC, “A typical feature depicts roughly Journalism, “if screenwriters cast that is at least 30% non- mythologist Joseph Campbell. 45 characters. Most of them aren’t leads simply added five female speaking white. On average, these films Return or even secondary roles, but rather tertiary characters to each film in the top outperform releases that are not with elixir characters speaking one or more words. 100 each year, we could reach “truly diverse” at the box office Gender stereotyping in these small parts gender parity in four years.” on opening weekends. Refusal of the call (police, doctors, lawyers) may be why we see consistent imbalance onscreen.” A film with a non-diverse cast:

68.2% average opening Resurrection Ordinary Mentor $12M weekend World

51% A film with a “truly diverse” cast: Male 49% Crossing the $31M threshold average opening 31.8% weekend The road Female back Special World — Anderson, Tre’vell. “New CAA Study Says Diverse Casting Tests, allies, Increases Box Office Potential Across All Budgets.” LA Times, 21 June 2017, www.latimes.com/entertainment/movies/la- enemies et-mn-caa-diversity-study-exclusive-20170622-story.html. Reward, seizing 2017 2018 2019 2020 the sword Approach — – Smith, Stacy L. “Hey, Hollywood: It’s Time to Adopt the NFL’s Rooney Pieper, Katherine. “Solutions.” USC Annenberg Rule – for Women (Guest Women).” , 15 Dec. 2014, School for Communication and Journalism, 15 Nov. 2017, hollywoodreporter.com/news/hey-hollywood-time-adopt-nfls-754659. annenberg.usc.edu/research/aii/research/solutions. Ordeal, death Smith, S., et al. Inequality in 1,100 Popular Films: Examining and rebirth Portrayals of Gender, Race/Ethnicity, LGBT & Disability from 2007 to 2017. USC Annenberg, 2018, assets.uscannenberg. org/docs/inequality-in-1100-popular-films.pdf.

10 The State of SIE 11 Contents

From Myth to Reality 44 Television Emerging Forms The Bigger Picture Funding the Future 178 — — Reginald Hudlin Diana Barrett What is SIE? The Revolution 84 Creating Soulful Content 120 Seeding a New 156 Will Be Televised — Generation The State of SIE 4 — Shabnam Mogharabi — The Power of Partnerships 180 — Pat Mitchell Rainn Wilson Teri Schwartz — Peter Bisanz Ellen Scott Sandy Herz Sean Metzger A Wave of Change 50 Taking the Nation’s 88 Less is More 124 — Temperature — Narrative Film Fisher Stevens — Carole Tomko Closing the Gap 162 Amplifying Impact 182 Leonardo DiCaprio Neal Baer — — Caty Borum Chattoo Wendy Cohen Out and About 16 Shock of the Familiar 54 Divining the Future 92 Stepping Inside the Issue 128 — — — — Dustin Lance Black Joshua Oppenheimer Miura Kite Nonny de la Peña Agency for Change 164 Convenings Calendar 184 Gus Van Sant — Michelle Kydd Lee Natalie Tran Credits & Thanks 186 The Reality of Fiction 20 A Driving Force 58 Case Study: Will & Grace 96 SIE Agenda — — — Tom McCarthy Jess Search Edward Schiappa Community Spirit 168 — The Story of Change 134 Beadie Finzi — The Power Within 24 Case Study: 62 Theater Holly Gordon — , Terry George — The Ecosystem 170 Don Cheadle Samantha Wright of Change V for Victory 102 Fortune Favors 138 — — the Prepared Richard Ray Perez Case Study: 28 Telling a Good Story 66 Eve Ensler — The Day After Tomorrow — Bonnie Abaunza — Elise Pearlstein The Truth Shall 172 Anthony Leiserowitz Set Us Free All the World’s a Stage 106 Picturing Progress 142 — — — Kathy Eldon Finding Our Purpose 32 Sparking the Imagination 70 Oskar Eustis Dr. Darnell Hunt Amy Eldon Turteltaub — — Dr. Ana-Christina Ramón David Linde Tabitha Jackson Altering Perceptions 174 Theater of the Moment 110 Dismantling 146 — — Gender Bias Cara Mertes Shooting for the Moon 36 Survival Stories 74 Dustin Lance Black — — — Cathy Schulman Liba Wenig Rubenstein James Redford Pivotal Funding 176 Reading Between 114 In Media We Trust 150 — the Lines — Geralyn Dreyfous Stories Worth Fighting For 40 Case Study: 78 — Shamil Idriss — Food, Inc. Shirley Jo Finney Gina Prince-Bythewood — Johanna Blakley

12 The State of SIE 13 Chapter 1 Narrative Film Middle of Nowhere Green Book BlacKkKlansman Contagion Green Book Spotlight Milk Beasts of No Nation This section: Straight Outta Compton In our opening chapters, Narrative film — which we A snapshot of the SIE ecosystem Erin Brockovich Wonder within Narrative Film. The Kite Runner Lone Survivor we explore what we perceive define as feature-length works On The Basis of Sex Out and About 16 We’re only at the beginning of our Beach Rats North Country The Florida Project Pariah Universal Schindler's List The Post Slumdog Millionaire to be the primary forms of Dustin Lance Black journey to map the SIE ecosystem. of fictional or fictionalized cinema Lincoln Sorry to Bother You & Gus Van Sant

Lord of War Film 4 Narrative Film For a comprehensive look at our efforts Bridge of Spies Roma Fruitvale Station Get Out social impact entertainment: — is the natural for so far, you can find the rest of the SIE Wonder map tucked away in the inside back Participant The Reality of Fiction 20 performance and screen-based this exploration. As a vehicle for Tom McCarthy cover. To help us build this further or Cinereach correct anything we may have missed, entertainment formats that storytellers, artists and visionaries visit www.thestateofsie.com The Power Within 24 are both long-established for over a century, narrative film Terry George The Kite Runner & Don Cheadle and well-defined, though Fences The Tale has rapidly become one of the Paramount Case Study: 28 The Long Dumb Road often still evolving. most influential mediums of The Day After Tomorrow Selma Gamechanger Anthony Leiserowitz Films the modern age. Schindler's List Finding Our Purpose 32 Green Book The Promise David Linde Amistad The Kite Runner On The Basis of Sex Shooting for the Moon 36

Hotel Rwanda The Post Liba Wenig Rubenstein Endgame Entertainment Wonderful Lincoln Films Stories Worth 40 Lord of War The Soloist Fighting For Bridge of Spies Gina Prince-Bythewood 12 Years a Slave River Road Our study made one thing clear: not only From Myth to Reality 44 Brokeback Mountain can narrative film have social impact, it Reginald Hudlin

Okja can have social impact at scale. Period. Beasts of No Nation First They Killed My Father — Anthony Leiserowitz p29

Mudbound Battle of the Sexes To the Bone

Roma Lincoln Narrative Film The Post

Middle of Nowhere FOX The Day After Tomorrow Social impact isn’t just Crazy Rich Asians ARRAY for documentaries. Representation, class Vaya 15 Hidden Figures In December 2018, USC’s Media Institute Green Book Restless City for Social Change (MISC) released its Slumdog Millionaire 14 Racism Love, Simon first annual “MISC LIST: The 15 Most Wind River Film 44 Significant Social Change Films” along A Private War A Fantastic Woman 12 Years a Slave with the issues highlighted in each. While War Lone Survivor 13 not every title on this list is a narrative Gandhi film it shows how both popular and indie Leave No Trace films can tackle social issues head-on. 12 , PTSD Shoplifters 11 Poverty Three Identical Strangers 10 Scientific/Medical ethics, mental health Sorry to Bother You Annapurna Science Fair Detroit 9 Education

Beautiful Boy Ben Is Back 8 Addiction, recovery First Reformed Environmentalism, personal responsibility MACRO 7 Spotlight Roma Bridge of Spies 6 Class, women’s equality Fences Winter's Bone Zootopia A Wrinkle in Time Sorry to Bother You Dark Money Lincoln Harpo Films Campaign finance, free press, environment Mudbound 5 Moana Coco Inside Out The Hate U Give Queen of Katwe Blood Diamond 4 Institutional racism, police misconduct Beautiful Boy Warner Bros. Contagion Selma Boy Erased The Immortal Life of Henrietta Lacks North Country 3 Sexual identity, gay civil rights Moonlight Okja Lady Bird Syriana The Florida Project Get Out 12 Years a Slave HBO — Addiction, domestic violence, economic opportunity Blumhouse Jones, Oliver. “The 15 most significant social impact 2 Obvious Child Parkes + BlacKkKlansman films of 2018.” USC News, USC University of Southern Moonlight Paterno MacDonald , 21 Dec. 2018, news.usc.edu/153288/the- Black Panther The Normal Heart The Normal Heart 15-most-significant-social-impact-films-of-2018/. Representation, technology, colonialism, racism Groundswell Temple Grandin Image Nation 1 Selma MGM Productions Confirmation The Immortal Life of Henrietta Lacks The Tale Milk The Kite Runner Game Change Too Big to Fail

Confirmation 15 Christians. This enabled me, from a very Dustin young age, to understand the power of story Milk Lance Black to change people’s hearts and minds. In 1977, was Academy Award®-winning elected to the

Today, whenever I write, I do so in an effort to Narrative Film filmmaker, writer, and Board of Supervisors, Out dispel those misconceptions. I try to give people becoming the first openly social activist gay man to be voted into a window into things they never knew about, major public office in America through stories that move and entertain them. – the film charts the last This is the cause that propels my work, because eight years of Milk’s life. Notable works: our differences are what make each of us special. Milk, 8, If there’s one thing my experience has shown me, it’s that every single person on this planet is a minority in one way or another. There’s a whole I’m not a morning person. To get out world of stories waiting to be told. of bed, I need a great deal of coffee and the knowledge that what I’m doing is making a difference in the world. In 2008, a bill to recognize was It’s fairly obvious where this drive comes from. vetoed by the Governor I was raised by a paralyzed single mother and You might be greeted with of California. In 2009, grew up in a Mormon home in Texas, knowing after the film’s release, enthusiasm when pitching SIE May 22nd – Milk’s birthday from the age of six that I was gay. People – was formally recognized treated my mother poorly because she was stories, but sadly not when in California as Harvey Milk different, and I knew that if anybody found Day. In August 2009, he was you need the greenlight. also posthumously honored out I was gay I’d be treated badly too. I came with the Presidential Medal of to realize that this prejudice often stemmed Freedom by .

from misconceptions and a lack of understanding — “Harvey Milk.” History, A&E Television about people of diversity. Networks, LLC, www.history.com/ However, most social impact stories don’t topics/harvey-milk. Being a Southern boy in a religious home have enough capes, superpowers or fangs, was a gift though, because I grew up so they aren’t obvious moneymakers. You might surrounded by some of the greatest storytellers be greeted with enthusiasm when pitching them, on the planet: drunk Southerners and devout but sadly not when you need the greenlight.

Gus someone whose life was a watershed moment In 2009, Black was Van Sant in lesbian and gay history. Within Harvey Milk’s awarded the Paul Selvin story there exists so many of our own LGBTQ Award from the WGA. Director, screenwriter, stories. There are echoes of us in all those The award is “presented to painter, photographer, that member whose script musician, and author members of San Francisco’s LGBTQ population best embodies the spirit of who took charge of their lives and insisted on the constitutional and civil equality — people who were a major source of rights and liberties which are indispensable to the survival inspiration for me. Harvey asked that gay people of free writers everywhere Notable works: living out of the closet run for office themselves, and to those whose defense Paul Selvin committed his Milk, , rather than simply waiting for representation by straight politicians. When he did that, he started professional life.” — something that began small and grew bigger and “The Paul Selvin Award.” The Writers When I look back at the films I’ve increasingly significant over time. Guild Awards, Writers Guild of America West, awards.wga.org/

© and other respective production studios and distributors Milk, 2008 made, one clear commonality is that wga-awards/previous-paul-selvin. I am always in the process of learning I think that when you’re starting out in this something new about my characters. space, it’s vital to not overlook your own viewpoint. Catalyzing social change is a broad and intense Whenever I discover something impactful arena, and it is also an end result, not just a Milk grossed $55 million worldwide about them, I try to represent that somehow on general objective. If there’s one part of society and the screen. I want the things that I am learning that you feel you need to change, then you and won two ®. to be at the center of the drama; as I find new may have a great job to do — but I would advise Dustin Lance Black and Gus Van details that seem important, that becomes that you look deep within yourself and really Sant discuss the importance of what the movie is. think about what you want to say. It can be elusive, and you may find that it lies in an About telling such an inspiring story. In the case of Milk, we were dealing with unexpected place.

16 The State of SIE 17 As a result, you have to build a package that is reaching a boiling point, one where as a Milk went on to gross $55 million worldwide This is why I think it’s important for any attractive to studio executives in order to “show creative I had to act, even though every single Milk box office and was nominated for eight Academy Awards®, writer to try to become a writer-producer. Milk awards them the money” — but in this case, the money is person in the business was saying, “Don’t winning two. The process of making this project No one will love your story as much as you Nominations Wins usually your cast list. The good news is that actors you dare!” illustrates how you’ve got to have a thick skin do, no one will feel it in their bones the way

flock to socially conscious work. These stories $54M+ in this business to survive people actively trying you feel it, and no one will be able to fight Narrative Film have substance and the kinds of characters that I’d wanted to tell the story of Harvey Milk since Worldwide gross to talk you out of what you so strongly believe for it and defend why it should exist as much many actors dream of playing. I first heard it as a teenager, because it depicts you should be doing. as you will. 8 2 a successful strategy for how LGBT people can Academy Awards® Domestic total gross: win in politics. Warner Bros. had the option $31,841,299 I often ask my screenwriting students, on a book about him but had failed to make a “Why you? Why are you telling this story? Foreign total gross: movie for decades. I tried to get the job making Why are you the only person who should 4 $22,745,285 their version of that book, but they told me they be telling this story?” They have to be able BAFTA® Awards Limited opening wanted a writer with an Academy Award®. to answer these questions because it’s not I’d wanted to tell the story of weekend: Sometimes when $1,453,844 just about having a personal understanding Harvey Milk since I first heard So I went ahead and decided to do it myself, you show some guts, of the story. They have to be so confident in 1 Wide opening weekend: Golden Globe® Awards it as a teenager, because it and went to war with Warner Bros. using $1,481,155 you earn respect. their idea that they can survive all the “no’s.” a Capital One credit card to finance the feature. If a story lives deep inside of them, there’s a depicts a successful strategy Widest release: Through an amazing set of circumstances, 882 theaters much better chance they will. for how LGBT people can I teamed up with Gus Van Sant and for the lead 3 1 In release: SAG® Awards win in politics. role we landed , who was the natural 142 days/20 weeks I even lost my agent over it. He (probably The things that make you different are the fit creatively. After the story of my battle with wisely) told me it was a bad idea to make an things that make you special, and as a writer, — Warner Bros. leaked in Variety, American Beauty “Milk.” Box Office Mojo, enemy of one of the major studios. In the end that makes you marketable. Audiences want IMDb.com, Inc., www.boxofficemojo. producers and called com/movies/?id=milk.htm. he was wrong though, because the next movie to see and learn something new and something 4 2 That’s how I attracted the team I worked with to congratulate me, and I managed to convince I made was with Warner Bros. Sometimes when different — and that lives inside each and Independent Spirit Awards on Milk. The whole project is a tale of frustration them to come on board the project. you show some guts, you earn respect. every one of us. — “Milk (2008): Awards.” IMDb, 2019, www..com/title/tt1013753/ Milk, 2008 awards?ref_=tt_awd.

2018 GLAAD Studio LGBT moviegoers are more Responsibility Index likely to watch their favorite GLAAD’s Accelerating According to the MPAA’s movies again and again. Acceptance report shows most recent THEME report, that 20% of Americans aged in the US and Canada, people 18–34 and 12% aged 35–51 aged 18–39 made up 38% identify as LGBTQ. of the “frequent moviegoer” If Hollywood wants to remain audience in 2017 — meaning relevant, they must create they went to the cinema once stories that are reflective of a month or more. the world LGBTQ people know. 20% of 18–34 yr olds 22% identify as LGBTQ more likely to see a new theatrical release more than once. 9% more likely to buy the DVD, Blu-ray, or digital download of a film they saw in theaters.

— “Lights, Camera, Action! State of the LGBT Moviegoer.” Nielsen, The Nielsen Company, 13 Jan. 2014, www.nielsen.com/us/en/insights/ reports/2014/lights-camera-action- — state-of-the-lgbt-moviegoer.html. Townsend, Megan et al. 2018 Studio Responsibility Index Report. GLAAD Media Institute, 2018. “2017 THEME Report.” Motion Picture Association of America, MPAA, www.mpaa.org/wp-content/ uploads/2018/04/MPAA-THEME-Report-2017_Final.pdf. © Focus Features and other respective production studios and distributors

18 The State of SIE 19 we knew we had a powerful subject with many Tom layers to it. We were also dealing with a story Spotlight awards McCarthy that a lot of people thought they knew, but few Nominations Wins did: even The Globe reporters who led the Academy Award®-winning writer, director, actor, investigation had no idea of the scale of events Narrative Film The and producer or how many children had suffered at the hands of priests. I realized that, as an Irish Catholic who 6 2 had lived in Boston, so much of the story was new Academy Awards® even to me. So the challenge was to create a film that authentically transported the audience to Notable works: Spotlight, The Visitor, The Station Agent that time before they were aware of the scope 3 1 and severity of these crimes, in order to take BAFTA® Awards Reality them on a voyage of discovery. As a filmmaker, first and foremost, my job is storytelling. One of the ways to do this was to ensure that 3 the film was as accurate as possible, so we Golden Globe® Awards For a film to have an impact, it has to play interviewed The Globe reporters about every well as a movie. It has to grab people’s interest. little detail of the investigation. Sometimes we Whenever I take on a new topic, my first job is put it in their words, sometimes our words, but 2 1 of SAG® Awards to find a story that will engage people. If they’re we would always go back to them to make sure not engaged, then the film ceases to do its work we were staying true to the spirit of the story. as a tool for social impact. Those reporters and editors read every draft of the script we gave them. We knew we would be 4 5 With Spotlight — a film that explores sexual abuse, held up to a lot of scrutiny because of the subject Independent Spirit Awards + the Award institutional abuse, and journalistic practices — matter, so we had to get the facts right. Fiction “Spotlight (2015): Awards.” IMDb, 2019, www.imdb. com/ Spotlight, 2015 title/tt1895587/awards.

Spotlight reaches the Vatican In early 2016, the Times reported on a Vatican commission meeting on clerical sexual abuse, established by Pope Francis in 2014. Members of the commission attended a private screening of Spotlight.

Spotlight’s campaign website includes contact information for the National Sexual Assault Hotline, Survivors Network for Those Abused by Priests (SNAP), and the Childhelp National Child Abuse Hotline, as well as links to free guides and Narrative offers toolkits from the National Sexual Violence Resource a powerful way to depict Center for survivors, parents of survivors, real events. Tom McCarthy and the communities and congregations affected explains the opportunities by sexual abuse. and responsibilities of telling — “Spotlight | Survivor Resources | TakePart.” TakePart, Participant true stories. Media, www.takepart.com/spotlight/ survivor-resources/index.html. © Participant© Media other respective and production studios distributors and

20 The State of SIE 21 When you make a movie, you eventually reach It is a story about a lonely middle-aged man a point where the studio starts thinking about whose life changes after an encounter with Spotlight box office The Visitor how to promote it. And, ultimately, nothing helps a young immigrant couple in New York. Walter Vale, a lonely spread the word more than having a good movie! This came about after a few trips I took to college professor, travels

Good movies have a way of pushing themselves the Middle East. I was very affected by the $98M+ to New York City to attend Narrative Film a conference and finds a out of the box and becoming must-see events. people and way of life there, and it struck me Worldwide gross young immigrant couple I was fortunate in working with a company like that we were going to war in that part of the living in his apartment. Participant Media, which has a social impact world, yet most Americans didn’t understand Vale’s encounter with the Domestic total gross: team step in to direct that conversation, allowing the cultures of the region. couple forces him to deal $45,055,776 with issues of identity, me as a director to focus on the story. That can Foreign total gross: immigration, and cross- be very powerful. Most studios are not set up to $53,219,462 cultural communication. do this, and that’s what makes Participant Media Limited opening so unique. I try to give them the best film possible, The Visitor was used in a social action campaign by , weekend: then they can work toward finding the right inspiring audiences to learn about $295,009 partners and platforms to impact the issues the US immigration detention system. The Visitor box office Wide opening we’ve highlighted. Schools, healthcare providers, attorneys, legislators and social weekend: workers were all encouraged to use $4,408,252 the film as a tool to raise awareness Widest release: $18M+ around the issues. 1,227 theaters Participant© Media other respective and production studios distributors and The Visitor, 2007 Worldwide gross — “The Visitor Discussion Guide.” Amnesty In release: International, 2009, www.amnesty 182 days/26 weeks usa.org/files/pdfs/irtoolkit_visitor_ Domestic total gross: These detention centers were warehouses programs. In addition, over one thousand lawyers discussion_guide_10_13_09_ltr.pdf. — $9,427,089 "Spotlight." Box Office Mojo, IMDb. of human beings lost in a legal and cultural were recruited and trained using the film and If they’re not engaged, com, Inc., www.boxofficemojo.com/ Foreign total gross: movies/?page=main&id=spotlight.htm. purgatory. The Visitor was able to shine a light other materials on issues surrounding deportation. $8,651,086 then the film ceases to on this and force viewers to confront how they Opening weekend: felt about it. I tried to humanize the subject and While the experiences of making each of these do its work as a tool for $86,488 When I got back to New York, I spent a make the story personal. In conjunction with the films were different, the takeaways were similar. Widest release: social impact. lot of time in the Arab community, and the release of the film, the American Civil Liberties It’s about connection. It’s about empathy. It’s 270 theaters film’s characters started to take shape. At Union and Participant developed a social impact about understanding. Unless you can hook In release: the time, people weren’t really talking about campaign that focused on the film’s themes of people, you’re not going to have the impact that 182 days/26 weeks immigration, but that was when I started illegal detention, treatment of immigrants, and the we all so often seek. Ultimately, it’s about the — hearing about detention centers. I got an legal challenges that immigrants face. They also story: if the story is good, it raises questions and "The Visitor." Box Office Mojo, IMDb. com, Inc., www.boxofficemojo. The Visitor, an earlier film of mine, was opportunity to visit one and I knew immediately created a website to promote the use of the film starts a conversation that lives on past the film com/movies/?id=visitor08.htm. entirely fictional but also had real-world concerns. I had to take on this story. for educational purposes and within community itself. If we can do that, we’ve done our job.

Spotlight, 2015

The Boston Globe daily readers 53% Spotlight’s theatrical run was of The Boston Globe’s subscribers were 1000+ lawyers were recruited November 2015–May 2016. Catholic at the time of the investigation’s and trained using The Visitor beginnings in 2001–2002. and other materials on issues surrounding deportation. The filmmakers teamed up with Active Voice to launch Fall 2015 Spring 2016 a campaign using the film to educate audiences about 17,900 readers 25,040 readers local policy issues, enlist them to visit nearby detention centers, and get their help on advocacy efforts. Participant and Active Voice partnered with O’Melveny & Meyers to train attorneys to represent detainees at bond hearings.

— “The Visitor Social Action Campaign: Case Story.” Active Voice, 2010, www.activevoice.net/wp-content/ uploads/2014/06/The-Visitor- Case-Study-low-res.pdf.

— — “Scarborough USA+ 2016 Release 1 (Reissue 09-01-2016).” Nielsen Larson, Sarah. “‘Spotlight’ and Its Revelations.” The New

© Participant© Media other respective and production studios distributors and Scarborough, Sept. 2017. Statista, www.statista.com/statistics/229709/ Yorker, Condé Nast, 8 Dec. 2015, www.newyorker.com/ readers-of-the-boston-globe-hr-daily-edition/. culture/sarah-larson/spotlight-and-its-revelations.

22 The State of SIE 23 These people are doing the tough work on Don the ground, and movies can contextualize the Hotel Rwanda box office Cheadle problems they’re attempting to solve. They can help audiences understand what an issue is, Academy Award®-

what it looks like, and in some instances move Narrative Film nominated actor, film $33M+ producer, director, them to take action. Worldwide gross and writer With Hotel Rwanda we always knew we didn’t Domestic total gross: want to make a “genocide movie.” We wanted $23,530,892 to make a movie about people. We wanted to Notable works: Foreign total gross: humanize the issue, because when you can Hotel Rwanda, Avengers: Infinity War, Ocean’s Eleven $10,351,351 make audiences empathize with something Limited opening that they initially felt isn’t relatable, that’s Hotel Rwanda marked the beginning weekend: the first step toward change. After that, you $100,091 of the intersection of my filmmaking have to follow up with something actionable — Wide opening weekend: and social impact work. something they can do to make a difference $2,316,416 — otherwise it’s a missed opportunity. Widest release: After the success of the film, I was invited 824 theaters to join a congressional delegation to Sudan There’s a lot of emphasis right now on big- In release: along with John Prendergast of the Enough budget tentpole superhero movies. They’re a 128 days/18 weeks Project and Paul Rusesabagina himself. I was lot of fun. I’m even in some of them (those are — quickly pulled into the current of work happening especially fun). But smaller films — like Get Out, “Hotel Rwanda.” Box Office Mojo, IMDB.com, Inc, boxofficemojo.com/ around trying to prevent the atrocities being Sorry to Bother You, even The Florida Project — are movies/?id=hotelrwanda.htm. committed in Darfur. These experiences led to the demonstrating the increasing value of exploring founding of Not On Our Watch — a humanitarian the intersection between entertainment and social organization dedicated to raising awareness impact. This value is reflected tenfold when large around international crises. studio films have those same considerations; Hotel Rwanda awards just look at the success of Black Panther. I think After Hotel Rwanda I was offered a lot of studios need to recognize that there’s a big market Nominations Wins socially conscious roles and was asked to out there for these kinds of stories. It’s my hope be a spokesperson for different causes. I felt that they start to put some real muscle behind privileged to help “turn the camera” toward them, not only because the issues need that 3 issues and the amazing people dedicated kind of exposure, but also because the audiences Academy Awards® to tackling them. are out there, ready and waiting! Hotel Rwanda, 2004 © and other respective production studios and distributors 3 Golden Globe® Awards

Terry Because of my background, I tend to lean George towards political and humanitarian stories. 1 I grew up in Belfast, Northern Ireland, during BAFTA® Awards Writer and director The Power “The Troubles” in the late 60s and 70s. It was a time of political maelstrom in the world, so my personal experience, my community’s experience, 3 and my worldview set the agenda for my particular SAG® Awards interests. This became the basis for the first three Notable works: films I made with Jim Sheridan: In the Name of Hotel Rwanda, In the Name of the Father, The Promise the Father, Some Mother’s Son and The Boxer. 1 1 Within Humanitas Prize My background, along with my spell as a freelance journalist in New York, gave me a set of tools that Today, a big percentage of audiences I then applied to making these kinds of stories. Terry George and Don Cheadle go to the cinema to empathize with 1 heroes and, for many kids especially, I have always preferred nonfiction or fiction set WGA Awards discuss chronicling the stories superheroes. in real-world events. Those were the films that of our real-life superheroes — most appealed to me. Feature films allow you to In my work, I deal in real-life superheroes. explore in a different way the inner thoughts of 1 PGA Awards ordinary people who transform My superheroes are ordinary people who the main characters and the impact of political (the Award) transform society in ways that we can all and humanitarian events upon them. You can society with acts of courage — believe in and identify with — people, sometimes distill, crystallize, and present the emotions and “Hotel Rwanda (2004): Awards.” IMDb, 2019, www.imdb.com/title/ and bravery. very flawed or damaged, who end up doing actions of the characters in a very intimate way tt0395169/awards?ref_=tt_awd. something extraordinary. that documentary often does not allow.

24 The State of SIE 25

The Promise was produced by Survival Pictures, whose main goal was to donate Hotel Rwanda all proceeds from the theatrical run to Many times we talked about the film Hotel Rwanda is based nonprofits, including the — obviously the process of developing AIDS Foundation and other on the true story of Paul and humanitarian groups. The cast was a film like this takes a long time, and Rusesabagina, a hotel Narrative Film informed of this plan before signing on with every passing month, I’d say to manager who housed over a thousand Tutsi refugees for the movie, and Survival financially him, ‘Are you sure you still want to do backed the marketing efforts along during their struggle against with the film’s distributor, Open Road. this? Because we could just donate the the Hutu militia in Rwanda during the 1994 Rwandan — money to charity — that’s what you’ve genocide. The film explores Lee, Ashley, and Rebecca Ford. “‘The Promise’: Can Armenian Genocide Drama Bring Charity always done.’ And he said, ‘No. We can the themes of political Success?” The Hollywood Reporter, 14 Apr. 2017, www. make the movie and donate to charity. corruption and violence hollywoodreporter.com/news/promise-puts-armenian- associated with the genocide. genocide-onscreen-donates-profits-charity-993244. We want to do both.’

– Eric Esrailian on Kirk Kerkorian

Hotel Rwanda and Amnesty Bonnie Abaunza, the Director of Artists for Amnesty, approached MGM/United Artists with a proposal: Amnesty would mobilize its membership to promote Hotel Rwanda. In turn, the film would help generate interest and contributions for Amnesty’s fight for humanitarian relief and international action in Darfur, Sudan, where an ethnic cleansing campaign had caused tens of thousands of deaths and made more than © Survival Pictures and other respective production studios and distributors 1.8 million people refugees. The Promise, 2016 — Steele-Saccio, Eva. “The Movie Is the Message.” Mother Jones, Mother Jones and the Foundation for National Progress, That intimacy is vital and one of the most who face extraordinary circumstances and theme that triggers me. The next is, how do a condition of the film’s funding by 1 Mar. 2005, www.motherjones.com/ important ways of conveying a story or issue. become heroes — whether it’s Oskar Schindler you make something entertaining, how do you businessman Kirk Kerkorian and producer media/2005/03/movie-message/. For example, there’s no question that the or Paul Rusesabagina in Hotel Rwanda. make people pay their hard-earned dollars to Eric Esrailian, an incredible one that I would Holocaust is viewed by many people through sit through a film for a couple of hours and come like to see replicated again and again. the experience of watching Schindler’s List. The To engage an audience like that is social out with all their emotions stimulated, feeling same goes for the Cambodian genocide and activism in itself. We didn’t expect Hotel empathy, anger, inspiration, sorrow, joy? Unfortunately, the marketplace has now Hotel Rwanda premiere The Killing Fields. Being able to stimulate the Rwanda to play at more than a few festivals, overtaken the philosophy of filmmaking At the Los Angeles premiere, emotions of an audience is such a powerful gift. given the film’s bleak subject matter. Yet it and studios are more devoted to box office sponsored by Amnesty, A feature film takes people beyond an event caught the zeitgeist, earning almost $34 million numbers than ever before. I wish there were co-hosts and allows them to relate to ordinary people worldwide and picking up three Academy a lot more philanthropy and heart in our and Harrison Ford called attention to the conflict in Award® nominations. It became a motivating business. Social impact entertainment is so Darfur, reiterating the film’s factor for the campaign against genocide I meet people around important — just look at the extraordinary underlying message: “We in Darfur — including the creation of Not On impact and capacity to educate of the films didn’t stop it 10 years ago, we have to stop it now.” Our Watch, founded by Don Cheadle, George the world who tell me I’ve mentioned. The Promise Clooney, and several other stars — and even that Hotel Rwanda was When Michael – a brilliant played a key role in influencing policy at the I meet people around the world who tell medical student – meets the first real education $25K White House, where it was watched twice by Ana, their shared Armenian me that Hotel Rwanda was the first real President Bush. Even though the film was set heritage sparks an attraction they had about Africa. education they had about Africa. The Irish A single photo of the stars that explodes into a at the premiere that ran that in a small country in the middle of Africa that romantic rivalry between films we made have had a big impact on week in People magazine most people knew nothing about, because Michael and Ana’s boyfriend people’s perception of what was taking ended up drawing hundreds it was a universal story it helped educate a Chris, a famous American place in Northern Ireland at the time. The of calls and donations. photojournalist dedicated In all, the event brought in great many people on the genocide. to exposing political truth. As The Promise — a love story with fictional Armenian diaspora around the world can over $25,000 for Amnesty’s the Ottoman Empire crumbles characters set during the real events of the point to The Promise and say, “Here’s what work in Darfur. into war-torn chaos, their To me, this was not only proof that the medium Armenian genocide — was written in the happened to our people.” To have it there as — conflicting passions must be had the power to effect change, but that the blueprint of David Lean films, weaving a great a record is a wonderful thing. So, maybe Steele-Saccio, Eva. “The Movie Is the deferred while they join forces Message.” Mother Jones, Mother Jones universality of a story is what draws people to get their people to safety triangular love story against the huge political you’re not going to live up to the bravery and the Foundation for National Progress, 1 Mar. 2005, www.motherjones.com/ in. I always look for “nobility” and what I call and survive themselves. events of the time. This film was a totally unique of Paul Rusesabagina, or Gerry Conlon in In media/2005/03/movie-message/. working-class heroes: the ordinary people — situation where every dollar of the proceeds — the Name of the Father, but I present stories “The Promise: About.” The Promise,

© Survival Pictures and other respective production studios and distributors with all their flaws who overcome their fears to www.thepromise.movie/about. not profits —­ was donated to human rights where that is a possibility. And just maybe,

The Promise, 2016 find humanity and strength. This is the overall and humanitarian nonprofit groups. This was these stories will inspire people to try.

26 The State of SIE 27 Case Study Bush administration in a negative light — even the voting Anthony intentions of moviegoers. Leiserowitz The results Director of the Yale Program on Climate

Our study made one thing clear: not only can narrative film Narrative Film Change Communication and a Senior The Day After Research Scientist at the Yale School have social impact, it can have social impact at scale. Period. of Forestry & Environmental Studies Even after controlling for demographic and political factors, people who saw the film became more convinced Tomorrow that climate change was real, became more worried about The study it, changed their conceptual model of how climate change In 2004, soon after completing one of the first studies of actually works, became more supportive of climate policy, American views on climate change, I started to see trailers and became more willing to say that they at least intended Roland Emmerich’s blockbuster put climate change on for The Day After Tomorrow (TDAT). Immediately, I could see to change their behaviors. the map, but did it change the beliefs and behaviors of that it was going to be a Hollywood blockbuster that millions of Americans would watch, and it was going to describe To cite a few results: 83% of moviegoers said they were moviegoers? Yes, and at scale, says Anthony Leiserowitz. climate change in a completely new way for the public. concerned about global warming compared to 72% of non- watchers; more than 80% of moviegoers responded that At the time, a large part of the US population thought global warming is likely to produce more intense weather of climate change as a slow, incremental, linear process events over the next 50 years, versus 72% of non-watchers; that might be a danger in the distant future. Recent and perhaps most telling, moviegoers were more likely than climate science suggested this might not be the case; non-watchers to believe that global warming could lead to the climate system is highly sensitive and can reorganize a shutdown of the Gulf Stream current or a new ice age — abruptly, with consequences as potentially disastrous as two underlying premises of TDAT. the shutdown of the Gulf Stream. Interestingly, this premise was going to be envisioned in TDAT, so I immediately thought The power of story that this could be an amazing natural field experiment. Let me underscore this, because I can’t say it strongly I received support to conduct three national surveys: one, enough: stories are one of the most powerful forms of a week before the film’s release, another three weeks after, communication that humans have invented. TDAT is, first and a third four months later to see if there were long-term and foremost, a story; stories provide us with an interpretation effects. We wanted to see if the film would have an impact of reality and they are an incredibly powerful means to on people’s beliefs, attitudes, policy preferences, and communicate ideas in an emotional way. Empathy and behaviors, and whether it would alter their perceptions narrative transport helps people identify with characters, of the risks of climate change. see through their eyes and share their experiences – and this is what makes stories such an effective tool for helping We found that the people who saw TDAT were affected by people to understand issues like climate change. Humans it. Our results found that the film had a significant impact on have always used narrative in this way, passing on essential, the climate change beliefs, risk perceptions, policy priorities, accumulated knowledge from one generation to the next, behavioral intentions, and — by seemingly casting the to aid with their very survival.

The Day After Tomorrow in the news The Day After Tomorrow box office M+ The Day After Tomorrow, 2004 $544 151 10x Worldwide gross substantive news stories were the news coverage was generated — — — — generated about TDAT.* by TDAT than the 2001 IPCC Domestic total gross: Widest release: RATING DATE RUNNING TIME SYNOPSIS (Intergovernmental Panel on addressed the science $186,740,799 3,444 theaters PG-13 May 28th 2004 02:04 Paleoclimatologist Jack Climate Change) report. 39% underlying the movie. Hall must make a daring Foreign total gross: In release: trek from Washington, D.C. — focused on the “The Long Melt: The Lingering Influence of ‘The $357,531,603 161 days/23 weeks — — — to New York City, to reach 37% politics. Day After Tomorrow.’” Yale Climate Connections, Opening weekend: STARRING DIRECTED BY PRODUCED BY his son, who is trapped in 5 Nov. 2014, www.yaleclimateconnections. org/2014/11/the-long-melt-the-lingering- Dennis Quaid, Roland Emmerich Roland Emmerich, the crosshairs of a sudden were entertainment $68,743,584 23% stories. influence-of-the-day-after-tomorrow/. Jake Gyllenhaal, Mark Gordon international storm which — Emmy Rossum plunges the planet into a *News coverage was analyzed from “The Day After Tomorrow.” Box Office Mojo, IMDb.com, Inc., www.boxofficemojo.com/movies/?id=dayaftertomorrow.htm. new ice age. April 1st–June 30th 2004. — Leiserowitz, Anthony A. “Before and After The Day After Tomorrow: A U.S. Study of Climate

© 20th Century Fox and other respective distributors and studios production Change Risk Perception.” Environment, vol. 46, no. 9, Nov. 2004, pp. 22-37.

28 The State of SIE 29 Furthermore, empathetic and vicarious experiences are one of the It’s this deep, psychological understanding of the brain the film’s release. For TDAT in particular, we found that real opportunities of social impact entertainment. We love these that helps to explain why a film like TDAT, with its incredibly the teachable moment spanned from 10 days before experiences so much that we as filmgoers spent $40.6 billion in rich and provocative images, can be such a powerful the release date to 19 days after. 2017 to put ourselves in dark rooms with strangers to watch them communication tool.

unfold! These stories shape our lives, they shape how we think TDAT was among the first films of its kind. While one Narrative Film about the world, and they can shape our identities. film alone may not be enough to change the opinion of the entire public, it can certainly drive change at scale The power of image and help initiate or accelerate a culture shift, one where Perhaps more important than helping people experience the the momentum is continued by other projects. The audiences immediate threat of climate change was that TDAT provided for TDAT accounted for 10% of the US population, and people with images to actually imagine how climate change When a piece of entertainment as we’ve seen, it had a quantifiable impact on people’s might impact us. For the first time, audiences had powerful, speaks to the cultural and perceptions of climate change. However, it’s arguable concrete images of the potential impact of climate change that the film could have had even greater impact if change on American iconography. We weren’t just listening to someone social dimensions of an issue organizations had launched their websites in advance of talk about rising sea levels, we saw a tidal wave sweep through it’s possible to change social the film, making the most of this teachable moment. By Manhattan. We didn’t just hear someone discuss extreme and cultural norms. extension, this study emphasizes the importance of taking weather, we watched tornadoes rip apart LA. the right approach with social impact campaigns, tailoring

© 20th Century Fox and other respective production studios and distributors The Day After Tomorrow, 2004 your conversation to specific goals where possible, and One of the ideas underpinning our study was the cognitive- engaging audiences at the most opportune moments experiential self-theory (CEST), which was largely developed The teachable moment before, during, and after release. by Seymour Epstein and then furthered by other academics. Naturally, TDAT spurred a lot of viewers to seek out further (like a movie release) will generate increased information- In simple terms, CEST found that humans have two systems information. Many organizations tried to leverage the film seeking behavior before the event itself arrives. There When a piece of entertainment speaks to the cultural and for processing information: the analytic and the experiential. to advance the cause of tackling climate change, setting is a specific period in the weeks prior to a film’s release social dimensions of an issue it’s possible to change social The analytic is slow, deliberate, and rational, while the up websites to assist moviegoers who might have questions where this ramp-up of public attention is at its peak, and cultural norms — the unwritten rules of how people are experiential — which is much older in evolutionary terms — after seeing the film. Audiences did have questions, but most and this teachable moment is a critical time for people or supposed to behave — and thus effect big shifts in politics, is fast, intuitive, and emotionally driven. For many years websites only launched on the day the film came out. organizations to strike while the iron is hot, before attention policy, and society at large. That’s one of the real powers Western science regarded the two systems as opposites, but is diverted elsewhere. Naturally, it follows that filmmakers of popular culture and media: it can engage people in social by the time I began to study TDAT, we’d started to understand In a later study on what we called “the teachable moment,” and organizations seeking to create maximum impact issues in a way that is often more powerful than all the data, that they’re actually interwoven, informing each other. we showed that an event planned for a specific release date should have their outreach strategy in place well before statistics, and scientific reports combined.

Moviegoers vs. non-watchers Moviegoers were asked “ If the 2004 presidential John Kerry (D) Ralph Nader (I) Out of five different, highly simplified models of the climate Worried about global warming: “Did TDAT make you more, or less election were held today, system (shown below), moviegoers were much more likely than “a fair amount” or “a great deal.” worried about global warming?” who would you vote for?” George Bush (R) Undecided non-watchers to choose model A — the most accurate depiction. 39% 40% 42% 49% said it had not said it had made changed their Moviegoers 28% 31% them somewhat level of worry or much more worried General Public

Other — Leiserowitz, Anthony A. “Before and After The Day After Tomorrow: A U.S. Study of Climate Change Risk Perception.” Environment, vol. 46, no. 9, Nov. 2004, pp. 22-37. 1% said they became Moviegoers Non-watchers Moviegoers Non-watchers less worried

Five models of the climate system “How likely are you to do the following because of 80% your concerns about global Watchers Non-watchers warming?” 60% A B C D E 40%

Climate is stable within Climate is random Climate is slow to change. Climate shows a delicate Climate is stable. 20% certain limits. Large change and unpredictable. Impacts will be gradual. balance. Small changes will Global warming will have will have abrupt and have catastrophic impacts. little to no impact.

catastrophic impacts. — Leiserowitz, Anthony A. “Before and After The Purchase a more fuel Talk to friends or family Join, donate money, Express your views on global Day After Tomorrow: A U.S. Study of Climate — Change Risk Perception.” Environment, efficient car about how to reduce or volunteer with global warming to politicians Leiserowitz, Anthony A. “Before and After The Day After vol. 46, no. 9, Nov. 2004, pp. 22-37. prevent global warming warming group Tomorrow: A U.S. Study of Climate Change Risk Perception.” Environment, vol. 46, no. 9, Nov. 2004, pp. 22-37.

30 The State of SIE 31 Spotlight on: Media coverage data of TDAT was gathered via a LexisNexis search between April 1st and June 30th 2004. The search was “limited to coverage from news sources, and included television, The radio, prestige newspapers and major metropolitan newspapers.”

Teachable Of the websites studied, three (UCS, EDF, and RAN) were active throughout the duration of the study. The other three Moment (EcoHealth. WHOI and NSIDC) launched on, or nearer to, the actual release date of TDAT (May 28th 2004).

For the first three sites, there was a clear spike in web traffic between May 12th and June 11th (Figure 1), clearly supporting the team’s hypothesis that “web traffic on global warming related websites increased during the release period of The Day After Tomorrow.”

Figure 1. Media coverage of TDAT and mean website traffic for RAN, UCS, and EDF

10 Mean website traffic for RAN, UCS, EDF 8 Media Coverage 6

4

2

0

-2 May 28th 2004 (TDAT release date) Many environmental leaders and organizations described the release of The Day After Tomorrow The latter group comprising the three sites that launched (TDAT) as a “teachable moment” — an opportunity closer to the release date of TDAT (EcoHealth, WHOI, NSIDC), to use its themes and ideas as a springboard to showed similar results to the first group (Figure 2). However, educate the public about global warming, and the data also suggested that “by waiting until the movie release date to launch their respective The Day After Tomorrow perhaps even change policy. websites, WHOI and NSIDC, in particular, missed the first week of heightened global warming related web activity that occurred Philip Solomon Hart and Anthony A. Leiserowitz’s paper during the ‘teachable moment’.” Finding the Teachable Moment… explored how, if at all, the release of TDAT changed the information-seeking behavior Figure 2. Website traffic of EcoHealth, NSIDC, and WHOI of the public regarding “global-warming related websites.” 5 EcoHealth According to Hart and Leiserowitz, “In preparation for 4 the ‘teachable moment,’ many environmental organizations WHOI 3 created these websites based on the premise that TDAT and NSIDC related media coverage would increase public information- 2 seeking behavior.” 1

0 The team collected web-traffic data from six global-warming related websites from April 1st to June 30th 2004. The six -1 were selected to represent a “variety of sources that provide -2 information and/or advocate for specific policies to address May 28th 2004 (TDAT release date) climate change.” They included: a Johns Hopkins University website (EcoHealth); a website operated by the Union Hart and Leiserowitz’s study and findings show that, despite of Concerned Scientists (UCS); another operated by the being a fictional representation of the dangers of climate Environmental Defense Fund (EDF); a website operated by the change, TDAT created a teachable moment of heightened Global Exchange, Rainforest Action Network, and the Ruckus public concern and increased information-seeking behavior. Society (RAN); a website operated by National Snow and Ice More specifically, as Leiserowitz and Hart write, “a ‘teachable Data Center (NSIDC); and one operated by the Woods Hole moment’ of elevated information-seeking activity was found Oceanographic Institute (WHOI). to extend from 10 days before the release date of The Day After Tomorrow to 19 days after the movie release date.”

— Hart, Philip Solomon, and Anthony A. Leiserowitz. “Finding the Teachable Moment: An Analysis of Information-Seeking Behavior on Global Warming Related Websites during the Release of The Day After Tomorrow,” Environmental Communication, vol. 3, 2009, pp. 355–366. A Fantastic Woman, and The Post, David has chronicled the brave struggles of individuals The Post fighting for the truth against tremendous odds. Linde The Post depicts the Other films, like , RBG Chief Executive Officer, true story of Katharine

and Contagion, tell stories that speak to the Narrative Film Participant Media Graham, publisher of contemporary zeitgeist. With all of our content, , and editor Ben Bradlee we seek to have an impact that can be extended as they attempt to publish long after the credits roll. Participant content classified documents about Finding should wherever possible inspire audiences to the involvement of the Through purposeful storytelling, US government in the want to act, and our social impact team empowers Participant Media wants to Notable works: . them to do so by providing tools and connecting Roma, , Y Tu Mamá También – change the world. David Linde them to the social impact campaigns, the “The Post.” 20th Century Fox, 2019, www.foxmovies.com/movies/the-post. explains how to extend your changemakers, the NGOs, and our other impact Our Throughout my career, and prior to partners already working on the relevant causes. impact beyond theaters, joining Participant Media in late 2015, To try and ensure this happens, we’ve adopted and why SIE is aligned with I always gravitated toward telling a three-part process, steeped in understanding original stories about extraordinary the tremendous value in partnerships, for making The Post awards society’s needs. people doing courageous things — from social impact entertainment effective. Purpose Nominations Wins Roma to Brokeback Mountain to Arrival.

The Post, 2017 So, when I became CEO of Participant, a 2 company that was founded by Jeff Skoll with Academy Awards® the belief in the purpose and power of its content To even think about The Post, 2000 to make the world a better place, it couldn’t have engaging audiences around been a more natural fit. 6 an issue, we need to tell them Golden Globe® Awards Since 2004, Participant Media has been producing a story that moves them. social impact entertainment that inspires and entertains audiences while highlighting some of 1 1 WGA Awards the most pressing issues of our time, and most (the Paul Selvin Award) importantly, giving those same audiences the For us, it always starts with the story. To even think – “The Post (2017): Awards.” means to take action. Our belief in the capacity of about engaging audiences around an issue, we IMDb, 2019, www.imdb.com/ title/ storytelling to spark and contribute to social change need to tell them a story that moves them. That’s tt6294822/awards?ref_=tt_awd. — instilled by Jeff — is baked into our DNA. It’s what why we focus on partnering with great artists who we do and it’s what makes us unique, and what understand these issues and who do see around draws people to Participant, from our incredible the corner on the world’s most pressing issues. The Post box office team to the best-in-class impact and industry partners to some of the world’s finest filmmakers It’s also the reason we make so much content: up working today, including , Ava to six narrative features, five documentaries, three $179M+ DuVernay, Alfonso Cuarón, Tom McCarthy, Steve TV series, and over 30 hours of digital short form Worldwide gross James, and Joshua Oppenheimer. content every year. Audiences and all our partners need to know that they can rely on Participant as a Domestic total gross: Much of our award-winning content, like Spotlight, consistent source for powerful, purposeful content. $81,903,458 Foreign total gross: $97,865,999

Limited opening SoulPancake weekend: $526,011 SoulPancake are creators of smart, uplifting, meaningful, Wide opening weekend: shareable content targeted $19,361,968 to the optimistic millennial. Widest release: 85+ 2.9M+ 2,851 theaters hours of content YouTube subscribers In release: 200M+ Top 10 147 days/21 weeks – video views Fast Company’s “The Post.” Box Office Mojo, IMDb. com, Inc., www.boxofficemojo.com/ Most Innovative Video movies/?id=untitledstevenspielberg.htm. Companies of 2015

– “Work.” SoulPancake, soulpancake.com/work/.

© Participant© Media respective and production studio distributors and “SoulPancake.” YouTube, www..com/user/soulpancake/featured.

32 The State of SIE 33 The second part is all about distribution. No attempt to address important global issues like potential. We’ve also seen a surge of “purposeful” film can contribute to social change if it goes those in ? If a story engages advertising trying to connect products with causes. unseen. Thanks to the breadth of our content, Wonder us and has the potential to create change, we’ll These shifts are happening because consumers A Fantastic Woman and audiences’ engagement with it through Based on The New York consider it even if it doesn’t fit perfectly into a are demanding them across all areas of business, Waitress and singer Marina Times bestseller, Wonder and older man Orlando are

relationships built over many years, we’ve been specific category or cause. the entertainment industry included. And because Narrative Film The notion that stories tells the incredibly inspiring in love and planning for able to cultivate global, ongoing, and preferred and heartwarming story of our mission is unambiguous — to change the the future. After Orlando distribution partnerships with the major studios, can entertain, enthral, and August Pullman. Born with Wonder made more than $27 million in its world through storytelling — we have been able to suddenly falls ill and dies, facial differences that have Marina is forced to confront the leading independent distributors, all the major contribute to social change prevented him from going to first weekend. For us, the financial success refine and adapt to an industry that is undergoing his family and society, and pay television services, and now the streaming in a meaningful way is a mainstream school, Auggie of our titles, as well as the accolades they profound transformation. to fight again to show them services as well. Through connections like these, becomes the most unlikely garner, is proof that there’s a real hunger for who she is: complex, strong, of heroes when he enters forthright, fantastic. we can consistently reach the widest possible quickly gaining traction social impact entertainment. The notion that The idea that there is real value in supporting the local fifth grade. As his – audience all over the world. in Hollywood and beyond. family, his new classmates, stories can entertain, enthral, and contribute films that are able to do good in the world is not “A Fantastic Woman.” Participant and the larger community to social change in a meaningful way is quickly a one-off, singular mentality, nor are we alone in Media, 15 Dec. 2017, participantmedia. all struggle to discover their com/film/fantastic-woman. This leads to the third and most essential part compassion and acceptance, gaining traction in Hollywood and beyond. this thinking. In recent years, others have moved of our process: to catalyze the collaboration Auggie's extraordinary into this field — a fact that we welcome as it has between audiences and on an effect created by the film and its impact campaign journey will unite them all This is what made Jeff’s vision for Participant so always been a goal of Jeff’s to see the field grow, and prove you can’t blend A Fantastic Woman awards issue. We see all of our content acting as both an would lead to the declassification of US State in when you were born prescient. His belief that storytelling is a powerful because well-told stories can change the world. accelerant for raising awareness and a connective Department files related to the mass killings — to stand out. tool for social change is perfectly aligned with the This has always been the heart of Participant Nominations Wins tissue to their work. The wide range of nonprofits, a historic achievement and the primary goal – rise of Gen Z, which represents the new “conscious Media, and we’ve never wavered from this focus. “Wonder.” Participant Media, NGOs, and foundations we work with on our social of Participant’s social impact campaign for the 15 Dec. 2017, www.participant consumer.” This demographic already wields impact campaigns all value our ability to connect film. Meanwhile, with Wonder, released in 2017, media.com/film/wonder. $44 billion in buying power and is predicted to The world is seeing stories and waking up to the them to a broad network of concerned people all the main message of the film — compassion — comprise 2.6 billion people by 2020 — or roughly incredible work done by impact partners. This 1 1 over the world. was considerably more nuanced. Based on The New 32.5% of the population. People’s expectations of means that together we have a real opportunity. Academy Awards® York Times bestseller, Wonder tells the story of how what they should get from the money they spend And this really means everyone, from individuals That said, the potential impact of a film isn’t August Pullman, a boy born with facial deformities, Wonder box office has clearly changed. The Wall Street investment and groups of friends, to brands and corporations. always obvious — or immediate. Take, for example, becomes his school’s unlikely hero. We believe a film community is waking up to this fact; and the CEO By creating powerful content that inspires 1 Joshua Oppenheimer’s 2014 film The Look of like this can still help create positive impact because of BlackRock, Larry Fink, stated in January 2018 in audiences, we are forging amazing connections Golden Globe® Awards Silence, which documents the 1965–1966 Indonesian compassion has a universal relevance. If we don’t $305M+ an open letter to global CEOs that without a sense to make lasting and sustainable contributions genocide. Three years after its release, a ripple have compassion for each other, how can we even Worldwide gross of social purpose, no company can achieve its full to some of the world’s most pressing issues. 4 3 International Film Domestic total gross: A Fantastic Woman, 2017 Festival Awards $132,422,809

Participant Media Academy Awards® In early 2018, Larry Fink declared, “BlackRock Foreign total gross: 1 1 engages with companies to drive the sustainable, $173,514,909 Independent Spirit Awards long-term growth that our clients need to meet Opening weekend: their goals.” Fink notes that public expectations of – the private sector have never been greater, due to $27,547,866 “A Fantastic Woman (2017): Awards.” governments failing to prepare for the future, on IMDb, 2019, www.imdb.com/title/ Widest release: tt5639354/awards?ref_=tt_awd. issues ranging from retirement and infrastructure 3,519 theaters to automation and worker retraining. Fink calls 56 12 this a “new model of shareholder engagement.” In release: Nominations Wins 126 days/18 weeks A Fantastic Woman *As of December 2018 – box office “Wonder.” Box Office Mojo, IMDb. com, Inc., www.boxofficemojo. com/movies/?id=wonder.htm. Participant Media film credits Without a sense of purpose, Participant’s more than 80 films include $2M+ Spotlight, Contagion, Lincoln, The Help, no company, either public or Domestic gross , The Look of Silence, private, can achieve its full potential. Citizenfour, Food, Inc. and An Inconvenient Truth. It will ultimately lose the license – to operate from key stakeholders. It Opening weekend: “About Us.” Participant Media, 4 June 2018, $64,241 www.participantmedia.com/about-us. will succumb to short-term pressures Widest release: to distribute earnings, and, in the 190 theaters process, sacrifice investments in In release: employee development, innovation, 108 days/15 weeks and capital expenditures that are – “A Fantastic Woman.” Box Office Mojo, necessary for long-term growth. IMDb.com, Inc., www.boxofficemojo. com/movies/?id=afantasticwoman.htm. – Larry Fink, CEO of BlackRock

– Fink, Laurence D. “Larry Fink’s Annual Letter to CEOs: A Sense of Purpose.” BlackRock, Inc., 2018, www.blackrock.

com/corporate/investor-relations/larry-fink-ceo-letter. Participant© Media respective and production studio distributors and

34 The State of SIE 35 Liba Wenig Rubenstein Senior Vice President of Social Impact at Narrative Film 21st Century Fox

Girls Build LA FOX and the LA Promise Fund partnered to provide At 21st Century Fox (21CF), social a screening of Hidden impact grew out of some pretty forward- Figures to 10,000 middle and high school girls from thinking sustainability promises that all over Los Angeles County. we made back in 2007. The female students were invited to the screening as part of the LA Promise Fund’s Deciding to become carbon neutral was a Girls Build LA initiative. revolutionary moment for us. It allowed what was then a decentralized collection of businesses to begin to organize around shared values. Eventually, the company’s focus on sustainability

Hidden Figures, Participant Media, 2016 evolved into a more comprehensive social impact practice, which now includes, but aspires to transcend, a traditional corporate social responsibility (CSR) mode. We understand that 10,000 our focus in this area can be more than a core students competency — it can be a competitive advantage. — As a result, we’ve developed our social impact work “FOX and LA Promise Fund Screen ‘Hidden Figures’ for 10,000 Girls in in a much more holistic fashion across the entire Los Angeles.” 21CF Social Impact, 21st Century Fox, 18 Jan. 2017, organization and now — whether you work for Star impact.21cf.com/what/2017/01/hidden- in Mumbai or National Geographic in Washington, figures-la-screening-10000-girls/. D.C. — all 21st Century Fox companies know they are part of a bigger picture.

We understand that our focus in this area can be more than a core competency — it can be a competitive advantage.

© 20th Century Fox and other respective production studios and distributors Hidden Figures, 2017

I’ve been working in this space for a dozen years, long enough to have both helped drive and respond to the staggering growth of consumer and workforce demand for companies to demonstrate values and purpose. Having some kind of cause is swiftly becoming the It’s not enough for companies lowest common denominator for all brands; to just explain their values, the real value lies in standing out through the Shooting for substance and impact of your work. writes Liba Wenig Rubenstein, they need to demonstrate As well as handling more traditional elements of CSR and sustainability, my team acts as an them in the real world too. A internal cause marketing and impact campaign successful future is dependent consultancy. That means we partner with companies across 21CF when they produce the Moon on practicing what we preach. films, TV shows, and other programming that

36 The State of SIE 37 contains pro-social messaging. In some cases, and Love, Simon or National Geographic’s show, Some of the best work we did with Hidden Figures Another unexpected opportunity around Hidden the program may not have social impact at its One Strange Rock. Where my team brings was unplanned. We were thrilled to discover Figures came via the US State Department. Hidden Figures box office core — but contains a character arc, storyline, or value in cases like these is in amplifying the communities around the country were launching First, they reached out to us in response to an even just a passionate lead actor or producer who pro-social message, increasing access to the crowdfunding campaigns to take their communities unprecedented demand from US embassies wants to leverage the platform of the program for story, manifesting the message in contemporary and organizations to see the film in local theaters, and consulates abroad, for which we ultimately $235M+ Narrative Film good. Last year, for example, when the end of the real-world impacts, and channeling the inspiration so we stepped in and worked out a deal with AMC arranged over 150 screenings of the film. Worldwide gross 11th season of The X-Files aired during Women’s that audiences will inevitably feel when they Theatres to set up free screenings across 14 cities Building on the success of those events, the State History Month, we decided to commission a report see the film into some concrete action. for Black History Month. We then opened up a Department created “#HiddenNoMore” — the first Domestic total gross: from the Geena Davis Institute to validate “The exchange program inspired by a narrative feature $169,607,287 Scully Effect” — the impact of Gillian Anderson’s A prime example of this is our ongoing work — to bring 50 women working in STEM fields #ScullyEffect Foreign total gross: character upon a whole generation of young supporting Hidden Figures, 2016’s cinematic from 50 countries to visit the US for three weeks. In partnership with 21st $66,349,611 women, inspiring them to begin careers in science, retelling of the true story of female African As part of the International Visitor Leadership Century Fox, the Geena Limited opening technology, engineering and mathematics (STEM). American mathematicians in the Space Race. Program, the participants traveled to cultural Davis Institute on Gender in weekend: Media conducted a survey of Indeed, it holds up: of the 2,000 viewers surveyed, With this film we knew that the pro-social message and educational institutions, discussing and $515,499 approximately 2,000 viewers By combining a tight nearly two-thirds (63%) of respondent women who was so ingrained in the story that the two couldn’t exploring topics on female leadership, the power of The X-Files to determine social impact campaign Wide opening weekend: work in STEM fields said Dana Scully served as their really be separated, and as the film became such the character Dana Scully’s of storytelling, and the roles played by science $22,800,057 role model, and women who regularly watched The a phenomenon we allowed ourselves to pursue effect upon the interest of with the right partners and and technology in the entertainment industries. women in STEM careers. Widest release: X-Files were 50% more likely to work in STEM than multiple opportunities to tie it to impact. The program has been adopted as a flagship According to the Institute’s an opportunistic streak, we 3,416 theaters less frequent/non-watchers. findings, the survey revealed initiative by the State Department, and is part of In release: Our first campaign was a partnership with “significant evidence of ‘The were able to reach our target the very long tail of inspiration we know this film Scully Effect’ when it comes 320 days/45 weeks PepsiCo and the New York Academy of Sciences will continue to have for years to come. We look to attitudes toward STEM, audience and beyond. — called “The Search for Hidden Figures.” This working in a STEM field, and forward to the day when we will have enough “Hidden Figures.” Box Office Mojo, viewing Scully as IMDb.com, Inc., www.boxofficemojo. scholarship program awarded $200,000 in grants data to measure its impact as conclusively as com/movies/?id=hiddenfigures.htm. a role model.” to young women working in STEM areas and we were able to do for “The Scully Effect.” — Having some kind of attracted nearly 8,000 submissions nationwide. “The Scully Effect: I Want to Believe In process by which schools, community groups, Then we facilitated a screening at the White STEM.” See Jane, Geena Davis Institute and nonprofits not served by those 14 events By combining a tight social impact campaign cause is swiftly becoming on Gender in Media, 2018, seejane.org/ House, where Michelle Obama invited students research-informs-empowers/the-scully- could apply for their own screenings, through with the right partners and an opportunistic Hidden Figures awards the lowest common to a preview event and panel discussion. We effect-i-want-to-believe-in-stem/. which we received over 7,000 applications and streak, we were able to magnify the impact of denominator for all brands. also hosted nearly 10,000 young women from ultimately distributed 3,500 tickets to folks who these projects and reach our target audience Nominations Wins schools across Los Angeles at an event organized 14 cities might not have been able to see the film otherwise. and beyond. The work we did also enabled by the LA Promise Fund as part of its Girls Build When a film’s core message is in itself impactful, the content to have a longer lifespan, thereby LA initiative. Both events helped raise excitement sometimes the best thing we can do is just expose magnifying impact, and, potentially, profit. 3 Most often, we work with films and shows for girls to get involved with STEM. These kinds that film to as many relevant audiences as The opportunity to leverage inspired storytelling Academy Awards® that have social impact very clearly at their of ancillary campaigns amplify the film’s impact possible. When done well, this serves to keep the into concrete positive outcomes like this is one core — like the recent films Battle of the Sexes as well as word of mouth to drive viewership. 3,500 film in the public awareness at the same time. of the reasons we love what we do. 1 BAFTA® Awards additional viewers The X-Files, 1993–2002

“The Search for Hidden Figures” 2 21st Century Fox partnered 21st Century Fox partnered with PepsiCo with AMC Theatres during Golden Globe® Awards and the New York Academy of Sciences Black History Month in 2017 to create “The Search for Hidden Figures” to offer free screenings of scholarship program. The scholarship Hidden Figures in 14 cities. contest hoped to discover emerging 2 1 Continuing their partnership female visionaries in STEM. The contest SAG® Awards received about 8,000 applications, and into Women’s History Month, awarded over $200,000 in scholarships 21st Century Fox and AMC to two grand-prize winners. These Theatres invited local two winners participated in a training organizations and nonprofits to apply for free screenings 1 1 program at the Kennedy Space Center. of Hidden Figures, resulting Humanitas Prize — 8,000 in approximately 3,500 “PepsiCo And 21st Century Fox Announce ‘The Search — additional people gaining For Hidden Figures’ Contest To Discover Emerging Female applications “Hidden Figures (2016): Awards.” Visionaries In Science, Technology, Engineering And Math access to the film. IMDb, 2019, www.imdb.com/title/ (STEM).” PepsiCo, 14 Nov. 2016, www2.pepsico.com/live/ tt4846340/awards?ref_=tt_awd. pressrelease/pepsico-and-21st-century-fox-announce- — the-search-for-hidden-figures-contest-to-d11142016. “Hidden Figures: The Untold $200K Story of Female African American Mathematicians in the 1960s Space awarded in Race Continues to Inspire Girls and scholarships Women Around the World Today.” 21CF Social Impact, 21st Century Fox, impact.21cf.com/features/ hidden-figures-untold-story-female- african-american-mathematicians/. © 20th Century Fox and other respective production studios and distributors

38 The State of SIE 39 Director Gina Prince-Bythewood Gina opens up about the personal Prince-Bythewood Love & Basketball Stories Love & Basketball is a true importance of Love & Basketball, Writer and director epic, the story of the love

between Monica (Sanaa Narrative Film Lathan) and Quincy (Omar its lasting impact and how she Epps). Monica’s family moves in next door to Quincy’s has managed to push past the when the two are 11 – both Worth are prodigiously talented “no’s” that all too often greet basketball players, but Notable works: Quincy’s prospects are female filmmakers. Love & Basketball, The Secret Life of Bees, Shots Fired brighter than Monica’s. There’s a professional league for him to dream of playing in, Fighting My journey as a filmmaker has been one and his father, Zeke (Dennis Haysbert), was himself a pro of fighting to tell the stories I want to tell. player. And Monica’s already- slimmer prospects are endangered by her temper. Those fights sharpen, harden and embolden you. — They give you the confidence and courage to go Rosenberg, Alyssa. “Why I love: The For smart sensuality of ‘Love and Basketball’.” after what you want, despite the track record of The Washington Post, 25 Apr. 2015, washingtonpost.com/news/act-four/ Gina Prince-Bythewood and Sanaa Lathan, 2000 who, historically, gets to tell the stories. wp/2015/04/24/why-i-love-the-smart- sensuality-of-love-and-basketball. I love action and superhero films, for instance, and I’ve fought to be able to tell those stories despite the fact that women — especially women of color — rarely have the opportunity to do so. I’m excited Love & Basketball box office to be making The Old Guard, a film based on a graphic novel series by Greg Rucka and Leandro Fernández about two incredibly badass women $27M+ and their group of mercenary soldiers. It’s great to Worldwide gross be able to put these characters out into the world.

Domestic total gross: $27,459,615 Foreign total gross: $268,503 Opening weekend: When you have a platform as $8,139,180 big as TV or film, it shouldn’t Widest release: be wasted on just entertaining. 1,245 theaters – “Love & Basketball.” Box Office Mojo, IMDb.com, Inc., www.boxofficemojo.com/ movies/?id=loveandbasketball.htm.

Up until this point in my career I’ve tended to direct screenplays I’ve written, so the story is Love & Basketball awards always my starting point when I’m considering

a film’s impact. When you have a platform as Nominations Wins big as TV or film, it shouldn’t be wasted on just entertaining; you can absolutely entertain and have something to say at the same time. The 1 1 show Shots Fired, which my husband and Humanitas Prize I created, is a great example of that. It looks at the range of perspectives resulting from racialized shootings in a small town, but it’s 3 1 also a really compelling mystery. Independent Spirit Awards

Love & Basketball is another example of balancing entertainment with social impact. I wanted to 5 2 make a love story as iconic as When Harry Met NAACP Image Awards Sally, but with a black cast. I wanted people to – look at Love & Basketball and see a universal love “Love & Basketball (2000): Awards.” IMDb, 2019, www.imdb.

© Getty Images story, but at the same time it was important for com/title/tt0199725/awards.

40 The State of SIE 41 me to make a film with black characters at the women and men go to film school, only center. Back in 2000 that was dangerously rare 4% of the top-grossing US films are directed Girls Trip box office in Hollywood and in many respects it still is. by women.

It was also important for me to get this film When you take a look at some of the most $140M+ Narrative Film made because so much of it was my personal Institutions like Sundance successful films of the past couple of years, Worldwide gross story. I wanted to see myself represented on are vital because they however, you can notice a seismic shift. Films screen because for most of my life I felt ignored like Black Panther, Girls Trip, Get Out and actively look for disparate, Domestic total gross: by the mainstream media. I am still humbled by Crazy Rich Asians are proving that films $115,171,585 the lasting impact of the film. I love that men focused on people of color have their own yet equally important voices Foreign total gross: consider the character Monica, an athlete, their audience and can reach mainstream audiences in our industry. This work $25,378,951 romantic ideal. I also love that women and girls too. It seems clear that moviegoers are bored Opening weekend: can look at her and be proud of their athleticism. is essential because the with the status quo, of looking up at the screen $31,201,920 diversity stats in film are and seeing only white characters. I hope that we Widest release: That impact might not have been possible continue to not just have more black characters horrifying. 2,648 theaters without the help of the , on screen, but to see them appear in a wide In release: which was instrumental in getting Love & range of genres as well. 91 days/13 weeks Basketball made. When I first sent the idea – out, every studio passed. Two days after I got As a filmmaker, it’s important to allow your “Girls Trip.” Box Office Mojo, IMDb. the final pass, Sundance called and said they Institutions like Sundance are vital because passion for creating social impact push you com, Inc., www.boxofficemojo. com/movies/?id=girltrip.htm. wanted to meet me. I was invited to bring the they actively look for disparate, yet equally past the “no’s” you’ll encounter. While it’s hard script to their lab. It was an incredible experience. important voices in our industry. This work is to produce work that says something important, I got to work with amazing mentors like Scott essential because the diversity stats in film are or focuses on characters that aren’t seen often, Frank and Paul Attanasio, writers for whom horrifying. Only four black female directors, it’s so important to bring that work to life. The Crazy Rich Asians box office I have the utmost respect. The Institute also including myself, have worked across the top more we do it, the more normal it becomes. In put on a live reading of the script which resulted 1,100 movies between 2007 and 2017. Of the this way, I think art can absolutely change the in ’s company coming aboard as 1,233 directors of those 1,100 films, only eight world. I am completely optimistic about that. $238M+ producers, and the finished film screened were women from any underrepresented racial You should never have to apologize for using Worldwide gross at the 2000 Sundance . or ethnic group. Though equal numbers of your art to make impact.

© and other respective production studios and distributors Domestic total gross: Love & Basketball, 2000 $174,050,152

Foreign total gross: $64,000,000 Unreasonable ratios Minority representation in Hollywood vs. US population The Inclusion in the Director’s Chair? Out of a total of 109 film directors Opening weekend: study was conducted over the years who were associated with the top 100 Findings from the Hollywood $26,510,140 Diversity Report 2018: 2007–2017. Of 1,000 popular films from movies of 2017, 101 were male while only Widest release: 2007 to 2016 the results show: eight were female. 3,865 theaters Only 4% of directors were women. None of the female directors had This puts the ratio of male to female appeared previously in the top 100 films In release: directors at 24:1. across the 11-year time frame investigated. 40% 145 days/20 weeks*

of US population – belongs to a *Updated as of Jan 6th 2019. minority group “Crazy Rich Asians.” Box Office Mojo, IMDb.com, Inc., www.boxofficemojo. com/movies/?id=crazyrichasians.htm.

7.3% of top 100 movies in 2017 were associated with female directors 13.9% of film leads and 12.6% of film directors belong to a minority group

– Smith, Stacy L., et al. Inclusion in the Director’s Chair? Gender, Race, & Age of Film Directors Across 1,000 Films from 2007-2016. USC Annenberg, 2017, annenberg.usc.edu/sites/default/files/2017/04/06/ – MDSCI_Inclusion%20_in_the_Directors_Chair.pdf. Hunt, Darnell et al. Hollywood Diversity Report 2018: Five Years of Progress and Missed Opportunities. UCLA College of Social Sciences, 2018, socialsciences. ucla.edu/wp-content/uploads/2018/02/UCLA- Hollywood-Diversity-Report-2018-2-27-18.pdf.

42 The State of SIE 43 I want my films to make a difference in the Reginald world. As I see it, there is only one way to Marshall do that effectively: through an incredibly Hudlin Thurgood Marshall entertaining film where the social impact is Producer and director faces one of his greatest

From Myth seamlessly woven into the storytelling. challenges while working Narrative Film as a lawyer for the NAACP. He travels to conservative Marshall was a tough movie to make because Connecticut when wealthy people thought they already knew the story. socialite Eleanor Strubing They’d already seen films about the civil rights accuses black chauffeur Joseph Spell of sexual Notable works: movement; they’d seen great courtroom thrillers assault and attempted Marshall, Django Unchained, House Party like To Kill a Mockingbird and Inherit the Wind. murder. Marshall teams up So with Marshall, we had to say things that had with Sam Friedman, a local Jewish lawyer who’s never never been said before. We had to make a movie handled a criminal case. The first movie to be shown in the that resonated with audiences today. Together, the two men build White House was D.W. Griffith’s racist a defense while contending with racist and anti-Semitic epic, The Birth of a Nation. Marshall offered a fresh take on issues that views from those who deem were relevant and complex. It examined the Spell to be guilty. After the screening, President Woodrow Wilson nuances of racism — between the North, which declared that he had been watching “history is traditionally perceived as more liberal, and written in lightning.” That film should not be the South. It also contrasted the victimization called “history,” but the president’s response was of black men with that of white women. These Marshall awards apt in other ways: it hit upon the new medium’s are weighty subjects that aren’t always the ability to bring myths to life, to make them seem easiest to engage with. Similarly, Thurgood Nominations Wins real in the most powerful ways possible. Marshall himself is a towering icon of American history, so we had to try and take him off the While our elementary schools take the most pedestal to make him relatable. Marshall was 1 exciting stories of our collective past and manage a hero but not a saint; he smoked, drank, loved Academy Awards® to make them boring, movies do the opposite. to joke and wasn’t scared of a fight. Seeing his They pump the excitement back into these stories. swagger really opened up a lot of kids’ eyes. They make people care and remember. The mere They realized you could be a cool, well-dressed 5 act of making a movie elevates a topic that may player, and also the smartest guy in the room — NAACP Image Awards

otherwise be lost to the general public. any room. – “Marshall (2017): Awards.” IMDb, 2019, www.imdb.com/title/ tt5301662/awards?ref_=tt_awd.

The Birth of a Nation 2012 Survey on self-esteem Marshall box office Portraying the Ku Klux Klan as heroic after watching TV underdogs, silent epic The Birth of In a 2012 survey of almost 400 black a Nation (1915) is widely considered and white boys and girls, researchers to be the most controversial film of all found the only demographic that didn’t time. At once one of US culture’s greatest experience lower self-esteem after $10M+ artistic achievements and one of its most watching TV was white boys. Domestic gross abhorrent racist artifacts, it becomes – more shocking with every passing year. Lawson, Kimberly. "Why Seeing Yourself Represented on Screen Is So Important." Broadly, Vice, 20 Feb. Opening weekend: 2018, broadly.vice.com/en_us/article/zmwq3x/why- – $3,000,805 diversity-on-screen-is-important-black-panther. Marshall, 2017 © Chestnut Ridge Productions and other respective production studios and distributors “The Birth of a Nation: BFI Film Classics.” BFI, shop.bfi. org.uk/birth-of-a-nation-the.html#.W_6p9xP7TXQ. Widest release: 821 theaters Movies have the power to In release: 98 days/14 weeks make both dangerous narratives – “Marshall.” Box Office Mojo, IMDb. and empowering histories into com, Inc., www.boxofficemojo. to Reality com/movies/?id=marshall.htm. reality. Reginald Hudlin considers the role and responsibility of filmmakers and how, if you want your film to have an impact, balance is key.

44 The State of SIE 45 I’ve always believed the best way to override the that writers like Christopher Priest or I wrote, Superfly and Foxy Brown that still resonate myth that diverse films can’t generate box office it really delivered to its core audience without The blaxploitation genre through pop culture today. The movement Black Panther success would be to play to genre, because the alienating everyone else. Emerging out of the civil rights faded, and the 80s yielded only two black Black Panther is the and Black Power movements genre appeal will override any racial pushback. movie stars, but they were superstars: Eddie story of T’Challa, king and aimed at young, city-

The success of Black Panther confirms that. The How do you strike that balance between Murphy and Prince. The 90s brought a new of the advanced African Narrative Film dwelling African American Today, you can take nation Wakanda. When film also adopted a rendition of the character the storytelling and the message, between males, the blaxploitation crop of filmmakers — Spike Lee, John Singleton, an old enemy reappears, genre was the first real a cellphone and shoot a that black comic book writers had created — one entertainment and social impact? The masters me and many more. Today there’s a wider range T’Challa is tested – as both explosion of American cinema that made the Black Panther as powerful as, if not have also wrestled with this question. With movie that can be shown of black films making more money than ever king and Black Panther – dominated by, for, and about more powerful than, his white counterparts. So The Bicycle Thief, Vittorio De Sica delivered before. And in television, the dominant medium to save his homeland. communities of color. With in theaters or downloaded when the movie embraced the tone of the issues a powerful film about poverty that resonated its main years of production of the time, black representation in front of and with audiences worldwide. But he was troubled taking place between 1972 in homes all over the world. behind the camera is even more encouraging. and 1975, blaxploitation that the lower class, who were the subjects of cinema was contradictory, his film, did not like it as much as the elites. So confrontational, and There’s another important shift happening right Disney donates Black Panther proceeds to he made , a fantasy film about controversial. It both smashed now too, and one that’s sometimes overlooked: and reinforced stereotypes STEM organizations the struggles of a poverty-stricken orphan, to of blackness, reflected and Night of the Living Dead. It can even be instructive the ever-increasing access to production and How do you strike that connect with that audience. In the end, it was exaggerated life on the to compare films that tackle the same subject, distribution. Today, you can take a cellphone not through a single film but through his body streets and in the ghettos, like Fail Safe and Dr. Strangelove. Both are about and shoot a movie that can be shown in theaters and, despite its crossover balance between the of work that De Sica managed to reach different nuclear war, but which was better at changing or downloaded in homes all over the world. appeal with white audiences, storytelling and the message, people on different wavelengths on issues and alienated as many viewers, people’s views? These technological breakthroughs mean less between entertainment and topics they cared about. critics and activist groups as gatekeeping and more freedom for the artists. it attracted. Looking ahead, I’m cautiously optimistic for So decide what impact you want to have, find $1M social impact? We can also learn how to strike that balance by – black cinema, though it does seem to go through the stories you know and believe in, choose your Mitchell, Neil. “10 great blaxploitation Disney announced it acknowledging the political content in popular movies.” BFI, 3 Nov. 2016, www. boom-and-bust cycles. The blaxploitation medium, and go do it! You don’t need permission. bfi.org.uk/news-opinion/news-bfi/ would donate $1 million films like Star Wars, Raiders of the Lost Ark and lists/10-great-blaxploitation-movies. movement of the 70s gave us films like Shaft, Fail faster and get better. of the proceeds from Black Panther to STEM programs at the Boys & Girls Clubs Black Panther, 2017 of America, in a nod to one of the movie’s key themes: how technology can empower young people from WakandaTheVote campaign Audience split for Black Panther marginalized communities. #WakandaTheVote campaign was an In the US, 37% of Black Panther’s initiative that allowed people to set up overall audience was African American, – Bromwich, Jonah Engel. “Disney to voter registration events at local theaters which is well above the norm. The Donate $1 Million of ‘Black Panther’ or register to vote via text message. average movie audience is about 15% Proceeds to Youth STEM Programs.” The initiative was headed by Kayla Reed, African American, according to box , 27 Feb. 2018, www. nytimes.com/2018/02/27/movies/ Jessica Byrd, and Rukia Lumumba, who office tracking companies ComScore disney-black-panther-stem.html. also created the Movement for Black and Screen Engine. Lives’ Electoral Justice Project. Average The campaign saw registration events audience take place in cities like Dallas, Durham, Black Panther box office Miami, and Atlanta, and people have signed up to hold more than 100 registration events in at least 50 cities since the initiative launched. 15% African $1.3B+ American Worldwide gross

Domestic total gross: Black Panther $700,059,566 audience Opening weekend: $202,003,951

at the box office 37% for five weeks after #1 its initial release. African American TH highest worldwide gross of all time (by 9 the start of 2019) It is the only film with a predominantly black cast to surpass the $1 billion mark.

– “Black Panther.” Box Office Mojo, – – IMDb.com, Inc., www.boxofficemojo. Lockhart, P.R. “#WakandaTheVote: How activists Huddleston Jr., Tom. “An Especially Diverse Audience com/movies/?id=marvel2017b.htm. are using Black Panther screenings to register Lifted 'Black Panther' to Record Box Office Heights.” voters.” Vox, 21 Feb. 2018, www.vox.com/policy- Fortune, Time, Inc., 21 Feb. 2018, fortune.com/2018/02/21/ and-politics/2018/2/21/17033644/black-panther- black-panther-record-box-office-diverse-audience/. © and other respective production studios and distributors screenings-voter-registration-wakanda-the-vote.

46 The State of SIE 47 Chapter 2 Documentary Film

Please note: there will be a foldout map here, that is not visualised on this PDF

48 The State of SIE 2018 The Ivory Game

He Named Me Malala Chasing Ice Step Documentary film is arguably With the emergence of new This section: A snapshot of the SIE ecosystem Bleeding Edge Outrage Body Team 12 within Documentary Film. LA 92 the leading form of SIE. From technologies, innovative distribution Before the Flood Gasland A Wave of Change 50 We’re only at the beginning of our Gender Revolution Pictures Racing Extinction journalistic endeavors to more Fisher Stevens journey to map the SIE ecosystem. models and over-the-top media Cinereach Last Men in Aleppo & Leonardo DiCaprio For a comprehensive look at our efforts poetic meditations, documentaries services, the question of what so far, you can find the rest of the SIE National Geographic Films Chasing Coral Strong Island Citizenfour map tucked away in the inside back have long been a platform for constitutes a documentary — Shock of the Familiar 54 cover. To help us build this further or Icarus Strong Island Joshua Oppenheimer correct anything we may have missed, Under the Gun activists and artists alike. 13th and indeed who can make them visit www.thestateofsie.com The Square Virunga A Driving Force 58 Bleeding Edge The Invisible War — is constantly shifting. What Jess Search Citizenfour The White Helmets Lionsgate Who is Dayani Cristal? Gasland The Ivory Game is clear, however, is the form’s Case Study: 62 Private Violence Rise Films Cries from Netflix City of Joy Chasing Ice 3 ½ Minutes, Ten Bullets ability to raise awareness and Chasing Coral

Abortion: Stories Women Tell Samantha Wright HBO change minds. Film Documentary Telling a Good Story 66 Food, Inc. Paradise Lost 3: Purgatory Won't You Be My Neighbor Elise Pearlstein I Am Evidence The Cove

The Cove An Inconvenient Truth Zero Days Sparking the 70 Tremolo Racing Extinction An Inconvenient Sequel Imagination Productions Tabitha Jackson Oceanic Preservation Society He Named Me Malala RBG Citizenfour Survival Stories 74 Participant James Redford Who is Dayani Cristal? Waiting for Superman Merchants of Doubt Case Study: 78 The Price of Free Pulse Films Food, Inc. 3 ½ Minutes, Ten Bullets Johanna Blakley The Look of Silence As an art form, documentary film

Last Days in Vietnam Moxie Firecracker Films Chasing Ice has a near unrivaled capacity to Exposure Labs Chasing Coral inspire, educate and change people’s He Named Me Malala Waiting for Superman Freedom Riders Frame By Frame Paramount Parkes + MacDonald understanding of their lives and societies. The Murder of Emmett Till An Inconvenient Sequel Image Nation Won't You Be My Neighbor PBS An Inconvenient Truth — Jess Search, p60 Dark Money

Jonestown: The Life and Death of Peoples Temple Heavy Metal in Baghdad Who is Dayani Cristal? The Black Panthers: The Vanguard of the Revolution Vice Films Documentary Film Shelter Film 4 Citizenfour The Last Animals

Won't You Be My Neighbor Atlas Films The Devil We Know Focus Features Under the Gun

Production of documentary films Documentary films have become has increased over the past 20 increasingly popular over time Trophy years, accounting for 14% of all Since 2008, documentaries Generation Wealth Amazon Chasing Ice movie sales from 1995 to 2015. have doubled in representation Despite the measurable at the . Diamond Docs The Cove increase in production/sales Discovery for documentaries, funding for this genre of film remains low.

Rise: The Promise of The White Helmets Blackfish My Brother's Keeper 16% OWN Grain Media 14% 2016 Racing Extinction Food, Inc. of movie sales Double Exposure Rise: The Promise of 8% Virunga River Road RBG My Brother's Keeper 2008 CNN Films I Am Evidence The Hunting Ground

Cries from Syria Fox Searchlight Trophy Way Beyond Weight Step Maria Farinha Filmes Zero Days Bikes vs. Cars

Three Days in September Not Even In A Wildest Dream Showtime Outrage — — Zero Days Appian Way I Am Not Your Negro Firelight Media Raczkiewicz, Joanna. “How can impact metrics help documentary filmmakers Johnson, Chandra, “Documentary films are becoming more popular – but attract more funding?” Media Impact Project, USC Annenberg are they fact or fiction?” Deseret News, Deseret News Publishing Company, Weiner Before the Flood Center, 15 June 2015, www.mediaimpactproject.org/documentary-film-impact/ 7 July 2016, www.deseretnews.com/article/865657443/Documentary- films- The Murder of Emmett Till Whose Streets? Prophet's Prey how-can-impact-metrics-help-documentary-filmmakers-attract-more-funding. are-becoming-more-popular--but-are-they-fact-or-fiction.html.

Virunga RBG Jonestown: The Life and The Black Panthers: The Vanguard of the Revolution Death of Peoples Temple Freedom Riders Saving Face Blackfish

49 had died or been bleached and all of the fish were Fisher gone. I’d barely heard of global warming or climate The Cove Stevens change, and I didn’t understand the impacts that The Cove tells the true CO had on the planet until Jim explained that Actor, director, and 2 story of how an elite team it was a huge issue facing Earth that no one was Academy Award®- of activists, filmmakers A Wave and freedivers embarked talking about. A few years later, Jim asked me winning producer on a covert mission to enter to help produce a film he was financing. It was a hidden cove in Japan, to supposed to be about coral bleaching, but halfway expose a shocking instance through filming we encountered the tragic stories of of animal abuse and serious threat to human health. Notable works: dolphin hunting in Japan and made the very risky — Before the Flood, The Cove decision to shift the focus of the film completely. “The Cove: Synopsis.” The That movie eventually became The Cove, which Cove, www.thecovemovie.com/ the_cove/synopsis.htm. won numerous awards including Best Documentary A lot of people say that when you’re of Change Feature at the 2010 Academy Awards®. Film Documentary making social impact entertainment, you have to start with the issue you’re Even when you’ve found your story, making trying to change. films on complex issues that resonate with people The Cove box office is often a real challenge. There’s a line at the This is only part of the equation. I believe that beginning of Before the Flood that says, “Try to first and foremost, in order for your film to have $1.1M+ The release of Before the the most impact, it must be a film that people Worldwide gross Flood reached a record will want to watch. This means making the best film possible and not necessarily beating the 2004 60 million people around Save Japan Dolphins campaign Domestic total gross: audience over the head with the points you $857,005 are trying to make. Let the characters reveal Around 1,600 dolphins were killed the world. Leonardo DiCaprio in Taiji every year when the Save Foreign total gross: the change you’re trying to drive through their Japan Dolphins campaign started $305,417 and Fisher Stevens reflect on personal discoveries. Let the story unfold and in 2004. 595 were reportedly Widest release: dictate how you will strategize your impact. killed in the 2016–2017 season. the innovative release strategy Recently, Japan zoos and 56 theaters aquariums voted, overwhelmingly, In release: that made it happen. One example of this is The Cove, which was to stop buying live dolphins 2017 238 days/34 weeks actually my first social impact documentary. from Taiji. — Leonardo DiCaprio and Fisher Stevens at TIFF premiere of Before the Flood, 2016 I’ve always been a big scuba diver, and in 2004 — “The Cove.” Box Office Mojo, “Dolphin Meat Causing Dangerous Mercury IMDb.com, Inc., www.boxofficemojo. I went on a dive with Netscape founder Jim Clark. Levels in Japanese Diners.” , com/movies/?id=cove09.htm. Guardian News and Media Limited, 9 May We visited a spot he’d been to over 10 years ago 2010, www.theguardian.com/world/2010/ and it had completely changed: all of the coral may/09/dolphin-meat-mercury-levels-japan. The Cove awards

Nominations Wins

Leonardo what individuals, communities, and grassroots DiCaprio movements are doing to protect their lands and way of life for future generations. 1 1 Academy Award®- Academy Awards® winning actor, producer, and activist The idea was to promote widespread individual action. We wanted to show that when we understand we share a common planet, and 2 1 when we set aside our differences to work together, Sundance Awards Notable works: there is hope. That’s part of the reason why Blood Diamond, Before the Flood, The Revenant working on Before the Flood was an extremely positive experience for Fisher and me. 1 1 PGA Awards I believe in the power of film to inspire I think it’s important for documentary people everywhere to be part of a global filmmakers, especially those just starting solution to climate change. out, to keep an open mind so that you are 1 1 capturing as broad a perspective as possible WGA Awards I always wanted Before the Flood to be solutions- when it comes to the solutions available to oriented. When Fisher and I set out on our visual your audience. This is especially true for driving storytelling journey, we didn’t just want to show positive social action. You want to make sure 1 1 the effects of climate change on our polar ice that your audience walks away with a clear DGA Awards caps and low-lying regions, or shine a light on understanding of the steps they can take — “The Cove (2009): Awards.” the destructive forces of mining and logging in their own lives to be part of the change IMDb, 2019, www.imdb.com/ in the rainforests; we also wanted to highlight you are seeking to create. title/tt1313104/awards. © State Department photo/ Public Domain. flickr.com/photos/statephotos/30459666325/

50 The State of SIE 51 have a conversation with anyone about climate these films resonate. A good example of this platforms, making it one of the most-watched change and people just tune out.” It’s so true, and is An Inconvenient Truth because was documentaries in history and the most-watched Before the Flood Carbon emissions that’s why we acknowledged it up front. Leonardo going through a period of turmoil and change Nat Geo film ever. The film was also used to launch Before the Flood presents In 2017, global emissions DiCaprio and I decided there were certain issues in his life and was so open about that in the film. Nat Geo’s “Earth Week” and to connect viewers grew 1.6%. The rise in 2018 the dramatic changes Projected we wanted to tackle, and that we’d try to do this It revealed so much about who he is as a person occurring around the world to our social impact campaign. The campaign is projected to be 2.7%, driven in a palatable way for kids who didn’t necessarily and the audience was able to connect with him due to climate change, as prompted viewers to take action through the use by growth of emissions in China well as the actions individuals and India, along with the US know a lot about climate change — because it’s our and the film because of it. of tools like Snapchat geofilters for film screenings, 37.1B and society can take to and other nations. The expected tons of CO hope that their generation will be able to solve it. prevent the disruption hashtags and tracked Facebook mentions. For increase would bring fossil fuel 2 Once you have the film the way you want of life on our planet. every use of the social assets, National Geographic and industrial emissions to a record yearly high. The CarboTax app it, the next step in creating social impact — and 21st Century Fox donated one dollar to Pristine “Before the Flood: About.” Before the — The app designed by entertainment is to get it in front of the right Flood, www.beforetheflood.com/about. Seas and the Wildlife Conservation Society, up to “‘We are in trouble.’ Global carbon Daniel Nadler and Karl emissions reached a record high in audience. With Before the Flood, we were in a a total of $50,000 for each organization. 2018.” The Washington Post, 5 Dec. Burkhart allows you to pay desperate state because the 2016 election was 2018, washingtonpost.com/energy- a voluntary tax, which offsets environment/2018/12/05/we-are- 1.6% 2.7% your climate footprint and Let the characters reveal the rapidly approaching. This became a core part While making Before the Flood, we realized we trouble-global-carbon-emissions- goes toward reforestation. Film Documentary of our deal with National Geographic: we said had to do something about our carbon footprint. reached-new-record-high. 2017 2018 change you’re trying to drive. — we would basically give them the movie for In our minds, there We joined up with Daniel Nadler who designed “BTF Screening Kit_CC_V1_WOLetter.” nothing if they got it in front of as many people is no more important the CarboTax app, which helps you contribute National Geographic Channel. as possible before the vote. That was really story to tell, no more to reforestation campaigns to offset your carbon now more important than ever. You always need Having Leo as our main character meant that he important to us — the movie had to hit a lot important issue footprint through a voluntary carbon tax. That someone to pick up the cause and be dedicated became our tour guide for the issue, and he was of eyeballs at the right moment in time. facing our planet had a really positive effect — it gave us a practical to its impact, and the social impact campaigns able to take the audience through the narrative than that of climate step we could take and was also an action we you’ve started, long after you’re gone. I’ve found as it unfolded, allowing the audience to learn To accomplish this, Courteney Monroe at change. could communicate to viewers. In the end, this it helpful to have partners involved at every stage in tandem with him. That made everything far National Geographic had the idea to give it raised over $1 million to help reforest places that possible so I can get back to making the best films — Courteney Monroe, more compelling. It also made it feel less like the away free for the first 10 days, hosting the film CEO of National were featured in the movie. I can. Because for me, that’s where impact has to film was preaching — and with films like this you on YouTube, iTunes, Facebook, and many other Geographic Global start: with a great movie. can’t preach or you’ll lose people. As a result, we platforms and VOD services. The board agreed Network The impact work does not stop once you’ve were very careful and if we ever thought that the with her plan and the success of the release far released the film — in fact, you could say Ultimately, there are a million causes and a million material was veering in that direction, we’d cut it. exceeded our expectations. Before the Flood was that’s when it really begins. Never in our wildest movies — so nothing’s easy. But this is a great time available in 45 languages across 171 countries, dreams could we have imagined that the Trump to be making documentaries. There’s so much to I also believe that you have to make films like this eventually reaching an audience of more than 60 administration would have rolled back all of the fight for and so much to fight against. You’re going personal. I tried to draw that aspect out of Leo in million people worldwide. It’s gone on to surpass progress made by President Obama. All of our to see a lot of amazing creativity come out of this Before the Flood because that’s what really makes 1 billion minutes of viewing time across multiple deepest fears have come true. So this movie is time from documentary filmmakers.

Leonardo DiCaprio in Before the Flood, 2016

Before the Flood distribution — Coinciding with its global television “National Geographic Channel Announces premiere in 171 countries and 45 Unprecedented and Historic Global Release languages, the film was released of Before The Flood.” Business Wire, 24 Oct. 2016, www.businesswire.com/news/home/20161024006285/ commercial-free on multiple digital en/National-Geographic-Channel-Announces- and streaming platforms. Unprecedented-Historic-Global.

171 countries 45 languages

16M 1,500 >7.1M viewers on the private screening events for views on YouTube. Nat Geo Channel. colleges, religious institutions,

and other organizations. National© Geographic other respective and production studios distributors and

52 The State of SIE 53 This kind of work is never easy, so you Joshua need to cultivate the right environment on awards Oppenheimer the shoot in order to evoke these new realities. Nominations Wins It’s about establishing a safe space and being Academy Award®- nominated director transparent, since your crew and participants Shock will be pushed beyond their comfort zone. You are creating an intervention. This is the 1 task of the artist: to create new pieces of the Academy Awards® world that force us as viewers to reflect on and recognize things that we were unable to speak Notable works: The Act of Killing, The Look of Silence about previously. 2 1 BAFTA® Awards of the While I knew this work was disruptive, I For a film to generate positive social didn’t think that The Act of Killing would have Film Documentary impact, it needs to hold up a mirror an immediate inflammatory impact and explode 1 1 to the audience. in the way that it did. It became a touchstone Gotham Awards of discussion, leading to a swift transformation – “The Act of Killing (2012): Awards.” That’s because the shock in great art and great in how the Indonesian media was talking about IMDb, 2019, www.imdb.com/ storytelling is always the shock of the familiar, when the past. Just three weeks after the first press title/tt2375605/awards. Familiar you encounter something about yourself in a work. screenings, the media shifted from talking about The Look of Silence, 2014 the “heroic extermination of the communists” — Often, journalism and news media only provide a or more vaguely “the troubles of the 1960s” — to The Look of Silence awards snapshot of an issue, but documentary film lends describing the atrocities as a genocide carried Nominations Wins itself to telling deeper stories about people, stories out by people who still remained in power. that can touch the core of our being. With The Act of Killing and The Look of Silence, I wanted to tell There was a real hunger for The Look of a deeper story about the Indonesian genocide by Silence too. It was screened 950 times in 116 1 exploring the impunity of the perpetrators. cities in 32 of Indonesia’s 34 provinces. Numerous Academy Awards® public screenings were held in Medan, which is When working on a film, I always start with what the city where both films were made. Not every troubles me or what I can’t look away from. This organization that screened the film could report 2 1 requires looking within, beyond the superficial. on how many people attended, but we know Gotham Awards In the case of The Act of Killing and The Look of that at least 53,000 people went to screenings Silence, it was the boastfulness of the perpetrators held by universities, film clubs, NGOs, religious that captivated and disturbed me. I felt there was organizations, and community groups. We made 1 1 something performative in the way they were the film available for free online and it has now Independent Spirit Awards showing off about the worst of their crimes. been streamed or downloaded tens of millions – “The Look of Silence (2014): of times in Indonesia alone. Awards.” IMDb, 2019, www.imdb. com/title/tt3521134/awards

As a result, young people started demanding the truth. Survivors of the genocide organized an international people’s tribunal, and Indonesian When working on a film, teachers’ unions created an alternative history I always start with what curriculum so that they wouldn’t have to continue to teach the false, official version. Initiatives in troubles me or what I visual history, theater, art, and human rights can’t look away from. sprang up across the country, many of which are still active today.

Historians demanded that the Indonesian

© and other respective production studios and distributors My crew and I devised ways to explore this and American governments open up their impunity by setting up new situations that made archives to shed light on the role the US this performance visible. In The Act of Killing we played in the genocide, and we supported asked the perpetrators to dramatize their memories them by hosting screenings at the White By finding humanity in of murder and how they felt about participating House. Then, on December 10th 2014, Senator even the darkest moments, in a genocide. In this way, we created a new reality Tom Udall (D-NM) — who screened The Act of as we brought certain aspects of the perpetrators Killing to Congress earlier that year — introduced Joshua Oppenheimer to the surface that had previously been invisible a Senate resolution demanding that the US challenges viewers to look to the rest of society. Similarly, in The Look of declassify all documents pertaining to America’s Silence we created a new reality by helping our role in the genocide, and that it apologize for beyond the superficial. protagonist Adi confront his brother’s killers. America’s part in the slaughter.

54 The State of SIE 55 On October 18th 2017, the US government the viewer or make them passionate about released official documents on the mass an issue. Some people might sign a petition The Look of Silence killings in Indonesia in 1965–1966. The released or make a donation, but this is not sufficient distribution and reach documents revealed that US diplomats and their and can actually close down the conversation. Not every organization that screened the film informed State Department counterparts in Washington, These kinds of documentaries are a missed the filmmakers how many D.C. had full knowledge of the events. They opportunity and only serve to reassure or people attended, but 53,000 detailed tens of thousands of killings of suspected congratulate the viewer that they are a good people are recorded as having attended screenings Communist Party members and ethnic Chinese, person for simply caring. held by universities, film as well as trade unionists, teachers, activists, clubs, NGOs, religious and artists. These killings were committed by The most comfortable explanation for the organizations, and community groups. the Indonesian military, paramilitary groups, stories told in The Act of Killing is that these and Muslim militias. men are monsters, because it is predicated on the assumption that “I, the viewer, am

not a monster.” Instead, I tried to present Film Documentary the audience with human beings who were wrestling with guilt. I started to see myself in 950 them, and the film asks viewers to do the same. screenings That’s a profoundly uncomfortable position We made the film available and one that a significant number of people for free online and it has will reject. But those that are prepared to look now been streamed or in the mirror will ask themselves the important questions: why do we do these things and 116 downloaded tens of millions how can we live with them? cities of times in Indonesia alone. That’s why the end of the film is possibly the darkest happy ending in documentary history. You realize that even a man like Anwar, one of If you want your film to have a real impact, the leaders of the death squads back in the 32/34 I think it has to force people to see that the 60s, is fundamentally a human being. If that’s Indonesian provinces world cannot continue in its present form. the case, then we ought to be able to find ways Many documentaries simply present us with of living together that ensure the unthinkable another worthy cause and fail to challenge violence committed will never happen again. © Final Cut for Real and other respective production studios and distributors The Act of Killing, 2012 53K people attended screenings The Act of Killing distribution and reach The Act of Killing Indonesian screenings The Indonesian media investigates The Act of Killing premiered at the Telluride In a sample period from May–August After watching The Act of Killing, — If we are to transform Indonesia into “The Look of Silence Press Notes.” Film Festival in 2012. It went onto screen at 2013, over 1,000 DVDs were sent out Indonesia’s premier news magazine, Human Rights Watch Film Festival, festivals in 57 different countries. to 118 cities, in 29 of the 34 Indonesian Tempo, decided it would break its the democracy it claims to be, citizens Human Rights Watch, ff.hrw.org/ provinces. The organizations and silence on the genocide and gather must recognize the terror and repression sites/default/files/films/press_kits/ TheLookofSilencePressNotes_Final_2.pdf. individuals who received DVDs often fresh evidence, sending a team on which our contemporary history has held screenings of the film. around the country looking to find been built. No film, or any other work of There were 45 publicly announced other perpetrators who would talk screenings on August 17th 2013 (the about their crimes. art for that matter, has done this more anniversary of Indonesian Independence As of February 2013, there were effectively than The Act of Killing. Day 1945) in various cities in Indonesia. more than 600 new Indonesian press 21 53 articles re-examining the genocide. – The National Human Rights Commission countries distributed awards and accolades. of Indonesia The Tempo investigation team: to, in Europe, Asia, – and Latin America. “The Act of Killing – Reactions.” The Act 1,000+ of Killing, theactofkilling.com/reactions-3/. DVD’S 47 4 12 journalists project managers editors 118 3 2 3 1.5M+ 22K+ cities researchers photo researchers translators views of the online trailer. impressions across the The result: film’s Facebook, , 29/34 and other social accounts. Indonesian provinces 75 600+ — — Doc Society. “The Act of Killing.” The Impact Field Guide & Toolkit, Doc Society. “The Act of Killing.” The pages of new press impactguide.org/static/library/TheActofKilling.pdf. Impact Field Guide & Toolkit, impactguide. testimony articles org/static/library/TheActofKilling.pdf. Thompson, Anne, and Maggie Lange. “Documentary ‘The Act of Killing’ Premieres at Telluride, Screens at Toronto.” IndieWire, Penske Business — Media, 31 Aug. 2012, www.indiewire.com/2012/08/documentary-the- Doc Society. “The Act of Killing.” The Impact act-of-killing-premieres-at-telluride-screens-at-toronto-202127/. Field Guide & Toolkit, impactguide.org/ static/library/TheActofKilling.pdf.

56 The State of SIE 57 Jess The Impact Field Guide Search five-part methodology

CEO of Doc Society and a Board member of Kickstarter

Messaging Doc Society is a nonprofit organization that enables the creation of great documentary films. Documentary Film Documentary We award grants, host convenings and Planning celebrate achievements in the space, providing filmmakers with the support to reach new audiences and make a greater impact with their work. From day one in 2005 we have worked to empower artists to make the best version of their films possible, in order to unleash Impact in action the power and potential of documentary.

One of the ways we try to do this is by consolidating expertise and knowledge and sharing it with the entire field. One of our most groundbreaking resources is The Impact Field Impact distribution Guide & Toolkit, a detailed online publication that amalgamates the wisdom and experience of countless amazing filmmakers, all in one place. It is the largest and most significant publication of its kind. Evaluation

— “The Impact Field Guide & Toolkit: About.” The Impact Field Guide & Toolkit, Doc Society, 2017, impactguide.org/about/. Our support for filmmakers is hands-on and reactive to their needs.

The Impact Field Guide takes readers through a five-part methodology designed to help artists who want to make real change with their film. It begins with the messages that arise from the film’s narrative, and provides a

© Jeff Gilbert / Alamy Stock Photo Jess Search (left) and Beadie Finzi (right) encourage young voters in London, 2015 strategic framework to enable planning and delivery of impact and engagement work with the film, ending with an evaluation of the film’s Documentary has the impact. Each stage of this process is conveyed in an easy-to-read, accessible format and is power to get inside a person available in English, Spanish, Portuguese, and A Driving Arabic. To date, it has had over 50,000 unique and do something amazing. users. There are also over 20 in-depth case Jess Search discusses how studies accompanying The Impact Field Guide, Doc Society unleashes its as well as downloadable materials such as a budget template and a tool called “My Impact Force power and potential. Plan,” where you can save the output of the

58 The State of SIE 59 exercises we provide. When we were creating Doc Academy is now used in over 25% of process as early as possible can definitely The Impact Field Guide we concentrated on secondary schools in Britain, and we’re piloting help. It’s important to have clarity on what Doc Academy Doc looking at the bigger picture, the trends within the program in the US and Kenya. Our approach you’re trying to do, but that’s different than Doc Academy is the school program the field and best practices. We know this having a single, set goal; you still need to be of Doc Society, providing free resources for UK secondary school teachers. The information is incredibly valuable to filmmakers, flexible. Just as Doc Society is iterative in its online platform offers award-winning but they are often too busy focusing on their methodology, the filmmakers who achieve the documentary films for use in classrooms, own work to collect it and share it themselves. most are open and able to adapt quickly too — and is used in a quarter of all UK Awards for Doc secondary schools. Society-funded films especially when their films are released into The films provided are bolstered by Citizenfour: Winner, Best Doc Society exists to do collective work on the world and people, communities, and You need to understand curriculum-linked lesson plans and Documentary (Feature) at behalf of busy film teams. Filmmakers can institutions start reacting to them. activity toolkits to help teach real issues. the 2015 Academy Awards® accurately report the problems they encounter your film’s impact so you Dirty Wars: Winner, during the course of their projects, but they’re We think evaluation of that reaction is incredibly Award for can learn how to deepen Most Valuable Documentary not always in a place to analyze it and propose important. You need to understand your film’s and replicate it. of the Year at the 2014 solutions. That’s where an organization like ours impact so you can learn how to deepen and of teachers reported Cinema for Peace Awards Film Documentary an increase in student can play a vital role, analyzing the landscape replicate it. If you can’t tell the story of your The Square: Winner, Best 100% engagement. and clearing a path to help everyone move film’s effect, you’ll struggle to learn from it, Feature Award from the International Documentary forward. When we discover that numerous is to engage hard-to-reach pupils with real-life you’ll struggle to build upon it, and you’ll struggle Association in 2013 filmmakers are having similar issues, we try content and provide teachers with materials to attract the resources and partners that you Virunga: Winner, Peabody to create systems or tools that give them on hard-to-discuss topics that kids are anxious need for your future projects and for others 86% Awards 2014

what they need to overcome these obstacles. about, all without adding to the teachers’ that come after you. This is why evaluation is – reported an Petski, Denise. “‘Citizenfour’ Wins This systemic work is, by its nature, iterative. workloads. We’ve found that it’s particularly a responsibility, not just a nice thing to have. Oscar® For Documentary Feature.” improvement in key Doc Society doesn’t do much long-term effective in reaching marginalized students. Deadline, Penske Business Media, 22 English language skills. Feb. 2015, deadline.com/2015/02/ planning as our support for filmmakers is The films are often about difficult subjects, It’s exciting and a privilege to be contributing citizenfour-wins-oscar-best- documentary-feature-2015-academy- – hands-on and reactive to their needs. and these kids make real, meaningful connections to a field that’s developing so rapidly. award-winner-1201378635/. “Doc Academy.” Doc Society, with the work because it reflects their own Documentary is a broad church — events, docsociety.org/projects/#docacademy. “Dirty Wars (2013): Awards.” IMDb, 2019, www.imdb.com/title/ As an art form, documentary film has a near outsider experiences. podcasts and even live performances can all tt2532528/awards?ref_=tt_awd. unrivaled capacity to inspire, educate and be part of this space. It’s a flexible medium, McNary, Dave. “‘The Square’ Takes Top Trophy at International Documentary change people’s understanding of their lives These initiatives aside, the process of and we’re only just beginning to see how Awards.” Variety, 6 Dec. 2013, variety. and societies. This is part of the reason why we making a documentary remains a difficult creative it can be. com/2013/film/news/the-square- takes-top-trophy-at-international- created Doc Academy — a free, online platform one. There’s certainly no right or wrong way documentary-awards-1200927067/. “Virunga (Netflix).” Peabody providing schools with access to award-winning to go about it, and no good film is ever made Documentary has the power to get inside a Awards, www.peabodyawards. documentaries. These films are bolstered by without a huge amount of self-doubt. But for person and do something amazing. We all know com/award-profile/virunga. curriculum-linked lesson plans and activities to teams that also want to create social impact, films that have really changed us, changed who help teachers communicate real and pressing having a plan, a committed team and an we are and who we want to be. That’s the magic issues to their students. impact producer embedded in the whole of it. Doc Society works to harness that magic.

Citizenfour, 2014

The Impact Field Guide & Toolkit “challenge for filmmakers”

Art Money

How to create a great film How to balance the commercial while recognizing that artists imperatives must support themselves of keeping the project in financially in order to exist the black while maximizing and balancing this against social impact and making impact ambitions. a great film.

Impact

How to deliver ambitious impact while creating a great film and a project that is financially viable.

– Doc Society. The Impact Field Guide & Toolkit. ©Participant Media other respective and production studios distributors and Doc Society, 2017, p. 36, impactguide.org/.

60 The State of SIE 61 Case Study message can be lost. By focusing on a region, a state, or even Samantha just an individual lawmaker, you can get real-world results that Wright can then be scaled up to make a big difference. Managing Director of Impact at Exposure Labs

Chasing Ice Chasing Ice viewers Chasing Ice has been screened in more than 172 countries and an estimated 15 million viewers tuned into the broadcast of the film via National Geographic, CNN, 172+ Vice, Weather Channel, Caught on Camera, Chasing Coral Exposing the issue countries and HBO Climate Series for Children. The challenge with telling stories around big, complex – subjects like climate change is getting beyond the reports, “Doc Impact Award 2016 – Chasing Ice.” Doc Society, docimpactaward.org/films/chasingice.

From changing minds in Ohio to capturing the numbers and graphs. You need to make it visually coherent Film Documentary attention of world leaders at the UN — Samantha so people can connect the dots and understand the issue. My role at Exposure Labs is to empower people to do that: Wright walks us through the evolution of impact to be visual, to experiment, and ultimately, to help expose Chasing Ice, driving change across Chasing Ice and Chasing Coral. those difficult, entrenched issues. To do this we use an iterative We learned a lot from Chasing Ice. The 2012 documentary approach, allowing ourselves to make mistakes, to learn, initially sought to simply show viewers what was happening to grow, and to change. in the Arctic Circle, but we were overwhelmed with the response and it became the centerpiece for a much more At Exposure Labs we have a simple but ambitious mission: dynamic campaign. to solve problems through film. We think one of the biggest issues in the US right now is a lack of political will to act on This was when we began to focus on the hyperlocal. We’d climate change at the speed we need. In response, we make been hearing that there were elected officials across the US who films that highlight specific aspects of the much larger problem believed in man-made climate change, but lacked the political — from the melting of the northern ice caps in Chasing Ice to cover to go public with their views. Representative Bob Inglis the destruction of coral reefs worldwide in Chasing Coral. Then, (R-SC) was unseated in 2010 for just this reason. We knew that through strategic, local partnerships, we arm audiences with if we were going to shift skeptical policymakers we would have to images that help them break down these complex issues. This convince their voters. So, we decided to micro-target one district allows the films to instigate change at a local level. If you try to and one congressman: Pat Tiberi, a climate change denier in address a global audience about this type of issue, a lot of the Ohio. We had this idea that 50 screenings in one place,

Chasing Ice digital presence Chasing Ice audience attitude shifts As of 2016, an estimated 1.8 million people During early screenings, exit surveys had engaged with the film’s website. were used to measure the change in attitudes of the skeptical. Results showed a significant shift in their concern around climate change and a desire to adjust their personal behavior, shown by how many viewers agreed with the following statements: 60K+ 7,500+ 18K+ Before viewing After viewing Chasing Ice, 2012 Chasing Coral, 2017 Facebook likes Twitter followers mailing list subscribers — — — — “ Climate change is happening “Assuming climate change is RATING DATE RATING DATE By the end of 2018, the and I’m extremely sure.” happening, it is caused mostly PG-13 Nov 16th 2012 PG July 14th 2017 film’s glacier calving by human activity.” video had reached 75% over 55 million views — — — — 61% on YouTube. 53.3% RUNNING TIME STARRING RUNNING TIME STARRING 01:15 , Svavar 01:33 Richard Vevers, Zackery Rago, This event holds the Guinness 33.5% Jónatansson, Dr. John “Charlie” Veron World Record for the longest 55M+ as well as the largest glacier — — — — views calving ever filmed. “I am very worried about “The problem of climate change DIRECTED BY PRODUCED BY DIRECTED BY PRODUCED BY climate change.” is extremely important to me.” Jeff Orlowski Jerry Aronson, Jeff Orlowski, Jeff Orlowski Jeff Orlowski, – Paula DuPré Pesmen Larissa Rhodes “Doc Impact Award 2016 – Chasing Ice.” Doc Society, 64.7% docimpactaward.org/films/chasingice. — — Exposure Labs. “‘CHASING ICE’ captures largest glacier 43.9% 45.9% SYNOPSIS SYNOPSIS calving ever filmed – OFFICIAL VIDEO.” YouTube, 14 Dec. Follow National Geographic photographer James Coral reefs around the world are vanishing at an 2012, www.youtube.com/watch?v=hC3VTgIPoGU. 27.8% Balog across the Arctic as he deploys time-lapse unprecedented rate. A team of divers, photographers, and “Largest glacier calving filmed.” Guinness World Records, 2019, www.guinnessworldrecords.com/world- cameras designed for one purpose: to capture a scientists set out on a thrilling ocean adventure to discover records/383106-largest-glacier-calving-filmed. – multi-year record of the world’s changing glaciers. why and to reveal the underwater mystery to the world. “Doc Impact Award 2016 – Chasing Ice.” Doc Both images © Everett Collection Inc / Alamy Stock Photo Society, docimpactaward.org/films/chasingice.

62 The State of SIE 63 in one community, could go so much further than 50 around the accounted for 37.5% of our audiences; following screenings, and posters to build support for the state’s faltering solar Lasting success world — and this proved to be right. After six weeks, Congressman these self-identified skeptics left feeling either “cautious” energy plans. By encouraging constituents to post messages Both films are having an extremely long shelf life. Much Tiberi in Ohio ultimately shifted his position acknowledging that or “concerned” about climate change. One woman even on a dedicated website we set up, we were able to hold of this is down to the homegrown activism that’s built around climate change is a man-made problem, and eventually joined came to a screening with the specific aim of heckling us, Republican representatives accountable to support clean the screenings as a result of that hyperlocal approach we’ve the bipartisan Climate Solutions Caucus, working with other and 90 minutes later she was a convert! energy policy in the legislative session. been taking. With Chasing Ice, we wanted to make sure it representatives to address the risk of climate change. was fully accessible to all communities wherever it was showing, Chasing Coral, building on success so the campaign contributed $100,000 toward ticket giveaways, The approach to engagement for Chasing Coral was which were made possible through a private grant. For Chasing based on our learnings from Chasing Ice. After evaluating Chasing Coral impact Coral, we now have many partners who’ve helped us set up the successes of the campaign, and where things could In Atlanta, the Mayor’s Office over 1,500 community screenings in more than 100 countries Chasing Ice box office of Resilience screened the film in have been done differently, we decided to change it up a its council chambers and sought around the world. little. With Chasing Ice our effort was centered around the community feedback on the city’s Widest release: one experiment we ran in that district in Ohio, so for Chasing 100% Clean Energy Plan. The impact of our local strategy has been incredible, 53 theaters

Coral we focused on a wider area in the Southeast. Again, we – and it’s been matched with impact at a global level, too. Film Documentary $1.3M+ In release: “Chasing Coral: Year One & Beyond.” DocSend, were driven by a desire to iterate, to try new things and see Exposure Labs, docsend.com/view/3rwidwz. Chasing Ice was screened in over 172 countries and earned Domestic gross 175 days/25 weeks what worked. But whereas before we had just one experiment, over $1.3 million at the box office. More than 15 million viewers

– now the plan was to run a whole series of them across the have tuned into broadcasts on various networks, as of the “Chasing Ice.” Box Office Mojo, IMDb.com, Inc., www.boxofficemojo. region, varying our approach from screening to screening. end of 2018, the film’s famous video of the calving glacier com/movies/?id=chasingice.htm. had reached over 55 million views. In 2016 the film even won For our 2018 work for Chasing Coral, we ran three local Chasing Coral came out in 2017 and we aren’t nearly the prestigious Doc Society Doc Impact Award in recognition campaigns, each targeting different levers of systems-level finished with it yet. We’ve held over 1,500 screenings of its impact on audiences. Fortunately, Chasing Coral is As we supported Chasing Ice in communities around the change: mobilizing voters, inspiring young people, and and the demand hasn’t dropped at all, and this is partly headed in the same direction, with impact donations from world, our screenings became more than just basic Q&As. shifting policymakers. In Atlanta, Georgia, we mobilized voters because we’ve been willing to change the formula as we 39 countries and 30 awards from 72 festivals. We curated different aspects of the experience — from in time for the 2018 midterms, using screenings across the go. This sounds like a lot of work, but the ultimate goal of sending out the invitations, to mediating the discussions, to city to get to hard-to-reach audiences. In South Carolina, we this approach is to create a set of refined learnings that We’ve been humbled to show Chasing Ice at the White House, designing the environments. In key test audiences, we also partnered with the Charleston County School District, using will help others generate impact of their own. In support while Chasing Coral has been screened on Capitol Hill and at the conducted exit surveys to measure the shifts in mindsets the film as a launchpad for an entire semester of learning of this, Exposure Labs has launched “Unstoppable,” a new UN Ocean Summit, among many other places. When your films during our events, basing our method on the “Six Americas” that inspired young people to take ownership of our impact project that draws from these lessons learned to build an are playing at venues like these, you know you have a chance of framework from the Yale Program on Climate Change on the environment. A separate campaign toured South open-source toolkit that will help other campaigners and making a real difference — and with the power of local champions Communication. On average, climate change skeptics Carolina across nine state house districts, using screenings filmmakers supercharge their climate work. to back you up, there’s nothing that can’t be accomplished.

Chasing Ice audience attitude shifts Chasing Ice digital presence Chasing Ice awards Chasing Coral awards Chasing Coral reach At the end of the Chasing Ice film campaign tour, In the year that the film premiered (2012), over the latest Intergovernmental Panel on Climate Change 20,000 people signed up for the Chasing Ice Nominations Wins Nominations Wins 1,500+ in over 100 with over (IPCC) report was released. Organizing for Action, email list, and the film team gathered nearly 15,000 a nonprofit, had volunteers go to the office of every signatures for the first online pledge to commit screenings of countries 100,000 US Congressperson who denied climate change and to personal action combating climate change. Chasing Coral attendees present the report. Statements from their offices were 1 3 1 also requested. Of the more than 130 Congresspeople Academy Awards® News & Documentary Emmy® Awards who denied climate change, only Congressman Tiberi’s team responded: 20,000 people 15,000 signed up for signatures for the email list the online pledge 1 1 1 combating News & Documentary Emmy® Awards PGA Awards A global problem requires 50,000+ and over 5,000 climate change downloads mentions of the a global solution. An effective of the film’s film in the press solution requires that all – action guide “Doc Impact Award 2016 – Chasing Ice.” Doc Society, 2 1 2 1 countries agree to participate www.docimpactaward.org/films/chasingice. Sundance Awards Sundance Awards together. I would like to see – – us address climate change “Chasing Ice (2012): Awards.” “Chasing Coral (2017): Awards.” IMDb, 2019, in a balanced manner, on as IMDb, 2019, www.imdb.com/title/ www.imdb.com/title/tt6333054/awards. tt1579361/awards?ref_=tt_awd. – broad a front as possible. “Chasing Coral: Year One & Beyond.” DocSend, Exposure Labs, docsend.com/view/3rwidwz. – “Doc Impact Award 2016 – Chasing Ice.” Doc Society, www.docimpactaward.org/films/chasingice.

64 The State of SIE 65 Spotlight on: At the screenings in particular, local residents were afforded a platform to discuss the issues and, if they so wished, reach out to Congressman Tiberi to ask him to reconsider The his stance on climate change. The campaign team asked attendees to write any statements, messages or questions Chasing Ice to the Congressman to be shared on the web (and eventually Ohio Tour on a dedicated website: www.DearCongressmanTiberi.com). The team spent close to three months planning and developing the tour, which included “writing proposals, researching Congressmen and congressional districts, developing educational language, creating a new constituent call to action, building a new website, and designing marketing and media materials.”

The concerted effort and hyperlocal focus paid off.

After laying this groundwork, they traveled to central Ohio where their plans were put into action. They “booked screening events, built local strategic partnerships throughout the district with over 70 local groups, developed press and media connections, held meetings with the Congressman, and continued to develop the call to action in order to support the Congressman.”

The concerted effort and hyperlocal focus paid off: on April 24th 2014, Congressman Tiberi released a statement acknowledging that climate change was an issue that needed to be tackled.

The Chasing Ice Ohio Tour saw the team at Exposure Labs concentrate their change efforts in one district: 91 9,440 300+ screening presentations Ohio residents reached messages from Ohio’s 12th. The aim was to galvanize the public — hosted by the through screening and Ohio residents to through events, screenings, and by striking up local Chasing Ice team. marketing events. Congressman Tiberi. partnerships — and push Congressman Pat Tiberi away from his stance as a listed climate change denier, and toward accepting the reality of the issue. 35+ 70+ 662 press articles or partnerships with local Ohio residents signed According to the team orchestrating the campaign, the event announcements venues/organizations. up to stay involved were released about with the Chasing Ice strategy was to flood the district with “Chasing Ice screening the Ohio Tour between Ohio Tour. events, press and climate education for the public” with April-May 2014. the goal being to “support the Congressman through his constituents and provide him with everything he needed – “Chasing Ice Ohio Tour 2014.” Dear Congressman to understand and embrace climate change science.” Tiberi, www.dearcongressmantiberi.com/ chasing-ice-ohio-tour-impact-report/.

An Inconvenient Telling a Truth box office $49M+ Worldwide gross

Domestic total gross: Good Story $24,146,161 Foreign total gross: $25,610,346 Opening weekend: $281,330 Film Documentary Widest release: 587 theaters In release: 163 days/23 weeks

— “An Inconvenient Truth.” Box Office Mojo, IMDb.com, Inc., www.boxofficemojo. Elise Pearlstein elaborates on com/movies/?id=inconvenienttruth.htm. the importance of using stories to connect with audiences An Inconvenient Truth awards on an emotional level to take Nominations Wins them someplace where they wouldn’t otherwise go. © Participant© Media other respective and production studios distributors and 2 2 Academy Awards® An Inconvenient Truth, 2006 Elise Pearlstein Jeff Skoll founded Participant Media for breaking news or stories that are going to feel Carole Morison was a chicken farmer so 1 on his belief that a good story, well outdated in six months. We’re looking for projects disillusioned with the way she was forced to Gotham Awards SVP of Documentary Film and Television at told, can make a difference and drive that are ideally going to hit a zeitgeist 18 months treat her animals, she risked her livelihood to Participant Media people to do good in the world. from when they are first pitched to us. expose the truth. Moe Parr was a seed cleaner whose principles brought him into a devastating 1 Our approach to documentaries echoes this legal battle with Monsanto: the agrichemical PGA Awards view and aligns with the organization’s overall giant sued him for encouraging soybean farmers (the Stanley Kramer Award) reason for being: to create entertainment that to save their seed, a traditional practice that Notable works: Food, Inc., The Price of Free, America to Me inspires and compels social change. contravened Monsanto’s patent. By allowing 1 Based on data from your audience to be with these characters at Humanitas Prize 1982 to the present, Audiences do not need (Special Award) There is a misconception that in social impact this crucial time in their journey, the storytelling An Inconvenient Truth is — entertainment the issue must always come the 11th highest-grossing or want to be hit over the is much more compelling. There’s a sense of “An Inconvenient Truth (2006): Awards.” documentary film in IMDb, 2019, www.imdb.com/title/ immediacy as people connect with the issues tt0497116/awards?ref_=tt_awd. first, but when it comes to making documentary the US. head with a message. films, we always put the story first. Why? you’re exploring, and this ultimately means that — Because we look to stories to connect with “Documentary Movies at the Box your documentary can have a greater impact. Office.”Box Office Mojo, IMDb.com, audiences on an emotional level and take them Inc., www.boxofficemojo.com/genres/ someplace where they wouldn’t or couldn’t chart/?id=documentary.htm. Impactful and engaging documentaries often A lot of our films feature people who are proactively otherwise go. Entertainment and storytelling provide a personal entry point that connects with doing something to combat a very challenging are key components of our work, and as such audiences. Audiences do not need or want to be hit problem, which can prevent the storytelling from our documentaries strive to offer all the elements over the head with a message, but rather to discover becoming demoralizing. Even if it’s a David-and- that you would expect from a great narrative: the issues at play through authentic storytelling. Goliath mismatch where you doubt that the characters, drama, conflicts, and stakes. So, we look for representatives who will be the best protagonist can actually change anything, the people to tell the story. In Food, Inc. Eric Schlosser fact that they’re trying at all is inspiring. Our most Typically, the pitches Participant receives and Michael Pollan, a pair of investigative journalists, impactful documentaries effectively engage with are from people with clear visions, strong points took the lead in steering the audience through the audiences who will hopefully be inspired to do of view, and an idea of the impact they want narrative, but every issue we explored within the something about an important issue themselves, to have. We’re benefitting from the opportunity to food industry was also represented by someone and won’t be left feeling dejected or wanting to tell an in-depth story over time. We’re not looking who was grappling with that issue themselves. put their heads in the sand.

66 The State of SIE 67 Alongside the filmmakers and our colleagues things that viewers can do to help address change can be a precursor to behavior change of change; what is actionable out of the film; in social impact, we try to ensure that our films climate change. These ideas range from further down the line — and that behavioral its potential impacts; possible partnerships; An Inconvenient Truth Citizenfour offer a range of ways for audiences to engage simple, specific steps like driving less and change is a form of action in itself. Besides, and the execution of a social impact campaign. Filmmaker Davis Citizenfour is a real-life with the topics they explore. recycling, all the way up to more involved Guggenheim follows Al sometimes just spreading the word about a film thriller, giving audiences suggestions such as planting trees, or even Gore on the lecture circuit, is enough: if an issue is at a tipping point, our There is so much content out there now that unprecedented access to running for Congress. as the former presidential documentary can help give it the final push. filmmakers have to bring something to the table filmmaker Laura Poitras candidate campaigns to and journalist Glenn raise public awareness of the that no one else can. Take RBG — an extraordinary Greenwald’s encounters Raising awareness was still a primary goal dangers of global warming, documentary about the life and world of Justice with , in of An Inconvenient Truth, and in this regard and calls for immediate Ruth Bader Ginsburg. Directors Betsy West and , as he hands action to curb its destructive Julie Cohen are wonderful storytellers, but they over classified documents We believe that opinion it was incredibly successful. A 2008 study effects on the environment. providing evidence of mass from the Pew Research Center suggests that also put in the hard work to gain Ginsburg’s trust indiscriminate and illegal change can be a precursor — in the months following its release, there was “An Inconvenient Truth (2006).” Beyond unique ideas, and participation. Likewise, many people have invasions of privacy by the to behavior change further IMDb, 2019, www.imdb. . a 9% increase in the number of Americans com/title/tt0497116/. great stories and pure approached Nobel Prize-winner Kailash Satyarthi — down the line. who believed that human activity was causing over the years but it was , Film Documentary hard work, social impact “Citizenfour – About.” citizenfour.com, climate change. There’s also evidence that An Derek Doneen and Sarah Anthony, the team who citizenfourfilm.com/about. Inconvenient Truth changed people’s behaviors entertainment demands pitched us the idea, that had worked the hardest The credits of An as well as their opinions. Dr. Grant Jakobsen Inconvenient Truth a delicate balancing act. to gain his trust and win the access needed to tell At a base level, we hope they will raise of the University of California, Santa Barbara, included a list of actions, his story (in The Price of Free). awareness: Citizenfour reached over 3 million found that in the two months after release, prompting viewers to make Citizenfour box office a change, including: people worldwide in theaters and won an zip codes within a 10-mile radius of the film’s Beyond this trust, beyond unique ideas, great Academy Award®. The audience couldn’t screenings experienced a 50% relative increase Impact is clearly important to us from day one, stories and pure hard work, social impact directly do much about the issue of widespread in the purchase of voluntary carbon offsets. but once we greenlight a project, we believe in entertainment demands a delicate balancing $3M+ covert programs and illegal letting filmmakers work as they see fit. They act. Your film and your social impact campaign Worldwide gross wiretapping, but our impact goal was to start Not everyone is going to change their life or have the best understanding of the issues, the are artforms in and of themselves, yet they are If you can, buy a conversation on a timely, and incredibly quit their job to fight for an issue, but many landscape and the key voices, sensitivities and also two halves of the same whole. These elements a hybrid car. Domestic total gross: important topic. At other times, where possible, will want to engage at some level, especially if potential minefields. We usually wait until there is must be equally well-executed and they must $2,800,870 we provide our audiences with simple but it’s accessible and easy for them to understand a rough cut of the film before bringing our social work in harmony with each other if you want effective actions they can undertake. An how they can help. Even if the film simply makes impact colleagues back into the process for more to have not only a successful film, but also an Foreign total gross: $202,299 Inconvenient Truth ends with a list of impactful them think differently, we believe that opinion detailed conversations about the specific theory impactful one. Opening weekend: $126,321 Citizenfour, 2014 Widest release: Switch to renewable 105 theaters

The 2007 Nobel Peace Prize was sources of energy. — awarded to the Intergovernmental “Citizenfour.” Box Office Mojo, IMDb. Panel on Climate Change (IPCC) and com, Inc., www.boxofficemojo.com/ movies/?id=citizenfour.htm. former US Vice President Al Gore for their efforts to obtain and disseminate information about the climate challenge. Having lost the presidential election in 2000, Gore used his influence to Citizenfour awards increase public awareness in the US Vote for leaders and other countries of the seriousness Nominations Wins who pledge to solve of the environmental situation. This goal he well-nigh achieved by means of his this crisis. documentary film. — 1 1 “Al Gore – Facts.” NobelPrize.org, Nobel Media AB, 2018, Academy Awards® www.nobelprize.org/prizes/peace/2007/gore/facts/. 1 1 Insist that America freeze BAFTA® Awards

CO2 emissions and join international efforts to stop global warming. 1 1 — Independent Spirit Awards “An Inconvenient Truth (2006).” IMDb, 2019, www.imdb. com/title/tt0497116/. 4 1 Emmy® Awards

— “Citizenfour (2014): Awards.” IMDb, 2019, www.imdb.com/ title/tt4044364/awards. © Participant© Media respective and production studios distributors and

68 The State of SIE 69 theater, and emerging technologies. I see Tabitha our role as providing nutrition for the soil I Am Not Your Jackson where these filmmakers can sprout and develop Negro box office to become strong on their own. Since 2002, Sparking Director of the Documentary Film Program our Documentary Film Program has supported at the Sundance Institute nonfiction filmmakers across the world. Whether $7M+ it’s our residential labs, festivals or year-round Domestic gross artist support, everything we do is about trying to create a catalytic space for imaginative Opening weekend: possibility. As of December 2018, we awarded $686,378 the Imagination is key when it comes $1.4 million in targeted Documentary Fund Widest release: to social change. grants to support nonfiction storytellers. 70% of 320 theaters our supported projects were helmed by women, In release:

We have to be able to imagine what a different 36% originated outside the US, and 23% were Film Documentary 126 days/18 weeks and better world could look like in order for it to from first-time feature filmmakers. — be realized. If you can spark people’s imaginations “I Am Not Your Negro.” Box Office Mojo, Imagination with great work, you can guide them in the direction IMDb.com, Inc., www.boxofficemojo. com/movies/?page=intl&id=iamnot of behavior change. That’s why our vision at the yournegro.htm. Sundance Institute is to advance independent artists to become a global, cultural force. I believe impact is almost When he founded Sundance in 1981, Robert I Am Not Your Negro awards Redford was looking for an alternative channel synonymous with audience Nominations Wins Vision is a fundamental for the independent voice in film. He was trying and distribution. driver of social change. Tabitha to enhance freedom of creative expression and get work made that wasn’t seen as commercially Jackson argues that in order viable by the studios at that time. 1 to create a different future, Over the course of Sundance’s three-and-a-half Academy Awards® Today, we work to discover, support, protect, decades, culture has shifted. I don’t attribute that we must first be able to see it. and amplify independent artists working in film, entirely to us of course, but the Institute has 1 1 BAFTA® Awards The Act of Killing, 2012

2018 submission 1 and selection numbers Independent Spirit Awards Approximately 200 feature length and short films are selected each year. The festival also presents panels, music programming and the New Frontier exhibition of new media work. 2 For the 2018 Sundance Film Festival, there were: Gotham Awards 1 NAACP Image Awards

— “I Am Not Your Negro (2016): Awards.” IMDb, 2019, www.imdb.com/title/ 13,468 190+ tt5804038/awards?ref_=tt_awd. 124,900 film submissions countries attendees

— “Sundance Institute Fact Sheet.” Sundance Institute, 2018, www.sundance.org/pdf/about/ sundance-institute-fact-sheet-2018.pdf. © Final Cut for Real and other respective production studios and distributors

70 The State of SIE 71 certainly contributed. By programming The use of art and metaphor can express deep The role and responsibility of the artist is to I believe there are transformative films certain films at our festival, which is our largest truths about the human condition, so while one be truthful, independent, and to let their individual and transactional films. With the latter, mouthpiece, we’ve helped spark discussion film might not necessarily be able to change the I Am Not Your Negro voice come through. Raoul Peck’s I Am Not Your you go to the cinema to see something that with projects dealing with gay and transgender world, it can certainly help make sense of it. That’s Filmmaker Raoul Peck Negro, one of the documentaries supported by confirms what you already know. You pay envisions the book rights, climate change and native and indigenous why at Sundance, we want to sustain artists who James Baldwin never our program, exemplifies the power of a story told , reinforce your liberal sensibilities stories, to name just a few. describe the world accurately and honestly, in all finished,Remember This with authenticity. The film envisions novelist James and go on your way without being troubled its complexity. We look to support artists whose House. The result is a Baldwin’s unfinished manuscript, Remember This by any doubt or question as to where your radical, up-to-the-minute Because of this, I believe impact is almost work holds power to account and, particularly at examination of race in House. The book was intended to be a personal opinions come from. synonymous with audience and distribution. If you this moment in time, helps build a shared discourse. America, using Baldwin’s account of the lives and assassinations of Baldwin’s can get your work in front of the right audience and Those artists need to be responsible too; we live in original words and flood friends, Medgar Evers, , and Dr. Martin Transformative films move us emotionally of rich archival material. stimulate people’s imaginations, a large majority of a visual culture and as such, images wield power. I Am Not Your Negro Luther King Jr. The film is something very different and make us question ourselves. Joshua the work is done. But distribution in particular can’t This means filmmaking can be a positive force for is a journey into black but still richly poetic and political. Oppenheimer’s The Act of Killing, which exposes just be commercially driven — you have to have change, but it also comes with responsibility — history that connects the the mass executions of accused communists past of the civil rights non-theatrical, educational, and community-based not to unthinkingly perpetuate a history of racist movement to the present Peck’s film confounded the industry box in Indonesia, forced me to find my own moral Film Documentary screenings and events if you want to have impact. imagery, for example. of #BlackLivesMatter. office predictions which, given the work’s compass because it didn’t give me any answers. African American subject matter and historical, Now I see the world slightly differently because However, what often gets lost in conversations biographical nature, were pessimistic. I Am Not I was forced to do that imaginative work. about social impact films is the fact that creating Your Negro blew everyone’s expectations out of meaningful, long-term value change is challenging the water because it provides a fierce, unapologetic Ultimately, I want to be changed after work. There is no “silver bullet.” The role of film needs commentary about the way we live now. The film emerging from seeing a work. That’s why I to be contextualized with other cultural forces. I’m trying to understand what asked questions and that’s what a documentary love being questioned. For me, the questions should do. Rather than provide all the answers, and the possibilities that allow for imaginative Personally, I’m trying to understand what the world the world is on my journey to nonfiction film is an invitation to think, feel and intervention will always be more interesting than is on my journey to imagining what it might be. imagining what it might be. participate. someone just telling me the answers.

I Am Not Your Negro, 2016

The Sundance Institute The Sundance Institute’s artist programs provide support at every step of the creative journey for individuals with 11,000+ 10,000+ distinct voices in film, theater, film artists supported by the submissions sent to the composing, episodic storytelling, Institute’s programs. Institute’s labs annually. and emerging platforms. Each program consists of labs, grants, workshops, and ongoing resources for artists to nurture their projects, 14 28 and sustain their careers. public workshops hosted in residential labs across the Each year, the Institute’s residential labs 2018 – on topics including US and internationally. support more than 1,000 independent creative distribution, short artists working in film, theater, new filmmaking, documentary media, and episodic content (TV/online). film editing, and more. Each artist is given critique, mentorship, $3.1M+ and support to realize his or her creative vision, in an environment where risk- in grants to taking is encouraged. Each lab ranges independent artists. from four to 24 days.

— “Programs Overview.” Sundance Institute, 2018, www.sundance.org/create/overview. “Sundance Institute Fact Sheet.” Sundance Institute, 2018, www.sundance.org/pdf/about/ sundance-institute-fact-sheet-2018.pdf.

The Institute has seeded or hosted labs in Brazil, Mexico, , India, Morocco, , Greece, China, and around East Africa, and Central Europe. © Velvet Film/Entertainment Pictures

72 The State of SIE 73 for Transplant Awareness to educate, engage, James and inspire a wider acceptance of organ The Kindness of Strangers Redford donation. It was this mission that inspired In 1993, after undergoing me to make The Kindness of Strangers, my Serial storyteller, two liver transplants in six social change filmmaker, first HBO documentary, and led to the start months at the University of Survival of my work on social impact campaigns. Nebraska Medical Center, Co-Founder of KPJR James Redford wanted to Films and Chair of The give back to the transplant Redford Center The Kindness of Strangers was made on a budget community. Together with his of just $600,000. We told the story without best friend from childhood, Maro Chermayeff, he set narration, just following the experiences of people Notable works: off to create a touching film Paper Tigers, The Kindness of Strangers on either side of the process — donors, recipients that follows people on the Stories and their families. Looking back, the project was transplant waiting list and their families, along with at the leading edge of a shift in public acceptance My interest in social impact filmmaking the families of the deceased, Social impact documentaries of organ donation. The most rewarding aspect of whose organs are donated. Film Documentary had a uniquely personal start. our impact campaign was the family that saw the In showing the human side of this medical miracle, can offer hope amidst film shortly before a tragic accident left their son Redford raises awareness a landscape of doomsday After surviving two liver transplants in the early with a fatal brain injury. After seeing The Kindness about this serious issue. 90s, I re-emerged with a stark awareness that of Strangers, they donated his organs and, as a narratives and despair. According there were many myths and misconceptions result, saved seven lives. to James Redford, they can surrounding organ donation that were impeding broader acceptance of life-saving procedures. That experience encapsulates the mission I’ve Happening: A Clean quite literally save lives. As a result, I founded the James Redford Institute adopted: I want to transform information into Energy Revolution inspiration, using my love of film to drive positive Filmmaker Redford embarks Happening: A Clean Energy Revolution, 2017 change. I spent 20 years writing screenplays on a colorful personal journey for feature films and, thanks to that experience, into the dawn of the clean energy era as it creates jobs, I also know that to make this change you need turns profits, and makes to find relatable and inspiring subjects. communities stronger and healthier across the US. Reaching beyond a story This is the strategy we embrace at The Redford of technology and innovation, Center, a nonprofit co-founded by my father Happening explores issues and I in 2005 that supports impact-driven of human resilience, social justice, embracing the future, documentaries. We are focused on solutions- and finding hope for our based storytelling in the environmental space. survival. The last decade has seen the proliferation of important and powerful documentaries that bring attention to environmental challenges — particularly the challenges of climate change. However, the plethora of doomsday narratives has had an unintended effect: denial and disengagement.

The Happening website describes tangible ways to get involved with the sustainability movement, from becoming a solar For us, documentary films champion, to offsetting your carbon emissions through are a core component of the nonprofit Cool Effect, which works via 11 global a much larger vision to sustainability projects. produce effective social – “Happening – Take Action.” Happening The Movie, The Redford Center, impact campaigns. happeningthemovie.com/take-action/. . Vimeo, uploaded by The Redford vimeo.com/244134710 Center, 2017,

Frankly, if the overarching message is one of hopelessness and despair, denial seems a reasonable response. So, while the films we make and support deal with environmental problems, we try to offer solutions as well. For example, in Happening: A Clean Energy Revolution, I take Happening: A Clean Energy Revolution Trailer Revolution Clean Energy A Happening:

© a very personal journey into the clean energy

74 The State of SIE 75 space to see how it’s creating jobs, turning For example, KPJR’s campaigns for Paper profits and affecting communities across the US. Tigers and Resilience — films conceived to Paper Tigers address the health risks of adverse childhood Paper Tigers follows a year This solutions-based strategy is also echoed experiences — have become textbook examples in the life of an alternative in the work of KPJR Films, a production of the power of stories to drive community I see impact docs as an high school that has radically company that I co-founded with producer engagement. We consulted the global pediatric changed its approach to emergent genre that will disciplining its students. Karen Pritzker. KPJR’s take on this approach and public health communities early and often The school has developed a is to take challenging social issues and to as we planned the films. We wanted to make sure expand over the next decade. promising model for how to break them down in a way that people can we produced films that met the needs of those break the cycles of poverty, violence, and disease that understand. As with The Redford Center, we see already working so hard in the space who could affect families. documentary film as a tool for positive change. use them to drive better practices and policy. For us, documentary films are a core component It’s important to invest in long-term relationships For some documentary filmmakers, not being of a much larger vision to produce effective with a sincere, open heart. Too many NGOs get central to the entertainment industry might feel

social impact campaigns for use by those used for access to stories and characters and problematic, but if your goal is to truly make Film Documentary working at the frontlines of social action. We are then promptly forgotten, which can not only a difference, this shouldn’t be an issue. With enjoy supporting those who have boots on burn bridges but also prevent progress. the advent of new and flexible platforms for Resilience the ground, working hard to better our lives. distribution, I see impact docs as an emergent Resilience: The Biology of Stress & The Science of Three years after the start of our social impact genre that will expand over the next decade. Some Hope chronicles the birth When developing our projects, both The Redford campaigns for both films, we are a part of a great films will have crossover entertainment value, of a new movement among Center and KPJR Films seek guidance and input community that supports and helps each other. but most will become the third leg on the stool of pediatricians, therapists, educators, and communities,

from the communities whose outreach efforts . Vimeo, uploaded by KPJR Films 2015, LLC, vimeo.com/137282528 The results speak for themselves: there have been socio-environmental impact and education. In this who are using cutting-edge could benefit from high-quality media tools. 40,000 screenings of Resilience and Paper Tigers increasingly audio-visual world we live in, social brain science to disrupt While we often partner with HBO, we also focus worldwide, resulting in changes in policy in a impact entertainment will continue to spread and cycles of violence, addiction, and disease. on community screenings that trigger dialogue number of US states as well as Scotland. All of this grow. There is the demand, there is the market — and open doors to action at the local and without a traditional broadcast deal, and all of it and that’s good for those of us that believe that occasionally national level. by word of mouth and direct, grassroots marketing. the right story can move mountains. Resilience Trailer Films – KPJR ©

Resilience, 2016

The Redford Center Redford Center grants Adverse Childhood Experiences Study The Redford Center is a 501(c)(3) In 2018, The Redford Center launched Resilience looks at the birth of the CDC- organization co-founded by Robert a second cycle of Redford Center Kaiser Permanente Adverse Childhood Redford and his son and board chair Grants supported by the New York Experiences (ACE) Study. James Redford. Drawing on the family’s Community Trust. The program multi-generational expertise in welcomed applications from filmmakers Researchers have discovered a filmmaking and activism, the nonprofit working on feature-length documentary dangerous biological syndrome caused produces, funds, and fiscally sponsors films focused on environmental issues by abuse and neglect during childhood. impact-driven documentaries that and solutions in the US. As Resilience reveals, toxic stress can trigger hormones that wreak havoc showcase stories of individuals taking Each filmmaking team chosen action to protect the planet. on the brains and bodies of children, received the following support: putting them at a greater risk for It collaborates with diverse groups of disease, homelessness, incarceration, change-making organizations to develop and early death. community engagement campaigns that spark conversation and lead to action. While the broader impacts of poverty worsen the risk, no segment of society Redford Center Grants also provide is immune. Resilience, however, also early-stage funding to independent chronicles the dawn of a movement that media makers telling hopeful stories is determined to fight back. Trailblazers A $20,000 development A travel and lodging grant to that drive awareness, education, in pediatrics, education, and social grant to create a short proof- attend a Story Development and tangible action on a variety welfare are using cutting-edge science of-concept film in a six-month Summit at the Sundance of environmental topics. and field-tested therapies to protect timeframe that can be used Mountain Resort. children from the insidious effects – to support the fundraising, “About Us.” The Redford Center, of toxic stress. 2018, redfordcenter.org/about-us. outreach, and production of their feature film. – “Resilience – About The Film.” KPJR Films, kpjrfilms.co/resilience/about-the-film/.

A GoPro Camera and Tech Fast-track consideration Kit, along with expert support to be fiscally sponsored by for their filmmaking. The Redford Center for a production grant in year two to support the feature film.

– “Redford Center Grants.” The Redford Center, 2018, redfordcenter.org/for-filmmakers/grants-program.

76 The State of SIE 77 Case Study Controlling for self-selection bias Johanna Media effect studies have long suffered from not having Blakley control groups. I really think that they should be instituted as a best practice in all media impact evaluations, and our study Managing Director of the Norman Lear Center, based at the Annenberg School of Food, Inc. is a clear example of their value and importance. Food, Inc. for Communication and Journalism at the University of Southern California When setting out to study the film’s impact, we knew that we would likely be working with a highly self-selected sample. Social impact entertainment can be an incredible Respondents to the survey answered our call because they force for change. However, for that change to be were already signed up to Participant’s email newsletter, The genesis of the study or had engaged with Participant on social channels. quantified and proven, it’s essential we understand Since its in 2000, the Norman Lear Center at USC Naturally, this population would be more likely to say that how to measure impact, explains Johanna Blakley. has provided students and scholars with the means to study a film like Food, Inc. had changed their lives, so finding a

and research the social implications of entertainment and control group was essential. Film Documentary media. One of our inaugural initiatives, Hollywood, Health and Society (HH&S), embodies the type of work we do — connecting The Lear Center developed an innovative survey instrument television showrunners with medical experts and resources to that would assess the impact of Food, Inc. on its viewers help inform health-related storylines. HH&S ensures that while while considering these issues of self-selection bias. We used being entertained, audiences also learn and are provided with a method called propensity score matching (PSM) to help accurate and potentially useful medical information. determine whether the different results that we saw between viewers and non-viewers were associated with watching Food, Inc., rather than pre-existing differences between these two groups. Simply put: PSM allowed us to say, with a much greater degree of confidence, whether the differences between viewers and non-viewers in knowledge, behaviors and attitudes were There was already a real belief that attributable to the film.

this film had an impact on those who Sure enough, the differences we uncovered between viewers saw it, but it was our job to prove it. and non-viewers (or the exposed group and the control group) suggested that with Food, Inc. there was a very, very powerful media intervention. We found that it was more likely that people who had seen the film were shopping at farmers’ markets The Media Impact Project — also housed within the Lear Center — collects, develops and shares methods for measuring impact. It was founded as part of our effort to expand to platforms beyond TV. When we first started, we knew that we wanted to work with Participant Media because of their incredible presence Food, Inc. box office Food, Inc. awards in this space, so we were thrilled when they asked us to measure Nominations Wins the impact of one of their titles. $4.6M+ Food, Inc. was the perfect candidate for many reasons. It Worldwide gross prompted viewers to make simple behavior changes in their 1 everyday lives and it encouraged them to effect broader Academy Awards® Domestic total gross: social change by engaging local school administrators and $4,417,674 policymakers. It had an extensive social impact campaign, the Foreign total gross: Hungry for Change outreach effort organized by Participant’s 1 1 $188,525 digital arm, and it had a director, , who had been Gotham Awards Opening weekend: traveling with the film and engaging communities of action Food, Inc., 2009 $60,513 across the US. Widest release: 2 2 — — — — 155 theaters There was already a real belief that this film had an impact News & Documentary Emmy® Awards RATING DATE RUNNING TIME SYNOPSIS In release: on those who saw it, but it was our job to prove it. We sought PG June 12th 2009 01:34 An unflattering look 168 days/24 weeks inside America’s corporate- to understand whether there was any shift in the knowledge, controlled food industry. – attitudes, and behaviors of viewers that could be attributed “Food, Inc.” Box Office Mojo, IMDb. 1 — — — to their viewing of Food, Inc. When you consider some of com, Inc., www.boxofficemojo. DGA Awards STARRING DIRECTED BY PRODUCED BY com/movies/?id=foodinc.htm. our results — like the fact that 84% of viewers said “this film – Michael Pollan, Robert Kenner Robert Kenner, “Food, Inc. (2008): Awards.” Eric Schlosser, Elise Pearlstein changed my life,” or that 80% of viewers indicated a willingness IMDb, 2019, www.imdb.com/title/ Richard Lobb to join a movement to reform agribusiness — you can start tt1286537/awards?ref_=tt_awd. to build an incredibly strong case for the film’s impact. If you take a look at the matched control group findings, that case

© Magnolia Pictures Magnolia © becomes even more compelling.

78 The State of SIE 79 and eating healthy food, were more knowledgeable about The importance of “scaffolding” genetically modified foods and sustainable agriculture, Documentary is clearly a powerful tool for motivating social and were more engaged in organized efforts around tackling change, but it may not be enough on its own. You also need issues in agribusiness. a supportive infrastructure outside of your media intervention — a social impact campaign, for example. This “scaffolding” The self-reported impact will offer ways to carry on the conversation after watching the This is not to say, however, that nothing can be learned film, channel audience energies and bring people together from self-reported changes in knowledge or attitudes. Over to take action, both online and off. Without this, you’ll be left two-thirds of respondents said they learned “a lot” or “very with a motivated but disappointed population — eager to act, much” about issues ranging from agricultural policies to food but unsure of what to do. This scaffolding should already be in place before audiences see the film.

© Magnolia Pictures/Courtesy Everett Collection Everett Pictures/Courtesy Magnolia © Food, Inc., 2009 As part of the Hungry for Change campaign, Participant’s

digital team built a robust website where people could find Film Documentary out more about the huge environmental impact of the food The first is content analysis. Starting off with a clear The third is survey data. If we want to know whether media It’s clear that much of the data industry, from pesticide usage to factory farming. There understanding of the content in a media intervention is key. content produced changes in awareness, knowledge, attitudes, we need to measure impact is out were links to petitions they could sign to combat these issues, Whether it’s a single documentary film or 32 episodes of and offline behavior then we need to gather survey data. and detailed information about the steps they could take scripted TV, we carefully analyze the content, including the Ideally, these surveys can be administered on the same digital there, and we have the chance to to reduce their own tacit support of an industrialized food language used, factual information shared, calls to action, platform where people consumed the media content. Then we do this work better than ever before. system. There was also information about how to arrange as well as the tone and narrative framing. have a very clear picture of what content people consumed, local screenings of the film and downloadable discussion how they engaged with it and what potential impact it had. guides to help stimulate conversation in the community. The second is exposure and engagement data. If the These two resources in particular helped to build a strong media is available on a digital platform, we can gather It’s clear that much of the data we need to measure impact is safety. 79% of viewers agreed that Food, Inc. explained grassroots activism component around the film. data about who was exposed to the content and how they out there, and we have the chance to do this work better than what they could do to help solve the problems addressed interacted with it. Did they watch the whole thing? Did they ever before. But there’s a growing (and completely warranted) in the film, and 80% said that, having watched the film, Theorizing change, measuring impact share it? We always encourage content creators to provide concern around the misuse and abuse of data that could stymie they would consider joining a social movement to reform Measuring impact is never going to be easy, but I think opportunities for people to take further action on the same our progress on this front. I think it will be difficult for academics, agribusiness. This last statistic became even more impressive there are three categories of data that, if collected, can platform, such as donating or joining a mailing list, so that institutions, and organizations to win back people’s trust in this when we noted that only 37% of respondents actually allow us to make very convincing arguments about what we can draw a clear connection between exposure and regard, but we have to — especially because we’re finally waking considered themselves to be politically active. a piece of media can lead people to do. taking action. up to how crucial an impact media is having on our society.

Media Impact Project survey for Food, Inc. Food, Inc. media exposure and preferences Food, Inc. viewers’ political views Food, Inc. viewers’ self-reported The Media Impact Project survey Viewers frequently watched social issue changes in knowledge and attitudes offered a wealth of qualitative and documentaries and feature films: Non-viewers Viewers quantitative data on the impact of Food, Inc. 20,000 respondents took the survey. Those who watch social issue Those who watch social issue documentaries “very often.” scripted films “very often.” 26% 33% 30% 84% 80% Food, Inc. viewer demographics (based on survey respondents): 38% 27% 28% 19% female Income varied across categories claimed no political said they were not said they were stated “this film said they could be part of a social 73% (the largest group of affiliation. politically active. unsure. changed my life.” movement to reform agribusiness. Those who agree that film “can Those who agree that film “can viewers) reported a yearly Caucasian 26% impact individual attitudes.” impact individual behavior.” 74% income of $75,000 or more 95% did not have worked 88% 89% 62% children 30% in health 76% 36% 15% 79% 67% completed worked in 32% some college 29% education

college worked in the said they were strong reported strong said the film explained said they learned “a lot” or “very much” 33% graduates 20% food industry supporters of social and support for political to them what they could about the following: agricultural policies, environmental causes. or economic causes. do to solve the problems sustainable agriculture, food safety issues, attended worked in Those who agree that film 78% of viewers reported engaging addressed in the film. treatment of animals in US agriculture, 16% graduate school 18% nonprofit “can impact public opinion.” in conversations about food treatment of workers in US agriculture, safety in the last year. worked in media/ and genetically modified foods. 12% advertising 79% – – – Blakley, Johanna, et al. Changing worked in Blakley, Johanna, et al. Changing Appetites & Changing Minds: Blakley, Johanna, et al. Changing Appetites & Changing Minds: Appetites & Changing Minds: 12% government* 78% Measuring the Impact of Food, Inc. Media Impact Project, USC Measuring the Impact of Food, Inc. Media Impact Project, USC Measuring the Impact of Food, 38% Annenberg Norman Lear Center, www.mediaimpactproject. Annenberg Norman Lear Center, www.mediaimpactproject. Inc. Media Impact Project, USC *This was a check-all-that-apply question org/uploads/5/1/2/7/5127770/food-inc-summary-report.pdf. org/uploads/5/1/2/7/5127770/food-inc-summary-report.pdf. Annenberg Norman Lear Center, and these were all the options. www.mediaimpactproject. org/uploads/5/1/2/7/5127770/ – food-inc-summary-report.pdf. Blakley, Johanna, et al. Changing Appetites & Changing Minds: Measuring the Impact of Food, Inc. Media Impact Project, USC Annenberg Norman Lear Center, www.mediaimpactproject.org/ uploads/5/1/2/7/5127770/food-inc-summary-report.pdf.

80 The State of SIE 81 Spotlight on: Once scores were assigned, we created two groups: people who had watched Food, Inc. and those who had not. Next Propensity we compared the range of scores in each group and then performed ‘one-to-one matching,’ which allowed us to use an automated method to remove subjects from each group Score until both groups were composed of the same number of respondents with the same range of propensity scores (e.g., Matching each person who saw the film was paired with a person who did not see the film, but was equally likely to see the film based on their propensity scores). The salient difference between the two groups was whether or not they had viewed Food, Inc.

This method allowed us to create something similar to an experimental study design where subjects are randomly assigned to a control group and a treatment group. Here, the “treatment” group is comprised of those who had seen Food, Inc., and the “control” group is comprised of those who had not seen the film but were equally likely to. By making these groups completely parallel, we were able to examine whether differences in knowledge and behavior are attributable to exposure to the film.”

Viewers with a high propensity to watch Food, Inc. shared 17 characteristics:

By and large, the majority of people choose the Demographics: Media exposure: films they see based on personal taste and interests. As such, researchers looking to study the impact 1. No child Recalls seeing information about food safety on: of a given title will almost always have to deal with 2. N ot working in the a certain bias. The research done at USC’s Lear media industry 4. TV Center was no different. To try and overcome this 3. Slightly more likely 5. News websites to work in education bias, however, they developed a unique survey 6. Radio instrument: propensity score matching (PSM). 7. Visited the Hungry for Change website

“ In this study, propensity score matching (PSM) techniques were used to control for self-selection bias among survey respondents. PSM helped identify factors that predict the likelihood of a person seeing Food, Inc. The Lear Center’s Ideology and taste: research team performed a statistical analysis of survey responses from all the respondents who watched Food, Inc., 8. Democratic affiliation Believes that a film can impact: and determined what personal characteristics increased their 9. Believes that sustainable likelihood — or propensity — to see the film. agriculture is important 13. Individual attitudes 10. Supports organized efforts 14. Individual behavior  We used these characteristics to generate a propensity to improve food safety/ score for survey respondents who had seen the film, and 15. Media coverage sustainable agriculture those who had not. People with all 17 of these characteristics 16. Watched An received the highest score and those with the fewest received 11. Frequently watches Inconvenient Truth the lowest. However, just because someone has a high score social issue feature films 17. Watched Fast Food Nation does not mean that they have seen the film — it just makes it 12. Frequently watches social more likely that they have seen it. Therefore, a person with a issue documentaries very high score may not have seen the film yet, and a person – with a very low score may have seen it despite themselves Blakley, Johanna, et al. Changing Appetites & Changing Minds: (for instance, a teacher may have screened the film in a class Measuring the Impact of Food, Inc. Media Impact Project, USC Annenberg Norman Lear Center, www.mediaimpactproject. where students with low scores saw it). org/uploads/5/1/2/7/5127770/food-inc-summary-report.pdf. Chapter 3 Television The Good Fight The Good Wife Good Times American Crime The Fourth Estate Dietland Ellen One Day at a Time Maude M*A*S*H When We Rise Grey's Anatomy S.W.A.T. All in the Family America Divided UnREAL Scott Free The Show Fresh O’ the Boat Undercover Boss The Good Fight How to Get Away with Murder Tiny Pyro Superior Donuts The Good Doctor Madam Secretary Radical Media This section: Ugly Betty Pose American Crime Story Since its creation in the mid-20th In the digital age, the rise of The Good Wife Pose A snapshot of the SIE ecosystem Speechless Glee CBS The Practice within Television. Black-ish century, television has become over-the-top content providers ABC East Los High The Revolution Will 84 We’re only at the beginning of our The Handmaid's Tale American Crime Story Harlots Shuga one of the most versatile and has had a dramatic, transformative Be Televised journey to map the SIE ecosystem. Teen Mom The Looming Tower Ryan Murphy Productions Pat Mitchell For a comprehensive look at our efforts Awkward. Grace and Frankie widely consumed forms of effect on how TV shows are made, so far, you can find the rest of the SIE Show Me a Hero Faking It 16 and Pregnant Supergirl Band of Brothers Taking the Nation’s 88 map tucked away in the inside back The Wire Dietland entertainment media. For social distributed, and watched. Yet this cover. To help us build this further or Temperature Jane the Virgin Blown Deadline Productions correct anything we may have missed, MTV Neal Baer The CW impact storytellers, TV offers a upheaval also presents unique visit www.thestateofsie.com Generation Kill Skydance Productions means to bring powerful ideas opportunities for makers of SIE. Divining the Future 92 The X-Files Miura Kite

Glee In Living Color directly into people’s homes. Snowfall Case Study: 96 Snowfall The Wire Will & Grace American Crime Story FOX Empire Edward Schiappa Groundswell The Bridge Band of Brothers The Good Wife S.W.A.T. Atlanta House Big Little Lies Cosmos Hate Thy Neighbor Productions Rescue Me Generation Kill Pose Six Feet Under Superior Donuts Gaycation CBS Television Studios Angels In America Hunting ISIS Veep The Good Fight FX Looking Master of None Show Me a Hero Madam Secretary HBO Vice Insecure Insecure Vice Jane the Virgin Big Love The No. 1 Ladies' Detective Agency The changes the industry is The Newsroom In Contempt Grey's Anatomy Being Mary Jane How to Get Away with Murder Shondaland experiencing make it an exciting

The Practice Television BET Big Little Lies Central Park Five David E. Kelley time to be working in development. Participant Media The Fosters Dietland Good Girls Revolt Productions Switched at Birth The Marvelous Mrs. Maisel AMC America To Me The Bold Type Blue Planet II Amazon FREEFORM Television is embracing voices that Transparent Planet Earth II

The Secret Life of the American Teenager are new, distinct, and authentic.

Drugs, Inc. — Miura Kite, p95 America Inside Out with Katie Couric Moxie Firecracker Films NATGEO The Fourth Estate ITV Studios The Haves and the Have Nots America's National Parks Queer Eye (reboot)

United States of Tara The Surgery Ship The Tyler Perry Company Harlots Rescue Me Cosmos House Law & Order: SVU ER The Bold Type

The L Word Television Will & Grace Band of Brothers Chicago Fire MGM Universal Television Chicago P.D. The Handmaid's Tale Technology and social media are Across broadcast TV, programmers are Chicago Med The Good Doctor reviving the old medium of television confronting hot-button issues with an Underground The Carmichael Show – and black viewers are leading these intensity not seen in decades — from “event”

Underground Master of None trends. Black audiences watch 37% limited series such as ABC’s When We Rise to S.W.A.T. WGN America Rescue Me more television than any other group comedies such as NBC’s The Carmichael Show Television and black Internet users use Twitter and CBS’ Superior Donuts. The new wave of Masters of Sex Blue Planet II Masters of Sex more actively than any other group. “woke” broadcast shows is a response to the Good Girls Revolt BBC Studios Planet Earth II One Day at a Time (reboot) political and cultural moment, but also to long- Atypical The L Word The Chi Blue Planet This American Life simmering changes in the TV business. FX’s The SMILF People v. O.J. Simpson, Amazon’s Transparent, ESPN Films of Tara and HBO’s The Night Of drove conversations Chicago Fire The Good Doctor Who is America? and reaped awards. But in an era of extreme 30 for 30 Homeland SHOWTIME Law & Order: SVU Marvel Entertainment audience fragmentation, broadcasters must Shameless Lee Daniels Entertainment The Good Wife Anonymous Content Queer as Folk House balance broadness with the risk of losing their Wolf Entertainment King Size Productions The Circus Chicago P.D. Shore Z Productions audience to cable channels and streaming The Good Fight White Famous Empire The Fourth Estate Chicago Med 13 Reasons Why Jessica Jones services that target specific segments. Grace and Frankie Big Mouth GLOW GLOW Rotten Bill Nye Saves the World The Chi Orange is the New Black Tilted Productions Homeland DC Entertainment Orange is the New Black Pose 13 Reasons Why Netflix Left/Right Films The Circus Central Park Five The X-Files American Crime Story Supergirl The Good Doctor America Divided This American Life Glee Dear White People Queer Eye (reboot) Grey's Anatomy A24 The Carmichael Show — Master of None Atypical 20th Century Fox Television Williams, Sherri, and Lynessa Williams. “#BlackSocialTV: Jessica Jones PBS In Living Color One Day at a Time (reboot) Nova Empire How Black Viewers Are Dominating on Two Screens.” TheLi.st, Black-ish The Carmichael Show Mister Rogers' Neighborhood Medium, 5 May 2014, medium.com/thelist/blacksocialtv-how- Frontline M*A*S*H American Masters American Crime Fresh O’ the Boat ABC Studios Food Forward black-viewers-are-dominating-on-two-screens-7ef0afff5b66. David Makes Man TeenNick This Is Us The Civil War Planet Earth (original) When We Rise Switched at Birth This Emotional Life Degrassi: The Next Generation Speechless How to Get Away with Murder OWN The Practice Jessica Jones — Speechless Ellen Queen Sugar Holloway, Daniel, and Debra Birnbaum. “TV Gets Woke: SMILF Chicago Med How Scripted Series Are Confronting Social Issues Like Never The Oprah Winfrey Show NBC Dear White People Super Soul Sunday Before.” Variety, 14 Mar. 2017, variety.com/2017/tv/features/ The Carmichael Show Black Love social-issues-on-tv-shots-fired-when-we-rise-1202007874/. Lionsgate Warner Bros. Television This Is Us The Haves and the Have Nots Discovery Super Soul Sunday Harpo Studios Ugly Betty Jane the Virgin Chicago P.D. Supergirl Law & Order: SVU Lifetime Orange is the New Black Queen Sugar White Famous David Makes Man Hate in America Chicago Fire ER Will & Grace Queen Sugar Blue Planet Central Park Five ER Shameless UnREAL 83 described the event as “history-making,” and Pat it was — we proved the impact that women’s Mitchell programming could have on a community. The Revolution This was a one-time-only event, but it 24hr Emmy® Award-winning and convinced me of the power of the television Academy Award®-nominated medium to be transformative, and I became producer, former CEO of PBS committed to using every media platform and the Paley Center for Media I could access to tell stories with impact.

Yes, We Can! Will Be Televised During my early years in Boston, Washington, Notable works: In 1974, Mitchell was Woman to Woman, Yes, We Can! and Los Angeles I sustained my commitment involved in the history- to impact programming, focusing — when making show Yes, We Can! Pat Mitchell discusses possible — on women’s stories. Frustrated – 24 hours of television programs about women, When I started out in television with the limitations of network programs at the vital importance for women, produced and in the early 1970s, the country had the time, I left a good job to set up my own hosted by women. The of public broadcasting just emerged from a turbulent time company and produce a daily series for national televised women’s fair was organized by Boston’s syndication. The Woman to Woman series in highlighting inequality, of social change. and attended featured conversations among carefully curated by some 20,000 women. and its role in communicating The civil rights movement had, in part, led to groups of women who shared stories, challenges, Participants included Helen Reddy, Gloria the creation of an Equal Employment Opportunity and ideas. The series won the Emmy® for Best the need for change. Steinem, Julia Child, Elma Commission (EEOC), which required media Daytime Talk programming in its first year, Lewis, Betty Friedan, Jaye P. Morgan, Florynce Kennedy, Jacqueline Bisset with host Pat Mitchell, Hour Magazine, 1981 companies to start to hire women and people and our success proved to me that programming Kitty Carlisle Hart, Arlene Television of color. Yes, there were quotas, and they had intended to have impact could be more popular Dahl, and Margaret Heckler. an impact on what was seen on television and than the diet of soap operas and game shows The special telecast was the programming that was produced. that were being offered to women audiences created and supervised by Raysa Bonow and the WBZ- at that time. TV reporters included Sonya So, I trace my interests in social impact Hamlin and Pat Mitchell. programming to my own hiring as part of a Channel 4 set up 35 social movement’s impact. I believed that if we booths inside the Hynes Convention Center, applied a social justice lens to our work, women providing literature and and underrepresented populations could make a referral information to difference in media. I put that belief into practice I believed that if we applied a women on issues such as contraception, adoption, immediately after getting my first job in television, social justice lens to our work, investment counseling, and first as a producer, then as a news reporter and women and underrepresented employment discrimination. anchor, and later a talk show host. Whether Panel discussions were populations could make a held on stage, hosted by running my own or creating station personalities Sonya and hosting my own programming, I always difference in media. Hamlin during the day approached everything from the perspective of and Pat Mitchell at night, while also being broadcast what difference the report, show, documentary to thousands of viewers or special would have beyond the broadcast. watching at home.

I also witnessed the growing impact of — “Pat Mitchell, President and CEO of As one of the first women in network television on documentary films, and by partnering with the Paley Center for Media, Named the frontlines of the women’s movement, I faced former UCLA professor and author, Dr. Diana One of Women’s ENews 21 Leaders for the 21st Century 2012.” PR Newswire, the challenges of being the “first” or the “only.” Goldberg-Meehan, launched a nonprofit division 5 Jan. 2012, advance.lexis.com/api/ permalink/4e6133c6-be2a-4b39-b67b- I was encouraged to stay away from women’s of a very successful Hollywood production c83f30db3482/?context=1516831. issues to avoid being stereotyped. But I saw the company, Ubu Productions. Our mission was tremendous opportunity to optimize the power of to produce films with social impact campaigns television as a mass media communications tool attached. The films exposed child labor abuses, to raise awareness about women’s lives; to elevate infant and maternal mortality, and explored women’s stories; to point out the challenges of the challenges for women in politics and on the inequality; and to push for programming with frontlines of global conflicts. In each instance, social change and impact agendas. the documentaries had a specific and actionable impact agenda. In one early, groundbreaking example, my female colleagues at WBZ-TV — the Boston NBC affiliate That time was financially tough, as no one at the time — and I convinced management to believed impact or mission-based films could devote 24-hours to programming for women, be popular or make money, and there were far produced by women. The impact was beyond fewer media companies buying them. “You never expectations, with huge ratings and thousands have to make money, all you have to do is have of women showing up to participate in an event impact.” That was the way Ted Turner described

© Everett Collection Inc / Alamy Stock Photo we called Yes, We Can! The New York Times the job opportunity when he offered

84 The State of SIE 85 me the position of leading his documentary he acknowledged that it was Ted Turner’s technology companies. I had an opportunity I’ve been fortunate to work with media unit as part of the cable media empire he was documentary work during this period that Woman to Woman to approach social impact from the perspective visionaries who believed in optimizing media’s building in the early nineties (which included had, in part, inspired him. Daytime Emmy® Awards of what was changing in the entire media power for good — Ted Turner, Robert Redford TBS, TNT, and CNN). His vision for media was ecosystem — changing at cyberspeed — and now Jeff Skoll, as I sit on the Participant that it could help create a better world. He After the Time Warner/AOL media merger, Nominations Wins and the increasing globalization of media as Media board. We need more visionaries willing 50% actually named our unit “The Better World there was no longer support for social impact a powerful force connecting the world, as well to put their money where their values are, and Society” and often reminded us that creating work at Turner Broadcasting; Ted was fired 4 1 exposing the dangers of media consolidation we are seeing more entrepreneurs with means a better world began with more informed and I decided to leave, too. I stepped into my 1984 1984 of ownership. Soon all broadcast networks and moving into media content and distribution. media consumers. next big opportunity for impact by becoming cable companies will be owned by less than seven Hopefully, they too will harness media’s power president of PBS. PBS’s mission is to serve, not companies, and local stations are being bought for good and follow the path of these three 3 The Corporation for Public sell, and it’s the only major media company with 1985 up by media conglomerates, further narrowing men — and the many others who have invested Broadcasting (CPB) received national reach and impact — it’s connected to the focus of programming and diminishing the in stories well-told to compel social change. — an advanced appropriation local communities through 359 independent “Woman to Woman (1983–1984): commitment to provide accurate information of $445 million for 2020. Awards.” IMDb, 2019, www.imdb.com/ Funding is set two years public television stations. PBS doesn’t have the title/tt1057462/awards?ref_=tt_awd. and news and entertainment that uplifted or Overall, what I have learned through my in advance, with Trump profit motive of other media companies, and informed as well as entertained. various positions in media — as a journalist, proposing to eliminate This kind of content even though the funds have to be raised every documentary producer, network executive, nearly all of it. has never been more year, they are from the public, who values their media board director, and as an engaged The bulk of CPB money is PBS station. PBS’s programming is mission- supporter and board member of many social distributed through grants needed to strengthen to PBS and NPR member driven and less accountable to sponsors or impact organizations — is this simple but stations, who use it primarily and sustain a democracy. shareholders. It’s not a perfect model for impact profound truth: media is one of the single to cover operational costs. because there are built-in limitations to what Media is one of the biggest forces in our world today. It’s capable In rural areas, local public television stations are among PBS can do, given its mission to serve the local single biggest forces of influencing elections, shifting policies, starting the only programming stations. Also, what they see as positive impact in our world today. revolutions, ending wars, and transforming options – CPB funding Television We produced 400 hours of documentaries, varies greatly, and there is always the threat of lives and communities. That power can be can account for more than 50% of a station’s budget. most of which had social change agendas government disapproval of an impact agenda Pat Mitchell awards optimized for good: for exposing wrongdoing and honors — attached from the beginning — partnering — even though government support is less than and exploring solutions; for shaping opinions Holloway, Daniel. “PBS Chief Women’s Media Center’s Paula Kerger: ‘Outcome Is Uncertain’ with National Geographic for conservation 20% for more public television. However, I feel first annual Lifetime Today, most local media outlets are staggering and attitudes; for reinforcing values and shifting for Federal Public-Television awareness, or telling the untold story of women’s good about the impact programming PBS was Achievement Award under a burden of unrealistic financial pressures. perceptions; for changing the world for the Funding.” Variety, 30 July 2017, variety.com/2017/tv/news/pbs- contributions to the 20th century, or exposing able to commission and distribute, and I remain 2012 Sandra Day O’Connor In terms of impact, local media serves as better; and for envisioning a more equitable and federal-funding-1202510494/. the threat of nuclear annihilation. Ted never a big proponent for a better-funded public Award for Leadership a countervailing force against the present sustainable future for all. Can there be a better hesitated to tackle controversy or to advocate media enterprise in a democracy. Honored by the Center for deterioration of both the quantity and the reason to tell a good story, make a great film, the Advancement of Women for a more sustainable, peaceful world, and quality of news coverage, and the production write or produce a series, or create new realities Awarded Bodleian Medal he used the power of his media companies For me, the next position was to lead the from the Bodleian Library of compelling content intended to compel social through technological advances? It all begins to promote this agenda. Many years later Paley Center for Media, and use that platform at Oxford University change. This kind of content has never been more with a good story, well told, and the best have when Jeff Skoll set up Participant Media, of an organization that served all media and Appointed by needed to strengthen and sustain a democracy. outcomes of positive social change. Congresswoman Nancy Pelosi as one of nine Commissioners to develop a plan to build a National Women’s Museum in

Washington, D.C. In 1992, Pat Mitchell approached Ted Turner about producing A Century — of Women, a 10-hour series that “Bio.” Pat Mitchell, www patmitchell media.com/pat-mitchell-bio/#detailed. documented the history of women in America. Turner convinced Mitchell to join Turner Broadcasting as President of Turner Original Productions and PBS itself will not go later CNN Productions. It was there that Mitchell executive-produced away, but a number hundreds of hours of documentaries and specials, which earned 35 Emmy® Awards and 5 Peabody Awards. of our stations will.

— “Bio.” Pat Mitchell, www.patmitchellmedia. — P aula Kerger, PBS President com/pat-mitchell-bio/#detailed.

— Holloway, Daniel. “PBS Chief Paula Kerger: ‘Outcome Is Uncertain’ for Federal Public-Television Funding.” Variety, 30 July 2017, variety.com/2017/ tv/news/pbs-federal-funding-1202510494/.

86 The State of SIE 87 Television as a medium has the potential to Neal dramatically influence people’s understanding Baer of health issues. During my first season at ER, the New England Journal of Medicine published Creator, writer, producer, an article that lambasted representations of Taking and social activist CPR on television. This was an important milestone for me: it made me realize that people got their healthcare information from TV, and The Joyful Heart Foundation When Law & Order: SVU that as a consequence, we had a duty to be as featured the rape kit backlog in the third episode of its Notable works: accurate as possible. We put so much effort into making our shows look real because we wanted 12th season, “Behave,” the ER, Law & Order: Special Victims Unit Joyful Heart Foundation the Nation’s people to believe these were real doctors doing hosted a screening event in their jobs, so the issues we were presenting had Los Angeles. It was attended To be a good physician, you have to be equally authentic. by key members of the LAPD and city leadership, who to know your patients. You have to were asked tough questions understand their stories in order Unlike with film, TV can explore themes about the backlog progress. repeatedly over years or even decades. We to help them. — did that on ER with Gloria Reuben’s character, “Update on the Rape Kit Backlog Temperature in Los Angeles.” End the Backlog, The more you are exposed to people, the who was diagnosed with HIV early on in the www.endthebacklog.org/blog/update- more you realize that health is intimately series. In year 14, she was brought back to the rape-kit-backlog-los-angeles. To fully portray an issue requires tied to issues of social justice. Wealthier show so viewers could see that she was doing people have better food, better healthcare, well and living a healthy life, to give closure to

understanding the people who and less violence. It was my understanding this character and to say something important Television Neal Baer of and passion for these issues that led to about how people can live and thrive with HIV. actually live it. discusses my career in television. I wanted to explore This kind of storytelling has a measurable impact television’s ability to affect the these complex ideas through long-running, on audiences. A 2003 study by the Kaiser Family relatable characters that audiences not only Foundation revealed that 53% of ER’s regular lives of its viewers through its loved and trusted, but also hopefully learned viewers learned about important health issues depiction of characters. something from. from the show, and 51% revealed they also

ER, 1994–2009

HIV rates HIV in the South 1.1M+ 37,600 people in the US are living The estimated number with HIV, as of 2017, but… of Americans who became newly infected 1 in 7 with HIV in 2014. of them don’t know it.

The Centers for Disease Control and Prevention predicted that if current rates continue: 54% of all new HIV diagnoses

HIV infection is most acute The Centers for Disease in Southern states, which, as Control and Prevention of 2014, accounted for 54% reported that only 48% of of all new HIV diagnoses. black gay and bisexual men The South is also home effectively suppress the virus to 21 of 25 metropolitan with consistent medication and the numbers are even 1 in 2 African American 1 in 11 white gay and areas with the highest HIV lower for these men in their gay and bisexual men bisexual men will be prevalence among gay late teens and 20s. will be infected with HIV infected with HIV during and bisexual men. during their lifetime. their lifetime. In 2014, nearly 3,000 people in the Deep South died with

— HIV as an underlying cause. “U.S. Statistics.” HIV.gov, www.hiv.gov/hiv- Among black men in this basics/overview/data-and-trends/statistics. region, the HIV-related death rate was seven times as high as that of the US population at large.

—­ Villarosa, Linda. “America’s Hidden H.I.V. Epidemic.” The New York Times, 6 June 2017, nytimes.com/2017/06/06/magazine/americas-hidden-hiv-

© NBC and other respective production studios and distributors epidemic.html.

88 The State of SIE 89 spoke with family and friends about the There is a lot of talk about this being the golden ER with “Match Made in Heaven.” The episode health issues addressed on the show. age of television, but I’m not so sure. There may received a lot of attention, but now the issue ER rankings be more violence and nudity, but networks and is rarely mentioned on TV. People trust what they see on TV, but you cable companies are very conservative as they can’t just preach about complicated social try to retain viewers in a world with endless On the other hand, I couldn’t get much press issues, and that’s where the art of storytelling options for entertainment. There are shows interest for the 2008 ER episode we did about #1 comes in. In 2010 we aired an episode of Law now that are beautiful and are spending huge rape in the military, but now it’s a more widely & Order: SVU that was inspired by a woman amounts of money, but in terms of social issues discussed topic. Likewise, on SVU we did the Top-rated US television who spoke at a fundraiser for the Joyful Heart I think there’s so much competition that there’s first show about a transgender youth taking program of the 1995–1996 Foundation, which was started by SVU star a fear of offending audiences. hormone blockers around 2009, and today season with a 22.0 rating Mariska Hargitay in 2004. The Foundation — there’s a much more open discourse around and a 36% share. which sheds light on issues that affect sexual gender and identity. Either way, times have — “The Top 20 for ’95-’96.” USA assault survivors, like the backlog of rape kits changed, and so has the television landscape. TODAY, anythingkiss.com/pi_feedback_ challenge/Ratings/19960226-19960526_ — has served more than 18,500 survivors and Our episodes may have paved the way for a TVRatings.pdf. healing professionals, effected policy changes, dialogue around certain issues, but they’re one and connected more than 3.9 million people Times have changed, part of a larger cultural shift in entertainment. #45 to help and resources. Empire’s 2016 list of “The and so has the television I do believe that networks are willing to listen 50 Best TV Shows Ever”

At the fundraiser, we learned that the © NBC and other respective production studios and distributors Law & Order: SVU, 1999– landscape. if you show them the data behind the issue police had never even opened this woman’s you want to explore. You have to start the #29 TV Guide Magazine’s 2013 list rape kit. Our episode of SVU starred Jennifer conversation and — through multifaceted of “60 Best Series of All Time” Love Hewitt as a sexual assault survivor I’m really proud of the impact that our show characters struggling to cope with complex afraid to leave her house, and it became has had on certain issues, but I’ve also learned There’s a reticence to tackle subjects that are issues — lay the groundwork, even if it’s not the #27 Television an emotional springboard for existing and that it can often take a long time for change loaded, even taboo — topics like abortion, HIV, right moment for that particular topic. Television Writers Guild of America’s new social impact campaigns to clear the to happen. Sometimes an issue is too fresh or and gun control. HIV is still a real problem in the is an extremely powerful tool for influencing 2013 list of “101 Best Written TV Series of All Time” backlog of untested kits. Thousands of the audience isn’t ready. I’m happy that ER is US, particularly amongst people of color. At the people’s understanding of public health, and — rape kits have now been processed, leading streaming on Hulu, and that SVU is in perpetual end of 2015 there were 1.1 million people in the there are so many great writers out there who Dyer, James, et al. “The 50 Best TV Shows Ever.” Empire, Bauer Consumer Media, to investigations, convictions, and the repeats, so that these shows are seen over and US who were living with HIV, but we haven’t seen are passionate about these issues. If given the 15 June 2016, empireonline.com/movies/ identification of serial rapists via the CODIS over. They’re great boosters of social issues, and that reflected on screen. It’s the same problem opportunity, they can tell stories that will really features/best-tv-shows-ever/?tv=29/. Fretts, Bruce, and Matt Roush. and NDIS DNA databases. serve to keep the message in people’s minds. with abortion, which we tackled in season six of make a difference. “TV Guide Magazine’s 60 Best Series of All Time | TV Guide.” TVGuide, CBS Interactive, 23 Dec. 2013, tvguide. com/news/tv-guide-magazine- 60-best-series-1074962/. “‘101 Best Written TV Series Of All Time’ From WGA/TV Guide: Complete List.” Law & Order: SVU episode viewing figures ER episode viewing figures Deadline, Penske Business Media, 2 June 2013, deadline.com/2013/06/ wgas-101-best-written-tv-series-of- all-time-complete-list-512061/.

04/18/2003 02/17/2009 09/23/2009 09/29/2010 11/13/2013 02/24/2000 04/13/2000 S04 E21: “Fallacy” S10 E14: “Transitions” S11 E01: “Unstable” S12 E03: “Behave” S15 E08: “Military Justice” S6 E15: “Be Patient” S6 E18: “Match Made in Heaven”

ORIGINAL AIR DATE VIEWERS ORIGINAL AIR DATE VIEWERS ORIGINAL AIR DATE VIEWERS ORIGINAL AIR DATE VIEWERS ORIGINAL AIR DATE VIEWERS ORIGINAL AIR DATE VIEWERS ORIGINAL AIR DATE VIEWERS Law & Order: SVU rankings 13.8M 4.63M 8.36M 9.48M 6.16M 31.3M 26.0M 18-49 AGE DEMOGRAPHIC 18-49 AGE DEMOGRAPHIC RATING: RATING: 18-49 AGE DEMOGRAPHIC 18-49 AGE DEMOGRAPHIC 18-49 AGE DEMOGRAPHIC #12 4.7 rating/15% share 1.0 rating/3% share 5.5 rating/9% share 6.0 rating/10% share 1.6 rating/4% share 15.6 rating/39% share 12.2 rating/33% share

SYNOPSIS SYNOPSIS SYNOPSIS 18-49 AGE DEMOGRAPHIC SYNOPSIS SYNOPSIS SYNOPSIS After Cheryl Avery (Katherine After a man is attacked, ADA Sonya Paxton (Christine 2.8 rating/8% share Amelia Albers (Shiri Nurse Hathaway (Julianna Abby Lockhart (Maura Top-rated television Moennig) defends herself his estranged transgender Lahti) joins detectives Stabler SYNOPSIS Appleby), a Coast Guard Margulies) discovers that Tierney) treats a pregnant from sexual assault against daughter (Bridger Zadina) and Benson to help put officer, is arrested for a a promiscuous 14-year- mother who – unhappy program of the 2001–2002 Detective Olivia Benson season with a 10.4 rating. her boyfriend’s brother, and her transgender away a serial rapist after helps Vicki Sayers (Jennifer DUI, however the detectives old schoolgirl (guest star with her pregnancy – killing him, it is revealed that boyfriend (Daniel Sea) incorrectly convicting Love Hewitt), a rape victim, become involved because Cara Delizia) has cervical attempted to induce abortion — she actually attacked him to are both suspected. an innocent man for the she clearly had been raped. cancer and is torn when via fasting. Abby gives her Brooks, Tim and Earle Marsh. find the evidence to put the The Complete Directory to Prime keep her transgender identity — crimes 10 years prior. Their investigation leads the frightened teen refuses the option of abortion, to perpetrator away despite Time Network and Cable TV Shows “Solid Ratings Growth for The a secret. Cheryl is found — Sayers’ rape kit being them to suspect a group to tell her parents. which the mother agrees. 1946-Present (Ninth Edition). Ballantine 81st Annual Academy Awards® guilty and sent to Rikers, “No Headline in Original.” ADWEEK, of officers in her unit. — The woman’s husband Books, 2017, pp. 1695–1698. on ABC.” ADWEEK, 23 Feb. improperly handled and even 24 Sept. 2009, advance.lexis.com/api/ “ABC, NBC in the home stretch February a men’s prison. 2009, advance.lexis.com/api/ accidentally destroyed. — intervenes moments too permalink/418c1d2f-9ecd-46dc-8b55- sweepstakes could ride on miniseries, — permalink/057e55e7-c9d9-482c-8efb- 7a4f6dd91b9c/?context=1516831. “Ratings: CBS Wins Outright, late and the woman ends — ‘Millionaire’.” The Hollywood Reporter, “The Ratings Wizard.” Television Week, 21 4f71bf628cee/?context=1516831. ‘Criminal Minds’ Gains.” The Wrap, “Wednesday Finals: Better With You, 28 Feb. 2000, advance.lexis.com/api/ up regretting her abortion. Apr. 2003, p. 46, advance.lexis.com/api/ 14 Nov. 2013, advance.lexis.com/api/ The Middle, Modern Family, Survivor, permalink/51c17939-79a0-4b80-8666- The couple leave agreeing In the first 10 months permalink/b02ddb4f-27af-415e-8900- permalink/9d06cbd4-59cc-42d3-ba14- Law & Order: SVU, Law & Order: LA 7d98a8142c51/?context=1516831. of 2018, over 258 million ef83aeea6439/?context=1516831. e75dab8e419c/?context=1516831. to try for another baby, Adjusted Up; Cougar Town, Whole leaving Abby confused episodes of Law & Order: Truth Adjusted Down.” TV By The SVU were streamed on Hulu. Numbers, Tribune Media Entertainment, and disappointed. 30 Sept. 2010, tvbythenumbers. — — zap2it.com/sdsdskdh279882992z1/ Kissell, Rick. “‘Millionaire,’ ‘Ten’ Add Haring, Bruce. “‘Today’ and ‘Law & wednesday-finals-better-with- up to ABC Win.” Daily Variety, 19 Order: SVU’ Lead Hulu’s Streaming you-the-middle-modern-family- Apr. 2000, advance.lexis.com/api/ Tally For 2018.” Deadline, Penske survivor-law-cougar-town-whole- permalink/a0085813-ef95-41aa-b3a7- Business Media, LLC, 20 Dec. 2018, truth-adjusted-down/65978/. afc2096b64d4/?context=1516831. deadline.com/2018/12/today-and-law- and-order-special-victims-unit-lead- hulus-streaming-tally-1202524200/.

90 The State of SIE 91 Miura Kite Central Park Five Ava DuVernay is working Senior Vice President with Participant Media, of Narrative Television Harpo Films, and Tribeca Productions to bring the at Participant Media notorious story of the Central Park Five jogger case to Netflix, for premiere in 2019. Based on a true story that gripped the nation, Central Television has an incredible power to Park Five will chronicle the case of five teenagers of inspire social awareness, understanding, color who were convicted of and behavior change around key issues. a rape they did not commit. The four-episode limited series will focus on the five The best thing for any project is when it teenagers from Harlem joins the public zeitgeist. If press coverage of – Antron McCray, Kevin Richardson, Yusef Salaam, a show moves past the entertainment section Raymond Santana, and into op-ed and other arenas, it’s a sign that Korey Wise. The series it’s made it into the larger cultural discussion will span from the spring of 1989, when each were which is helpful not only for the economics, first questioned about the but also in getting the messaging out. However, incident, to 2014 – when this is not something that’s easy to engineer. they were exonerated and a settlement was reached Television You could try to develop a social impact project with the City of New York. based on the big headlines in today’s news,

— but by the time it makes it to air, you’ll often Petski, Denise. “Ava DuVernay Teaming find the world has moved on. This means you With Netflix On Central Park Five Limited Drama Series.” Deadline, 6 have to try to look into the future to identify July 2017, deadline.com/2017/07/ ava-duvernay-netflix-on-central-park- the themes that will dominate public discourse five-limited-drama-series-1202124535/. a few years from now. As SVP of Television at Participant, I’m responsible for trying to address these considerations when building Participant’s narrative television slate.

The best thing for any project is when it joins the public zeitgeist.

© AF archive / Alamy Stock Photo THE CENTRAL PARK FIVE, 2012

Miura Kite discusses why Every year, Participant produces a wealth of content across a range of formats: narrative television is the best medium film, documentary, digital short form, and when it comes to inspiring episodic television. The process for projects starts with a search for stories that excite and inspire social awareness and behavior us. We then option the intellectual property in change around key issues. a variety of forms: completed scripts, treatments, novels, existing films, life rights, podcasts, and Divining so on. Participant’s approach means that when we option a piece of intellectual property, we’re not always sure of the form it will ultimately take. This allows projects to migrate from one internal team to another during the development process. If it ends up being narrative television, the project goes on my slate, and I oversee securing the the Future high-level talent to create the pilot.

92 The State of SIE 93 As an example, Central Park Five was originally every TV episode has five acts to its narrative, campaign for a could have which is a steep increase from the overall meant to be a two-hour film, but swiftly became unlike a feature, which has just three. The ending a longer lifespan than one for a feature film, figure for the previous year, when 1.7 million TV subscription rates a limited TV series when filmmaker Ava DuVernay of a film usually has a resolution, but the final which has a single launch window. consumers did the same. Meanwhile, the audience realized she had more than two hours’ worth of act of a TV episode introduces new questions base for Netflix rose from 130 million to 137 million material. This kind of flexibility is a wonderful that make the viewer want to watch more. Central Park Five is (unfortunately and sadly) subscribers worldwide in the third quarter of 2018. thing. It means that the content can determine a perfect case study for social impact because the format and ultimately its impact, rather systemic issues within the police system, than vice versa. the legal system, the penal system, and the post-incarceration system contributed to a Central Park Five really showcases some of the marginalization of the boys at every step along 2.6M strengths of scripted television as a format. The the way. When you pair this limited series with Now, networks can The world needs TV US consumers cut their true story behind the series — the scandal of five Ava DuVernay’s documentary 13th, you get cable TV subscriptions in young men of color wrongfully convicted of rape aim to hit one audience a pretty good sense of some deep-rooted shows that are created the first nine months of 2017. — had already been the subject of an incredible with a given show, and problems that need to be assessed. for these underserved 1.7M cut their cable TV subscriptions in 2016. documentary by Ken and Sarah Burns, which to hit it really well. demographics. used some amazing archival footage. However, It’s clear that the right type of social impact a scripted television version is able to dramatize project can resonate powerfully with audiences. real events that may not have been captured on However, we have yet to see how the evolution film at the time the event actually happened. of today’s various streaming platforms might We usually begin assessing the potential inform this relationship between viewer and Streaming platforms like Netflix have clear Television also allows you to follow more social impact of a project as soon as it comes content. What is clear is the impact the rise of advantages for content creators and 137M characters and explore more plotlines than to us. Our social impact team helps us identify this over-the-top (OTT) entertainment is having consumers alike. Audiences can consume The audience base for Netflix a feature film might, making it a perfect fit for the partner organizations whose work can be on viewing habits. A recent study showed that shows whenever they want, and in a full run rose from 130 million to 137 Television a story like this with five lead characters. The highlighted during a resulting social impact 2.6 million US consumers cut their cable TV if they wish. Meanwhile, the show’s creators million subscribers worldwide dramatic structure of TV also helps, because campaign. Broadly speaking, an impact subscriptions in the first nine months of 2017, are no longer tied to a five-act structure that in the third quarter of 2018. must accommodate ad breaks. The only minor — Tran, Kevin. “Online TV Services 13th, 2016 downside is that this flexibility has sacrificed Offset Cord Cutting Losses in Q3.” Business Insider, 21 Nov. 2017, something of the communal nature of television www.businessinsider.com/online- watching. When all of the episodes of a season tv-services-offset-cord-cutting- Four-quadrant movie losses-in-q3-2017-11?r=UK&IR=T. of TV are released at the same time, people In the , a “four-quadrant movie” is one which appeals to all four will watch at their own pace rather than on major demographic “quadrants” of the a set schedule, so there may still be value in moviegoing audience: both male and staggering the release of episodes. This is more female, over and under 25 years old. likely to create those “water cooler moments” — Tomasi, Rollo. “Film Term of the Week: Four-Quadrant that an audience will watch and discuss Movie.” FilmBook, 30 Apr. 2012, film-book.com/ simultaneously, and which can ignite broader film-term-of-the-week-four-quadrant-movie/. discussions of themes and key issues.

The changes the industry is experiencing make it an exciting time to be working in development. Television is embracing voices that are new, distinct and authentic. Networks are realizing that previously underserved audiences have real financial power and are galvanizing themselves to use it. Once, the leading strategy was to try to create content that appealed to all four quadrants — female, male, over 25, under 25. 25 Now, networks can aim to hit one audience with years old a given show, and to hit it really well. This revised approach to finding audiences has resulted in an increasingly diverse array of content.

.” YouTube, 25 years old While our commitment to social impact entertainment has remained constant, its place within and importance to society and culture has been growing and changing. The world needs TV shows that are created for 13TH | Official13TH Trailer [HD] | Netflix these underserved demographics, that engage with the biggest issues of our time, and that inspire people to take action. We have never © DuVernay, Ava. “ uploaded by Netflix, September26th 2016, youtu.be/V66F3WU2CKk been more committed to making them.

94 The State of SIE 95 Case Study Challenging prejudice with Will & Grace Edward Airing between 1998 and 2006, the Emmy® Award-winning Schiappa TV show Will & Grace challenged stereotypes about gay men in its depiction of the friendship between gay lawyer Professor and Head of Comparative Media Studies/Writing section Will Truman and straight interior designer Grace Adler. Will & Grace at the Massachusetts Institute They were often joined by their gay friend Jack McFarland, of Technology, John E. Burchard a struggling actor, and socialite Karen Walker. Will & Chair of Humanities Grace was one of the first TV shows to portray openly gay Will & Grace was a seminal television moment. characters in major roles; in fact, only 0.6% of all characters Edward Schiappa explores the impact one show appearing on television in 1995 were gay or lesbian. Today, The study: can one TV show make a difference? the percentage of LGBTQ series regulars on broadcast can have on the attitudes and actions of viewers. The prejudice people feel toward minority groups is so primetime scripted programming is up to an all-time high often fueled by ignorance. That’s why the relationship a of 8.8%, according to the 2018 GLAAD report. viewer has with characters on television, whether fictional or not, can be a tool for increasing understanding of different groups, even if it’s one-sided. In 2002, as a professor at the University of Minnesota, my team set out to prove that through Will & Grace viewership the power of this kind of indirect contact known as “parasocial By Spring 2001, an average of 17.3 million viewers each week interaction,” a TV show like Will & Grace could transform were watching Will & Grace. people’s attitudes toward gay men. – 17.3M Schiappa, Edward, Peter B. Gregg, and Dean E. Hewes. “Can One TV Show Make a Our research is an evolution of an existing psychological Difference?Will & Grace and the Parasocial

theory known as the contact hypothesis. Proven through Contact Hypothesis.” Journal of Homosexuality, Television vol. 51, no. 4, 2006, pp. 15-37. hundreds of studies, the theory states that one way to reduce prejudice between majority and minority group members is for there to be sustained interpersonal contact between them. However, there are certain conditions that must be met for this contact to be productive, such as ensuring that the participants There were some early suggestions that Will & Grace actually feel of equal status or that they share a common goal. reinforced heteronormativity. However, these claims were based on a conceptual idea of what the show was rather We set out to prove that in the case of Will & Grace, than an actual interaction with the content and its real impact despite the characters being fictional, the show provided on viewers. Once researchers talked to audience members an opportunity for people who had little or no contact with and gathered data on how the viewing experience actually openly gay men to gain a greater understanding of people influenced people, they found the opposite to be true. in the gay community. When actual contact under the conditions mentioned above is not possible, parasocial contact Working with Peter Gregg and Dean Hewes, I launched an is often the next best way of getting people to feel an affinity empirical investigation while the show was still on air to see with a different group and confront their own prejudices. whether it (and other shows like it) could reduce prejudice.

GLAAD Media Institute Where Will & Grace awards We Are on TV Report, 2018: overall Original run from 1998–2006: Will & Grace, 1998–2006 diversity of regular characters on primetime scripted broadcasting, 2018–2019 season — — — — 8.8% DATE RUNNING TIME STARRING SYNOPSIS LGBTQ 1998–2006 (original run) 00:22 Eric McCormack, Debra Will and Grace live together (75 characters)* Golden Globe® Awards SAG® Awards Emmy® Awards Messing, Megan Mullally, in an apartment in New Sean Hayes York City. He’s a gay lawyer; 91.5% — — she’s a straight interior 27 20 83 CREATED BY DIRECTED BY designer. Their best friends Straight Nominations Nominations Nominations David Kohan, Max Mutchnick James Burrows are Jack, a gleeful but proud (784 characters) gay man; and Karen, a charismatic, filthy rich, 7 16 amoral socialite. Wins Wins *Two transgender characters are also straight — – GLADD Media Institute. Where We Are on TV “Will & Grace (1998–): Awards.” IMDb, 2019, www. 2018–2019. GLAAD Media Institute, glaad.org/ imdb.com/title/tt0157246/awards?ref_=tt_awd. files/WWAT/WWAT_GLAAD_2018-2019.pdf. © NBC and other respective production studios and distributors

96 The State of SIE 97 The results Good intentions are not enough by themselves; from It was our feeling that both the quantity and quality of an artistic standpoint, a comedy needs to be funny and Findings from Schiappa’s survey Survey demographics Survey method of 245 undergraduate students: Of those surveyed: viewing consumption was important in order to change a drama needs to be dramatic. In my opinion, the key to Participants completed a 74-item The apparent influence of contact survey with the understanding attitudes, so we came up with a hypothesis that had two attitude or belief shift is to provide a learning experience with Will & Grace was similar to 60% 33% 7% that their individual answers parts. First, we proposed that the more that people watched for viewers that is relatable and also entertaining. People will the influence of direct interpersonal would be kept confidential. In were between were between were between the show, the lower their reported prejudice toward gay men keep watching a show if it is of sufficient quality and they contact with gay friends. addition to basic demographic 18 and 21 years old. 22 and 25 years old. 26 and 60 years old. information, the survey included would be. Second, we suggested that if a viewer reported get their comedic or dramatic payoff. This is why the quality For those who reported they had few to no gay friends or items to assess how much social feeling a sense of affinity with the characters (or “parasocial of representation is as important as the quantity. Judging acquaintances, the correlation 63% 86% 6% contact participants have with interaction”) the lower their prejudice would be as well. by the show’s impressive ratings — an average of 17.3 million between increased viewing/ of participants of participants Asian/Subcontinental non-heterosexual individuals, viewing frequency of Will & Grace, weekly viewers during the spring of 2001 — as well as its parasocial contact and decreased were women. were white. or Asian/Pacific Islander. sexual prejudice was strongest. attitudes toward gay men and Our results proved both parts of this hypothesis. Of those subsequent syndication, it’s safe to say Will & Grace had lesbians (with the Attitudes Toward Viewing frequency correlated 4% 1% 3% we surveyed, Will & Grace was shown to reduce people’s enough quality to keep viewers coming back for more. Lesbians and Gay Men [ATLG] positively for wanting to black or African Hispanic or Latino. identified as other. scale), as well as items concerning prejudice the more they watched it and the more they know each character (their American. the four main characters. felt positive about the characters. As we noted in our social attractiveness/likeability). reported their sexual case study, “increased viewing frequency and parasocial 98% orientation as heterosexual. interaction were found to correlate with lower levels of sexual Joe Biden praises Will & Grace prejudice — a relationship that was most pronounced for In 2012, Vice President Joe Biden referenced Will & Grace as part those with the least amount of social contact with lesbians of the social evolution of American “The show is an important step “Viewing the show has “The show is a refreshing “Heterosexual relationships culture/politics toward embracing and gay men.” forward in television situation led to positive opinions challenge to ‘normal’ are the only ‘normal’ kind same-sex marriage. comedies because it features of gay people.” conceptions of masculinity.” of relationship.” gay men in major roles.” To cite a few findings: 60% of viewers agreed that watching – Abramovich, Seth. “Joe Biden Cites the show led to positive perceptions of gay people, and ‘Will & Grace’ in Endorsement of Same-Sex

71% of Will & Grace viewers disagreed with the statement Marriage.” The Hollywood Reporter, 6 May Television 2012, www.hollywoodreporter.com/live-feed/ that “heterosexual relationships are the only ‘normal’ joe-biden-cites-will-grace-320724-0. sexual relationships” compared with 45% of non-viewers. 81% 60% 65% 71% Among viewers, 73% disagreed that Will & Grace “provides agree agree agree disagree a negative view of gay men” and 65% agreed that the character of Jack represents a refreshing challenge to Also, having two very different gay characters represented “normal” conceptions of masculinity. by Will and his friend Jack allowed viewers to learn at least

something about the diversity of gay men in general, and – the more viewers learn, the less likely they are to perpetuate Schiappa, Edward, Peter B. Gregg, and Dean E. Hewes. “Can One TV Show Make a Difference? Will & Grace and the Parasocial Contact narrow stereotypes based on ignorance. Hypothesis.” Journal of Homosexuality, vol. 51, no. 4, 2006, pp. 15-37. Will & Grace Parasocial Contact Hypothesis Reaching the tipping point Parasocial contact is more effective in changing attitudes on sexual Through expert storytelling on complex social issues, prejudice when the majority group entertainment can play an important role in opening “interacts” with both typical and people’s minds, but it’s hard to say that it can drive social Will & Grace can effect Will & Grace presented America Will & Grace TV advertising costs atypical representations of the a change in perception with a perspective that was change by itself. Shows like Will & Grace are always part In 2003, Will & Grace averaged minority group. Will & Grace provides Herek and Capitanio (1996) found completely contrary to popular a $414,500 fee for a 30-second multiple representations of gay men, of a more complicated ecosystem, which itself is influenced that contact experiences with two or belief. In September 1998, following spot, coming in at No. 2 on Ad as seen in the social/economic/ by the wider social and political landscape. three individuals are associated with the 1997–1998 failure of ABC’s Ellen, Age’s list for the year. romantic differences between Will & Grace was launched on NBC- more favorable attitudes than contact At the time, Ad Age wrote: characters such as Will and Jack. experiences with only one individual. TV as the first program to have an – However, when it comes to societal attitudes toward gay In Will & Grace, viewers “interact” openly gay male character as the “The success of Will & Grace, which Schiappa, Edward, Peter B. Gregg, and Dean men, I believe the show did help us get past a tipping point with multiple gay characters through lead on primetime television. Defying was No. 4 in pricing last year, as well E. Hewes. “Can One TV Show Make a Difference? expectations, the sitcom would run as Queer Eye for the Straight Guy on Will & Grace and the Parasocial Contact of sorts. We found that 81% of those we surveyed agreed parasocial contact. Therefore, the ability Hypothesis.” Journal of Homosexuality, vol. 51, for a show like Will & Grace to effect from 1998 through 2006 and be NBC sibling cable channel Bravo and no. 4, 2006, pp. 15-37. that the show was “an important step forward in television change in the perceptions and prejudices ranked as the highest-rated sitcom ABC’s new It’s All Relative appears to situation comedies because it features gay men in major of majority viewers is grounded in in America, among viewers aged 18 demonstrate that gay themes are not to 49 from 2001 to 2005. only mainstream but profitable.” roles.” The sitcom Ellen, where main character Ellen Morgan psychosocial empirical evidence. comes out as a lesbian, was also a significant step along the way, but was arguably not as popular. Looking around These results were so strong that we did a series of other today, shows like Modern Family continue to break down Highest-rated for studies that were increasingly more sophisticated in their stereotypes and provide opportunities for parasocial 5 years in a row experimental design. The subsequent research provided interaction — and they do so while attracting huge additional evidence that the more a viewer learns about a audiences and winning plenty of awards. $414,500 2000 2001 2002 2003 2004 2005 2006 particular group of people as depicted in a positive way in the 30s spot media, the greater the reduction in prejudice. We published When it comes to impact, the popularity of a show is key. these findings in a paper entitled The Parasocial Contact As we have proven in our studies, the more people watched Hypothesis. Will & Grace and cared about the characters, the greater the reduction in their prejudice. The show is a powerful – – – The importance of engaging stories example of the important role social impact entertainment Schiappa, Edward, Peter B. Gregg, and Dean E. Hewes. Myers, Jack. “Will & Grace: The TV Series That Changed Poggi, Jeanine. “New ‘Will & Grace’ Ad Prices On “Can One TV Show Make a Difference? Will & Grace America.” The Huffington Post, 2 Feb. 2016, www. Par With Show’s Final Season In 2006.” Ad Age, 26 In order to influence people, positive representation of can play in transforming people’s beliefs or prejudices and the Parasocial Contact Hypothesis.” Journal of huffingtonpost.com/jack-myers/will-grace-the-tv- Sep. 2017, adage.com/article/media/nbc-s-grace- minority groups needs to be encased within a great story. about important issues in our world. Homosexuality, vol. 51, no. 4, 2006, pp. 15-37. series-that-changed-america_b_5543315.html. reboot-averages-200-000-commercial/310620/.

98 The State of SIE Television 99 The paper described and tested the PCH in three studies: two involving parasocial contact with characters in series depicting Spotlight on: gay men — analyzing Six Feet Under and Queer Eye for the Straight Guy — and one involving parasocial contact with The self-identified transgender comedian Eddie Izzard. Parasocial Contact Hypothesis In all three studies, parasocial contact was associated with lower levels of prejudice.

As Schiappa, Gregg and Hewes note: “In all three studies, parasocial contact was associated with lower levels of prejudice. Moreover, tests of the underlying mechanisms of PCH were generally supported, suggesting that parasocial contact facilitates positive parasocial responses and changes in beliefs about the attributes of minority group categories.”

Parasocial contact facilitates positive parasocial responses and changes in beliefs.

As formulated by Gordon W. Allport in 1954, the contact hypothesis states that interpersonal There is now a substantial body of scholarship around contact is one of the most effective ways to the world that attests to the power of positive mediated reduce prejudice between people, specifically representation to reduce prejudice toward minority groups. “minority” and “majority” group members. Two Though obviously not all of these studies are indebted to the years after Allport’s book, The Nature of Prejudice, The Parasocial Contact Hypothesis, it was one of the first works published that documented this phenomenon. was published, Donald Horton and R. Richard Wohl argued for studying what they dubbed – parasocial interaction. Schiappa, Edward, Peter B. Gregg, and Dean E. Hewes. “Can One TV Show Make a Difference? Will & Grace and the Parasocial Contact Hypothesis.” Journal of Homosexuality, vol. 51, no. 4, 2006, pp. 15-37. They claimed that “one of the most striking characteristics of the new mass media — radio, television and — is that they give the illusion of face-to-face relationship with the consumer.” In Edward Schiappa, Peter B. Gregg and Dean E. Hewes’ follow-up to the Will & Grace study (entitled The Parasocial Contact Hypothesis) the team described a “mass communication equivalent to Allport’s Contact Hypothesis” that they termed the “Parasocial Contact Hypothesis (PCH).”

It was the trio’s feeling that “if people process mass- mediated communication in a manner similar to interpersonal interaction” as Horton and Wohl suggested, “then the socially beneficial functions of intergroup contact may result from parasocial contact.” Chapter 4 Theater

100 The State of SIE Hamilton for colored girls who have considered suicide / when the rainbow is enuf Bridge and Tunnel The Normal Heart This section: 1984 With a heritage that dates Social discourse has been an A snapshot of the social impact The Normal Heart ecosystem within Theater. for colored girls who have considered Dear Evan Hansen back to ancient Greece in the integral element of theater since suicide / when the rainbow is enuf V for Victory 102 We’re only at the beginning of our Nothing to Lose (But Our Chains) Hamilton Women Laughing The Terms of My Surrender Fun Home sixth century BC, theater is its inception. Modern dramatists Eve Ensler journey to map the SIE ecosystem. Alone with Salad Gloria Eclipsed For a comprehensive look at our efforts Teenage Dick Eclipsed Next to Normal undoubtedly the oldest form continue to honor this tradition, All the World’s a Stage 106 so far, you can find the rest of the SIE The Story of the Gun Sweat map tucked away in the inside back Oskar Eustis The Curious Incident of Rent Indecent of social impact entertainment. using performance to explore the Dog in the Night-Time cover. To help us build this further or Fun Home Mobile Shakespeare Unit correct anything we may have missed, Lights Rise on Grace She The People 8 With its emphasis on live spectacle complex human concerns — Theater of the Moment 110 visit www.thestateofsie.com Broadway Dustin Lance Black Public LAB Series Public Works and a shared physical space from sexual identity to racial Woolly Mammoth Reading Between 114 Bridge and Tunnel Sweat Blueprint for Accountability Eclipsed between the performer and and political discrimination. the Lines Belfast Blues Shirley Jo Finney Women Center Stage Festival The Public Theater their audience, theater is notably Border/Clash White Chocolate distinct from the major screen- The Exonerated Guantanamo: Honor Bound to Defend Freedom Nirbhaya based forms of SIE. A Memory, A Monologue, The Treatment A Rant, and A Prayer Gross Indecency County of Kings The Tallest Tree in the Forest The Laramie Project Motherstruck Indecent Culture Project The Vineyard Theatre Tectonic Theater Project Gloria The Vagina Monologues How I Learned to Drive On Edge Silent Voices HERE Arts Center

Songs of the Dragons Flying to Heaven

Angels in America

The Curious Incident of the Dog in the Night-Time

Royal National Theatre Theater is always political. Theater She The People The Second City Theater Newspapers tell us the Nothing to Lose (But Our Chains) facts; plays tell us the ASL Cabaret

Building the Wall emotional truth. The Fountain Theatre Queens of Syria Robey Theater Company Citizen: An American Lyric — Paula Vogel The Jungle Haitian Trilogy: For the Love of Freedom The Inheritance Young Vic Bronzeville Taking Part

Horizons

Sojourn Theatre Teenage Dick Witness Our Schools The Heidi Chronicles The Apothetae Playwrights Horizons The Justice Project Finding Penelope

How To End Poverty in 90 Minutes Is God Is Mixed Blood Theatre Gloria Westside Theatre Hooded or Being Black for Dummies Nixon's Nixon Cornerstone Theater Someday Hype Man Los Illegals The Vagina Monologues My Name is Asher Lev Beast Order My Steps: Black AIDS/Black Faith — New York Theatre Workshop You Can't Take it With You: Murphy, T. Michelle. "Broadway An American Muslim Remix Penumbra Theatre For All Time shows are taking on activist issues," Touch the Water Metro, Metro Media US, metro.us/ Rent things-do/new-york/broadway- An Ordinary Muslim Magic Fruit Change in Watts shows-are-taking-activist-issues. Slave Play for colored girls who have considered suicide / when the rainbow is enuf Urban Rez Cafe Vida Black Nativity Fellowship SEED: A Weird Act of Faith

101 I have always thought of theater Eve The Vagina as a radical church — a holy space Monologues awards Ensler in which we come together to think Award-winning playwright and feel deeply about the things and founder of V-Day and that really matter to us. One Billion Rising, co- founder of City of Joy Winner of an Obie in 1997. All my working life, artists and audiences

Eve Ensler © Mike McGregor have been educating me about the power of this space. I was thrilled when the Skoll Notable works: #20 The Vagina Monologues Center told me that my play The Vagina The New York Times’ Monologues is regarded by them as a model 2018 list of “The 25 Best of how art can lead to social change — American Plays Since Angels in America” and it made me think back over what I have for learned in the 20 years the play has been occupying that holy space across the world, in spaces from Paris to Pakistan, from No recent hour of Manhattan to Mumbai. theater has had

As a playwright I’m biased, but my hunch a greater impact Victory is that theater is the most transformative of worldwide. all art forms — for three reasons. — The New York Times The Vagina Monologues performance, 2013 — “The Vagina Monologues.” Lortel The Vagina Monologues Archives, Lucille Lortel Foundation, www. lortel.org/Archives/Production/178. has been translated into Brantley, Ben, and Jesse Green. “The V Great Work Continues: The 25 Best American Plays Since ‘Angels in America.’” more than 48 languages and The New York Times, 1 June 2018, www. nytimes.com/interactive/2018/05/31/ performed in over 140 countries. As an audience member theater/best-25-plays.html. Playwright Eve Ensler reflects on you get to respond to a film;

but with a piece of theater, Theater the immediacy and importance you get to create it. of political theater.

Theater is one of the only forms that’s happening in the present tense. It is literally alive, in front of you, at that moment. Where other art forms like film or novels have been frozen ahead of time, theater will always be unpredictable and unexpected because it depends on the people in that particular room on that particular day. This is true of the actors, of course — but it’s also true of the audience. One audience can be silent at the precise moment when another audience fell into raucous laughter — and that response transforms the performance, which in turn transforms the response of the audience, and so on. Every work of theater is a co-creation with the audience. As an audience member you get to respond to a film; but with a piece of theater, you get to create it, in that room, with those people, in that moment, which will never be repeated in the same way again.

That produces danger and surprise. You don’t know what will happen. Maybe the set will fail to open, and the actors will find themselves

© U.S. Air Force photo by Senior Airman Natasha Stannard/Released stuck in front of gorgeous scenery the

102 The State of SIE 103 audience will never see. Maybe an actor You need to crawl into the bodies and about this, somebody would shoot me. Instead, first is: we have raised $100 million, for everything In 1999 V-Day launched its minds of people you don’t agree with New monologues have women lined up after every performance in from domestic violence shelters in Arizona to forgets a key line. Maybe she goes further out been released with each College Campaign, and in with an emotion than she’s ever done before — so you can allow that point of view to be subsequent edition of their dozens or their hundreds to tell me their a sanctuary and revolutionary center in the the first year, there were 65 and she opens up a space with the audience fairly and clearly communicated. As a writer, the text, including 2004’s stories — about the first orgasm, or their Democratic Republic of Congo treating survivors V-Day campus productions. neither of them could have imagined. you fear that what you believe won’t come They Beat The Boy Out incestuous rape, or anything in between. of sexual violence. The women who have been By 2007, 700+ colleges had Of My Girl...Or So They registered to participate. through if you channel yourself into your Tried, created from a A silence had been broken, and women started transformed are out there, now transforming the And thirdly, theater is embodied in a way characters. I learned you have to trust it will series of interviews with to pour into the silence. world. The second is: thousands of women have other art forms can’t be. The actors are there come through. The paradox of art that wants transgender women. performed these monologues, and I meet women Other “spotlight” in their bodies, in their voices, in their beings, to produce social change is that the less you monologues have focused all the time who tell me that it led them to choose sharing their physicality with your body as try to persuade people to change, the more on the experiences of a life of activism — whether as social workers, or an audience member. I love what Terence successful you will be — you have to tell a Afghan women, Native campaigners, or politicians. The third is: all those 700+ colleges American and First Nations McKenna said — “The only thing we can trust deeper emotional truth, and be funny, and audiences can never go back into that silence. women, and the “comfort — is our experience.” Theater gives you a physical you will find that those connections produce women” who were forced to In dark times, art can They have listened to a conversation — blunt, Swan, Susan Celia, and Purva Panday provide sexual services to Cullman. “Say It, State It: V-Day at experience. You can remember a great play the change you want. funny, raw — about vaginas. They have been Twenty.” The Vagina Monologues: 20th the Japanese army during move us beyond the the way you remember an experience you had awakened to the issues facing women. Anniversary Edition, 2018, pp. 169-208. the Second World War. binaries of good and in your own life — because it is an experience The latest edition features in your own life. monologues dedicated to the evil, left and right. I wish that The Vagina Monologues had been women of Haiti, the women rendered politically redundant, and the world On April 11th–12th 2008, of New Orleans who suffered V-Day celebrated its 10th I am often asked for advice about how to after Hurricane Katrina and could now enjoy it as purely a piece of art. anniversary, V to the Tenth, create art that has a social impact. My first My first and most women who face sexual You don’t need me to tell you that we aren’t in New Orleans, to shine violence in the workplace. and most important piece of advice is always there — and we are in fact facing horrific forces a light on the issues facing I started to feel like the keeper of these the Gulf South community important piece of advice — — don’t take yourself too seriously. When “‘The Vagina Monologues’, 20 Years extraordinary secret stories — of joy, of grief, of misogyny rising once again (alongside a in the wake of Hurricanes I started, I thought it was my obligation to is always — don’t take On.” The Economist, 9 Jan. 2018, www. of rage — and I felt like it was unethical to keep heroic resistance). Katrina and Rita. economist.com/prospero/2018/01/09/ teach people my politics and my point of yourself too seriously. the-vagina-monologues-20-years-on. them stored away, informing only me. So I view, but what I quickly learned is that’s not gathered together in 1998 some extraordinary In dark times, art can move us beyond the how people change. They change through women and asked them: how do I use this play, binaries of good and evil, left and right. It dialectic, through hearing people in dialogue which is connecting with so many people, to can offer us new energy and activate our and challenging one another — and people I wrote my play The Vagina Monologues end violence against women and girls, and to imaginations. It can inspire empathy and a 30,000+ particularly change through laughter. If you because one day I was speaking to an older set us free? Soon, we had established a group much-needed compassion. It can bond us in want to promote political change you have feminist I admired and I was startled when named V-Day. Every 14th of February, women community and offer us solidarity and protection. 30,000+ people attended the events over the two to be funny. Otherwise people will feel beaten she described her postmenopausal vagina 1,381 all over the world began to perform The Vagina It doesn’t become a luxury that we turn to when days V-Day transformed up and plowed over the head. as “dead,” and spoke of it with real contempt. performances Monologues in their communities, with the we have finished marching and lobbying (though the Superdome into Theater I realized that as women, we were taught to proceeds going to feminist causes. we need them urgently too). Art is as necessary “SUPERLOVE,” with conversations, slam

If you are writing about social issues, your be silent about our vaginas. I began to have as light and water. We need to turn to that holy poetry, performances, There were 1,381 job is not to communicate what you feel — hundreds of conversations — and to be honest, What has been the result? I see it playing out space, where we make something profound storytelling, and art. performances off- it is to communicate what characters feel. I thought when I stood up on stage and talked Broadway at NYC’s every day, and I think it has three layers. The together — now, more than ever. Thousands traveled from Westside Theater from out of state and overseas 1999–2003. for events that featured 125+ speakers and 40 — stars, a choir of 200, and “The Vagina Monologues.” Lortel Archives, Lucille Lortel Foundation, 800-plus volunteers. V-Day global reach V-Day events www.lortel.org/Archives/Production/178. V-Day The V in V-Day stands for “victory,” “valentine,” and “vagina.” V-Day’s work is grounded in four core beliefs.

125+ speakers

40 stars Art has the Lasting social and Local women We must look at — Swan, Susan Celia, and Purva Panday power to transform cultural change is know what their the intersection of Cullman. “Say It, State It: V-Day at 1 thinking and inspire 2spread by ordinary 3communities need 4 class, environmental Twenty.” The Vagina Monologues: 20th people to act. people doing and can become catastrophe, Anniversary Edition, 2018, pp. 169-208. extraordinary things. unstoppable leaders. gender, imperialism, — militarism, patriarchy, V-Day Annual Report: 2017 – Rise for Women Workers, poverty, racism, — Solidarity Against the Exploitation of Women. V-Day, and war to fully 2018, www.vday.org/press/annual-report-archives.html. Swan, Susan Celia, and Purva Panday Cullman. “Say It, State It: V-Day at Twenty.” The Vagina Monologues: 20th Anniversary Edition, 2018, pp. 169-208. understand violence against women.

104 The State of SIE 105 From Angels in America to While working at the Eureka Theater Company Shakespeare in the Park, you commissioned a groundbreaking work of American theater: ’s Angels in Angels in America Oskar Eustis America. What was it you saw in Tony Kushner Angels in America: works on the Millennium Approaches, All the World’s front line of exploring social that made you want to fight in his corner? a play by Tony Kushner, explores the AIDS epidemic as a metaphor for spiritual dynamics through theater. In 1985, when Tony was still a student decay in the 1980s. The play He highlights how empowering at NYU, I saw a staged reading of one of won the 1993 Pulitzer Prize his very first plays, A Bright Room Called for Drama before its first Broadway performance the right voice can make Day. By the intermission, I knew that my life had even opened. was about to change. Part of it was reaching a Stage a difference. — that moment in your professional life where Fritsch, Jane. “Pulitzer Prize to a Play on AIDS and the 1980’s.” Hamilton, 2015 you think, this is it, this is the reason I do this: The New York Times, 14 Apr. 1993, to find a writer who is this bright, this young, www.nytimes.com/1993/04/14/ us/pulitzer-prize-to-a-play- Oskar at the beginning of their career. on-aids-and-the-1980-s. Eustis Tony was a great writer, and that was Artistic Director of The obvious just from the writing, but he also Public Theater and a Tony

Award®-winning producer cared about the same things that I did. Up until that point I had been despairing over Hamilton Hamilton: An American whether I’d ever be able to have a life in the Musical is a sung-and American theater where I would be surrounded rapped-through musical by people who embraced the kinds of social, about the life of American Notable works: Founding Father Alexander Fun Home, Hamilton, Sweat political, and historical issues that I cared so Hamilton. Created by Lin- passionately about. I was a red diaper baby Manuel Miranda, the play and was raised by Communist parents — and incorporates hip-hop, R&B, pop, soul, traditional-style In your 2018 TED Talk you called theater the most red diaper babies didn’t go into the show tunes, and conscious “essential art form of democracy.” Could you theater, so I had felt very lonely. casting of non-white actors please elaborate on this? What role do you as the Founding Fathers and other historical figures. see theater playing in society at large? — Viagas, Robert. “Hamilton Tops There are a couple of aspects to this. One is Tony® Awards With 11 Wins.” Playbill, Theater PLAYBILL INC., 12 June 2016, www. that the art form itself is a training in democratic playbill.com/article/tony-time- citizenship. By that, I mean that it assumes, as its-broadways-biggest-night#. a form, that the truth is dialectical: truth is not In order to enjoy a piece monolithic or singular but can only emerge in of theater, you have to put the conflict between different points of view. I think that’s true about the world, but I think yourself in the shoes of the it’s also terribly essential for a democracy: characters on stage. people have to believe that the debate between different points of view will produce a better result than a monolithic imposition of one person’s will or one party’s will. We applied for a commissioning grant for Angels in America and got it, and the play Hamilton 2016 ® The other thing that I think is key to theater is ended up going beyond our wildest dreams. Hamilton won 11 awards at the 2016 Tony Awards®. that it requires an imaginative leap of empathy. It was the first high-level American artistic It won in nearly every In order to enjoy a piece of theater, you have to artifact in which gay people were not only category in which it was put yourself in the shoes of the characters on openly gay, complexly gay, totally secure in nominated. However two losses kept it from tying (or stage — and by the way, you put yourself into their gay identity, but were also struggling with surpassing) The Producers more than one pair of shoes. To understand that what it meant in the world. These characters for most Tony® wins ever. people can see things differently and come from were staking their claim to speak for America The play also won the 2016 different points of view — again, I think that’s itself. They were saying that their experiences Pulitzer Prize in Drama. — crucial to democratic citizenship. were in no way marginalized or reduced Viagas, Robert. “Hamilton Tops Tony Awards® With 11 Wins.” Playbill, PLAYBILL because they were gay: Prior Walter is an INC., 12 June 2016, www.playbill.com/ Finally, there’s the experience of being in an American everyman, and being gay is central article/tony-time-its-broadways- biggest-night#. audience. When people laugh together, it’s not to that identity but in no way limits the size of simply their personal reactions — it’s a collective his identity. I think that is something that the response. We don’t have many places in culture theater does particularly well — to take the where we can feel that sense of sharing a experience of people who have previously been communal experience with people who are marginalized and say no, this is actually central

© WENN Rights / Alamy Ltd Stock Photo not pre-selected to share our ideological beliefs. to the story of America.

106 The State of SIE 107 The theater is particularly good at putting citizens who in many ways were deeply ashamed it’s been so powerful and enduring because it’s It is almost the definition of something the spotlight on people, putting them center of what our country had been doing, really a completely simple idea. We put on fantastic that is going to break new ground. Perhaps Sweat stage and saying these people speak not only for its entire existence — because this beautiful productions by the world’s greatest writer, you it’s because it’s never been done before that Lynn Nottage’s Sweat is for themselves but for all of us, and Angels bastard of a democracy was built on a legacy of get to see them without paying — and the idea it seems like it’s not possible, and you have set in Reading, Pennsylvania, really did that in a way. It was part of a larger is contained in the title! to actually school yourself to suppress your and examines the effect movement that changed what meant to be own doubts. You must continue to ask questions, of the economic downturn Hamilton Off-Broadway on its inhabitants. The play gay in America, in a way that was unimaginable We almost never have an empty seat at to try to solve the problem you think is most Hamilton originally opened chronicles dramatic events 25 years ago. At the time, none of us could have at The Public Theater (Off- Shakespeare in the Park — we have 2,000 worth solving, even if you think it can’t possibly in the lives of a group of believed that gay marriage would be possible Broadway) on January people come out all summer to see these shows. work. Of course, sometimes it doesn’t work, blue-collar workers, many of whom have worked in the within 25 years, let alone commonplace. Though 17th 2015 with a sold-out The quality of the productions is very high and sometimes you can’t do it. But what I’ve found There is not a single play run and moved to the local factory for generations. many factors contributed to this, I like to think Richard Rodgers Theatre (on people are passionate about them, so you can is if you don’t give up, it’s astonishing how much When Cynthia – an African- the play had something to do with that change, or program I’ve done that Broadway) in August. feel the sense of connectivity in the audience. of what seems impossible becomes possible. American woman – is promoted, a once-close in some small way. It just means you have to have your values has had a real impact that — group of friends is torn apart Feldman, Adam. “Why Hamilton Is the The Mobile Unit, which takes Shakespeare pretty clear, and you have to be willing to Broadway Musical to See Now.” Time Out by mistrust and jealousy. You also helped to create another landmark didn’t feel impossible when New York, Time Out, 9 July 2015, timeout. to community centers, prisons, and homeless pursue them pretty ferociously. com/newyork/theater/why-hamilton- — of American theater: Lin-Manuel Miranda’s I started thinking about it. is-the-broadway-musical-to-see-now. shelters is the only program we have where the Cox, Gordon. “How Broadway Play 'Sweat' Tells the Personal Stories Hamilton. Could you tell us how the show demographics of the audience precisely matches The second thing is that 95% of the success Behind the News.” Variety, 24 Mar. 2017, ended up premiering at The Public Theater? the demographics of New York City. There’s no of my work has been because I have identified variety.com/2017/legit/news/sweat- broadway-timely-politics-relevance- difference between the populations that see our people of great ability, talent and vision, trump-1202015437/. Lin-Manuel Miranda is an absolutely slavery and genocide. Many of us were desperate mobile Shakespeare and those that make up the and then did everything I could to empower astonishing writer and composer: his work, to feel there is an idea of an America which city, and that’s thrilling for us. There was a lesson them. In this way you support the artists and tones, and conceptual insight are remarkable. is fundamentally democratic, fundamentally $1.9M from this that we incorporated into our recent visionaries that need that support, but also per week This is evident in his use of hip-hop as an inclusive, fundamentally meritocratic. Not only mobile, national tour of Lynn Nottage’s Sweat: from the very beginning of a project there is extraordinary vehicle for conveying expository by telling the story of Hamilton, but by casting if you want to make sure you reach people that not one person trying to push it through, there Hamilton on Broadway information. There is more information in it the way he did, Lin managed to unleash that you wouldn’t normally, go to them. Don’t make at least two: me and the person I am supporting, As of June 2016 (a year me and Tony, me and Lin-Manuel. the first song of Hamilton than exists in most patriotic lust within parts of the audience, and after opening) Hamilton them come to you; go to where they are. musicals as a whole! You can take in an it’s been wonderful to watch that happen. was consistently selling enormous amount of information in verse form out all 1,321 seats at the What advice or key learnings would you pass The geometric progression of an idea — Richard Rodgers Theatre on to people who are just starting out in the whether that’s a play, a new program, or Sweat awards that you couldn’t if it were prose. Shakespeare Could you please tell us about some of the and grossing and estimated world of theater — particularly those who would a new way of reaching audiences — never Sweat was nominated for figured that out, and Lin did too. programs you run at The Public Theater, and $1.9M a week in ticket sales. three awards at 2017 Tony how they typify the theater’s philosophy? — like to create social impact through their work? happens because you’re just that smart and Awards® and was awarded I think the deeper thing that Hamilton was Paulson, Michael, and David Gelles. you have figured out how to do it. It happens the 2017 Pulitzer Prize in Theater “‘Hamilton’ Inc.: The Path to a Billion- Drama, making Lynn Nottage responding to was the realization that there Shakespeare in the Park is our gold standard. Dollar Broadway Show.” The New York First, there is not a single play or program I’ve because you are gathering around you the Times, 8 June 2016, www.nytimes. the first woman to win the were millions and millions of people who were We’ve been doing it for more than 60 years at com/2016/06/12/theater/hamilton-inc- done that has had real impact that didn’t feel people with the abilities, the talents, the drive, prestigious award twice. the-path-to-a-billion-dollar-show.html. desperate to feel patriotic again: American the Delacorte Theater in Central Park, and I think impossible when I started thinking about it. and the ideals to help make it real. — Clement, Olivia. “Broadway’s Sweat Announces Closing.” Playbill, PLAYBILL INC., 13 June 2017, www. The Public Theater Mobile Unit, 2018 playbill.com/article/broadways- sweat-announces-closing.

The Public Theater Mobile Unit Shakespeare in the Park The Public Theater’s Mobile Unit is a Created by the late Joseph reinvention of Joseph Papp’s “Mobile Papp in 1962, The Public Theater,” which began in 1957. Papp’s Theater’s series offers free, original touring company evolved into large-scale productions the New York Shakespeare Festival, and of works by William ultimately became The Public Theater. Shakespeare. Past casts Today, 80% of the New York City have included , population lives outside Manhattan — Kevin Kline, Al Pacino, Blythe in Brooklyn, Queens, Staten Island, and Danner, Philip Seymour — yet a 2011 study shared that Hoffman, George C. Scott only 25% of the city’s cultural institutions and .

are located outside Manhattan. The — current Mobile Unit is one remedy to Feldman, Adam. “The Complete Guide the lack of professionally-produced to Shakespeare in the Park in NYC.” Time Out New York, Time Out, 22 Jan. theater available to culturally under- 2018, www.timeout.com/newyork/ resourced neighborhoods of NYC. theater/shakespeare-in-the-park.

— Murphy, Ciara, and Kevin Landis. “The Public Theater's Mobile Unit: Lean and Mean Shakespeare.” AMERICAN THEATRE, 29 Mar. 2017, www.americantheatre. org/2017/03/29/the-public-theaters-mobile- unit-lean-and-mean-shakespeare/. © Jim West / Alamy Stock Photo

108 The State of SIE 109 the California trial that led to the overturning of Dustin Proposition 8 — I knew I had to find a way to make Lance Black what happened in the courtroom visible to a wider audience as soon as possible. The judge ruled in Academy Award®-winning Theater of favor of the plaintiffs, making gay marriage legal filmmaker, writer, and social activist in the state once more, but soon after, an appeal 40 nationwide was launched. This was just the start of the battle. We knew that the eventual decision at the productions Supreme Court would determine the legal status

Notable works: of gay marriage across the country. the Moment Disruptive distribution Milk, 8, When We Rise tactics of 8 I decided to use theater to try to make a Throughout 2012 more significant impact on the issue as quickly as than 40 nationwide Throughout my career, most of the work possible, because we couldn’t wait around for productions of 8 were I’ve created has been for the screen. something to get greenlit, shot, and distributed. scheduled across 17 states by the American Foundation Dustin Lance Black discusses We needed to get it out there almost as soon as for Equal Rights (AFER). Making a movie or TV show takes time — I’d hit “save” on the final draft, and only theater Productions were followed his use of theater as a means sometimes a really long time. But in 2011 when would let us move at that speed and scale. by a talkback where cast I wrote 8, a play about the courtroom battle for and audience members of generating an instant impact discussed the issues same-sex marriage equality in the United States, presented in the Perry v. and emotional engagement in time was exactly the luxury that we didn’t have. Schwarzenegger trial. The play was licensed free making the case for marriage to colleges and community When the judge decided not to allow cameras to theaters, and readings equality in the United States. film the crucial Perry v. Schwarzenegger case — took place in states where We needed to get it out there gay marriage legal issues were in play, including New 8, 2012 almost as soon as I’d hit ‘save’ Hampshire, North Carolina, on the final draft, and only Maryland, and Maine. Other readings were scheduled theater would let us move at at universities including Stanford and the University that speed and scale. of North Carolina, and at theater companies across

the US. Theater

— Potts, Kimberly. “Dustin Lance Black 8 tells the story of the plaintiffs as they fought Gay Marriage Play ‘8’ Going on Tour.” , 17 Jan. 2012, www.reuters. to win marriage equality. As I was one of the com/article/idUS187526126720120117. four founding members of the American Foundation for Equal Rights (AFER), the organization that brought the case to court in the first place, there was a more urgent need for 8 than anything I’d ever done before. It was 200,000 written purely to make the case for marriage equality in the United States, making it one of viewers the most impact-focused works of my career.

At the time, most material on the subject of The livestream reading of 8 featuring , same-sex marriage was presented in pamphlets Brad Pitt, , or on TV. This content simply echoed the Kevin Bacon, Jane Lynch, subjective views of the people who made it. During Jamie Lee Curtis, and directed by Rob Reiner, the trial, the argument took place in a different attracted 200,000 viewers. arena, with different rules. For the first time in — Wetherbe, Jamie. “George Clooney, the debate, both sides had to raise their right Brad Pitt Reading of ‘8’ Comes to CD hands and promise to tell the truth, the whole and Download.” , 3 May 2012, articles.latimes.com/2012/ truth, and nothing but the truth. What happened may/03/entertainment/la-et-cm-dustin- lance-blacks-prop-8-drama-to-hit-the- in that courtroom was incredibly emotional and airwaves-20120503.

. Vimeo, uploaded by AFER, 2012, vimeo.com/49703909 dramatic; it was hard to sit there and not feel “Watch Brad Pitt, George Clooney In Prop. 8 Play Online.” The Huffington like banning same-sex marriage was inherently Post, Oath, 4 Mar. 2012, www. huffingtonpost.com/2012/03/04/prop- wrong. I wanted to use theater to transport people 8-play-youtube_n_1319379.html. into that courtroom, so that they could feel that way too. The challenge was to do this without the opposition being able to dismiss my version of

© Black, Dustin Lance, director. 8 events. I needed to be able to say: “This is what

110 The State of SIE 111 happened in court, and if you don’t believe me, The Supreme Court’s final ruling was going was a mental illness — encouraged me to write Between the show itself and donations from go and check the transcripts.” to affect every state in America, so I wanted 8 8 for free for Broadway Impact, an organization online viewers, the Wilshire Ebell performance to be performed in as many of them as possible. that has been using the theater to raise money raised a further $2 million for our cause. So that’s where I started. Every time I got on an We knew that the judges didn’t live in bubbles: for HIV/AIDS since 2009. Not only would all the airplane I took a binder of court transcripts and money it made go to LGBT causes, but with The show ended up traveling far beyond the US; just started redacting, cutting things down. The their network of contacts there was a chance we the last time I checked, the play had also been final script that I wrote wasn’t verbatim, otherwise could get it to play across the entire country. It performed in eight other countries — notably in it would have been a three-week-long play, but seemed like a fantasy, but it was worth a shot. Australia, where it was recently used in support I still wanted it to be authentic and full of specific of another national battle for gay marriage detail that would pique the audience’s interest. To maximize our reach, Broadway Impact turned out to be the equality. In the end, the most triumphant impact In short, it would make them feel like they’d sat the performance was also best producers I’ve ever worked with, because of 8 was in the US where we eventually won through the entire trial in 90 minutes. streamed live on YouTube everything they promised came true. The our battle. The US Supreme Court legalized New York reading of 8 raised over $1 million same-sex marriage in June 2015, making gay Emotional engagement is one of the key things and later released as an and with their assistance we were ultimately marriage a reality across the entire nation. that makes theater an effective tool for creating audiobook. able to bring the show to all 50 states. On empathy, and through that, impact. People go March 3rd 2012, we arranged a special one- No matter which medium I work in, I to the theater to feel things, and at one point in off reading at LA’s Wilshire Ebell Theatre, strive to write stories that will correct the the writing process I realized I needed to make directed by Rob Reiner and with an all-star misconceptions we have about people of 8 more personal. So I interviewed the plaintiffs they read newspapers, watched television shows, cast that included George Clooney, Brad Pitt, diversity. It’s my firm belief that if we can clear and their kids, and added interstitial scenes and were aware of public opinions, so if there and Jamie Lee Curtis. To maximize our reach, out all that still divides people today, we can where we could meet these characters outside was anything we could do to make this decision the performance was also streamed live on start to see what we have in common instead. the courtroom. This was essential, because when simpler for them, it was worth a try. YouTube and later released as an audiobook. This is yet another reason why detail is simply you really get into the details of how people live On the night, the livestream drew an audience crucial for a good story — because in detail their lives under circumstances that are very My friend Richard Socarides — whose father, of 200,000 viewers, and by the end of 2018 the lives authenticity, authenticity cultivates different from your own, you start to see the Charles Socarides, was the psychiatrist who video had been watched over 950,000 times, curiosity, and curiosity can help you to build light of universality. You start to see humanity. came up with the entire notion that being LGBT accruing almost 10,000 “likes” in the process. the audience that these works deserve.

Marriage Equality Timeline Transparent This timeline juxtaposes the percentage Ellen (2014–) Theater of Americans who believe gay marriage (1994–1998) Brokeback Mountain should be legal, with significant events (2005) Angels in America in gay rights history, and the release of (1992) notable film, TV, and theater projects (1984) Modern Family depicting gay characters. Queer as Folk (2009–) (2000–2005) — 59% McCarthy, Justin. “U.S. Support for Gay Marriage Edges Soap 72% Philadelphia 2003 to New High.” Gallup, 15 May 2017, news.gallup.com/ (1977–1981) 2017 poll/210566/support-gay-marriage-edges-new-high.aspx. (1993) The Simpsons Participant Internal Information. 68% “Homer’s Phobia” 64% 2015 (1997) An Early Frost 2011 That Certain Summer (1985) 59% (1972) 54% 2007 2001 Percentage of Americans 47% 46% who think same-sex relations 43% 1990 44% 2004 should be legal. 1977 1997 32% 1986

1970 1980 1990 2000 2010 2020

Wisconsin first state to First National March on Washington outlaw discrimination due First “World AIDS Defense of Marriage Act Massachusetts first state to “Don’t Ask, Don’t Tell” Supreme Court ruling for Lesbian and Gay Rights (1979) to sexual orientation (1982) Day” (1988) signed by Bill Clinton (1996) legalize gay marriage (2004) is repealed (2011) legalizing gay marriage (2015)

112 The State of SIE 113 college. The nation was in crisis and the civil Shirley rights movement was exploding, pulling the Jo Finney scab off the historical wound of systemic Reading racism in this country. The artists of the time International theater were fearlessly telling our narratives with a and television director sense of urgency. Black theater companies emerged throughout the country. It was a time of reclamation, of breaking from Black Arts Movement Western storytelling. They reintroduced ritual The Black Arts Movement Between improvisational storytelling, embracing the is the name given to a group Notable works: Facing Our Truth, Citizen: An American Lyric diaspora and ancestral spirituality that is of politically motivated black unique to the African . poets, artists, dramatists, musicians, and writers in the wake of the Black Power Art and activitism can go People have always learned about Movement that lasted from themselves through storytelling. 1965–1975. Amiri Baraka is hand-in-hand. Shirley Jo considered the father of the the Movement after he opened Finney talks about her most What an artist does is study human behavior the Black Arts Repertory — our wants, needs, and desires. Since the Theatre in Harlem in 1965. impactful projects and explains The Movement soon spread why now, more than ever, we beginning, humanity has had to understand When directing social from New York to Chicago, how to navigate our everyday existence by impact theater, it is Detroit, and San Francisco, must learn to trust in art. seeing nature and ourselves within it. and art was created by Lines important to create the black community for the I became involved in the Black Arts black community in order to Movement in the late 60s, while still in a safe space. achieve artistic and civil liberation.

— In the Red and Brown Water, 2010 Foster, Hannah. “The Black Arts Movement (1965–1975).” Boley, Oklahoma (1903- ) | The Black Past: Remembered and Reclaimed, blackpast.org/aah/ Facing Our Truth black-arts-movement-1965–1975. In response to the George Zimmerman verdict, The New Black Fest commissioned the following six plays about Trayvon Martin, race and privilege:

Colored Theater by Winter Miller Night Vision by Dominique Morisseau Dressing by Mona Mansour and Tala Manassah No More Monsters Here by Marcus Gardley Some Other Kid by A. Rey Pamatmat The Ballad of George Zimmerman by Dan O’Brien and Quetzal Flores

— “Facing Our Truth: Ten Minute Plays on Trayvon, Race and Privilege.” Samuel French, www. samuelfrench.com/p/58272/facing-our-truth-ten- minute-plays-on-trayvon-race-and-privilege. © XXXX XXXXXXXXX XXXXXXXXXXX XXXXXXXXX XXXX © © Photography by Ed Krieger

114 The State of SIE 115 In the Red and Brown Water, 2010 The Movement and the stories being adaption of Claudia Rankine’s Citizen: An At one point, the show traveled to Charleston, produced were transformative, daring, American Lyric. The publication is an award- South Carolina. The theater was just around and political. It made audiences aware winning collection of vignettes — expressed the corner from the church where Dylann Roof and uncomfortable. It was theater and through prose, poetry, and imagery — that murdered nine black parishioners. I was walking art-as-activism. I call it “edutainment” — detail the experience of race and racism. in newly dug up soil; the community and the where the audience is being educated actors had suffered that experience just a year and transformed while being entertained. before my arrival. It was as emotionally raw as working with the USC students. In the post-show Nelson and Winnie Mandela believed the talkbacks, the first question I asked was not Stephen Sachs is Co-Artistic Director of The Fountain artists of helped to dismantle “What did you think?” but “How did you feel?” Theatre in Los Angeles, and expose apartheid to the world. We are The audience needed an which he co-founded in witnessing another artistic revolution which 1990. A multiple award- winner, Sachs wrote the is addressing the political unrest of our opportunity to give voice stage adaptation of Claudia day. Once again, the artists of our time are to their emotions. Rankine’s Citizen: An answering the call for what is right and just. American Lyric, the winner of the 2016 Stage Raw Award We need our tools of empathy for Best Stage Adaptation, Trayvon Martin’s assassination was a and imagination more now put on by The Fountain moment that tore and broke through our Claudia wrote Citizen for white, middle Theatre and Kirk Douglas than any other time. in Los Angeles and PURE psyche. For my generation it was seeing the and upper-class privileged people to examine Theatre in Charleston, Vietnam War, the assassinations of leaders, everyday microaggressions towards black — T. Michelle Murphy South Carolina. and pictures of Emmett Till on television; for people. Citizen is told through a variety — “Home.” Stephen Sachs, — this generation it’s Trayvon Martin. In New of perspectives, and by narrators seeing stephensachs.com/home.html. Murphy, T. Michelle. “Broadway Shows Are Taking on Activist York City in early 2015, Keith Josef Adkins themselves in the shared experience of systemic Issues.” Metro US, 4 May 2017, www.metro.us/things-do/ ew- york/broadway-shows-are-taking-activist-issues. brought six writers together to express the racism. It can make privileged audiences rage and frustration of people following the uncomfortable, but it’s important that those George Zimmerman verdict. Facing Our audiences see how they interfere with our lives. Truth — a series of six, 10-minute plays — For the audience member of color, they find it In every era, theater has had a social and captured their reaction to Martin’s assassination cathartic to have the moments they have kept emotional impact on people. Artists have and many others of the black male body. The to themselves out in the open. It is language a responsibility as storytellers to research plays became part of the national conversation that pulls moments into reality. This show, like the culture, politics, and music around their on race and privilege. Theaters across the Facing Our Truth, demanded an audience stories because they can affect the energy country took up the call, producing the play talkback. The audience needed an opportunity and temperament of the people. You also need to Theater in different venues. I directed the Los Angeles to give voice to their emotions. They needed trust your work. Trust yourself, your impulses, trust production for the Center Theater Group at to have a conversation about what they had your feelings, then trust those working around you. the Kirk Douglas Theater. We held public talks just experienced. Even now, I’m still learning to trust my art. with the audiences after the performance — they needed a safe space to give voice to their feelings before leaving the theater. The Road Weeps, The Well Runs Dry, 2014 © Photography by Ed Krieger

channel their emotions and feel empowerment. Trayvon Martin’s I recalled my passion and how I felt so many assassination was a years ago, and how that drove me to actively moment that tore and participate in a movement. broke through our psyche. When directing social impact theater, it is important to create a safe space. Most of the time the work that is being performed is immediate and living — it’s personal. I never want my actors to act; I Two years later, I directed another production want them to identify what they’re feeling and then of Facing Our Truth with students at the express that in the room. That means feeling safe University of Southern California. Several more enough to dig into your own experience — that’s the shootings had happened in the intervening period. challenge. My way of working is totally organic. The students were 18 to 22 years old — the same I leave the intellectual meaning to the writers; my age as many of those murdered. There was a work takes place in the space between the lines. tangible reaction in the rehearsal hall. The wound was raw and immediate. It was important for This organic process was particularly important them to have a place, through story, in which to when Stephen Sachs invited me to direct an © Photography by Ed Krieger

116 The State of SIE 117 Chapter 5 Emerging Forms Sea Prayer The Journey Food For Thought: The 'cowboys' driving out hunger. Waves of Grace Born Into Exile Tackling anti-gay wedding cake arguments. Gently. Over the past two decades, While there are many of This section: A snapshot of the SIE ecosystem Beyond The Lake He thinks Jesus would have called BS on homophobia. within Emerging Forms. I Am Fatmira technological progress — these emerging forms of SIE, Your Food's Roots with Zooey Deschanel #WhoWeAre Ground Beneath Her Honest Conversations: Creating Soulful 120 We’re only at the beginning of our Sacred Lies #wcwSTEM Guardians of the Forest Upworthy Fathers and Their Gay Children Content 1 in 5 Women Worldwide and the arrival of the Internet in our inaugural report focuses journey to map the SIE ecosystem. Clouds Over Sidra Step to the Line Mic Dispatch A former white supremacist explains Comeback Kids: Animal Edition Are Married Before Age 18 Shabnam Mogharabi For a comprehensive look at our efforts Life in the Time of Refuge why he had a change of heart. particular — has given rise to a wide on two of the most exciting & Rainn Wilson Look But With Love Why a rising Hollywood actor so far, you can find the rest of the SIE National Coming Out Day Still Matters in 2018 Climate Change is Making Wildfires Harder to Fight UNVR Five Points decided to 'come out' as undocumented. map tucked away in the inside back Undivided ATTN: The Protectors Clouds over Sidra Emmeline Pankhurst and Gender array of new entertainment forms. examples: virtual reality (VR) Doctors Show The Messy Reality of Less is More 124 cover. To help us build this further or Equality Beyond the Right to Vote Returning The Favor Operating Rooms in the NRA's America correct anything we may have missed, Carole Tomko Valen's Reef Sorry For Your Loss Trans Military Couple Fights Black Voters Matter Use Dance These have been seized upon by and digital short form. visit www.thestateofsie.com Within for Their Community's Rights to Fight Voter Suppression in Georgia Inside A Deaf School’s How This Sioux Chef Is Bringing Stepping Inside 128 Mind at War Facebook One Month Without Single-Use Plastic Now This Back Indigenous Food social impact artists, ever keen to This is Climate Change Fight For Civil Rights the Issue Bashir's Dream NeuroSpeculative AfroFeminism The North Carolina Church Sheltering Terminal 3 Zero Days VR This is What a DACA Student Looks Like Undocumented Immigrants find new ways to tell stories that Nonny de la Peña

Beginning War Tourist Chicago’s Struggle With Gun Violence drive essential change. Hyphen-Labs The Price of Conflict, The Prospect of Peace S1T2 The Left-Behind Children AJ+ The Nepal Quake Project Munduruku Our Home Our People The Separated: Trauma at the Border RYOT Kevin's House: A Police O§cer Google Expeditions VR Ends His War on Drugs Walking North: Refugees Flee America for Canada Why So Many Americans Are Still Homeless Inside Juvenile Detention How The Internet Advanced The New Civil Rights Movement Despite Our Improved Economy One Woman's Triumph Over HIV in Ghana This South LA Bike Club Is Steering The Atlantic From Gang Violence to Prestigious Scholar HušPost Vulnerable Kids In The Right Direction Using Drones To Predict This Model Got Fired Atlanta Students Dominate Harvard Debate The Future Of Climate Change for Talking About Race Competition And Embody Black Excellence We The Economy Why India's Youth Are Dating In Secret The Oscars Addresses Its Diversity Problem Things Everybody Does but Doesn’t Film4Climate Talk About, Featuring President Obama Digital short form doesn’t need to Here's What Gender Really Is, This Culinary Nonprofit Is Cooking Up Racing Extinction Under the Canopy Buzzfeed According to Science Hope In This Brooklyn Food Desert I Was Harassed By My Seeker Students For Being Gay TestTube Plus Drag Kings Are Fighting For Visibility And #ISurvivedEbola Inclusivity One Performance At A Time Perspective Jaunt VR fit into a traditional slot or platform, Specular Theory Collisions Vulcan Productions The Surprising Reality Of Depression And Suicide Among Farmers Transparency And Justice: A Conversation and that’s one of its greatest strengths. Overcoming My Body Hangups We The Voters About Sacramento Policing And Community Gente-fied Tackling Food Waste in Nigeria BBC Reel — Carole Tomko p126 African Teenage Coding Superstar MACRO Last Rhino Of His Kind Gets Armed Protection VICE The Teen Fighting Cyberbullying This Is Why You Should Never Let a Balloon Fly Away Living With Jaguars Virtual Reality This Is Why You Should Never Buy Tiger Bone Wine Meet The Lab On A Mission To Help This Veteran Heal The Story of Stuš The Dodo Under The Hood Shark Fin Soup Is Destroying Our Oceans Waves of Grace Houston, We Have a Plastic Problem The Story of In 2017, Alejandro González Facebook said its nascent Watch Productions Iñárritu was awarded a rare special service is attracting 400 million monthly The Story of Microfibers #ISurvivedEbola Stuš Project Academy Award® for his VR installation viewers who spend at least 1 minute A Tale of Two Cities Carne y Arena. checking out videos, 75 million of Our Water, Our Future It was the first time a special Oscar® whom spend an average of 20 minutes Digital Short Form had ever been awarded in the VR watching shows every day. This Land is Our Land YouVisit Baseball in the Time of Cholera RYOT Aliens of Extraordinary Ability medium, and the first time a special The self-reported data reflects Let's Ban The Bead! Braddock, PA Oscar® had been given out since 1996. strong momentum for the year-old The Painter of Jalouzi Pop Sugar service which, prior to its global launch Decoded Weapons of Mass Production The award demonstrates the Koncept VR Fear Us Women acknowledgement of VR as a powerful in August 2018, reported just 50 million Four Walls Seen and Heard Topic Black 14 One Week in April MTV This 9-Year-Old Girl Creates and important form of storytelling. monthly users in the US. Beautiful Care Packages For Dreamed

Homeless Women Emerging Forms Fight for Falluja Meeting A Monster #wcwSTEM Our House Kiya In Harmony The Evolution of Testicles Women on the Move Defying the Beast Rise Above Use of Force ReInventors Vox Borders Have a Little Faith Project Syria VR For Good Step to the Line Hot Mess What Happens When Women Win Elections Highly Evolved Human Emblematic PBS Kid President Out of Exile Condition One Out of the Blue Above The Noise The Secret Life of Muslims Soul Pancake Meet the 10-Year-Old Drag Kid Last Days Oculus The Hidden Shaping the Future of Drag Youth PBS Learning Media The Big Problem With How We Pick Juries After Solitary In The Presence of Animals That's What She Said Gateways Across The Line One Eighty Tell My Story How She Works Mic One Dark Night This Is Climate Change Reverse Assumptions Ocean To Plate We're Still Here Being The Change Mashable Show of Force Mic Dispatch Greenland Melting Torchbearers: Ideas in Action American Bison A Path Appears 400M+ Genius Moments TED TED Women monthly viewers VR For Good Half the Sky Here Be Dragons Meet the Man Biking on TEDx YouTube Water to Save the Planet Frame Her Right — TED-ed Chmielewski, Dawn C., “Facebook Says 400 Million Step to the Line We The Voters Flight School Creators For Change People A Month View ‘Watch’ Videos”, Deadline, 13 Dec. The Last Goodbye 2018, www.deadline.com/2018/12/facebook-400-million- Ground Beneath Her #wcwSTEM IGTV monthly-users-view-watch-videos-1202518789/. The Displaced The Evolution of Testicles 18 With Issues Tree Clouds over Sidra Marshmallow Laser Feast VICE Policing the Police: The Copwatch Movement In Harmony Here's the Deal with Joe Biden — From Rehab to a Body Bag “Alejandro Inarritu: Carne y Arena awarded special Undivided ATTN: Oscar®.” BBC News, BBC, 28 Oct. 2017, www. In The Eyes of the Animal Women in STEM Garbage Island: An Ocean Full of Plastic .co.uk/news/entertainment-arts-41786923. America Versus ATTN: Torchbearers: Ideas in Action This is What Winning Looks Like Defenders Virtual Human Interaction Lab Your Food's Roots with Zooey Deschanel Be the Generation Living in the Sewers of

Triumph Over Adversity Our Planet Here's the Deal with Joe Biden 18 With Issues

Paying Attention 1000 Cut Journey Innocence Ignored

119 habits have evolved to favor short-form and social Shabnam content. Social platforms cater to our shrinking Mogharabi attention spans, and short-form content allows us to maximize the time we are spending on General Manager entertainment. Short-form content takes advantage Creating of SoulPancake of the five, 10 or 20-minute “micropockets” of time that we now program our days with. Attention Span Study Addictive technology Notable works: behaviors are evident, Kid President, My Last Days particularly for younger Canadians. A 2013 survey Soulful asked participants from Consumers are looking different age demographics We are bombarded with a dizzying to use the Internet to find whether they agreed with amount of information every single day. a sense of meaning, purpose, the following statements:

The average American spends 35–45 minutes and identity. 18–24 65+ Content per day on Facebook; 500 million tweets are sent every 24 hours, and 300 hours of video are uploaded to YouTube every minute. At the same But does this type of content work to 77% “Kid President meets the President of the United States of America,” 2013 time, our attention spans are shrinking — a study communicate a social impact message? I believe 10% by Microsoft found that our average attention it does, and I have a theory why. If you’re familiar spans had dropped from 12 seconds in 2000 to with Abraham Maslow’s “hierarchy of needs” from “ When nothing is occupying my attention, 8 seconds in 2015. That’s one second less than a your psychology class, humans must progress the first thing I do is goldfish. So it makes sense that our consumption through five stages of needs, each being fulfilled reach for my phone.” 52% Rainn And it was there that we found our first big hit 6% Wilson and really homed in on our voice. “I check my phone at Actor, writer, co-founder least every 30 minutes.” . The future of all content must include short-form of SoulPancake and Haiti-based educational video. It’s the most consumed content on social initiative Lidé platforms, and the most easily accessible (and streamable) by phone, which is the device more 73% and more consumers use to watch entertainment. 18% When students are between classes or have time Notable works: “The last thing I do The Office, Kid President to fill, they don’t turn to movies or TV shows, they before I go to bed is use their phones to find some entertainment. This check my phone.” content is often immediately shareable, unlike In 2008, when my friends and I began — Emerging Forms traditional television and film, so it can reach huge McSpadden, Kevin. “Science: talking about the idea that would audiences in a short amount of time — something You Now Have a Shorter Attention Span Than a Goldfish.” Time, eventually become SoulPancake, there that was unthinkable 10 years ago. 14 May 2015, time.com/3858309/ attention-spans-goldfish/. was very little positive content on the web. The real potential in this medium lies in giving There was, to put it bluntly, a lot of crap out youth hope: hope that they matter, hope that © SoulPancake. Kid President meets the President of the United States of America YouTube, uploadedYouTube, by SoulPancake, April 4th 2013, youtu.be/TssZ9Uma1-w there: porn, Kardashians, crass humor, and their voices are heard, hope that they can make materialism. We wanted to create a positive a difference. This young, tapped-in, influential For Shabnam Mogharabi destination where thinkers, innovators, misfits, audience has the potential to change the world, and Rainn Wilson, the future artists, and activists could congregate to explore but they don’t want content that lectures them. their universal human experience — a place to They want to be inspired and to find their own path of all content is in digital short examine ideas, chew on life’s big questions, and towards change. They want content that punches form. The question is, how do dig into thought-provoking content. them in the heart and the gut.

we give that content purpose, Once up and running, we quickly realized that And content creators? We have the biggest meaning and soul? the video content we were producing for the responsibility here. As the world becomes more website was our strongest and most engaging fractured and perilous, it’s up to content creators content, so we pivoted to becoming a content to tell the stories that move us forward as a species studio focused on video storytelling. Our first big on our sacred planet. I hope that SoulPancake can initiative was to create inspirational short-form continue to serve the world by making content that episodic series via a premium YouTube channel. ignites a fire toward positive change.

120 The State of SIE 121 before the next can be reached, in order to content is entertainment that asks the viewer the deep vault of content already in place, believe that humans are generally good, there reach the ultimate goal of self-actualization. to think and feel, but only a small percentage it wasn’t a one-off sensation. is hope for the future, and they have the power I believe the Internet, and particularly our has a direct call to action. Kid President to make a difference. A big part of that is by Kid President began online lives, are progressing through Maslow’s when 11-year-old Robby using their dollars as consumers to show what hierarchy. Our “physiological” needs online One of my favorite sayings is, “Strive to be Novak and his brother-in- they stand for. Given the choice between were met in the early days of the online a virus; not viral.” In practical terms, this means law Brad Montague started brands, millennials and Gen Zers will often posting their videos online boom with transactional entities like eBay creating a steady drumbeat of content that to inspire positivity. The opt for the brand that stands for something. In and Amazon. The birth of online banking and can infect an audience, not focusing on getting videos cover a range of SoulPancake’s target audience fact, a recent study by Cone Communications secure email like AOL Online and Microsoft a viral hit. That way, if and when you do have topics but all center around suggested that 89% of Gen Zers would rather the simple premise that the epitomize what I like to call gratified our need for “safety;” our “belonging” an organic breakthrough hit, you can capitalize world can be more awesome, buy from a company that’s addressing social Kid President campaigns needs were met with social sites like Friendster, on the momentum of that one video by having and that all kids deserve to the optimistic millennial and or environmental issues over one that is not. MySpace, and Facebook; and we’re now living a library of content for viewers to engage with be heard. Since its inception, the altruistic Gen Zer. After Kid President’s success, Kid President videos have SoulPancake took viewers’ in the “esteem” stage where sites like Twitter that helps sustain views and engagement during included notable guests – In early 2018, Larry Fink, chairman of requests into consideration. and Instagram fulfill our needs to be seen, the inevitable post-viral drop. such as President Obama BlackRock, the world’s largest asset manager, They shifted Kid President heard, and appreciated. I believe we are finally and Beyoncé – and garnered sent a letter to the CEOs of the company’s videos to include advice, tips, more than 100 million views. and lessons. They also built on the verge of entering the final phase of After its viral success, we continued to focus holdings. In it, he explained that it was the Socktober campaign, “self-actualization” online where consumers As of the end of 2018: most of Kid President’s weekly videos on being essential for businesses to have a social which provided socks for are looking to use the Internet to find a sense entertaining, inspiring, and meaningful. Only purpose, or else risk losing consumers and homeless children. — of meaning, purpose, and identity. two or three times a year we would ask viewers the support of BlackRock. This was a clear “SoulPancake.” YouTube, 24 Jan. 2013, Strive to be 43M+ to engage at a more significant level. For example, signifier that even Wall Street is starting youtube.com/watch?v=l-gQLqv9f4o. This is where I see SoulPancake and our views on YouTube the annual Socktober campaign — which aimed to pay attention to the demand for social parent company, Participant Media, fitting a virus; not viral. for “Pep Talk” to prove that even the smallest acts of kindness, responsibility and conscientious impact, and in. As storytellers, it’s our job to help people like donating a pair of socks, can make a difference if that is happening, then it’s a trend everyone find a common sense of purpose and meaning. 850K+ in the lives of the homeless — was a prime example needs to start embracing. likes on Facebook This doesn’t always mean direct social action; of using these asks sparingly, but to great effect. most of the time, it’s actually about forming Take our hit series Kid President. It wasn’t an 380K+ Over time, something fascinating happened: our The next generation, powered by social 89% an identity and connecting with other humans. overnight success. We’d been releasing Kid followers on Twitter viewers started asking Kid President for more ideas networks, mobile technology, and the drive In the social sphere, this understanding is President episodes for a long time — an original on how else they could make a difference. to find meaning, will change the way the world 280K+ especially important. You don’t want to ask video, once a week, for six months — before followers on Instagram works, and for the better. Ignoring that will Nearly nine-in-10 (89%) your audience for something every time they the “Pep Talk” video went viral, hitting nearly 30 These viewers — SoulPancake’s target audience — be an obstacle to progress and success. The — say they would rather buy interact with you because it can cause fatigue. million views in less than one week. Kid President “Kid President.” Facebook, www. epitomize what I like to call the optimistic millennial change is already happening; it’s just up to from a company addressing facebook.com/KidPresident/. Broadly speaking, the vast majority of our certainly had a viral moment, but because of and the altruistic Gen Zer. These generations us to engage with this new culture. social or environmental issues “Kid President (@Iamkidpresident).” over one that is not, and Twitter, twitter.com/iamkidpresident. 92% would switch brands to “Kid President Official! (@ Iamkidpresident) • Instagram Photos one associated with a good and Videos.” Instagram, www.instagram. cause, given similar price and com/iamkidpresident/?hl=en. quality, skewing just slightly SoulPancake. “A Pep Talk from Kid higher than the national Maslow’s hierarchy of needs Be a virus, not viral President to You.” YouTube, 24 Jan. average (89%). Self-actualization 2013, www.youtube.com/watch? SoulPancake had been releasing v=l-gQLqv9f4o. the Kid President videos once a week — “2017 Cone Gen Z CSR Study: How for six months prior to their “Pep to Speak Z.” Cone Communications, Talk” video that has now garnered www.conecomm.com/research-

over 43 million views. The video was blog/2017-genz-csr-study. Emerging Forms an infectious “virus” thanks to the Esteem steady drumbeat of content that had preceded it. Many prior Kid President videos saw a lift in viewership after Content that infects A viral video the “Pep Talk” release.

— SoulPancake. “Strive To Be a Virus, Not Viral.” Social A “Hit”

Security

Physiological

— Maslow, A.H. “A Theory of Human Motivation.” Psychology Review, vol. 50, 1943, pp. 370-396, psychclassics.yorku.ca/Maslow/motivation.htm.

122 The State of SIE 123 uncommercial agenda, allowing 20 directors to Carole produce content that explained an economic topic Tomko they felt needed unraveling — such as how the global trade system works, or why healthcare is Former General Manager so expensive. The creative freedom we gave them and Creative Director of

Vulcan Productions meant that the films took all shapes and forms: We The Economy awards documentary, narrative, and even one that is told We The Economy won through dance! We partnered with more than 70 more than 12 major film distributors online and with Landmark Theatres and digital awards: Notable works: across the country — all of which resulted in 18 Webby Winner in the 2015 “Online Film & Video / We The Economy, We The Voters, Racing Extinction million views across various platforms. News & Politics Series” “Best Mobile App” at Storytelling can drive public awareness the 2015 Shorty Awards 2015 Gold World Medal of big issues in a way that conventional Winner for “Online philanthropy can’t match. Educational Program” and Silver World Medal Winner We wanted to reach younger for “Short Films” at the 2015 The emotional bond generated from compelling voters and those harder- New York Festival’s Best TV content, partnered with information that & Film Awards empowers people to do something about it, is to-reach, traditionally — “We The Economy.” Vulcan Productions, the key to real, positive change. Our mission at disengaged groups. www.vulcanproductions.com/ Vulcan Productions is centered around five pillars our-work/we-the-economy/. “We The Economy 20 Short Films You — technology, data, policy change, philanthropy, Can’t Afford to Miss.” The Webby Awards, www.webbyawards.com/ and storytelling — and how these tools help us winners/2015/online-film-video/general- to create content that builds awareness and With We The Voters, the impetus was instead film-categories/news-politics-series/. Monllos, Kristina. “These Brands Are drives engagement. The work we do ranges from the imminent 2016 US presidential election. We Vying to Be the Best on Instagram, production to campaigns and outreach, but all of were discovering, as with the economy, a lot Snapchat, YouTube and More.” Adweek, 17 Mar. 2015. www.adweek.com/ it aims to generate impact through information- of Americans were trying to make sense of the brand-marketing/these-brands-are- vying-be-best-instagram-snapchat- rich storytelling. political system and voting process. Again, we youtube-and-more-163508/. commissioned 20 films — about topics like student “2015 NEW YORK FESTIVALS TV & FILM AWARDS WINNERS.” New York Two of our most successful digital short-form debt, lobbying, and immigration — to break Festivals World’s Best TV & Films, www.newyorkfestivals.com/tvfilm/ projects are We The Economy and its follow-up, down the issues and inform diverse audiences. pop/dirwinner.php?CmptnID=200. We The Voters. Both aimed to demystify big, We wanted to reach younger voters and those thorny issues a lot of people remain uninformed harder-to-reach, traditionally disengaged . Vimeo, uploaded by the We Voters, 2016, vimeo.com/180092859 about throughout their lives. We The Economy groups, so we chose our platforms based on arose from shocking insights gathered on how these targeted demographics. We also partnered the average American struggles to understand with PBS Learning and 10 national educational the fundamentals of the country’s economy. We organizations where our content was used by 2 We The Voters partnerships commissioned 23 digital short films with a totally million teachers, with 13,000 downloads of our We The Voters worked with over 60 digital Emerging Forms

© Goosenberg, Ellen. MediaOcracy Ellen. Goosenberg, © We The Voters “MediaOcracy,” 2016 partners, including exhibition partners, VOD, media properties, online platforms,

and news outlets. We The Voters audience reach We The Voters topics We The Voters features talent The films continue to provide The 20 videos produced in including Anabelle Acosta, fact-based, nonpartisan the series were grouped into Tom Arnold, Mario Cantone, information to help lead informed the following areas of focus: Rosario Dawson, Grace discussions on issues brought Helbig, Richard Kind, Joshua up during Trump’s presidency. Malina, Charlotte McKinney, Less Ana Ortiz, Harold Perrineau, and Analeigh Tipton.

— “‘We the Voters’ Digital Initiative Announces Distribution Partners, Carole Tomko explains The System The Issue Taking Part Releases Trailer.” The Hollywood Reporter, 14 Sept. 2016, www. M hollywoodreporter.com/news/we-voters- 18 + — how digital short form has 50+ digital-initiative-announces-928827. people reached within We The Voters and PBS “About We The Voters.” We The Voters, Vulcan Productions, 2016, wethevoters. is 3 months of launch. Education partnered to com/about-we-the-voters. become this generation’s disseminate 50+ lesson plans and materials for go-to format, and why, the classroom. — when tackling the big issues, “We the Voters: 20 Films for the People.” The Shorty Awards, shortyawards.com/9th/ More the shorter the better. we-the-voters-20-films-for-the-people-2.

124 The State of SIE 125 accompanying curriculum. The films alone had the agility you get with online streaming means 20 million views — with the social media campaign you can test different theories of change in a Racing Extinction awards generating a staggering 13 million views immediately responsive, immediate way. The only downside Nominations Wins after the election, as people were trying to work out of the medium is it’s hard to track actual behavior what the heck had just happened. change or overall impact beyond views, likes and shares. That’s still a challenge to be tackled and one the greater SIE space faces as well. 1 Academy Awards® We The Economy directors We The Economy featured work from well-known Digital short form corresponds directors such as Adam 1 McKay, Catherine Emmy® Awards neatly to the technological and Hardwicke, John M. Chu, The responsiveness and ease Mary Harron, Albert Hughes, generational shifts we’re seeing of production you get with Steve James, and Barbara in how we consume media. Kopple. 1 digital short form allows you — Sundance Awards Appelo, Tim. “Morgan Spurlock, to really extend a project’s life. Paul G. Allen Announce Directors of ‘We the Economy’ (Exclusive).” The Hollywood Reporter, 16 Sept. 2014, Oceanic© Preservation Society Racing Extinction projections on Empire State Building, 2016 Quick to produce and quick to consume, www.hollywoodreporter.com/news/ 1 1 morgan-spurlock-paul-g-allen-733089. digital short form corresponds neatly to the Cinema for Peace Awards technological and generational shifts we’re seeing A more sustained example of what Vulcan produced an event that projected images of We’ve learned a lot by working in digital — in how we consume media. A lesson we learned Productions does is the short-form content that YouTube in numbers species facing extinction onto St. Peter’s Basilica short form over the past five years. Habits “Racing Extinction (2015): Awards.” IMDb, 2019, www.imdb. between We The Economy and We The Voters was commissioned in concert with the release as well as other iconic buildings including the UN are changing and so are mindsets; 30 minutes com/title/tt1618448/awards. was that viewers wanted even shorter content, of the documentary Racing Extinction, which headquarters and the Empire State Building. used to be considered short form, now it’s so while We The Economy films were 5–8 minutes, Discovery Channel premiered worldwide within more like seven or less. Beyond this, it’s We The Voters films were 3–5 minutes. Digital short a 24-hour window. The feature premiered in 1.9B+ All this generated 24 million views of the short- increasingly apparent that millennials are form doesn’t need to fit into a traditional slot or December 2015, but Vulcan’s social impact work form videos associated with the project. It has loyal to program styles and brands they platform, and that’s one of its greatest strengths continued long after with a campaign featuring logged-in users visit YouTube driven 1.3 million unique visitors to the website, believe in rather than specific broadcasters, each month, and every day — it’s always the right size for what you want additional short films to help grow the community people watch over a billion and reached people in 196 countries. The and that demographic is one of the biggest to convey, and using it with social media means of advocates. We also created a website that is hours of video and generate responsiveness and ease of production you consumers of media. So, if I were to give one you can micro-target audiences. Not only will this regularly refreshed with content, and we launched billions of views. get with digital short form allows you to really piece of advice, it would be this: to find your allow you to reach people who wouldn’t normally a public challenge and campaigned for policy extend a project’s life. We haven’t even finished targeted audience and drive impact you need see a documentary, but audiences feel like it’s a change. We partnered with more than 75 NGOs 70%+ with the Racing Extinction campaign yet and our to diversify your content, your platforms, and consumable and entertaining nugget versus a to drive viewership, petitions, and support for community of activists is at 400,000 and growing. produce content that is both entertaining more mission-driven documentary. Additionally, bans. We even partnered with the Vatican and of YouTube watch time Those kinds of numbers are a real thrill. and delivers a strong takeaway. comes from mobile devices. 91 countries and 80 languages We The Economy topics Racing Extinction and #StartWith1Thing YouTube has launched The 20 videos produced in the The #StartWith1Thing campaign Emerging Forms local versions in more series covered the following topics: launched in support of Discovery than 91 countries. Channel’s debut of Racing Extinction. You can navigate YouTube #StartWith1Thing pledged simple lifestyle in a total of 80 different changes that can add up to big benefits languages (covering 95% for endangered species, the environment Fight wildlife Reduce carbon of the Internet population). $ and humanity itself. trafficking emissions Discovery leveraged its additional platforms, including custom branded Economy Money Role of Globalization Inequality content, digital, social media, virtual Government The number of channels #StartWith1Thing earning six figures per year reality and Discovery Education, along with its partners to ignite curiosity and — on YouTube grew more than global actions people can take in the “We The Economy: About.” We The 40% year-on-year Economy, wetheeconomy.com/about/. four areas illustrated here. The number of channels — earning five figures per year “Discovery Communications Launches Unprecedented on YouTube grew more than Global Initiative and Campaign Focused on Species Conservation.” Discovery Communications, corporate. 50% year-on-year discovery.com/discovery-newsroom/discovery- The number of channels communications-launches-unprecedented. Support green Eat less meat with more than one million causes subscribers grew by more than 75% year-on-year

— “YouTube in numbers.” YouTube, 2018, www.youtube.com/intl/ en-GB/yt/about/press/.

126 The State of SIE 127 I wanted to apply the VR medium to social Nonny impact stories. I’ve always been driven by a According to Statista, in 2022, the augmented de la Peña desire to connect people to these topics: I’ve and virtual reality market is worked as a Newsweek correspondent and expected to reach a market Founder and CEO of created documentaries such as the HBO size of $209.2 billion. As Emblematic Group of 2018, the global AR/VR investigation Death on the Job. But a two- Stepping market size is $27 billion. dimensional screen can be distancing. Concerns like poverty or war can fail to resonate or feel 2018 relevant when we see them as flat images on $27B the news, as if these things are somehow Notable works: 2022 separated from our day-to-day lives. After Solitary, Hunger in Los Angeles, Project Syria $209.2B Inside For people to feel empathy about a specific Imagine that you are walking down story, they need a sense of “being there.” They — KZero. “Number of active virtual reality the street when you see somebody need to understand what a situation feels like users worldwide from 2014 to 2018 (in millions).” Statista, Jul. 2014, www. hit by a car. to connect with the issue. VR is the perfect tool statista.com/statistics/426469/active- Nonny de la Peña to create this sensation and, by extension, to virtual-reality-users-worldwide/. You could go home and describe your experience, create social impact. That’s why I decided to discusses the promising you might even be able to show photographs use VR to change public perception around the the or a video of the aftermath — but nothing would issue of food insecurity, wherein poverty deprives present and bright future do justice to the visceral experience of having people of adequate access to food. been there on the scene. Virtual reality (VR) is the of virtual reality, and why closest we can get to communicating an exact Hunger in Los Angeles recreates an actual scene sense of being physically present at an event. using real audio in which a man collapses into it’s the perfect medium for a diabetic coma while waiting in line at a food Media Impact Project creating social impact. This is why as a research fellow at USC in 2010 bank in California. The viewer is placed on the researchers have established Issue that virtual reality “evokes presence, encourages Hunger in Los Angeles, 2012 perspective-taking, and gives participants a sense of being in control of their According to the Venture Reality Fund, environment.” in the first quarter of 2017, the global — VR industry grew by 40%. Karlin, Beth, et al. Does Medium Matter? Exploring the Role of Virtual Reality in Journalism. USC Annenberg Norman Lear Center, 2018, www.mediaimpactproject. org/uploads/5/1/2/7/5127770/ frontlinevrreport_final.pdf. Emerging Forms

40%

— Hills-Duty, Rebecca. “Global VR Industry Grows 40% Over Last Quarter.” VRFocus, 10 Mar. 2017, www.vrfocus.com/2017/03/global- vr-industry-grows-40-over-last-quarter/. De la Peña, uploaded Nonny, Angeles . YouTube, director. Los In by Hunger Bradley Newman, 28 Oct. 2012, youtube.com/watch?v=wvXPP_0Ofzc ©

128 The State of SIE 129 street when the diabetic man falls to the floor and you, explaining exactly how the experience drove feed of the stock market to be explored in both whole body. You lose the essence of Crunchbase 2017 starts having seizures, while others in the scene him insane. Walking around the cell yourself, a virtual environment and in augmented reality. what makes this work so effective, which Female founders and Women in Venture report venture capitalism stand around helplessly waiting for paramedics you get a physical sense of the claustrophobia; Despite this, it’s an ongoing struggle to secure is beyond frustrating! (results compared to 2016) The average deal size to arrive. The experience, which launched in the impact of those four walls is felt viscerally. investment. As a woman, I’d say it’s the biggest for a female-led company 2012, was the first VR piece to be featured at the The study proved that participants felt both challenge I face. For example, in 2017, $85 billion Thankfully, I think many of these challenges in 2017 was just over $5 Sundance Film Festival, and ultimately helped transportation (the feeling of being absorbed was invested by venture capitalists. All-female will dissipate once our phones and headsets million, compared to almost $12 million for a male-led to set the vernacular for the space, coining the into a story) and spatial presence (the sense teams received just $1.9 billion of that money, are merged. We’re getting closer to this company. term “immersive journalism.” It went on to inspire that they could carry out actions in the virtual 1% 2.2% of the total pot. Meanwhile, all-male teams happening due to advancements in technologies Among the top 100 directors and artists like Chris Milk, Adrian Grenier, environment). Furthermore, the vast majority of venture firms, the received roughly 79% or $66.9 billion. like edge computing and 5G mobile Internet; and Alejandro González Iñárritu, the latter of whom respondents said they were “likely” to “extremely percentage of female soon these will enable us to create more seamless $5M referenced the project when he won an Oscar® for likely” to seek out further reporting on the issues partners rose from 7-8%. experiences for less and allow for much wider his VR film Carne y Arena in 2017. We have seen of prison conditions and solitary confinement. distribution. At that point there’ll be no need many users become so immersed in the experience for the “fairground” spaces — you’ll be able of Hunger in Los Angeles that they actually crouch It’s important to note that VR isn’t just about to experience VR on your personal device down to try to help the fallen man. communicating an existing, finished story — Soon you’ll be able to wherever you are. We’re also making great $12M it can contribute to or even change a narrative experience VR on your personal progress towards making volumetric experiences that’s still unfolding. For example, my piece device wherever you are. accessible through a web browser in a platform One Dark Night brought new evidence to light we are calling REACH, and we’ve been making in the case of the shooting of Trayvon Martin. simple tools to not only eliminate our own The number of deals involving Here we used architectural recreations of the Eight firms in the top 100 reliance on 2D video for promotion, but to female-led startups is still VR can contribute to or surroundings and recordings from the actual added a female partner Funding challenges have forced me to work on open the space for everyone. low at 368, compared to 911 call to put people in the immediate vicinity for the first time. shoestring budgets — I’ve even had to finance 5,588 for all-male teams. even change a narrative of the crime, moments before the shooting. During some of my own projects myself and VR is not VR is becoming ever more mainstream. that’s still unfolding. the creative process, I took these recordings to a cheap medium to be working with! The setup The number of consumers using VR increased 368 a forensic audio specialist who cleaned up the 15% costs are huge, particularly as you have to create from 1.6 million to 41 million people worldwide sound. After relistening to the audio, the specialist dedicated, fairground-like environments in order between 2015 and 2018, while startups raised said he would testify that George Zimmerman Women hold 15% of the for people to view your work. This also limits how $3 billion in investments in 2017 across 28 AR partner roles at accelerators The empathetic power of VR goes beyond the cocked his gun as he got out his car. It turned widely your content can be distributed and how and VR categories, breaking previous records. and corporate venture firms. 5,588 anecdotal, as evidenced by a 2018 study by the VR piece into a breaking news story. many people can be impacted by the stories In short, it’s inevitable that our digital world Johanna Blakley’s team at the Norman Lear you’re telling. is going to “go spatial.” There’s no reason for Center. The Lear Center studied participants’ VR isn’t just about narrative development, either. us to experience a flat Internet when our real reactions to After Solitary, a VR piece I created The technology of the medium is also constantly 21% Another challenge is that right now, 2D video surroundings are dimensional. It’s a no-brainer in partnership with the documentary series evolving, and we’ve helped create some real is the only way to promote your work. Needless that this change will happen, and as it does — Zarya, Valentina. “Female Founders FRONTLINE that takes users inside a solitary breakthroughs. We created code for Google VR Women founded 16 micro- to say, this hardly represents what the experience the opportunities for engaging social impact Got 2% of Venture Capital Dollars venture funds in the last three content will increase dramatically. in 2017.” Fortune, Time Inc., 31 Jan. confinement cell. Ex-prisoner Kenny sits with and The Wall Street Journal that enabled a live years, 21% of all the new is like when you’re there and how it engages the 2018, fortune.com/2018/01/31/female- firms in that category. founders-venture-capital-2017/.

FRONTLINE and Emblematic Group study 10% Diversity in tech companies 74% In a study with FRONTLINE and Emblematic Group, Participants were randomly assigned to Female employees make up between Emerging Forms the Media Impact Project team (at the Norman experience After Solitary in room-scale VR 26% (Microsoft) and 43% (Netflix) of the 10% of venture dollars Lear Center) studied participants’ reactions to or a comparison group. They were given a pre- total workforce at the top eight major tech globally between 2012 69% After Solitary. Researchers compared the effects and post-survey to ask about their participant companies, with the percentage dropping and Q3 2017 went to 68% of viewing the same material over separate experience as well as to measure changes in lower when it comes to actual tech jobs. startups with at aleast one platforms, including room-scale VR with headset, knowledge, attitudes, and behavioral intention 65% female founder. 64% 360 video, 360 immersive video, and 2D. based on their experience. 62% — 61% Teare, Gené. “Announcing the 2017 The presence of a guide or central character The experience helped viewers gain Update to the Crunchbase Women in gave participants context for the physical empathy/understanding of the Venture Report.” TechCrunch, Oath 57% experience and was extremely valuable. prisoner’s “emotional journey.” Tech Network, 4 Oct. 2017, techcrunch. com/2017/10/04/announcing-the- 2017-update-to-the-crunchbase- 43% women-in-venture-report/. Novice users appreciated VR experiences 39% 38% and were inspired to look for more “More immersive platforms 36% content afterwards, although they did created the best user 35% not foresee easy access to the hardware experience overall.” 32% in the near future. 31%

Room-scale VR was the easiest to use, “The participants who used more 26% and inspired feelings of transportation (the immersive platforms were more likely feeling of being absorbed into a story), and to recommend the experience, look spatial presence (the feeling that one could for more information about the topic, carry out actions in the virtual environment). and look for more VR journalism on other topics.” Netflix Amazon Twitter Uber Facebook Apple Google Microsoft

— Karlin, Beth, et al. Does Medium Matter? Exploring the — Role of Virtual Reality in Journalism. USC Annenberg Richter, Felix. “The Tech World Is Still a Man’s World.” Norman Lear Center, 2018, www.mediaimpactproject.org/ Statista, 8 Mar. 2018, www.statista.com/chart/4467/ uploads/5/1/2/7/5127770/frontlinevrreport_final.pdf. female-employees-at-tech-companies/.

130 The State of SIE 131 Chapter 6 Content creation is an integral In this section we explore This section: part of SIE. But in order to three notable trends in the The Story of Change 134 fully understand this space, entertainment industry: the Holly Gordon

it’s vital that we also look to effective use of SIE by international Fortune Favors 138 the Prepared broader points of discussion. change organizations; the Bonnie Abaunza increasing value and importance SIE Picturing Progress 142 of social impact campaigns; and Dr. Ana-Christina Ramón & Dr. Darnell Hunt Hollywood’s ongoing efforts to Dismantling 146 improve diversity and inclusion. Gender Bias Agenda Cathy Schulman In Media We Trust 150 Shamil Idriss

Gestures toward diversity just won’t cut it. We need diverse creatives who have the sensitivity and perspective to produce the type of content that audiences are increasingly demanding.

— Dr. Darnell Hunt & Dr. Ana-Christina Ramón, p144

“A total of 4,583 speaking characters were assessed for gender across the 100 top fictional films of 2016. A full 68.6% were male and 31.4% were female, which means viewers will see 2.18 males for every 1 female character on screen. The prevalence of female speaking characters

has not changed meaningfully SIE Agenda across the 9 years evaluated. The difference between 2007 and 2016 is only 1.5%!”

— Smith, Stacy L, et al. Inequality in 900 Popular Films: Examining Portrayals of Gender, Race/Ethnicity, LGBT, and Disability from 2007–2016. USC Annenberg, 2017, annenberg.usc.edu/sites/default/ files/Dr_Stacy_L_Smith-Inequality_in_900_Popular_Films.pdf.

133 basics: equity, justice, sustainability, the opportunities and pathways for those Holly How to turn audiences into activists: health, and peace. We strive to inspire, citizen-leaders to step into the arena and five lessons in social engagement The Gordon empower, and connect audiences to experience the transformational power of from Participant Media take action and to lead change, in their personal “agency.” The more people our Chief Impact Officer homes, communities, or countries. films reach, the greater the opportunity at Participant Media for impact. When Jeff Skoll founded Participant, Story he did so with the fundamental belief It is worth noting that a consistent 1 4 Become a hub Create content that every person has the power to create theme across Participant’s films is for the existing social action around the content. change. Following his lead, we believe the that of leadership. All of our films tell community and super-fans. As Chief Impact Officer at role of storytelling is to spark that inner stories of everyday citizens who stand of Participant Media, I lead the team activist, to seed change by increasing up to speak truth to power. These that develops the social impact understanding, deepening compassion, heroes and heroines provide visible campaigns that are launched and ultimately inspiring action. As social role models for audiences of what it impact producers, our role is to create looks like to lead change. Every great 52 alongside our film projects. Give people tools Let the message take on advancement in society begins with to act locally. a life of its own. Change In simple terms, my job is to use our a leader, a story, and an engaged content to make a difference — to help audience. This is a belief that is at it become a catalytic tool for leaders the center of Participant’s core — working to address key social issues theory of change. Karpel, Ari. “How To Turn Audiences Into Activists: 5 Lessons in Social Engagement from Participant Media.” Participant Media, around the world. The overarching vision www.participantmedia.com/2012/05/how-turn-audiences- for our work is set by Participant’s founder, The more people At Participant, we apply a social impact 3 activists-5-lessons-social-engagement-participant-media. Provide incentive Jeff Skoll: we strive to create a more lens to every project we consider. our films reach, the for action. sustainable world of peace and prosperity. Before a film is given the green light, greater the opportunity we ask ourselves a set of questions Social impact producing, the work for impact. which include the scale of an issue of driving impact through content, is

experiencing a moment of growth and Green Book, 2018 Participant Media transformation. As the world shifts to understands the power new structures of power, accelerated by the digital revolution we are experiencing of content. Chief Impact across society, content and storytelling OfficerHolly Gordon tells has a new potency as a tool for change. I am passionate about the opportunity us how storytelling can that exists today to harness that storytelling to make a difference in the spark the inner activist. world. There has been a lot written about how an increasingly connected world is impacting society, and one book I love is New Power, written by Jeremy Heimans and Henry Timms. Whereas old power is hierarchical, structured, and formalized, like a traditional company, new power is open, flexible, and informal in its distribution. While old power delivers a product from the top down, new power asks for enrollment and participation in engaging with a product or an idea, building support from the bottom up. SIE Agenda

Content is an incredible new power tool. At Participant, we build our social impact campaigns from this fundamental perspective — we are creating frameworks for open, networked collaboration amongst people who share a vision or values that are in alignment with the . We endeavor to build “armies” of support for ideas whose time has come, and to

use art to galvanize activism around the Participant© Media respective and production studios distributors and

134 The State of SIE 135 the film tackles, the timeliness of Once the film is greenlit, we assign a dedicated their life’s work to making that supports their vision for change, is whatever issue the film focuses on, social impact team to the project. Each progress. In contrast to these life-long an invaluable tool. Our job is to help these and the clarity of the film’s message. campaign starts with what we call a advocates, our timeline is usually short super-fans find innovative and powerful We consider whether the message is Old power works like a currency. It is held by few. Once listening tour during which we reach and so it is important that we recognize, ways to use our content to engage with a targeted or more of a diffuse idea gained, it is jealously guarded, and the powerful have a out to leaders and organizations who and plan for, our finite, but potentially their own audiences, at a local, regional, substantial store of it to spend. It is closed, inaccessible, are working to solve the challenges our powerful, contribution to accelerating or national level. and leader-driven. It downloads, and it captures. film is addressing. During this period change. As a result of this consultative of learning, we seek to understand the process, and in partnership with issue As a social impact entertainment issue context and history, and to identify leaders, we compose a framework producer, you’re most likely not a New power operates differently, like a current. It is opportunities for change. Our goal, that describes the impact opportunity “resident” of the space affected by We seek to understand made by many. It is open, participatory, and peer-driven. in every case, is to be of service to the and describes a theory of change for the issue you’re exploring. For this the issue context and It uploads, and it distributes. Like water or electricity, leaders and organizations who have that particular film. reason, it’s essential to approach every partnership from a place of humility, history, and to identify it’s most forceful when it surges. The goal with new power is not to hoard it but to channel it. I am often asked whether there is a curiosity, and learning. You’re trying to opportunities for change. specific audience for impact work, and build trust with folks who have been in — Heimans, Jeremy, and Henry Timms. “Understanding the answer is yes. At Participant, we focus this space before you — and who are ‘New Power.’” Harvard Business Review, 2014. on reaching a particular subset of a film’s going to be there a long time after your We focus on reaching general audience, a group I call “super- campaign is done. In short, you are an embedded in the story and if, as a particular subset of a fans.” These are most often activists or invited guest to someone else’s revolution, a company, we feel we can make — leaders who are already engaged in the so it’s important to listen carefully and a significant contribution to moving Heimans, Jeremy, and Henry Timms. “Understanding film’s general audience, change that the film speaks to, and for see what you can provide to help capture ‘New Power.’” Harvard Business Review, Dec. 2014, the needle on the issue. hbr.org/2014/12/understanding-new-power. a group I call ‘super-fans.’ whom professionally created content, hearts and minds for social good.

On the Basis of Sex, 2018

New Power values

Informal, opt-in decision making; 1 self-organization; networked governance Open-source collaboration, 2 crowd wisdom, sharing Radical 3 transparency

Do-it-ourselves, SIE Agenda 4 “maker culture” Short-term, conditional affiliation; more overall participation

— Heimans, Jeremy, and Henry Timms. “Understanding 5 ‘New Power.’” Harvard Business Review, Dec. 2014,

© Participant© Media respective and production studios distributors and hbr.org/2014/12/understanding-new-power.

136 The State of SIE 137 Collaboration is vital right from the beginning. First, you have to define Hotel Rwanda the issue that you want to highlight Fortune Hotel Rwanda is based on the true story of Paul to the public and then create specific Rusesabagina, a hotel manager who housed over initiatives that will help individuals a thousand Tutsi refugees during their struggle take action. It’s critically important in against the Hutu militia in Rwanda during the 1994 Rwandan genocide. The film explores the any social impact campaign to define themes of political corruption and violence Favors the those initiatives, metrics and goals in associated with the genocide. partnership with the people doing the work on the ground, on the policy side, and in agencies and governments who Prepared have the power to effect change.

It’s important to give social impact campaigns a long runway.

Working with organizations helps

you to analyze your issue from all ©United Artists and other respective production studios and distributors

perspectives, and this is crucial. With Hotel Rwanda, 2004 the right NGO on your side, you’ll have credible experts who understand the What’s the secret Bonnie complexity of the issues and who are the film. This allows the impact producer was to engage Amnesty International Advocacy, Human Rights Education, behind a successful social Abaunza prepared to stand up and say that to see the film far enough in advance eight months before the theatrical Membership Mobilization, Social Media your case is absolutely accurate. This to start coordinating effectively, and release of the film. As a result, we were and Communications, we were able Founder of the impact campaign? For is vital because if you want to have for NGOs to harness their networks of able to build a campaign for a film to come up with a really effective, Abaunza Group Bonnie Abaunza it’s all a successful social impact campaign, influencers, press contacts and begin about the Rwandan genocide that was, multi-tiered marketing campaign that you have to be able to answer people’s to mobilize their members. Plus it gives somewhat counter-intuitively, released appealed to a wider demographic. about collaborating with questions. you time to define your impact goals during the Christmas holiday. the right partners and — and come up with a plan of action for In terms of budget, a social impact You also need to address the naysayers how to achieve them. campaign for a studio feature film perhaps more importantly Storytelling has the power to or the people who are on the fence in can cost between $300,000 and — giving yourself enough mobilize people around the world order to bring them over to your side Some distributors are often reluctant $500,000 (depending on number of to effect positive change. to take action. In doing so, you have to allow that much time for social impact initiatives, events and whether the time to do so. to take into account the fact that some campaigns because they are concerned Social impact impact campaign has a domestic and Through the company I founded, people are going to question you or about “politicizing” a film that is not campaigns can create /or international focus). Documentaries the Abaunza Group, I create social point to competing arguments. You necessarily political in nature. They need and indies will cost less, perhaps impact campaigns to help films move need to be prepared for this, and with to understand that the public is engaged value long past the between $75,000, and $150,000. When the needle on critical social, political the right partners, you will be. and interested in the issues raised in the film’s theatrical life. the filmmakers are negotiating those and cultural issues. movie, and that it’s not fair or feasible deals with potential distributors, they Building a strong coalition behind to only allow a short window of, say, should consider the fact that these SIE Agenda Social impact campaigns help a movie takes time though, partly four weeks to raise awareness of the film campaigns can bring many additional drive audiences to films (as well as because securing NGO support requires and then mobilize people before a film’s With time on our side, we were able benefits to a film’s release. When you documentaries, TV series and other many levels of approval before sign-off theatrical release. If you’re able to work to work closely with the MGM/UA have a strong social impact campaign content) by launching advocacy to support a film. This is one reason with ample lead-time, you’ll be able to marketing team on a joint campaign in place, you can — in addition to initiatives and calls to action based why it’s important to give social impact make the most of your partnerships. that targeted people within and affecting the issue — activate new on the social issues they address. The campaigns a long runway. If you truly beyond the activist and human rights audiences, new press opportunities, campaigns bring together filmmakers, want to make an impact, a minimum For example, during my tenure at networks. We promoted the story as and create social media buzz for the production companies and distributors of four months lead-time before the Amnesty International as Director of one of a heroic man trying to save his film. These campaigns can also create with organizations engaged in the issues movie is released is what I would the Artists for Amnesty Program, I worked family and community, as well as a film value long past the film’s theatrical life. such as non-governmental organizations recommend — but eight months to a on Terry George’s 2004 drama Hotel about the Rwandan genocide. With the They can continue to increase DVD sales, (NGOs), community-based groups year is preferable so that conversations Rwanda. One of the most strategic engagement of Amnesty staff, including drive viewers onto streaming platforms (CBOs), think tanks, and foundations. can start even during the production of decisions that the studio MGM/UA made the organization’s directors of Africa and raise viewership on cable.

138 The State of SIE 139 The long lifespan of these films can pledge. There was a 400% increase For example, when the World Diamond providing questions people could ask red bracelet with “Blood Diamond” allow them to become part of the fabric in Google searches for the campaign, Council found out the film was being when shopping for diamonds. We also emblazoned across it. It was a huge of society. Take and Amy Snapchat reached millions by releasing made, they sent a three-page letter to created a school curriculum containing success, with 35,000 bracelets distributed Ziering’s documentary The Hunting an “It’s On Us” filter during the telecast, Ed Zwick pointing out the strides the activities and lessons designed to across the country prior to the film’s Ground, for example, which brought and there were 48,719 #itsonus tweets diamond industry had already made spark classroom discussions about the opening day. the issue of sexual assaults on college with a reach of 250 million. The to remove conflict diamonds from the conflict in Sierra Leone and how conflict campuses into the national spotlight. campaign website had 154,704 page market. In our eyes, they were throwing diamonds played a role. We knew that views in just 24 hours. The number for “,” performed down the gauntlet, and we picked it up. by at the 2016 Academy students would tell their parents and other a sexual assault support hotline was Awards®, was also nominated for There was tremendous press interest in adults about the issues — and the adults also broadcast at the end of the “Til It Best Original Song. The song won the film and the two organizations had were the ones buying the diamonds. Happens to You” , and saw Outstanding Original Music & Lyrics the facts, the reports, and the witnesses We fought a good fight, at the 2016 Primetime Emmy® Awards. a 34% increase in calls after the video — and most importantly, we had a very Because of the film and its impact and I like to think we won. — We then had to come was released. By the end of 2018, the “The Hunting Ground (2015): Awards.” powerful film. With our experts, we were campaign, people asked jewelers whether music video had over 45 million views. IMDb, 2019, www.imdb.com/title/ able to effectively engage in a very the diamonds being sold were “conflict- up with concrete ways tt4185572/awards?ref_=tt_awd. public battle that ensued over the film. free.” Jewelers put up signs in their shops to effectively mobilize The enduring power of a social impact to reassure conscious consumers. To When the movie was nominated for the public. campaign is perhaps no better illustrated The Hunting Ground box office this day, people continue to ask jewelers five Academy Awards®, we decided than with our work for Edward Zwick’s whether the diamonds they are buying to drive our message home on the red 2006 movie Blood Diamond. Set in are certified clean. This illustrates how carpet. We created a special pin for Sierra Leone in the 90s, the movie sheds $405K+ the movie and campaign led to a new people to wear on Oscar® night and One of the film’s social impact campaign light on how diamonds are mined in Domestic gross To this day, people continue populist vernacular to describe the gave them to the Blood Diamond cast partners was the It’s on Us Campaign, war zones to finance conflicts. For our to ask jewelers whether the industry around blood diamonds — one as well as other celebrity activists. It which was created by President campaign, Warner Bros. and director that now extends to blood chocolate, received huge press attention and helped Opening weekend: diamonds they are buying Barack Obama’s administration to Ed Zwick worked closely with Global $22,464 blood minerals, blood gold and more. combat the established narrative. raise awareness about sexual assault Witness and Amnesty International to are certified clean. Widest release: on college campuses. come up with ways to engage audiences Beyond educating consumers, we Looking back, we were ready to go to 25 theaters and Lady Gaga wrote the Oscar®- around this incredibly complex issue also needed to challenge the romantic battle with this campaign because we In release: nominated song “Til It Happens to You” of conflict diamonds. Having Amnesty imagery perpetuated by the phrase had such confidence in the cause, in our 182 days/26 weeks and performed it at the 2016 Academy International and Global Witness on We then had to come up with concrete “diamonds are forever.” So we decided film, and in our partners. Our grassroots — Awards®. After Lady Gaga appeared board — both experts on the issues of “The Hunting Ground.” Box Office Mojo, ways to effectively mobilize the public. to fight symbolism with symbolism. campaign became a juggernaut against on stage alongside dozens of survivors conflict diamonds and the human rights IMDb.com, Inc., www.boxofficemojo.com/ We created a downloadable, easy-to- At the time, everyone was wearing goliaths with millions of dollars at their movies/?id=huntingground.htm. of sexual abuse, It’s on Us reported that situation in Sierra Leone long before the read consumer guide explaining the charity bracelets inspired by the original disposal. We fought a good fight, and 22,000 people signed the campaign’s film was produced — proved essential. supply chain of blood diamonds and Livestrong band. We created a blood I like to think we won.

Blood Diamond, 2006

Blood Diamond box office During the National Day of Action Leading up to the release of Blood on Conflict Diamonds, Amnesty Diamond (December 8th 2006), Amnesty International activists visited 246 jewelry International volunteers handed out stores to conduct a survey of how well 35,000 red rubber bracelets donated jewelers knew company policies by the studio (they were also available $171M+ about conflict diamonds. at amnestyusa.org for $2). Worldwide gross

Domestic total gross: $57,377,916 Foreign total gross: $114,342,482 Opening weekend: $8,648,324 SIE Agenda Widest release: 1,920 theaters 35,000 In release: 126 days/18 weeks

— — — “Blood Diamond.” Box Office Mojo, Leavitt, Charles, and C. Gaby Mitchell. Meyer, Norma. “Hollywood May Want to Know: Where IMDb.com, Inc., www.boxofficemojo.com/ “Companion Curriculum to Blood Diamond.” Have Those Diamonds Been?” San Diego Union-Tribune, movies/?id=blooddiamond.htm. Amnesty International, 8 Jan. 2007, www. 4 Dec. 2006, legacy.sandiegouniontribune.com/ amnestyusa.org/files/bd_curriculumguide_0.pdf. uniontrib/20061204/news_1c04diamondm.html. © Warner Bros. and other respective production studios and distributors

140 The State of SIE 141 like Insecure, Empire, and Atlanta, the A degree of positive change is evident The same white male creatives can’t make Statistics from the UCLA industry is slowly waking up to how much in the fact that there are now more everything. In this respect, these Diversity Report 2018 money it’s leaving on the table. Five people of color working in front of platforms have opened up opportunities Picturing People of color remained years ago, many network executives saw the camera and in television. This is for diverse and unique voices. underrepresented on every diversity as a luxury, whereas now most partly because the number of original front in 2015–2016: say that it is a business imperative. scripted shows has exploded with so The title of our most recent report sums up many different platforms creating where we are now: Five Years of Progress Progress Black Panther has made over $1.3 billion original content. While previously there and Missed Opportunities. Despite the worldwide. The first season of Atlanta were only so many jobs available, the minor improvements, the industry is losing averaged 5.2 million total viewers across increased demand for content has out on profit opportunities by failing to Nearly 3 to 1 among 3 to 1 among film all platforms, with 1.8 million people tuning forced executives to consider new talent. produce content that aligns with what film leads (13.9%) directors (12.6%) in for the season two premiere. The show’s people want. Audiences are becoming first season was nominated for six Emmy® more diverse every year. In the US, people Awards and won two, making Donald of color bought the majority of the Glover the first black director to win an tickets for half of the top 10 highest- Emmy® for directing a comedy series. grossing films in 2016. The industry is losing Nearly 5 to 1 among 2 to 1 among broadcast film writers (8.1%) scripted leads (18.7%) Results like these — and the success out on profit opportunities Of course, the business argument isn’t around Black Panther in particular — by failing to produce the only reason why Hollywood should and women remained underrepresented come as no surprise when you look at the diversify. There’s a considerable amount on every front in 2015–2016: data. A recent study by the MPAA showed content that aligns with of research showing the impact images that 45% of movie theater tickets are what people want. have on people’s identities and sense bought by people of color, even though this demographic accounts for about

Representation matters. Dr. Ana-Christina 39% of the US population. This happens Nearly 2 to 1 among More than 7 to 1 among Ramón despite the fact that the majority of films film leads (31.2%) film directors (6.9%) Dr. Ana-Christina Ramón UCLA Hollywood Diversity Report released blatantly fail to represent this Director of 2018: Five Years of Progress and and Dr. Darnell Hunt audience, both on screen and behind the Research and Civic Missed Opportunities explain why diversity is Engagement for the scenes. People of color are clearly helping The Hollywood Diversity Report considers the Division of Social to keep the industry afloat. If Hollywood top 200 theatrical film releases in 2016 and 1,251 broadcast, cable, and digital platform imperative to audiences Sciences at UCLA wants to sustain itself and maintain television shows from the 2015–2016 season its profitability, it has to be aware of in order to document the degree to which and businesses alike. Nearly 4 to 1 among Less than proportionate and appeal to this audience. women and people of color are present in film writers (13.8%) representation among Dr. Darnell front of and behind the camera. It discusses broadcast scripted any patterns between these findings and box leads (35.7%) office receipts and audience ratings. Hunt — Hunt, Darnell et al. Hollywood Diversity Report 2018: Five Years of Dean of Social Progress and Missed Opportunities. UCLA College of Social Sciences, Sciences at UCLA 2018, socialsciences.ucla.edu/wp-content/uploads/2018/02/ US population shares, white and minority, 1960–2050 UCLA-Hollywood-Diversity-Report-2018-2-27-18.pdf. and Professor of Sociology and African A lot of our work Constituting nearly 40% of the US population in 2016, 85% minorities will become the majority within a few decades. American Studies has involved shattering

old myths and Black stereotypes Diversity sells. That much is Hollywood’s problem with inauthenticity ‘industry truths.’ White Minority may stem from its use of stereotypes abundantly clear from the data 61.3% to portray certain groups. According we have seen over the course to a 2018 YouGov survey: of our careers as researchers. 53% A lot of our work has involved shattering 41% During our tenure at UCLA’s Ralph J. old myths and “industry truths” of Americans say black 47% Bunche Center for African American ingrained since the early days of characters are often stereotyped. SIE Agenda Studies we established the Hollywood Hollywood, such as the idea that to be 38.7% 53% Diversity Report, which is now in its successful, films need a Brad Pitt-type sixth edition and released annually by A-lister as the lead, rather than a person of black Americans say black characters are often stereotyped. the Division of Social Sciences. This of color. While 50 years ago it might — publication analyzes the top theatrical have made business sense to cater Nguyen, Hoang. “Representation in Film Matters to Minorities.” YouGov, 6 Mar. 2018, today.yougov.com/ film releases and thousands of television primarily to a largely white population, 15% topics/entertainment/articles-reports/2018/03/06/ shows in order to make the business case that logic no longer holds. Demographics representation-film-matters-minorities. for employing and casting women and have shifted so much since then. people of color. Despite the clear business case for 1960 2016 2050 Thanks to the recent success stories of diversity, we’ve only seen incremental — films like Black Panther and TV shows progress since we started our research. Hunt, Darnell et al. Hollywood Diversity Report 2018: Five Years of Progress and Missed Opportunities. UCLA College of Social Sciences, 2018, socialsciences.ucla.edu/wp-content/uploads/2018/02/ UCLA-Hollywood-Diversity-Report-2018-2-27-18.pdf.

142 The State of SIE 143 of self. If you don’t have positive role are widely perceived: Native Americans not the one that’s moving the industry. who have the sensitivity and models on screen, it will restrict the have been so grossly underrepresented We made the strategic choice to focus perspective to produce the type Rise in quantity of TV content way you see yourself and your place since the days of one-dimensional on how diversity benefits the bottom of content that audiences are Representation matters. in society. Many underrepresented characters in old Western movies that line because all of our discussions with increasingly demanding. Until that It’s a powerful and important groups rarely see themselves depicted, in a recent study — a 2018 report by industry stakeholders told us that this happens, we’ll carry on making only thing for people to know scripted original and when they do they often see one- the Reclaiming Native Truth project — would be the most compelling and small changes. The bottom line is 487 series aired on dimensional characters. For example, 40% of respondents believed that persuasive argument. that it starts at the top. they are seen and to see television in 2017. Latinos are often represented as they no longer existed. themselves reflected in our criminals or as service-oriented But the industry is not going to What gives us the most hope is films and the stories we tell. workers, while Asian Americans If people experience an change in a foundational way until that there are rapidly changing 175 153 — Alan Horn, Chairman basic cable broadcast commonly get cast in stereotypical underrepresented group in film the executive suites more closely demographics that the industry of Walt Disney Studios roles like the “computer nerd.” and TV but the group’s characters resemble broader society. Real progress must cater to in order to maintain — 42 are all stereotypes, then they are requires institutional commitments profitability now. It will also help if Setoodeh, Ramin. “Chadwick Boseman and Ryan Coogler 117 on How ‘Black Panther’ Makes History.” Variety, 2019, Netflix pay cable “Symbolic annihilation,” coined by likely to believe that it is a true to doing business differently so that movies that grow out of exclusionary variety.com/2018/film/features/black-panther- chadwick- professor George Gerbner, describes reflection of that group. If you live change trickles down the entire culture business practices continue to struggle, boseman-ryan-coogler-interview-1202686402/. how minorities are written out of in a small, segregated town and of a given organization. In the past, and ones like Black Panther continue to Series output since 2002: existence by TV shows and movies never interact with Latinos, then you networks and studios have tried to set new box office records. Audiences that don’t represent them at all. This might believe that the stereotypes appease critics without really changing are more diverse than ever before, 483% 147% impacts how people see themselves repeated in images are true. the way they do business. so the industry’s profits and its very basic cable pay cable and their place in society, leading them existence rests on whether it can meet to feel as if they have been erased. It While we believe the moral argument Gestures toward diversity just their needs. Social imperatives aside, 13% 168% can also distort how these minorities for diversity is the most important, it’s won’t cut it. We need diverse creatives diversity is key for business survival. broadcast total series output

— Otterson, Joe. “487 Scripted Series Aired in 2017, FX Chief John Atlanta, 2016– Landgraf Says.” Variety, 5 Jan. 2018, variety.com/2018/ tv/ news/2017-scripted-tv-series-fx-john-landgraf-1202653856/.

Movie audience demographics In 2017, the Hispanic/Latino Latino and Asian audiences were category reported the highest overrepresented in the population of annual attendance per capita, frequent moviegoers relative to their scripted original going to the movies an average proportion of the overall population. of 4.5 times in the year. Caucasian/ 495 series aired on White reported the lowest, at 3.2. television in 2018. Latino frequent Latino overall moviegoing population: population: 385% since 2014 Caucasian/White: 24% 18% 3.2 tickets per year “Online services,” such as Netflix, Amazon, Hulu, and Apple took the top spot, with:

Asian frequent Asian overall 160 moviegoing population: population: scripted original series African American/Black: 3.4 tickets per year — Patten, Dominic. “Netflix, Amazon, Hulu & Apple Top TV For 1st Time; Broadcast & Cable Decline.” Deadline, Penske Business 8% 6% Media, LLC., 13 Dec. 2018, deadline.com/2018/12/streaming- series-surpass-cable-broadcast-first-time-fx-study-1202519711/.

Other: 4.2 tickets per year In 2017, Beauty and the Beast and Wonder Woman, the 2nd and 3rd top grossing SIE Agenda films, attracted majority female audiences.

Beauty and the Beast Wonder Woman Asian: female audience: female audience: 4.3 tickets per year

64% 52%

Hispanic/Latino: 4.5 tickets per year

— — “2017 THEME Report.” Motion Picture Association “2017 THEME Report.” Motion Picture Association of America, MPAA, www.mpaa.org/wp-content/ of America, MPAA, www.mpaa.org/wp-content/ uploads/2018/04/MPAA-THEME-Report–2017_Final.pdf. uploads/2018/04/MPAA-THEME-Report–2017_Final.pdf. © Everett Collection Inc / Alamy Stock Photo

144 The State of SIE 145 When we don’t have a diverse body To tackle the pipeline, we created the The ReFrame Triangle of high-level decision-makers, men end ReFrame Rise cross company operative The ReFrame theory of change identifies up hiring more men and conversations sponsorship program for mid-career Dismantling three core needs for systemic change. continue to orient in the male direction. female directors, creating opportunities This highly masculine environment We need to prove for them to access tangible support and cultivates cronyism and leads to men maintain sustainable careers. My first thinking it’s easier to keep women out that content by and job was actually on ’s Gender Bias than to deal with them professionally. for women is profitable. second movie, Blue Steel. Seeing her This ultimately leads to a culture where working in the director’s chair was an Lead the Expand the men are able to utilize their power in incredibly important experience for me. change Inclusion pipeline a sexual way. It made my own ambition of being a and hiring and remove bias from corporate producer more realistic. However, the innovation There’s no question that #MeToo practice. Finally, there’s the business reality of the situation quickly set in, and culture and TIME’S UP have helped to expose case for diversity. We need to prove that it was another 17 years before I was able this culture, and that’s tremendously content by and for women is profitable. to work with a female director again. This important work. But unfortunately, isn’t unusual. Female directors can often hashtag movements don’t touch the The theory is that you can’t fix one part go six or seven years between projects, C-suite. They don’t even get close. The of the triangle without fixing the others, and that’s a trend reflected in all areas.

only way to change the industry is to otherwise the whole model collapses. Build the transform it from the top down using So in our first year, we presented three To challenge hiring culture, we created business case practical, concrete actions. different tactical plans to actualize each an online resource called the ReFrame — systemic change goal. Toolkit, which provides practical ways ReFrame internal data. This is why Women In Film decided to create an initiative to mobilize people who have access to high-level decision- Gender parity in the screen Cathy makers. ReFrame is a group of more Female Filmmaker Initiative ReFrame Partners have committed The ReFrame Stamp than 50 female and male influential to participate in the following three industries requires cultural Schulman becomes ReFrame As of November 13th 2018, the leaders within the entertainment programs: Academy Award®- ReFrame is a partnership between ReFrame Stamp for Television transformation. Cathy industry, including agency partners, winning film the Sundance Institute and Women Recipients included (among others): senior network executives, directors, In Film Los Angeles to increase Schulman discusses the producer, President the number of women of all Empire (season 4) and CEO of Welle writers, actors, and guild leaders. backgrounds working in film, systemic change needed Entertainment Working together, we apply theories TV, and media. Grey’s Anatomy 1. ReFrame Culture Change (season 14) to make it happen. of systemic change thinking — which The original summit that brought (workshops, ReFrame Production requires you to look at all parts of, and the industry at large together was Roadmap): partners conduct one How to Get Away called the Systemic Change Project with Murder (season 4) When #MeToo and the TIME’S relationships within, the system you wish or more internal training initiatives – with over 65 Ambassadors signing using the Conscious Inclusion Jessica Jones (season 2) UP movements gathered steam to alter — to effect cultural change. on to the project. framework, and adopt tactics to Killing Eve Since rebranding as “ReFrame,” mitigate bias as recommended as a response to the Harvey One Day at a Time the initiative’s programs have by the Production Roadmap. (season 2) Weinstein allegations, they sent been developed, the ReFrame shockwaves around the globe Stamp for Features and Television Scandal (season 7) and raised awareness about has been launched, and a ReFrame Rise Directors Program launched As of August 28th 2018, the the intersection point between last year. 2. ReFrame Stamp ReFrame Stamp for Features The only way to (recognizing projects that ReFrame has developed a Recipients included (among others): workplace discrimination and the achieve gender equality research-based action plan to change the industry milestones): partners provide prevalence of sexual harassment. further gender parity that includes Crazy Rich Asians production personnel data to is to transform it from several initial, iterative programs, Girls Trip ReFrame for stamp qualification as well as ongoing research with and celebrate success of Lady Bird From my perspective as President the top down. Dr. Stacy Smith and the Annenberg projects receiving the stamp. Emerita of Women In Film — a leading Inclusionists at USC. The Post advocacy organization for women in The Shape of Water media — the screen industries are now Wonder Woman SIE Agenda becoming conscious, woke and are slowly In most systemic change projects 3. Sponsor/Protégé Program — making progress towards demonstrable you end up with a triangulation of (advancing six to eight high- ReFrame internal data. change. But there is confusion between problems, and ours was no different. potential women directors): the culture of sexual harassment post- The ReFrame model identified three partners designate project sponsors to provide guidance and Weinstein and the need for gender parity core needs, the first of which is to introductions to protégé talent. in the business. They are often treated expand the talent pipeline, which — as the same thing, but sexual harassment requires advancing and amplifying ReFrame internal data. is a symptom of the wider issue of female content makers. We must discrimination. At the top of the issue sits also address the culture and habits the fact that, across seven of the biggest of entertainment executives when media companies, just 17.9% of C-suite employing women — financial decision- positions are held by women. makers need to incentivize inclusive

146 The State of SIE 147 to dismantle gender bias at every entertainment industry, even when Women In Film Demographics in Hollywood decision-making inflection point within your company is set up to do just that! Women In Film (WIF) advocates for and the trajectory of making and financing For instance, while working on the Of all films released theatrically in 2017, advances the careers of women working women only accounted for 16% of directors. content. For me, the key here is that upcoming Netflix film Otherhood, we in the screen industries, to achieve parity gatekeeping executives, producers, This experience made set out absolutely determined to hit a and transform culture. Their educational 16% women programming includes: directors, and department heads it painfully clear that, in 50/50 balance in our crew in terms of interview as many women as men and male and female representation. We got Directors of films with a box office above $250,000. practice blind hiring, which means they many instances, the talent close. We brought in every woman we review resumes before seeing the name pipeline just isn’t there. could, but in the end we fell short. This 12% women A Speaker Series: features The WIF Mentoring Program: of a candidate. experience made it painfully clear that, filmmakers and industry annually provides 80–100 in many instances, the talent pipeline leaders across many areas members the opportunity to learn 10% people of color The trickiest part of the triangle just isn’t there. For me, this only served of entertainment. from experienced entertainment industry professionals. is the business case. The biggest Throughout my time as an executive, to underline the importance of the work There were 109 directors for the top 100 films of 2017. target group for studios for the last working across six different studios we’re doing at ReFrame. 25 years has been men and boys and producing more than 30 movies, 3.7% Asian between the ages of 14 and 24. I was always taught you have to pick Perhaps unsurprisingly, it’s streaming The WIF Film Finishing Fund: The WIF/Black List Episodic and 5.5% Black However, working with IMDb and content that pleases men and boys. companies like Netflix and Amazon that a grant program that has awarded Feature Labs: gives female writers the experts in econometrics, we have I wanted to completely reverse that are among the most eager to sign up to millions in funding and in-kind opportunity to learn from established created an algorithm that analyzes model and create content that served ReFrame. Both businesses have already services to 200+ films. showrunners and screenwriters. 7.3% women responses to stories created by and women and girls first. This was my created diverse content and reaped — for women. Our results have shown that primary motivation for setting up the rewards. The fact that two of the “DGA Publishes Feature Film Inclusion Report: Study diverse content is better for business. Welle Entertainment. The name is a world’s most disruptive and forward- Reveals Feature Film Director Diversity Remained Low The WIF Scholarship Program: The WIF Production Program: in 2017.” Directors Guild of America, 21 June 2018, www. dga.org/News/PressReleases/2018/180621-Feature-Film- And interestingly enough, the people combination of “we” and “elle,” and thinking companies are really backing awards scholarships to female selects nonprofit organizations Director-Diversity-Remained-Low-in-2017.aspx. who are deserting content viewing the reflects our commitment to making great diversity shows that’s where we need to students at major film schools. in Southern California to receive Smith, S., et. al. Inequality in 1,100 Popular Films: Examining a pro bono PSA. Portrayals of Gender, Race/Ethnicity, LGBT & Disability from most are those men and boys between content with women, for women. head. If the big studios don’t catch up, 2007 to 2017. USC Annenberg, 2018, assets.uscannenberg. org/docs/inequality-in-1100-popular-films.pdf. 14 and 24. Unlike other demographic if they continue to cater to a deserting — groups, we’re just not seeing that Running Welle has also given me an audience, and if they fail to diversify at “About Women In Film Los Angeles.” Women In Film, Women In Film Los Angeles, traditional target audience go to insight into just how difficult it can the C-suite level, they risk not being part 2017, womeninfilm.org/about-wif/. movie theaters together anymore. be to achieve gender parity in the of this industry’s future at all.

Otherhood set photo, 2018

Demographics of executive ranks at the seven major entertainment companies

Men Women

C-suite 82.1% 17.9%

Board of directors 81.2% 18.8%

Executive film teams 69% 31% SIE Agenda

Total 76.4% 23.6%

— Smith, Stacy L., et al. Inclusion in the Director’s Chair? Gender, Race & Age of Directors across 1,100 Films from 2007-2017. USC Annenberg, 2018, assets.uscannenberg.org/ docs/inclusion-in-the-directors-chair-2007-2017.pdf. © Gotham/GC Images

148 The State of SIE 149 One way we build peace is through popularization: when we effect a change Shamil media. Our content is designed to in social norms, or how a large portion of In Media Idriss provoke discussions within communities a population deals with differences; this in conflict and model new ways to is where social impact entertainment is CEO of Search for overcome differences. Depending on particularly powerful. Common Ground the issues at hand, we might create community theater, television dramas, We Trust reality TV shows, radio programs, or call- in shows, all complemented by extensive community outreach and engagement. At Search for Common Ground, Our content is designed to we are on a mission to change There are three ways that the change provoke discussions within the way the world handles we help bring about becomes sustainable. communities in conflict Shamil Idriss of Search for The first is institutionalization: when a conflict: away from adversarial and model new ways to Common Ground argues approaches, toward collaborative government ministry, police department, media syndicate, or other important overcome differences. problem-solving. the case for building institution adopts new policies or sustainable peace through procedures reflecting principles of As CEO, I have the privilege to represent peace. The second is commercialization: media, using content to nearly 700 staff supporting communities when a local market emerges to To achieve such change, our teams provoke discussion and to prevent and recover from violent resource a peacebuilding approach and partners must all be local, drawn conflict in more than 30 countries so that its continuation need not rely from across the very dividing lines they overcome differences. around the world. on philanthropic support. The third is seek to bridge in their communities.

Ndakisa, 2017

The President season 1 Common Ground study results The President season 1 viewers:

88% 90% 95%

of polled viewers believed that of the decision makers in the of the audience reported they youth could play a positive role program took the initiative to believed that the program was as leaders in Palestine. readdress at least one public issue relevant to youth needs, and that after participating in town hall the activities and topics raised meetings centered on the show. during the program were relevant to them and to people’s daily lives.

— Common Ground Productions 2014-2016. Search for Common Ground, Summer 2016, p. 4. 49% 3.8 million SIE Agenda people

of the population in the Palestinian were following the weekly episodes Territory (West Bank, Gaza and through the Ma’an satellite Network East Jerusalem) had heard of the TV broadcast, Ma’an’s Facebook, program, of which, 26% regularly or its YouTube channel. watched the show. © Search for Common Ground

150 The State of SIE 151 They alone understand the social and of Palestine, serving as an advisor on behaviors, and even world views are political opportunities and dangers that youth affairs. developed from people’s emotional The Common Ground Approach In 2016, Search for Common must be navigated. Building trust across Ground worked with 48,000 experiences, not their rational thinking. divides in Syria or Myanmar cannot be A methodology to transform how One of the shows I’m most excited This is clear in how extremist groups we respond to conflict, away from military and police officers, 6,000 done by people in the US or Europe. All confrontation and violence and political leaders, 3,000 artists, about is our first cop drama, Ndakisa. inflame passions to recruit and One of the reasons and 1,215 local partners. programming must be conflict-sensitive toward collaboration. Set in the Democratic Republic of the mobilize young people. The emotional social impact In 2016, Search for Common and rooted in local culture. Ground reached more than 50 Congo, it tells the story of a former experiences of being ignored, entertainment is so million people through media. combatant who continues to serve humiliated, and disrespected — or on In this process, the characters we effective is that it his country by becoming a senior the flip side, respected, included, and create are critical. They have to be 1 police officer. Like some actual police heard — have a powerful determinative harnesses our emotions. Beliefs realistic and relatable in order to engage Conflict is inevitable, violence is officers there, he hasn’t been paid effect on how people see the world target audiences and spark community not; humankind is interdependent; for months, there are corrupt cops in and how they behave in it. dialogue. So, we train local writers, change is always possible; when his unit, and much of the population everybody wins, change lasts; actors and producers in developing common ground is both static fears or distrusts him — or both. We To leverage this emotional power, character-driven dramas. happening in a community is useful – waiting to be discovered, and co-produce this show with the police you need to craft character-driven when working in situations that are dynamic – ready to be created. 50M+ people force in Congo. They love it because social impact entertainment from the often fluid or turbulent. they are effectively the stars, but inside out, making sure the characters — Conflict Reimagined: Search for Common Ground we use the show to foster dialogue and the content resonate with what 2017 Progress Report. Search for Common Illustrating the potential of spaced Ground, 2017, p. 8, www.sfcg.org/wp-content/ between police and locals to improve people are seeing and living in their learning, our weekly series The 2 uploads/2017/08/2017-Progress-Report-spread.pdf. their relations and conduct. daily lives. By collaborating with Our teams and partners Methods President inspired young Palestinians Start with hope: find it, invest in people who are living with the conflict, must all be local, drawn to believe they can play an active role it; build trust through locally-led, One of the reasons social impact we’re able to create those stories and from across the very dividing in the political process. This reality TV inclusive, adaptive programming; entertainment is so effective is that lay the groundwork for sustainable, drive change that starts with people lines they seek to bridge. show tasked 100 young citizens with and endures through systems. it harnesses our emotions. Attitudes, enduring change. tackling difficult political challenges. With many Palestinians disengaged or mistrustful of politics, the show was We’ve found that repeated exposure designed to inspire a new generation Search for Common Ground’s to content is much more effective than of leaders to create positive change 3 Outcomes Theory of Change a one-off. This means that it’s easier through democratic means. Around Decreased violence; increased The Common Ground Approach incentive for them to adopt it in their daily to drive change with a popular series 3.8 million people watched each collaboration; improved relations becomes self-perpetuating when behaviors and practices. When this happens, than with a film. Neuroscience explains episode, and 88% of viewers polled across communities and between its rewards align with people’s change can endure without reliance on third- citizens and state institutions; safer, aspirations. When the outcomes party support; it is the stakeholders to the that spaced learning — learning that said they believed young people could healthier, and more just societies. of the Approach satisfy the needs conflict themselves that make it sustainable. happens through repetition over time — make a difference after watching the of individuals, communities, and The Theory of Change outlines three ways — enables you to fully process material and series. Six of the show’s contestants Mapping the Next 10 Years at Search for institutions, there is a strong in which change becomes enduring: Common Ground. Search for Common Ground, connect it, often subconsciously, with eventually ran for real positions in local 2018, pp. 3-4, www.sfcg.org/strategic- other things in your life. Plus, the ability politics, while the first season’s winner plan/content/sfcg-strategic-plan.pdf. to adapt scripts weekly based on what’s was hired by the office of the President The President, 2013 1 2 3 Institutionalization: Commercialization: Popularization: when a government ministry, when a local market when we effect a change police department, media emerges to resource a in social norms, or how a syndicate, or other important peacebuilding approach large portion of a population institution adopts new policies so that its continuation deals with differences. or procedures reflecting need not rely on Once change takes one principles of peace. philanthropic support. of these forms, it will remain

and grow without reliance SIE Agenda on external support.

— Mapping the Next 10 Years at Search for Common Ground. Search for Common Ground, 2018, pp. 5-6, www.sfcg.org/strategic- plan/content/sfcg-strategic-plan.pdf. © Search for Common Ground

152 The State of SIE 153 Chapter 7 In this section we shift our From educators to conveners, This section: focus from the makers of social funders to talent agencies, Seeding a New 156 impact entertainment to the the efforts of these professionals Generation Teri Schwartz, Ellen businesses and organizations are an essential part of the Scott & Sean Metzger

that operate around — or work SIE landscape. Their insight Closing the Gap 162 The in support of — SIE creation. has much to reveal about the Caty Borum Chattoo challenges and opportunities Agency for Change 164 Michelle Kydd Lee that are inherent in this space. & Natalie Tran

Community Spirit 168 Bigger Beadie Finzi The Ecosystem 170 of Change Richard Ray Perez

The Truth Shall 172 Picture Set Us Free Kathy Eldon & Amy Eldon Turteltaub

Altering Perceptions 174 Cara Mertes

Pivotal Funding 176 For our projects to bring about lasting Geralyn Dreyfous Funding the Future 178 change in the world, we need to join Diana Barrett

forces with unlikely allies, develop The Power of 180 Partnerships trust, share control, and build toward Sandy Herz Amplifying Impact 182 opportunities for mutual benefit. Wendy Cohen

— Sandy Herz, p180

In a survey of 50 [nonprofit] organizations, 61% of those surveyed used pop culture in the last two years as part of a communication strategy, but only 53% used it all the time (compared to 46% who said “not that often”). Of those surveyed, 75% said they would use pop culture again – so there is a significant opportunity to grow this discipline.

— Pop Culture Works for Social Change. AndACTION, andaction.org/wp-content/uploads/2017/03/Pop- Culture-Works-for-Social-Change_FINAL.pdf. 75% would use pop culture again The Bigger Picture

155 As a result, both professors have garnered There are three core pillars to Seeding wide recognition for excellence in research the Skoll Center SIE’s work: and scholarly contributions to the field. I have been able to I know you will enjoy reading about them Pillar #1: Research. A dedicated a New and encourage you to find out more put my life philosophy UCLA TFT faculty committee is about their exceptional work. to the test — a belief that helping to shape and define our ongoing humanistic story can be research agenda as we move forward Generation In 2014, with a $10 million transformational with publications, research findings, leadership gift from visionary used for good and for symposia and special reports. philanthropist, Jeff Skoll, to name transformational change. Educators can guide and and endow the Skoll Center for Social Pillar #2: Education and Special nurture the next wave of Impact Entertainment (Skoll Center Initiatives. While there are many SIE), we launched the new center to elements to this, three great examples SIE creators and scholars. advance the role of entertainment and impact entertainment. In laying the are: 1) The recent workshop for Teri Schwartz sets out the performing arts to inspire and drive foundation for this emerging field, we students conducted by Participant social impact. It was a proud moment hope to support and convene a diverse Media focused on the development

unique vision behind the Dean Schwartz pictured with UCLA TFT Commencement Speaker director/screenwriter Ava DuVernay ’95 © UCLA for all of us at UCLA TFT and our array of industry leaders, game changers, and execution of a social impact UCLA School of Theater, campus. We are deeply honored by innovators, faculty, students, staff, campaign based on two Oscar®- Jeff’s generous, enduring belief in alumni, distinguished artists and winning Participant films: Spotlight Film and Television, and and new ideas to show us a positive way us. It is a great privilege to reflect his scholars to unite and support the and An Inconvenient Truth; 2) The it’s work to champion the forward. This is the very essence of social profound core values and ideals to creation of this new global ecosystem. 2018 Future Storytelling Summer impact entertainment, and the reason I make the world a better place for all. It’s a dream come true for all of us to Institute — a six-week interdisciplinary power of humanistic and believe it’s so vitally important that it be Our vision is for TFT to serve We are also very proud to be associated now have this major center at our School program with UCLA TFT students, as a premier interdisciplinary social impact stories. central to entertainment and performing with Jeff’s groundbreaking company, where these ideas and work can come faculty and industry experts that arts education at all levels. global professional school that Participant Media, along with his together in one place in such a powerful focused on augmented reality as develops outstanding humanistic colleagues across the entire range way. It’s exciting for the Skoll Center a viable platform for social impact I had a wonderful 30-year career as storytellers, industry leaders of his enterprises and organizations. SIE to be a north star magnet for the storytelling; 3) The upcoming an award-winning feature film producer and scholars whose diverse, finest, most diverse leaders, thinkers, development of the first-of-its-kind Teri in Hollywood. In 2003, I was appointed innovative voices enlighten, The Skoll Center SIE’s mission is to doers, innovators and creators from graduate degree in social impact Schwartz the inaugural dean of the LMU School engage, and inspire change define and foster the new field of social around the world to join our journey. entertainment in 2019. of Film and Television. In 2009, I became Dean, UCLA for a better world. the first woman dean of the historic UCLA School of Theater, School of Theater, Film and Television — Film and Television “About.” UCLA School of Theater, Film and Television, (UCLA TFT). I like to call us the Storytelling UCLA, 2018, www.tft.ucla.edu/about. Diversity at UCLA TFT: School. As Dean of UCLA TFT, I have the UCLA School of Theater, Film and Television The LA Rebellion The modern African American independent great privilege of leading an extraordinary Faculty film movement started at UCLA in the late of color 44% creative and scholarly community. I have 729 60’s. One of the founders of the movement, Our world is evolving at a rapid been able to put my life philosophy to the own work to life in powerful and alum Charles Burnett ’69 MFA ’77, received students across Film/TV/Digital the Academy®’s Governors Award in 2017. pace. The challenges we face test — a belief that humanistic story can unique ways. There are far too many Students Media and Theater Departments of color 58% are more complex than ever. be used for good and for transformational great UCLA TFT faculty to mention

change. I have the honor to help nurture here, so I invite you to visit our website: Alumna Channing Dungey ’91 was the With an optimistic eye to the future, and develop a new generation of diverse www.tft.ucla.edu to learn more about $3M first African American woman to become Our Mission awarded in President of a major US television network I believe that storytellers, artists and artists and scholars who embrace our our School, our renowned alumni and We are re-imagining entertainment scholarships for 2018 – ABC Entertainment. She is now co-head and performing arts education scholars are the ones who will illuminate UCLA TFT vision around the power of our faculty’s remarkable teaching, of Original Content at Netflix. our common humanity and help us make story to not only delight and entertain, research and creative work in our as an interdisciplinary enterprise, one grounded in humanistic sense of our lives and the world around but to enlighten, engage and inspire Film/TV/Digital Media Department 2017–2018, for alumni across story, social impact, diversity/ us. The more that we share our stories, change for a better world. It’s exciting and our Theater Department. writer, producer, global diversity, research, and UCLA TFT Distinguished Professor José $3.7B+ technology/innovation. ideas and information across cultures to educate a new generation who have Worldwide box office and/or director Luis Valenzuela is the Artistic Director of the categories. Latino Theater Company (LTC) and The Los and borders, the better we’ll understand this consciousness — students who are For this section of the report, I am Angeles Theatre Center (LATC). He’s been our interconnectedness and how to inspired to use their stories, their creative very proud to highlight two immensely a visionary advocate for Chicano/Latino create deeper reservoirs of empathy, works, their leadership and their research talented professors — Ellen Scott and theater for over 30 years. tolerance and understanding for our to make a difference. Sean Metzger. Professors Scott and shared future. Metzger represent an outstanding new 1,880 At UCLA TFT, we are home to generation of educators, scholars and nominations and awards for faculty and alumni over the years, including: Without question, this shifting remarkable faculty — diverse thought creative practitioners who are forging landscape presents vast opportunities leaders, scholars and artists who have groundbreaking research, ideas, for educators. We’re ideally placed to long focused their work around themes insights, connections and new directions serve as mentors and teachers for the of social responsibility. Each faculty across the social impact entertainment The Bigger Picture next generation of diverse storytellers member has a rich, individual landscape. The focus of Scott’s and and scholars whose dynamic works will interpretation of what social impact Metzger’s teaching and research is Academy Tony Emmy® DGA SAG® PGA WGA BAFTA® Golden Globe® Annie Independent create common ground for new stories entertainment is, and each brings their breathtaking in its depth and originality. Awards® Awards® Awards Awards Awards Awards Awards Awards Awards Awards Spirit Awards

— UCLA TFT internal data.

156 The State of SIE 157 Pillar #3: Public Programming As we build out the work of the center, companies across the creative and Exhibition. This encompasses we are drawing upon the ideas and industries. All three strongly share our Sean anthologies, including Awkward Stages: theater and performance in order a broad variety of campus-wide, experiences of a wide circle of UCLA ideals and world view. I believe these Metzger Plays about Growing Up Gay. for them to create art that matters in public events, including workshops, TFT, campus and external experts. In relationships are essential for anyone relation to often-submerged histories. Professor, Critical festivals, conferences, symposia addition, I am contributing several looking to make headway in this space. I often tell students I want them to Studies, Vice Chair, and special screenings, the latter findings that have emerged from my When you strike up a great dialogue Undergraduate imagine differently. In other words, In my capacity as President of often in conjunction with Participant own experiences over the past several with someone who shares your mission Studies, Theater I am not primarily interested in Performance Studies International, Media. Our annual Spark Change years while advancing our vision and and values, it inevitably benefits Department, UCLA reproducing what people already I see graduate students around the Summit is particularly important to us, strategic goals. In my work as dean, both parties — and often the wider School of Theater, know (a canon of playwrights, for world working through a variety of bringing together leading authorities I have found three distinct categories communities that surround you. Film and Television example). I see my research as interdisciplinary frameworks. Such in the SIE space, along with rising of alliances and partnerships that I addressing social issues like racial and frameworks include “performance talent, industry leaders, faculty believe help to define, move forward socio-economic disparities, but I also as research,” a category that brings and students in a single convening and fund our goals for social impact I work on performance and hope it enables us to reframe pressing experiential knowledge together with that welcomes both the local and entertainment. They are: 1) Enlightened visual culture — art, fashion, problems. As one instance, because I am more theoretical work. I have been global academic and professional individuals; 2) Foundations and film, and theater. interested in different gender formations thinking about bringing more of this communities at large. select organizations; 3) Like-minded More individuals are across time and cultures as well as the paradigm into the undergraduate understanding the great More specifically, I study the position of women and sexual minorities and PhD curricula. I wish to collaborate articulation of ethnicity, race, in American society today, I have with institutions where that model has value of investing in gender, and sexuality across media structured my undergraduate theater worked well, for example, in Australia Ellen Critics from Classical Hollywood educational programs and platforms in transnational contexts. history class to emphasize women. and South Africa. My hope is that some Scott to Blaxploitation, explores the film scholarships that inspire I wrote two books on this topic — Indeed, all the plays and performances international collaborative work can writings of over forty black American Chinese Looks: Fashion, Performance, we study are authored by women, in be facilitated across the faculty and Associate Professor, women, from the Classical Hollywood social impact and diversity. Race and The Chinese Atlantic: part to help students realize how male- student body. I’d love for us to create Vice Chair, Cinema Media Studies, Film/ era through to the year when the Seascapes and the Theatricality centered traditional theater history more work that not only engages with TV/Digital Media first black woman made her own of Globalization — as well as dozens tends to be. I provide my students with social issues but also helps to enact Department, UCLA feature film. The project departs from Here are three examples that I would of articles, and I’ve co-edited several a different archive by which to imagine solutions to those problems. School of Theater, existing, largely theoretical scholarship like to share with you: Film and Television on black women’s spectatorship by bringing greater historical specificity Example #1 — Enlightened individuals: I and by drawing attention to the have traveled tirelessly around the world for visionary philanthropy has had a part to play in making a difference Frankly, I think it’s going to be sharing My work centers on the intersections of black women’s film over the past 10 years for our UCLA TFT ripple effect around the world, too, by by leaving a lasting legacy that our stories across borders and cultures, political meanings of media, writing with broader struggles to telling our story and sharing our vision inspiring other enlightened individuals benefits everyone — for this example, and women’s voices in particular, that is focusing on race — and African define freedom. The book includes a and mission. I have had the privilege of from many countries, including the US, by empowering women with the going to help save our world. This is the American identity specifically. substantial edited section collecting cultivating really interesting and inspiring to participate in this kind of mission- opportunity for a great UCLA TFT power of what enlightened individuals reviews written by black women film relationships with enlightened individuals driven giving at our School supporting education — one that allows for can do with visionary giving focused on I am currently engaged in two critics from the 1920s through to the for the benefit of our diverse students, a wide variety of SIE focused programs remarkable women, from all walks advancing social impact entertainment. major research projects. The first 1970s. It wasn’t until 1980 that a black faculty, staff, as well as our research and initiatives. of life, to share their inspiring stories explores the history of slavery on woman had an opportunity to direct and creative projects. with the world — stories that until Example #2 — Foundations: The William the American screen, with reference a feature film. But before there were now have gone untold and that, in the Randolph Hearst Foundation (WRHF), to film production and reception. black women directors like Julie Dash, One example has been garnering telling, will make our world a far richer one of the most important and forward- Built on extensive archival research Cheryl Dunye, and Ava DuVernay, generous support from amazing and more meaningful place for all. thinking foundations in the US, also into the production politics behind there was a generation of black individuals around the idea of I think it’s going to be depicting slavery from the silent women who did not have access to the empowering women to tell their stories. Recipients of the full-ride Hani Farsi Graduate Scholarship Fund giving voice to the unique era — when many viewers still had director’s chair and whose powerful I have raised seven-figure leadership gifts sharing our stories perspective of Arab women: Farah Shaer, Amani Alsaied, Hanadi Elyan and donor Hani Farsi. personal memory of the institution ideas about the screen were expressed from a wide array of enlightened donors across borders and — to the present, my book, Cinema’s through critical writing. from around the world for full-ride Peculiar Institution, will be the first scholarships for our Master of Fine Arts cultures, and women’s comprehensive history of American Both projects investigate the ways (MFA) graduate degree in directing that voices in particular, slavery on screen. The project is that media converges with social “gives voice to the unique perspective of that is going to help accompanied by a digital, archival practice, influencing larger social Arab women”; for full-ride scholarships component supported by the Institute institutions through representation for our MFA graduate degree in directing, save our world. for American Cultures here at UCLA. but also through surrounding acts screenwriting and producing that “gives This digital component is a public- of censorship, protest, and criticism. voice to the unique perspective of Indian facing, online archive and resource TFT makes a good home for this women”; and for full-ride scholarships Without question, we have a compelling which seeks to allow researchers work because of its long history of for our MFA graduate degree in vision and story to tell. As such, more of all ages to explore the history of engagement, through scholars like directing that “gives voice to the unique individuals are understanding the slavery’s representation in films. Teshome Gabriel, with the work perspective of African American and great value of investing in educational of theorizing media as a site of Hispanic women.” These individual gifts programs and scholarships that inspire The Bigger Picture My second book project Bitter Ironies, political engagement and political have been transformational for the social impact and diversity. Enlightened, Tender Hopes: Black Women Film imagination. scholarship recipients, for our School generous individuals are discovering and for the campus. This unique model that they, too, have a very important © UCLA

158 The State of SIE 159 Waterschool explores the stories of impact around one of the world’s most critical follow-up elements to raise six girls and young women living in pressing issues of our time — water. awareness and drive change, the Waterschool underserved communities along the campaign includes a customized website, Six girls living along the Amazon, Nile, Mississippi, Danube, Ganges, and Yangtze major rivers of the world. We see how social media platform, special student rivers learn about water and sustainability the girls’ and young women’s lives have screenings in the US and worldwide, and use their newfound education to protect been empowered and transformed by panels, online global newsletter, and an their communities and homes. the Swarovski Waterschool educational expanded online Waterschool curriculum. — It is immensely “Waterschool (2018).” IMDb, 2019, www.imdb. program which serves over 500,000 com/title/tt7974234/?ref_=nm_flmg_prd_1. young people worldwide with its focus gratifying to have These are just a few examples of the on water, hygiene, sanitation and launched these SIE strategies I wanted to share with you sustainability. To make the film, a team from an educational perspective. It is shares our ideals and strategic goals. of seven outstanding final year UCLA programs and initiatives. immensely gratifying to have launched This academic year 2018/19, through a TFT graduate filmmaking students worked these SIE programs and initiatives with major multi-year grant awarded to us collaboratively across five continents on our UCLA TFT faculty, staff, students, from the WRHF, we have launched the the six major rivers of the world (Ganges Throughout 2018, we had special donors, foundations and like-minded WRHF Playwriting Lab Initiative at UCLA in India, Amazon in Brazil, Mississippi in screenings and panels at the Sundance industry partners who have joined us TFT that supports humanistic storytelling East St. Louis, the Yangtze in China, Nile Film Festival, the World Economic Forum to nurture and develop a new generation for theater and other forms of immersive in Uganda, Danube in Austria) to capture in Davos, Switzerland, the Cannes Film of humanistic artists and scholars performance. Not only does the grant these amazing stories. Festival, the Toronto Film Festival and whose work will not only delight and SWAROVSKI WATERSCHOOL – From India Austria, to we are all connected fund our year-long student playwriting the . Several of the grad entertain, but enlighten, engage and ” YouTube, uploaded” YouTube, by Swarovski, March youtu.be/cCtaX6ulhGM 21st 2017, season and showcases, but it also provides It was an honor for us to work with Nadja students, now alumni, have now gone inspire change for a better world.

faculty grants for the development of © Swarovski.© UCLA “ by water. and Swarovski to make Waterschool. I’m on to work on other feature films — A scene from the feature documentary Waterschool now streaming new plays with humanistic themes, and on Netflix in 193 countries, translated into 26 languages so proud of our students and thankful their professional careers having been I’m very fortunate to be dean of one major funding for the inaugural WRHF to everyone who worked on the film launched as a result of Swarovski’s of the world’s most distinguished schools Playwriting Lab Initiative Distinguished including our faculty advisors and our investment in nurturing and developing of entertainment and performing arts. Playwright-In Residence program. Our first success both at the educational and the Storytelling Institute’s stated mission Distinguished Mentor, Academy Award®- the new storytellers who have an eye This is joyful work for me. In a way, I feel Distinguished Playwright-in-Residence is professional levels. We couldn’t imagine is that the screenplays must be ones and Emmy®-nominated filmmaker, Lucy for creating social impact entertainment. like a gardener with a big watering can Pulitzer Prize winner and Tony®-nominated a more visionary and generous foundation that have stories that matter. Following Walker. A true team effort, everyone Playing a big part in the overarching in hand, helping to sprinkle water on partner to help advance our shared goals. the success of the first year, we are was inspired to create a work of great strategic goals for this project, Swarovski the seeds and bulbs that we’re planting now going into our second year of the merit and meaning — one that would has funded and launched a major global here and around the world. Our field is Example #3 — Creative industries: Institute with UCLA TFT and French use the power of story to not only move social action campaign to accompany a beautiful one and it’s exciting to see We have created unique industry graduate screenwriting students who and engage people, but also drive social the release of the film. Serving as the flowers blooming everywhere. partnerships with those who share have so much promise and talent.

The goal of making our vision and ideals — like-minded Future Storytelling Summer Institute focused on the intersection of this film was to raise partners who understand the value We’ve set up an equally rewarding social impact storytelling, performance and new digital technologies awareness about water of investing in, and creating a pipeline partnership with Sony Television for, the development of outstanding who also share our vision and mission. and the environment, diverse new talent whose stories not They have made a multi-year to inspire change and only have commercial value, but are commitment to support a writing for to galvanize audiences. ones that have the great potential to television class with a “first-look” deal make a difference. with Sony Television and Sony Crackle. To date, several of the students’ scripts One example is our new Storytelling have been optioned by Sony. playwright, Paula Vogel. A true American Institute — a groundbreaking model master, her profound, original works, for a six-week in-residence graduate Another great example of industry focusing on family, relationships, AIDS, screenwriting program that we launched support for SIE is Waterschool — the LGBTQ issues and the state of our human in 2018 for eight outstanding graduate- first feature documentary made in condition, overflow with brilliance and level screenwriting students from UCLA the history of our School and now searing insight. Paula will hold master TFT and France in partnership with the streaming on Netflix in 193 countries classes for our students; will have a CEO of Vivendi/Canal+, the President of and translated into 26 languages. The staged reading of a new play that she will the Cannes Film Festival, the Mayor and film was produced in partnership with workshop with our students; and conduct City of Cannes, and the President of the the world’s leading crystal company, a public lecture and other special activities University of Côte d’Azur. The Institute is Swarovski, and its visionary leader to benefit our entire community. Every fully funded by a multi-year commitment Nadja Swarovski. Swarovski is a aspect of this strategic initiative is focused from Vivendi/Canal+ and supported by remarkable company who uses their on using the power of story expressed the partners all of whom share common vast resources to make a difference in through theater to inspire change. values and a belief in the power of the world. The goal of making this film story to make a difference. During the was to raise awareness about water The Bigger Picture The WRHF understands the importance residency, the students write a feature and the environment, to inspire change of supporting all forms of social impact film screenplay and have a “first-look” and to galvanize audiences, and young

entertainment to ensure its ongoing deal with Vivendi/Canal+. Underscoring people in particular, to action. © UCLA

160 The State of SIE 161 to make that work as impactful as is so absorbed in a story that they Josh Fox’s documentary about fracking, Whatever our research approach, Closing possible. As only a few recent examples: become momentarily disconnected from Gasland, is a good example of this. the creative work is always the we’ve studied how documentaries can the real world. Research shows that this When the film came out, people hadn’t centerpiece. The first step is to influence public policy at both local state of being is a key factor in enabling even heard of fracking, so behavior Understanding what understand the process of storytelling, the Gap and federal levels, and developed a a narrative to influence a viewer’s change wasn’t relevant. For any nascent moves us in storytelling, because if a mediated story about code of best practices around fair attitudes and beliefs. It’s a beautiful social issue, it doesn’t make sense to a social issue is didactic, overtly use and copyright for documentary theory and a powerful idea that offers study whether people’s perspective on seeing what’s worked educational or preachy, it will turn There’s so much to be filmmakers to help educate them a real opportunity to storytellers, the issue changed, because they didn’t before, and moving audiences off. People come to care gained by bringing SIE’s about their rights. Our project, The yet many organizations and media know about it in the first place. What forward through learning about the issues profiled in a work Laughter Effect, analyzes the power companies don’t know this kind of could be helpful is to look at whether of mediated entertainment because creative and academic of mediated comedy when it comes research exists — and more importantly, the film helped influence public or media are some of the biggest they connect with the characters communities closer to fueling social change. Over the how it can be leveraged to further discourse, perhaps for the first time or hurdles the industry faces. and artistry of the story. past year, we have also worked develop the idea of entertainment in a more concerted way. together, says Caty deeply with Rise Up, the social impact storytelling and social good. This means that increased Borum Chattoo. division of Univision Communications, This example shows why it’s inaccurate collaboration between the creative to help shape and research different to assume that one method can be methodology, but they also show why and research processes is of the storylines and projects across their used to evaluate the impact of all any kind of research about storytelling utmost importance. Understanding Story Movements broadcasting platforms. The Univision stories. As researchers, we need to is itself a creative process. what moves us in storytelling, seeing Story Movements is a CMSI media projects were developed across convening that invites media understand the context of a social issue. what’s worked before, and moving a variety of genres, including reality makers, strategists, NGOs, and Our studies need to take into account I also don’t use the word “measurement” forward through learning are some television, documentary and news philanthropists to come together necessary nuances such as where an to describe research that examines of the biggest hurdles the industry to meaningfully engage with the the social good influence of mediated shows, and explore public health and role of narrative and civic media issue currently is in terms of audience faces. The researchers are there, ready education topics that are relevant in contemporary movements for awareness, or what I like to call the narrative. For me, this term implies and waiting, we just need to build the to Hispanic American audiences. We social justice. Story Movements “movement moment.” What is the public quantitative research, which isn’t always funding to uncover and share those examines and captures the appropriate. Similarly, I don’t often use produce research about independent current and future-looking opinion on a given issue and how is it learnings. If we can do this, we’ll Caty Borum documentary, as well. And finally, moment in story-led demands moving? Is there potential for a structural the word “evaluation” in this particular take another step toward ensuring Chattoo as conveners, we produce the Story for social change. This project shift, like policy change? Is it an issue work also because it can imply there the stories we tell realize their true is part of CMSI’s work in civic Movements conference, which is a that requires changing attitudes? Those being “good” and “bad” elements that potential, and the research we conduct Director of the Center storytelling, funded by the John re-launch of our successful Media questions should guide the research need to be weighed. faithfully captures their impact. for Media & Social D. and Catherine T. MacArthur Foundation. Impact, American That Matters conference. University’s School — “Story Movements.” Center for Media of Communication & Social Impact, 2018, cmsimpact. org/program/story-movements/. Rise Up for Social Change project The Documentary Filmmakers’ Statement of Best Practices in Fair Use At the Center for Media & Social Rise Up for Social Change was a joint effort between Univision “Since the creation of the Documentary “The best practices have been: Impact (CMSI) we believe that Filmmakers’ Statement of Best Practices and CMSI. The research-based - Endorsed and/or used by Every nonfiction in Fair Use in 2005, documentarians all forms of entertainment have On the other side, there is another initiative was created to shape and PBS, WGBH and ITVS. have embraced fair use. film project is unique gap; research that interviews the evaluate the depiction of key social the potential to shape culture. issues in entertainment media. - Adopted into business practice in terms of how it may creatives or producers behind social The findings will inform content by IFC and used case-by-case As Director of the Center I spearhead impact entertainment to better produced across Univision’s leading 70% 75% by other cable companies. the convening, thought-building, seek to have societal understand the process of telling a Spanish-language broadcast, radio, of documentary said fair use is - Accepted by all four US insurance and digital platforms, and Fusion filmmakers said they ‘absolutely necessary’ companies for Errors & Omissions and research we do, which strives to influence. good story is not as prevalent in peer- Media Group’s (FMG) English- have a ‘good’ or or ‘very useful.’ insurance of fair use claims – demonstrate the ways in which media reviewed research. Researchers could language platforms. ‘excellent’ understanding AIG, MediaPro, ChubbPro, can be a force for public good. I am benefit from understanding the creative of fair use. and OneBeacon. a documentary producer as well as process and the art of storytelling. Films that could never have been seen publicly, nor have been a strategist and scholar, so all of our Across all our projects, our research This understanding helps inform what 60% 95% finished if the best practices hadn’t work is deeply informed by questions is designed to help inform the common questions they should ask, and the of documentary report never having been published, include: This Film filmmakers report had a problem with and opportunities that arise from our objective of how to learn more and way in which they should ask them. is Not Yet Rated and The Trials of having recently used a broadcaster Darryl Hunt. colleagues in media, philanthropy, and inform the practice of media and fair use in production. accepting fair use, with a lawyer’s letter. Since the best practices were civil society working in this area. From storytelling to serve the public interest One of our key publications, published, millions of dollars of investigating the effects of different and social good. This is a goal shared Assessing the Impact of Issues-Focused unnecessary licensing costs have been saved. They have also been types of storytelling, to developing by creative and academic communities Documentaries, illustrates the bespoke 99% of documentarians adopted into business practice practical guides for filmmakers, at alike, and I believe greater cross- approach we take to research. I report never having had in public television.” CMSI we aim to inform all parts of pollination between these two worlds published the study to show that a problem with insurance the process of creating social impact will be strategic and important moving every nonfiction film project is unique accepting fair use, with a lawyer’s letter.” entertainment. forward. There are many studies, for in terms of how it may seek to have example, that help us to understand societal influence. For example, there — — — Based at American University’s how storytelling reduces our cognitive are many projects that put a social Univision PR Team. “Univision and Fusion Media Group “INFOGRAPHIC: Can I Employ Fair Use In My “Success of the Statement of Best Practices.” Launch New ‘Rise Up for Social Change’ Project with Documentary?” Center for Media & Social Impact, Center for Media & Social Impact, 2018, The Bigger Picture School of Communication, our barriers to persuasion. The narrative issue on the map for the first time. American University.” Univision Communications Inc, 30 2018, cmsimpact.org/resource/infographic- cmsimpact.org/resource/success-of- Jan. 2017, corporate.univision.com/press/2017/01/30/ can-i-employ-fair-use-in-my-documentary/. the-statement-of-best-practices/. research covers a broad spectrum of transportation theory, for example, In these cases, having a “behavior univision-and-fusion-media-group-launch-new-rise-up- entertainment mediums, with a goal describes what happens when a viewer change” goal might be tricky. for-social-change-project-with-american-university/.

162 The State of SIE 163 We are veterans in this space. We scientists into the fold. The goal was creators and those actually working Agency for were the first talent agency to establish to help them see the teachable moment on the issues in the field. a department that would solely focus this “popcorn” film would create in the on developing enduring ideas to make public discourse. We sent them the Another core strength of the CAA Change a positive impact on the world. Created script in advance of the film’s release Foundation is our ability to connect to put a nonprofit sensibility at the heart and noted that this film could help put clients and partners to a single, of the entertainment business, throughout climate change on the public agenda common cause. For example, in the The first talent agency the last 20 years CAA has led the way in in a meaningful way. We persuaded lead-up to the 2018 midterm elections, to develop a social impact some of the most transformative social them to use this fiction to tell the true we saw an opportunity to rally the action in our industry. science of climate change. While the entertainment community to help shift department, CAA has a movie would go on to receive plenty of the way we think about voting, and long-standing influence We live in a world of big, bold ideas. press in the arts and leisure sections ultimately increase voter turnout. We sit at the epicenter of popular culture of newspapers and magazines, the as creative change- with each individual who comes through environmentalists could work with the The CAA Foundation led the formation makers. Michelle Kydd our doors — from world-renowned science writers to connect the two stories of a coalition of entertainment, studio, artists, content creators, and athletes in the same editions. For the first time, distribution, and retail companies to Lee and Natalie Tran to presidential candidates, activists, environmentalists realized the power launch “I am a voter.” — a nonpartisan explain how big ideas and innovators who are setting out to and potential of popular culture in movement dedicated to increasing change the world. This gives us a very supporting their work. voter turnout in the 2018 midterm create big impact. particular insight into the zeitgeist. elections and beyond. The combined We can see “the wave” coming months, efforts of the nonprofit organizations if not years in advance, and this has with our connectivity to influential enabled us to become a hub for social companies and individuals enabled us impact work — not only in Hollywood, to supercharge the message around but around the world. As our colleagues CAA Foundation has a voter registration and participation. Michelle say, people around the planet may never long history of bringing Our work resulted in $14 million of Kydd Lee visit our country, but they will see our together individuals and donated ad space and a multifaceted movies, listen to our music, and watch social media campaign featuring Chief Innovation our television shows. That is a great gift organizations that might high-profile personalities, athletes, and Officer and member of the Management and an awesome responsibility. not have initially seen everyday citizens, generating 1.1 billion Committee, Creative the mutual benefits of impressions. We activated in retail and Artists Agency used brands to help carry the message collaborating. across the country through unique Natalie Tran People around the Some 18 months later, we found ourselves The CAA Foundation Co-Director of the planet may never visit deeply involved in another movie Since launching in 1995, the CAA CAA Foundation Foundation has become a leader our country, but they will about climate change, An Inconvenient in the entertainment community see our movies, listen to Truth. On the heels of hosting Vice on education, the environment, President Gore in our screening room and health and social issues. our music, and watch for his now famous “slide show,” we The CAA Foundation harnesses the power and reach of the our television shows. convened producers and director entertainment industry to create CAA is a global company Davis Guggenheim into our conference positive social change by forging of diverse individuals whose room to put the wheels in motion for strategic partnerships, encouraging volunteerism, making financial mission is to identify, create, a documentary film that would tell contributions, stimulating public and expand opportunities for With access to CAA’s global network the story at scale. The film, which was awareness, and providing in-kind donations. the people who shape culture of resources and relationships, CAA produced by Participant Media, went on Foundation has a long history of bringing to gross $49.8 million worldwide (making — and inspire the world. “CAA Foundation.” Creative Artists together individuals and organizations it the 11th highest-grossing documentary Agency, www.caa.com/foundation. that might not have initially seen the film of all time) and earned Al Gore a The agency works with the world’s premier mutual benefits of collaborating. We do Nobel Prize. One of the reasons the film entertainers and athletes, leaders in politics this in several ways — by connecting was so successful is that it was able to and policy, Nobel Prize Laureates, Pulitzer research to entertainment, clients to capitalize on the pre-existing relationship Prize winners, and many other of today’s causes, and the broader industry with the CAA Foundation has helped nurture foremost thinkers and change agents. social issues. between the environmentalists and the entertainment industry. We had helped Social action is woven into the fabric of With the 2004 climate change develop a trust that simply hadn’t existed The Bigger Picture the agency, and has been since 1995, blockbuster feature film, The Day After before. This relationship embodies what when the new leadership of the company Tomorrow, for example, CAA used our social impact entertainment is all about:

established the CAA Foundation. convening power to bring environmental the collaboration between content Participant© Media other respective and production studios distributors and An Inconvenient Truth, 2006

164 The State of SIE 165 products. We built a state-of-the-art Our mission was to use the momentum What has changed is that the text platform, which was used by tens of #MeToo to keep attention on this entertainment industry, businesses, TIME’S UP TIME’S UP at the Golden Globes® of thousands of individuals across the critical issue and help create actionable and high-profile individuals have TIME’S UP was launched on At the 2018 Golden Globe® January 1st 2018, after months Awards, both women and men country and provided information on solutions and real, tangible progress. become more purposeful about the of women coming forward as dressed in black (and implemented local elections, polling place locations, We went to work to ways in which they participate in survivors of sexual assault and/or #WhyWeWearBlack), donned and ballot information. TIME’S UP is dedicated to ensuring social justice. This has become so harassment by men in Hollywood. TIME’S UP pins designed by not let this crisis pass Arianne Phillips, and invited safety, equity, and dignity in the visible and so prevalent; we feel that Powered by women, TIME’S UP addresses the systemic inequality activists and important female Our proximity to contemporary culture workplace for women of all kinds. The without significant and people now equate the idea of a and injustice in the workplace that figures as their plus ones. also enables us to connect the industry original mandate has been signed successful life with having the ability have kept underrepresented groups fundamental change. — as a whole to current issues. For by more than 300 women who work to serve others. from reaching their full potential. Weaver, Hilary. “Golden Globes 2018: TIME’S UP features their own Legal Black Dresses, Time’s Up Pins, Activist Plus example, the first meeting for TIME’S in Hollywood, including founders Ones, and Everything Else You Need to Know.” Defense Fund, which helps defray Vanity Fair, Condé Nast, 7 Jan. 2018, vanityfair. UP was organized and held in CAA’s , , Reese Looking at the younger generations legal and public relations costs in com/style/2018/01/golden-globes-2018-red- office. In October of 2017, after a slew Witherspoon, , and While the work of the CAA Foundation who have grown up in this new culture select cases for those who have carpet-times-up. of allegations of sexual misconduct . The movement has has been going on for decades, its is also inspiring. They are tuned-in experienced sexual harassment or related retaliation in the workplace. within the entertainment industry and already raised more than $22 million central mission has not changed. Today, to the social issues of our time. By — beyond, we went to work to not let from 21,000 donors across 80 countries our goal is still to make it as easy as regularly protesting and marching “Home.” Time’s Up, 2018, timesupnow.com/. this crisis pass without significant and to help survivors of abuse. We believe possible for people to do the right thing. with their peers, they self-identify as Time’s Up (TIMESUPNOW). “Over 2,500 people have come to the #TIMESUP Legal Defense Fund fundamental change. At the very first that when we can come together and That is not only limited to our clients: activists. We are incredibly proud to seeking assistance since we launched on January meeting, we made sure we assembled create more safe spaces, share credit every five business days, we offer our be playing our part in cultivating and 1.” 28 Apr. 2018, 12:53 PM. Tweet. twitter.com/ TIMESUPNOW/status/990318148854444034. an intersectional group: half of the 26 rather than take it, and if we refuse 2,000 employees the opportunity to nourishing that atmosphere — and people we convened were women of to lead by ego and instead lead by participate in some act of community if this generation is any indication of color, and we assumed there was also the desire for positive change, then service, just as we have since day one. what lies ahead for this field and for appropriate LGBTQ representation. anything is possible. Our philosophy is: to lead is to serve. this work, we expect great things.

Billboard in LA promoting the TIME’S UP campaign

The CAA Foundation The Foundation provides additional monetary and in-kind support for the schools and nonprofit organizations with which they work. In 2017:

12,557 students 40 scholarships were served directly through were awarded to refugees rebuilding the Foundation’s programs their lives in communities where the at partner schools. Foundation has offices.

110 middle 120 volunteers school students traveled to Haiti, New Orleans, were sent to an overnight camp with the Rockaways, and Tuscaloosa activities including ropes courses, to help provide resources and a music production workshop, arts goods to communities recovering and crafts, and a hike. from natural disasters.

183 days spent volunteering in the community.

— “CAA Foundation.” Creative Artists Agency, caa.com/foundation. The Bigger Picture © Barry King / Alamy Stock Photo

166 The State of SIE 167 “How can we respond to the changing financing for documentary productions Community needs of independent filmmakers?” and their impact campaigns — over $30 million at the last count. Good Pitch Good Pitch Local Good Pitch convenes filmmakers Bringing together the documentary Doc Society is known for Good Pitch, Films that have stemmed from Spirit which brings together filmmakers with Good Pitch include: Last Men in with changemakers around urgent community with civil society and forging This model is now well-proven to work foundations, NGOs, campaigners, Aleppo, Whose Streets?, Chasing issues to catalyze coalitions and new partnerships to support funding, across continents and cultures. In philanthropists, policymakers, brands Coral, Dark Money, The Hunting create campaigns for social good. Good Pitch Local events support the distribution, and impact campaigns is addition to annual hub programs in and media around leading social Ground, Strong Island, Virunga, The and environmental issues. It forges Yes Men Are Revolting, The Square, creation of innovative local media that Many hands make an essential part of this strategy. For Europe and in the United States, coalitions that are good for the The Invisible War, How to Survive a can galvanize communities. It differs this reason, organizing convenings is we have now successfully shared the partners, films and society. Plague, Conviction, Her Song, The from Good Pitch in that it presents light work. Beadie opportunities for organizers to connect a huge focus for us. In particular, our model with local media organizations 134 film projects from 60 countries Pushouts, iHUMAN, The Negotiators, have been presented to more Cosas Que No Hacemos. and creatively collaborate with media Finzi discusses why it convenings primarily focus on four in South Africa, Canada, Colombia, makers in their own communities. Good than 3,000 organizations through — groups: independent filmmakers who India, Indonesia, Taiwan, , Good Pitch. “Films at Good Pitch.” Good Pitch, Pitch Local events have taken place in is essential to convene Doc Society, goodpitch.org/films. Dallas, TX, Durham, NC, Miami, FL, want to understand how their films Australia and Kenya, with new programs — “Good Pitch.” Doc Society, 2018, and Detroit, MI. independent documentary can have impact beyond a traditional in development in Brazil, and in the docsociety.org/projects/#goodpitch. — distribution cycle; the burgeoning MENA and Pasifika regions. “Good Pitch Local.” Good Pitch, Doc Society, 2018, filmmakers with good goodpitch.org/local. community of global impact producers partners to help their who are forging a new professional work have the greatest class; foundations and philanthropists 134 60 who are doc-curious; and leading NGOs The Doc Impact Award film projects countries possible impact. and organizers who recognize how The Doc Impact Award is first prize to celebrate the power of powerful media can be and wonder how documentary film as a driver of to partner. Sometimes we bring them change, and the first to compel all together and sometimes we convene filmmakers to capture and articulate evidence of impact. Impact Award them as individual communities, and documentaries have created these gatherings range from informal significant and measurable social or to theatrical. environmental impact. Past winners include The Act of Killing, Armadillo, Beadie Blackfish, Burma VJ, Gasland, Finzi As one of the Doc Society Foundation Granito, Chasing Ice, Citizenfour, Food Chains, and Virunga. 1,200 $17M Directors, my prime area of focus is Good Director, Pitch. Since 2009, this annual program — new partnerships raised in additional Doc Society “Doc Impact Award.” Doc has been bringing together documentary Society, 2018, docsociety.org/ forged funding filmmakers with foundations, NGOs, projects/#impactaward. campaigners, philanthropists, policymakers, brands, and media around leading social and environmental At its core, Doc Society is an issues. Our aim is to forge coalitions and many years. There can be huge periods Let’s be clear — we are not alone. organization that’s committed campaigns that are good for the films of doubt about the story, and enormous Doc Society exists in a rich soup to supporting independent and good for those partners. While we have seen great success Having a physical stress or anxiety about the process. of colleagues and peers delivering documentary filmmakers and with national and continental editions of gathering alongside a Creating formal and informal spaces really good work. The US in particular the extraordinary films they Good Pitch, the dramatic global political where filmmakers and the organizations has such a rich ecology; Firelight tremors of the last three years demanded virtual networking group that support them can come together, Media and Chicken & Egg provide create. We want to help them soul searching amongst media makers has been invaluable. in solidarity, is absolutely vital. the community with deep professional realize their vision, to connect and support organizations like ourselves. development. We have sophisticated them to the audiences and We decided to redirect Following the 2016 US Presidential But it’s not just the producers and and strategic funders like Fledgling partners they need to flourish, our resources in the US election, we decided to redirect our directors who need love. In the last and Perspective Fund. We are spoiled resources in the US toward convening meaning we can do more, which is couple of years we have started for choice with world class festivals and to help their work have the toward convening at biggest impact possible. at the city and state level, helping lift great. It’s also a smart way to share the convening the Global Impact Producers from Sundance to True/False. the city and state level. up stories missing from the news cycle resources we have developed working Assembly. Given the term “impact How do we do this? With direct funding — and so Good Pitch Local was born. with the global community over the producer” was only coined six years ago, When people ask me does for documentary films and mentorship years including The Impact Field Guide it was pretty darn impressive to see 116 convening work, my answer is of individual filmmakers but also through Good Pitch Local is a day-long & Toolkit and essential toolkits for film colleagues from over 30 countries at the “hell yes!” The documentary a series of programmatic interventions Each annual cycle includes Impact Labs networking event showcasing short-form teams like Safe + Secure. 2018 edition. This feat was made possible community is proudly tenacious designed to help build capacity and for the participating filmmakers to devise nonfiction media projects that are deeply with generous travel stipends provided and highly entrepreneurial. We grow resources for the whole field. From an impact strategy for their feature docs. relevant to that community. This is where If Good Pitch is an example of a by the Ford Foundation, Participant have had to be. But we live in complex the Doc Impact Award to Doc Academy, Then comes six months of deep outreach artists and storytellers connect with local structured convening by Doc Society, Media, and Bertha Foundation. As and challenging times, and so if Safe + Secure to Good Pitch, some of to potential allies, before the whole cycle allies — from lawyers, to musicians, local we also have more informal strategies this new professional class emerges anything, we need to do more of it — these projects are wholly experimental, culminates in a live event, featuring journalists, or community foundations for getting people together. For one and defines its role, having a physical creating purposeful gatherings that some more mature. The trick is to be several hundred changemakers from — to find the resources they need to thing, we’re big believers in a damn gathering alongside a virtual networking bring us together, to offer solidarity The Bigger Picture in constant listening mode, a state of across civil society. The event is a day get their work made and seen. A more good party! Filmmaking is typically group has been invaluable to share and a chance to learn. We must permanent R&D, asking ourselves, “Is of connections and radical collaboration, rough and ready convening, Good Pitch lonely and isolating, and involves practice and inspiration, and build keep asking the question — is what what we’re doing most useful?” and, which forges new alliances and raises Local costs less and can happen faster, working solo or in small units over connections across continents. we are doing most useful?

168 The State of SIE 169 social entrepreneur takes that story lasting than media created for gang member-turned-university- Strategy Lab, an intensive four- The and integrates it into their work, using marketing or fundraising. And if social professor, we aligned the filmmakers day event that takes place at the entrepreneurs do recognize that value, with YouthBuild — a nonprofit that The Pushouts was part of an impact the power of to move campaign led by YouthBuild USA. Sundance Resort. We invite selected the needle on their issue. they may still lack the knowledge, has helped thousands of young The film positioned YouthBuild to project teams that have received Ecosystem capacity, and skill sets to harness it. Americans from low-income families create pathways for its graduates, SOC grants to co-vision their project acquire job skills and employment pushing them toward economic This process starts at key convenings mobility and transforming their and work through its storytelling and around the world and then throughout While initially focused on supporting after having dropped out of school. communities by expanding creative components. We also assign of Change we provide the guidance, advice, feature documentaries, we’ve expanded The collaboration is part of a powerful access to education and workforce an advisor to each team to help them development for young people. mentorship, and sometimes additional the Stories of Change application social impact campaign that uses the work through specific challenges. This “Highlights From the Stories of Change ​ funding to ensure the creation of high- process to accommodate different film to engage and train YouthBuild Portfolio Completed Projects.” Sundance could mean anything from addressing Richard Ray Perez quality storytelling projects that have an formats. I call this responsive approach participants and alumni. Institute, www.sundance.org/pdf/ divergent ideas for the story to SOC-highlights-films-and-impact.pdf. extols the benefits impact on the pressing issues of our time. “cultivating the emergent,” and it has sourcing an impact producer to help yielded promising results. One example Stories of Change organizes three map out the social impact campaign. of a meeting of minds Today, we understand the power of is The Legend of the Vagabond King main convenings throughout the between filmmakers and storytelling better than ever before. We of Lagos, a rags-to-riches thriller shot year. Each is predicated on the Social change is a complicated have seen how it can be a force for good, in a Lagos slum. This scripted film is assumption that, by working together, process. It typically does not follow social entrepreneurs to and we have seen its dark side in the fake a micro-budget production with a independent storytellers and social We adopt a similar approach at the a linear trajectory or formulaic facilitate change together. news circulating on social media before Nollywood ethic, in part because the entrepreneurs can reach wider Skoll World Forum — a yearly gathering, models. There’s no one-size-fits-all the 2016 election. Yet many content filmmakers wanted to ensure that it audiences and find pathways to hosted at University of Oxford’s Saïd approach. Our experience has taught creators are still far removed from the would appeal to the very community a better world. The first convening Business School, that brings together us this much. But one thing is certain: problems on the ground, while the that it portrays. It seeks to embed the takes place at the Sundance Film social entrepreneurs, renowned thought authentic, well-told stories — the kind changemakers embedded in the issues voice of its subjects, emphasizing their Festival. Here, we work to support the leaders, and impact partners from of storytelling Sundance Institute has are often unaware of the true power of humanity and dignity, and it has a creation of compelling film and media across the globe. Our convening here championed from our inception — independent storytelling. Our program is clear political purpose as well: to halt projects by bringing independent is an intensive, day-long event where can be transformative. But that work an intentional effort to remedy this. We the Nigerian government’s policy of filmmakers into direct dialogue and entrepreneurs workshop with filmmakers doesn’t happen alone. When part of close the gap between those working in forced slum evictions. partnership with Skoll-Awarded from the Sundance Institute. The goal an ecosystem of change, working with Richard entertainment, and the lived experience Social Entrepreneurs. The goal is to is to see how both parties might form changemakers with vision, storytellers Ray Perez of the people affected by a social issue. build a network of storytellers and lasting connections and collaborate and artists can give the audience We strive to deliver social impact with a entrepreneurs, to enhance story skills, in service of social impact. an experience that is transcendent Director of Creative community rather than for a community. The Skoll World Forum is one of the and to promote the exchange of and transformative. Social impact Partnerships, primary convenings for Stories of Sundance Institute’s Change. At the 2018 Skoll World Forum, knowledge within our community. Finally, there’s the Art, Impact and entertainment can do that. Documentary Film Many storytellers also have a limited entitled The Power of Proximity, 5 filmmakers, 4 advisors, and 11 heads Program understanding of the different uses of social organizations met to discuss of social impact media, specifically their passions, current projects, and independent film and entertainment. potential collaborations. The ideas that Stories of Change Impact Lab Stories of Change financial impact At Stories of Change (SOC), For example, there are many different came out of this workshop were funded Stories of Change by a grant proposal process. The Stories of Change Impact Lab Over the course of the Stories of we don’t believe social impact types of change you can drive, from Stories of Change supports the creation — of film and media projects inspired by the is an immersive five-day prototyping Change partnership, development shifting public opinion, to influencing “2018 Skoll World Forum: ‘The lab to extend the film’s story into the and production grants of $1.2M+ happens in a vacuum. Power Of Proximity.’” Skoll work of renowned social entrepreneurs, new policies or legislation, to creating Foundation, 2018, skoll.org/2018- and builds a network of independent community through digital strategies. were awarded to support the creation It’s generated by a larger ecosystem skoll-world-forum-power-proximity/. It is offered to invited social entrepreneurs of feature-length independent changes in behavior. Each of these storytellers and Skoll-Awarded Social involving multiple players: storytellers Entrepreneurs. Since 2008, the initiative and filmmakers as part of the Stories documentary films that examine has its own timeline, and has different of Change partnership, and produced social entrepreneurship as an innovative and filmmakers, philanthropists and has provided funding and development challenges and opportunities. support for many independent by Tomorrow Partners with the approach to the central challenges of the private sector, community organizers documentary film projects by award- Sundance Institute. our time. In addition to funding the films, and activists. At its most effective, winning filmmakers. In 2015, Sundance Stories of Change supports convenings of leaders in both documentary film and change happens when these players Institute and Skoll Foundation established the Stories of Change Content Fund to social entrepreneurship at key gatherings work together to address an issue. The Legend of the Vagabond King of Lagos support a new generation of narrative globally including the Skoll World Forum film and interactive, transmedia, and and the Sundance Film Festival. Stories of Change is a partnership In this scripted feature film, a Nigerian Filmmakers alone would struggle to community activist unearths a vast sum of nonfiction projects. between Sundance Institute and the Skoll corruption money and sets out to use the dirty achieve this impact, even with the best Foundation. We support collaborations cash to upgrade his community. However, he intentions in the world. It is up to us, among independent storytellers working inadvertently creates many more problems as a program, to help coordinate the than he solves. 22 $2.2M in nonfiction, fiction, and emerging various players involved — from the — storytelling platforms — like VR and “Highlights From the Stories of Change ​Portfolio Completed community affected by the change, to Projects.” Sundance Institute, www.sundance.org/pdf/SOC- films funded in production highlights-films-and-impact.pdf. AR — and social entrepreneurs. The the activists and decision-makers in the grant dollars goal is to create independent media region; from the impact producers, to — projects and support the life cycle of the international audience that can help “Stories of Change: Social Entrepreneurship in 83 Focus Through Documentary.” Tomorrow Labs, $1.2M+ the project from inception to impact At the same time, many social influence Nigerian government policy. 72 2019, labs.tomorrowpartners.com/partners/. through grants and strategic advice. It’s entrepreneurs working on complex issues awarded in grants a collaborative model that leverages the do not grasp how entertainment can Alongside fictional treatments like participating participating — The Bigger Picture respective talents of the filmmaker and intervene in culture and society. They these, we carry on telling factual filmmakers social entrepreneurs “Stories of Change: Social Entrepreneurship in Focus Through Documentary.” Tomorrow Labs, the social entrepreneur. The idea is that may not recognize that an independent stories. With The Pushouts, a 2019, labs.tomorrowpartners.com/partners/. — the filmmaker tells a great story and the film has value that’s deeper and more documentary about a former Oakland “Stories Of Change Dashboard.” Sundance Institute, 2019, www.sundance.org/support/storiesofchange/dashboard.

170 The State of SIE 171 about issues we felt were important. We a desire in people to get involved, and by Doc Society or Impact Partners — The Truth wanted our movies to spark a desire influenced policy and public opinion. and seek alternative forms of online Landfill Harmonic in audiences to get involved. Creative Visions incubated many of distribution, making it easier than ever Landfill Harmonic follows the Recycled these high-impact SIE film projects. before to get the stories to audiences. Shall Set Orchestra of Cateura, a Paraguayan In 1993 Dan Eldon, our 22-year-old musical group that plays instruments son and brother, was killed while Know it won’t be easy, To those who wish to venture into the made entirely out of garbage. When their story goes viral, the orchestra is catapulted working as a Reuters photojournalist but at least you’ll never world of social impact entertainment, into the global spotlight. However, when a Us Free Dying to Tell the Story award nominations in Somalia. Determined to raise be bored! we advise that before you start, figure natural disaster strikes their country, music awareness of the challenges faced by out the impact you want to create. director Favio must find a way to keep the orchestra intact and provide a source of Creative Visions incubates frontline journalists, we moved to Los Clarity counts. Check out organizations hope for their town. Angeles to make a film on the subject. that could benefit from your film and and nurtures social impact — Together, as a mother-daughter team, Social impact filmmakers face a myriad explore all the possible outlets that may “Landfill Harmonic.” Creative Visions, creativeactivist. stories. Kathy Eldon and we pitched an idea we had developed of challenges as they endeavor to be interested in what you produce. com/index.php/film/119-landfill-harmonic. 1 Emmy® Award 1 Independent 1 DGA Award Amy Eldon Turteltaub about Dan and his friends to TBS. In Spirit Award give voice to stories that deserve to be Then, reach out to others who have 1997 our documentary, Dying to Tell heard — stories that identify problems traveled the same road and learn from — helm the organization that the Story, premiered at the United “Dying to Tell the Story (1998): Awards.” that need to be solved. Over the past their mistakes. Know it won’t be easy, IMDb, 2019, www.imdb.com/title/

Nations. Accompanied by an innovative tt0183024/awards?ref_=tt_awd. few years, we have seen an increase in but at least you’ll never be bored! empowers filmmakers to Dying to Tell the Story website and a high school curriculum, the number of festivals that showcase Dan Eldon traveled to Somalia in 1992 tell stories that matter. the film was distributed to 90 countries cause-oriented films — festivals like As you venture forth, we suggest that and took powerful photographs of the and triggered major public awareness One such project, Living on One True/False, Human Rights Watch you tape these words by Winston famine and war in the country. In 1993, of the true cost of this type of work, Dollar, followed four friends as they Film Festival, and the big staples like Churchill onto your refrigerator and he was asked to document the aftermath of a US raid that was responsible for the and of the huge risks facing freelance experienced what it was like to live Sundance. Filmmakers can also now read them every day: “Never give in, deaths of 70 people. Eldon and four other journalists in the field. on $1 a day for two months in rural apply to a growing number of funding never give in, never, never, never.” Your journalists went to the site, where they Guatemala. While there, the group circles for support — like those offered stories matter. Your audience awaits. were attacked by an outraged mob. Four journalists including Eldon were killed. After producing four more films released a series of short YouTube Kathy Eldon Only one wounded reporter escaped. complete with websites, curricula, videos that went on to receive over Dan Eldon’s sister Amy traveled to and social impact campaigns for 700,000 views collectively. The Somalia and interviewed other risk-taking Journalist, author, major networks, we decided to use positive response to those videos journalists and photographers such as producer / founder, Creative Activist Program Grants Martin Bell and Christiane Amanpour. our nonprofit to aid other aspiring inspired the friends to make an Creative Visions Creative Visions Creative Visions is an organization made The Creative Activist Program Dying to Tell the Story is the resulting Foundation filmmakers. We wanted to help develop award-winning feature film to raise up of “creative activists” whose mission (CAP) has incubated over 360 film – a portrait of an extraordinary man, and distribute their films and manage awareness about extreme poverty it is to spark awareness of critical issues projects and productions, from and insight into why journalists’ coverage of international conflicts is so crucial and impact campaigns that would ignite and to engage youth around the same and ignite change through impact, documentaries and feature films media, art and technology. distributed on major networks, why they risk their lives to do it. change around them. Today, Creative issue. The team also partnered with to photography exhibitions and — Visions is globally recognized for its Whole Planet Foundation and Mayan Chamberlain, Ryan, et al. Dying to Tell the Story theater projects that fuel a national Curriculum Guide. Journeys in Film, 2014, p. 9. Amy Eldon accelerator and incubator programs Families in a social impact campaign conversation about pressing issues. that offer fiscal sponsorship, mentoring, to help support two great causes: CAP projects have created Turteltaub significant impact and policy funding assistance, and development providing microfinance loans to those Creative activist change in the areas of human and production resources. in need, and providing educational rights, women and girls’ producer, author 360+ 35 Living on One Dollar opportunities to the residents of Peña projects countries empowerment, the environment, and co-founder of and youth and education. Living on One Dollar is a film and tool Over the past few years we have Blanca, the film’s location. Ultimately, Creative Visions — to help empower the extreme poor to Foundation prioritized supporting social impact supporters of the campaign funded “Programs – Creative Activist Program.” Creative take the first steps out of poverty. The Visions, 2018, www.creativevisions.org/creative- film follows the story of four young friends stories focused on refugees and 1,600 microfinance loans totaling visions-creative-activist-program. who set out to live on just one dollar a immigration, women and girls’ $338,009, while a further $350,000 day for eight weeks in rural Guatemala. Since we launched our nonprofit empowerment, and the environment. was raised to help support educational 110M 1B+ They battle hunger, parasites and the organization, Creative Visions, This year we are launching a Media initiatives including the Peña Blanca views reach realization that there are no easy answers. Yet, the generosity and strength of Rosa, a Impact Fund that will offer funding Community Development Fund and we have supported more than — 20-year-old woman, and Chino, a 12-year- to emerging, high-potential filmmakers, the Rosa Scholarship Fund. “About.” Creative Visions, 2018, www.creativevisions. old boy gives them resilient hope that there 360 projects and productions org/about-creative-visions-foundation-malibu. and provide emergency funding to are effective ways to make a difference. in 35 countries, impacting more “Home.” Creative Visions, 2018, creativevisions.org/. — enable storytellers to produce critical We also incubated Landfill Harmonic, “Programs – CV Productions.” Creative Visions, 2018, “Living on One Dollar – The Film.” Living on One than 100 million people. creativevisions.org/creative-visions-productions-malibu-ca. and timely stories. a film about a group of Paraguayan Dollar, livingonone.org/livingonone/film/. “Programs – The Network.” Creative Visions, 2018, students from the Cateura landfill who creativevisions.org/creative-activist-network-malibu-ca. We focus on supporting “creative Although it’s notoriously difficult played instruments made from trash. “Programs – Fiscal Sponsorship.” Creative Visions, 2018, creativevisions.org/creative- activists” who use media and the arts to measure the impact of social The film has stimulated other landfill visions-fiscal-sponsorship-program. to tell stories that will raise awareness impact entertainment, over the past communities to create more sustainable of critical issues and ignite positive two decades we have seen a major and environmental practices. Many change. shift in public awareness around children from the Cateura landfill have pressing social, environmental, and learned to play music, and the Recycled The foundation for our organization was humanitarian causes. We believe this is Orchestra of Cateura has performed to The Bigger Picture set in 1990 when we founded Creative due to a surge in the number of social audiences around the world, increasing Visions Productions in London. From impact films that have raised awareness awareness of the challenges faced the outset our goal was to make films around important causes, triggered by its members.

172 The State of SIE 173 The idea of having impact on social lead the market in storytelling innovation, culture so that it reflects the diversity of Altering justice topics through popular culture and I believe that it is critical to better the American people. Its list of grantees JustFilms has taken on a new momentum, as some value the role the public, foundation, for summer 2018 included 5050by2020 — In 2011, the day before the start of the foundations strive to harness the power and nonprofit sectors play in supporting a strategic initiative launched by TIME’S Perceptions Sundance Film Festival, the Ford Foundation of the entertainment industry as a part announced a five-year, $50M initiative to filmmakers who become the talent sought UP — Ava DuVernay’s ARRAY Alliance, and of a larger set of integrated approaches. help find and support a new generation of by the entertainment industry. IllumiNative, to name just a few. filmmakers whose works address urgent 5050by2020 In particular, strategies involving social issues. Cara Mertes With independent documentary as Supporting these groundbreaking As an emergent activist strategy discusses commercial film and television hold great The JustFilms initiative was planned to invest of the recently launched TIME’S how JustFilms combats promise, but foundations must also stay $10M/year for the next five years to support its core mandate, perhaps the most initiatives since their inception is part UP, 5050by2020 – which seeks focused on where the need is greatest and expand the community of filmmakers interesting evolution under my of an effort to build capacity, expertise, to achieve gender parity by the and mediamakers around the world focused directorship has been that JustFilms and impact by aligning social justice year 2020 – is galvanizing high- nonfiction storytelling and the intervention most strategic. on creating documentaries with passion level artists to interrogate structural challenges to help Ford Foundation is at the forefront of and purpose, but who often lack funding to has also become an incubator for a set leadership, philanthropy, entertainment, systems, challenge leadership, this exploration and many new initiatives realize their visions or reach audiences. of initiatives at the intersection of social and justice-oriented moving image and infuse social justice values into the content they create. create narratives that are being supported by JustFilms, Ford’s — justice efforts, creative documentary, creators who are helping to build the “Ford Foundation Launches $50 Million — signature moving image strategy. Fund for Next-Generation Documentary and entertainment for change. One momentum needed to guide a just “Summer 2018 Grant Recipients – 5050by2020.” transform history. Filmmakers.” Ford Foundation, 19 Jan. Pop Culture Collab, Pop Culture Collaborative, 2011, www.fordfoundation.org/the-latest such model is DocSociety’s Good Pitch, transition to more sustainable and popcollab.org/grants/summer-2018-grant- Ford Foundation has long had a /news/ford-foundation-launches- which has raised millions of dollars for equitable societies. recipients/5050by2020/. 50-million-fund-for-next-generation- commitment to independent cinematic documentary-filmmakers/. $50M social justice documentary and created documentary as the genre traditionally countless new partnerships across social We live in deeply challenging times seen as the most capable of providing justice movements, philanthropy, brands, which call for radical reimagining and transformative narratives that reflect lived to a “leave-behind” — something that government, and civil society. It has powerful approaches, and in designing reality. Launched in 2011, JustFilms is the brings resources back to the community, exponentially expanded the definition of strategies, I keep in mind that social latest and most ambitious iteration of this institution or individual that is the subject who can harness the power of nonfiction change processes are always human commitment. JustFilms’ mandate is to of their story. Examples of this range from for justice, and how they can do it better. processes. They are not linear or support nonfiction cinematic storytellers the implementation of a policy or process Good Pitch launched at Sundance Film predictable and, in many cases, they ARRAY Alliance around the world who center the voices that addresses the injustice depicted, or Festival in 2008, and is now being held are not fully quantifiable. Examples of Cara in locations around the world. social impact through documentary and Ava DuVernay launched the and experiences of those most affected even something as direct as funding to ARRAY Alliance to establish a Mertes by inequality. This requires a strong address the issue profiled. These qualities other forms of entertainment that show creative home for artists, activists, ecosystem, and in 2017, I used Ford’s start to define what I think of as social The Pop Culture Collaborative (PCC) clear cause and effect do exist, but they and audiences to come together Director of to create and experience stories multi-year funding approach called BUILD justice documentary, as distinct from is another exciting experiment. PCC is are not the rule. Rather, the essential JustFilms, that advance social change. Ford Foundation to launch the JustFilms Global BUILD nonfiction more broadly. a five-year, $25 million multi-foundation impact of moving image storytelling lies ARRAY Alliance amplifies stories Film Network. Working with staff in Ford’s effort with a mandate to connect in its ability to transform stereotypes and of underrepresented communities the work of social justice leaders with misconceptions, and reveal new facts by providing women filmmakers and regional offices, ultimately this network A recent Academy Award®-winning people of color with the resources will support 11 social justice documentary documentary that literally changed history entertainment changemakers and and perspectives that can fundamentally they need to ensure their diverse organizations around the world with a is an excellent example. Laura Poitras’ philanthropy. The PCC particularly change our understanding of the complex perspectives have a platform. Ford Foundation strategy $23 million, five-year commitment. The Citizenfour is about Edward Snowden and focuses on trying to shape popular issues of our age. — “Summer 2018 Grant Recipients – ARRAY rests on the five key drivers of cohort is exploring with JustFilms how the leaking of NSA surveillance activities, Alliance.” Pop Culture Collab, Pop Culture Collaborative, popcollab.org/grants/summer- inequality it perceives: persistent such a network, the first of its kind, can and it shifted the way the world thinks 2018-grant-recipients/array-alliance/. prejudice; cultural narratives strengthen creative nonfiction cinema at about privacy, technology, surveillance, that undermine fairness and a time when creative and free expression corporate practice, and government is being challenged widely. policy. In short, it redefined the forces at Citizenfour impact inclusion; unequal access to After Citizenfour’s release, Google CIGI-Ipsos Global Survey on work in the modern age. The film awoke a search results for “Edward Internet Security and Trust reached government; unfair rules of the global population to the emerging issue of Snowden” increased 450% and 23,000+ Internet users in 24 economy; and failure to protect individual rights, privacy, and security in a “NSA surveillance” increased 300%. countries during Fall 2014. Of those surveyed, 60% had heard of Edward public goods. networked age. After the film was released, Snowden. Of those, 39% had taken internet searches for “NSA surveillance” steps to protect their online privacy Following this, there is a generation Foundations must stay increased 300%, and Congress later and security as a result of his revelations. 64% of users were more of thought leaders, creatives, funders, focused on where the passed the USA Freedom Act in 2015 to concerned at the time of the study and social justice stakeholders who reform its surveillance programs. This is about online privacy than they were need is greatest and the compared to one year earlier. understand that culture itself has just one film out of the hundreds supported become a primary battleground for intervention most strategic. by JustFilms which has transformed IllumiNative gaining and maintaining the power entrenched social narratives. IllumiNative will use research to effect progressive social change, +300% and Native art and storytelling to harness, activate, and amplify and this demands new strategies. JustFilms is often an early funder in “NSA Surveillance” original Native content on multiple The principles of democracy are under In finding the right projects to fund, social impact documentaries, allowing pop culture platforms to bring duress around the world — therefore, JustFilms sets a high bar, seeking not filmmakers to develop their voice and about understanding, meaningful representation, and systemic popular cultural interventions also only “good stories, well told,” but to vision outside of commercial imperatives. “Edward Snowden” change. become part of a social justice reach further. JustFilms assesses the They then go on to find mainstream — +450% The Bigger Picture foundation’s strategy to disrupt systems transformative potential of the narrative, acclaim and success, working with “Summer 2018 Grant Recipients – IllumiNative.” — Pop Culture Collab, Pop Culture Collaborative, that reproduce inequality, modeling the its originality in aesthetic, the perspective entities like Netflix, HBO, CNN, PBS, BBC, Doc Impact Award 2016 – Citizenfour. popcollab.org/grants/summer-2018-grant- Doc Impact Award, 2016, impactguide. recipients/illuminative/. values of justice, tolerance and equity. of the storytellers and the commitment Participant Media and more. These artists org/static/library/citizenfour.pdf.

174 The State of SIE 175 The next film I was involved in, Living in However, if the market doesn’t bear out help them by making films faster and frontier, and we still haven’t quite Pivotal Emergency, was an abysmal failure, but and they only return 20 cents on the by introducing the fiscal discipline of figured that out yet. Impact Partners it taught me a lot. We were working with dollar, that’s still fine because it’s better equity into the process. By amortizing For the past 11 years Impact Partners a first-time filmmaker, we didn’t have the than zero. the risks, we can accelerate the flow of No one person can make and distribute Funding Film Fund has provided millions of proper contracts in place, it kept costing capital to these cultural entrepreneurs. a film, so we’re building communities that dollars in equity money to more than more, and we had to repeatedly go to the As for when things go wrong — we’re learn from each other. We tell potential 90 documentaries. investors to bail it out. We learned that we not afraid when that happens, nor That said, we tell our investors that investors that documentary film has Impact Partners have had multiple documentaires selected for Impact Partners was shouldn’t release large amounts of money do we want our filmmakers to be. if your primary motivation is pure profit, the unique ability to align with, and to Sundance each year. In 2018, selected born of funding models until the whole budget is raised and that Icarus is a great example of this. It began you’re likely in the wrong place. But if amplify, something that they already titles included Our New President, we must have systems in place that can as a film about doping in cycling and you’re looking to make a real difference care about — provided they work with about Trump’s Russian supporters, and Won’t You Be My Neighbor? that didn’t work. Geralyn hold filmmakers to account. turned into one about the largest doping in the world, then come aboard. We people that understand good storytelling. Dreyfous explains scandal in sports, with its key character, want to leverage all the other resources a , becoming a target for our investors can provide: distribution, For them, it boils down to a choice. 800 10 how looking to venture assassination by the Russian government. access to influential networks, even They can create the same back office Between 700 and 800 projects apply for Impact funding each year. capitalists gave them Some people may have pulled out when setting up screenings that can change in their foundations to search for suitable From those submissions Cogan and the stakes got so high, but we capitalized. policy. Their time and talents are films, staffing this for around $300,000 Dreyfous choose 10 to 12 projects to inspiration for their unique Documentary film, We got the Justice Department and ultimately worth more to us than their a year, or they can pay us $35,000 a support partially or in full. model of equity investing and by extension the Homeland Security involved, and we checks alone. year to cover our overhead. That way, got good legal counsel. Again, it was they draw upon our expertise and avoid $100K per member for social impact films. field of social impact our ability to pivot that allowed us to The fact is these kinds of social reinventing the wheel. They can test the Members are expected to invest entertainment, is one capitalize on an opportunity that many impact documentaries provide a huge waters and make sure any mistakes they a minimum of $100,000 of equity money each year in one or more of the of those areas where it others would have run from. public service. You have to remember make are not million-dollar mistakes but, selected titles. In many cases members that somebody spent three years and say, $25,000 mistakes. give significantly more money than makes sense to pool your Equity investing was seen as a million dollars making a film that suggested. Impact’s equity investments in a film range anywhere from $25,000 resources and your risk. controversial at first; we were accused you can see at a community screening Documentary film, and by extension to $2.25M. Recently the group decided of profiting off the backs of starving for free, or on Netflix, or at a theater the field of social impact entertainment, to fully fund Academy Award® nominees Geralyn artists. But as one of our founding for 10 dollars. That’s a lot of social is one of those areas where it makes sense Kirby Dick and ’s untitled documentary about sexual assault in Dreyfous members, the venture capitalist Jim innovation — it’s practically a miracle! to pool your resources and your risk. The Hollywood for seven figures. These early successes and failures led Swartz, has argued, filmmakers are But how do we get audiences to hear reward can be a story that changes the Founder, me, in 2007, to form Impact Partners essentially entrepreneurs — they spot about these films? The distribution and world and cuts through the noise and Film Center M Co-founder, Impact with Dan Cogan. By this point we had things before other people. We can the targeting of audiences are the next clutter like nothing else. $5 + Partners Film Fund realized that the system was truly In 2017, Impact spent $5M+ on various broken. We had to find a new model for films. Impact-supported films landed record-breaking deal at Sundance –

funding and producing these kinds of Netflix bought Icarus for $4.6M and Fox Born into Brothels: Calcutta’s Icarus awards Icarus impact Searchlight acquired Step for $4M. important documentaries. Red Light Kids awards I got into filmmaking in 2000 The Icarus protagonist, Dr. Nominations Wins — Nominations Wins Grigory Rodchenkov, and his Morfoot, Addie. “Documentary Patrons Impact with The Day My God Died. The act of making a documentary exposing of Russia’s state- Partners Make Splashes at Sundance.” Variety, 17 Jan. is in itself an entrepreneurial process. sponsored Olympic doping 2018, variety.com/2018/film/festivals/documentary- program led to the McLaren patrons-impact-partners-make-splashes-at- This was a time when films were starting You’re only as good as your ability to sundance-1202666068/. Report, “which concluded that 1 1 to be used as tools for social change, learn and to adapt — in other words, 1 1 more than 1,000 Russian athletes Academy Awards® and documentaries, such as Lee Hirsch’s to pivot. At Impact Partners, while we Academy Awards® across over 30 sports benefited Amandla, had begun to do well at the learned a lot on our own, we also take from state-sponsored doping between 2012 and 2015.” box office. But there was no infrastructure lessons from the masters of pivoting: In November 2017, the McLaren 1 Some of the films that Impact to build audiences for these films. venture capitalists. We’ve introduced 1 Report was confirmed as BAFTA® Awards Partners has funded include: Documentaries were being bought and sold a unique model of equity investing for DGA Awards accurate by the World American Promise for next to nothing, so there was no money social impact films that seeks to ensure Anti-Doping Agency, which determined Russia’s eligibility going into them, and they weren’t being that the money leaving the system is to participate in the upcoming (nominated for 2013 Academy distributed in a very imaginative way. ultimately replenished. Every film that 1 1 2018 Winter Olympics in 3 Award® for Documentary Feature) Emmy® Awards Icarus we make stands on the shoulders of Independent Spirit Awards PyeongChang. — Kick Like a Girl I realized something was seriously the ones before it. Ingle, Sean. “WADA Says Database Confirms Lioness McLaren Report on Russian Doping.” The Meet the Patels wrong with the system after releasing Guardian, 10 Nov. 2017, www.theguardian. No Impact Man Born into Brothels in 2004. This was an In the old model, you’d seek out a grant com/sport/2017/nov/10/wada-mclaren- 1 2 1 russia-doping. DGA Awards No Man’s Land HBO film that was eventually sold to from a foundation and try to make a The Cove Sundance Awards — (won the 2010 Academy Award® Netflix, where it did exceptionally well. It documentary that fit the foundation’s “Icarus (2017): Awards.” IMDb, — 2019, www.imdb.com/title/ for Documentary Feature) “Born Into Brothels: Calcutta’s had already won a Sundance Audience criteria. You’d be afraid of admitting tt6333060/?ref_=nv_sr_1. Red Light Kids (2004): Awards.” The Crash Reel Award and an Academy Award®, and when things went wrong. That’s the IMDb, 2019, www.imdb.com/title/ The Hunting Ground had taken $3.5 million at the box office. exact opposite of what we do at Impact tt0388789/awards?ref_=tt_awd. Who is Dayani Cristal? Won’t You Be My Neighbor? Yet the filmmakers saw only a $150,000 Partners. Instead of handing out grants, The Bigger Picture — return, and very nearly lost money on we tell the filmmakers that we’ll put up “Films.” Impact Partners, Impact Partners Film the project. We were left scratching our the money to complete this film but we Services LLC, 2019, impactpartnersfilm.com/films. heads; it just didn’t make sense. want it back, plus a certain percentage.

176 The State of SIE 177 strengthening the field by sharing advantage of a tipping point in the it comes to making an impact. As our Funding knowledge. One of those resources, issue. We try to find projects that are application process can take a while, Clemency statistics Fledgling’s Dimensions of Impact the Creative Media Dimension of Impact part of something much larger and could we offer another route for filmmakers 36,544 petitions were received In an attempt to apply lessons diagram, lays out the five ingredients be shown to policymakers, legislators who need to get their work out faster. the Future during the Obama years (2009– to efforts to measure the impact for SIE and reflects the way we assess or influential organizations. 2017) and 1,927 were granted. The Rapid Deployment Fund was of their work, The Fledgling Fund applications for funding. By providing created in response to our turbulent has identified “Dimensions of Impact” to use as a framework a framework for this kind of work, the In 2008, we funded a film about political climate, so that issues can to assess the projects they fund. A compelling story is at diagram is one of our most recognizable incarcerated victims of abuse as we be addressed more quickly than the the core of social impact contributions on this front and is still knew 13 states were looking at domestic normal funding process would allow. referred to today. violence legislation. Sin by Silence follows 36,544 entertainment, but as five members of the first inmate-initiated petitions 1,927 The initiative provides grants of $2,500 At the core of social impact entertainment group in the US prison system to help granted to $10,000 to support short nonfiction Diana Barrett explains, to Compelling is a compelling story — in essence, the abused women speak out and promote films or other visual stories that can Story increase its impact a film’s subject of a film. But it’s our belief that the a future free from domestic violence. be completed and distributed quickly. production value has to production value is just as important as The film shines a light on the women Sometimes we’re able to supply the Awareness the story, which is part of the reason why, as well as the abuse they suffered, and Obama years money overnight, though it tends to be equal to its subject in when selecting projects to fund, the first examines how that abuse contributed be within two weeks. For these projects — Engagement thing we look at is the footage. A film’s to them committing their crimes. “Clemency Statistics: Barack Obama.” The United States Department we are funding work before it has terms of quality. of Justice, 2018, www.justice.gov/pardon/clemency-statistics#obama. production value has to be equal to its begun, so we usually only work with Stronger subject in terms of quality. experienced filmmakers. Movement

Public perception of a subject is also Sin by Silence was sentenced to 15 years in prison Through our funding, our research, Social Change important, which is why awareness is From behind prison walls, Sin by Silence reveals in 2008. President Obama received and the other resources that we offer the lives of extraordinary women who advocate the second rung on our diagram. Social for a future free from domestic violence inside 36,000 requests for amnesty during online, we aim to provide the right impact films must shine a spotlight on California’s oldest women’s prisons. his tenure. Before leaving office, support at the right time for issues that The Fledgling Fund’s Rapid issues that have been neglected and Sin by Silence premiered at the Cleveland he granted almost 2,000 of these are poised for action. We believe film is Diana International Film Festival in March 2009. Story Deployment Fund need to be talked about. requests, many of which were related a language, and if you can speak it in The Fledgling Fund’s Rapid Story Barrett to mandatory minimum sentencing. front of the right people, it has the power Deployment Fund has awarded We also look for applicants that Shank was one of them, and she was to educate, engage, and mobilize. By $400,000 in grants, across 42 Founder projects, from its inception in have proven engagement with outside Sin by Silence was broadcast on released on March 22nd 2017. nurturing this language and those that and President, 2016, through December 2018. Fledgling Fund partners; they need to tell us who they’ve Discovery Channel and reached speak it well, we hope to see more work spoken to and how their film would help 2.2 million viewers. We helped provide Timing is an important factor when have a profound social effect. to advance that organization’s agenda. funding for social impact campaigns We also like to know how much money in the 13 states considering legislation. the filmmakers think they need to spend, In addition to 40 tour events, 427 host- 400,000 Financing a film is always if a project already has financial backing a-screening kits were ordered and there Stop the Violence Tour Stop the Violence difficult, especially in the social or not, and where else that backing were 258 events hosted on university The Stop the Violence community legislation change impact entertainment space. might be coming from. Time and time campuses. In the end, bills that would tour took Sin by Silence directly In California, two bills – the again we see that it’s the films that empower abuse survivors in court were into communities that needed Sin by Silence Bills (AB 593 & In 2017, Fledgling Fund provided While it has become easier to make have very strong partnerships with passed in several states. In California, to hear its message. AB 1593) – were championed by Assemblywoman Fiona more than $420,000 in Outreach a documentary film, both short form NGOs and nonprofits that tend to have two were even named the “Sin by Ma (D-San Francisco and and Engagement grant funding, and long form, many films with the the biggest impact. Silence Bills.” San Mateo Counties). spread across 20 documentary film projects. potential to really make a difference The two Sin by Silence Bills around an important issue never do so. As we want the films we support to have Raising the public’s awareness of were signed into California law 10 states visited in 2012 and became effective Our organization exists to increase the real-world effect, the outer rings on our an issue can have a profound effect. in January of 2013. chances that a well-made and compelling diagram explain how social impact work With the documentary The Sentence — film has significant outreach potential; needs to be part of a wider movement we wanted to highlight the issue of “Case Study: Sin by Silence.” The Fledgling Fund, www.thefledglingfund. that it can move the needle in a strategic in order to create social change. With mandatory minimum sentencing, org/impact-resources/sin-by-silence/. and sometimes measurable way. every film, we consider the subject very which most Americans don’t have a carefully and look to see if we can take clue about. This documentary tells 40 screenings So far, The Fledgling Fund has the story of Cynthia Shank, a woman — supported over 400 films and put $14 charged with conspiracy years after “Fledgling Provides Over $400,000 in Outreach and Engagement Funding in 2017.” The Fledgling million into the field. Each year, roughly she’d failed to report that her then- Fund, 21 Dec. 2017, www.thefledglingfund. The Sentence org/fledgling-provides-over-400000-in- 800 filmmakers apply to Fledgling for teenage boyfriend was dealing drugs. outreach-and-engagement-funding-in-2017/. First-time filmmaker Rudy Valdez’s The Sentence outreach funds and we generally consider “Rapid Story Deployment Fund – Highlights tells the story of his sister Cindy Shank, a mother 5,400 attendees and Lessons.” The Fledgling Fund, 20 Dec. funding when a film is at the rough cut of three who received a 15-year mandatory Mandatory minimum sentencing 2018, www.thefledglingfund.org/rapid-story- stage which allows us to assess the sentence for conspiracy charges related laws dictate that judges must sentence deployment-fund-highlights-and-lessons/. to her deceased ex-boyfriend’s crimes. The — quality and potential of the project. offenders to a minimum, specified “Case Study: Sin by Silence.” The documentary offers a look at the consequences Fledgling Fund, www.thefledglingfund. The Bigger Picture of mandatory minimum sentencing and received amount of time in jail for a specific org/impact-resources/sin-by-silence/. We also maintain an online library critical acclaim when it premiered at the 2018 crime. This meant that Shank — who had of impact resources in the hope of Sundance Film Festival. since married and had three children —

178 The State of SIE 179 and a chance to fundamentally shift the partners have produced more than Collisions then went on to back rooms from common Ford/Skoll grantees The Power of systems that create and maintain global 100 social entrepreneurship stories in in high-level nuclear non-proliferation who receive financial support, expertise, Collisions challenges like climate change and the last year, reaching a global audience meetings around the world, culminating and connections to ensure the highest Collisions is a VR project that takes place in poverty. Our efforts range from funding of over 50 million. with a screening at the UN prior to their likelihood of creating real impact. Partnerships the remote desert in Western Australia, home and convening, to collaborating and of indigenous elder Nyarri Morgan and the historic vote to ban nuclear weapons. Illustrative projects include a partnership storytelling. Partnerships are essential With film and storytelling organizations Martu tribe. Morgan recounts his profound first It then helped prompt Australian between Crisis Action, and the acclaimed contact with Western culture, and the dramatic for outsized impact, especially in the like Sundance and Doc Society, the work collision between his traditional world view and legislators to pass a budget funding documentary Last Men in Aleppo For Sandy Herz it’s clear social impact entertainment space. that emerges often falls into our second the cutting edge of modern technology. healthcare for aboriginal people exposed to protect civilian safety in conflict and third categories: engagement and — to nuclear tests in the 50s and 60s. zones, and the recently launched short that the most successful “The Film.” Collisions, www.collisionsvr.com/about-the-film. For us, storytelling is a crucial tool for impact. With these partners we focus on documentary What Counts that makes SIE projects bring together helping audiences see the world not just building storytelling capacity within social Having learned the lesson of the power the case with Health Leads for addressing multiple stakeholders. as it is, but as it could be. In addition entrepreneur organizations and supporting of collaboration, we then joined forces social determinants of health, like housing to creating our own films about social collaborations between individual social went on to raise more than $21 million with Just Films/Ford Foundation and and food. What’s more, creating entrepreneurs, the Skoll Foundation entrepreneurs and filmmakers. for the organization through targeted Doc Society to launch FlexFund, to lasting change can often funds storytelling about and in support screenings across the country. support entrepreneurs and filmmakers Our partnerships, our experiences, of social entrepreneurs through a curated with existing projects poised for impact. our successes and our failures have made mean joining forces with network of partners. Each partnership The Emmy® Award-winning Collisions There are now eight FlexFund initiatives one thing clear: it’s really hard to predict fits roughly into one of three categories, The Skoll Foundation has invested is an example that found success in which projects will gain the most traction, unlikely allies. approximately $470 million and we like to think of these relationships worldwide, including presenting the policy arena. This VR film follows an and for those that do, it takes everyone as forming a funnel-like continuum the Skoll Award to 128 social indigenous elder of Western Australia’s pushing together to maximize impact. for social change. These categories entrepreneurs and 106 organizations Martu tribe as he recounts his experience Open Heart My advice is to take risks and double- on five continents. are: raising awareness around social witnessing a nuclear test explosion in the Open Heart is the story of eight Rwandan children, down on momentum when it happens. afflicted with rheumatic heart disease, who leave entrepreneurs and their potential to 1950s. Director Lynette Wallworth and their families and embark on a life-or-death journey Not everything will succeed, but if we drive transformative change; targeted $470 million producer Nicole Newnham premiered to the Sudanese hospital, the Salam Center, which can recognize the early signs of uptake, audience engagement with social the film in 2016 at the World Economic is the only facility in Africa capable of high- collaborate, and commit to impact, we standard cardiac surgery, free of charge. Sandy entrepreneurs; and driving impact on the Forum in Davos, the Sundance Film can continue to move the needle on the — — issues as a result of that engagement. Festival and the Skoll World Forum. “Skoll | Open Heart.” Skoll Foundation, skoll.org/open-heart/. problems facing us today. Herz “Stories Of Change.” Sundance Institute, www.sundance.org/support/storiesofchange. Director of Global Partnerships,

Skoll Foundation Bending the Arc For example, our Sundance Stories Bending the Arc tells the story of Dr. Paul Collisions inspiring change Skoll World Forum of Change partnership connects Open Heart award nominations Farmer, Dr. Jim Yong Kim, activist Ophelia Collisions has provoked meaningful The Skoll World Forum is an annual Dahl, Todd McCormack, and investor Thomas independent storytellers with social change on a global level, forcing three-day-long congregation in White and the movement they started in entrepreneurs and supports the creation leaders to reconsider the effect of Oxford of nearly 1,000 distinguished At its heart, the field of social 1980s Haiti that changed global health policies on the environment and delegates from the social, finance, forever. The group set out to treat people of compelling SIE film and media projects impact entertainment is a health of the earth. Screenings private, and public sectors, where who had been abandoned by the health that result from those connections. have been held for decision they can learn about the latest models collaborative space. system, especially those in poor or rural Since 2008, Sundance has hosted 35 makers at the Trimble Forum for for change across a range of issues areas. They moved to Peru, then to Rwanda, 1 Academy Award® 1 International Documentary convenings between filmmakers and Disarmament in Washington, D.C., and engage with leading thinkers Association Award fighting against deadly diseases like HIV/ the Comprehensive Test Ban Treaty and doers on critical questions, For our projects to bring about lasting AIDS and tuberculosis. Against official World social entrepreneurs and funded 49 meetings in Vienna, the Climate challenges, and opportunities in — change in the world, we need to join Health Organization policy, they treated film projects, 29 of which are complete Action Summit in Washington, global systems change. “Open Heart (2013): Awards.” IMDb, 2019, www.imdb. patients dying of a fatal TB epidemic and com/title/tt2348322/awards?ref_=tt_ql_op_1. forces with unlikely allies, develop and 14 still in progress. One of Stories D.C. and the UN General Assembly consequently became the first doctors to meetings in New York. Viewers of this trust, share control, and build toward treat patients in a rural setting with full of Change’s standout successes is the film represent some of the world’s opportunities for mutual benefit. This courses of antiretrovirals. documentary Open Heart — a short major nuclear powers, heads of is precisely why the most successful — film about eight Rwandan children with state, heads of industry, celebrities “About Bending the Arc.” Bending the Arc, and more including the President SIE projects tend to have multiple bendingthearcfilm.com/about/. rheumatic heart disease who must fly to of Argentina and the funders and stakeholders. Everyone Sudan without their parents for high-risk King of Belgium, cultural brings something different to the and potentially life-saving surgery. Open leaders including will.i.am, Olafur Eliasson table — from funding, networks and Our broadcast media partners — like Heart was nominated for an Academy and Yo-Yo Ma, as well experience, to impact expertise and NPR, Public Radio International, BBC, Award® in 2013, which prompted the as a large number of platforms that reach new audiences — and PBS NewsHour — tend to fit into Rwandan Minister of Health to make government ministers. — “Skoll | About the Skoll World Forum.” Skoll all of which are necessary for success. the first category. These institutions a commitment to eradicate rheumatic ­— Foundation, skoll.org/skoll-world-forum/about/. “Landmark VR Film COLLISIONS reach millions of people through their heart disease in her country. Snags Emmy® for Outstanding New Approaches: Documentary.” As Director of Global Partnerships at reporting, and we support their coverage Business Wire, 9 Oct. 2017, the Skoll Foundation, I work to ensure of social entrepreneurs to create Bending the Arc — another Stories www.businesswire.com/ news/home/20171009005251/ we engage the right partners to drive awareness about social entrepreneurs’ of Change documentary project — en/Landmark-VR-Film-COLLISIONS- large-scale social change by investing innovations. Editorial independence follows the struggles of Boston-based in, connecting, and celebrating social is key for journalistic partners, so we nonprofit Partners In Health as it works entrepreneurs solving the world’s most focus on the number of stories, the size against established global health The Bigger Picture pressing problems. We focus on social of the reach, and the demographics forces to make quality healthcare a entrepreneurs because we believe they of audiences, rather than on specific human right. The film premiered at the offer society a new way of operating, outcomes. In total, Skoll broadcast Sundance Film Festival in 2017 and

180 The State of SIE 181 distributors, the partners, the producers associating a film with an impact When I think of some of the projects end predatory fees on prison phone calls. Amplifying — what their impact goals are. Usually, campaign, now people are starting I’m most proud to have be involved In many cases, these fees were forcing Lion a filmmaker has a sense of the change to see that it’s an opportunity, not a with, I always think of Ava DuVernay’s families to choose between speaking to Five-year-old Saroo gets lost on a train which they want to see happen, whether it is liability. We’re getting press outside Middle of Nowhere, which I worked on their loved ones and purchasing essentials Impact takes him thousands of miles across India, legislation change, behavior change, the review pages — stories about away from home and family. Saroo must learn during my tenure at Participant Media. like buying groceries. or changing (sometimes even opening) communities using films to create to survive alone in Kolkata, before ultimately This beautiful narrative film is about being adopted by an Australian couple. hearts and minds. At this stage it’s change. It’s helping the bottom line a resilient woman whose life is turned So, instead of creating our own social Partnerships are imperative Twenty years later, armed with only a handful also essential to be honest about the at a time when breaking through has of memories and a revolutionary technology upside down when her husband is impact campaign, we joined forces to creating change. campaign’s budget and the time we never been more difficult. In today’s known as Google Earth, he sets out to find his incarcerated. Through the course of my with the Phone Justice initiative already lost family and return to his first home. Wendy Cohen explains have together, so we can be honest world, your project is competing not research, I discovered the Campaign underway. We arranged for Ava to speak about what we can do. Money isn’t just with every film and TV series ever for Prison Phone Justice — conceived by at private screenings for commissioners at the importance of impact always the key to making an impact, made, but with everything on the Malkia Cyril’s Center for Media Justice the Federal Communications Commission campaigns to making but you have to be realistic about internet as well. Through this model help children — just like Saroo — by — which was already in motion trying to (FCC), and we joined the Center for the team it takes to bring your ideas of “Impact Distribution,” we can supporting extraordinary organizations Media Justice at Capitol Hill to use the a difference. to life. Perhaps most important is demonstrate very specifically that working directly with children in India. film to galvanize politicians into taking creating a film, a story, that is high- we’re bringing audiences directly to Here’s how: www.lionmovie.com” action around the issue. Ultimately, quality, engaging, and well-told. If the your film and driving greater change. See-Saw Films partnered with this combined pressure led to the FCC The Charity Network to launch community you’re hoping to engage We raised over $650,000 in donations #LionHeart, which provided financial capping phone rates and fees. It was a loves your movie, you will likely have Audiences really are eager to do things from audiences who saw the film in support to the 11M+ children who perfect example of how a film can play a successful campaign. much more meaningful than just clicking theaters and on Netflix alone. That live on the streets of India. The a specific role in accelerating change. many nonprofit organizations that “like” on Facebook. We know this is true money is going to three grassroots #LionHeart supported included for millennials and Gen Zers in particular. organizations in India to help make Railway Children, a charity that It’s important to remember that change We focus on leaving the audience with railway stations safer for children — works with kids living on the streets doesn’t happen in isolation. And this is Middle of Nowhere and railway stations to something powerful they can do the because that’s where so many go prevent them from being why we believe the earlier you can share When her husband is sentenced to eight years exploited or abused. in prison, Ruby drops out of medical school moment the movie ends. missing. These funds supported 24- your film and form these partnerships, in order to focus on her husband’s well-being hour staffed help desks looking out for — the better. You might have a clear vision Lang, Brent. “‘Lion’ Launches 11M+ Wendy while he’s incarcerated – leading her on a missing children, and a new office for Social Impact Campaign to Help for the impact you want to have, but journey of self-discovery in the process. India’s dedicated hotline for missing kids, Children in India (EXCLUSIVE).” more often than not, it’s only with the Cohen Variety, 22 Nov. 2016, variety. children Middle of Nowhere’s social with additional volunteers and workers com/2016/film/news/lion-heart- support of the right partners that you’ll President of impact campaign linked campaign-india-1201924715/. available to answer any calls. be able to achieve it. Picture Motion audiences with ways to petition Once we have clear goals from the for an end to predatory prison stakeholders, we dive in and learn phone rates. Participant’s social impact campaign site features everything about the issue at hand an online petition co-sponsored by the Center for Media Justice, at this moment in time. We think of to Federal Communications ourselves as the experts at finding the Lion box office Middle of Nowhere awards Lion awards Independent film is anything Commission Chairman experts. We’ll make phone calls to the Genachowski urging passage Nominations Wins Nominations Wins but independent. If your nonprofits, activists, professors — and of the Wright Petition CC Docket goal in making your film we do a lot of listening. Who is already No. 96–128 to regulate the cost of phone calls from prisons and $140M+ is to drive meaningful and working on this issue? Where can the establish benchmark rates no Worldwide box office memorable change, you’re film make the most impact? Who are higher than $0.25 per minute 2 1 6 the people who might think differently for collect calls. Gotham Awards Academy Awards® going to need a lot of help — Domestic total gross: if they experience this film? Those “’Middle Of Nowhere’ Social Action to Link $51,738,905 and strong partnerships. phone calls and meetings are the Audiences With Ways to Urge an End to Predatory Prison Phone Rates.” Participant Foreign total gross: most important part of our job. Media, Oct. 2012, www.participantmedia. 1 5 2 $88,574,023 com/2012/10/middle-nowhere-social-action- Humanitas Prize BAFTA® Awards You have to find productive and link-audiences-ways-urge-end-predatory- prison-phone-rates. Limited opening weekend: rewarding ways to get the film in front This is where we become the bridge- $123,360 of the community you want to impact. builders, because now we understand Wide opening weekend: And that’s where we come in. the goals and intentions of both sides. 4 1 4 $2,073,433 We never just ask a partner to promote Lion is a great example of this. The Independent Spirit Awards Golden Globe® Awards Widest release: Picture Motion, and companies like a film and sell tickets for us; we make producers came to us very early in their 1,802 theaters us, are known as impact consultants sure that we are helping them meet their process and asked, “How can this film or producers — but I like to think of us goals as well. How can the film support make a difference in the lives of children In release: 2 1 2 1 168 days/24 weeks as bridge-builders. If you imagine a their strategy? Can they be involved in who go missing in India?” We created Sundance Awards DGA Awards Venn diagram of the film world and the the press around the movie? Can they a landscape report by researching — — — “Middle of Nowhere (2012): Awards.” “Lion (2016): Awards.” IMDb, 2019, nonprofit, community-organizing world, be speakers at events? Can their current and engaged grassroots organizations “Lion.” Box Office Mojo, IMDb. IMDb, 2019, www.imdb.com/title/ www.imdb.com/title/tt3741834/ com, Inc., www.boxofficemojo. we sit right in the middle. We make sure initiatives help us answer the question working on the ground in India and tt1211890/awards?ref_=tt_awd. awards?ref_=tt_awd. com/movies/?id=lion.htm. a film has the largest possible audience about what audiences can do after they learned what they most need are funds. and makes the greatest possible impact. see the film? Partnerships only work One of the things we did was put a The Bigger Picture when they are mutually beneficial. card at the end of the movie before the We start every project by asking all of credits that said, “Over 80,000 children the stakeholders — the filmmakers, the Where there was once a fear of go missing in India each year. You can

182 The State of SIE 183 April 15–19, 2019 June 9–16, 2019 October, 2019 Convenings March 2019 TED Conference Encounters Film Festival Fast Company Innovation Festival December 2019 TED, Vancouver, Canada Encounters, Cape Town and Fast Company, New York, NY ted2019.ted.com/?ted-conf Johannesberg, South Africa events.festival.fastcompany.com March 1–2, 2019 December, 2019 Calendar encounters.co.za Story Movements April 25 – May 5, 2019 October, 2019 IDA Documentary Awards American University Center for Media Hot Docs Canadian International June 17–19, 2019 Social Justice Film Festival International Documentary The SIE landscape is vast and ever & Social Impact, Washington, D.C. Documentary Festival Games for Change Festival Social Justice Film Festival, Association, Los Angeles, CA changing. As we built this report, we cmsimpact.org/event/story-movements-2019 Hot Docs, Toronto, Canada Games for Change, New York, NY Seattle, WA documentary.org/awards2018 began the process of putting together a hotdocs.ca/p festival.gamesforchange.org socialjusticefilmfestival.org list of convenings within the social impact March 8, 2019 entertainment space. The following Spark Change Summit April 29 – May 2, 2019 June 19–23, 2019 October, 2019 calendar is only a preliminary snapshot The Skoll Center for Social Impact Milken Institute Global Conference AFI Docs Women in Entertainment Other notable events of events and meant to be a jumping off Entertainment, Creative Visions and Milken Institute, Los Angeles, CA , Annual Summit point for anyone looking to connect with Participant Media, Los Angeles, CA milkeninstitute.org/events/conferences/ Washington, D.C. Women in Entertainment, others within the entertainment industry sparkchangesummit.com global-conference/2019 afi.com/afidocs/default.aspx Los Angeles, CA Agents of Change Summit for whom social change is the primary womeninentertainment.com/summit Agents of Change, San Diego, CA March 8–13, 2019 June 20–29, 2019 concern. To help us build this further or agentsofchangesummit.com correct anything we may have missed, SXSW Social and Aspen Ideas Festival October 2–3, 2019 visit www.thestateofsie.com Global Impact Track May 2019 The Aspen Institute & The Atlantic, Future of StoryTelling Summit Define American Film Festival SXSW, Austin, TX Aspen, CO Future of StoryTelling, New York, NY Define American, TBD sxsw.com/conference/social-and-global-impact aspenideas.org futureofstorytelling.org/summit defineamerican.com/filmfest May, 2019 January 2019 March 12, 2019 Webby Awards October 9–13, 2019 ForbesLive Events Good Pitch Local International Academy of Digital Reelworld Film Festival Forbes, Various Cities Worldwide Doc Society, Karnataka, India Arts and Sciences, New York, NY September 2019 Reelworld, Toronto, Canada forbes.com/forbes-live/about-forbeslive January 24 – February 3, 2019 goodpitch.org/events/gplka18 webbyawards.com reelworld.ca Sundance Film Festival Getting Real Sundance Institute, Park City, UT March 15–21, 2019 May 4, 2019 September, 2019 International Documentary sundance.org/festivals/sundance-film-festival Socially Relevant Film Festival GLAAD Media Awards Mashable Social Good Summit Association, Los Angeles, CA Socially Relevant Film Festival, GLAAD, New York, NY Mashable, New York, NY November 2019 documentary.org/gettingreal18 January 25–31, 2019 New York, NY glaad.org/mediaawards/events mashable.com/sgs/ Slamdance Film Festival ratedsrfilms.org Human Rights Watch Film Festival Slamdance, Park City, UT May 14–25, 2019 September, 2019 November, 2019 Humans Rights Watch, Various March 20–31, 2019 showcase.slamdance.com/film-festival Cannes Film Festival Media for Social Impact Summit AFI Fest Cities Worldwide CPH: DOX Festival de Cannes, France PVBLIC, New York, NY American Film Institute, ff.hrw.org Copenhagen International festival-cannes.com/en pvblic.org/mediaforsocialimpact Los Angeles, CA Documentary Film Festival, afi.com/afifest/default.aspx Media Impact Forum February 2019 Copenhagen, Denmark May 29–30, 2019 September 5, 2019 Media Impact Funders, TBD cphdox.dk/en/ Environmental Media Good Pitch Indonesia November, 2019 mediaimpactfunders.org/events Association Impact Summit Doc Society, Jakarta, Indonesia Variety Inclusion Summit February 5–8, 2019 Environmental Media Association, goodpitch.org/events/gpid19 Variety, Los Angeles, CA TEDWomen Frank Los Angeles, CA events.variety.com TED, TBD September 21–27, 2019 University of Florida, Gainesville, FL April 2019 green4ema.org/impact2019 ted.com/attend/conferences/ special-events/tedwomen frank.jou.ufl.edu Jackson Hole Wildlife Film Festival November 20 – December 1, 2019 & Conservation Summit IDFA February 6–8, 2019 April 4–14, 2019 Jackson Hole Wild, Jackson Hole, WY International Documentary MAKERS Conference It’s All True International June 2019 jhfestival.org Film Festival Amsterdam (IDFA), MAKERS, Southern CA Documentary Film Festival Amsterdam, Netherlands makers.com/conference Government of the State of São idfa.nl/en/ Paulo and Itaú Ministry of Culture, June, 2019 February 7–17, 2019 São Paulo and Rio de Janeiro, Brazil SmartPhilm Fest October 2019 Berlin International Film Festival etudoverdade.com.br/en/home SmartPhilm, Washington, D.C. Berlinale, Berlin, smartphilm.com April 9–12, 2019 October, 2019 berlinale.de/en/HomePage.html Skoll World Forum June 6–11, 2019 BFI London Film Festival February 28 – March 3, 2019 The Skoll Foundation, Sheffield Doc/Fest British Film Institute, London, England True/False Film Fest Oxford, England Sheffield Doc/Fest, Sheffield, whatson.bfi.org.uk/lff/Online/default.asp Calendar True/False, Columbia, MO skoll.org/skoll-world-forum England truefalse.org sheffdocfest.com

185 184 The State of SIE Credits & Thanks

Report team Production

Produced by The Skoll Center for Social Designed and produced by © 2019 Regents of the University Impact Entertainment at UCLA TFT Human After All of California. All rights reserved. Peter Bisanz, Report & Project Director www.humanafterall.co.uk Laura Herb, Project Manager The image of the Golden Shelby Kovant, Project Coordinator Writers Globe® statuette is used with Adrian Pennington permission of the Hollywood Consultant Ann Brady Foreign Press Association. Emily Verellen Strom Ferdinand Simon The Golden Globe® statuette is Grace Ryan Stewart trademark and copyright HFPA. Data consultants Ian Wylie Andy Morris, Director of Strategy Jacob Denno The Academy Award® statuette & Research, GOOD Media Group James Liddy is copyright Academy of Motion Marchela Iahdjian, Project Manager, John Dunning Picture Arts and Sciences® GOOD Media Group John Pollack Navitri Putri Guillaume, Ph.D. Jonathan Crocker This report is manufactured Melody Mohebi, Ph.D. Jordan Riefe in accordance with ISO certified Holly Seely, M.A. ’19 Joseph Walsh standards for environmental, Natalie R. George, M.A. Kate Hollowood quality and energy management. Laura Kressly Research students Liz Bennett Made from FSC® certified and Jane Lee Neil Arun traceable pulp sources. Rishi Guné Kelly Antonia Thornton Tom Wiggins Amanda Hayes Adriana Santorelli

Dean Teri Schwartz and Peter Bisanz would like to give special thanks to: Jeff Skoll David Linde Lindsey Spindle Holly Gordon Bonnie Abaunza Lynn Hirshfield Andrew Stewart Amanda Chen Eric Esrailian, M.D., M.P.H. Alan Ladd, Jr. Bill and Judith Moyers Patrick J. Flood

Jennifer Sargent-Clark The Skoll Center for SIE at UCLA TFT serves Jane and Vincent Firth to advance the role of entertainment and Ken Sunshine and the Sunshine Sachs team performing arts to inspire and drive social change. Its mission is to establish, define and Marian Koltai-Levine and PMK•BNC foster the new field of social impact entertainment, Human After All and serve as a resource for students, practitioners, UCLA School of Theater, Film and Television and organizations in this emerging ecosystem. Methodology To explore the digital version of the report (complete with interactive map), find out more about our work and hear about upcoming events visit www.thestateofsie.com

186 The State of SIE