www.SHOOTonline.com August/September 2020 Film Commissions: Production 21 The Road Chat Room: Lawrence Sher, ASC 25 To Emmy Series Part 13, Page 4 Top Ten Music Tracks Chart 26 From top left, clockwise: Scenes from Hollywood, The Marvelous Mrs. Maisel, Becoming, The Crown, Will & Grace, and Watchmen. Cinematographers & Cameras 28 Agency Mid-year Report Card 14 | From Left Anh-Thu Le, Jim Elliott, Amy Wertheimer, Diego de la Maza TO GET CONNECTED EMMY® NOMINATIONS INCLUDING OUTSTANDING DRAMA SERIES OUTSTANDING DIRECTING FOR A DRAMA SERIES OUTSTANDING DIRECTING FOR A DRAMA SERIES “FIRE PINK” | ALIK SAKHAROV “SU CASA ES MI CASA” | BEN SEMANOFF “★★★★ THE DIRECTION KEEPS THINGS AT A HIGH POINT OF TENSION.” THE INDEPENDENT FYC.NETFLIX.COM SHOOT MAGAZINE, COVER 2 REVISION 1 NETFLIX: OZARK PUB DATE: 08/10/20 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production August/September 2020 spot.com.mentary By Robert Goldrich Volume 61 • Number 3 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Bystanders Beware Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor During last month’s and professional circles so that more peo- to deciding who gets into these favored Robert Goldrich 203.227.1699 ext 702 [email protected] annual PROMAX con- ple of different backgrounds and races are schools. Invariably people of color and the ADVERTISING ference, held virtually included. More people currently in your socioeconomically disadvantaged gener- Digital & Print Rates & Information [email protected] due to the pandemic, “out-group” should become part of your ally aren’t able to attend elite schools so 203.227.1699 ext. 701 Verna Myers, VP of inclusion strategy at “in-group.” She suggested writing down you have to be open to other educational www.shootonline.com/go/advertise Advertising Production Netflix, affirmed that in the quest for so- the names of people you’ve hired or pro- institutions and experiences. Gerald Giannone cial justice, being a good person and con- moted over the past few years--how many Myers also recommended that enter- [email protected] 203.227.1699 ext. 700 demning racism aren’t enough--rather, are Black, are women, Black women, tainment companies hire a professional OFFICES you have to be anti-racist in your beliefs, from underrepresented groups? If the in diversity and inclusion--either on staff Main Office 606 Post Road East #650 actions and poli- Westport, CT 06880 USA cies. This mindset This is not the time to be a bystander. We must all move from 203.227.1699 Fax: 203.571.3355 needs to be brought West being neutral to being active. 203.227.1699 ext 702 to bear on your per- Print Production sonal beliefs and feelings, interpersonal hires are white male-dominated, you are or as a consultant. Additionally, research- Jim Theodorou [email protected] behavior and relationships, on organi- missing out on talent, different storytell- ing racism and the different forms it can Circulation zational and institutional levels, and our ing perspectives and opportunities. take is important. “‘I didn’t know’ is not 203.227.1699 ext 4 [email protected] culture. Myers said it is incumbent upon Companies also need to explore their enough of an excuse,” she stressed. SHOOT Publicity Wire 203.227.1699 ext 700 [email protected] us to “interrupt bias when you see it,” that hiring biases. Many firms for example Tangible action and commitment are © 2018 DCA Business Media LLC. All rights reserved. this “is not the time to be a bystander,” might first or exclusively seek out grads essential. In this vein, Myers pointed with SHOOT and SHOOTonline are registered U.S. trademarks. that we must all move “from being neu- from certain elite schools. Similarly hir- pride to Netflix’s recently announced No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, tral to being active.” ing decision-makers might look to the $100 million investment in Black com- electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. She called upon influential entertain- schools they came from. The major munity banks and organizations, which Print Issues Subscription Service ment execs and marketers in the PRO- drawback in these approaches is that the at a grass-roots level can offer direct sup- [email protected] MAX community to expand their social system is inherently unfair when it comes port to Black households and businesses. Find PDF Versions and order issues backissues.SHOOTonline.com SHOOT (ISSN# 1055-9825) printed edition is published By Osei Kakari bimonthly for members by DCA Business Media LLC, 606 POV Post Road East, #650, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 USPS (06-234) It Will Take All Of Us To Make A Difference SHOOT ePubs The SHOOT >e.dition weekly ePub is published on Friday. The SHOOT Dailies are published daily Mon.-Fri. I have lots of funny they help, what they can do, and, where 2005 on a Pirelli commercial with An- Brand New[s] weekly ePub is published Wednesdays. stories about being a do we go from here? toine Fuqua directing. Fuqua and I were SHOOT Screenwork published Mondays. www.shootonline.com/subscribe Black EP and produc- I’ve seen several initiatives in the pro- the only Black people on set. He was at SHOOTmobile tion company owner. duction community to help Blacks and the top of the food chain and I was on the Get the SHOOTonline Mobile app There was the time on set when I was giv- other minorities get a leg up in commer- bottom, but he treated me as his equal, App Store: iPhone.SHOOTonline.com Google Play: Android.SHOOTonline.com en the coffee order by an agency creative cial production. There are film scholar- went out of his way to check in on me. Mobile Web Version: m.SHOOTonline.com because he thought I was a PA. Sadly, ships, internship programs and mentor- There was a kinship. A Black man with SHOOT is printed in the U.S.A. there’s not too many Black people in my ships. But the results have been less than all that power. I had the feeling I can do position in our business. satisfactory. There’s still racial discrimina- it as well. What’s funny is a few years later I started our company Contrast Eye tion, less access to the best film schools I bumped into him in L.A. after launch- relatively young at 24 and when I was and the highest paid production jobs. ing Contrast Eye. He remembered me. I SHOOT is a member of: younger, I didn’t give much thought to We have to develop a collective mind- told him about my venture and he said, making opportunities available for people set. You. Me. All the production compa- “Do it brother!” It’s all the validation I of color. Even though I’m Black, I felt that nies and all the ad agencies. We have to needed. And when I’m on set, I always Follow SHOOT via hashtag #SHOOTONLINE at: the world more or less represented an realize and acknowledge that the cream make sure to go out of my way with who- even playing field, that the cream rises doesn’t always rise to the top, because ever is Black, because I owe to them what to the top. Over the years, I have come to sometimes it’s never funneled into the Antoine Fuqua gave to me. Cover photo credits: The Road To Emmy Series, from top left, clockwise--Hollywood, realize that is not always the case. bottle to make it happen. That great tal- It will take ALL of us to make a dif- Netflix; The Marvelous Mrs. Maisel, Amazon Prime; Becoming, Netflix; The Crown, photo Lately, agencies have been reaching ent is not always developed, sometimes ference. By collectively acknowledging by Des Willie/Netflix; Will & Grace, photo by Chris Haston/NBCUniversal; Watchmen, photo by Mark Hill/HBO. Cinematographers & Cameras--Hanna, photo by Christopher out to me, creatives and producers truly it’s wasted. We can’t afford to waste price- there’s a need to take action, we can make Raphael/Amazon Prime contrite in their admission of being “tone less, creative human capital, because that it a better, stronger industry for everyone. deaf” to the lack of opportunity given to is all our industry has to offer. Osei Kakari is founder/EP at produc- people of color. They ask me how can The only job I ever PA’d was in Rome tion house Contrast Eye in Venice, Calif. August/September 2020 SHOOT 3 ROAD TO EMMY Directorial, DP, Production Design, Audio POVs Insights into Watchmen, The Crown, Becoming, courtesyPhoto of Netix Mindhunter, Mark by Hill/courtesyPhoto of HBO Will & Grace, The Marvelous Mrs. Maisel, Hollywood By Robert Goldrich, The Road To Emmy Series, Part 13 Photo by Melanie Willhide Melanie by Photo Photo courtesyPhoto of Netix Stephen Williams is no stranger to Emmy matic concerns” that parallel “the social track record of collaboration with series nominations, having landed three thus reality we find ourselves in this country creator Lindelof. Williams described Lin- far in his career. The first two were for at the moment.” delof as being “a singular voice in our in- Outstanding Drama Series on the basis Perhaps the Peabody Awards competi- dustry, a writer unlike any other we have of Lost, for which he served as co-exec- tion summed Watchmen up best when it right now.” At the same time Williams utive producer and director.