Posted By Administration,
Thursday, September 10, 2015
Updated: Thursday, September 10, 2015
Welcome to the Ms. Factor Toolkit. This has been created by the PGA Women's Impact Network and Women and Hollywood to give you the tools to successfully pitch female-driven content.
Market data regarding movies and television dramatically supports the fact that female-driven content is profitable, yet women working on both sides of the camera remain severely underrepresented.
We hope that producers and filmmakers will use these statistics as "tools" when creating financing proposals to counter those who see gender as limiting. When they say, "Less money is made with female leads, female stars, or female-driven properties," or "Women aren't our target audience" - you can now be armed with the stats that show that female audiences are powerful, and that female participation can lead to profitable outcomes.
The Ms. Factor Toolkit aims to raise awareness among decision-makers and to educate industry members by debunking the myths that perpetuate gender bias. This toolkit shows that by not supporting and valuing female-driven content in the entertainment business there is a significant underserved female audience, and consequently a lot of money being left at the door.
Lydia Dean Pilcher and Melissa Silverstein
Click the image above or this link to view The Ms. Factor: The Power of Female Driven Content Toolkit.
Posted By Michael Q. Martin,
Tuesday, September 08, 2015
On Saturday, August 15, over 100 PGA members and guests attended our annual PGA Dodger Day at Dodger Stadium, as the Los Angeles Dodgers hosted the Cincinnati Reds. The Dodgers took advantage of the Reds’ rookie starting pitcher as well as the heat at Chavez Ravine, posting a 4-home run game and an 8-3 win over Cincinnati.
Dodger starter Brett Anderson gave up a 2-run home run to the Reds’ Todd Frazier in the 1st inning before the Dodgers responding by putting on a home run clinic of their own. Yasiel Puig started it off with a solo home run in the 2nd, followed by Enrique "Kiki” Hernandez blasting a 3-run homer in the 3rd. Not to be outdone, Justin Turner and Adrian Gonzales belted solo shots in the 3rd and 4th innings.
Brett Anderson settled down and only allowed 3 runs before Yimi Garcia pitched scoreless 7th and 8th innings, and Chris Hatcher, just off the disabled list, pitched a scoreless 9th inning to shut down the Reds.
PGA members who arrived early got to see the Back to the Future DeLorean circle the warning track and drop off Back to the Future star Lea Thompson, who threw out the first pitch. After the game, fans could stay to watch the movie itself, which was shown on the two Dodger Jumbtrons in celebration of its 30th anniversary. In 1985, Back to the Future was in theaters, and the Dodgers surged to a division title. Here’s hoping they go even further this year.
We’ll see you next year at PGA Dodger Day! (view the Facebook album below)
On Saturday, August 15, over 100 PGA members and guests attended our annual PGA Dodger Day at Dodger Stadium, as the Los...
Last Thursday, August 13th 2015, the PGA WEST audience was treated to a screening of the imminent box office hit Straight Outta Compton. Joining the Q&A after the film was one of film's stars, O'Shea Jackson Jr., accompanied by several of the films producers. One of those producers, however, was none other than Jackson's father, subject of the film, and entertainment icon, Ice Cube. Of course known as a rapping pioneer and sensation, as detailed in Straight Outta Compton, but also well known as a film and TV producer, Ice Cube elucidated many points, including the quality that permits him to produce successful projects across a range of genres:
I stay a fan.
Sometimes you get in the business and you figure you’re the gatekeeper
of entertainment, and you want to provide
the masses with entertainment. Bbut if you stay a fan you really see what’s wrong
with projects from that point of view and you can go in there and fix them and I've always had a clear plan of the kind of movies I wanted to make and a clear
plan of the tone. Because I think that is your, I guess that’s your glue, is a
tone, and it is very important that we get our tones right when making a
movie. If you get that right, everything else seems to roll into place, but if you’re fighting with the tone
of your movie and you're not really sure what that is, then it is going be a
struggle to stay on track. I think my movies are able to keep the tone that
it promises to the audience. These kinds of things are my pet peeves and they worked out for me well,
being able to pay attention to those kinds of things, and there is probably a
slew of other things that go into
it. It is finding great people that know
what they're doing. Working with the best, and [working] with people that are passionate and love
what they're doing.
And I love producing,
it is where all the action is. It is really where all the action is. It's just great to be in this position. I would hate to just act, that would just drive me crazy, not to be able to be in those meetings and to be into the creative side and making
those decisions that I know can sway a film and make it either good or
bad. And I'm like you guys, I hate bad
movies. I just hate em! So I like to try to make my stuff fulfill its
On producing Straight Outta Compton:
I couldn’t be more happy with the whole process, it was not
easy. This was the hardest movie that I
ever had to produce. When it is fiction
and you run up against a bump, hiccup, budget issue, you can just be like, "let’s
go in a room and think of something different”. You know what I mean? Here, you change something and you get a
phone call. "ring. Why did you take out my part?!! What’s going on?!” so you're like, "uh, let’s put
that back”, so now you're looking for other places and it just never ended.
We just wanted to tell the story and you just had to grapple
with keeping it real but also adhering to the standards of movie making. We wanted to make people laugh, cheer, and
cry. So it was just this tricky balance
that we were all trying to hit our marks because we knew there were a thousand
ways to mess this movie up. There's so
many ways to get this wrong. Our thing
was "let's hit our marks, let's hit our bench marks, man”. Once I saw the first week of dailies, I said
"yeah, we got a nice team together. We
got a great team.”
Posted By Administration,
Thursday, August 13, 2015
upending the horror template almost a decade ago with Paranormal Activity,
Blumhouse Productions has created new micro-budget genre franchises like
Insidious, Sinister and The Purge while championing such challenging fare as
the Oscar-winning Whiplash and the Emmy-winning The Normal Heart. Blumhouse’s
model is built on the idea of giving filmmakers creative freedom by keeping
budgets low. Founder Jason Blum convenes the team that helped build his company
for a look at their film and television businesses as well as their production
process from development, to physical production, to working with studios on
marketing and distribution.
Below, watch some segment highlights from their session at Produced By Conference 2015:
Blumhouse Guiding Principles and Advice
Advice For First-Time Filmmakers
The Big, The Bad, and The Indie: Wide vs Limited Releases
Posted By Administration,
Wednesday, July 22, 2015
One of the key functions of a producer is knowing how to build bridges. That is exactly what the Producers Guild of America does with organizations around the world, including the Taipei Film Commission. Last year leaders from the PGA traveled to Taipei, Taiwan in order to attend the Taipei Film Academy - Filmmakers' Workshop. Representing the PGA in Taipei was Stu Levy (chair, International Committee), Deb Calla (chair, Diversity Committee), Charles Howard (co-chair, Diversity Committee) and Vance Van Petten (National Executive Director). During the workshop, the PGA representatives were proud to share their insights and knowledge and continue to build bridges like only Producers know how.
Observe highlights from the five-day workshop below: