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CONFERENCE GUIDE
UNIVERSAL CITY, CALIFORNIA, USA
34TH INTERNATIONAL AFCI CONFERENCE
2 A F C I C I N E P O S I U M O 9
Welcome to Universal City, California and to the 34th AFCI Cineposium.
Schedule-At-A-Glance 6
Opening Reception 8
AFCI University 9
Detailed Program Schedule 11
Biographies 18
Conference and Hotel Resources 33
Acknowledgements 38
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SHERATON UNIVERSAL HOTEL
333 Universal Hollywood Drive
Universal City, CA 91603
Telephone 313 930-1212
A F C I C I N E P O S I U M O 9 3
Dear Cineposium International Conference Attendees:
Welcome to Los Angeles for the 34th annual Cineposium Conference.
Cineposium is created by a committee of AFCI volunteers who spend
the entire year working to make each conference better than the ones
that came before it. Because of the exceptional leadership of Joan
Miller (Vancouver Island North Film Commission) and her committee
of AFCI member volunteers, the conference reaches a higher level
of excellence and relevance each year. The AFCI owes a real debt of
gratitude to Joan and her team.
The volunteer committee works diligently on the event, but it is the
AFCI administrative staff that really make it happen. Professional
Development Manager Laurie Lehmann, Communications Manager
Kevin Clark, and Operations Manager Cheryl Cole are to be congratu-
lated for their tireless and dedicated work.
I would like to take this opportunity to introduce you to our two
newest staff members. Nicki Weber works with Locations Magazine
publisher Boutique Editions on securing sponsorships and advertis-
ing. Our newest staff member Elizabeth Kelly, assists with marketing,
public relations and promotional work. Please make it a point to
welcome them.
Cineposium is a place where we can come together to learn, explore
and enjoy each other’s company. I’m truly glad that you have come to
share this wonderful experience with your fellow commissioners.
Best wishes,
MARY NELSON
AFCI President
Virginia Film Office
4 A F C I C I N E P O S I U M O 9
Burbank • New York • Albuquerque • AtlantaBaton Rouge • Detroit • Toronto • Vancouver
www.castandcrew.com
For Tax Incentive Program information or to receive Cast & Crew’s TIP book, contact:
Joe Bessacini, Vice President, Film and TV Production Incentives(818) 480-4427 productionincentives@castandcrew.com
From entertainment payroll to production services and our Tax Incentive Program, Cast & Crew has built a reputation that’s unmatched in providing you with resources for your production needs.
This is what makes us the best in the business.
Why more fi lmscommission us.
Cast&Crew AFCI ad r4.indd 1 10/15/09 12:04:55 PM
A F C I C I N E P O S I U M O 9 5
It is my pleasure to welcome you to the 34th Annual Cineposium
Conference. Once again our committee has done a masterful job
identifying the key issues and trends to keep you in step with the
pace of our industry.
We have experienced many changes and challenges in this business
since last we met one year ago in Wellington, New Zealand. Our
conference planning team is confident that this year’s comprehensive
program will prepare you to succeed with self-assured optimism in a
new global climate.
Thank you to our talented speakers and moderators as well as our
generous sponsors for your participation and support. And to this
year’s planning team led by Lisa Strout from the New Mexico Film
Office, Sue Hayes from Film London, and of course, our hardworking
staff, and this world-class venue—our sincere gratitude!
At the heart of Cineposium is networking and camaraderie. So, on
behalf of our team, we hope you find the next few days to be not only
valuable but fun, too!
Cheers,
JOAN MILLER
AFCI Vice-President, Professional Development
Vancouver Island North Film Commission
Burbank • New York • Albuquerque • AtlantaBaton Rouge • Detroit • Toronto • Vancouver
www.castandcrew.com
For Tax Incentive Program information or to receive Cast & Crew’s TIP book, contact:
Joe Bessacini, Vice President, Film and TV Production Incentives(818) 480-4427 productionincentives@castandcrew.com
From entertainment payroll to production services and our Tax Incentive Program, Cast & Crew has built a reputation that’s unmatched in providing you with resources for your production needs.
This is what makes us the best in the business.
Why more fi lmscommission us.
Cast&Crew AFCI ad r4.indd 1 10/15/09 12:04:55 PM
6 A F C I C I N E P O S I U M O 9
Schedule-at-a-Glance
FRIDAY, OCTOBER 30
9:00am-10:00amRegistration Open: Universal Theme Park Tickets Only (Sheraton Lobby; next to Business Center)
5:00pm-6:30pmRegistration Open (Sheraton Lobby; next to Business Center)
SATURDAY, OCTOBER 31
8:30am-5:00pmRegistration Open(Sheraton Lobby; next to Business Center)
9:00am-5:00pmFilm Commission Professional (Studio 4)
AFCI Master Class: Advanced Studies in Film Production (Studio 3)
12:15pm-1:30pmAFCI University Courses Lunch (Studio 1-2)
6:00pm-7:00pmFilm Commission Professional Reception
SUNDAY, NOVEMBER 1
8:30am-5:00pmAFCI Registration Open (Grand Hall)
9:00am-5:00pmAFCI Master Class: Leadership for Film Commissioners(Studio 3)
AFCI Advanced Workshop:Social Media Optimization(Studio 4)
Digital Scouting Workshop(Producer’s Room)
12:15pm-1:30pmAFCI University Courses Lunch (Studio 1-2)
A F C I C I N E P O S I U M O 9 7
MONDAY, NOVEMBER 2
7:00am-5:00pmAFCI Registration Open (Grand Hall)
8:00am-9:00amContinental Breakfast (Starview Room)
8:00am-5:00pmComputer Lab Open for Digital Scouting Workshop and Social Media Workshop Attendees (Producer’s Room)
9:00am-5:00pmTable Top Displays Open during Breaks and Lunches(Grand Hall)
9:00am-10:00amOpening Keynote Presentation: One-on-One with Roger Corman (Starview Room)
10:00am-10:30amRefreshment Break (Great Hall)
10:30am-11:45amGeneral Session: ROI: What’s Your Worth (Ballroom)
11:45am-1:30pmLunch and General Session: Global Climate Change in the Entertainment Industry: Trends and Tactics for Film Commissions (Ballroom)
1:45pm-3:15pmBreakout Session 1: A Look at Trends, Technologies and Opportunities for the Future (Studio 2-3)
Breakout Session 2: Non-Fiction Production: The Bread & Butter of the Industry(Ballroom)
3:15pm-3:30pmRefreshment Break (Great Hall)
3:30pm-5:00pmAFCI CFC PresentationsGeneral Session: Candid Conversations with Studio Executives, Part 3: Creating Partnerships for Tomorrow (Ballroom)
6:00pm-8:00pmCineposium Opening Reception (Terrace Patio)
TUESDAY, NOVEMBER 3
7:00am-5:00pmAFCI Registration Open(Grand Hall)
8:00am-9:00amContinental Breakfast with Kathy Garmezy, DGA: “Important Issues in Piracy” (Ballroom)
9:00am-5:00pmTable Top Displays Open during Breaks and Lunches(Grand Hall)
9:00am-10:15amGeneral Session: Film Financing (Ballroom)
10:15am-10:30amRefreshment Break (Great Hall)
10:30am-12noonGeneral Session: The Care and Feeding of a Reliable Workforce (Ballroom)
12noon-1:15pmKeynote Lunch (Ballroom)
1:30pm-3:00pmBreakout Session 1: The Business of Persuasion: How to Influence, Inspire and Encourage People to See it Your Way (Studio 2-3)
Breakout Session 2:What’s New in Digital Technology? (Ballroom)
3:00pm-3:15pmRefreshment Break (Great Hall)
3:15pm-5:00pmGeneral Session: How Would You Handle It?AFCI MEMBERS ONLY(Ballroom)
5:00pmFree Time
8 A F C I C I N E P O S I U M O 9
O P E N I N G R E C E P T I O N
T E R R A C E P AT I O
6:00pm – 8:00pm
From film commissioners to producers, everyone in the
industry senses the far-reaching changes brought on by the
technology revolution and the economy downturn. Enjoy this
opportunity to network with friends old and new who share
your commitment to the entertainment industry today and
tomorrow. A casual evening including island–themed foods,
complimentary cocktails and steel drum entertainment
proudly hosted by the AFCI with support from P3 Magazine
and Cast and Crew Entertainment Services, LLC.
Sponsored by:
A F C I C I N E P O S I U M O 9 9
AFCI University* Information as of October 13, 2009
FILM COMMISSION PROFESSIONAL (FCP)
Saturday, October 31, 2009, 9:00am – 5:00pm
Registration Opens at 8:30am
Studio 4
This one-day foundation course is the face-to-face companion to
Film Commission Fundamentals Online (FCF), our introduction to
film commission work.* Film Commission Professional (FCP) builds
on the information presented in Film Commission Fundamentals by
providing more in depth information on several of the most important
elements involved in film commission work. Together, these two
courses are particularly useful for film commission staff members,
community liaisons, government officials, and anyone interested in
starting a commission. The course will be taught using lecture and
small group sessions with information about marketing, economic
impact, and alliances and partnerships.
Faculty
SUE HAYES, Film Commissioner, Film London
LISA STROUT, Director, New Mexico Film Office
MASTER CLASS - ADVANCED STUDIES IN FILM PRODUCTION
Saturday, October 31, 2009, 9:00am – 5:00pm
Registration Opens at 8:30am
Studio 3
Understanding how films are created, made and distributed is an
important aspect of being a film commissioner. This course will look
at the most important aspects of filmmaking including finding and
using material, working with writers, raising financing, getting a
green light, shooting a movie, post production, distribution, market-
ing, technology changes that have an effect on all aspects of movie
production, and the future of the industry as it relates to technology.
Faculty
MARIE CANTIN, Associate Director, Second Year, Production
Services, American Film Institute
DAVID KANTER, Senior Motion Picture and TV Producer,
Anonymous Content, LLC
SAM KITT, Independent Feature Producer, Future Films
NANCY RICHARDSON, Professor, UCLA School of Theatre, Film
and Television
10 A F C I C I N E P O S I U M O 9
MASTER CLASS - LEADERSHIP FOR FILM COMMISSIONERS
Sunday, November 1, 2009, 9:00am – 5:00pm
Registration Opens at 8:30am
Studio 3
As film commissions, you set the gold standard for leadership in the
film industry. Every day, your work touches many different types
of individuals in the entertainment world, and you must be able to
develop and implement various skills and strategies that encour-
age positive behavior. This course will provide an examination of
various leadership skills with an emphasis on promoting effective
and efficient ways to improve film commission operations and
performance. Topics include: Effective leadership styles, negotiations
for Film Commissioners; problem solving and conflict resolution,
interpersonal skills, and industry ethics.
Faculty
DAVID SOLEIl, Leadership Education Consultant
F U L L - D A Y W O R K S H O P S
SOCIAL MEDIA: OPTIMIZING YOUR ON-LINE PRESENCE
Sunday, November 1, 2009, 9:00am – 5:00pm
Registration Opens at 8:30am
* Computer Lab will also be open all day Monday, November 2, 2009
Studio 4
Social media optimization is an integral part of a modern online
reputation management system. Join film industry veterans Peter D.
Marshall and Trilby Jeeves for an essential workshop that gives you
the tools to be effective with these powerful resources and tech-
niques. Learn from your colleagues how they justify the use of social
media in government-based organizations. You’ll discover the value
of having a focused presence on social media networks like Facebook,
Twitter, and others, and come away with a blueprint for leveraging
technology to strengthen your competitive positioning. On the
second day, attendees have access to an open lab where Peter and
Trilby will be available to respond to specific questions one-on-one.
Speakers/Panelists:
Peter D. Marshall, Writer, Director and Producer
Trilby Jeeves, Instructor, Actor and Writer
DIGITAL SCOUTING WORKSHOP
Sunday, November 1, 2009, 9:00am – 5:00pm
Registration Opens at 8:30am
* Computer Lab will also be open all day Monday, November 2, 2009
Producers Room
A F C I C I N E P O S I U M O 9 11
Great location photos sell locations. In this highly interactive
workshop, professional location scouts show you how to shoot,
manipulate, and share superior digital location photos. You’ll use
local L.A. scenes as your subjects, and then bring your photos into
our computer lab to learn the processes of stitching, optimizing and
managing your digital image files using professional software tools.
Faculty:
Don Gray, Locations Manager, New Mexico Film Office
Cineposium 09 Monday, November 2, 2009
OPENING KEYNOTE BREAKFAST: ONE-ON-ONE WITH ROGER
9:00am – 10:00am
Continental breakfast opens at 8:00am,
Keynote Presentation will begin at 9:00am
Starview Room (Top Floor)
Independent filmmaker Roger Corman, perhaps best known as the
“King of B-Movies” and the industry’s “original survivor,” will headline
Cineposium 09 as keynote speaker. In “One-on-One with Roger”
on Monday, November 2 at 9 a.m. retired film commissioner Robin
Holabird will interview Corman about how new media and a new
economy is revolutionizing moviemaking and distribution.
Having produced and directed more than 600 curious films including
“The Little Shop of Horrors” and “Screwballs,” Corman’s influence
on American cinema is largely due to his indisputable reputation for
creative, profitable, and trend-setting movies.
Infamous not only for measly budgets and gimmicky flicks, the
godfather of independent moviemaking also has fostered some of
the biggest names in show biz including Jack Nicholson, Peter Fonda,
Charles Bronson, Martin Scorsese and Francis Ford Coppola.
With a string of box office hits and international acclaim to his name,
Corman chronicled his filmmaking success with the autobiography
“How I Made a Hundred Movies in Hollywood and Never Lost a Dime.”
Speakers/Panelists:
ROBIN HOLABIRD (Moderator)
ROGER CORMAN
REFRESHMENT BREAK
10:00am – 10:30am
Great Hall
Animals and trainers supplied by Birds and Animals Ltd.
12 A F C I C I N E P O S I U M O 9
G E N E R A L S E S S I O N
ROI: WHAT’S YOUR WORTH?
10:30am – 11:45am
Ballroom
It’s the hot question facing film offices worldwide: What is your
Return on Investment? In other words, what’s the value — economi-
cally and culturally—that your staff, your programs and/or your
incentives bring to your jurisdiction? In the larger picture, what’s the
value of the creative industry to the global economy? Most impor-
tantly, how do you demonstrate all this to your governing and funding
bodies? In an era of economic uncertainty, you need to be armed
with the language, the statistics, and the real-life tales to answer
these timely questions.
Speakers/Panelists:
LISA STROUT, Director, New Mexico Film Office (Moderator)
NEAL CLARANCE, Partner, Canadian Media & Entertainment
Leader, Ernst & Young
TOM TVEIDT, Research Economist, Garner Economics
L U N C H A N D G E N E R A L S E S S I O N
GLOBAL CLIMATE CHANGE IN THE ENTERTAINMENT INDUSTRY:
TRENDS AND TACTICS FOR FILM COMMISSIONS
11:45am – 1:30pm
Ballroom
In past year it has become increasingly clear: the old ways of doing
business are gone forever. Learn to stay competitive in this new eco-
nomic reality by examining its effects on the entertainment industry
and understanding how it will determine the types of projects that
will be funded. Our panel includes experts who have successfully
adapted to the new model, and who can help you understand how
to evolve along with these changes. The most successful film offices
won’t just survive, they’ll revive their efforts in the coming years for
even greater success.
Speakers/Panelists:
DAVID WOOLSON, President, 45th Parallel Pictures (Moderator)
BILL DRAPER, Executive VP of Physical Production, Warner Brothers
JACK KYSER, Founding Economist, Kyser Center for Economic
Research of the Los Angeles Economic Development Corporation
DANA PLAUTZ, Founder and Co-President, MrsP.com
JACQUES THEMELAQUE, President,
Filmmakers Alliance
W W W. S H O O T O N L I N E . C O M>
A F C I C I N E P O S I U M O 9 13
B R E A K O U T S E S S I O N S
SOCIAL MEDIA: A LOOK AT TRENDS, TECHNOLOGIES, &
OPPORTUNITIES FOR THE FUTURE
1:45pm – 3:15pm
Studio 2 & 3
The technological advances of social media have transformed the
process of communication in ways we are only beginning to under-
stand. With the proliferation of social networks like YouTube, Facebook,
MySpace and Twitter, the world has become smaller even as the outlet
for creativity and expression has increased exponentially. Join industry
trendsetters to talk about where social media is headed and what you
need to know to keep yourself in tune with upcoming trends.
Speakers/Panelists:
BEVERLY MACY, Managing Partner, Y&M Partners (Moderator)
ANN GLENN, Senior Web Producer, Sony Pictures Imageworks
Interactive
RODNEY RUMFORD, Founder & CEO, Gravitational Media, and
Founder, Gravity Summit
NON-FICTION PRODUCTION: THE BREAD &
BUTTER OF THE INDUSTRY?
1:45pm – 3:15pm
Ballroom
Around the globe, television schedules are being filled with non-
fiction programming, often eclipsing dramatic programming. As the
economic crisis continues, the smaller crop of fictional dramas will
likely shrink even more. In its wake, more non-fiction production—
focusing on local stories and exploiting the actuality format—will take
its place, bringing tight budgets, quick schedules and smaller crews.
Learn about non-fiction’s special needs and how you can bring a
piece of this growing business to your area.
Speakers/Panelists:
JEANNE CORCORAN, Director, Sarasota County Film &
Entertainment office (Moderator)
RACHEL BRILl, Vice President Development, Zoo Productions
MICHAEL HAMMOND, Line Producer, Red Bull Air Race World
Championship
AMBER MAZZOLA, Executive Producer, Owner Five Five
Productions
REFRESHMENT BREAK
3:15pm – 3:30pm
Great Hall
14 A F C I C I N E P O S I U M O 9
G E N E R A L S E S S I O N
CANDID CONVERSATIONS WITH STUDIO EXECUTIVES PART 3:
CREATING PARTNERSHIPS FOR TOMORROW
Presentation of AFCI Certified Film Commissioner Designation
3:30pm – 5:00pm
Ballroom
As film commissions battle to maintain and enhance financial
incentives and government support, studios struggle with profit and
marketplace. Now more than ever, the path toward a prosperous future
is navigable only in the company of solid partnerships. Learn how,
through robust information sharing and communication, film commis-
sions and studios can shape the success of the industry’s future.
Speakers/Panelists:
WARD EMLING, Mississippi Film Office (Moderator)
ALAN BAILEY, Chief Operating Officer and Co-Founder of
Dynamic Media International Inc.
MARY ANN HUGHES, Vice President, Film and Television
Production Planning, The Walt Disney Company
LISA PITNEY, Vice President, Government Relations, The Walt
Disney Company
LISA RAWLINS, Senior Vice President, Public Affairs, Warner Bros.
Entertainment
KEITH WEAVER, Senior Vice President of
Government Affairs, Sony Pictures
Entertainment (SPE)
OPENING RECEPTION
6:00pm – 8:00pm
Terrace Patio
From film commissioners to producers, everyone in the industry
senses the far-reaching changes brought on by the technology
revolution and the economy downturn. Enjoy this opportunity to
network with friends old and new who share your commitment to
the entertainment industry today and tomorrow. A casual evening
including island–themed foods, complimentary cocktails and steel
drum entertainment proudly hosted by the AFCI with support from
P3 Magazine and Cast and Crew Entertainment Services, LLC.
A F C I C I N E P O S I U M O 9 15
Cineposium 09 Tuesday, November 3, 2009
CONTINENTAL BREAKFAST
8:00am – 9:00am
Ballroom
Special presentation from Kathy Garmezy with the DGA on
“Important Issues in Piracy”
G E N E R A L S E S S I O N
FILM FINANCING
9:00am – 10:15am
Ballroom
Film financing in today’s market economy has gotten to be a creative
act in itself. We’ll look at where funding is coming from these days,
what financial strategies are being employed and with what success.
We’ll discover how film incentive jurisdictions fit into the financing
picture and learn about alternative funding sources, co-production
deals, hedge funds, product placement, and new distribution models.
Speakers/Panelists:
JOSEPH CHIANESE, VP Business Development, Entertainment
Partners (Moderator)
SUZANNE LYONS, Producer, Snowfall Films, Inc.
ALICE P. NEUHAUSER, Principal, Complete Rights Management, LLC
DANAE RINGELMANN, Fouder, IndieGoGo
JONATHAN VANGAR, Producer, Transfilm
REFRESHMENT BREAK
10:15am – 10:30am
Great Hall
G E N E R A L S E S S I O N
THE CARE AND FEEDING OF A RELIABLE WORKFORCE
10:30am – 12:00PM
Ballroom
The core mission of most film commissions is job creation and
economic growth. And with increased competition for global produc-
tion it is not enough to have a tax incentive or favorable exchange
rate. Productions need a sustainable crew base with a reputation for
quality production. This session addresses how to build and sustain
your local crew base by creating training programs, persuading
government and educators of the importance of training, and finding
avenues to funding.
16 A F C I C I N E P O S I U M O 9
Speakers/Panelists:
KATHLEEN MILNES, President and CEO, The Entertainment
Economy Institute (Moderator)
CASEY BERNAY, Director of Education and Training, Art Directors
Guild, Industry Liaison for IDEAS
KEVIN CONSIDINE, Founder, President and CEO, Hollywood
Cinema Production Resources
RICHARD HOLDREDGE, Director of IDEAS (Institute for Developing
Entertainment Arts & Study), Los Angeles Valley College
LAURA PETERSON, Vice President, Chief Development
Officer, Hollywood Cinema Production Resources
IAIN SMITH, Producer and Chair, UK Film Skills Council
K E Y N O T E L U N C H
KEYNOTE LUNCH AND GENERAL SESSION
12:00pm – 1:15pm
Ballroom
Join your colleagues for lunch at noon in the Ballroom on Tuesday,
November 3! This year’s Keynote Luncheon is promised to be as
engaging and entertaining as the rest of Cineposium 09. Sponsored
by NBC Universal, this informal lunchtime session will conclude at 1:15
p.m. ahead of an afternoon chock full of
compelling topics and conversation.
B R E A K O U T S E S S I O N S
THE BUSINESS OF PERSUASION: HOW TO INFLUENCE, INSPIRE,
AND ENCOURAGE PEOPLE TO SEE IT YOUR WAY
1:30pm – 3:00pm
Studio 2 & 3
The very existence of a film commission can hinge on the commis-
sioner’s skills to lobby for the resources they need. During tough
economic times, the power of persuasion has never been more
critical. Who is your audience? Your allies? Your enemies? What are
the critical issues that can block your success? In answering these
and other crucial questions, you’ll learn how to form campaign strate-
gies that get through to your stakeholders, and how to recognize the
politics that may help or hinder your efforts.
Speakers/Panelists:
KEVIN SHAND, Director, Colorado office of Film, Television and
Media (Moderator)
DANNY TOMLINSON, Lobbyist and Public Affairs Professional,
Tomlinson & Associates
A F C I C I N E P O S I U M O 9 17
ERIC WITT, Deputy Chief of Staff/Legislative Affairs & Film/Media
Advisor to Governor Bill Richardson
DAVID WOOLSON, President, 45th Parallel Picture
WHAT’S NEW IN DIGITAL TECHNOLOGY?
1:30pm – 3:00pm
Ballroom
In the evolving world of film and media, technology—and the endless
possibilities that come with it—seems to change almost daily. Staying
on top of it all enables you to better understand the needs of produc-
ers, so you can help fulfill those needs. In this up-to-date session,
you’ll learn how digital technology is changing every aspect of the
entertainment business, even down to the financial models of media
production. Find out what’s new in gaming, animation, visual effects,
distribution methods and more.
Speakers/Panelists:
JOAN MILLER, Vancouver Island North Film Commission
(Moderator)
JERICCA CLELAND, CEO/CCO, Twenty One Inc.
LYLE HALL, President and CEO, Heavy Iron Studios
MORRIS MAY, CG Supervisor, Buck
REFRESHMENT BREAK
3:00pm – 3:15pm
Great Hall
G E N E R A L S E S S I O N
HOW WOULD YOU HANDLE IT?
3:15pm – 5:00pm
Ballroom
A perennial favorite, this session offers a chance to share experiences
and insight as you take apart real-life situations and evaluate the dif-
ficult choices film commissioners must make. For an additional point
of view, this year’s session will include the AFCI Advisory Board who
bring a wealth of experience to the table. There will be plenty of time
for Q&A and good discussion. Don’t miss this unique opportunity to
network with your peers.
Speakers/Panelists:
BILL BOWLING, Location Manager
ROBIN CITRIN, Location Manager
HUDSON HICKMAN, Producer
MICHAEL LAKE, Producer
18 A F C I C I N E P O S I U M O 9
BiographiesInformation as of October 13, 2009.
ALAN BAILEY is chief operating officer and co-founder
of new media entertainment company Dynamic Media
International Inc. based in Hollywood, California. Until
his retirement in March 2009, Bailey was the senior
vice president and treasurer of Paramount Pictures
Corporation. He previously served as senior vice presi-
dent, treasurer, and financial controller at Paramount.
His responsibilities included managing Paramount’s individual
and film slate financing, asset securitization, key deal analysis and
financial planning, worldwide cash operations and bank management,
corporate tax planning/corporate structuring, disaster recovery/
business resumption planning, and internal audit operations. Prior
to joining Paramount, Bailey was vice president, finance for Gulf &
Western Industries in Bermuda; senior audit director of the Bermuda
affiliate of Ernst & Young; and senior manager for Grant Thornton in
England. He co-produces the Pasadena International Action on Film
Festival and is an operating partner of TransWorld Capital Group, a
global financial and strategic advisory firm.
BILL BOWLING is an expert in international film produc-
tion. For 30 years, he worked with Hollywood studios
organizing filming around the world. From 2006 to
2008, Bowling was the worldwide locations executive
for Warner Bros. Pictures. Previously, he worked with all
Hollywood studios as a supervising location manager,
doing over 40 feature films and many television
programs. He has an extensive knowledge of international location
shooting having traveled or worked in more than 85 countries, and
consults with governments around the world regarding developing
their film industries.
RACHEL BRILL is a devoted member of the ZOO
Productions family since 2001, having grown from
intern to vice president of development where her
creativity and energy continue to nurture the growth
of the company. In her current capacity she manages
show development and production relevant to pitches,
presentations, and pilots. Prior to joining ZOO, Rachel attended
the University of Miami garnering accolades as a student producer,
director and editor of a scholastic game show titled “UMIQ”; and
held an advance staff position on the 2000 Gore/Lieberman
Presidential Campaign.
A F C I C I N E P O S I U M O 9 19
MARIE CANTIN is a producer with a range of experi-
ence on studio and independent productions. Serving
in various producer capacities, Cantin’s portfolio of
projects includes “Save The Last Dance,” “Things To
Do In Denver When You’re Dead,” “Big Fat Liar,” and
“A Night At the Roxbury” among others. She also has
worked as a production manager. As a member of the
Directors Guild of America, Cantin is an elected representative of the
DGA Western UPM/AD Council, serving as second vice chair. She is a
member of the Producers Guild of America, the National Academy of
Recording Arts and Sciences, Women In Film, Film Independent, and
serves on the advisory board of Project: Involve. She has taught film
production courses in Finland and the U.S.
JOSEPH CHIANESE is the vice president of business
development and production planning at Entertainment
Partners, the largest provider of production management
services in the entertainment industry. At Entertainment
Partners, Chianese provides consulting, financial and
administrative services for domestic and international
production and tax incentives for film, television, and
commercial production. His 25 years of accounting, tax and production
experience include positions at Sony Pictures Entertainment, The Walt
Disney Company, The American Broadcasting Company, Paramount
Pictures and Ernst & Young. Chianese is a CPA and earned his master’s
in tax and MBA from Fordham University.
ROBIN CITRIN has been a feature motion picture
location manager for more than 25 years. During this
time, she has worked with such distinguished directors
as Martin Scorsese, Tim Burton and Sydney Pollack, and
collaborated with award winning production designers.
Her body of work includes such films as “The Aviator”,
“Shutter Island”, “Walk the Line”, “Big Fish” and “Rain
Man.” Citrin has traveled globally scouting locations for period
and contemporary films. She has worked closely with a multitude
of film commissions and has steadily built a network of location
professionals. She is a member of the AFCI Advisory Board, a board
member of the Location Managers Guild of America, and a member
of Hollywood Teamsters #399.
NEAL CLARANCE has extensive experience in the film,
new media, recording and theatre segments of the
entertainment industry. He has assisted companies in
the preparation of business plans, film library and record
library valuations, loan applications, financing proposals,
and in raising debt and equity financing both privately
20 A F C I C I N E P O S I U M O 9
and publicly. Clarance also has authored articles and studies on
topics ranging from preparing business plans to financing strategies
for the entertainment industry and the creation and review of incen-
tive programs for the film, new media, and animation industries.
JERICCA CLELAND is the director and CEO of Twenty
One Inc, a cross-media film development and prepro-
duction studio dedicated to bringing stronger visual
stories to the screen more efficiently through CG pre-
visualization. Raised as a filmmaker in Pixar Animation
Studios, she pursues the creation of high-caliber films
with narrative depth. An experienced CG cinematog-
rapher, Cleland designed the filming and staging of features such as
“Toy Story 2” and “Finding Nemo.” She is also a writer and live-action
producer-director, bringing her combined cross-media expertise to
bear on the vision and planning of all Twenty One Inc projects.
KEVIN CONSIDINE is founder and CEO of Hollywood Cinema Production
Resources, a nonprofit education and training program. He created
and developed the entertainment industry-based craft and technician
curriculum and vocational education programs with West Los Angeles
College to meet the needs of employers and labor locals. Considine
began his career in motion picture and television in 1980 working on
films and television shows. He is the grandson of producer John W.
Considine, Jr. and Carmen Pantages of the popular theater chain.
ROGER CORMAN, one of Hollywood’s most gifted and
masterful film makers, has produced more than 550
films and directed 50 others. He is noted for his keen
ability to spot young talents and the legion of producers,
directors, writers, and actors he has fostered including
Jack Nicholson, Francis Ford Coppola, Robert DeNiro,
Martin Scorsese, Ron Howard and Charles Bronson. In
1953, Corman sold his first screenplay to Allied Artists. With the pro-
ceeds of the sale he made “The Monster from the Ocean Floor” the
following year, his first film as an independent producer, on a budget
of $18,000. As a result, Corman began producing a wide array of low-
budget features for American International Pictures, tackling a variety
of genres, from Westerns and gangster films to sci-fi, teenage hot
rod and rock n’ roll. When the French Film Institute honored Corman
with a retrospective in 1964, he became the youngest producer/
director ever to receive such an accolade. As American International
Pictures’ primary director, he built the company into a major force in
Hollywood. In the 1970s, Corman founded his own production and
distribution company, New World Pictures. In New World’s first year
in operation, all eleven pictures distributed showed substantial profits,
rapidly growing into the largest independent motion picture distribu-
A F C I C I N E P O S I U M O 9 21
tion company in the U.S. In January 1983, Corman sold New World
and announced the formation of his new company, Concorde-New
Horizons. Corman wrote his autobiography “How I Made a Hundred
Movies in Hollywood and Never Lost a Dime” in 1990.
BILL DRAPER is an executive at Warner Bros. Pictures where he
supervises all physical aspects of film production—from budgeting
and hiring to scheduling and on-site management and cost control.
Previously, Draper served as a freelance unit production manager
and production supervisor.
WARD EMLING was born in New Orleans and raised in Jackson,
Mississippi. As an actor, he appeared in “Huckleberry Finn” and “The
Premonition” and in the TV miniseries “Beulah Land” before becom-
ing Mississippi Film Office director (for the first time) in 1980. When
CBS renewed the series “The Mississippi,” Emling left the film com-
mission and became the series’ location manager. After moving to
Los Angeles in 1984, he served as a location manager and continued
to act. Since returning to the Mississippi Film Office in 1990, Emling
has guided the in-state productions of numerous movies, in addition
to several short films, documentaries, and commercials. He is a past
president and treasurer of the AFCI.
ANN GLENN is senior web producer of Imageworks
Interactive, the full-service interactive agency and
digital marketing arm of Sony Pictures Imageworks. She
has more than 15 years of experience developing inter-
active projects in the entertainment industry. As senior
web producer, Glenn creates and implements a wide
variety of social network programs for Sony Pictures Entertainment
as well as Imageworks Interactive’s other clients. In addition to being
Sony Pictures’s resident social network expert, Glenn plans, develops
and maintains online communities for Sony Pictures Entertainment’s
major film and television brands.
DON GRAY is a 1984 graduate of Alfred University
in New York with a Fine Arts degree in Video and
Computers. Throughout his career he has worked
toward integrating digital tools in creative projects. In
the early 90s, Gray established Image House in Santa
Fe, N. Mex., and pioneered many of the techniques used
in digital large format fine art printing and digital photography. Since
2003, he has worked as a location scout and manager in the New
Mexico film industry. In that time, he also has taught digital imaging
and photography at the College of Santa Fe in addition to location
scouting and photography seminars for AFCI, the New Mexico State
Film Office and IATSE Local 480. Gray also is a filmmaker; his latest
project is the festival award-winning “Things We Do For Love.”
22 A F C I C I N E P O S I U M O 9
LYLE HALL , a 20-year industry veteran, oversees Heavy
Iron Studios, managing its day-to-day product develop-
ment and operations. During his time at Heavy Iron, Hall
also served as executive producer on “The Incredibles,”
its video game sequel “Rise of the Underminer,”
“Ratatouille,” “WALL-E,” “UP” and most recently
SpongeBob’s “Truth or Square,” directing production and develop-
ment of these Disney/Pixar franchises across multiple studios.
Before joining Heavy Iron early in 2002, Hall created and produced
original as well as licensed properties while working at studios
DreamWorks SKG, Crystal Dynamics and Virgin Games.
MICHAEL HAMMOND was intrigued with Hollywood long before he
ever set foot inside its doors. At a young age, Hammond worked an
entry-level position at the Universal Studios Theme Park eventually
supervising live shows and managing a small team of employees.
Following graduation from the University of Southern California’s
film and television program, Hammond worked on music videos and
television commercial shoots in the greater L.A. area, and later as a
production manager with such organizations as Spike Lees’ Forty
Acres. He has served as a field producer and producer on seven
seasons of “The Amazing Race” and as a line producer for four
seasons of “Hell’s Kitchen.” Hammond continues his career today with
multiple reality and unscripted format projects in development and
as a line producer.
HUDSON HICKMAN is a Los Angeles-based producer
with more than 25 years experience in the film and
television industry. He is currently completing post-
production on his sixth DVD feature while preparing
six productions for filming in 2009 and 2010. Prior to
his current producing duties, Hickman was senior vice
president of production for MGM Worldwide Television. During his
tenure at MGM, Hickman was involved in the production of more than
25 movies and more than 600 hours of episodic television. Before
joining MGM, he was a freelance producer on numerous movies,
pilots, and television series. Hickman serves on the advisory board of
the Association of Film Commissioners International, and is a former
member of the board of directors of FilmLA.
A F C I C I N E P O S I U M O 9 23
ROBIN HOLABIRD has been involved in the media for
decades, including work as a Nevada film commissioner
and as a film reviewer. Following 30 years in government
service, she retired in 2008, having spent the previous
21 years as a liaison between the state and film industry.
Holabird dealt with hundreds of projects, from series to
major feature films and several television movies. She has broadcast
a weekly movie review program on Reno’s public radio station KUNR
since 1982 and remains active in professional and arts organizations
such as the Association of Film Commissioners International and
Sierra Arts Foundation.
RICHARD HOLDREDGE is a professor of education at
Los Angeles Valley College. Holdredge obtained his
Master’s degree at USC Cinema and spent nine years
in media production at the USC School of Medicine.
During his 33-year career in the community colleges,
he freelanced in media production in medical educa-
tion, and taught in the media arts and cinema programs at Valley
College, also serving a stint as department chair. He heads the
Institute for Developing Entertainment Arts & Studies, an economic
and workforce development grant providing training in digital media
tools for industry professionals. Holdredge is currently beginning an
additional training grant this year with matching training funds from
the Contract Services Administration Trust Fund.
MARYANN HUGHES joined The Walt Disney Company
in 1988. She previously spent seven years at Avery
International in tax and accounting management
positions. During 18 years in the Disney Corporate Tax
Department, Hughes held a number of positions ranging
from a senior tax analyst to vice president, film produc-
tion planning. She transferred to the Studio Finance Group in 2006
as vice president, film and television production planning, where
she devotes 100% of her time to scouting opportunities to reduce
production costs through film and television production incentives
and structured film financing deals.
TRILBY JEEVES is an actor, instructor, and writer from
Vancouver, Canada. As well as performing in more than
40 plays, she worked for 20 years in the theatre and film
industry as a TV series set costumer. Jeeves has taught
improvisation classes throughout the school system
in British Columbia, and is currently teaching her own
popular “Buffoonery Acting Workshop” in Canada and around the
world. She also works for the Vancouver Film School as an actor for
the writing and directing departments. As a writer, Jeeves is cur-
24 A F C I C I N E P O S I U M O 9
rently developing her own one-woman show called “Dusty Shoes”.
She became involved with internet marketing and social media
two years ago when she created her own website to promote her
Buffoonery Workshops. As an artist she initially resisted the online
format but quickly discovered how to use the internet, and social
media in particular, as an effective tool to help promote and grow her
business. Jeeves specializes as a Twitter coach and has perfected
many Twitter tips and techniques.
SAM KITT is among the founders of the modern
American Independent Film movement and has worked
for many years in the independent and studio filmmak-
ing worlds. He began his career in New York in the late
70s where he organized “American Mavericks,” one the
earliest film festivals to celebrate the rise of independent
American films. In 1985, Kitt was retained by the Independent Feature
Project to reorganize their annual Independent Feature Film Market,
which showcases the output of American Independents to inter-
national buyers and programmers. During his two-year tenure, the
market reached new levels of attendance and profitability. Kitt later
moved to Universal Pictures in Los Angeles to seek out film packages
and completed films for theatrical and video distribution, covering film
festivals and markets around the world. He soon made the transition
to production executive and worked with Spike Lee on a series of films
at Universal including “Clockers.” Kitt also worked on such projects
as “Dazed and Confused,” “Far and Away,” and “King of the Hill.” In
May 1997, he joined Spike Lee’s 40 Acres and a Mule Filmworks as
president of production where he supervised development and pro-
duction of the 40 Acres feature film and television slate. Kitt departed
40 Acres in 2004 to found his own production company Future Films
where he is developing a number of film and television projects.
JACK KYSER is the founding economist of the Kyser
Center for Economic Research of the Los Angeles
Economic Development Corporation where he is
responsible for interpreting and forecasting economic
trends and analyzing major industries in the Los Angeles
region. Utilizing this information, Kyser helps develop job
retention and creation strategies for L.A. County. Previously, he was
chief economist for the Los Angeles Area Chamber of Commerce and
also taught economics at the University of Nebraska-Omaha.
MICHAEL LAKE has more than 40 years experience
in production and management in the Australian and
international film industries. For 17 years he ran the
Queensland based Warner Roadshow Studios and was
instrumental in attracting productions valued at $1.6
billion to Queensland, resulting in approximately $800
A F C I C I N E P O S I U M O 9 25
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THE LEADER IN GLOBAL BUSINESS
ENTERTAINMENT NEWS
FILM: Variety’s list of theyear’s top 100 overseas
grossers. Page 10
BART: Amid changingtimes, showbiz CEOs find
comfort. Page 3
LEGIT: Despite a N.Y. winter chill, London theater
is red-hot. Page 40
TV: Telepics are making a comeback on cable.
Page 15
By PAMELA McCLINTOCK
The studios and theirspecialty arms areagain gambling onOscar nominationsthis year, but they’re
running into new obstacles.The period between the
nominations and the Oscarcastis all-important for the life ofthe films. This year, thatperiod (Jan. 22-Feb. 22)will see a glut of films inrelease — which willmake screens tough toget, or keep.
The specialty filmsalso will run into the re-lease of some importantcommercial titles.
Plus, the timing of thepresidential inaugura-tion will force distribs tocommit to dates they mayregret.
How did it get so dicey?■ Distributors held off
releasing many of theirawards-hopeful films untilDecember. The late rolloutwas in reaction to a down-turn at the fall 2007 spe-cialty box office whenkudos contenders openedto disappointing B.O.
■ Not only are there moretitles presently on the mar-quee, there are a record num-ber of award titles slated to ex-pand nationwide after nomina-tions are announced Jan. 22, in-cluding “Frost/Nixon,” “Milk,”“Revolutionary Road” and
“Slumdog Millionaire.” Othershave gone wide already.
■ Oscar nominations will berevealed on a Thursday this year.The announcement is usuallymade on a Tuesday, but becauseof the presidentialinauguration, it wasmoved.
Distribs always pencil inscreen dates for the weekend tocapitalize on the Oscar noms,but adjust them onTuesday afternoon ifthey’ve received moreawards attention thanexpected (or less). Butthe Thursday an-nouncement leaves no cushionfor specialty divisions to pullback their post-nom plans,since theater runs will belocked down (which happens onTuesday of every week). Theyalso won’t have time to adjustexpensive media buys if they dowin the nominations they were
counting on.“You don’t have the leverage
that you usually have. In ourworld, Thursday is too late,” onedistribution exec says. “It couldbe a bloodbath, because it’s avery crowded marketplace.”
Ever since smaller titles
usurped the awards processseveral years ago, specialty dis-tribs have been busy writing,and rewriting, their collective
rulebook. Major stu-dios such as Universaland Paramount, whichhave “Frost/Nixon”and “The CuriousCase of Benjamin But-
ton,” respectively, also followthe same conventional wisdom.
The golden rule: Do every-thing you can in the four-weekstretch between AcademyAward nominations and Oscarceremony. The five films land-ing in the best picture categorycan enjoy a significant box of-
fice bump as moviegoers try tocatch up on their viewing be-fore the kudofest Feb. 22.
Specialty units and studiosare basing their entire releasestrategies on the assumptionthey will get a best picture nod.(Performance and directing
nominations are fine, but nab-bing best picture is paramount.)
On Jan. 23, Universal’s“Frost/Nixon,” DreamWorks/Paramount’s “RevolutionaryRoad” and Fox Searchlight’s“Slumdog Millionaire” trans-form from limited releases intonationwide theaters. Focus
Features’ “Milk” expands thefollowing weekend.
That’s on top of award con-tenders that have already gonewide, such as “Doubt,” “LastChance Harvey” and “Gran Tori-no,” or began as a wide release inthe first place, i.e., “The Curious
Case of Benjamin Button.”There are usually one
or two titles that go widejust after Oscar noms inorder to ride the wave, butnever this many. A widerelease is costly business,between prints and na-tional media campaigns.
Following Oscar noms,it’s also commonplace fora studio or specialty dis-trib to expand films thatare well into their runsand have already playedwide, such as “MichaelClayton” and “No Coun-try for Old Men” lastyear. The associatedcosts of going widearen’t as much, since ad-ditional prints have al-ready been paid for.
Last year, best pic-ture nominee “There
Will Be Blood” grossed $20 mil-lion — half its entire domesticgross — between nominationsand the Oscar kudocast. “Atone-ment” earned a quarter of itscume, or roughly $10 million.
“Juno,” another best picturecandidate, had grossed $102.8
Turn to page 46
Newspaper USPS 659-960 02731
$6.95/C$11.00/£5.00/€8.50/A$15.00
O’seas distribswill capitalize
on Oscar noms.Page 6
V PLUSHeavyweight Lineup: From Almodovar toRussian sci-fi, European cinema offers up bignames and budgets for 2009.
New Look: Rotterdam renovates struc-ture but still maintains artistic vision.
Begins after page 18
BREAKING THE GOLDEN RULESNew hurdles block studios trying to cash in on Oscar noms
V A R I E T Y . C O M ■ T H E I N T E R N A T I O N A L E N T E R T A I N M E N T W E E K L Y ■ J A N U A R Y 1 9 - 2 5 , 2 0 0 9
“Slumdog Millionaire”
“Revolutionary Road”$3.8 million
“Milk”$19.5 million
“Frost/Nixon”$7.9 million
®
L O S A N G E L E S ■ M O N D A Y , J A N U A R Y 1 2 , 2 0 0 9 ■ V A R I E T Y . C O M
®
INSIDE
Fast action heroBarack Obama is
nothing short of asuperhero in theeyes of the world,Peter Bart writes.Page 4
Solidshowing“Defiance”has punchat the specialtyB.O.Page5
Assessing ‘Damages’Walk of Fame
honoree GlennClose neversettles incourt or
V PLUS
Kudos returnwith emotionBy MARC GRASER
Slumdog Millionaire” took
its rags-to-riches storyline
to the next level at the
Golden Globe Awards on Sun-
day, riding an emotional
groundswell to pocket the nods
for best picture, director, screen-
play and original score.
The top musical or comedy
award went to “Vicky Cristina
Barcelona.”The 66th installment of the
Globes, presented from the
Beverly Hilton, was a glitzy
and often emotional return
to form after last year’s
event was disrupted and
turned into a glorified
press conference due to
the Writers Guild strike.
Clearly a sentimental fa-
vorite, “Slumdog” won all of
the four categories in which it
was nominated, with Danny
Boyle taking home his first
Globe for helming the Mumbai-
based pic about a poor teenagerTurn to page 23
By BRIAN LOWRY
During an evening that other-
wise belonged entirely to HBO,
“Mad Men” and “30 Rock” con-
tinued a storybook year that has
practically seen each series amass
more awards than viewers by ac-
cepting top television honors at
Sunday’s Golden Globes.
AMC’s period drama set at an
advertising agency became the
first back-to-back winner in that
Globes category since “The X-
Files” in 1998 (“Desperate House-
wives” did so more recently on the
comedy front).
NBC’s “30 Rock” swept the
key comedy prizes.
Any talk of HBO losing its
patina of quality amid increased
competition from rival cable
networks clearly hadn’t reachedTurn to page 24
‘Torino’ in high gear with $29 mil
Globes go ‘Mad’; HBO dominates television side
Golden Globes
MORE GOLDEN GLOBES: Red carpet revelry,
page 21
Winners list, show review
and backstage comments, page 22
By PAMELA McCLINTOCK
f ll h ttl at the B O
the only hot rod on the box office
highway.Twentieth Century Fox’s Kate
d
The Rogue Pictures title scored the
best January opening for a horror
title after Lionsgate’s “Hostel”
($19 6 million in 2005).
‘SLUMDOG’ CURRIES FAVOR
Sally Hawkins
Above, “Mad Men” creator
Matthew Weiner, with star
Elisabeth Moss; right, Laura
Linney added to HBO’s haul.
“Slumdog Millionaire” helm-
er Danny Boyle, above left,
and double winner Kate
Winslet, above right
Tina Feycapped a
great year.
Mickey Rourkescored his first
Globe for his rolein “The Wrestler.”
Phot
os: J
eff V
espa
/Wire
Imag
e
DeadlineOscar
nominationballots mustbe turned inby 5 p.m.today toPrice-
waterhouse-Coopers.
© AMPAS
72911885 1/11/2009 10:24 PM Pag
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26 A F C I C I N E P O S I U M O 9
million being spent within the region. From 1998 to 2005 he split
his time between the Gold Coast and Los Angeles where he was
executive vice president of World Wide Feature Film Production for
Village Roadshow Pictures. Lake returned to the Gold Coast in 2006
to executive produce the WWE Films/Lionsgate production “The
Condemned.” At the conclusion of that production he was appointed
as president of WWE Studios, the filmed entertainment division of
World Wrestling Entertainment. Lake is currently working as a free-
lance producer. In addition to being a long time member of the AFCI
Advisory Board, he is an adviser to the Asian Film Commissioners
Network.
SUZANNE LYONS began her career as vice president
of marketing for a television network in Canada before
moving to Philadelphia where she worked in domestic
and international distribution for film and television. In
the mid-90s, she co-founded the Flash Forward Institute,
leading hundreds of entertainment industry seminars
for more than 15,000 participants in the U.S. and Canada. Suzanne
later co-founded Snowfall Films, Inc. and WindChill Films, Inc. To date
she has produced or executive produced eight movies with budgets
ranging from $200,000 to $10 million. Suzanne’s films have been
distributed by Miramax, Screengems and Lionsgate.
BEVERLY MACY is the CEO of Gravity Summit and
Managing Partner of Y&M PARTNERS, a strategic
advisory firm that helps companies gain insight into
complex business challenges, strategize breakthrough
solutions, and execute on opportunities that benefit
customers and the bottom line. She also lectures at USC
and teaches executive marketing courses for the UCLA Business and
Management Extension Program. Her newest course, Social Media
Marketing, was launched in the Fall 2008 semester.
PETER D. MARSHALL is a filmmaker from Vancouver,
Canada. He has worked in the film and television
industry for more than 35 years as a film director,
television producer, first assistant director, and TV
series creative consultant. Marshall has directed more
than 30 episodes of television drama. As a first assistant
director, he has worked on more than 12 features, 15 television movies,
eight television series, and more than 20 commercials. Marshall has
written, directed or produced more than 50 hours of documentary
and educational programs; his documentaries and dramas have won,
or been nominated for, 14 international film awards. He has served
as a directing instructor at the Vancouver Film School, the Directors
Guild of Canada, Victoria Motion Picture School and Capilano College.
A F C I C I N E P O S I U M O 9 27
Marshall publishes a free monthly e-zine—read by more than 3,500
filmmakers in 100 countries—and a filmmaking blog. He is active in
internet marketing and social networking, and has taught related
workshops and seminars.
AMBER MAZZOLA is a seasoned producer, writer
and showrunner focused on docu-soap reality. She
co-founded FiveFive Productions, which is launching
its first project, a 12-episode series titled “King of the
Crown,” airing on TLC. Mazzola also is developing a pilot
for E! Entertainment. She has written for sitcoms on
NBC and FOX. Moving into reality, Mazzola made a name for herself
carving out Bravo’s “The Millionaire Matchmaker,” “Kathy Griffin: Life
on the D List” and E!’s “Sunset Tan.”
KATHLEEN MILNES is at the cutting edge of innovation
in the area of workforce and economic development
for the entertainment industry. Milnes founded The
Entertainment Economy Institute and co-authored
three landmark occupational studies on careers in the
entertainment industry. Her acknowledged expertise in
these areas has led to gubernatorial and other high-profile appoint-
ments. Prior to founding EEI, Milnes served as a workforce and
economic development executive. She previously was vice president
of the Alliance of Motion Picture and Television Producers where she
handled production, employment and labor, and education and job
training issues at the federal, state and local levels.
MORRIS MAY has worked on Academy Award-winning
films including best visual FX for “Spider-Man 2” and
best animated feature for “Happy Feet.” He recently
functioned as CG supervisor on several of summer
2009’s biggest blockbusters including “Wolverine,”
“Fast and Furious,” and “2010.” May is currently a CG
supervisor.
ALICE P. NEUHAUSER has a broad range of entertain-
ment experience in financial management; establish-
ment and oversight of corporate, legal and accounting
procedures; and business development and strategic
planning. Over the course of her career, Alice has
arranged and managed project financing for motion
pictures each ranging in budget from $2 million to $100 million. She
also managed two $100 million revolving film production credit
facilities with two separate syndicates of banks, and developed a
$100 million motion picture and television production facility from
concept through utilization. Alice has demonstrated depth and
breadth of management and governance in a variety of ways, includ-
28 A F C I C I N E P O S I U M O 9
ing responsibility for financial and operational reporting obliga-
tions to the SEC and the U.S. Trustee. She is an honors graduate of
Harvard College and earned her MBA from the Anderson School of
Management at UCLA.
LAURA PETERSON is vice president and chief operating officer for
Hollywood Cinema Production Resources which she helped develop
from its inception with founder Kevin Considine. With a background
in education and fundraising, she was responsible for securing more
than $5 million of funding and helping to establish collaborations
with West Los Angeles College, community based organizations and
work source centers. Hollywood CPR has brought together for the
first time the Alliance of Motion Picture and Television Producers, the
International Alliance of Theatrical Stage Employees and West Los
Angeles College to create curriculum and hands-on craft training that
leads to a college certificate and degree.
LISA PITNEY began her career in politics in 1984
working on the Reagan/Bush presidential campaign
and later worked in the Office of Presidential Personnel
at The White House in 1986. In 1987, Pitney managed a
state assembly campaign and in 1988, worked on the
Bush/Quayle presidential campaign. She spent five
years as manager and director of government affairs for a health
maintenance organization. Pitney joined The Walt Disney Company
in 1996 as the manager of government relations for the Disneyland
Resort, and was later promoted to director of civic relations. In 2000,
she became the director of California government relations for Disney.
In this role, Pitney represents The Walt Disney Company to city,
county and state government.
DANA PLAUTZ spent 10 years in the Hollywood
entertainment industry holding senior posts at Embassy
Communications and Hanna-Barbera Studios followed
by 13 years in high tech at Intel, Corp. specializing in the
area of new media and emerging applications. She held
a government appointment for six years chairing the
Oregon State Film and Video office. Plautz also is an accomplished
video and web producer.
LISA RAWLINS serves as senior vice president, public
affairs, for Warner Bros. Entertainment where she is
charged with the day-to-day oversight of the public
affairs department. Rawlins joined Warner Bros. in
1990 as vice president, studio and production affairs,
overseeing feature film and television production-related
issues. In addition to her production affairs responsibilities, Rawlins
created the environmental initiatives and corporate responsibility
A F C I C I N E P O S I U M O 9 29
departments. She was the driving force behind and first director of
the California Film Commission launched in 1985. Previously, Rawlins
worked in the Office of the Governor of California, where she handled
press and film production affairs. She began her career in story devel-
opment for Ransohoff Productions and NBC.
JIM REIKOWSKY has been with the Vallejo/Solano County
Film Office since its inception in 1996 has been the Film
Liaison since April of 1998. He has served for several
years on the AFCI’s Membership Committee and is on the
board of directors for FLICS (Film Liaisons in California,
Statewide), a network of regional film offices and com-
missions that work cooperatively with the California Film Commission
to retain, attract and facilitate feature film, television, commercial and
print media production in California. He holds a Journalism degree from
the University of Oklahoma (Radio/Television/Film).
NANCY RICHARDSON has been an editor for 20 years.
Her most recent credit is “Twilight.” Her other note-
worthy credits include “Stand and Deliver”, “Roadside
Prophets,” and “White Man’s Burden” among many
others. Richardson edited the directorial debut of
Maya Angelou’s “Down in the Delta” and “Hendrix”
for which she received an Emmy nomination. She is a member of
American Cinema Editors and the Academy of Motion Picture Arts
and Sciences. She has served on the Editors Guild Board of Directors
for the last four years and was recently re-elected for another term.
Marshall is also a professor at the UCLA School of Film, Television and
Digital Media. She is currently editing “The Last Song,” starring Miley
Cyrus and Greg Kinnear.
DANAE RINGELMANN is a founder of IndieGoGo, a
company which provides tools for fundraising, promo-
tion, and discovery to the film and media industry. She
founded IndieGoGo to democratize the film funding
process—the platform enables people to showcase
their work, mobilize their fans, and DIWO (Do-It-With-
Others!). Previously, Ringelmann was a securities analyst at Cowen
& Co. She is a CFA charter holder and holds an MBA from the Haas
School of Business at UC Berkeley.
RODNEY RUMFORD has more than 21 years experience
in the technology industry and has authored books on
social media, Twitter, business blogging and podcasting.
He has been featured in The Wall Street Journal, Forbes,
Fortune, Business Week, Business 2.0 and numerous
Associated Press and Reuter’s articles. Rumford has
held senior level management positions in Fortune 100 companies
30 A F C I C I N E P O S I U M O 9
and start-ups, and also sits on the boards of several technology
companies. He has been involved with the Facebook f8 platform
since its launch. As founder and CEO of Gravitational Media, Rumford
has guided Fortune 100 clients and hundreds of small businesses in
the areas of businesses strategy, marketing, ideation and technology
consulting to help brands engage in social networks.
IAIN SMITH is one of the UK’s most experienced produc-
ers. He has served on the boards of numerous film
councils and schools. He is a patron of the London Film
School; chair of the Film Industry Training Board, the
Film Skills Council, the new UK Film Industry Training
Board and the Edinburgh International Film Festival; and
a director of the Children’s Film and Television Foundation. In 2005,
he was awarded a BAFTA Scotland for Outstanding Achievement in
Film and was made an OBE in the 2008 New Year’s Honours List.
DAVID SOLEIL is an independent leadership education
consultant and the former chair of the leadership educa-
tion group for the International Leadership Association.
He is also the former associate director of the Center for
Global Leadership and Team Development at The Paul
Merage School of Business at the University of California,
Irvine. Soleil has designed, delivered and managed leadership educa-
tion programming for four MBA programs and worked as a leadership
education consultant with numerous corporate clients. In addition,
he has experience in the film industry and extensive experience with
nonprofits, including working as a consultant to the Gesundheit
Institute during the filming of the Robin Williams feature “Patch
Adams.” Most recently, he was a consultant to the Freedom Writers
Foundation prior to and during the filming of the Hilary Swank
feature “Freedom Writers.”
LISA STROUT spent 20 years in the film and television
industry, primarily as a location manager. In addition,
she managed the New York offices for Merchant Ivory
Productions for two years. In 2001, Strout adopted New
Mexico as her home and, in 2004, was appointed the
director of the New Mexico Film Office. As director, she
has worked closely with Governor Bill Richardson’s Office, economic
development, and the film unions and guilds to create a viable and
sustainable industry in New Mexico. Strout has focused her efforts on
workforce development, nurturing culturally under-represented voices,
and supporting the filmmaking community at large, financially and cre-
atively. She is a board member of the Association of Film Commissioners
International and The Coalition of Quality Children’s Media.
A F C I C I N E P O S I U M O 9 31
MARK STRICKLIN, in his fourth year at the helm of the
Birmingham-Jefferson Film Office, brings over 22 years
of film commission/management experience to the
Central Alabama region. His accumulative efforts have
resulted in over $990 million in revenue for Birmingham
(AL); Buffalo (NY), the State of Oregon, Wilmington
(NC), and the Sate of Alabama from 1987-2009 through the recruit-
ment of over 380 productions.
Stricklin served as Director of the Wilmington (NC) Regional Film
Commission for six years and was instrumental in the start-up of the
organization. Through public and private investment, Wilmington
became a major player in film production during the 1990s. Stricklin
also held positions as a consultant for the Association of Film
Commissioners International and as Executive Director of the Buffalo
Niagara Film Commission, the Oregon Film & Video Office, and the
Alabama Film Office. Currently, Stricklin serves on the Association of
Film Commissioners International (AFCI) Board of Directors.
JACQUES THEMELAQUE co-founded Filmmakers Alliance
and FA Productions, of which he is co-president. He also
was the former chief community officer at Withoutabox.
com. Themalque’s award-winning films have appeared
at the Sundance, Los Angeles, Cinequest and AFI film
festivals. He has also produced five feature films.
DANNY L. TOMLINSON is a highly respected lobbyist
and public affairs professional, with more than 30 years
of lobbying experience. In 1987, he organized Tomlinson
& Associates, an independent governmental affairs
firm primarily focused on dealings with the Colorado
Legislature.
TOM TVEIDT is a research economist with expertise
in regional economic assessment and evaluation. He
is an active practitioner in industrial site selection,
industry target evaluation, workforce analysis, economic
impact analysis, and regional economy appraisals.
He is chair-elect of the Council for Community and
Economic Research and is an active member of the National
Association of Business Economics and the Association of Public
Data Users. In 2006 and 2007, Tveidt participated as a senior policy
advisor and curriculum developer for a U.S. Department of Economic
Development Administration-funded program to develop and deliver
regional economic development training based on regionalism and
industry clusters. In March 2009, Tveidt was recognized by the U.S.
Census Bureau for “Outstanding Practices” in application of labor
employment dynamics for his work in regional economic analysis.
32 A F C I C I N E P O S I U M O 9
JONATHAN VANGER was introduced into the film
business by his late father Lawrence Vanger who was
active in film financing and owned completion bond
company Performance Guarantees. Initially working
as a production assistant and later completion bond
representative for Vanger senior, the younger Vanger
eventually took the reins of Performance Guarantees UK LTD where
he issued completion guarantees on over 25 features shot in Europe,
Australia and South Africa.
KEITH E. WEAVER holds the post of senior vice
president of government affairs for Sony Pictures
Entertainment (SPE) where he manages domestic
government relations and public policy activities, and
mitigates on location film issues worldwide. Prior to
joining SPE, Weaver served as staff director of the
California State Senate Redistricting Office, a regional manager of
community and government relations for Kaiser Permanente, and
a senior deputy for former State Senator Herschel Rosenthal. He is
an appointee to the board of the California State Film Commission
and also serves on the board of directors of Genesis LA, Exceptional
Children’s Foundation, and on the regional governing board for
Providence Health Systems.
ERIC WITT heads legislative and political affairs for New
Mexico Governor Bill Richardson following a career in
entertainment finance. He also directs the governor’s
expansion of media industries in New Mexico including
film and television production, and oversees operations
for various state agencies.
DAVID WOOLSON brings over 25 years of entertainment
and media industry experience to his role as president
of 45th Parallel Pictures, a broad-based entertainment
company. Prior to launching 45th Parallel, Woolson was
president of Big Catch, providing talent and business
affairs services to the advertising industry; executive
director of the Oregon Film Commission; and an executive with Dick
Clark Productions where he was responsible for negotiating develop-
ment and production deals for television and feature projects. He also
worked as a business affairs and production lawyer in Los Angeles.
A F C I C I N E P O S I U M O 9 33
Conference & Hotel ResourcesGROUND TRANSPORTATION INFORMATION
The Sheraton Universal is located about 15 minutes from Burbank and
approximately 1 to 1-1/2 hours from Los Angeles International Airport,
depending on traffic and time of day. Below are costs associated with
the various ground transport options:
From Burbank Airport:
Taxi – approximately US$20.
Super Shuttle - US$12 per person each way (makes stops at area
hotels). www.supershuttle.com
From Los Angeles International (LAX)
Taxi – approximately US$90.
Super Shuttle – US$20 per person each way (makes stops at area
hotels and could take 45 minutes to 1.5 hours).www.supershuttle.com
Note: If you are traveling in groups, it might make sense to share a
cab and split the cost.
ADDITIONAL GROUND TRANSPORTATION OPTIONS
The Sheraton Hotel Concierge can make reservations for your indi-
vidual SuperShuttle trip, direct-to-hotel SuperShuttle vans for groups
of 7 or more, and private town cars. Contact them at 818-980-1212 for
more information.
LOS ANGELES METRO
The Metro is recommended for local trips only from the Sheraton to
surrounding areas. Visit their website for route maps and additional
information. www.metro.net/index.asp. It is NOT recommended you
use the Metro to and from LAX.
BANKING, CURRENCY, AND CREDIT CARDS
The United States currency is based on dollars ($) and cents (c).
Standard denominations include: $1, $5, $10, $20, $50 and $100.
Bank hours are typically 9am-4pm Monday - Friday, but check with
your bank for specific details. Currency exchange is available at Los
Angeles International Airport (LAX) and the Sheraton Universal
will exchange the following currencies: Canadian, Australian,
British pound, Swiss Franc, Japanese Yen, Euro and New Zealand
Dollar. Registered guests may cash checks at the front desk up to
$100.00 per day and $250.00 per stay with a valid driver’s license.
An Automated Teller Machine (ATM) is available in the lobby, near
the gift shop. Credit cards like Visa, Mastercard, Diners Club and
American Express are widely accepted throughout the US. It is
recommended that you contact your credit card provider to inform
34 A F C I C I N E P O S I U M O 9
A F C I C I N E P O S I U M O 9 35
them of your stay in the Los Angeles area in order to access your
credit card accounts.
SMOKING POLICY
California State Law prohibits cigarette smoking in any indoor public
areas. This includes the Hotel lobby, restaurants, bars and event
rooms as well as all local restaurants and bars. All guest rooms
are 100% smoke-free. A one-time cleaning fee of $200.00 will be
charged to any guest if evidence of smoking is found in the sleeping
room. AFCI will provide a smoking area outside the meeting space
during event hours.
INTERNET CONNECTIVITY/BUSINESS SERVICES
The Link, a special lobby space, offers a welcome place to connect
via the Internet and interact with other hotel guests. Registered
guests have two 45-minute complimentary sessions each day they
are registered at the hotel. Other standard business services are
also available. Complimentary wireless internet is available for AFCI
guests in the sleeping rooms and this should be communicated to
you at check-in. Los Angeles has a pervasive WIFI network, providing
wireless coverage in many hotspots such as restaurants.
MOBILE PHONE RENTAL
TripTel offers daily and weekly cell phone rentals and is located at
Los Angeles International Airport. In addition, there are a number of
companies that provide mobile phone rental in the Los Angeles area.
Visit the Internet to find one that matches your needs.
TripTel Mobile Phone Rental
Los Angeles International Airport, 380 World Way, Los Angeles, CA
(877) 874-7835 – Toll Free; (310) 645-3500
TIME/TIME CHANGE DURING CINEPOSIUM
Los Angeles, California is currently on Pacific Daylight Time (PDT),
which is 20 hours behind Greenwich Mean Time (GMT). On Sunday,
November 1st, the US has a time conversion from daylight savings
time to standard daylight time, meaning at 2am on Sunday morning,
clocks are set back 1 hour. You will gain one hour of time.
UNIVERSAL STUDIOS HOLLYWOOD DISCOUNT TICKETS FOR FUN
The AFCI is offering discounted Universal Studios Theme Park
tickets thanks to a generous sponsorship by NBC Universal. Tickets
are available for US$44 per person (regularly $69) with an optional
upgrade at an additional cost of $45. Tickets are valid Friday, October
30 through Sunday, November 8 and may be purchased at the AFCI
Cineposium 09 registration desk at the Sheraton Universal Hotel,
but are not available in advance. The hotel provides complimentary
shuttle service to the park, which is located a 10-minute walk from the
hotel. For visitor details, go to www.universalstudioshollywood.com.
36 A F C I C I N E P O S I U M O 9
CITYWALK/TRAM SERVICES
Universal Studios Hollywood offers complimentary tram service to
and from the Sheraton Hotel approximately every 20 minutes to the
Citywalk Street that includes shops, restaurants, movie theatres,
clubs and the Theme Park. Hours of operation are one hour before
Universal Studios opens and hoe hour after it closes. Otherwise, It’s
about a 10-minute walk.
ELECTRICITY
Electricity is supplied at 110 volts. Hotels provide 110-volt wall sockets
for electric razors, curling irons and other devices. Please be sure to
bring your power converters if you are traveling from outside the U.S.
TIPPING
Tipping is customary in the U.S. at restaurants and for other services
such as Valet Parking. 15% percent of the bill is normal, but employees
do appreciate additional recognition for service above and beyond
normal expectations.
WATER
The U.S. has excellent public water supplies. Tap (faucet) water is
fresh and safe to drink.
WEATHER/CINEPOSIUM DRESS CODE
Southern California is known for its warm weather year round. You
can expect average highs in the mid 70sF (23•C) and overnight lows
in the mid-50sF (12•C). AFCI suggests you plan for cool evenings
and meeting rooms by bringing a jacket or sweater. Attire is business
casual with the Opening Reception being casual. Los Angeles does
see some rain in late October and early November, and a travel
umbrella might also be a handy necessity.
MEDICAL AND EMERGENCY SERVICES
All emergency services can be contacted throughout the U.S. by
dialing 911. Medical services are not free to visitors. It is recommended
that you purchase health insurance for your trip if you are not a U.S.
citizen. The security staff at the Sheraton is trained in CPR and basic
First Aid. In an emergency, please call the Hotel Operator and they
will expedite calls to first responders. The Sheraton is located within
minutes of some of the best hospitals on the West Coast.
PARKING
The Sheraton offers both self and valet parking. Self-parking is
US$20.00 per day and Valet is U.S. 23.00.
A F C I C I N E P O S I U M O 9 37
38 A F C I C I N E P O S I U M O 9
Cineposium is truly a team effort. Thanks to these organizations and individu-
als who make it successful.
AFCI CINEPOSIUM 09
COMMITTEE:
JOAN MILLER, AFCI VP of
Professional Development
SUE HAYES, Conference
Co-Chair
LISA STROUT, Conference
Co-Chair
JANICE ARRINGTON
JEANNE CORCORAN
JESSICA FREUDE
PAM HAYNES
DREW MAYER-OAKES
ARIEL PENN
KEVIN SHAND
DELIA SHANLY
MARK STRICKLIN
KAYLA THAMES
BILL THOMPSON
AFCI BOARD OF DIRECTORS
JANICE ARRINGTON
WALEA CONSTANTINAU
BELLE DOYLE
SUE HAYES
STEN IVERSEN
MARY NELSON
JOAN MILLER
MARK STRICKLIN
LISA STROUT
PAT SWINNEY KAUFMAN
ORGANIZATIONS
BIRDS & ANIMALS LTD.
UNIVERSAL STUDIOS
HOLLYWOOD THEME PARK
AMBASSADOR SERVICE
BENITA BRAZIER, Ambassador
Service Chair
JANICE ARRINGTON
KEVIN SHAND
MARK STRICKLIN
JIM REIKOWSKY
Thank you to all of this year’s Cineposium sponsors.
Platinum Sponsor:
Entertainment Partners
Gold Sponsors:
Shoot Magazine, Variety
Silver Sponsor:
Cast & Crew Entertainment
Services LLC.
Partner Sponsors:
American Humane Film &
Television Unit, NBC Universal,
West Virginia Film Office, P3
Update Magazine, reelscout,
LA411
W W W. S H O O T O N L I N E . C O M>
A F C I C I N E P O S I U M O 9 39
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