afci cineposium 09 conference guide

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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


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 [email protected]

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


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 [email protected]

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


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)


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


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:


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


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


MASTER CLASS - LEADERSHIP FOR FILM COMMISSIONERS

Sunday, November 1, 2009, 9:00am – 5:00pm


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



* 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



* Computer Lab will also be open all day Monday, November 2, 2009

Producers Room


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.


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>


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



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.


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”


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


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.


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


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


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


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.


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


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-


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.”


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.


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-


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


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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

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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.


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-


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


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


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.


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.


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.


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


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.


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.


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>


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