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  • 17 May 2013 8:00 AM | Anonymous


    Jeremy Jed Hammel is an award-winning director, producer, and editor.  He started his career in Hollywood as a coordinator for national network TV productions ranging from “The Tonight Show with Jay Leno,” “ER,” and “Friday Night.”

    Hammel has produced projects for The American Film Institute, NBC’s national network show, “Later,” (which became “Last Call with Carson Daly,”)  ”The Legacy” a film that won Best Comic-Related Film at Comic Con in San Diego, and produced/directed/edited, “A Little Push” featuring Slaine (from “The Town” and “Gone Baby Gone,”) a short film/music video for Skinny Cavallo, among others.

    “The Legacy”  was selected into the Cannes Film Festival Short Film Corner, and is approaching 400,000 views on Youtube.   It stars Paul Butcher from Disney’s “Zoey 101,” received national theatrical release with a mid-sized movie theater chain, Cinebarre, and is available on Hulu.com, Roku.com, and Indieflix.com.

    Aside from winning Best Film at Comic Con, Hammel’s filmmaking accolades include: Best Comedy Screenplay –  2011 Action On Film Festival (screenwriter), Best Feature Film – 2007 Sansevierian Film Festival, and a Golden Kahuna Award for Excellence In Filmmaking – 2009 Honolulu Film Festival, (co-director/sole editor) for a video for music artist Lo-Fi Sugar, who went on to chart a Number One Beatport song with Paul Van Dyk’s “So High.”

    Hammel’s crew credits also include work for production companies on the Universal Studios lot, the Hallmark Channel, “Access Hollywood,” and the groundbreaking motion-graphic design firm, Imaginary Forces.

    Hammel is in pre-production on a reality series that he is creating with the Boston Babydolls (voted Boston’s Best Burlesque troupe for 3 years in a row,)co-creating a web series with filmmaker Kylie Gordon, and he is the Director/Founder of the charitable 4th Annual Filmshift Festival.

    Hammel’s screenplays have won awards in 8 screenplay competitions, including the 2008 Woods Hole Film Festival and the 15th Annual Fade In magazine/Writer’s Network competition.  One of his screenplays even made to the Top 15% (out of 5500) screenplays for The Academy Award’s 2008 Nicholl Fellowship.  Films he has produced or directed were chosen as Official Selections for over 65 film festivals across the globe.

    Hammel often teaches video production courses at Boston University’s Center for Digital Imaging Arts and the Connecticut School of Broadcasting.

    He is oddly proud of the fact that in 2011 in the span of 3 weeks, he lost both of his shoes in the mosh pit at a Dropkick Murphys show and then lost his shirt in the mosh pit at a Matt and Kim show.  He believes that we are all here to help each other and he says Yo often.

    Why did you start the Filmshift Festival?

    JJH:  Filmshift gives me the opportunity to bring together my love of film with my desire to make the world a better place. It’s important to me that I make a positive and lasting change within my community…I want to make the world a better place, and Filmshift is my way of doing that.  Filmshift combines a few things that I am passionate about with what I am most qualified to do.

    I feel that it is vitally important that we all donate a portion of our time and/or money to charity, so 20% of our gross ticket sales will go to a local charity called Christopher’s Haven

    I am convinced that locally-based, small businesses will save our country both from this current economic downturn and from losing our diverse national identity.  So, I feel that sparking a dialogue with members of the community about how local and green business can help is imperative.  Organizations like one of our media sponsors, Somerville Local First, and our Presenting Sponsor, The Longfellow Clubs, as well as our audience raffle sponsor, Cambridge Naturals, have been doing great work within the communities around the Boston area.  Their hard work, passion, and leadership inspired me to frame my film festival around local and “green” issues.

    Lastly, I believe that entertaining and thought-provoking films can inspire change not just on a grand scale, but within ourselves individually.  For me personally, after seeing an entertaining film, I feel motivated, fired up, open to new ideas and new possibilities…and if I didn’t enjoy the film, then I want to find a way to try to do it better…but either way, I feel inspired after I see a good film.  My goal is to have Filmshift audiences feel that same way.

    It’s in my nature to bring people together, it’s in my blood to be an entrepreneur, and I’ve spent over a decade working in both the studio and independent film/TV industry, so it just made sense to me that I create Filmshift.

    You spent some time in LA, did that scene/culture influence you or your work as Director/Filmmaker/Entrepreneur? Do you see a different community in Boston vs LA?

    JJH:  A majority of my film/TV production work was in LA, though I have worked on a number of films and TV productions in Boston.  There is a huge difference between the film communities in Boston and LA.  Boston has a much smaller and more tightly knit community, for one.  Boston is a tough town to get to know, but I found LA to be frustrating for almost the opposite reason.

    Over time, I was lucky enough to meet and collaborate with many serious, dedicated, hardworking filmmakers in LA who are doing great things.  But on a shear numbers level, you have to sift through a lot of people selling you baloney to find truly motivated, sincere, and hard-working filmmakers in LA.  The same could be said about Boston, but here I’ve found that “big talk” is kept to a minimum.  Boston tends to say what’s on its mind, LA tends to tell you what it thinks you want to hear.

    When I met people around LA and I’d say I was going to produce or direct a film, I’d actually make it happen, but to them, saying they were going to make film was just an abstract notion that they presented as fact…and I know this to be true because years later, I have a number of completed films to show for my hard work, and they have more stories how “they’re developing a script.”

    It’s only frustrating because I love making films and with the connections and talents they have at their disposal, we could produce 10 shorts or a couple features in a year…Instead, we just talk about what they “will do” in the future.  Again, that’s not everybody in LA, just a lot of people I’ve met.

    Boston and New England has so many diverse film festivals and so many passionate and talented filmmakers here in the area, I’m hopeful that collectively we can start seeing a consistent stream of high-level independent films, produced on the local level.

    To answer the question of how did the two communities/scenes influence me:  LA has so many different kinds of scenes going on and new ones bubble up all the time…Everyone there is so excited to be in LA that there’s always this vibrant energy throughout all the scenes, and I definitely miss that feeling of constant new possibilities and fresh ideas.  That said, I see that  feeling being created more and more here in Boston.

    The one lesson that I’ve learned from my time in both Boston and LA is one that I cannot stress enough:  No one is going to Make It Happen except you.  So go do it.  Now.  Make your film  Just don’t bet the house on it and don’t expect you’ll be rich and famous once you do.

    What advice can you give to an novice filmmaker: How can a low-budget film compete in the film festival circuit? Where is the best place to start? At the idea? Raising money? Etc.

    JJH:  The first thing a filmmaker should do before embarking on making a film is to ask themselves why exactly they’re doing it, what do they want to get out of it, and what is it that they expect will ultimately come from it?

    Oftentimes, the process of completing a film from idea to distribution can take 3 to 10 years, with the only recognition being a Q and A attended by your friends and family at a small local film festival and an article in your town paper.  That doesn’t mean it’s the only Reward you get though.  Being a part of the creative process, working as part of a team, perfecting your craft, meeting new friends, seeing new places, and offering a part of yourself (your film) to an audience (no matter how big or small,) are all reasons why I enjoy making films.

    Whatever your personal reasons may be, they need to be something other than to make money or to become famous.  Because although those things may come to you, the process, the business models, and the realities of independent filmmaking are not designed to get you those things…regardless of what you may have heard or read.

    The amount of time and money that is required to make a film that a mass audience would pay their hard earned money to see, and the cost it would take to market such a film is far beyond the means of 99% of filmmakers out there.  What makes things harder for new filmmakers is that those who came before you aren’t usually totally honest about their budgets or how much they earned from distribution.

    The reality is, a vast majority of independent films never make more than they cost.  There are a few exceptions, but a lot of those films are, in fact, not independents but are simply marketed and presented as if they were.  So, a lot of films pretending to be grassroots/indie, as well as the “truly indie” films that try to seem successful, give new filmmakers a false impression of how easy it will be to make a profitable/award-winning film.  The point is, if you end up making money on your film, great, but don’t mortgage your house counting on a film to be successful.  Truth is, I wouldn’t have heeded this warning when I started out, we filmmakers are a stubborn and endlessly hopeful bunch, but trust me on this one.

    The sooner that you’re on board with the idea that a film is the most expensive and time consuming thing you’ll ever do besides raise kids, the better.  Once you get to that point, you can then determine if, or how much, you truly love the process, and how important expressing yourself in this medium is to you…and then ask, what are you willing to sacrifice to do so?

    For me, through a difficult series of trials and errors, I have found ways to continually make inexpensive films, with friends new and old, that win a few awards on the festival circuit, get me some press, and satisfy my desire to create.  Any other rewards I receive from my films beyond that stuff is just icing on the cake to me.

    As for getting into festivals:  If your goal is to have the “festival circuit experience,” then my advice is to try to make a film that have the same elements as films that festivals in your genre present.

    Also, friends help friends, so become friends with people in the community (real or online,) of the genre your film is in.  Bloggers, other filmmakers, festival directors, fans, actors, etc..  I don’t mean network with them, which can be part of it, but become a genuine friend.  Repost their stuff, connect with, support, and praise them honestly, wholeheartedly and without thought of reward…Once you do that, rewards will come to you without you having to try.

    If you want a good festival “run,” you need to be aware and honest about the differences between what you personally want to see in your film and what an audience would want to see in your film.  Filmmaking is one part art and one part business.  What that means to me is: I don’t make films for audiences, but I do keep the audience in mind when making films.

    Because if you aren’t creating films for an audience to enjoy, why are you doing it?  And if it is just for you, why waste money submitting it to a festival?  Right, because we all want people to see, appreciate, and praise our work…And from the festival’s perspective, a major goal of theirs is to sell tickets so they tend to pick films that they believe could pack the house.

    With that in mind, here’s another fact:  No one is going to promote your film except you.  Friends may repost/retweet your status updates/event invites and film festivals may put your posters up at the festival, but you and only you will get most people to come to your screenings or to buy your film.  You need to remind them, make the process easy for them, beg, plead, preach, bribe them to show up for or support your work.

    Most people need all the energy they can muster to just get through the day, so your film may not be as high up on their list of priorities as you’d like or expect.  Regardless of how amazing your film is, that alone will not get most people to the theater or to buy a copy.  You need to get them there, get them to act, get them involved.  It is a draining, never-ending, thankless job, but it is what it takes to get your film into film festivals and to the masses.  And if you’re like me, it’s fun!

    How important is community? Where does one start? How does a newbie get involved?

    JJH:  Community is all that there is.  Aside from the obvious benefits of being a part of a community such as friends and emotional, financial and spiritual support…Not to mention networking contacts…Unless you are independently wealthy, you need others to help you in order to get what you want.  And the only way to help yourself is to help others.  But the help you offer needs to be authentic, it needs to be genuine, and it needs to be consistent.

    The way you get involved in any community is to embrace and appreciate the existing culture for what it is and help it thrive on the community’s terms, not your own.

    In simple terms, this means working as a grunt, a PA, craft service, a driver, whatever is needed.  This means showing up early and staying late, all with a smile on your face.  This means doing whatever you can to help the production.  I got my job at NBC Late Night, Imaginary Forces (motion graphics), Hallmark, and pretty much all of my producer credits that way.

    I’m not saying you should let yourself get taken advantage of by people who could never help your career or who you are questionable in their modus operandi…I’m saying that hard work is usually rewarded by those who also work hard themselves.  So volunteer on indie films that are run by people who get steady paid work in the production world and just build your network from there.

    What parting advice can you give us about Boston Film Festivals?

    JJH: Boston and New England has so many diverse film festivals and so many passionate and talented filmmakers here in the area, we are starting to see a consistent stream of high-level independent films, produced on the local level.

    The one lesson that I’ve learned from my time in both Boston and LA is one that I cannot stress enough: No one is going to Make It Happen except you. So go do it. Now. Make your film.  Just don’t bet the house on it and don’t expect you’ll be rich and famous once you do.  Do it because you love it, do it because you are a filmmaker and filmmakers make films.” – So Says Jed

    Reprinted with permission from Glovebox Film and Animation Festival

  • 06 May 2013 8:00 AM | Anonymous

    Aria_Stewart_HasbroAria Stewart, Post-Production Coordinator for Hasbro East shares her professional development and her journey from Los Angeles, CA to Providence, RI with the WIFVNE Community

    As the post-production coordinator for Hasbro, I manage a team of editors,  graphic artists, audio engineers, and colorists at Cake Mix, the company’s Rhode  Island based studio for commercial and short-form content production.

    I moved to Rhode Island last summer after six years in Los Angeles, where I started my career in the entertainment industry as a freelance assistant editor for trailers and promos. I quickly learned that a key to success is being open to nearly any opportunity that comes your way. So I took a number of jobs on a variety of commercials, independent features, and – one of my favorites — a music video for The Killers.

    I realized that while I loved working in post-production, I also had managerial strengths as a coordinator. I got a position as a post-production coordinator on an independent feature and realized that I had found my niche. Not too long afterwards I was hired at Disney Animation. Over the span of four years there, I worked on features such as The Princess and the Frog, Tangled, and The Lion King 3D. My final project at Disney was Wreck-It Ralph, as a Production Supervisor.

    I arrived in Providence with few local contacts, having spent only limited time in the area. Landing my job at Hasbro was a result of my experience & networking skills.

    My days at Cake Mix are anything but predictable. We produce multiple projects each week, so our process is very fluid, and that requires me to be adaptable. My biggest priority is to keep the Post department moving forward. Some days I meet with the producers to discuss a plan for the latest round of commercials; some days I facilitate dialogue recording with voice-over actors. It’s my job to
    schedule & distribute the workload to keep our team working as efficiently as possible.

    My first advice for women working in film & television is to learn how to be comfortable in a male-dominated industry. You don’t necessarily have to be “one of the guys,” but learning to succeed in that environment is key. Make your opinion heard, make your work count, and make yourself an invaluable part of the team. Remember that every job experience can be a valuable one.

    My current job is a great balance for my creative and management skills. As with most production jobs, stressful situations come with the territory. But it’s very rewarding at the end of the day to know that I facilitate quality work that will air on national television. It has been a great experience to see Hasbro’s world-class brands, including Transformers, Nerf, GI Joe, and My Little Pony, come to life.

    Aria Stewart, Post-Production Coordinator / Hasbro Studios East (Cake Mix)

    Have a question for Aria? Please post in the comments section and we will choose a few to answer next month!

  • 21 Apr 2013 8:00 AM | Anonymous

    Susan Steinberg:

    Susan Steinberg is a screenwriter, director and maker of internationally screened and televised films. Her films and film excerpts Lulu in Berlin (with Richard Leacock), Our Time in the Garden (with Ron Blau), Touch Me Like a Stranger and Point of Departure have been broadcast nationally on PBS, and internationally by the BBC, Antenne Deux, NDR, Australia, and RIA. Steinberg’s films have screened at the Telluride Film Festival, Festival d’automne, Directors’ Guild of America, the Berlin Film Festival, and the San Francisco Erotic Film Festival. Our Time in the Garden won a Massachusetts Artists’ Fellowship Grant and has been selected by the American Film Institute for a national touring program. Lulu in Berlin is distributed on DVD by Criterion Collections. Her film script treatment,Mistaken Identity, was an invited submission to the Sundance Screenwriting Competition and was a finalist. Steinberg is in production on a film about the photographer Lartigue, writing a feature-length script, and at work on a book on writing about film.

  • 15 Apr 2013 8:00 AM | Anonymous


     On Wednesday, April 17th, the NHPC is holding their Spring 2013 event where industry professionals from the region will speak about producing media locally.  WIFVNE Board Member Shannon Mullen will be one of the four panelists and she is excited to speak about her experiences as a producer in New England.

     “I’m thrilled to be attending the New Hampshire Production Coalition meeting at Plymouth State University this week, where I’ve been asked to share some thoughts with the group about getting started as a producer here in New England.  I also plan to attest to the region’s potential as a filmmaking hub for both home grown and Hollywood projects.  As a New Hampshire native I’m so excited that the community of filmmakers in the state is growing and making progress toward advancing a bill to create a tax incentive program.  I will also fill in the crowd about the revitalization of our region’s Women in Film chapter and the ever-expanding array of benefits that our organization can offer members.  Stay tuned for an update after the meeting!”

     The details of the meeting can be found here and are pasted below:

    New Hampshire Production Coalition Spring 2013 Event
    Wednesday, April 17, 2013 at 6 p.m.
    Heritage Commons Room
    Plymouth State University
    17 High Street, Plymouth, NH

    Distinguished panel of guest speakers:

    Stephen Barba, Executive Director PSU
    Cathie LeBlanc, Professor of Digital Media & Communications, PSU
    Leigh Webb, NH State House of Representatives
    Shannon Mullen, Film Producer

    Refreshments and industry networking begin promptly at 6pm.

    Registration and information (click here)

    Debra Franchi
    NH Production Coalition

  • 12 Apr 2013 8:00 AM | Anonymous


    K&A is a comedic new web series from Thompson Films which follows two female leads, Karly and Alex, best friends since college, whose dysfunctional, co-dependent, drinking and drug-taking relationship impedes them from ever finding someone special in their lives besides each other. Katie Shannon, the creator of the series, will be producing K&A with Mike Madden and Audrey Claire Johnson, who also work on Shannon’s popular web series, 617. Audrey will play the lead of Karly and newcomer Ashley Elmi will play Alex. Haley Rose Public Relations is also on board with the series.

    “I created the series K&A because I wanted to make another comedic web series, but this time I wanted two female leads for the project. 617 is the first comedic web series that I have created. There is definitely a different feeling on set than there is for a drama. It’s nice to be able to go to work and laugh all day. One of the female leads is played by Audrey Claire Johnson, who I have worked with in 617. I knew when I was writing the character of Karly that I wanted her to play it. Sex In The City was the first series of it’s kind and paved the way for many of today’s shows. The way Sex In The City pushed the envelope inspired me to take female comedy further with 617 and K&A. I also love the film scene in Boston. I have found no shortage of great and talented people to work with here. I have worked with the same core crew for many of my projects and we have become like family. It’s nice to know you have people you can count on and who will make a good quality project every time. I think that is what film in Boston is all about. I’m happy to be a member of WIFVNE and I’m excited to see the film scene in Boston continue to grow.”

    Katie Shannon

    The show is hoping to raise some funds to shoot five episodes for the first season in and around the Boston area. The event takes place April 18th from 6-9 at Naga in Cambridge. Enjoy a night of cocktails, comedy from Kylie Alexander and Kate Ghiloni, and more with some of the craziest cast members and female comedians the city has seen. Enter to win incredible door prizes, including a tour of Bully Boy Distillers for up to 15 people, a two-week unlimited pass to Boston’s only dedicated indoor spin studio, Recycle Studio, and tickets to Improv Asylum, among others.

    Guests can also enjoy a complimentary cocktail created by Naga’s Bar Manager and cocktail guru, Noon Inthasuwan, as well as delicious passed appetizers from Moksa.

     Tickets are $20 (or $25 cash at the door). See you there!


  • 10 Apr 2013 8:00 AM | Anonymous


    Michaela O’Brien (WIFVNE member) and Melissa Langer are two first-time filmmakers producing In Crystal Skin, an intimate documentary that explores the lives of four Colombian individuals challenged by Epidermolysis Bullosa (EB), a rare and debilitating skin disease which currently has no cure. Although O’Brien and Langer have both worked in Boston’s production community for multiple years, nothing could quite prepare them for the world of independent filmmaking like their boots-on-the-ground approach to making In Crystal Skin.

    O’Brien, who is also a documentary photographer, came upon this story while photographing the lives of the disabled at an orphanage in Bogotá, Colombia. There she met Nixa, 21, and her older sister Nury, both of whom were born with EB. O’Brien felt an immediate connection to their story, and upon her return to the US, began reviewing footage with editor Melissa Langer. Together, the two embarked on the journey of producing an in-depth portrait of Colombian lives affected by this disease. Now tracing the lives of two additional characters, the film’s scope has expanded to include a ten-year-old girl crossing the threshold of a complicated adolescence and a middle-aged mailman searching for a companion in a bustling city.

    From the get-go, the two young filmmakers have embedded themselves in a milieu that lends a rawness to their storytelling, living alongside the characters and experiencing their day-to-day routines firsthand. For them, producing the film has been a process of cultivating their artistic voice as well as using their art to serve a social purpose. They prioritize experimentation both behind the camera and in the edit room and are intentional in highlighting their characters’ unique personalities and strengths rather than their struggles.Their hope is that by calling attention to the grit and optimism embodied by those with EB, In Crystal Skin will spur much-needed dialogue about managing life with a rare disease.

    Interested in finding out more about the documentary? The filmmakers will be holding a fundraiser to raise post-production funds for In Crystal Skin.  They will be screening their trailer and displaying photography for sale. Join them for free food, drinks and raffle prizes from local JP stores! The event is on Thursday, April 18th from 7:30 – 11pm at the Aviary Gallery in Jamaica Plain.

    Find out more about their project on Facebook and Twitter!

  • 02 Apr 2013 8:00 AM | Anonymous



    Women in Film & Video/New England (WIFV/NE) announces a call for entries for its Eleventh Annual Screenwriting Competition sponsored by Inktip, Final Draft, Script Chix and Lesley University. The WIFV/NE Screenwriting Competition promotes the work of female screenwriters and supports the creation of multi-dimensional leading film roles for women.  The competition is open as of April 2, 2013.

    Entries must be authored or co-authored by a woman and/or feature a woman or women in prominent roles. There will be five finalists and a panel of five judges who will select the winning screenplay. Barry Brodsky, Director of Emerson Screenwriting Certificate Program, Martha Pinson, filmmaker and former script supervisor for Martin Scorsese, LaToya Morgan, staff writer for “Shameless” and “Parenthood”, Susan Steinberg, professor and writer, and Tina Cesa Ward, writer/director/producer (“Anyone But You”).  The Grand Prize Winner will have a a full table read of their screenplay produced by WIFVNE, sponsored by Lesley University and directed by a WIFVNE member.  Additional prizes include a detailed script analysis and consultation by Barry Brodsky, a budget by Los Angeles based (but hailing from Western MA) Script Chix, a screenwriting software package from Final Draft, and a 6-month online script placement service by Inktip.com.


    Regular Deadline: May 21, 2013/Standard Fee: $45, WIFVNE Member: $30
    Late Deadline: 
    May 28, 2013/Standard Fee: $55,  WIFVNE Member: $40
    Extended Deadline: June 4
    , 2013/Standard Fee: $65, WIFVNE Member: $50


    Length between 80-120 pages
    Scripts must be authored or co-authored by a woman AND/OR must feature a woman (or women) in a prominent role.

    • Do NOT include author’s name in submitted script.
    • Do NOT include author’s name in the pdf script file name.
    • Screenplay titles ONLY.
    • Screenplay title MUST be included in submitted pdf script.
    • Sorry, no scripts can be returned.

    For legal reasons, WIFV/NE can accept only original screenplays by copyright holder(s).

    Scripts must be submitted online via Withoutabox.com: 

    “Withoutabox logos are trademarks of Withoutabox, a DBA of IMDb.com Inc. or its affiliates.”

    In 2009, the winning WIFV/NE screenplay was optioned shortly after being listed on Inktip. Headquartered in Los Angeles, InkTip is a screenplay facilitation company servicing the entertainment industry by providing screenplays and writers to producers and literary representatives in its network. InkTip confirms more than 150 script options and sales per year.Final Draft is the number-one selling word processor specifically designed for writing movie scripts, television episodics and stage plays. It combines powerful word processing with professional script formatting in one self-contained, easy-to-use package.



  • 01 Apr 2013 8:00 AM | Anonymous


    Dear Members, Partners and Friends…

    At the start of the new year, WIFVNE board members committed themselves to making 2013 a year for the record books – and it looks like we are accomplishing this goal! We are thrilled to announce that this quarter has been simply fantastic on all levels.   Our membership has jumped over 30%, attendance to Monthly Networking Nights has increased by 50%, new partnerships are being established and at our “Crowdfunding Demystified” ‘members only’ event at Emerson College last Wednesday (March 27) night, we were filled to capacity.  We would not be seeing this surge if it weren’t because of you, our members and supporters, continuing and new – supporting us and championing the mission of WIFVNE for over three decades.

    The New England Chapter of Women in Film & Video is the third oldest chapter to be established and is celebrating thirty-two years of continued, if at times challenging, support to female filmmakers and media professionals in New England.    We are excited to announce that we are archiving and curating three decades worth of events, milestones, and achievements which will be made available via our website.  We want our chapter’s history to be accessible to current and future women in the NE region’s media industry to honor our predecessors and inspire us as we move into the future. Please check out former WIFVNE President Cheryl Eagan-Donovan’s Member Spotlight section in this month’s edition of The Wire.  She succinctly sums up why WIFVNE was and continues to be an important resource for female filmmakers and their supporters.

    To this point, WIFVNE ex officio immediate past President, Juliet Schneider and President, Joan Meister are the oars balancing the boat, rowing the organization calmly and smoothly down the channels it needs and must go to remain relevant and current for our members who span as many decades as the organization has been operating!

    WIFVNE ex officio immediate past President, Juliet Schneider, with our newest individual member at the MPC Expo

    “After 2 years of hard work stabilizing the chapter, I’m thrilled to continue serving on the board working with our amazing team of board members, advisors and volunteers.  Most importantly, I am thrilled to see our membership increasing by leaps and bounds – and to be part of this irreplaceable support network for women working in an industry which still places many hurdles in our collective path.”  

    Juliet Schneider, ex officio immediate past President

    Joan Meister, WIFVNE President, with a new student member, at the MPC ExpoJoan Meister, WIFVNE President, with a new student member, at the MPC Expo

    “WIFVNE is working harder than ever before to bring each member more ways to network, more ways to advance their craft and more ways to connect and share the volumes of information that makes each of us so essential to the New England media industry. We’ve got so many exciting things planned for this year alone. If you’re not a member yet, please consider joining up as you’re missing out!”

    Joan Meister, President

    If you have not yet joined WIFVNE and have questions about the benefits of being a member, please do not hesitate to send us an email at admin@womeninfilmvideo.org or to any of our board members! Or…come see us in person tomorrow night (Tuesday, April 2nd) at WIFVNE’s Monthly Networking Night at Park in Cambridge from 6:30pm – 8:30pm.

  • 27 Mar 2013 8:00 AM | Anonymous

    On Thursday, March 28th from 6:00pm – 8:00pm please join WIFVNE member organization Berkshire Film Commission for their Berkshire Film and Media Commission Networking Event! 

    The event is open to all and we encourage our members and friends to head out to beautiful Western Mass for the opportunity to meet up with like-minded film professionals..

    From the event page..

    You asked… you’re getting it! Look for:

    • 2 breakout group sessions
      Breakout group from our Nov. networking event.
    • Name cards with occupations so you can hobnob with the people you want to meet!

    … And introducing:

    • THE CARD TABLE: Leave your business cards so people looking for specific products or services can easily find your business! Cost: $20.00
      (pay at the door)

    Any questions about the event, please contact:

    Lauren Zink
    Communications Manager
    Berkshire Film and Media Commission

  • 18 Mar 2013 8:00 AM | Anonymous


    Now how does that saying go…”In like a lion and out like a lamb?” – Well, not this March as we are finishing off the month with a bang!

    Saturday, March 23rd 12:30-7:00pm WIFV/NE board members will have a table at the Massachusetts Production Coalition’s first ever Industry Expo.  The Expo is jam packed with amazing panelists, workshops and screenings.  Go here to register and make sure to stop by and visit us!

    Sunday, March 24 from 5:00-8:00pm join WIFV/NE board members at an evening networking event presented with WAM! Film Festival at Park in Cambridge. Everyone is welcome to attend the networking event, but only WIFV/NE current members receive a discount to the film festival.  For the discount code, please email us at info@womeninfilmvideo.org.

    Wednesday, March 27, 7:00-8:30pm  WIFV/NE and Barry Brodsky, Director of Screenwriting Certificate Program at Emerson College present “Crowdfunding Demystified”, an industry night panel with Boston based producers Kevin Tostado and Elaine McMillion, who both managed successful kickstarter events. The panel will be moderated by WIFV/NE board member Shannon Mullen. This event is only available to current WIFV/NE members and is free. Please RSVP by Monday, March 25 to shannon@womeninfilmvideo.org. For more information, please click here!

    Tuesday, April 2nd, 2013 the WIFV/NE screenwriting competition begins accepting submissions. There are discounted rates for Early Bird submissions and for WIFV/NE members. The competition is open to everyone and full guidelines will be available starting April 2nd. We have great prizes lined up as well as a panel of five judges who will chose the winning script. Barry Brodsky, Director of Screenwriting Certificate Program at Emerson has generously accepted one of the judges seats! We will announce additional judges closer to April 2nd.

    And finally….we have revised and restructured the levels and benefits in our Membership Section and encourage everyone to take a look!



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