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WIFVNE Blog

  • December 02, 2013 8:00 AM | Anonymous member (Administrator)

    Women_of_the_Year_2013

    2013 has been an amazing year for Boston film, television, video and media in general! As the year comes to a close, WIFVNE would like to recognize the ground-breaking, earth-shaking women who’ve made an impact on the industry around us.

    And so, we are instituting our first annual Women of the Year Award! We are calling on you, our Members, to nominate incredible local ladies who should be applauded for their work, their spirit and their support of women.

    Nominees should meet the following criteria:

    • Be a woman (sorry, gents!).
    • Live and work in the New England area.
    • Have influenced, inspired, or assisted other women in the industry.
    • Have done something of particular note in the past calendar year.

    Winners will be announced in mid-January.

    Please submit your nominations before December 31st via the link below:

    https://docs.google.com/forms/d/10LC1R2QQv_Jwwkjwsej6x1To1RwYdxjkCusay85Arng/viewform

  • November 05, 2013 8:00 AM | Anonymous member (Administrator)

    Join us for the next event in our Members-Only Made in Massachusetts seminar series, featuring Chris O’Donnell, local Business Agent for IATSE (481), the largest union representing workers in the entertainment industry.

     

    Chris and special guests from the union will answer all your questions – most importantly, the steps you can take to join and advance your career.

     

    The International Alliance of Theatrical Stage Employees represents more than 113,000 members, working in all forms of film and TV production and live theater, including 900 crew professionals in the New England region.

     

    7:00 PM, Bright Family Screening Room at the Paramount Center at Emerson College

     

    This Seminar–as with all our MADE IN MASSACHUSETTS Seminars–is free and open to all WIFVNE MEMBERS ONLY!  Not a member yet? Join today at: http://www.womeninfilmvideo.org/join!

     

    RSVPs are a must!  Please email: rsvp@womeninfilmvideo.org ASAP to reserve your spot now!

  • September 09, 2013 8:00 AM | Anonymous member (Administrator)

    Want to learn more about film tax incentives?  

    Thought about joining a union?  

    Need paid work but don’t know where to find it?  

    How about advice on getting producers to read your script?

    You asked and we listened!  This fall we’re launching a new series of events for members only to help answer your questions about film & television production in our region, with an emphasis on Massachusetts.

    Lisa Strout, Director of the Massachusetts Film Office (Photo credit: Boston Globe)

    The first speaker in our series, Lisa Strout, is Director of the Massachusetts Film Office, a former Hollywood location manager and a fellow woman in film!

    She’ll join us on Monday, 16th September, 2013 @ 7pm to demystify the state’s film tax incentive and answer your questions about working in the region’s film and television industry.

    This event will be hosted by Emerson College at The Cabaret, located at 80 Boylston Street, Boston, MA.

    All events in the series are open to members of the Emerson community and WIFVNE members only!

    Not a member?  Join today and save 10% off a one-year membership (expires 9/30) with code D3KX9FER at checkout.

    Please RSVP by Friday 9/13 to RSVP@womeninfilmvideo.org.

  • August 22, 2013 8:00 AM | Anonymous member (Administrator)

    Good with numbers?  Always have a balanced checkbook?  Want to help out a fantastic non-profit?  Then you are JUST the person we are looking for!

    Women in Film and Video: New England is looking for a Board Treasurer to help us usher in a new, productive era of the organization!  As the Queen of all things Money, you would be responsible for making sure all of our accounting stays on-point and up-to-date, while keeping us in compliance with grants and the IRS!

    The Board Treasurer is responsible for the fiscal well-being of the organization, keeping up to date with all financials and keeping budgets and expenditures on-track.

    Duties include:

    • Responsible for annual budget and flow of the funds of the organization in cooperation with president and board committee chairs.

    • Works with vice president and development committee in establishing goals for fundraising.

    • Formulates and supervises budgets for programs and special events.

    • Writes or approves checks for organizational expenses, including timely payment of administrative director.

    • Enters and maintains accurate bookkeeping records.

    • Prepares or coordinates preparation of organization’s tax returns.

    • Fulfills responsibilities of WIFV/NE’s 501(c)3 tax status.

    In return for all of your hard work, you will receive a FREE membership to Women in Film and Video: New England!  That means all of the discounts, promotions and affiliate memberships are yours for the taking–all we ask is some bookkeeping in return!

     

    If you’re looking for a great way to get involved, want to give back, and are excited to support a fantastic non-profit for women in the arts, send your resume and contact info to:  info@womeninfilmvideo.org

  • August 21, 2013 8:00 AM | Anonymous member (Administrator)

    By Shannon Mullen

    Boston-based producer and WIFVNE member Blythe Robertson is days away from production on her next feature film, the indie drama LOVE IS STRANGE, starring John Lithgow, Alfred Molina, Marisa Tomei and Cheyenne Jackson.

    Producer Blythe Robertson on the set of ABOUT SUNNY.Producer Blythe Robertson on the set of ABOUT SUNNY.

    We are less than one week out from our first day of production and we are where we’d like to be, so that is a tremendous feeling,” she says.

    Blythe lives in Charlestown and she’s an inspiration for all of us as a producer who is working hard to raise money in challenging times to make truly independent films with stories she’s passionate about.

    We checked in with her to find out more about her role in the making of LOVE IS STRANGE:

    WIFVNE: How did you become involved with this project, and at what stage? 

    BR: I met Ira Sachs (writer/director/producer) a few years ago in New York at a small industry screening for my last film ABOUT SUNNY.  He sent me a script for another film he’d written (KEEP THE LIGHTS ON), but the timing wasn’t right for me.  

    Late last year, he sent me LOVE IS STRANGE and I knew I wanted to be involved.  At that point, Parts & Labor Productions  (Jay Van Hoy & Lars Knudsen) were on board and I was a big fan of their work, as well as Ira’s.  

    I had also worked with producer Lucas Joachin before (he was post-production super on ABOUT SUNNY) and had always wanted to work with him again.

    WIFVNE:  Your formal credit is Executive Producer.  Tell us about your role on the project?  

    BR: I have been a part of the production team since early January 2013 – at which point we were just starting to go out for funding.  My primary role on this project has been raising equity, but I have been a part of the entire process since January.

    WIFVNE: Besides you, are there women in other prominent roles?  

    BR: Yes!  Producer Jayne Sherman, production designer Amy Williams and line producer Allison Carter.

    WIFVNE: How long did it take to finance the film, and what are the predominant sources of funding (if you’re at liberty to say)?  

    BR: It took less than a year to be fully funded.  Private equity is the primary source of our funding.

    WIFVNE: You’re a member of Slated.com.  How are you using the site?   

    BR: I have been a member of the Slated.com community for a while now and have met lots of interesting folks because of it.  For me, it’s a great way to network with other producers, as well as meeting potential investors.  

    We did not end up getting any funding [for LOVE IS STRANGE] through Slated connections, but it did play a role in spreading the word about the film, which will continue through much of the life of the film.  I am certain it will lead to relationships in the future, not only for the film, but for me as a producer on other projects.

    WIFVNE: Would you recommend Slated for other filmmakers, and if so, what types of projects?  

    BR:  I would recommend Slated.com to others.  It’s a smart and professional way to connect filmmakers and investors.  It’s great for both feature and doc filmmakers who are looking for funders, sales agents, co-producers and other roles for their overall package. What makes the site work well is that there are strict guidelines and requirements for those in the Slated community, therefore it’s all very professional.

    For more information about Blythe and her work you can follow her on Twitter or check out her profile on IMDb. 

  • May 31, 2013 8:00 AM | Anonymous member (Administrator)

    king-sanchez

    Since winning last year’s WIFVNE Screenwriting Competition, I have been contacted by Pixar, Steven Spielberg and JJ Abrams. Three of my screenplays have been put into production with A-list actors attached. My TV Pilot has been considered by Shonda Rhimes, and Oprah has called about a possible original series for her network. Yeah, right! Not that I expected these things to happen, but if I had to dream, well, here’s my list. Last year’s win gave me a much-needed boost to keep moving forward, while showing me there are people who believe in the stories I’m passionate about telling. And let’s face it, who doesn’t like winning something? But after the congratulations, feedback and notes are put aside, you are left with the fact that a writer writes, and folks, it ain’t an easy gig.

    I write because I have stories and characters that won’t stop nagging to be set free, to be given a voice. For the past year, I’ve been submitting to literary journals and screenwriting contest, and have received rejection after rejection. Before winning last year’s WIFVNE Screenwriting Competition, the winning script had gone through years of rejections and revisions. For every win, it feels like there are hundreds of losses. While the wins validate, it’s the losses that strengthen my resolve. This past year, I’ve learned to accept rejection and allowed it to fuel my writing. I wish I could report back about a major writing assignment or agent signing, but I can’t (not yet). I did, however, have my essay Shameless Shame accepted for publication in The Southampton Review (Summer 2013). So, baby steps.

    In the meantime, I continue to write. I’m currently working on a collection of short stories influenced by my month-long, self-created, writing retreat to Paris. I’ve started a novel that spans three decades, and completed an outline for my 14th screenplay. All this while piling up the rejection letters and contest losses. I’m a writer, and I will continue plugging away at it, no matter how many wins and losses I tick off. There is no road map to a “successful” writing career, other than writing like your life depends on it. Sure, we look to others for inspiration, but the true inspiration has to come from within. Let every win fuel you, and every loss drive the passion within.

    Thank you for hearing my voice,

    Tracy

  • May 17, 2013 8:00 AM | Anonymous member (Administrator)

    JedJeremyHammel

    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

  • May 06, 2013 8:00 AM | Anonymous member (Administrator)

    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!

  • April 21, 2013 8:00 AM | Anonymous member (Administrator)

    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.

  • April 15, 2013 8:00 AM | Anonymous member (Administrator)

    NHPC

     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)

    Contact:
    Debra Franchi
    NH Production Coalition
    603-367-2024
    info@nhproductioncoalition.org

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