Become Reel Green from Home


Jennifer Sandoval, Green Spark Group

In response to COVID-19 measures, Reel Green training has quickly been adapted, now offering digital classrooms for free online. You can now learn with Reel Green online while productions pause, stay home and do their part to support B.C. in flattening the curve. Sustainable production efforts in British Columbia were formalized 10 years ago through the Reel Green initiative, a resource centre with a collection of best practices to help productions reduce their environmental impacts and improve their overall environmental footprint.

The Carbon Literacy course is a unique, engaging and solutions-based training session offering attendees the information and inspiration to live and work in a more sustainable way. After training, attendees will have a sound understanding of the science of climate change, understand how to act to reduce their impact, recognize the impact that production has on the environment and retain knowledge of the tools and techniques to lessen this impact

Powered by The Albert Project, the Reel Green Carbon Calculator is a one-hour digital training session to learn how to track the carbon footprint of your production. Calculating the carbon footprint of your production is an important step in understanding the impact of film production. Having consistent data and metrics from the industry can help organizations like Reel Green understand priority areas for sustainable practices as well as help productions understand and measure their carbon impact.

These courses are for crew members, independent producers, film students and all of you in the film industry. Anyone interested in taking initiative to grow their skillset for the future of a more sustainable industry should attend. The courses are free for industry members and will elevate your on-set skills. Gain expertise now while there’s time before the industry returns to set.

The Reel Green initiative is a mainstay at Creative BC. They look ahead to the next decade about how to empower and inspire productions to innovate and implement sustainable production practices, and industry stakeholders to collectively support this effort. They prioritize education, engagement, communications, and resources as they develop a platform for the reduction of environmental impacts and stakeholder engagement at the local level to set an example for other jurisdictions globally.

Take both courses online via Zoom: 

Carbon Literacy training – 2 hours
Check here for dates, times and to register

Carbon Calculator training – 1 hour
Check here for dates, time, and to register

Learn more about Reel Green initiatives here.

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The B.C. Film Industry Adapts to Support Each Other

British Columbians take a collaborative approach and bring heart to every production. Together, the provincial ecosystem of film and television resources is devoted to providing a premier centre for screen production with an unmatchable sense of community. Productions, suppliers, vendors and companies throughout the province are finding creative ways to go above-and-beyond in giving back to the communities in which they film, adapting to support each other and its neighbouring industries during this time. We look at a few local industry companies that have acclimatized to accommodate the health industry.

Vancouver film industry supplier offering battery power for hospital equipment
Portable Electric

Portable Electric, well-known for manufacturing, selling and renting its battery-powered, no noise, no emission generators used on film and television productions has worked to pivot to health services to assist with non-traditional areas that can accommodate health services. Their signature VOLTstack generator unit is powering temporary triage centres, mobile clinics and drive-through testing. Read more in the original article by Business in Vancouver.


Vancouver Mobile Dressing Rooms

Vancouver Mobile Dressing Rooms, a leader in the mobile entertainment company yielding the largest fleet of trucks and trailers in Vancouver set up one of their new eco-friendly cast trailers to support the B.C. Governments Mobile Medical Unit positioned at the Abbotsford Hospital. Their unit will be used as a place for Correctional Officers to shower, and isolate while on and off active duty. Vancouver Mobile Dressing Room continues to collaborate and work with the community to provide safe mobile areas to prevent outbreaks and support those seeking isolation.

 


ABC “The Good Doctor”

The popular ABC series filmed here in B.C. and produced by Brightlight Pictures, “The Good Doctor”, was among the medical productions in North American to contribute by donating masks, gowns and gloves to medical workers and hospitals in need. Brightlight Pictures worked directly with the provincial government to ensure that medical supplies from the series were being distributed where needed and abided by national safety standards.

Have good news to share from B.C.’s motion picture industry? Send us your stories!

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Motion Picture Industry’s PPE Drive Delivers

Location Managers, MPPIA, DGC BC and IATSE 891 Support Province’s Call for Personal Protective Equipment (PPE)

B.C.’s motion picture industry is staying home and staying safe in observance of measures to stop the spread of COVID-19 in B.C.

However, their coordination, resourcefulness and community-mindedness are being redirected in support of pandemic relief and provincial collaboration. To serve government authorities’ need for more PPE to keep B.C.’s frontline healthcare workers safe, many companies, productions and individuals in the province’s film industry are rallying to round up materials and donations, ensuring they serve the COVID-19 Supply Hub directly and efficiently.

Coordinated by Location Managers Ken Brooker and Mary Jo Beirnes (who works on The Magicians), along with their teams with support from the DGC BC, IATSE 891, MPPIA, Whites LES, and Creative BC.

Results of the drive include over $57,000 worth of PPE donations, all of which were identified by local film industry productions, suppliers, and individuals for diversion in support of the provincial effort.

The Province of BC indicates that priority products for support of the COVID-19 response are medical in nature. View them on the COVID-19 Supply Hub.

Here’s the list of priority products that B.C.’s film industry delivered in support of the Province’s COVID-19 response:

23,790 nitrile gloves  |  6,635  shoe-covers  |  2,515 N95 masks  |  1,903 isolation gowns  |  890 dust masks  |  700 surgical masks  |  612 full-body paint suits  |  407 safety-glasses/goggles  |  51 half-mask respirators  |  40 Surgical caps  | 36 Litres Hand-Sanitizer   |  25 Surgical drapes  |  12 full face-shields

If you can donate or supply products from the list below you are invited to submit an offer through the Province’s webform.

Hollywood is watching its friends in British Columbia as both Deadline and the Hollywood Reporter covered the story.

Marie Clements captures the beauty of the land and people in Red Snow

 

Red Snow follows Dylan, a Gwich’in soldier from the Canadian Arctic, caught in an ambush in Afghanistan. His capture and interrogation by a Taliban Commander releases a cache of memories connected to the love and death of his Inuit cousin, Asana, and binds him closer to a Pashtun family as they escape across treacherous landscapes and through a blizzard that becomes their key to survival.

 


Marie Clements, Red Snow

 

The British Columbia film written and directed by Galiano Island filmmaker Marie Clements has gained acclaim since its debut at Vancouver International Film Festival in 2019. The award-winning feature opens this Friday, March 13th in Calgary, Ottawa, Toronto and Vancouver.

 

Tell us a little about yourself and your work.
I am Métis/Dene filmmaker with an independent media production company, Marie Clements Media, specializing in the development, creation and production of innovative works that ignite an Indigenous and intercultural reality.


What were the early days of your career like
?
I originally started out as an actor, then writer and producer, and director in theatre and then formed a theatre company to produce works I was committed to bringing to stage. In some ways this has mirrored my transition to documentary, film and television, creating and producing works through my company MCM. Starting in theatre gave me an incredible appreciation for every single part of creation and a kind of single-minded discipline that was crucial to not only survive my own artistic goals but the many challenges that was put in front of me in doing so.

How did you get to where you are now?
We make decisions along the way that will determine the how of it, and ultimately what we want and need to create. There’s a time when these decisions aren’t conscious really but as you evolve in the doing, you begin to understand that your work defines you, and that you define it. I think there is a great responsibility to this but also a clarity that is freeing.

 


Marie Clements

What inspires you as a creator? What are your influences?
I have been impacted by artists that have gone before me, but James Baldwin helped me hang on. He gave witness to his time. His voice was undeniably unique yet inclusive, his perceptions razor-sharp and his humanity unapologetically massive. I found these attributes talked to me when I was younger and that it inspired me to use who I am at this time in history, my family’s history, this country’s history and our present realities as a resource in breaking a story that speaks to me. I am like so many filmmakers in the sense I am propelled into story by the influences of other artists, activists, musicians, current events and untold stories rising. Story is everywhere.


What advice would you give to someone starting out in the industry?
Know what your job is. Know how to start and also finish. Take responsibility when you should and don’t pass the buck.

Align yourself with like-minded and passionate people that hold integrity in the same ways you do. Beware of the posers. Rejection is part of the business. You are one “no” away from yes. Work hard. Be persistent. Lean into it. Take the risk of being extraordinary.


What accomplishments are you most proud of?
Red Snow took nine years to get to the screen, so I am grateful and proud to have it realized with the artists I worked with. I think there is an accomplishment in committing to stories you can’t not tell. This doesn’t always make it easy, but it makes it incredibly worth it on so many levels.

 


Red Snow

Tell us about RED SNOW and your process or influence in the creation of the film?
Dylan, a Gwich’in soldier from the Canadian Arctic, is caught in an ambush in Kandahar, Afghanistan. His capture and interrogation from a Taliban Commander releases a cache of memories connected to the love and death of his Inuit cousin, Asana, and binds him closer to a Pashtun family as they escape across treacherous landscapes and through a blizzard that becomes their key to survival. Filmed on location in Canada’s Northwest Territories and the desert interior region of British Columbia (the Ashcroft Band Lands, Cache Creek and Kamloops). Over a rigorous 20-day production schedule, the Red Snow team worked in temperatures as high as +38 degrees and as low as -40 to capture the beauty of the land and people. Red Snow was filmed in four languages – Gwich’in, Inuvialuktun, Pashto and English.

 

What’s next for Marie?
I am currently working on a slate of projects with my company MCM including Bones of Crows, a mini-series and Tombs, a feature drama.  

 


Red Snow

Heather Perluzzo frees herself through filmmaking

Heather Perluzzo is a film director originally from Montreal, Quebec. Her desire to tell female-driven narratives and reimagine traumatic life experiences through sci-fi brought her to Vancouver Film School in 2017. Since then, she has directed multiple short films, including Girl in the Galactic Sun, which received Best Sci-Fi Short from Women in Horror and was an official selection at Whistler Film Festival.

Late last year, Heather was awarded the MPPIA Short Film Award, presented by Whistler Film Festival and Creative BC in partnership to assist emerging talent to develop their career. Heather is now currently working on the short, Wildflower, which follows a woman who creates an AI version of herself to escape an abusive relationship.

Heather is an advocate for balanced gender representation on and off the screen and prides herself on reinventing her struggles as a woman into strange yet meaningful films.

 


Tell us about yourself and your work

I am a female-forward director and writer from Montreal, though I have moved around quite a bit. I was bullied for being weird as a kid, a true victim of the classic stereotype of pre-pubescent “mean girls”. I’ve never stopped being a weirdo though, and now surprisingly it’s been embraced here in the indie film scene. My work up to this point have been trials and errors of communicating my imagination and mashing it with a dose of personal trauma.

What were the early days of your career like? How did you get to where you are now?

Well, honestly, I still believe I’m in my early days. I have a lot of passion and as someone who has worked hard for everything in my life, I value how important these opportunities are. I don’t want to make another version of a film everyone’s already seen, I want to put myself, my true vision on the screen and I want to talk about the hard things. Even if it doesn’t turn out to be my calling card, I feel happy that I tried something different. And I think that’s why I am where I am now, by stepping out of the box and being real about it.

What inspires you as a creator?

Thus far, most of the inspirations for my films have come from personal experiences. I am rather anti-social and introverted, and most of my life I’ve kept all the bad things that have happened to me in my head. I never really figured out how to communicate and grow from them until I started filmmaking. Film has given me a way to express myself and, in some ways, “free” myself from those negative moments in my life. I’m also very influenced by music; artists like Banks, Allie X and Grimes inspire me to push boundaries and not be afraid to let my freak flag fly.

What advice would you give to someone starting out in the industry?

Surround yourself with an environment that allows you to focus. Don’t be afraid to explore yourself and say yes to your gut, remember this is your perspective. And just put the work in, no one is going to hand you a career. That being said, you’ll do your best work when you make time getting to know yourself, so set time aside every now and then to reconnect with who you are and what you want. And on top of that, unfortunately for us introverts, networking! I know it can be hard when you’re socially awkward, but they’re good people I promise. Vancouver has a wonderful indie scene and we all want to succeed together!

 

 

What accomplishments are you most proud of?

My student film, Girl in the Galactic Sun, is one of my biggest accomplishments. I know that’s strange to say, most people want their student films to go away forever. But for the first time in my life, I was in an environment that encouraged me to be creative and in turn, I made something entirely unique, powerful and proved to myself that I’m worth something. Since film school, I’ve been a part of two Crazy 8s films and just won the MPPIA Short Film Award. I feel so humbled but also proud of myself. I never thought anyone would ever really see value in me, and this community in Vancouver has really helped me grow.

What milestones have you achieved or are you focusing on now?

After Wildflower, my sights are set on a feature. While I love short films, I know the large, gated doors will only truly open once I dive into that new territory. That is the biggest, scariest milestone ahead. I’ve also found an amazing production company, Aimer Films, that have taken me under their wing and are pushing me to better not only my career but myself. I’d always wanted to have that core film family here, and I feel that I’ve found that in them. But yeah, just keep going until I can maybe make a living off of doing what I love.

Are there any upcoming projects we should know about that we can promote for you?

Well my upcoming MPPIA short film Wildflower is something I’ve been waiting to make for a while now. It’s about a woman who creates an AI replica in her image and the two form a romantic relationship, reflecting on how romance is something we can feel for ourselves. I’ve been saying, “This is the one, the last short that I need to make before I make a feature”. And we are making it this year.  My feature, New Places to Hide, is in the script stages. So, if anyone has any advice for someone starting out in the big bad feature-length woods, I’d love to hear it.

Zena Harris, President, Green Spark Group 

“The leaders of every single industry organization I deal with feel strongly about sustainability.”

Zena Harris first learned about corporate sustainability 20 years ago while she was working for a large corporation. “I was frustrated with how things were being done, and I knew there had to be a better way.” After studying organizational psychology, she decided to pursue a master’s degree in sustainability and environmental management from Harvard University. 

In graduate school, she realized that the film industry was lagging behind when it came to sustainability, and so she started to do some research to develop some best practices. It just so happened that she moved from Boston to Vancouver, where she discovered a strong film and television industry. “It was a right-place, right-time scenario. I started to work on set, focusing on sustainable production work. I could see where the gaps were, and I made it my mission to fill those gaps and help the industry transition.”

Zena started Green Spark Group to help educate people in the film industry around sustainability. “When I talk to people about climate change, it’s so overwhelming for them. There are so many things to do, but I try and put their mind at ease. If you just think about two or three things you can do right now, that makes it more manageable. That’s how we change behaviour.”

Changing behaviour is an education process. Most recently, Zena’s been trying to shift people’s ideas around donating food. “For a lot of them, they get hung up on a perceived barrier. So I’m sharing stories about how other shows are donating food, and if I give them one good example, they get behind it.”

Zena believes people need to tell their stories to inspire each other about what’s possible. The Reel Green initiative focuses on bringing people together to inspire and catalyze a movement that will transform an industry. “The way our industry has been able to become an icon and shift our culture in various ways is through storytelling and inspiration. We need the data, but people need to hear it in inspiring ways.”

B.C. is known as a sustainable production centre, recognized for the resources and efforts put toward sustainability – and it has become part of the dialogue in Vancouver. Organizations like CreativeBC are stepping up to help spread the word. “Creative BC provides a space to discuss sustainability. They spend time being thoughtful about how this could best be incorporated in the industry. They are willing to get out there and talk about it, both locally and internationally.”

What is needed now is scalability when it comes to educating everyone around sustainable practices and their impact. The more we talk about this, the more people become aware. “This industry loves a challenge, and we need to challenge them to do more. We really do need to act more urgently. There’s a big crisis on our hands and we all need to act a little bit more mindfully, with more intent to reduce our impact. It’s such a creative industry that when you empower people with information and give them the tools and resources to act on their ideas, great things can happen.”

Discover more about Green Spark Group and Reel Green.

Kat Jayme, Filmmaker, Finding Big Country

You could say that Kat Jayme was destined to become a filmmaker. “I’ve had a camera pointed at me all my life. My grandfather was a director in the Philippines, and so everything was documented.”

 

Kat grew up in Vancouver, where she was the point guard for her high school basketball team.  When she got her first video camera, she started documenting her friends in their day-to-day life. Capturing moments was something she innately knew how to do, and when she graduated from high school, she naturally gravitated toward film. She studied film production at the University of British Columbia and then interned with the National Film Board for three years, learning the ropes. “That experience was invaluable,” she reflects.  

While she was at film school, she knew that she had to tell the story of her childhood heroes, The Vancouver Grizzlies. “I had a feeling that I had to make this film, so I started to do some research. Bryant ‘Big Country’ Reeves was the only player people couldn’t track down, it was like he was missing, and so I set out to find him.” 

Kat documented her journey in Finding Big Country, and she learned so much along the way. “He had become the scapegoat, the guy people blamed for how terrible The Grizzlies were. As a little girl, I loved them, even though they were terrible, and I wanted to find my long lost hero. It was the perfect recipe – you couldn’t have written a better storyline.” Yet, it wasn’t always easy. As a young, female director, Kat knows how lonely it can get, working by herself all day. Finding a group of like-minded individuals was a game-changer for her. “I’m really lucky I found my film family. We’re all female documentary makers, and we lift each other up.” 

In a genre heavily dominated by white men, Kat was often the only female in a room full of male sports reporters. They assumed she was lost, or that she didn’t belong, yet she would use that to her advantage. “I believe I got access to Bryant and his family because he wasn’t as guarded with me as he might have been with someone else. No one else had been able to do that except me.”

Kat believes her basketball training helped her become a better filmmaker. “Being a point guard is very similar to being a director. You’re a leader on the floor, the one trying to bring out the best in everyone.” She also knows that nothing great happens without a strong team. “When it comes to producing an independent film, you need all of the help you can get. Creative BC was nothing but supportive. Without their help, I wouldn’t have been able to complete this film the way I wanted. We are so lucky to have organizations like this supporting emerging filmmakers, helping to bring their dream projects come to life.”

As for Kat’s grandfather, he was able to fly to Vancouver to see her film premiere at the Vancouver International Film Festival. “That’s something I will always be grateful for, to see him there opening night. He was so proud that I was following in his footsteps and keeping the family tradition of filmmaking alive.”

Kat Jayme
Finding Big Country

Interview with Lori Lozinski, President of Violator Films

Lozinski moved to Vancouver with a project management career in the telecommunications industry, but a week after arriving, the company claimed bankruptcy. Sometimes forced change is a good thing and as she started to look for a new job in a new city, she discovered Vancouver’s booming film industry. “Growing up in Edmonton, I didn’t realize this profession existed. After some research, Lori saw how her project management skills would translate to Producing and she entered the Film Foundation program at the Vancouver Film School to learn how films were made.

Coming out of film school, Lori wanted to work for a female-run company, because in her view, women lead differently. She worked with Screen Siren Pictures where she got to help tell stories of real women. “I realized I wasn’t seeing women on screen who represented how I felt about the world, and I wanted to work with women in control of the stories they’re telling.”

She launched Violator Films in 2007 with a focus on telling character-driven stories with female-identifying creatives. “I’ve worked with male writers and directors, but I feel my real purpose lives in the specific perspective of a woman’s experience – the storytelling looks and feels different and female-identifying folks need to see real authentic representation.

 

“Leadership should be circular, not top-down.”

 


Lori admits it’s not easy being a woman in this industry. “Every woman I know has a long list of the microaggressions they’ve had to endure every day; it’s the way the patriarchal system continues to dominate. Now, I’m in a position where I can choose the filmmakers I support, the stories I put my full energy towards and how I want the sets to be run. And I have the ability to be supportive of every crew member we hire. I don’t believe in hierarchies or exclusion. Yes, structure is needed to get things done, but I like to think of it as circular rather than top-down.” Being a feminist means equality for all and it’s important for me to have a gender-balanced crew. Even though I solely focus on the narratives of women, all genders can collaborate to create powerful and beautiful stories. It’s a slow burn toward change.”

At the end of the day, Lori believes it’s real people telling their stories that will help other people. “The last film I shot here, everyone on the set was changed because of working on that movie, and they will carry that forward with them. It really is a family on set, and it’s important to respect everyone. You don’t make a movie alone. I see it as all of us as hubs in these concentric circles, spinning around one another, with the story in the middle.”

Main Image: The Body Remembers When the World Broke Open

Mark Rabin Believes We Have the Technology to Transform the World

Mark Rabin, Founder and CEO of Portable Electric

As a self-admitted energy nerd, Mark Rabin got into the film industry through the back door. “It started with my passion to understand the energy system we’re in today and how it’s transforming.”

His journey took him from working as a geologist in the oil industry to earning a masters in energy economics, to working in Namibia building off-grid power systems. In 2013, he started to look at portable power when he realized how primitive and inefficient it was. “When I see something that’s broken, I immediately focus on how I can fix it. The generators I was seeing were loud, toxic, inefficient, and you could die if you left them in an enclosed area. I looked at them and knew I could do better.”

 

Image result for mark rabin
Mark Rabin

Mark launched Portable Electric in 2015, primarily working with festivals and events. Soon after, film industry people started poking around, asking him about his VOLTstack units. “They couldn’t believe there could be power with no noise and no emissions, and that they could put it in a vehicle or elevator. They were definitely interested.”

In 2017, Portable Electric sponsored the Crazy8s film competition, and that created a whole wave of film interest. They got their first significant production, The Man in the High Castle, and that was instrumental in understanding what film people needed. Since then, they’ve worked with most of the major studios, and on films like Bond 25 where crews are taking their portable power units around the world, on boats and up in cranes. Mark has seen people use them in ways he could never have initially imagined, and he’s adapting the technology based on how people are using them.

Portable Electric partnered with Creative BC and the Reel Green initiative to implement sustainable solutions across the film and television industry. There’s an accelerating adoption toward clean energy systems, but some people don’t want to rock the boat. “There are people who have been doing it one way for 30 years, and their first reaction is that this won’t work. Once we get in there and show them how it works, it takes three days and they’re sold. The education piece is critical – we need to show them the features, the cost savings, the time savings – all of the ways we can make their job easier and allow them to do things they couldn’t do otherwise.”

 


Portable Electric’s VOLTstack and solar panels in use at Burning Man 2018. (Portable Electric Photos)

 

While Portable Electric is the industry leader, there’s competition entering the market. “There’s a generational shift taking place, and I say bring it on! This will make everybody better. We want to go head-to-head with the best out there so we can all get better. There’s a great term called co-opetition, where we are all competing but also cooperating to advance on similar goals. That’s what Creative BC is championing, and it’s awesome to see that going on.”

For Mark, sustainability is actually about innovation. “It’s so much more than saying you need to be ‘green.’ It’s about changing systems, managing waste, communicating with crews, and making long term decisions. When it comes to sustainability and the environment, doing nothing is no longer an option. We need to be scared, but not paralyzed with fear thinking there are no solutions. It’s about finding bite-sized ways to influence and nudge social behaviours. We have to give people incentives to do the right thing. We have the technology today that’s needed to transform the world around us.”

An Interview With Rachel Leiterman Director of “Man In The High Castle”

“Leadership is about supporting those who have a story to tell.”– Rachel Leiterman

Rachel Leiterman was brought up in a film family. “My father was a director of photography, and early on in my childhood, he was doing groundbreaking films. We were a bohemian, artistic family and there were always actors and directors around. I was brought up in the industry in a way.”

Rachel and her family also travelled a lot growing up. “Instead of canoeing in the Muskokas, we were doing road trips in Morocco. That helped shape my view of the world. I always knew I wanted to tell stories, but I was waiting for that lightning bolt to strike.”

Over 20 years, Rachel worked her way up to become an assistant director (AD). She worked on various films and television shows. and while she loved being an AD, the idea of directing continued to nag her. “There was a moment where I knew that I had to express my own creative vision. But, as a single parent, I had to reverse engineer my transition into directing. I told myself that by the time my daughter was in Grade 12, I would be directing full time.”

Over the years, Rachel worked with over 200 male directors, yet she maybe worked with five female directors. “The example wasn’t right there in front of me. I’d been in the industry for so long that I knew I needed to get out of my comfort zone and challenge myself.”

Her path to becoming a director didn’t happen overnight. She received an opportunity to direct an episode of Motive, a television series she’d been working on, and she knew immediately that she was exactly where she should be. She then went on to direct episodes of Heartland and The Order.

Rachel admits she had to battle her own fear and self doubt. “For me, moving forward was about feeling confident and being grounded. I knew I had to make a commitment to becoming a director, and then I was given the incredible opportunity to direct an episode of The Man in the High Castle. A big part of directing for me is to have trust and belief in myself and the project. I knew if I held out, the right one would come along.”

Rachel joined in on meetings that Creative BC hosted around the #MeToo movement, and was impressed with the support available for women wanting to hone their craft. “We need more opportunities for women to shadow other women, to gain experience and see what it means to be a female director. We also need to help them to go from shadowing to taking that next step.”

Rachel is thankful to the female pioneers who came before her and is grateful that her daughter is growing up in an era where women are beginning to be looked at as equals. These days, Rachel meets with a lot of younger women who are interested in making movies. “My path was from the bottom up, and I’m grateful for that. I know how it all works, but I’m also seeing young women coming right out of the gates with a story they need to tell. It’s so easy now to get some equipment and make your own movie. It’s really dynamic that the world is opening up to being more inclusive of having women at the helm.”