Exclusive: Legwork Collective, the media company recently formed by Be Natural: The Untold Story of Alice Guy-Blaché director Pamela B. Green, is ramping up its slate, attaching names like Rosario Dawson, Debra Messing, Ken Jeong and Norman Reedus to a new docuseries, as well as Kathy Bates to its Kate Warne detective drama, as it moves forward with projects aiming to explore overlooked figures in history.
The newest project in the works is Catching a Shadow, a docuseries highlighting diverse and exceptional people who broke boundaries in different domains, overcoming personal traumas and the prejudices of their time – much in the vein of Green’s 2018 docu on Guy-Blaché, the mostly unsung first female filmmaker. Zach Barack, Dawson, Jeong, Messing, Sendhil Ramamurthy and Reedus are attached so far to narrate the docuseries, which will feature deep dives into the likes of pioneers including chemist Alice Ball, author William Melvin Kelley, photojournalist Gerda Taro,...
The newest project in the works is Catching a Shadow, a docuseries highlighting diverse and exceptional people who broke boundaries in different domains, overcoming personal traumas and the prejudices of their time – much in the vein of Green’s 2018 docu on Guy-Blaché, the mostly unsung first female filmmaker. Zach Barack, Dawson, Jeong, Messing, Sendhil Ramamurthy and Reedus are attached so far to narrate the docuseries, which will feature deep dives into the likes of pioneers including chemist Alice Ball, author William Melvin Kelley, photojournalist Gerda Taro,...
- 9/1/2021
- by Patrick Hipes
- Deadline Film + TV
The Cannes Film Festival’s Jury President Cate Blanchett and the Camera d’Or Jury President Ursula Meier put on a good front for the festival but still, Competition had only three out of 21 films directed by women while Un Certain Regard had eight out of 18 (44%) and Short Films in Competition had two out of eight (25%). Cinefondation had eight of 17 shorts (47%) by women; Critics’ Week four out of seven (57%) while Critics’ Week Shorts had three out of ten (30%). Directors’ Fortnight had five out of 20 (25%) and Directors’ Fortnight Shorts had four out of 11 (36%).International key women players of the film industry — directors, crew members, actresses, producers, screenwriters, sales agents, distributors, talent agents, editors — climbed the steps of the Cannes Film Festival.
Among them, Cate Blanchett and Agnès Varda read a collective statement.
Of the eight Special Screenings of the festival none was by a woman. Cannes Classics showed six out of 33 (18%) by women.
Among them, Cate Blanchett and Agnès Varda read a collective statement.
Of the eight Special Screenings of the festival none was by a woman. Cannes Classics showed six out of 33 (18%) by women.
- 6/1/2018
- by Sydney Levine
- Sydney's Buzz
Cannes ’18 Review by Peter BelsitoThis may be the best film I saw at Cannes and is largely unknown as is its subject. The female director this film is about largely invented filmmaking as we know it and directed 1000 plus films of all types beginning in the 1890s and continuing for 20 years in Europe and the Us. She was then shuffled aside by the industry and her role and contributions then ignored.
This new film about her was directed, edited and co-written (with Joan Simon) by Emmy-nominated Pamela B. Green and largely funded with Kickstarter and sympathetic movers and shakers like Redford (whose Wildwood Enterprises is listed as a production company) and the late Hefner, a film aficionado.
It would seem irresistible, and even prominently features Academy President John Bailey (charmingly going in search of one of the first movie cameras) among its many interviewees and participants.
But who is Alice...
This new film about her was directed, edited and co-written (with Joan Simon) by Emmy-nominated Pamela B. Green and largely funded with Kickstarter and sympathetic movers and shakers like Redford (whose Wildwood Enterprises is listed as a production company) and the late Hefner, a film aficionado.
It would seem irresistible, and even prominently features Academy President John Bailey (charmingly going in search of one of the first movie cameras) among its many interviewees and participants.
But who is Alice...
- 5/29/2018
- by Sydney Levine
- Sydney's Buzz
Festival doc activity included the Marche’s Doc Corner and a buzzy Doc Day that welcomed European Space Agency astronaut Thomas Pesquet.
The Cannes L’Œil d’or (Golden Eye) documentary award has been presented to Stefano Savona’s Samouni Road.
The $5,900 priz is presented by Lascam (the French-speaking authors’ society) and its president, Julie Bertuccelli, in collaboration with the Cannes Film Festival, with the support of Ina (French National Audiovisual Institute) and, new for this year, Audiens.
The jury – headed by director Emmanuel Finkiel – praised the Directors’ Fortnight entry for its “intelligent way of filming, the right distance in its point of view,...
The Cannes L’Œil d’or (Golden Eye) documentary award has been presented to Stefano Savona’s Samouni Road.
The $5,900 priz is presented by Lascam (the French-speaking authors’ society) and its president, Julie Bertuccelli, in collaboration with the Cannes Film Festival, with the support of Ina (French National Audiovisual Institute) and, new for this year, Audiens.
The jury – headed by director Emmanuel Finkiel – praised the Directors’ Fortnight entry for its “intelligent way of filming, the right distance in its point of view,...
- 5/20/2018
- by Wendy Mitchell
- ScreenDaily
I have seen the most pertinent, timely, touching and inspiring movie in Cannes this year, and for my money the best in the fest. So why do I feel hardly anyone saw it, even if among its executive producers are Robert Redford, Hugh Hefner and John Ptak, and features a who’s who of on-camera participants?
So why is no one talking about it? Try to find a review of it in the trades or anywhere and you will have to search hard. Those critics apparently would rather rush to see the new Lars von Trier or the Gaspar Noe, than give notice to this incredible woman who not only started it all for her gender in movies, but really pioneered it for everyone — man or woman. This film needs to be seen and distributed, and after blowing off the main competition film and attending its one — and only — screening...
So why is no one talking about it? Try to find a review of it in the trades or anywhere and you will have to search hard. Those critics apparently would rather rush to see the new Lars von Trier or the Gaspar Noe, than give notice to this incredible woman who not only started it all for her gender in movies, but really pioneered it for everyone — man or woman. This film needs to be seen and distributed, and after blowing off the main competition film and attending its one — and only — screening...
- 5/14/2018
- by Pete Hammond
- Deadline Film + TV
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