“Art Lynch is the kind of leader all SAG-AFTRA members should be proud to have in the boardroom, and it’s a privilege to serve alongside him. He asks the tough questions, and doesn’t act until he gets the answers. Nevada SAG-AFTRA members who want a smart, dedicated, and proven leader looking out for their interests should give Art their full support.”
SAG 1st Vice President
A major advocate of change, Hollywood and National leader Ned Vaughn knows that there are times when change should wait. For Nevada this is one of those times. Experience is needed now more than ever to guide the Guild and protect the membership. Union leadership and Nevada's future depend on experience, respect and support to bring the Guild to a new level in today's rapidly evolving industry environment. Support Art Lynch for reelection to the SAG-AFTRA National Board of Directors from Nevada. This is a time where experience and the respect of leadership is needed to protect Nevada while moving the union into the future. Vote to re-elect Art Lynch.
I have been a SAG, AFTRA, and Equity member for over 34 years.
My first year on the national board I was very impressed with your national director, Art Lynch.
I noticed right away that other SAG national board members were looking to Art as a leader.
He is someone they had faith in. His opinion matters He always votes for what he believed was in the best interest of his Nevada branch, even when others tried to persuade him a different way. He is a leader in the merger effort that is now under way and I sincerely hope you vote to return him to the national board to continue to lead us toward this crucial moment in SAG-AFTRA history.
I'm sure you know the old adage; "Don't change horses midstream".
This has never been truer than it is now.
Art is a leader and we need him to help us at this historical time.
Please support Art Lynch for the SAG national board of directors.
Jesse Rogg, a Grammy-nominated music producer, bought the production space for about $3.3 million this year fromStephen Collins, a former photographer who owned the property for nearly three decades.
Rogg intends to lease the space for a variety of uses, including TV and commercial production, fashion shows and music videos, capitalizing on his own background in the music business.
The historic building is being renovated and remodeled to restore its classic glamorous Hollywood heritage. The new decor includes vintage leather sofas, velvet curtains, and rope and mirrors found in the basement.
"It was begging to be reinvigorated. I am trying to bring it back to its glory because it is this beautiful, historic place," Rogg said.
Mack Sennett was at times known as the "King of Comedy" in early Hollywood. He worked with many actors, including Gloria Swanson and Bing Crosby. Sennett in 1914 formed the Keystone Co., which produced "Tillie's Punctured Romance." The movie was the first American feature-length comedy.
In 1932 he won an Academy Award for a short called "Wrestling Swordfish," and in 1937 he received an Academy Honorary Award, which commemorates achievements in the movie industry not covered by existing Academy Awards. However, the Great Depression hit his business hard and he went into bankruptcy in 1933 after selling the property he bought to produce films.
Although the majority of the property he owned was bought by Public Storage, the original soundstages were preserved and continued to be used under different owners.
To pay homage to the studio's past, Rogg hired a furniture designer to build furniture and design pieces of lighting out of original materials found in the building.
"I spent time doing an archaeological dig in the basements to find old pieces," said Christopher Kreiling, the furniture designer. "For a city like Los Angeles, where everything is so disposable, it's important to use antique goods and preserve and save them."
Rogg's Mack Sennett Studios, which officially reopens June 8, is currently renting out its spaces. Stage 1 is 5,000 square feet and Stage 2 is 2,000 square feet. Both stages come with renovated bathrooms, dressing and hair rooms, kitchens and lounge areas.
A few music videos have been filmed using the studios since Rogg took over. A video with Robin Thicke featuring Pharrell Williams and another music video with Miguel and Kendrick Lamar have filmed recently.
"So far we've been doing a lot of music videos, but that's not necessarily the focus," Rogg said. "I want to cater to corporate clients and local people."
Before Rogg bought the space, No Doubt, Celine Dion and many other artists made music videos using the stages. Commercials have filmed in the studios too, Rogg said. Lexus, the car manufacturer owned and operated by Toyota, is set to film a commercial in the studios this week.
Mack Sennett Studios provides backdrops, risers, flats and construction for projects. Rogg, who wouldn't disclose rental prices, said he wants to work with a variety of clients as well as support local artists and community projects in order to create the "ultimate creative hub for everyone."
Said Rogg: "We're a studio for artists by artists."
Rogg, nominated for a Grammy for his production work in 2008 for best dance recording for the song "Black and Gold," continues to produce music. He grew up in Munich, Germany, and can play the saxophone, piano and many other instruments. He moved to Los Angeles in 2000.
The studio's location, on Bates Avenue in a trendy area of Silver Lake, was a factor in Rogg's decision to buy the property. The studio can cater to the neighborhood by offering a collaborative space for community events, performances and local artists, Rogg said.
"I saw major corporations take the fun out of it and limit artists," he said. "I wanted to create a space that would allow creativity."
True story. Sitting with relatives near TSA screening at Manchester Airport yesterday. Talking about a project I'm working on. I'm asked where we are with it. To be heard above the din, I say in my stage voice, "Once we get the money, then we shoot the pilot."
We need two African American looking females, who are at least 18 years of age or older, but LOOK around 15 years old, and they must wear a size 2 or smaller. If you or someone you know is an African American looking female, who looks 15 years old, but is at least 18 years of age, and is in the Las Vegas area and can rush to work TONIGHT and work all night, please submit a picture and contact information ASAP to CCVEGASCASTING@GMAIL.COM. This is for paid Union background work on a Screen Gems movie. Thanks.
Sarah Guyard-Guillot, an artist in "Ka" at MGM Grand and a mother of two young children, was killed Saturday night after a fall from the show's stage at MGM Grand. The Clark County Coroner's Office said this morning that Guyard-Guillot, 31, was pronounced dead at 11:43 p.m. Saturday at University Medical Center.
No formal cause of death has been determined pending further examination of Guyard-Guillot's body. She was born in Paris and had spent more than 22 years as an acrobatic performer.
It is the first reported death from an accident onstage in Cirque's 30-year history.
According to reports from audience members, the incident occurred Saturday night during the latter stages of the production at MGM Grand. Guyard-Guillot was one of the artists suspended by a wire from the show’s vertical stage in the show-closing Final Battle scene. As she ascended to the top of the stage, she slipped free of her safety wire and dropped to the open, unseen pit below the performers.
After the incident, one eyewitness seated in the middle of the audience and just a few rows from the lip of the stage said Guyard-Guillot dropped from the left side of the set (or on the right side, as audience members face the production) over a distance of at least 50 feet. The show momentarily continued, but then the music halted, and the performer’s screams and groans could be heard from below the stage. One source close to the production said she died on the way to a hospital.
“(The artist) was being hoisted up the side of the stage and then just plummeted down,” said Dan Mosqueda, visiting with his wife and 10-year-old son from Colorado Springs, Colo. “Initially, a lot of people in the audience thought it was part of the choreographed fight. But you could hear screaming, then groaning, and we could hear a female artist crying from the stage.” Mosqueda’s wife, Annie, has a background in theater and tweeted about the incident soon after it occurred.
Minutes after the artist’s fall, a recorded announcement was played on the theater’s sound system informing ticket-buyers that refunds or vouchers to future shows would be offered to those in the audience, and the crowd was dismissed.
Cirque released a statement this early afternoon: “The entire Cirque du Soleil family is deeply saddened by the accidental death of Sarah (Sassoon) Guyard, artist on the production 'Ka,' that happened on Saturday, June 29, in Las Vegas. The artist's immediate family has been informed of the accident. Our thoughts are with her family and the entire Cirque du Soleil family.
“I am heartbroken. I wish to extend my sincerest sympathies to the family. We are all completely devastated with this news. Sassoon was an artist with the original cast of 'Ka' since 2006 and has been an integral part of our Cirque du Soleil tight family. We are reminded, with great humility and respect, how extraordinary our artists are each and every night. Our focus now is to support each other as a family,” said Cirque du Soleil founder Guy Laliberte.
“We have been working with the appropriate authorities and have offered our full cooperation. Performances of 'Ka' will be canceled until further notice.”
It was the second time in less than a week that a Cirque show on the Strip was halted for an accident involving one of its artists.
On Wednesday night, a performer in one of the final preview performances of “Michael Jackson One” at Mandalay Bay suffered a mild concussion after slipping through the slack rope in the show’s “Stranger in Moscow” scene, missing the protective pad below the act and landing hard upon the stage. That performer is expected to return to the show.
The incident coincided with the celebration of the world premiere of “Michael Jackson One” at Mandalay Bay. During the red-carpet walk before the 7 p.m. performance, Cirque President Daniel Lamarre was asked about the danger the company’s artists face and also said the reason Cirque does not release names of artists injured onstage is so officials can first notify their families when such an incident occurs.
“The one thing that people maybe don’t realize is how hurt we are when something like that happens,” Lamarre said, standing just a few off the red carpet. “It’s almost like a family member. We are protective of the artist, first and foremost, and keep focus on the artist.”
Last week, NPR’s Linda Holmes did the math on movies that were screening in the Washington, DC-area on Friday, and calculated that of the 617 movie showings on the calendar, 90 percent of them were for movies about men, and only one of the movies in theaters was directed by a woman. And this is in a major metropolitan area.
“I want to stress this again: In many, many parts of the country right now, if you want to go to see a movie in the theater and see a current movie about a woman — any story about any woman that isn’t a documentary or a cartoon — you can’t. You cannot,” Holmes wrote. “There are not any. You cannot take yourself to one, take your friend to one, take your daughter to one. There are not any.”
This is terrifying not just because of what it says about how limited the choices for consumers are, particularly in the dude-heavy summer blockbuster season, or about failures of the movie market that don’t seem to happen in, for example, book publishing. Holmes’ piece scared me not just because of what it says about how Hollywood studios and Hollywood filmmakers think about women, or because of what these numbers suggest about how the rise of the international film market is making female characters less valuable, though those things are depressing too. Actually, I think the idea of women literally fading from our movie screens like Hermione Granger from the photos in her parents house after she casts a spell on them to erase herself from their lives scares me most because it means we could waste an outrageously talented generation of young female actors on the rise.
What about Brie Larson, who played an open-hearted popular girl in 21 Jump Street, is a hilariously sullen teenager who turns out to be surprisingly perceptive in Joseph Gordon-Levitt’s forthcoming directorial debut Don Jon, and whose turn as a social worker in Short Term 12 is supposed to be so good that it’s rivaling Pacific Rim and Elysium as my most-anticipated movie of the summer? What about The Hunger Games and Silver Linings Playbook star Jennifer Lawrence, who can shoot a bow, nail a dance competition, and has eyes that can alternately hide anything and reveal everything, even and especially emotions characters don’t want to see? What about Chloe Grace Moretz, who can be enchanting and kind, as she was in Hugo, or a literal or metaphorical monster, as she was in Let Me In and the Kick-Ass franchise? Or Abagail Breslin, who was so winningly un-self-conscious in Little Miss Sunshine, who ran away with Definitely, Maybe, snaffling it from Ryan Reynolds every time she was on screen, and who gets to be Valentine Wiggin, one of the better characters in young adult literature, next? How about Quvenzhané Wallis, Oscar-nominated for her performance in Beasts of the Southern Wild–what might she do in a more conventional Hollywood project like the remake of Annie, in which she’s meant to star?
Is the purpose of these girls and women to grow up to be kissable objects in stories about the self-actualization of men? Why, exactly, are we supposed to care more about self-fashioned superhero Kick-Ass (Aaron Johnson) than the adventures of Hit-Girl (Moretz), raised to be a superhero by her father, after she becomes an orphan? Is Breslin fated to become the girl whose beauty is revealed once her glasses are removed and she’s subjected to a convenient makeover, rather than someone spiky and interesting enough to rock out on stage with her grandfather or to become an internationally influential blogger at twelve? As Lawrence moves beyond her early twenties, will we see her spending more time being the means by which damaged men heal themselves, as she was in Silver Linings Playbook, rather than as a superheroine who embraces radicalism, or the instrument of national liberation she plays in the Hunger Games franchise? Are we supposed to be satisfied if Wallis grows up to be a reasonably age-appropriate love interest for Jaden Smith? After dumping an eligible but dull boyfriend in The Help, is it progress for Emma Stone to get chucked off a bridge to further the necessary traumatization of Spider-Man?
None of this means I’ll stop praising a movie like Man of Steel for letting female characters keep their clothes on and giving them actual work to do. Movies about actual men shouldn’t be afraid to have actual women as characters, rather than pliant objects lingering in the wings, waiting to be noticed and bedded. But woman cannot go to the movies on Lois Lane alone, even if she boosts the number of female ticket-buyers who will turn out for a superhero flick. It would be an awful shame for a generation of tremendous young actresses to come of age, only to be slotted into a series of positions and functions that makes them the on-screen equivalent of fifties housewives, serving up support for male characters like a martini before Chicken Kiev.
I live in the D.C. metro area, which is a very good place to find films. If you don't live in New York or Los Angeles, it's about the best you can do. I'm within 10 miles of a multiplicity of multiplexes, not to mention four theaters I would consider "art house" theaters or at least mixes of wider-appeal fare and smaller stuff.
According to Fandango and some back-of-the-envelope math, excluding documentaries and animation, there are 617 movie showings today — that's just today, Friday — within 10 miles of my house.
Of those 617 showings, 561 of them — 90 percent — are stories about men or groups of men, where women play supporting roles or fill out ensembles primarily focused on men. The movies making up those 561 showings: Man Of Steel (143), This Is The End (77), The Internship (52), The Purge (49), After Earth (29), Now You See Me (56), Fast & Furious6 (44),The Hangover Part III (16), Star Trek Into Darkness (34), The Great Gatsby (16), Iron Man 3(18), Mud (9), The Company You Keep (4), Kings Of Summer (9), and 42 (5).
Thirty-one are showings of movies about balanced pairings or ensembles of men and women: Before Midnight (26), Shadow Dancer (4), and Wish You Were Here (1).
Twenty-five are showings of movies about women or girls: The East (8), Fill The Void (4),Frances Ha (9), and What Maisie Knew (4).
Of the seven movies about women or balanced groups, only one — the Israeli film Fill The Void — is directed by a woman, Rama Burshtein. That's also the only one that isn't about a well-off white American. (Well, Celine in Before Midnight is well-off, white and French, but she's been living in the U.S.)
There are nearly six times as many showings of Man Of Steel alone as there are of all the films about women put together.
If I were limited to multiplexes, as people are in many parts of the country, the numbers would be worse. In many places, the number would be zero. Frances Ha is by far the most widely available of the four women-centered movies, and it's at 213 theaters this weekend in the entire country. The East is at 115. What Maisie Knew is at 51. Fill The Void looks like it's in about 20 locations, judging by its site.
The Internship is at 3,399.*
[*Note: I originally had understood these to be screen counts; they're actually theater counts. Not a huge difference with non-blockbusters less likely to play on multiple screens at the same place, and if anything, makes the possible disparity with something like The Internshipgreater, but it's different nonetheless. This doesn't affect the numbers for my own local theaters, though — those are just individual showtimes counted by hand.]
I want to stress this again: In many, many parts of the country right now, if you want to go to see a movie in the theater and see a current movie about a woman — any story about anywoman that isn't a documentary or a cartoon — you can't. You cannot. There are not any. You cannot take yourself to one, take your friend to one, take your daughter to one.
There are not any.
By far your best shot, numbers-wise, at finding one that's at least even-handedly featuring a man and a woman is Before Midnight (at 891 theaters) so I hope you like it. Because it's pretty much that or a solid, impenetrable wall of movies about dudes.
Dudes in capes, dudes in cars, dudes in space, dudes drinking, dudes smoking, dudes doing magic tricks, dudes being funny, dudes being dramatic, dudes flying through the air, dudes blowing up, dudes getting killed, dudes saving and kissing women and children, and dudes glowering at each other.
Somebody asked me this morning what "the women" are going to do about this. I don't know. I honestly am at the point where I have no idea what to do about it. Stop going to the movies? Boycott everything?
They put up Bridesmaids, we went. They put up Pitch Perfect, we went. They put up The Devil Wears Prada, which was in two-thousand-meryl-streeping-oh-six, and we went (and by "we," I do not just mean women; I mean we, the humans), and all of it has led right here, right to this place. Right to the land of zippedy-doo-dah. You can apparently make an endless collection of high-priced action flops and everybody says "win some, lose some" and nobody decides that They Are Poison, but it feels like every "surprise success" about women is an anomaly and every failure is an abject lesson about how we really ought to just leave it all to The Rock.
Nobody remembers, it seems, how many people said Bridesmaids would fail. And it didn't! But it didn't matter.
My answer is that I have no idea what the women are going to do about it. It helps when critics, including men, care about the way women artists are treated and make it their problem to share, as Sam Adams did yesterday in a terrific piece about Sofia Coppola. It helps when people go out of their way to see any kind of film that's about people other than themselves. It helps when we acknowledge that what we have right now is a Hollywood entertainment business that has pretty much entirely devoted itself to telling men's stories — and to the degree that's for business reasons, it's because they've gotten the impression we've devoted ourselves to listening to men's stories.
But for crying out loud, let's at least notice. When it's 90 percent here, it's much worse elsewhere.