Filmmaker Eliza Hittman knew she’d have trouble getting financing for her art house abortion drama, “Never Rarely Sometimes Always.” She didn’t think it helped that she kept finding herself pitching to rooms full of men. Even companies that were supposed to focus on "issue movies" weren't interested in an abortion storyline. But Hittman eventually found her money, and her award-winning film is now available to stream on demand.
Jobless Hollywood workers cope with coronavirus
With Hollywood mostly shut down, we check in with people dealing with this difficult time across the industry. We hear from an actor, cinematographer, writers’ room production assistant, costumer, and filmmaking team. They tell us how their lives have suddenly changed, how they’re coping while out of work, and how they think this pandemic could change Hollywood forever.
Netflix’s ‘Crip Camp’
In 1971, when sound designer Jim LeBrecht was 15, he had a summer of love at a camp for disabled kids. It was a place that fostered a spirit of history-changing activism. He and his friend, filmmaker Nicole Newnham, agreed that this was a movie. They didn’t anticipate that Barack and Michelle Obama would think so too. Newnham and LeBrecht tell us about their Netflix documentary “Crip Camp,” and partnering with the Obamas’ production company.
Anti-NDA initiative ‘Lift Our Voices’
In July 2016, more than a year before the #MeToo movement began, Gretchen Carlson made a bold decision to sue Fox News chief Roger Ailes for sexual harassment. Now she and Julie Rogisnky, a former Fox News contributor who also sued Ailes, have made it their mission to end nondisclosure agreements (NDAs) that can muzzle those who sue over misconduct. Their initiative is called Lift Our Voices.
Autumn de Wilde’s ‘Emma’
Autumn de Wilde has more than 20 years of experience photographing rock bands and directing commercials, but she’d never made a feature film. Then out of the blue, a British production company asked her to pitch ideas for a new version of the Jane Austen classic, “Emma.” De Wilde tells us how she made her light and bright version of “Emma,” the famous comedy of manners.