Despite this body of work, Gauntier is largely unknown in texts on screenwriting used in major universities today. She does appear in Cari Beauchamp’s Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. In an interview with Beauchamp, David Sterritt posits that “Men have largely run the film industry from the start, allowing little power or prestige to their female counterparts. Men have also dominated the film-history field, writing books that take male privilege in Hollywood for granted.
Gene Gauntier: Ascending by Drowning by Yasser Shahin
This one allowed me to riff on some of my favorite female science fiction writers across time, whether they be novelists or television writers. It also opened up a good conversation on what art we support and include in our lives – and what that art says to us and about us. — Rosanne
We get around to this point and Pat Murphy. She can have her name on the book because why? (Audience) Her name is unisex. (Welch) Pat is one of those great names. Is it a boy or girl? You don’t know looking at it. So then she has to decide, do you put your picture on the inside cover where it’s the author’s thing or you don’t and then you leave it up to people to assume that Pat must be a boy because you know. This is a pretty kind of interesting book. Must be written by a boy. I think that’s funny. It’s also one of my pet peeves when you’re watching movies or TV shows and there’s a really tough woman character. She’s always got a name that can be a boy’s. She’s always Samantha so she can be Sam right or she’s Patricia so she can see Pat. There’s always that name, seriously I want Tiffany to be really cool and I want her to do something amazing or Betsy. I don’t want it always to be a name that could be a boy’s name if you want, and that happens all the time.
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Come join Cinematographer Sarah Phillips (and Stephens College MFA in TV and Screenwriting alum (inaugural class of 2017)) as she talks about how to help (or hurt) your story structure with the way you (as a director, writer, actor, or producer) work with your cinematographer, and the way you craft light and character together.
Sarah Phillips is a cinematographer (and camera nerd) in Los Angeles who works in many areas of film. She primarily shoots independent films, including scripted features, documentaries, and short films, but also can be found the camera departments of national commercials and music videos, because her passion for writing story with light supersedes that of genre and form. sarahphillipscamera.com
Learn about story Structure as a Cinematographer
Hear how to craft light and character together
Discuss working with directors, writers, actors and producers on building story structure
Today’s guest is Stacia Raymond, author of Grace Notes: A Novel Based on the Life of Henry Mancini
With a legacy that resonates today in the work of contemporary film composers, the magnanimous Henry Mancini left an indelible mark on the culture. Over the course of a life cut short, Mancini helped liberate a concentration camp at the end of WWII, created some of the most iconic film and television themes ever written, and unseated the Beatles from the number one spot at the apex of rock and roll.
About the Author
Stacia Raymond is a freelance writer and editor based in Southern California. With more than fifteen years of experience in the film and television industry, Raymond has built a body of work that includes fiction, non-fiction, and ghostwriting for clients in the fields of music, film, and technology. Raymond’s television writing has been produced by CBS, Paramount, and Lifetime, and she has developed projects with Showtime and ABC Family. In 2013, she was awarded a Fellowship with the Puglia Film Commission as part of a program to bring more production to the Southern Italian region.
Major Congratulations to Stephens College MFA in TV and Screenwriting alum Ilona Rossman Ho (Class of 2019) who’s screenplay “Indivisible Mom” has been named a 2019 summer edition BAFF (Big Apple Film Festival) Screenplay Award Winner!
Sarah Mason had a similar thing happen to her. Sarah Mason worked together with her husband Victor Hermann, They got the first Oscar for adaptation. It was for Little Women which of course has been done and done and done over again. They also worked on Stella Dallas and many films in the early period. Again, Victor Herrmann left writing to become a director and he ended up directing the Marx Brothers so he’s a little he appears in a few more film histories. She disappears out of the film histories though she’s got an Oscar to her name and Victor, who outlived his wife, gave an oral history where he said he did most of the writing when they were a team. The problem is if you look at her IMDB list of movies she wrote before marrying him and after he left the team to become a director, she has about 64 films. He alone has written four. So who’s the writer in that team right? it’s not who he says it was unless that’s all you ever read. So Sarah disappears from history, right? I’ve actually met her grandson and interviewed him. He had no idea that that’s what his grandmother did. All he remembers is she really liked Shakespeare and she made him remember whole quotes from Shakespeare before he could go out and play. He had to recite sections of Shakespeare. So don’t tell me she doesn’t have the heart of a writer right? .
Dr. Rosanne Welch discusses the women in her new book “When Women Wrote Hollywood” which covers female screenwriters from the Silents through the early 1940s when women wrote over 50% of films and Frances Marion was the highest paid screenwriter (male or female) and the first to win 2 Oscars. Yet, she fails to appear in film history books, which continue to regurgitate the myth that male directors did it all – even though it’s been proven that the only profitable movies Cecil B. de Mille ever directed were all written by Jeannie Macpherson film ever won for Best Picture was written by Robert E. Sherwood (who people have heard of, mostly due to his connection to Dorothy Parker) and Joan Harrison.
Dr. Rosanne Welch of our Stephens College MFA in TV and Screenwriting serves as Book Review Editor and this Issue includes reviews by three graduates of our MFA program: The Girl Who Knew Too Much: Shadow of a Doubt (1943), reviewed by Mikayla Daniels (Class of 2017); Writing for the Screen, Anna Weinstein, reviewed by Yasser O. Shahin (Class of 2017); and The Heroine’s Journey: Woman’s Quest For Wholeness, Maureen Murdock, reviewed by Ilona Rossman Ho (Class of 2019).
Congratulations to Stephens College MFA in TV and Screenwriting graduate (and graduation speaker for the Class of 2019) LeeAnne Lowry who joined the University of Missouri School of Journalism yesterday teaching “Fundamentals of Visual Journalism and Strategic Communication”.
I thought I ought to share it with the whole community, so here it is… — Rosanne
As established members of the entertainment community, we are frequently asked to speak to aspiring filmmakers. And with the success of our book, The Hollywood Pitching Bible, the number of speaking invitations has greatly increased. We are now regularly invited to speak at numerous entertainment industry events, festivals, film schools and conferences.
No matter what the topic of the event, inevitably the dialogue with the audience veers onto our views about the industry in general and life in the biz. Overwhelmingly, there’s one question we get asked more than any other: “How do I get an agent?”
Often the question is asked with such intense interest that we sometimes wonder if the rest of our lecture has been “filler” for the audience who are just waiting to get to this topic. Because of the overwhelming concern with this question, we are presenting this in-depth, three-part article on the topic for the benefit of LA Screenwriter readers.