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[music]

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- The industry is white.
The industry is male.

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Period, end of story.

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The first time I was on a set
as a DGA trainee,

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and I walked on, I was like,

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"Oh, my, I am the
only person of color,"

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like, and I will not
mention the film that it was,

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but, like, I was the
only person of color.

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And then, in terms of,
like, being on the set,

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I was the only female.

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Hair and makeup was female.
Wardrobe, female.

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And if I remember correctly,
um, I think...

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the assistant prop person was
a female. That was it.

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NANCY SCHREIBER:
Below the line is everybody

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starting from the
cinematographer, below that.

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Camera, electric, grip, makeup,
hair, wardrobe, props.

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We're all below the line.

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DIANA WILLIAMS: If we're looking
at when the industry really
started,

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a lot of the jobs...

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whether we're talking teamsters
or props or anyone,

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a lot of them became
family businesses.

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And you brought your sons into
them, and then they brought
their friends into.

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So, you can start to
see how that rolls.

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ZACKARY DRUCKER:
So much of industry is

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business as usual.

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People would
rather hire people

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who are exactly like them
to not deal with...

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the messiness of
people's identities.

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Or the, you know,
the messiness of their own bias.

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DIANA: I started off
as an assistant director.

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And it wasn't even a glass
ceiling, it was a cement ceiling

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to become a first AD.

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There weren't a ton
of female first ADs

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that were putting together
their teams, and if there were,

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they were, again at that point,
were relegated to...

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soft movies,
so to your romantic dramas,

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your romantic comedies.

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I remember hearing
from some VPs of production

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at different studios that, like,

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"Well, you know, we're not
really sure if a woman can
handle...

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it's 300 people they've
gotta corral," and I'm like,

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have you seen a mom with kids?
They can handle it.

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TAMI REIKER: A cinematographer
works very closely with the
director

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in designing the
look of the film.

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You're doing the lighting

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and operating the camera,

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and, you know, you're in
charge of the grip, electric,

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and camera department.

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And the interesting thing
is, having done commercials

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all over the world,

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It's happened more
here, the pushback.

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NANCY SCHREIBER: I didn't
have an agent when I started
shooting,

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But I had a service
that sent out

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our reels,
three-quarter-inch reels.

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And the gentleman
who was in charge of all that...

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said, "Let's try something."

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He labeled some of the cassettes
"NJ Schreiber"

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and the other ones
"Nancy Schreiber."

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And sure enough...

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the ones with my full name
had not been watched.

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FREIDA PINTO: The two
times that I've worked on a TV
show

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and a film project
where we had female DOPs,

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it has been a whole new
different experience.

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Uh, the comfort
that I feel...

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and I'm not saying
I don't feel comfortable

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with male cinematographers,
but there's a different

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level of comfort
that just gets switched on.

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I can just romance the camera

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in not a sexual way, but in a
way that I completely embody

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my sensuality and my power
and the flaws of my character

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and the strengths of my
character in a wholesome way.

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It's just so badass
when you just watch them...

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pull all the stops, know
the light, know everything.

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I'm like, yes, we
need more of this.

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I have two words to leave
with you tonight, ladies and
gentlemen.

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Inclusion rider.

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[applause]

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MATTHEW BELLONI:
When Frances McDormand accepted

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her Oscar for "Three
Billboards," in her speech, she
ended it with,

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"Two words, inclusion rider."

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Inclusion riders
are something that

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has been proposed
for years.

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It started with a USC
Annenberg researcher

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who proposed a document

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that would be attached
to the contracts

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for all the films and TV shows
that would set requirements

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for diversity.

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GINA PRINCE-BYTHEWOOD: We've
tried asking, we've tried
shaming.

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Now... fine,

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we will force
you via contract

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to... you know,
to make a set be inclusive.

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It's just such an obvious thing.

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The thing is, I don't need it,
and I think most female
directors,

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you have your eye out for it
already, because you've
experienced it.

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- After shooting is
complete, you then move into
post-production.

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DORIAN HARRIS:
Post-production is

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everything that
happens after the set.

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The dailies, the
editing, all the cuts.

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The sound dubbing.

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Color timing.

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The completion of
the final product.

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BOBBI BANKS:
For supervising sound editor--

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I'm in charge
of the overall sound of a film.

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And so I spend time
with the dialogue editors,

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foley editors,

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and sometimes music and effects.

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DORIAN: Women were
really involved

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in the early days of editing
because they're in a room
somewhere,

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and we don't see them.

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And they're doing something
with their hands.

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I don't think
anyone really understood

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the value of editing
for quite a long time.

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And once it was understood,

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which happened to coincide with
men coming back from World War
II,

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those positions
were given to men,

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and women kind of lost
their-- their foothold.

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- Sometimes the producers will--
they just talk over me.

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It's almost like
I'm not even sitting there.

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And so I have to figure out
how to interject,

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especially if I'm not getting
what I know that the film needs.

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DORIAN: When I came
into the business

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in the late '70s, early '80s,

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I was often the only woman
on any editing crew.

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My kids came in
rapid succession,

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uh, and I was pregnant
with my second one,

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and I was in an elevator at
the Brill Building in New York,

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which was where all
the films were edited,

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and an editor said,
"You're having another baby?"

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And I said, "Yeah."

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And he said, "You must not be
serious about your career."

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REBECCA: The right
to final cut is

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one of the areas

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where the power structures in
Hollywood become really obvious.

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Historically, male directors
have been much more likely

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to get the privilege
of final cut.

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KARYN KUSAMA:
When you don't have final cut,

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you have opened up the door

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to any number of...

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forces and opinions
and agendas

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that end up
shaping your film.

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But I just know
that I stand behind

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the films in which
I've had final cut

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with just a little bit more
of a sense of...

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certainty that it is, one,
the movie I wanted to make,

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and, two, a movie
whose mistakes I can own.

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REBECCA: Once your film is
completed, it's time to get it
out into the world.

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But getting people
to see it and like it,

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critics to respond to it, maybe
even get awards consideration,

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this is a whole new round
of power plays and drama.