DEAF WOMEN IN FILM

New Website Layout for Deaf Women in Film!

2011-12-09T09:31:00.001-08:00

We are constantly trying to improve the system so that it's easier for navigation. We want it to be easier to create opportunities for every deaf woman in film out there.

Let us know if you have any issues or thoughts about our website. E-mail us! deafwomeninfilm@gmail.com

What is Deaf Women in Film for and what does it do?

2011-10-07T09:57:00.000-07:00

LOOKING FOR A DEAF OR HARD OF HEARING WOMAN FOR YOUR FILM

If you are looking for a deaf or hard of hearing woman to be involved in your film, either in front or behind the camera, then we will respond to you very quickly. If it is an acting role, we will send out an e-mail blast to all the registrants. Be sure to share as much information as you can with us-- especially if it's a paid job and where it's located. This community organization is international, so location is crucial in your information. There is no fee.

SHARING YOUR FILM WITH US

Do you have a film to share with us that involves deaf or hard of hearing women behind or front of the camera? If so, please do e-mail it to us at deafwomeninfilm@gmail.com. We are more than happy to share it if there is an online link, screening, event or anything at all, please share it with us, we will share it online on Facebook and Twitter. We are developing a large following on Facebook and Twitter, so this is a great opportunity to promote your film. There is no fee.

We require these conditions:

1) The film must involve at least one deaf or hard of hearing woman in a key position (any strong acting role, producer, director, writer, editor, production designer, sound editor)
2) Has captions or subtitles in English [if you don't have them, don't let that stop you from adding them!]
3) You must share with us the names of the deaf and hard of hearing women involved in your film, and what roles they're in.
4) The film shows some level of professionalism and that it's a narrative-type-- it's got a full crew, has quality in shooting, and has strong content. Unfortunately this is not objective, but this is due to filtering out certain types of videos that do not fit in this category.
5) E-mail online links to deafwomeninfilm@gmail.com. We love using online video content.

DEAF OR HARD OF HEARING WOMEN WHO WANT TO BE INVOLVED

Are you a deaf or hard of hearing woman and are interested in being involved in film or acting? Register under Deaf Women in Film so you can get e-mails for job opportunities, auditions and DWIF events. Go to this link: http://dwifregister.blogspot.com. There is no fee.

If you are a deaf and hard of hearing woman interested in learning more about your craft, exchanging information, networking with other deaf and hard of hearing women involved in film (both in front and behind the camera) then join the private Facebook group limited to deaf and hard of hearing women only. https://www.facebook.com/groups/deafwomeninfilm/ There is no fee.

SUPPORT DEAF WOMEN IN FILM

If you are a supporter of Deaf Women in Film and want to learn more about us, you can follow us in these following links:

http://dwif.blogspot.com [Official Website]
http://www.youtube.com/deafwomeninfilm [YouTube Channel]
http://www.twitter.com/deafwomeninfilm [Twitter]
http://www.facebook.com/deafwomeninfilm [Facebook]

WHAT'S THE CATCH?

There is none. Jules Dameron is currently operating Facebook, Twitter, E-mail and registration all for free. We do not do this for money. We do this solely for the purpose of recognizing, supporting, and creating more opportunities for deaf and hard of hearing women in the entertainment industry.

Open Letter to British Sign Language Broadcasting Trust

2011-08-19T12:58:00.000-07:00

To Whom it May Concern,

As a founder of Deaf Women in Film, an international group supporting equality and recognition of the deaf community, this is a letter of support and encouragement of deaf and hard of hearing people involved professionally in the media & entertainment industry.

Right now, YouTube, Vimeo, Facebook and Twitter are heavily intertwined and highly transparent. It is also currently the chief source of the "grapevine" of communication amongst the deaf and hard of hearing community. I am in love with "Zoom," which holds the purpose of fostering professional growth in the deaf and hard of hearing community in the United Kingdom. I do hope to pursue the possibility of opening up an organization with the same purpose in the United States, having been inspired by "Zoom." I see that "Zoom" does not have its own YouTube channel, which is a missed opportunity for "Zoom" to garner recognition internationally.

Deaf Women in Film currently has a YouTube channel, Twitter, Facebook, and a blogsite. It now has a very large following in a short time. In about a year, it garnered at least 1,500 followers on Facebook, and 1,100 followers on Twitter, just simply because of content. We have also helped many films get a lot of hits on YouTube. Deaf Women in Film also has a policy that if there are professional content created with deaf or hard of hearing women involved in the making of the film (either in front or behind the camera) and subtitled for access towards both the hearing and the deaf, it would be shown on Deaf Women in Film's Facebook & Twitter.

One more point-- YouTube also currently allows high-quality content, meaning you can go as far as 1080p (High Definition) format, as well as being caption-friendly should you decide to create captions (one way to do it is use http://captiontube.appspot.com). I can see for myself that the content on the Zoom website isn't high quality enough, and it doesn't do the work by the deaf and hard of hearing filmmakers any justice. Myself being a filmmaker, quality control is incredibly important; it gives us a better name and would create more job opportunities out there.

With that in mind, if you consider expanding to a YouTube channel, you will have the full support of Deaf Women in Film by sharing content through those channels, and I'm sure everyone in the U.K. would be more than thrilled to share it as well. Please consider this heavily, since we all love "Zoom" and want to see more from it.

Best,

Jules Dameron
Deaf Women in Film Founder
http://dwif.blogspot.com

-----
To learn more about "Zoom" go to this link: http://www.bslbt.co.uk/zoom/

"Versa Effect" Red Carpet Event on Sep. 10, 2011

2011-08-08T10:27:00.000-07:00

OFFICIAL WEBSITE: http://www.evelinagaina.com
FACEBOOK EVENT: http://on.fb.me/rp4yEw
PRODUCTION COMPANY: http://www.aslfilms.com/

Subtitled in English by Deaf Women in Film.

The event will take place in Hollywood, California, and the cast of "Versa Effect" will be there.

Purchase your tickets now on http://www.evelinagaina.com to experience this unique event.

"Versa Effects" is an ASL Films Production.

Official Deaf Women in Film Interview of Jackie Roth, Actress & Producer [CC]

2011-04-04T23:21:00.000-07:00

Turn on "CC" on lower left of the video to read captions of Jackie's ASL.

Learn about Jackie Roth and her experience in acting on Broadway with "Children of a Lesser God" and her experience on producing "Sound and Fury." Great tips for hearing filmmakers and deaf professionals involved. Watch this if you're an aspiring producer or actor.

00:04 - 00:58 Tell us a little bit about your background. Where were you born and raised?
00:58 - 01:34 What was your deaf experience like growing up?
01:34 - 02:17 What's your passion? Tell us a little bit about it.
02:17 - 02:55 What do you believe it takes to get your foot in the doorway to success?
02:55 - 05:39 What was your best learning experience in the field of acting?
05:39 - 06:05 What's the biggest problem you've faced as a deaf actress?
06:05 - 9:39 Tell us about working on "Sound & Fury" as a film producer.
09:39 - 10:30 Any advice for the deaf community involved in film?
10:30 - 11:18 Any advice for deaf and hard of hearing women involved in film?
11:18 - 11:24 Credits

Interviewed & Filmed by Jules Dameron on behalf of Deaf Women in Film.

All rights reserved, Deaf Women in Film 2011.

Deaf Women in Film Internet Videos of 2010 [CC]

2011-03-27T18:34:00.000-07:00

"My Deaf Family" Pilot

DWIF'S INVOLVED:
Marlee Matlin, Executive Producer
The Firl Family, Bridgetta Firl & Sabrina Firl
-----------------
"The Fingerspellers Episode 1: The New Delivery Boy"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Chosen: JJ Live!"

DWIF'S INVOLVED:
Jackie Moser, Cinematography
Paige Shores, Editor
-----------------
"Gallaudet"

DWIF'S INVOLVED:
Jules Dameron, Assistant Director & Assistant Producer
Lizzie Sorkin, Production Assistant & Craft Service
Jenny Witteborg, Production Assistant & Craft Service
Jillian Donnelly, Grip, Production Assistant & Craft Service
Rita Hickey, Production Assistant & Craft Service

DWIF Extras
Stephanie Johnson, Jillian Donnelly, Kitty Monahan-Sewell, Megan Matovich, Melissa Malzkuhn, Brooke Budzinski, Stella Keltz, Julia Velasquez, Liz Stone, Summer Crider, Roni Lepore, Erin Fisher, Shilpa Hanumantha, Rita Hickey, Tawny Holmes, Mandie Smith, Jamie Yost, Jessica Frank, Julia Golden

[NOTE: If you were in the film and left unnamed, let us know. We apologize in advance.]
-----------------
"DRUG" American Sign Language Music Video by Nyke

DWIF'S INVOLVED:
Nyke, Actress & American Sign Language Performance Artist
Jules Dameron, Director & Cinematographer
-----------------
"The Fingerspellers Episode 2: A Shadow On The Wall"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Skip Listening" Teaser Trailers

DWIF'S INVOLVED:
Lexi Marman, Actress
-----------------
"Deaf Perception"

DWIF'S INVOLVED:
Alyssa Dole, Actress, Writer & Director
Ashley Dole, Actress, Writer
-----------------
"Raw"

DWIF'S INVOLVED:
Jules Dameron, Director & Producer
Lexi Marman, Actress
-----------------
"Unscripted" Interview of Marlee Matlin

DWIF'S INVOLVED:
Marlee Matlin, Actress/Interviewee
-----------------
"Convo Kitty"

DWIF'S INVOLVED:
Jules Dameron, Director, Writer, Producer
Amber Zion, Actress
-----------------
"Glee!" Short Film Musical

DWIF'S INVOLVED:
Catherine MacKinnon, Producer
Jules Dameron, Producer, Director
Chantal Deguire, Production Assistant, 1st Assistant Camera
Tara Shucart, Wardrobe Artist
-----------------
"Allah Save the Punk!"

DWIF'S INVOLVED:
Sabina England, Writer, Performer & Editor
-----------------
"The Fingerspellers Episode 3: The Traitor"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Rise From The Ashes" Demo Reel

DWIF'S INVOLVED:
Catherine MacKinnon, Producer
Bellamie Harvard, Producer
Amanda Richer, Cinematographer
-----------------
"Hamill" Official Teaser

DWIF'S INVOLVED:
Catherine MacKinnon, Co-Producer
Shoshannah Stern, Actress
Lexi Marman, Actress
Nyke Prince, Makeup Artist
Stacy Lawrence, Craft Service Supervisor
-----------------
"I Don't Need Your Cure"

DWIF'S INVOLVED:
Megg Rose, Writer, American Sign Language Performer
Yamila Rose, American Sign Language Performer
-----------------
"The Fingerspellers Episode 4: Pointing the Finger"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Put American Sign Language into Writing!"

DWIF'S INVOLVED:
Jules Dameron, Director, Cinematographer & Editor
Evelina Gaina, Actress
-----------------
"The Fingerspellers Episode 5: A Magnificent Disguise"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Beyond Essays" Official Trailer

DWIF'S INVOLVED:
Jules Dameron, Writer/Director
Kalen Feeney, Actress
Amber Zion, Actress
Antoinette Abbamonte, Actress
Ashley Griffith, Actress
Arezo Moazezi, Actress
Tara Shucart, Costume Designer
Catherine MacKinnon, Production Design Assistant

DWIF Extras:
Lilly Crisman, Mary Ruth Summers, Mary Beth Baierl
-----------------
"Crash & Burn" in British Sign Language by Rebecca Anne-Withey

DWIF'S INVOLVED:
Rebecca Anne-Withey, British Sign Language Performer
-----------------
"Wedding Night" Teaser Trailer

DWIF'S INVOLVED:
Sabina England, Writer, Director & Producer
-----------------
"Claustrophobia" Trailer

DWIF'S INVOLVED:
Catherine MacKinnon, Producer
Laura Harvey, Associate Producer
-----------------
"3for1" Short Film

DWIF'S INVOLVED:
Ruth Hands, Actress
Sandra Williams, Actress
Jennifer Wilson, Production Runner
Asako Hirokawa, Production Runner
Makeda Wright, Production Runner
-----------------
"Convo - It's Like You're There"

Several Unnamed DWIF Extras
-----------------
"M.O.S." Trailer

DWIF'S INVOLVED:
Jules Dameron, Producer
Rhianon Gutierrez, "Transients" Director
Kimby Caplan, "Transients" Cinematographer
Catherine MacKinnon, "Transients" Producer
-----------------
Convo "It's Like You're There" Halloween Edition

DWIF'S INVOLVED:
Alexandria Wailes, Actress
-----------------
"La Legende De Ryo"

DWIF'S INVOLVED:
Audrey Sangla, Actress, Assistant Director
-----------------
"The Fingerspellers Episode 6: The Shoot Out"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"The Fingerspellers Episode 7: Hard Knocks"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"The Fingerspellers Episode 8: The Final Episode"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Behind the Fingerspellers"

DWIF'S INVOLVED:
Rebecca Anne-Withey, Actress
Diana Martin, Actress
-----------------
"Deaf in Pink: 3 Day Breast Cancer Walk in San Diego" Trailer

DWIF'S INVOLVED:
Laura Dee Harvey, Filmmaker
-----------------
"Spring Feelings [Vårkänslor]" Short Film

DWIF'S INVOLVED:
Liene Strante, Director
Juli af Klintberg, Actress
-----------------

We hope you enjoyed this blog. If you did make a video in 2010, with a deaf woman involved and don't see it here, then e-mail us at deafwomeninfilm@gmail.com, and we'll happily add to it. Also, if you do have a video here, but the information is incorrect, please e-mail us the correct information, and we'll quickly make the necessary changes.

REQUIREMENTS:

1) Is either subtitled or captioned if there's any dialogue.
2) Is online.
3) Embeddable (Vimeo, YouTube, etc.)
4) Involves at least one deaf woman, either in front or behind the camera.
5) In your e-mail, include a listing of each deaf or hard of hearing woman that was involved in your film and their positions/roles.
6) Was posted online in 2010.

Thank you for viewing our blog!

-JULES DAMERON
Founder of Deaf Women in Film

Official Deaf Women in Film Interview of Alexandria Wailes, Actress & Dancer

2011-02-23T08:00:00.000-08:00

Learn about Alexandria Wailes, her experience in acting and what she's learned from it. Tips and advice for hearing filmmakers and deaf professionals involved.

00:04 - 00:46 Where were you born?
00:46 - 01:58 Where was your life experience growing up?
01:58 - 04:05 What was your most meaningful acting experience?
04:05 - 05:29 What about acting on film? What did you get from it?
05:29 - 07:24 Any advice or tips for deaf people who want to get into professional acting?
07:24 - 09:42 Any advice or tips for filmmakers that hear when they are thinking of working with deaf people in their films?
09:42 - 10:48 Alexandria's advice to the Deaf Women in Film Community

See Alexandria's work on:
http://www.imdb.com/name/nm2538775/

Interviewed by Jules Dameron on behalf of Deaf Women in Film.

http://dwif.blogspot.com

All rights reserved, Deaf Women in Film 2011.

"Black Sand" Red Carpet Event [A Vlog by Evelina Gaina]

2010-11-10T16:22:00.000-08:00

OFFICIAL WEBSITE: http://www.blacksand.moonfruit.com
FACEBOOK EVENT: http://tinyurl.com/blacksandevent
PRODUCTION COMPANY: http://aslfilms.com/

Subtitled in English.

The event will take place in Hollywood, California, and the cast of "Black Sand" will be there.

Purchase your tickets now to experience this unique event.

"Black Sand" is an ASL Films Production.

Official Deaf Women in Film Interview of Catherine MacKinnon, Producer

2010-11-04T21:46:00.000-07:00

[English Subtitles available.]

http://www.facebook.com/hamillthemovie

Watch the 3rd official Deaf Women in Film Interview of Catherine MacKinnon, the current co-producer of "Hamill." She talks about her film school, raising funding for her film, on how to pitch a film and "Hamill."

Links on "Hamill" Feature Film:

FACEBOOK: http://www.facebook.com/hamillthemovie
TWITTER: http://www.twitter.com/hamillthemovie
WEBSITE: http://www.hamillthemovie.com

Support her other producing projects:
RISE FROM THE ASHES: http://funds.gofundme.com/HarvarDreams/RisefromtheAshes
TRANSIENTS: Check Donations to transientsfilm@gmail.com.

Shot & Edited by Jules Dameron
Equipment provided by Damname Productions (www.damname.com)

This was a Deaf Women in Film Production.

Second Official Deaf Women in Film Interview of Martha Anger, Filmmaker

2010-09-17T23:29:00.000-07:00

Watch this captioned interview (also in American Sign Language) of Martha Anger, a DWIF filmmaker. This film was produced by Jules Dameron of Deaf Women in Film.

To see more on "Elissa," go to these following links:

Fundraising: http://www.indiegogo.com/E-L-I-S-S-A
Twitter: http://twitter.com/ELISSAFilm
Facebook: http://www.facebook.com/pages/Elissa-Short-Film/127587083960850?ref=ts

2010-08-22T11:44:00.000-07:00

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First Official Deaf Women in Film Interview of Rhianon Gutierrez, Filmmaker

2010-07-16T12:46:00.000-07:00

Watch this captioned interview of Rhianon Gutierrez, a DWIF filmmaker. This film was produced by Jules Dameron of Deaf Women in Film. Subtitles done by Alex Lotz.

To see more on "Transients," go to these following links:

http://www.rhianongfilms.com/TRANSIENTS/MAIN.html
http://transientsfilm.blogspot.com/
http://twitter.com/transientsfilm
"Transients" Facebook Page
http://tinyurl.com/transientsfundraiser

Thank you for watching our first official DWIF Vlog.

-JULES DAMERON

Deaf Women in Film Gatherings

2010-06-22T15:52:00.000-07:00

Deaf Women in Film Gathering in Los Angeles, California at Bacaro L.A. on Saturday, June 5th, 2010

(Left to Right) Laura Harvey, Antoinette Abbamonte, Poh Teh, Mary Ruth Summers, Lexi Marman, Sarahlena Banu Amber Zion, Aline Smith, Kalen Feeney, Maria Monte de Rey, Lilly Crisman, Modela Kurzet, Vikee Waltrip, & Vae.

Deaf Women in Film Gathering in Washington, D.C. at Sova on Tuesday, June 8th, 2010

(Left to Right) Tracey Salaway, Janis Cole, Monique Holt, Hannah Reisman, Tami Lee Santimyer, Alexandria Wailes, Christine Parrotte, Kate Breen, Jenny Grinder Witteborg, Mae Sellers & Kelly Simpson.

Deaf Women in Film Gathering in New York City, New York at Art Bar on Saturday, June 19th, 2010

Susan Hess, Patti Wilson, Karon McMillen, Alice Bianco, CM Boryslawskyj, Anne Tomasetti, Jozefa Muszynski, Alexandria Wailes, Krissy Hess, & Phyllis Frelich.

If you're a DWIF, and you want to meet more DWIF's in your area, please e-mail us at deafwomeninfilm@gmail.com and we are more than happy to share with you on how to proceed. It's fun and easy to do. All it is -- is simply having a good time with people who you can relate with!

-JULES DAMERON

The Art of Handling Feedback

2010-06-07T16:54:00.000-07:00

feedback |ˈfēdˌbak|noun1 information about reactions to a product, a person's performance of a task, etc., used as a basis for improvement.----------

I decided to write about feedback. How to take it and give it. I am sharing what I've learned, and feel free to comment below if you have any thoughts or points to give. I base this on all my years of having obtained feedback and having seen results, good and bad. I've made several short films, and have had a good amount of feedback from all sorts of people, professionals in the industry, friends, family, hearing, deaf, laymen, from all walks of life.

I chose this subject, because it is probably one of the most emotionally draining parts of any working process, as well as the most effective and beneficial. This is also something that I feel most people haven't really put under heavy consideration or realize how important it is to do.

Here's some stuff & tips I've learned on the way, and take it or leave it.

HANDLING FEEDBACK

1) Find unbiased feedback. Meaning find someone who knows nothing about your work and has absolutely nothing to do with the people in it or behind it and is seeing it for the first time. This is the best outsider's viewpoint.

2) Get feedback from two kinds of people: the professional ones and people who know absolutely nothing about filmmaking, and just like to watch movies like "Jurassic Park" or "Legally Blonde" without knowing why.

3) Know what you're looking for. What's your aim? To sell? To share your thoughts with the world? If it's to sell, then feedback from people who know nothing about filmmaking is highly crucial. The professional feedback helps you achieve that if you're unsure how to handle that feedback. If it's just simply make a movie of your own creation, nothing to do with trying to sell it or profit from it, then getting feedback still would help-- if you had a certain feeling or thought you were trying to express, and you could watch your feedback to see if they were able to convey the same feelings or thoughts they felt from watching your film. However, if you simply do not want feedback at all and want to see as a surprise to the world, then so be it. Ultimately, feedback is usually necessary.

4) Find a great feedback buddy you can rely on. This is crucial in order for you to skyrocket your improvement. I've had buddies and I just adore them for being completely honest with me, since all the fruits of my labor today are based on that feedback.

5) When you receive feedback, give no response or defense. Be a silent listener. Hang on to this new information for a few days and process it. You will thank yourself in the end.

6) Listening to feedback does not mean you have to always take it seriously. It just means you have to listen and consider it. Here's an example of a feedback and a thought response to it. "I thought the acting was TERRIBLE! You should have re-cast the main character." Thought response: "Ah, I guess she simply was just not feeling connected to the main character. Maybe she's not fitting for this film's demographic. But if the acting was terrible, I will listen to the professional feedback and see if they feel the same way."

7) There's always some truth to each feedback. Think about the person's feedback and why they said it. If there are other factors involved, find it. If the only factor is your film or your work, then listen.

8) If you heard it more than once, take it under heavy consideration and apply it to your work.

9) Communicate with the person who gives feedback with exactly what you want to know. That way, there are no surprises, and you've already braced yourself for any uncomfortable feedback.

11) If you make films and you want it to be a hit, then I highly recommend test screenings. Get a small group of people (both professional and people who aren't involved with filmmaking) to watch your film, and give active feedback. That way, you can increase your chances for the film's success if it happens. I highly recommend you be patient and take the time to do this. You'll find a lot of things that you didn't realize before, and be happy you did work on this.

12) Another thing to watch out for, is where the feedback is focused on. If they watch a film of yours, and say only stuff like, "Wow, that had awesome visuals. Great cinematography!" And never said anything else about the story or the acting, or characters, then I suggest you take another look at the story and the characters. This is a very useful tip for those who don't realize what's going on. It can mean that they're just being nice and looking for something positive to say about your film. In my opinion, the most crucial part of your film is ALWAYS the story. If people don't think about what your film is trying to say, and just focus on the technical delivery of the film, then there may be some issues with your storytelling.

13) Listen to the positive feedback. That'll help you stay calm. :)

GIVING FEEDBACK

1) Don't give feedback if it is not welcome! Always wait until they ask you for it. Just be sure to communicate up front on what is expected and to be shared.

2) Try to think about what the person wants to say, rather than what they are saying. It'll help you give feedback that'll support what they are trying to do with their work.

3) Your natural reaction. It helps to give feedback as someone who has never seen the film or have no idea about it. Help them see how you reacted to it emotionally, or what you thought it was about. Don't attempt to sound intellectual or sound like a professional. Your feedback is always valuable, regardless of your background.

4) Try to give both positive and constructive feedback. If you only give feedback that is constructive, then it's natural for the artist to back away from it and take it personally (in a worst-case scenario). You know how to do it? Do it like this and in this order: a) Positive, b) Constructive, c) Positive.

5) Honest feedback is the best policy. Don't try to make stuff up or try to exaggerate beyond your meaning.

So far, this is what I've found. Good luck, and hopefully you've found this to your benefit as I have.

-JULES DAMERON

DO's of Auditioning & Making your Acting Career a Success

2010-05-26T18:41:00.000-07:00

By Guest Blogger Lexi Marman.

To those to Dream and DO:

I was asked by a fellow DWIF Julia Dameron (known as Jules to those close to her) to compose an interesting article that some DWIF's would find fun to read. In all of our busy lives, I know the rush and fast-paced information processing is valuable. Therefore, I decided to do a list of Do’s and Don’t's in my little Lexi world of auditions and acting. These are just some of the basic few-- I do wonder if I had the chance to put down all of the things that float through my head during my audition process, my acting methods, how long of a novel would it be? I have had experience in the Casting Department the past several years and grew up acting. I have always wanted to conduct an audition class but I felt until I reach my goal in acting, I have no say in telling another artist how to audition. These are just little tips I have learned along my way. While I was writing my list, I noticed my Don’ts became very heavy, negative and I realized that I must make a change. In the entertainment business, the word “No”, “Don’t” or rejection is common. Any ray of light is magnified; a callback, a compliment from a casting director, booking a role. Let’s focus on the “DO’s” in life, For the Don't's limit our actions and the DO’s inspire.

I was having a deep discussion with a loved one the other day about pride. In this business, our pride can be a delicate one. We agreed that it came down to faith. Faith in ourselves, faith in our work and most of all faith in the future. To see things via long term instead of focusing at the moment. To know that cleaning toilets or serving food is not for forever, but they are valuable tools to help you get to that future that you want. To help your dreams come true by supporting you, financially.

Show business is a business. You have to learn how to be the best salesmen and the product is you. Whether you are a film director, who is selling the idea of your next film for a producer, or an actor selling your skill and craft to a casting director to put you to work. Set up your lemonade stand and learn how to market and sell “you” as a product. I would watch you and buy your lemonade! Believe in yourself and believe that your lemonade is the best lemonade you’ve ever tasted! But, humbly know that there is always room for improvement. For when we stop growing, we stop learning, and we stop being. Each experience adds to the resume of your life, and boy, there are some amazing resumes out there! =)

I, myself, am learning each day in this business. I am not a novice nor I am expert. I simply love seeing others succeed in achieving their goals and pushing themselves to become better artists every way possible. Here are a few “DO’s” that I have come to learn along my journey to building my lemonade stand!

DO get involved in anyway that you can! Support fellow artists (DWIF’s) and their projects! When it’s your time to stand in the spotlight-- wouldn’t you like their support too?

DO learn how not to be shy when it comes to promoting yourself. Tell others of your projects, spread the word! Show Business is a business and you are your best PR guy! Put him to work! It’s not bragging-- it’s sharing. Besides, don’t you want them to try your lemonade? Sometimes, I make friends with people and I am unaware until much later of their talent and skills! Life is short ~ toot your horn! Nicely. ;)

DO get good headshots that you like! If you are an actor, they are your calling card! For internet submissions - use close up ones of the face because the picture boxes are so small. Would a professional pianist pick an “this will do” piano for his grand master performance? No! So invest in those headshots! Have a friend take pictures of you the day before so you feel comfortable in front of a camera and posing before the big day.

DO network! Learn how to network and how to use it! Nothing makes me feel better than seeing two people I introduced produce a beautiful piece of art or collaborate in a wonderful project. It makes me feel good that I was a part of it and helped make it happen! People love feeling good. Make people feel good and network!

DO send thank you cards! Remember those people who helped you network? Send them a card! Take them out to star bucks! Let them know you appreciate their effort and believe me - they will want to do more! A thank you card goes a long way. My dad still has thank you cards from people who sent them to him over 20 years ago. Email thank you cards do not count. It’s easier for them to say: "Aww..." Agent: “Look at what (so and so) sent me!” Other Agent: “Aw, how nice! She seems really nice and fun to work with.” Agent: “She is great! Very talented.” Other Agent “You know what? I just got off the phone with a casting director about a client of mine, they were looking for some actors with Ryan Gosling in his next film. Let me call them back and send her in for a read!” The end. See how it can work?! People remember thank you cards. Buy a stack at Target and make sure they’re not too girly (in case you have to send them to a man) and invest in a roll of stamps. Snail mail is not extinct... yet.

DO keep a journal of inspirational quotes that inspire you and reread them before an audition. When I conduct casting sessions, I like to post quotes around the waiting room and on the door to create a positive environment. I want my actor to walk into the door feeling great and to knock my socks off! Give me your best performance! Whether if it’s jamming to music in front of the mirror, going for a walk or rereading your favorite acting, artistic quotes-- choose something that adds that little bounce to your step when you walk into that room.

DO know how to get “Sides” online and become familiar with Actors Access, L.A. Casting, etc. There are so many resources out there available. Use it! Check out a Samuel French Bookstore if there is one nearby you! Great amazing books from make-up to film directing and breakdowns for whatever current agencies are looking for.

DO show up a little early at auditions and EXPECT to wait. Casting sessions usually run a little behind. I love it when they do! Take advantage of the situation. Absorb the energy of the room around you and shift into the mode of reception so you can prepare yourself when you walk into the room.

DO try to refrain from a full out conversation with friends you spot in the waiting room. I am guilty of this one! Brace your instinct of wanting to run over with you friend in the room and tell her about the most amazing dress you saw at Forever 21. This is YOUR moment. Your time. Full out conversations is distracting to other actors in the room, the casting director and lastly it’s distracting to YOU and to your character.

DO be careful about making love to your script in the audition. Becoming completely enamored in your script to the point where the Casting Director can’t see your beautiful eyes-- is a tragedy! Why deny them that?! Your reader is your reactor. Not your script. Some of the best acting I’ve seen has been done in the moments in between the dialogue.

DO be prepared for the person you read with in the audition to convey no emotion. If you feel you are reading to a brick wall, you may find that a brick wall at least will give you some kind of a response. Sometimes before I go to an audition, I have a friend read the lines with me show NO emotion. I feel better prepared.

DO know how to slate and take your mark. If you don’t, it’s easy! To slate to the camera means to stand there, look cute and say your first and last name. Sometimes they will want you to say your agency’s name. Most of the time they don’t. Everything is electronic these days so they already have your info! To take your mark means to stand on the X spot on the floor, they have already determined a good spot for the camera. There you go. Now you know how to slate and take your mark. I just saved you from spending $100 on a workshop.

DO hold back those tempting, dying questions we all want to ask to the Casting Directors when we are done. “So…. What happens now?” “Did you like me? Did you really like me?” “How do I know if I got the part?” “What is your text number so we can keep in touch and be great pals and you can cast me in the next big blockbuster movie? I’ll be your best friend.” Do have fun and show your personality. You are a STAR. Let them chase you and if they want you, they will find you. It is desirable to look like you know what you are doing. So act like it! When you are done, say thank you for your time, et cetera and then get out of there. The more you linger, the more desperate you look and there is no putrid scent stronger than desperation. Nothing makes you less desirable when you come across as a desperate actor.

DO try not to appear nervous. Your cat can know you are nervous. The guy back in the parking lot can know that you puked your guts out before the audition, but try, try, try to hide your nerves! A nervous actor makes me nervous. I am less likely to trust the actor to take on the role and not make me look bad for casting them! Casting Directors go out on a limb when they choose who they like to the Directors and Producers. Their reputation is at stake so it’s a lot easier for them to pick someone who looks like they will impress, rather than puke in front of everyone in the room.

DO get to know the “other people” in the room! That includes the interpreter that might be in the room, the assistants, the office receptionists, the crazy lady in the bathroom. You never know. Two stories-- one time, a Casting Director introduced herself as the Assistant. I was so glad I was nice to both people in the room and treated them with the same kindness and respect. I found out later that the Assistant was really the Casting Director. She wanted to see how we really were outside of the room. Second story - At a very big audition that I booked, there was a nice lady who was auditioning with us. She asked all of us questions. Some found her annoying, but I enjoyed someone to talk to a bit since the audition took all day. Later on, we all found out that the lady had worked for the production studio! She was there as an “observer” wanting to see what we were all like behind the scenes. Needless to say, I booked the role. Maybe it was because I shared my sandwich with her? But nonetheless, there is a saying, “always be nice to the Custodian” and it is so true! People love to talk about people. They can influence or sabatoge your chances.

DO be aware of your space and sense of being while waiting in the crowded room to audition. Feel free to step out in the hallway or etc.. just let the assistants know! I had a huge audition for a major role and I felt very cramped in the waiting room. I let them know that I was stepping outside and made friends with this beautiful oak tree. It was rejuvenating and I was able to focus for the audition.

DO always have quarters in your car! Most of the auditions I’ve gone to, I’ve had to park on the street! Everyone who lives in Los Angeles knows how happy the parking cops are in giving out tickets. Read all the signs before you park and make sure you have some change for the meters! You’ll look like a pro with change in your hand feeding those hungry meters.

DO dress to suggest your character. It always helps to have a little “spice” to your wardrobe of the flavor of the role you are playing. Be careful in going overboard. You want them to pay attention to you, not your wardrobe. For an example, when I audition for an older role, I tend to fix my hair differently rather than if I was going in for a younger role. I even pay attention to my shoes because different types of shoes influence my mood. If I want to feel like a Las Vegas Go-Go dancer and I wear tennis shoes? That would be an interesting challenge.

DO mark up your script if you can! Little side notes, highlights etc. Whenever I was casting and an actor came in with a marked up script, it excited me! I felt eager to see their performance and it showed me that they did their homework! Show me what you’ve got!

DO play to the camera and your reader. Feel free to ask the camera person what your frame is so you know how broad you should sign if you are using sign language. Plus it will give them a little perk from standing there all day and no one asking them any questions. Go on, light their fire. You know you want to.

DO take a friend out for coffee or lunch and have them watch your signing if you plan on using sign language without giving them the script. If they don’t understand it, then we won’t understand it.

DO know the difference between a good signer and a good actor. Sometimes they can be easily confused with one another.

DO seek out in having an acting coach to read with before big auditions, if you feel it's necessary. I’ve harassed my acting coaches before my big auditions and have almost always had callbacks when I’ve used them. I can definitely feel a difference at auditions! Plus it sounds nice to say at parties to impress your friends about why you can’t have another margarita. “I have to get up early to meet my Acting Coach”. It makes you feel like a professional actor. Say it out loud. See? Enough said.

DO be aware that the Casting Director may not want to shake your hand. Let them make the first move. Shaking hands with over 50 people a day would definitely scare the heebee geebees out of a OCD germaphobic. Some of them may be Casting Directors. ;)

DO know the importance of playing. Play, Play, Play! Get a group of friends together that you can trust, feel safe with and won’t judge each other on their acting skills because it’s all play! Have an acting night. Host an improv night! Acting is muscle. Engage in it as much as you can. Some professional ice skaters practice over 5 hours a day on the ice. Why should acting be any different than a sport? Practice and play!!

DO become familiar with some improv games. I have seen a lot used at auditions and they are always a fun thing to start in the kitchen at a party. People will think you are the coolest thing ever since sliced bread.

DO be a likeable person. People want to work with people that they like! I won’t cast an actor if they are demanding or difficult, no matter how good they are.

DO share news with other DWIF members! We are all in this journey together! Our goal is our dream and we are all on the path to pursuing it! If you are not able to get the role or the job, wouldn’t you rather see your friend get it than someone you don’t know? It only helps you too in the long run, especially if they remember how you helped give them the lead and they ask you to tag along to cast parties! I’ve been invited to after parties because of my friends in the cast and have had great networking experiences there!

DO let people know that you are auditioning! It’s good to tell the world that you are actively going for your dream. However, do try to refrain from telling them specifics. The reason for that is the odds are already against you in getting the role with all those actors out there. Why add more to the negativity with telling the 10 people you told about your audition to play the lead romance role for Brad Pitt. “Hey!! Did you get the part?” “No.. I didn’t get it…” “I remember you had that huge audition last week! Did you get a callback?” “Nope.” “I saw on Facebook you were auditioning for a role with Brad Pitt! Did you get it?” (sobs)… Get the point? Why constantly state over and over to the universe that you didn’t get the role? Of course you can tell your closest family members and friends but let them know that just having the chance to audition for something major like that is a reason to celebrate in itself. =)

DO be aware of your scene partner’s nonverbal words. Non-verbal dialogue is louder than the spoken words. Some of the best acting I’ve seen has come from listening and reacting.

DO try to stand up before you go into the room for your audition. That way you have time to readjust yourself and allow yourself to be open to any kind of action/reaction you may experience. Soak in all the energy around you and your environment because you will need it in the audition! Focusing on the energy around me allows me to stay in the moment and breathe.

DO turn off your cell! Even if it’s on vibrate - it is still loud if it hits up against the keys in your purse.

DO try to limit to what you take into the actual audition room. Four shopping bags, a purse, your laptop, your briefcase - makes you look clumsy. Plus, it doesn’t help you have a fast get away when you are done. You are BUSY! You have places to go, people to see, other auditions to go to. People are fighting to have you be a part of their project ;) you have no time to waste.

DO invest in a nice portfolio folder. Even if you only have you headshot put in it, it will keep it from bending and clean. You will look hot holding a spiffy portfolio.

DO invest in a stapler to leave in you car. Some casting calls/auditions do not provide staplers for you to staple your resume with your headshot. My car has been my huge safe haven for auditions. Staplers, blinders, headshots, resumes etc. You never know who you are going to run into at 2:00 am at Ralphs getting cough medicine.

DO be careful with bling-bling on your hands. Bracelets click together when you sign and make sure your fingernails are clean! It’s amazing how we subconsciously look at a person’s fingernails when we are watching them sign.

DO find a place that speaks to you and reminds you that all of your hard work will pay off. A place where your heart tells you that you are on the right path and everything that you are doing, will be worth it. I sometimes sneak off to the beach at night or have a picnic underneath the Hollywood Sign. I leave feeling refreshed and calm.

DO understand that you are not competing against each other, you are competing with who the Director has in mind. There are many factors that go into deciding who will get the role and sometimes it’s not always talent.

DO do something as a reward to yourself after an audition. You deserve it! Not everyone can expose themselves and perform for strangers in front of a camera in a room you’ve never been to.

DO respect your body. Your body is a tool. It’s your temple. Do stay hydrated before your audition and work out, exercise at any chance you get. It adds confidence in your walk. Vegan, vegetarian, meatian, pizzarian, whatever you choose, just take care of yourself and love yourself. You gotta make sure your lemonade stand will be stable enough to stand.

DO be prepared for some people to be jealous or some people to not understand this insane routine us actors go through called auditions. It’s okay. We all have different passions and professions. That’s what makes us cool. Besides, who doesn’t want to be famous?! ;) Learn how to support people even if you don’t see or understand their dream.

DO understand that your job is not to BOOK the role. That’s the casting directors job. Your job is to portray the character as best as you can in your own interpretation. The minute you are done with your audition. Your job is done-- after writing thank you cards of course.

DO remind yourself that it is not that important to have everything memorized in an audition. Some of the best actors I have seen were on book and I didn’t even notice because they were so good! They performed without making it sound like they were reading from the script, which they were! Just try to have the first couple of lines and the last couple of lines down if you can. That’s where you can make your lasting impression!

DO be aware of your perfume at auditions! A lot of people I've met in the industry have been allergic. Save the smell for your hot date later on that evening.

DO look at the Casting Director when speaking or signing, even if the interpreter is there. Eye contact creates a connection. You are not auditioning for the interpreter to cast you.

DO challenge yourself! Many of us stay where we feel most comfortable. Push yourself. Try. Decide to take on a character role that you normally wouldn’t do and explore it in a safe place i.e. acting class or that cool acting party you are going to host next week because I gave you that wonderful idea earlier.

DO realize that you will never stop learning in acting. You will never stop learning at auditions and you will never stop learning with each performance. It’s a gift to grow and to shape.

I’ve been very blessed to have met and worked with amazing mentors and teachers so far in my career. Surround yourself with people who are motivated, positive, supportive, self-starters, and who encourage and love you. It’s very contagious.

And it can only rub off on you! Keep believing in yourselves and MAKE IT HAPPEN. Dare to dream… and DO your dream.

I dare you. =)

-Written by Guest Blogger, LEXI MARMAN

The Next 10 Internet Films by/with Deaf Women in Film

2010-05-21T12:09:00.000-07:00

Guess what? There's a lot more videos. I didn't want to limit it to just 10, so I simply added another 10! Enjoy.

DWIF ONLINE VIDEO #11: "Jerry Maguire"

DWIF'S INVOLVED:

Andrea Marie Ferrell as Woman in Elevator

DWIF ONLINE VIDEO #12: "Upper Room" Trailer

DWIF'S INVOLVED:
Terrylene as Herself

DWIF ONLINE VIDEO #13: ASL Music Video "It Feels So Good" by Damon Timm

DWIF'S INVOLVED:

Rosa Lee as ASL Performer

DWIF ONLINE VIDEO #14: Kimby Caplan's Cinematography Reel

DWIF'S INVOLVED:
Kimby Caplan as Cinematographer

DWIF ONLINE VIDEO #15: "Discovering: Shuktara" Trailer

DWIF'S INVOLVED:

Christy Smith as Documentary Filmmaker

DWIF ONLINE VIDEO #16: "I'm Not From Hear" Trailer

DWIF'S INVOLVED:
Catherine MacKinnon as Director

DWIF ONLINE VIDEO #17: "Pieces" Video Clip

DWIF'S INVOLVED:
Trudy Fraser as Director

DWIF ONLINE VIDEO #18: "Cyber Chaos" Trailer

DWIF'S INVOLVED:

Chantal Deguire as Director

DWIF ONLINE VIDEO #19: "Lexie Cannes" Trailer

DWIF'S INVOLVED:

Dawn Stoyanoff as Elizabeth
Jody Barrong as The Madam
Jeska Duckworth as Rhonda

DWIF ONLINE VIDEO #20: "Jenseits der Stille" (Beyond Silence) Trailer

DWIF'S INVOLVED:

Emmanuelle Laborit as Kai

We hope you enjoyed all of these videos we found. This also helps give us a better image of what we've done and what we're capable of. There were so many more movies and works that Deaf Women have done but aren't seen online, and we need more of that. Hopefully we'll be able to achieve more of that going on. Enjoy this blog as I did.

-JULES DAMERON

10 Internet Films by/with Deaf Women in Film

2010-05-17T14:02:00.000-07:00

We decided to post films that were available online and had Deaf Women in Film involved as either an actress or a filmmaker. We figured it'd be nice to bunch them up all together for you to enjoy and watch, to let you know that we are here and plenty of us.

We chose 10 films, but really, there's a lot more out there. We chose 10 for you to look at, and if you enjoyed this blog, let us know in the comments section. We'll happily entertain ideas or suggestions you may have.

DWIF ONLINE VIDEO #1: "Desperate Housewives"
DWIF'S INVOLVED:
Marlee Matlin as Alisa Stevens

DWIF ONLINE VIDEO #2: "Susan Thomas: F.B. Eye"
DWIF'S INVOLVED:
Deanne Bray as Susan Thomas

DWIF ONLINE VIDEO #3: "Single Ladies by Beyonce: An ASL Interpretation"
DWIF'S INVOLVED:
Jubil Khan as ASL Music Performer
Jade Bryan as Director

DWIF ONLINE VIDEO #4: "Drug"
DWIF'S INVOLVED:
Nyke Prince as ASL Music Performer and Lyrics writer.
Jules Dameron as Director & Cinematographer.

DWIF ONLINE VIDEO #5: "Skip Listening"
DWIF'S INVOLVED:
Lexi Marman as Joy Handly
More DWIF'S, but uncredited

DWIF ONLINE VIDEO #6: "Jericho" Season 2 Between Stanley & Bonnie
DWIF'S INVOLVED:
Shoshannah Stern as Bonnie

DWIF ONLINE VIDEO #7: Kay Jewelers Commercial
DWIF'S INVOLVED:
Amber Zion as Deaf Girlfriend

DWIF ONLINE VIDEO #8: D-PAN: "Waiting on the World to Change"
DWIF'S INVOLVED:
Megg Rose
More DWIF'S, but uncredited

DWIF ONLINE VIDEO #9: "258 News: Very Interesting"
DWIF'S INVOLVED:
Anne Tomasetti & Alexandria Wailes

DWIF ONLINE VIDEO #10: "Sesame Street"
DWIF'S INVOLVED:
Linda Bove as Herself

We hope you enjoyed all of these videos we found. This also helps give us a better image of what we've done and what we're capable of. There were so many more movies and works that Deaf Women have done but aren't seen online, and we need more of that. Hopefully we'll be able to achieve more of that going on.

-JULES DAMERON

15 Reasons why I formed Deaf Women in Film

2010-05-15T19:30:00.000-07:00

1) Women are often oppressed in the entertainment industry. Deaf people are often misunderstood.

2) Deaf people are not born together; we are scattered. We need to find each other.

3) Deaf people do not have the same access to information like anyone else does.

4) Filmmaking is one of the most important necessities for anyone who is deaf, so we must push and encourage the deaf and hard of hearing to be involved with film. This way, we can express our own voice in the way we always have had the ability to do.

5) How can we get more job opportunities if we aren't recognized as a group? If we are a group, then people can find all deaf women who are registered in this group and find what they're looking for: You. Deaf women involved in film, register now.

http://dwifregister.blogspot.com

6) We have enough problems on our own to deal with. Why not eliminate more problems by supporting each other?

7) Deaf people come together like a family. It is completely different than any other group of people. We are the only ones who completely understand each other. It is no secret that most families have a hard time communicating with their deaf family members, unless they all completely communicate and comprehend the same language.

8) 17% of the U.S. population alone is deaf. That's 36 million deaf people. Acting and teaching are two of the most popular fields in the deaf community today. You do the math. By deaf, I mean all kinds of deaf people, deaf-blind, late deafened, and the hard of hearing according to National Association of the Deaf's recent video.

9) We will always exist, and in large numbers. We just need to come together.

10) Media is the most powerful medium today. The internet, television, and the theaters speak out to people and move people more than the written word. If we encourage this with deaf women, we will actually grow with the ability to give a message through our medium and have us be recognized more in today's society.

11) Films require teams to make it happen. Who are we if we work alone?

12) Loneliness was a constant theme in my life, whether I was in the deaf community or amongst the hearing. Until I realized... Deaf Women in Film is a category that I truly belonged to. And I'm quite sure that there are many out there like me, wondering if they could actually make it in the entertainment business.

13) Deaf women need a lot more awareness and knowledge of each other and what it takes to make it into the entertainment industry. Who's to say that we can't benefit from each other's knowledge and experience with open arms? And if not, then at least you can be part of the group and move forward, working on the career of your choice?

14) I don't want to be the only deaf woman filmmaker. I do not want to be "special" because I'm a deaf woman who makes films. I want to be special for my style of filmmaking, the voice I create through my work.

15) Another thing-- this is something I'm sure many of us had the same problem with. Have you ever felt that you were constantly trying to be someone else? Be more manly in your work, in your style, or trying to speak (if you had a hard time doing it) and trying to be hearing? This is something I've always felt frustrated with. Well, this is the place where you can be yourself for once.

I've experienced working on a small set of deaf women who were involved in film. It was just us. I was the shooter, there were two actresses and a makeup artist. It was the greatest feeling in the world. We were at ease the entire time, communicating in the way we were comfortable with, and we were able to let our creativity fly! This is what caused me to realize that I really wanted everyone to have that gift. The gift of being accepted, belonging, and having the freedom to do whatever you wanted in a positive environment.

This is what I've thought for a long time, and anyone, feel free to comment if you disagree or have new things to add. I will listen to everything you say.

-JULES DAMERON

Captions Do Not Ruin the Cinematic Experience

2010-05-12T10:59:00.000-07:00

See Rhianon Gutierrez's "When I'm Not Alone" Trailer above.

(This article was originally written July 26, 2009).

When cinema emerged as an art form in the early 1900s with the films of Melies and the Lumiere Brothers, moviegoers—both deaf and hearing—were able to experience its images on equal terms. Silent films were enjoyed by all who could see, but when the talkies came in the 1920s, they ushered in a new era of experiencing cinema, where sound and picture were one and title cards fell into oblivion. This radical change created the division that still exists today for the way that people with hearing loss can fully experience cinema. Closed captioning and rear window captioning have, in recent decades, tried to alleviate this barrier by providing words to accompany the sound, but even they come at a price.

My earliest memory is of myself at age two, looking into an encyclopedia and pointing at a picture of the stage actress Maude Adams. A lover of cinema, I always watched actors express themselves onscreen, mimicking their movements and lip motion. I wanted to be an actress, but I changed my focus to writing and directing years later because I realized that what I wanted to do was not only create, but to change. I attended film school at Chapman University for four years, where, as the only profoundly deaf individual in the film program, I experienced the absence of closed captioning in films that were especially prominent as a documentary film student: student films and documentaries.

Student-made films are very tricky to caption. Film students are often really stressed out to meet a deadline, are burning their DVDs at the last minute, running low on money, just plain careless, or all of the above when it comes to captioning an English-language film for anyone, let alone one person. Even I admit to not captioning a few of my films because I had no time and little help–which always puts me a horrible, uninspired mood. I was on the verge of a nervous breakdown in post production on a five-minute film I directed in 2007 because the sound editing process was so grueling for me while I was simultaneously adjusting to my first year hearing sounds with a cochlear implant. Six months later, when I made a documentary about a man with hearing loss and showed it to my deaf/HOH friends, I had to caption it or I’d be a hypocrite. I listened to the footage over and over again and single handedly captioned the entire ten-minute film. It’s hard to convince other film students to physically dedicate the time as I did. I seemed to be good at informing fellow students about the benefits of captioning and getting them inspired to caption their films, but it never materialized. Perhaps I didn’t challenge them enough, or they ran out of time. Of course, there are also those who feel that words on the screen distract from the visual experience. Film students can be pretentious that way, and even I hate it when captions appear over someone’s face, or when they are white captions on a black and white film. I agree that captions shouldn’t distract; they should enhance. If people saw it that way, I’d hope they would be more accepting. It’s important to educate others about the benefits and proper use of closed captions, and especially to advocate for them in an educational setting (because access is required by law). If carelessness persists, then how can we work with current and future technologies to help future film students with hearing loss be on the same playing field as their peers?

Documentaries are considered a progressive, social medium, albeit one that makes little profit. I’m a documentary filmmaker who has yet to see a dime from any of my films, yet I still think that money is a poor excuse for the absence of captions. It really comes down to two things: silence and a lack of accountability. One of my favorite documentaries of all time, Touch the Sound, about the deaf percussionist Evelyn Glennie, had closed captions. I loved the film, so I wanted to see Rivers and Tides (by the same director) but saw that it wasn’t captioned. It, like Touch the Sound, was released by Docurama, a major documentary distribution company. Many other documentaries from Docurama and from other distributors are often not captioned unless they are mainstream or are expected to have a large audience of people with disabilities. I understand that Touch the Sound had captions because a large portion of its audience was likely deaf or hard of hearing. If it’s one by Michael Moore (Bowling for Columbine), Morgan Spurlock (Supersize Me), or Errol Morris (The Thin Blue Line), then it will likely be captioned because of popular demand, but if it’s Frederic Wiseman (who made Titicut Follies, a verite doc set in a mental institution) or the next controversial subject, it’s not captioned too often. While I watch a variety of films, I find mainstream ones to be limited in their depth, and feel frustrated about not being able to watch films like Rivers and Tides, unless I send it to a real time caption company and get it captioned for me, but even this is costly. To change this situation, it is necessary to “break the silence”—speak up to filmmakers, production companies, and distributors about making sure that the documentaries you care about are captioned. Hold them accountable for not getting the films you care about captioned. Don’t just settle for the mainstream ones or you’ll be missing out on some powerful stories that filmmakers or subjects went through extraordinary lengths to tell.

As an activist filmmaker, I seek to find inclusive solutions that would eliminate the barrier that sound created decades ago. I believe that we have the resources to make films accessible for those with hearing loss, but lack proper awareness and the knowledge of what it means to be advocates.

- Rhianon Gutierrez

Shooting is Power!

2010-04-29T20:41:00.000-07:00

(PHOTO) Kimby Caplan, a DWIF, is a cinematographer.

Here's the thing. I decided to do a blog about cinematography, owning one's own camera, and so on. Because I figured that the largest stereotype about women in general, is that we're no good with cameras. You can clearly see that's not the case. In fact, I won't go any further on that topic, because it's pointless to try to prove that we're equal to men. We are, period. And feel free to get involved in a hot debate with me if you think there are reasons why men are better. I'll happily find a lot of strong, hard, core evidence that we're equal, and possibly even better at it than men. Moving on.

I am not a professional cinematographer, but I do know what it feels like to own one's own camera and shooting movies with it. It's a very powerful experience. It's like the cinematographer is the driver of the car, and everyone else who rides in it is essentially telling the cinematographer what to do with it. S/he can decide to accept the feedback, or ignore it. It's amazing how one feels once you actually have control over the device that is one of the most important items in moviemaking: the camera. You can't have a movie without it. Simple as that. Moving on.

The American Society of Cinematographers (listed as A.S.C. alongside credits that you see in Hollywood movies) is the highest honor to be bestowed upon a cinematographer. I was fortunate to have a professor (a woman) who had official A.S.C. credit and taught me about it. I certainly was tempted to become a cinematographer after she taught me what it took to be one. Her name is Judy Irola. She's probably one of the strongest women I know. Because of her I was able to have so much fun with determining what kinds of lights to use, which lens, and what choices of colors to use.

Here's a very rough explanation on what a cinematographer (otherwise credited as director of photography) usually does when involved in a film.

"[Cinematographers] must discover the photographic heart of a screenplay, using a variety of source material including still photography, painting, other films, et cetera. They realize the desired look using lighting, framing, camera movement, and so on"(www.skillset.org).

If you want to read more about the role of a cinematographer, go to the aforementioned link, and read more.

How does one become a cinematographer? There are many ways, but simply put, one just needs a camera and to keep playing with it. Here are other ways.

Find schools that teach cinematography or filmic photography and go there.
Learn about camera types and uses, lighting techniques, the basics and film lenses. Classes would put this into a lot of practice.
Keep practicing with still photography and see how various colors, lighting techniques and lenses affect the image. Be able to see the difference between good and bad lighting, as well as the emotional effects of camera angle (this is very important).
Keep shooting. You'll learn a lot from just doing.
It helps to own your own camera. It's good to learn all kinds of cameras, both film and digital.
Study all the top hit films. You can find out what wins the box office on www.boxofficemojo.com. Find out how the cinematographers did it through magazines, behind the scenes, or any online articles.

Kimby Caplan (see photo above) is a cinematographer, and also is a Deaf Woman in Film. I've worked with her before on set, and she is a very nice gal. She's a hard worker, and creates her own work in addition to working on other films. There are other DWIF cinematographers as well, and just look through the links on the right side of this website.

To have a camera is powerful. I suggest even trying to use a motion camera on your own, even if you are not skilled in that area yet. It's a good place to start and explore making movies with. You actually can get more film projects out that way, if you're able to shoot material you can play with. Simply put, you'll get to own it all. And you'll feel great knowing how to do it without having to depend on anyone.

- JULES DAMERON

DWIF Actress, Alexandria Wailes is in "Nurse Jackie"

2010-04-28T17:38:00.000-07:00

Check it out! I realize this was released last month, but still wanted to recognize Alexandria Wailes for her work in "Nurse Jackie" "Comfort Food" which is, I believe the first episode of the 2nd season.

Unfortunately, it isn't captioned on YouTube, but you can enjoy watching Alexandria's performance at 14:20-15:28 in a 29 minute video.

Congrats, Alexandria Wailes, for getting a cool role. "Nurse Jackie" is a great dark comedy show.

-JULES DAMERON

DWIF Actresses in Deaf West Theatre Play

2010-04-26T16:21:00.000-07:00

Deaf Women in Film members Deanne Bray (Heroes, F.B. Eye) and Amber Zion (One By One), the leading actresses of Wendy Kesselman's "My Sister in This House," is now playing at Deaf West Theatre from April 10 - May 30.

To go see their stunning and emotional performance, be sure to go and support our DWIF's in their acting careers. Tickets per show are only $25. You can buy tickets online at this link: http://www.deafwest.org/productions/nowplaying.html

Check out the positive reviews about this play.

Los Angeles Times:
http://latimesblogs.latimes.com/culturemonster/2010/04/theater-review-my-sister-in-this-house-at-deaf-west-theatre.html

Southern California Public Radio:
http://www.scpr.org/programs/offramp/2010/04/24/deaf-west-theatre-takes-on-famous-french-murder-ca/

Broadway World:
http://losangeles.broadwayworld.com/article/Photo_Flash_Deaf_West_Theatre_Presents_MY_SISTER_IN_THIS_HOUSE_20100416

Backstage:
http://www.backstage.com/bso/reviews-la-theatre/my-sister-in-this-house-1004087767.story

-JULES DAMERON

Marketing Yourself

2010-04-10T11:24:00.000-07:00

Marketing yourself is the only way to actually get people to recognize or think about your work. Think about how someone you met at a party was talking about his recipe for chicken parmagiana and was raving how good it was. Would that make you want to try it out sometime? Maybe, maybe not. The point is... don't be humble. If you think about it, being humble to the very end and not showing your work or even mentioning it... that would not get you anywhere.

Time was, I've done the same thing. I was too shy to show my work -- to actually volunteer by saying "check this link out" or "come to the screening to see my film." I was thinking, it'd work just simply by word of mouth or let it speak for itself. Well, good luck on that. Usually, it doesn't work. Even if you had the best work ever, you absolutely need a publicist, or some way of getting your work out there. A marketing specialist friend of mine said, "marketing can be something as simple as talking about it."

And that occurred to me-- "talking about it" involves Facebook, Twitter, Vlogs, YouTube, websites, and blogs. I mean. There's all kinds of things. Even attending a party and making sure that people remember who you are and what you do. That's what creates a crowd. People who see something, and then are interested in seeing more. Or can be simply people who believe in you. They always help you rise to success.

So I recommend that you think about that. :) I only want to see my DWIF's become more and more successful and show off their talents. :)

-JULES DAMERON

Want to be a DWIF blogger? Contact us!

2010-04-08T06:55:00.000-07:00

Anybody who wants to share info or talk about their own work, or take the time to recognize other DWIF's? Please do one of two things: 1) submit a single blog, or 2) sign up as a DWIF blogger.

Just e-mail us, deafwomeninfilm@gmail.com if you're interested! We could use the help out here!

-JULES DAMERON

Deaf Women in Film has successfully launched!

2010-04-06T21:16:00.000-07:00

Come here to http://dwif.blogspot.com to see deaf women in film's work-- whether they be a makeup artist, actress, director, screenwriter, you name it! You'll see it all here.

Go, DWIF's, go!

Most importantly-- since this is an unfinished site-- it is crucial that you all keep an eye out for who is deaf (doesn't matter what kind of deaf), a woman, and who has been or is interested in making a career in filmmaking in any capacity. Please do share with us.

The aim is to make this a resourceful site for Deaf Women in Film and all those who are interested in learning more about them.

-JULES DAMERON