Washington
Kerry Washington, Patty Jenkins, and Laura Karpman Talk Taking Risks and Supporting Women in Film
Believe in yourself, take risks, and don’t let traditional measurements of success (which are often upheld by old white men) dictate your own. These were just some of the nuggets of wisdom shared by Kerry Washington, Patty Jenkins, and composer Laura Karpman at the Tribeca Chanel Through Her Lens conversation Friday at the Crosby Street Hotel in New York City. Moderated by filmmaker and journalist Perri Peltz, the trio spoke on the obstacles women face in the film industry and the importance of mentoring and supporting new filmmakers—something the Through Her Lens program is dedicated to doing.
“The problem is that we’ve been in a world where only one type of story has been allowed for a very long time, and we’re also in an industry that’s rear-facing, so as long as you are basing what is going to succeed on past data, then it means that you’re blocking all of these other stories’ abilities to come in,” said Jenkins, who famously directed the Wonder Woman films and Monster. “We can’t save the world if people’s voices aren’t being allowed to contribute to that.”
She encouraged people to share at the start of their filmmaking careers: “We need your stories, we need all people’s stories.”
She also touched on the notion of progress in Hollywood, and how it isn’t as drastic as we think it is. “There has been the illusion of progress in putting people in positions, right? But actually there has been almost no progress in having confidence in other people’s stories,” she said.
“I was traveling with [director and screenwriter] Gina Prince-Bythewood, when she did The Woman King, trying to do as many screenings for her as possible. I knew she wasn’t gonna get nominated. I knew it because I said, ‘They’re never gonna watch her movie because it’s got ‘woman’ in the title, and that’s the truth.’
“I can’t tell you how many Academy events I’ve been to where every Academy member says to me, ‘Oh, my daughter loves [your film]. I haven’t seen it, but my daughter loves your film.’ They didn’t watch it. You can tell from the screeners and things. They didn’t watch it.”
If men’s stories are seen as universal, why can’t everyone else’s be? Jenkins challenged that particular notion. “I love men’s films. I love men’s stories, but there’s room for so much more,” she said. “And all of us have trained ourselves to see universality through the eyes of men. But nobody is training everybody to see them through every anybody else in the world.”
Washington shared just how important it is to see those stories, especially as a mother to Black children.
“Because I have two daughters, there was a very special magic to the fact that Wonder Woman and Black Panther came out around the same time, because their intersectionality as girls and as Black kids was so honored in both of those films,” she said. “That they got to see all of their femininity empowered, all of their Blackness empowered….To be a mom raising Black girls in a time when those films exist is such an asset. Because my mom had to tell me, ‘You can do anything, you’re a superhero,’ but I had to take her word for it. Because pop culture at large was not mirroring that message.”
Representation “is important because it’s humanity,” she added. “I think that’s what scares people about inclusion, is we get scared about everybody being honored and mattering in the same ways.”
Laura Karpman, a veteran, Emmy-winning composer who most recently earned an Oscar nomination for American Fiction, said the gender disparity is even more bleak among film composers. She proposed that one way to make change is through “work stoppages,” while another is through advocating for inclusion in voting bodies.
“When I got into the Academy in 2015, I was the third woman composer admitted, and I was the first one in 20 years,” she said. “I got an Oscar nomination this year; I was the sixth woman ever nominated in music composition. But four of them have been in the past years since we diversified our branch. So what happens is that if you actually diversify these voting blocks, and then you get results.”
Washington is renowned for her work on Scandal now, but she remembers, at the time, showrunner Shonda Rhimes was met with a lot of doubt when it came to launching the show.
“When Shonda wrote the pilot for Scandal, everybody, including the network that aired it, called it a risk. Because there hadn’t been a Black woman in the lead of a network drama in the last 40 years,” Washington recalled. “And I remember at the time feeling insulted by that word. But I actually think when we are at our best as creative people—what we do is take risks. And I think a lot of times the studio or the streamers are terrified to take risks. A risk means you’re going out side your comfort zone to do something that’s never been done before, and you’re not sure that it’s gonna work, but you believe in it enough to to try.”
Karpman later added, “I don’t think any of us are a risk, because we’re all so good, we really know what we’re doing, we understand our craft, we are experts at this.”
Closing the conversation, the panelists imparted some wisdom with the crowd. Jenkins shared how important it is for women in the industry to mentor one another and teach “each other leadership and how to manage a set, how to get things done.”
Karpman added that “literally just helping people with language” and advising them on how to speak more confidently makes a huge difference. That and sharing “how to be in a room with people who are going to try to dominate and intimidate you.”
And Washington offered what she called a bit more “unconventional” (but equally important) advice: “Take care of yourself.”
Jenkins, Washington, and Karpman were also present at a luncheon at The Greenwich Hotel, where Tribeca and Chanel fêted another year of the Through Her Lens program. Notable attendees included Jane Rosenthal, Selma Blair, Katie Holmes, Rachel Weisz, Christy Turlington, Ashley Benson, Dianna Agron, Joey King, Camila Mendes, Chase Sui-Wonders, Emily Mortimer, Jenny Slate, and more.
Washington
Dynamite, Floods and Feuds: Washington’s forgotten river wars
A look back at Washington’s historic flooding
It’s been a few weeks since the historic flooding hit the streets of western Washington, and if you scroll through social media, the shock still seems fresh. While some insist it was a once-in-a-generation disaster, state history tells a different story.
TUKWILA, Wash. – After floodwaters inundated western Washington in December, social media is still filled with disbelief, with many people saying they had never seen flooding like it before.
But local history shows the region has experienced catastrophic flooding, just not within most people’s lifetimes.
A valley under water
What may look like submerged farmland in Skagit or Snohomish counties is actually an aerial view of Tukwila from more than a century ago. Before Boeing, business parks and suburban development, the Kent Valley was a wide floodplain.
In November 1906, much of the valley was underwater, according to city records. In some places, floodwaters reached up to 10 feet, inundating homesteads and entire communities.
“Roads were destroyed, river paths were readjusted,” said Chris Staudinger of Pretty Gritty Tours. “So much of what had been built in these areas got washed away.”
Staudinger has been sharing historical images and records online, drawing comparisons between the December flooding and events from the late 1800s and early 1900s.
“It reminded me so much of what’s happening right now,” he said, adding that the loss then, as now, was largely a loss of property and control rather than life.
When farmers used dynamite
Records show flooding was not the only force reshaping the region’s rivers. In the late 1800s, farmers repeatedly used dynamite in attempts to redirect waterways.
“The White River in particular has always been contentious,” explained Staudinger. “For farmers in that area, multiple different times starting in the 1890s, groups of farmers would get together and blow-up parts of the river to divert its course either up to King County or down to Pierce County.”
Staudinger says at times they used too much dynamite and accidentally sent logs lobbing through the air like missiles.
In one instance, King County farmers destroyed a bluff, permanently diverting the White River into Pierce County. The river no longer flowed toward Elliott Bay, instead emptying into Commencement Bay.
Outraged by this, Pierce County farmers took their grievances to the Washington State Supreme Court. The court ruled the change could not be undone.
When flooding returned, state officials intervened to stop further explosions.
“To prevent anyone from going out and blowing up the naturally occurred log jam, the armed guards were dispatched by the state guard,” said Staudinger. “Everything was already underwater.”
Rivers reengineered — and erased
Over the next century, rivers across the region were dredged, dammed and diverted. Entire waterways changed or disappeared.
“So right where the Renton Airport is now used to be this raging waterway called the Black River,” explained Staudinger. “Connected into the Duwamish. It was a major salmon run. It was a navigable waterway.”
Today, that river has been reduced to what Staudinger described as “the little dry trickle.”
Between 1906 and 1916, the most dramatic changes occurred that played a role in its shrinking. When the Ballard Locks were completed, Lake Washington dropped by nine feet, permanently cutting off its southern flow.
A lesson from December
Despite modern levees and flood-control engineering, December’s storms showed how vulnerable the region remains.
“For me, that’s the takeaway,” remarked Staudinger. “You could do all of this to try and remain in control, but the river’s going to do whatever it wants.”
He warned that history suggests the risk is ongoing.
“You’re always one big storm from it rediscovering its old path,” said Staudinger.
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The Source: Information in this story came from the Tukwila Historical Society, MOHAI, Pretty Gritty Tours, and FOX 13 Seattle reporting and interviews.
Washington
Deputies shoot armed suspect in Leesburg Walmart parking lot
Deputies shot an armed suspect in the parking lot of a Walmart store in Leesburg, Virginia, late Tuesday morning, authorities say.
Detectives, deputies and special agents from the FBI had tracked the suspect down after he tried to rob the Bank of America at Dulles Crossing on Monday, the Loudoun County Sheriff’s Office said. The suspect, who still hasn’t been named, didn’t get any money before taking off from the bank.
Authorities found the suspect was parked at the back of the Walmart parking lot just before noon Tuesday.
Deputies pulled up behind the suspect’s blue sedan at the back of the Walmart parking lot about 11:40 a.m. Tuesday. As they approached, the suspect got out with a gun, Sheriff Mike Chapman said.
Deputies then fired their guns at the suspect, hitting him. Chapman did not say how many times the suspect was shot or give specific information about his injuries.
Medics took the suspect to a hospital.
No deputies were injured, the sheriff’s office said.
Chapman said it was too early in the investigation to say if the suspect fired his gun or how many officers were involved in the shooting.
Stay with News4 for updates to this developing story.
Washington
The American story projected on the Washington Monument came from North Texas
Steve Deitz walks with the energy of a coach; however, he does not hide that he and his team are digital nerds and storytellers who specialize in large-scale visual content and software development. More specifically, the 48-year-old makes a living creating the wow factor at his agency, “900lbs.”
“We started the company working for the Dallas Mavericks, telling large-scale visual content on the Jumbotron, and next thing you know, Activision, Blizzard calls,” he said. “We get to work in the Perot Museum on the biggest exhibit in the museum, and then fast-forward another 12 years, and here we are now.”
His current project is wrapping up in the nation’s capital — sorta. Since Dec.31, projections of America’s story have been given to his agency.
“We’re telling the story of the 250-year birthday of America in the biggest way possible on the facade of the Washington Monument on all four sides,” Deitz said.
He said they started testing out the results a couple of nights before New Year’s Eve. Scenes from Thomas Edison’s light bulb, the Empire State Building, the Model T Ford, and the Industrial Revolution, to name a few, are projected onto the Washington Monument.
Deitz gives his team a ton of credit from the moment he received the call about the project. He also thinks back to the times when he was an athlete who loved to draw in Merkel, Texas. The kid who dared to dream beyond the city limits and outside of the box. The CEO is giving advice to that child who may need a little inspiration.
“Hard work, perseverance, dedication, surround yourself with a team of brilliant people that are way smarter than you, and do the best you possibly can,” he said.
Deitz said there is a likelihood his team’s creations will return to the nation’s capital this year.
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