Diversity and Inclusion: walking the walk

When I talk about breaking stereotypes by supporting age, gender, and ethnic diversity, it isn’t just a talking point; it’s a mission.  The goal is to make diversity and inclusion so commonplace that talking about them is boring.   This is achieved by creating unique characters that challenge the perceived stereotypes and encourage new perspectives.

Graham Greene is a perfect example of our goal.  As a Native American, Graham honored his culture; however, he did so by playing characters who were cops, veterans, doctors, politicians, etc.  His ethnicity was only one aspect of a multifaceted character.  I enjoyed his work because you never knew what to expect from his talent.  He refused to play one-dimensional characters, which is why I created Martin Flying Crow in Operation Home Base with him in mind.

Martin Flying Crow

A full-blooded Oneida, Martin Flying Crow enlisted as an Army Medic to escape the abject poverty of the Rez, only to find the destiny his ancestors had placed before him. Trained by his shaman grandmother, Flying Crow walked the Red Road from childhood. At age 13, he set out on a vision quest to learn his life’s path. The Eagle Spirit showed him that he was destined to be a healer and guide others. This life was to be one of service to others. He was to teach them the way of spiritual balance. However, to lead others, he needed to walk the path himself. Enlisting as a combat medic in the Army was the first step of many. In Vietnam, he served two tours as a medic. Although he was not officially allowed to carry weapons, he did not hesitate to defend those in his unit by whatever means necessary. It was during this time that he crossed paths with Deek and Walter. After his tour, he returned to the Rez. Working as a Paramedic, he quickly learned how little emotional, spiritual, and medical support there was for the military personnel, vets, and wounded warriors, along with their families. Working out of his garage, he gathered information, contacts, and resources, which he used to improve the lives of those affected by war. He gained national attention when he was able to talk a wounded warrior out of committing suicide. It was this exposure that brought him to the attention of Lorelei Stuart and Michael Woodsman.

Unfortunately, Graham is permanently unavailable.  I need to consider one of the many very talents alterative and tweak the character to make it more comfortable for the actor.

The projects that I write and produce offer the same opportunities and growth for women, veterans, and the LGBTQ+ community.  It’s this fractioning of the expected norm that shatters stereotypes and turns two-dimensional paper dolls into real people. This is our goal; we will achieve this mission by focusing on entertaining first and foremost.   No one likes to be preached at.  But by creating characters and putting them in situations that touch people’s hearts, you can change minds and behaviors.  In a world where ignorance and cruelty are now celebrated, we will find the commonality in our humanity to celebrate.  If you share our mission, let’s chat.  Here is the link to our website.

https://www.kaleidoscopefilmandtelevision.com/

 

#diversity #inclusion #veterans #women #Native Americans #indigouspeople #TheresaChaze #KaleidoscopeFilmandTelevision #film #Television

 

 

 

 

 

Do those in marketing and advertising really support diversity and inclusion?

 

 

There is a market and a need for support in film and television for the LGBTQ+ community. Many Indie projects do support diversity and inclusion. The bump in the road is the lack of support from marketing and advertising professionals to talk the good talk, but when it comes to supporting projects through product placement and integration, their rubber leaves the road--they don't follow through with their support. Talk is cheap. The projects I write and produce break stereotypes by supporting diversity and inclusion. However, instead of making a big hairy deal out of it--looky, looky, we have a gay character--we do as a matter of fact, every day--she/he is gay; so what? mentality. 

There is a scene in Completely Loyal to Me where William James speaks to the portrait of his love, Samuel. He expresses his loss and anger. Of all that could have been, that will never be because of the murder. When it comes to grief, gender doesn't matter.

WILLIAM JAMES

Today, your beard gets shaved. They will be gone and the Oyster will be back at her home dock. Will it make me miss you more or less? The sea was our oyster. We could be ourselves--without fear. I wish we could have claimed our love. If we hadn't needed her, you would still be alive. We would be together. Happy. Maybe we should have left. So many maybes and what ifs. But you are dead, my dearest. Nothing can bring you back.

(crying)

After they have gone, I'll take your ashes to your favorite fishing spot. She thinks she got away with it. She thinks they can leave and enjoy their love. She murdered you. She stole our lives together. I may be alone

(grief turns to anger)

but I'll see them in hell even if it means I can't see you in heaven. Ohmygod Samuel, I miss you!

To read more about Completely Loyal to Me and the other projects on our slate visit our website.

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#diversityandinclusion #lbgtqcommunity #womeninfinance#womeninfilmandtelevision #nativeamerican#nativeamericaninfilm #veterans #TheresaChaze#Kaleodoscopefilmandtelevision

Theresa Chaze: Come make some good trouble with us

 

If you believe that diversity and inclusion should become so commonplace that they are no longer remarkable, join our mission. Those who work in film and televsion has the means to make this possible. Join our team to make original projects that tell tales about how when we face our fears we become our best selves.

https://youtu.be/WHD9zwedx6Q?si=CMHFLV9lOMWGU2aQ

#supportingdiversity #inclusion #film #television #women #NativeAmericans #IndigeousPeople #veterans #TheresaChaze #KaleidoscopeFilmandTelevision #Michigan #Oklahomas

How Film and Television Changes Hearts

 Film and television projects, which focus on entertaining rather than preaching, change hearts and minds. They reveal the worst of ourselves but also the best. This dynamic engages the full spectrum of audiences’ emotions—joy, sadness, love, loss, anger, and fear.  They represent the humanness that mathematical formulas are incapable of understanding, computing, or predicting. By engaging the emotions, rather than shocking the senses, the project empowers the audiences to envision a future based on equality, diversity, and inclusion.

Kaleidoscope Film and Television’s mission statement is to reflect what was and is to order to change what can be. By focusing on projects based on age, gender, and ethnic diversity, we will break stereotypes in front of and behind the cameras. Revealing the best and worst of humanity will give the audiences the means to see beyond who they are now to who they can become. It’s never too late to find our best selves. 

When the focus remains on character and plot development, instead of preaching, the projects attract national and international audiences, thus making them popular and profitable. Keeping the production budgets reasonable and responsible only increases their profitability potential. By including those voices who have been overlooked or excluded, we will expand the audience base, giving our projects larger shares of nearly all demographics.

Kaleidoscope Film and Television will achieve these goals and so much more. We are seeking those, in front of and behind the cameras, who want to support the humanness of diversity and inclusion. By working together to share our talents and experiences, we create more of a cooperative than a traditional studio. Let’s open the door to new adventures together.

https://www.kaleidoscopefilmandtelevision.com/

#film #television #gender #love #future #development #project #change #inclusion #diversityandinclusion #diversity #projects #share

Kaleidoscope Film and Television: Returning Originality and Quality to the Screens

  

The pencil heads and bean counters of the corporate world have taken over the entertainment industry.  They see film and television projects more like widgets that can be mass-produced rather than creative endeavors. They have been managing the industry according to the mathematical formula they created to reinforce their narrow point of view, which is everything that can be summed up on the bottom of a balance sheet.  They plop numbers to their formula, believing it will project the audiences’ interests and desires.  People can’t be summed up at the bottom of a balance sheet.  They are messy, complicated, and inconsistent.  Just because they like a project once, doesn’t mean they will accept prequels, sequels, and remakes.   Unlike widgets, which need to be standardized, successful film and television projects are the ones that left the standards behind to tell tales based on unique characters and plots.   They are the leaders that blaze new creative trails that everyone else follows.

Part of their equation focuses on using A-list talent. Yet, A list talent only guarantees a much larger budget; they don’t ensure a successful project. But the studios, investors, and distributors insist on only supporting projects with A-list talent attached. Although, for the most part, A-list talents have earned their places in the industry, they only achieve that status by being correctly hired for projects that suit their talents.  Mismatching or forcing a talent to fit into a project can damage or end careers just as quickly. 

Every A-list actor who has walked the red carpet had that one role that launched their career.  Someone saw value in their talent and opened doors for them.  Unfortunately, with the corporate state of mine, the roles and projects they were offered afterward became standardized to a stereotype, because they are seen as numbers, not people. As long as they stayed in their place, the studio executives will support them.  Stepping out of their pigeonhole could lead to the red carpets being rolled up.

What’s more challenging--attracting an A-list talent or creating a new one?  Existing talent has an established body of work and fan base, but both bring audiences’ expectations.  Fresh talent lacks both those limitations and assets.  It’s the difference between buying a suit off the rack and having one custom designed.  However, offering a stereotype-breaking role to an A-list talent becomes a game changer as it resets the stage for her or him. However, it can also be a double-edged sword as the bar of excellence will be raised as the actor faces preconceived expectations.

As with onscreen talent, writers, directors, and producers also find themselves limited by the same parameters.   Success frequently leads to being only offered projects in the same genre and at the budget level.   Industry and audience expectations create a glass ceiling in which new adventures and challenges can be seen but not realized.

Kaleidoscope Film and Television will break the chains that bind talent to the past and open doors for those new to the industry.  By keeping the budgets reasonable and by focusing on original projects, it will return to the old business model of producing quality in quantity.  However, it will deviate from past practices by focusing on bringing age, gender, and ethnic diversity and inclusion to the screens.  This will be accomplished by breaking stereotypes in front of and behind the cameras.  With top-of-the-line equipment and a versatile soundstage, Kaleidoscope Film and Television will nurture new talent, while expanding opportunities for experienced actors, producers, directors, and writers. With the intention of being fully operational by the end of 2023, it is currently building its team by reaching out to like-minded individuals, who want to create projects that will entertain while opening the world to new possibilities.

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age, and ethnic diversity, film incentive, gender, Kaleidoscope Film and Television, Native Americans, new production studio, Oklahoma, talent controlling their careers, United Artist, Veterans, women in film

Film and Television Producer: Job Description

 

Many people have misconceptions about what a producer is and what they do.  Producers are jacks of all trades, masters of few. She or he needs people skills and technical knowledge, while still being willing to not only think outside the box but also rip that sucker up and reinvent it.

They are mediators and counselors of egos, who understand that sometimes you need to hold hands, while other times they need to kick butt.  Cast and crew are people with individual challenges that sometimes spill over onto the set.  Differing opinions can be resolved if the common goal remains to produce quality.   Hiring the right people means more than just focusing on experience or job skills.  It’s bringing together those who work easily and effectively together.  One bad apple will create a hostile work environment that threatens every aspect of production. This doesn’t mean that everyone needs to be besties, but respect is paramount.  Another analogy would be that of gears in a machine.  It only takes one to be out of sync to start a cascading effect that will eventually cause a loss of productivity.

Having a general, yet working knowledge, of all aspects of production, marketing, and distribution means knowing more than just the job description.  It’s being able to assist without getting in the way or becoming a liability to the task at hand.   The producer doesn’t have to be able to set the lights, but she or he must know the difference between a flood and a spot.  It’s having the humility to be willing to pull cables, help with food service, pick up trash, and load equipment.  It’s doing the job at hand without egos getting in the way.

As scrouges, they find cost-effective solutions to production challenges.  She or he needs to be inventive enough to turn to drop clothes and Christmas lights into the interior of a circus tent.  It also requires helping the team to be flexible enough to alter schedules and methods when challenges present themselves.  You can plan to the nth degree and things will still go sideways.   Freaking out or allowing others to do so only exacerbates the situation.  Running around with their hair on fire because it rained or someone came down with the flu, only creates unnecessary stress.  However, remaining calm and stepping back lowers the emotional temperature and makes finding solutions much easier.  Effective producers formulate plan b and an outline for plan c.

Having these skill sets gives the producer the ability to bring projects in on time and within budget.  It also builds teams that become working families that build the trust that is necessary to produce quality, while pushing the status quo of the industry. 

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Screenwriting and Fiction Writing are two different animals

Writing for the screen and the page requires two completely different mindsets.  Although there are a few, who are capable of writing for both, generally most writers don’t have the capability of successfully translating a book into a script.

Writing fiction is a solo voice.  From the thoughts, words, and deeds of the character to the plot development, the author controls every detail.  She or he sets the stage from the opening to the closing sentence, making her or him the God of that universe.

 Writing for the screen needs a choir, singing together on the same page of music.  To mix the metaphors, producing film and television projects comparable to building a house.  Like an architect, the screenwriter creates the designs.  The Executive Producer acts as the contractor, who finds the resources and hired the team.  As the construction manager, the director organizes the talent and crew.  The crew builds the house.  Like interior designs, actors make the house a home as they bring the characters to life.  Without the team working together as one, the projects can’t succeed.

In fiction, describing the interaction between the characters and their environment in minute details is necessary for the reader to be able to suspend their belief.  But it would hinder the production process.  In fiction, the author needs to describe what she or he wants the reader to be able to see or know. No matter how elaborate or detailed, the writer can paint the word picture, it becomes real to the reader.  In film and television, unless the production team builds the sets and the props from the ground up, exactly matching the author’s vision is not always possible due to cost and insufficient technical skill; however, digital advancements have opened many new possibilities.  Yet, even with technology, creating sets can be cost-prohibitive.  Additionally, the blocking of the actors’ actions and how they present emotions will be influenced by the actor cast in the role and the director.   Their internal dialogue and life experience will determine how the emotions manifest into action.

Not all authors can separate themselves from the original vision nor do they understand the structure of scripts.  The latter can be learned. Letting go can be a bridge too far for many authors, which is why most don’t write the scripts for their work.

Here is an example of the difference between fiction and script.  It’s an excerpt from my novel, Dragon Domain.  The first is from the novel; it’s followed by how the same scenes would be written in script form.

The shadow strolled around the fence, becoming an over-confident Dominic. She felt her stomach tighten, preparing for another confrontation. Seeing Lilith, Dominic stopped short of the porch. He stared at her.

"You needn’t try to read me." Lilith continued down the porch, squaring off with the taller man. "I’ll save you the effort. I’m your worse nightmare."

He sneered at her. "An overused cliché."

"A cliché it may be. But true." Her head bobbed slightly from side to side. Her hand flipped up, the palm pointing at him. "In the past. your darkness kept you from reaping what you sowed”, elegantly her palm flipped over in a wave motion, "but your harvest time has come. And I’m the one at the handle end of the sickle whose business end is going to cut you down."

Cheyenne ran to the door. She had to warn Lilith. She didn't know who and what she was dealing with.

“But I do.” The whisper came from nowhere and everywhere.

Startled, Cheyenne looked around. She saw no one, yet she wasn't alone.

“Child, come with me.”

Instinct told her vocalizing was unnecessary and could very well be dangerous for them both. What about Lilith?

“Do you trust me?”

She sensed rather than saw the hand that reached out to her. Fearlessly, she reached back. She felt her spirit rise and be whisked away. For an instant, she hovered over the cottage. Brilliant light surrounded and filled it. In the backyard, Mercury and Ares questioningly looked up at her. The light surrounded them. Cheyenne knew they were safe. As was Lilith in the front yard. The next instant she stood on the part of the mesa that she was only allowed to see from a distance. Not knowing what to expect, she walked around the funeral pyre. The ashes stirred, rising up to become tiny whirlwinds. The center one became a feather. The others melted into it, adding gemstones, beads, and smaller feathers. When the last whirlwind added its blessing, the feather floated upward. The sun shone through the gems and glass beads, sending rainbows and colored dots to dance around the pyre. Catching herself staring, Cheyenne stifled a giggle; No wonder the kids like chasing the red dot.

“Will you accept it?”

The feather seemed familiar, yet the harder she sought to find the memory the faster it eluded her. Its beauty radiated welcoming love and healing. It's so beautiful. Are you sure it is for me?

“Only if you accept it.”

Cheyenne held out her cupped hands. The feather floated into them. It melted into her and suddenly she was back in her cabin.

"Where’s Cheyenne!" He demanded.

"In my cradle." Lilith’s voice became stronger; her energy expanded.

Dominic stepped backward. "What are you?"

"I am, the I am. I am the seer of all things. I know who you are and what you have done."

"Shut up! Where’s Cheyenne?"

Lilith turned at the waist, extending her hand to Cheyenne. The whites of her eyes glowed.

Without hesitating, Cheyenne stepped through the doorway and out onto the porch, stopping at the top step. Reaching out, her fingertips touched Lilith’s. The power surged within her and she joined Lilith at the edge of the porch.

“Do you think the harm you have caused others has gone unnoticed?” The words came from Cheyenne's mouth, but the voice belonged to another. “The pack only protects its own.”

“I have my own pack

Cheyenne felt the presence of the other intensify within her. “Renegades become pariahs, who are unwelcome in any home.”

The color drained from Dominic’s face.

Lilith stepped forward. "There is nothing you can do that can not be undone and turned back on you."

Tossing the loose strands back over his shoulder, he balanced his weight equally on both feet and smiled. "I’m not finished yet."

"You have attacked twice. Twice it failed. Undo the damage you have done. Pay the debts you owe. You may still be redeemed." The words came from Lilith’s mouth, but the voice was from a source much older.

His fists clenched. Setting his jaw, he recollected himself. "You can’t frighten me. I know." He pointed at Cheyenne. "I know how to hurt you!" His anger flared. "You and all those others who forsake the male energy of the Gods." He stepped forward at an angle, putting himself in a direct line of vision with Cheyenne. "She can’t always be with you. One time when you take flight..." The threat remained unfinished.

"I’m everywhere." Lilith waved her hand. A gust of wind blew dirt into his face. "Unhampered by time or space.”

A hawk dived from nowhere; its extended talons scraping his forehead and scalp. He screamed in pain, beating the vacant air trying to ward off an attacker who had already disappeared.

 

Furious, he rushed her. Energy forcefully shot out of Lilith, knocking him backward. He hit the ground with a grunt; immediately he rolled into a crouch. Growling, he revealed his growing canine teeth.

Immediately Aries and Mercury leaped at their side of the fence, growling, and barking. Leaves rained down on him from the squirrels dashing and jumping between branches. From the left, the bushes rustled. A black and white body scurried from it. Its long-striped tail erect. As quickly as its little legs could move, it crossed the distance, spun around, and squirted a cloud of protective scent. Dominic didn’t have the opportunity to dodge. The direct stream soaked his face; the cloud enveloped him.

 

 

 

EXT. CABIN BACK PORCH: DAY

Dominic struts toward the back door of an isolated country cabin.  Lilith walks out the back door closing it. Dominic stops.

                                        LILITH

"You needn’t try to read me. I’ll save you the effort. I’m your worst nightmare.

                           DOMINIC

An overused cliché."

                           LILITH

A cliché it may be. In the past. your darkness kept you from reaping what you sowed but your harvest time has come. And I’m the one at the handle end of the sickle whose business end is going to cut you down.

 

INT. CABIN: DAY

Cheyenne listens at the back door.  Frightened, she tries to open it.

                                     MOTHER

                                    (whisper around her)

            She’s safe.

                                    CHEYENNE

            She doesn’t know.

                                    MOTHER

            But I do.  Child, come with me.

Cheyenne nods and reaches for the unseen hand.

EXT. FRONT YARD OF CABIN: DAYS

Cheyenne’s spirit appears above.  Brilliant white light surrounds the cabin and the surrounding area. Mercury and Aries look up at her.

EXT. MESA: DAY

Cheyenne’s spirit appears at the head of a Native American funeral pyre. Confused, she looks around. The ashes stirred, rising up to become tiny whirlwinds. The center one became a feather. The others melted into it, adding gemstones, beads, and smaller feathers until they become one.

MOTHER.

Will you accept it?

                        CHEYENNE

It's so beautiful. Are you sure it is for me?

                        MOTHER

Only if you accept it.

Holding out her hands, the feather floats into them and melts into her.

EXT. CABIN. DAY

Dominic aggressively approaches  Lilith's posture changes as she absorbs the white light emanating from the ground.  Her eyes glow.  Her voice becomes otherworldly

                                    DOMINIC

Where’s Cheyenne!

.

                                    LILITH

            In my cradle.

                                    DOMINIC

What are you?

                        LILITH

I am, the I am. I am the seer of all things. I know who you are and what you have done.

                        DOMINIC

Witch tricks!  Where’s Cheyenne?

Lilith extends her hand to Cheyenne.  Cheyenne walks out onto the porch and joins Lilith. The white light fills Cheyenne.

                                    CHEYENNE

                        (otherworldly voice)

Do you think the harm you have caused others has gone unnoticed? The pack only protects its own.”

                        DOMINIC

I have my own pack.

                        CHEYENNE

Renegades become pariahs, who are unwelcome in any home.

Stunned, Dominic backs away.

                                    LILITH

There is nothing you can do that can not be undone and turned back on you.

                        DOMINIC

            (regaining arrogance)

.           I’m not finished yet.

                                    LILITH

You have attacked twice. Twice it failed. Undo the damage you have done. Pay the debts you owe. You may still be redeemed.

                        DOMINIC

You can’t frighten me. I know.

            (pointing at Cheyenne)

I know how to hurt you!  You and all those others who forsake the male energy of the Gods. She can’t always be with you. One time when you take flight...

                       LILITH

I’m everywhere.

A gust of wind blew dirt into his face.

                                    LILITH (CONT.)

Unhampered by time or space--

A hawk attacks Dominic and flies away. Energy shoots out of Lilith, knocking him backward. He rolls into a crouch. Growling, he reveals his growing canine teeth.  A skunk scurries from the bushes and sprays Dominic, hitting him in the face.

 

Although the story and actions are essentially the same,  many details had been changed. How Cheyenne felt and thought was replaced by generic physical actions.  The squirrels raining down leaves and the barking dogs were unnecessary and therefore removed.   The verb usage was changed from the past tense in the novel to the present tense in the script.  Scripts are written in the present tense. 

Film and television are visual.  Never ever, use the phrase “we see”.  First, who the hell are we?  Secondly, show don’t tell. 

The scene heading sets the location and time of day.

 

EXT. CABIN BACK PORCH: DAY

Dominic struts toward the back door of an isolated country cabin. The first line sets the first impression of the location and the scene

 

. This is an exterior scene that happens during the day around a cottage surrounded by forests

 

EXT. MESA: DAY

Cheyenne’s spirit appears at the head of a Native American funeral pyre

This scene also takes place during the day.  Mesa sets the image of a flat desert area.  Describing the funeral pyre as Native American removes the need for more details.

 

In scripts, less is more.  Except when creating important plot-related details, as with special effects, descriptions should be limited to four lines.

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