Loyola Marymount University School of Film and Television has appointed three new professors: Associate Professor of Film and Television Studies Carla Marcantonio, Assistant Professor of Production Shane Acker and Distinguished Professor of Film Arthur Dong.
Carla Marcantonio is a scholar of transnational/global cinema and joins SFTV’s Film and Television Studies Department as Associate Professor. Her articles and essays have appeared in collected editions as well as in journals such as Social Text, Women and Performance and Cineaste. Her book, Global Melodrama: Nation, Body, and History in Contemporary Cinema, is forthcoming this fall. The book investigates how contemporary film melodrama helps map new temporal, spatial and embodied territories in response to globalization. Professor Marcantonio’s scholarly work on Spanish director Pedro Almodóvar has lead to her serving as his translator for the past decade. This work has taken diverse incarnations from interpreting during interviews at the New Yorker Festival, New York Times Talks and the AFI Fest as well as during development workshops for the adaptation of Women on the Verge of a Nervous Breakdown to Broadway. She also translated the pre-production script of Broken Embraces. She was previously on the faculty at George Mason University where she was Assistant Professor of Film and Media Studies in the English Department. Professor Marcantonio received her PhD in Cinema Studies from New York University in 2007.
Award-winning director, animator and designer Shane Acker joins the Production Department as Assistant Professor. He brings over 15 years experience working in the entertainment industry and has held academic positions at Loyola Marymount University, University of Southern California, Gnomon School for Visual Effects, American Intercontinental University and University of California, Los Angeles. As an MFA student at UCLA, Professor Acker wrote, directed and animated the 11-minute short 9, which premiered at Sundance in 2005, garnering numerous awards including a Student Academy Award, the “Best in Show” at the 2005 SIGGRAPH Electronic Theater and a student Emmy. That film was nominated for an Academy Award in 2006 and was subsequently made into the Focus Features 2009 feature film of the same name, produced by Tim Burton and Timor Bekmambetov. It marked Professor Acker’s directorial debut. His additional credits include Lord of the Rings: Return of the King (animator), Total Recall (previs artist) and Oz the Great and Powerful (senior previs artist). Professor Acker received his MFA in Animation from UCLA in 2005, and a Master’s degree in Architecture from UCLA in 1999.
Arthur Dong has been appointed to the newly created position of Distinguished Professor of Film. He will draw upon his expertise to help create an MFA documentary filmmaking program. Professor Dong has taught documentary film at numerous institutions locally, nationally and internationally. His films have been theatrically distributed throughout America and featured in hundreds of festivals worldwide. His awards include an Oscar nomination, a George Foster Peabody Award, three Sundance Film Festival awards, the Berlin Film Festival’s Teddy Award, Taiwan’s Golden Horse Award and five Emmy nominations. He has been selected as a Guggenheim Film Fellow, a Rockefeller Media Arts Fellow, and honored with the Pioneer Award from the Organization of Chinese Americans, with two consecutive GLAAD Media Awards (Gay and Lesbian Alliance Against Defamation), and the OUT 100 Award from OUT magazine, which was presented to him “for waging a one-man anti-violence project with his documentary on convicted murderers of homosexuals, Licensed to Kill.” His critically acclaimed films include Coming Out Under Fire, Forbidden City, USA; Hollywood Chinese, and most recently, The Killing Fields of Dr. Haing S. Ngor. Professor Dong’s book Forbidden City, USA, based on his film, won the 2015 American Book Award and the Independent Publisher’s IPPY Award. He has served on the boards of the Academy of Motion Picture Arts and Sciences, Film Independent, Outfest and the National Film Preservation Board at the Library of Congress. Professor Dong earned his BA in Film from San Francisco State University and holds a Directing Fellow Certificate from AFI.
In Professor Tom Klein’s recent op-ed for The Huffington Post, “Docter Who? The Pixar Director You Need To Know,” Klein calls animation director Pete Docter, whose new Pixar film Inside Out opens June 19, “a rising force among American directors,” comparing Docter’s new animation flick to mind-bending films like The Matrix and Inception.
Klein writes, “When Inside Out takes you on its mind-trip, think about how this same movie that passes for a kid’s film is as boundary-pushing as Inception. Think about what a useful model it can serve in bringing more challenging fare to mainstream movies. And finally you will never forget the name Pete Docter, a true visionary and a rising force among American directors.”
Read the entire piece here.
When Professor Howard Lavick retires to Southern Oregon this summer, we will be sad to see him go. But Lavick, who began teaching film courses at LMU in 1984, has left a legacy built on an uncommon foundation of wit, good humor and common sense.
It was Professor Don Zirpola who first recruited Lavick to teach three classes for a “short period of time” at the film program, then operating within LMU’s Communication Arts Department. “I needed someone to replace me on faculty,” said Zirpola, who was ascending to department chair. “I convinced him to come to the school even though he was fully engaged at SelecTV where he was in charge of interstitial programming.”
Fast-forward thirty-one years: Lavick has served the film program as associate professor, department chair, school director, acting dean, and most recently, interim associate dean. He is among a group of Founding Faculty who grew the film program from 250 students to a fully-fledged School of Film and Television with over 700 students. He was a guiding force behind the development of the SFTV International Documentary Program in Bonn, Germany. And he established the Ian Connor Student Cinematography Award to honor a cherished colleague and beloved teacher.
“Like our students now,” said Zirpola, “they loved him then as well. Students were always at the center of everything he did for the school.”
It should come as no surprise, then, that Lavick is adept at guiding his students both academically and professionally. “Professor Lavick inspired us in and outside of the classroom through his wisdom on filmmaking, but most importantly in how to stay grounded and operate in our pursuits of a career in the entertainment business morally and ethically,” said Matthew Law-Phipps (Production – B.A. ’15), a recent thesis student. “There is no sense of superiority when Professor Lavick gives his input, only care to make the best possible future for each of us.”
Before earning an M.F.A. in Film Production from the USC School of Cinema in 1977, Lavick served in Vietnam as an Army combat photographer with the 25th Infantry Division and as a reporter with Pacific Stars and Stripes. For his reporting of the South Vietnamese combat mission into Laos in 1971, he was awarded the Bronze Star Medal.
Before Professor Lavick ‘s final class, he took a moment to reflect on his tenure at the film school and to share with LogLines his future plans.
We are going to miss your sense of humor. What will you miss the most about the film school? My sense of humor. That, and Fig Newtons at our faculty meetings. Laughter can help deflate the tension of a meeting so that we can all breathe – and smile – again. So I will miss the laughter shared with many dear LMU friends during the past thirty years.
Of course, that makes total sense. What parting words of advice would you leave to your students, especially those on the verge of graduating? Work together in school. Your LMU friends will help you get your first job. Your skill, knowledge and integrity will help you to succeed and get the next one.
Is there a single accomplishment that you are most proud of achieving while at LMU? Two, actually: 1) Establishment and growing success of the SFTV Bonn program. I hope this will continue and perhaps serve as a unique model for future SFTV programs abroad as well. And 2) As Chair, helping to guide the then-Communication Arts Department through a period of stability, unprecedented growth and student accomplishments that led to our becoming a full-fledged School of Film and Television. This was due to the hard work and dedication of our faculty, staff and students. By demonstrating to the University that we were able to manage our own affairs well, we earned this opportunity. It was not handed to us.
Given the choice of the following retiree role models, which person most fits your idea of retirement and why: Jimmy Carter, Walter Cronkite, Bill Clinton, Phil Jackson, or David Burcham? Geez Louise! None of these old geezers! Well, actually Dave Burcham is taking a one year sabbatical and will spend half his time travelling in Europe, so that’s pretty cool. But I’d like to do what Henri Cartier-Bresson did – spend his life doing what he loved: photography, painting, drawing and traveling with his wife and friends. Bresson’s philosophy: “To take a photograph is to align the head, the eye and the heart. It’s a way of life.”
In all seriousness, what do you plan to do with yourself now that you are free to follow your bliss? Do you have any film projects lined up? Do you have other interests you wish to develop? Well, right now my epitaph would read: “My life was a series of unfinished projects.” So, I plan to change that and get back to doing my own creative work, finish several documentary films and renew my love of still photography. Oh, and take the time to enjoy the wineries and new life with my wife, Michaela, and family in Southern Oregon.
Anything else you would like to share? Yes. Albert Einstein had a messy desk.
Chantelle Wells’ (WPTV – M.F.A. ’15) journey from her youth to advertising to staff writer on the CW hit comedy-drama Jane the Virgin is an unconventional one. As the recent grad prepared for commencement, she spoke to LogLines about her humble beginnings and what it has taken for her to get where she is today.
You landed a staff writing job just before completing your M.F.A. How? That was all the CBS Diversity Writers Fellowship. We’re assigned mentors in the fellowship who are CBS executives. One of my mentors was the director of current programming for the network and the studio, and one of the shows he covered was Jane the Virgin. With the relationship we’d built over the course of the fellowship, he felt confident and comfortable enough with me to mention my name to Jennie, the show runner for Jane. He gave her my pilot to read and made no promises! The chips would just fall where they may. Jennie read my pilot, really liked it, and I was asked to come in to meet with her for a staff writing position on the show. We had been training all throughout the program on how to take a meeting with a show runner, so even though I was nervous, I felt prepared. I guess I was prepared, because exactly a week after I met with Jennie, I found out I got the job!
How did you hear about the fellowship? It’s funny, I almost didn’t apply. You have to submit a spec of an existing show and an original pilot. I felt great about my pilot. My spec… I felt like maybe I should work on it a little more and just apply next year. But I changed my mind and just went for it. I have to actually thank my third year WPTV cohort for that. I wouldn’t have even known about this fellowship or any other if my peers hadn’t been discussing their applications. I asked someone what it was, they told me, and the rest is history.
Many of the professionals you met through the CBS Diversity Writers Fellowship, from your mentors to the executivess to the program director, really took you under their wings to make this dream come true. Getting into the fellowship has been a life-changing experience. The program taught me so many things. Most of all it teaches you how to be “staffable.” It teaches you the skill of taking a meeting with a show runner–this is not the kind of thing you just walk into; it actually is a skill you don’t learn in school. There is prep, and there is a very intricate dance that takes place when you’re in a meeting, and I wouldn’t have learned any of it without the program. It also demystified the writer’s room as it gave all of us the opportunity to sit in and shadow a real TV writer’s room. To be able to watch working writers in the industry breaking a story is invaluable. We also had “manager night” and “agent night” where it is set up like a speed date and we basically pitch ourselves in order to get representation. That’s how I got my manager. And I met an agent in that session who helped facilitate a meeting with the agent I have now. I cannot encourage writers enough to get out there and apply to these programs. Some of them are diversity programs, some of them are not and are open to everyone. But, the most important lesson is to be your own advocate for your future. Don’t depend on your education alone. It’s not enough. You have to find the avenues that will help you get to where you want to go and, for me, that was the CBS Fellowship.
That’s great advice. You also persevered through some early life challenges…living in the back of your family’s car for a while, being the only African American girl at an all white high school. How have these experiences shaped you as a writer? It’s given me a voice and a perspective that no one else has. That’s true for anybody with a unique background. Your experiences inform your writing, and no two people share exactly the same experience in the same way. So, I’m the only one who can speak to those particular issues in the way I experienced them. I channel a lot of what I was feeling back then into my characters. It’s never the same situations, but it’s always emotionally honest. I put my characters through a lot of crap! But I pull from where I’ve been and I put it all into the writing. It’s a whole lot cheaper than therapy!
You earned your B.S. in marketing in Boston and worked in advertising for eight years. What was the catalyst to change your entire career from writing for commercials to writing for television? I had always loved television. Growing up, I set my schedule by the TV schedule. So, I knew that I wanted to get into something that had to do with TV. Growing up the way I did, having a steady income was really important to me, so I tried to think of a career that was stable and still in TV – commercials. I did that for a long time until my mom got sick and I left my career to move back home to help take care of her. Getting away from the hustle and daily grind of my career, I was able to sit in some peace and really evaluate my life – who I was, and what I wanted. And I realized that advertising just wasn’t fulfilling for me. There were stories I wanted to tell that could never get serviced by a 30-second spot. I began to write a whole lot during that time and the light bulb finally went off. I can be a TV writer! So, after a three year journey, I became one.
As you embark on this new journey writing for Jane the Virgin, do you have a favorite SFTV memory? Having class with Jack Orman. He has taught me more in one semester than I’ve learned in three years. I’m a better writer because of him.