The inherent tension between supporting commercial success and artistic merit is a frequent focal point in discussions around German film funding reform, a reality I encountered firsthand with my own “brooding” art film project. While Germany boasts a rich history of critically acclaimed films that delve into complex societal issues, historical events, and introspective character studies—the very type often associated with the “brooding dramas” stereotype—the funding landscape is increasingly influenced by the domestic audience’s preference for feel-good comedies and family films.
My project, an art film about an unknown painter developed with a German family about their deceased 92-year-old father, Georg Esser, was rejected twice for Film- und Medienstiftung NRW funding. Despite having a German residency and work permit as a film director and editor, and even securing a letter of intent for cinema distribution within Germany, factors that seemed to “tick all the right boxes;” it appears there was more at play, as analyses like those from Stephen Follows suggest in his own research. This situation highlights how an increased focus on box office success and “industry profit” in funding criteria might inadvertently de-emphasize artistic and culturally significant films, even those with strong regional ties and distribution potential.
My film’s rejection served as a poignant reminder that in the world of German cinema, the delicate balance between artistic vision and commercial viability remains an ongoing, often challenging, negotiation.
This was also real Jeopardy category a few years ago. I worked for Roger Corman. He hired me as a Production Assistant for a feature being made at his studio, Concorde – New Horizons, located near the beach in Venice, CA. A family friend Susan Charles knew his filmmaker wife Julie as they had gone to school together in Kansas. That introduction helped me get in the door. A personal referral back then was like gold. It was 1988. I had only graduated from college two years earlier, inspiring to be a film director with my first film under my belt.
Hanging with 5’7″ Ned Beatty on the set. I am a production assistant with a walkie talkie.
Climbing the Ladder
I was to earn $50 a day, working 10 hours or more. It was half the rate in Colorado that I had been getting on commercials and features. The cost of living in LA was more than what Denver was at that time. I had also been working as a paid intern for the State Office of the Colorado Film Commission. But now I was working in Hollywood as a production assistant*!
Being a PA is the lowest step on the film industry ladder, but you had to start somewhere in order to go up. It was to be a baptism by fire! The Roger Corman school of hard knocks started with an crew call-time of 8 AM with a lesson in filmmaking 101 until 6 PM or later. There was no going back. I would stay until the production wrapped after about three months, and then I found another industry job that paid more, working as an office assistant to a talent agent, but that is another story.
Working for Roger Corman
More famous people had worked for Roger Corman: Jack Nicholson, Ron Howard, Peter Bogdanovich, Martin Scorsese, Francis Ford Coppola, Jonathan Demme, Peter Fonda, Joe Dante, Bruce Dern, Vincent Price (House of Usher, 1960), etc. Years later, I had the honor to met both Peter Fonda and Bruce Dern when they came to Boulder as guests of the Boulder International Film Festival. I filmed each as part of a backstage interview.
A Badge of Honor
I worked a Roger Corman film called “Time Trackers”. It was a time travel movie with Wil Shriner, Ned Beatty, Kathleen Beller (Thomas Dolby’s wife). Because it was a non-union shop, I could be cheaply thrown in as a background actor for three different time periods: medieval, present and future. Each day I was also the post production driver taking the freshly shot 35 mm film cans to the Deluxe Lab in North Hollywood and returning with the dailies. I quickly became very familiar with getting from Venice to Burbank without going on the highways. A trip that could easily take over an hour one direction during rush hour. A driving skill that has continued to serve me well when visiting LA. I was on the set too, but it was the most boring part of the day. There was a lot of standing around, waiting for something to happen. I quickly realized that where the action was. It was between the director, cinemagrapher and actors.
Life as an Extra. Looks like my fellow extra is about to remove me from the scene with his staff.
I almost lost my job the first week when I picked up the director’s lunch order and didn’t double check that the his hamburger didn’t have onions on it. I got a stern warning from the Unit Production Manager to not assume anything and always double check the lunch orders by opening the container.
All of which taught me, anticipate problems, never assume anything, and to do whatever task is needed without complaint. I’ve made two theatrical films and consider myself a hyphenate, having worked as a director, producer, editor, and cinematographer. I wear a lot of hats! Never as an actor!
With Roger Corman’s passing (April 5, 1926 – May 9, 2024), a true American self made treasure is gone. The last of the gentleman giants who knew how to make films cheap and good. A Stanford graduate who became the King of the B movies. Corman had an active IG account until most recently. Roger Corman still loved films and encouraging filmmakers to make films. I am one of them.
Thank you Roger!
“He was generous, open-hearted and kind to all those who knew him,” they said in a statement. “When asked how he would like to be remembered, he said, ‘I was a filmmaker, just that.’”
His Family
*Qualities of a good PA:
Organized: Able to keep track of multiple tasks and prioritize effectively.
Reliable: Punctual, responsible, and able to follow through on tasks.
Resourceful: Able to solve problems and find solutions quickly.
Adaptable: Able to adjust to changing circumstances and unexpected challenges.
Good communication skills: Able to communicate effectively with crew members and others.
Jill Barad was the CEO of Mattel from 1997 to 2000. Jill Barad (née Elikann) grew up with a Hollywood background and career in the entertainment industry as the daughter of Larry Elikann, a television director who earned Emmy, Peabody, Golden Globe, Humanitas and Christopher awards for his television dramatizations of true stories. The Barbie product line was important to the success of Mattel in the 1990s.
Table of Contents
How Chance Encounters Can Shape Your Career
Life is full of unexpected encounters and opportunities to connect with various individuals from different backgrounds and walks of life. Being kind and gracious in these interactions is not only a fundamental aspect of being a decent human being but also a powerful way to leave a positive impression and foster meaningful connections.
Jill Barad – Pretty in Pink
The Power of Networking
I recently had the pleasure of watching the “Barbie” movie, and to say it was an enchanting experience would be an understatement. Not only did it showcase the beloved Barbie and Ken characters in all their glamour and charm, but it also cleverly delved into the complexities of late stage capitalism. The film also depicts the dichotomy of how the patriarchy affects all of us, regardless of gender. While some may argue that mass entertainment shouldn’t be the place for “reputation washing,” only time will tell if toy known as Barbie sees a bump in sales.
The audience is given a reference to the first woman CEO of Mattel.
I worked for Jill Barad’s producer husband, Thomas Barad; Jill as a businesswoman would become the first woman CEO at MATTEL.
How Working as Tom Barad’s Office Assistant Helped My Career
In 1989, Jill Barad’s husband, Thomas Barad, was hired as the new senior vice president-production for the motion picture group of Paramount Picture. He was responsible for overseeing the development of animation movies, putting him into a significant role in the entertainment industry at the time. He was the credited producer of Crazy People, a 1990 American black comedy film starring Dudley Moore and Daryl Hannah, directed by Tony Bill, and music by Cliff Eidelman.
Within a few months of his appointment I had the opportunity to work in his office as a temp assistant, to his primary secretary, Phyllis Smith. My responsibilities revolved around everything computer-related in Tom’s office. I took care of managing emails, documents, and other tasks related to technology, ensuring the smooth operation of his workspace.
I would later be able to turn that experience of being on the studio lot into another assistant position of working for Director Bruce Robinson during the development phase of his movie script, Jennifer Eight. That lead to the personal encounter with producer Scott Rudin.
The Value of Listening in on Phone Calls
One interesting aspect of my role was that I got to schedule appointments, connect phone calls, including between Tom’s wife, Jill Barad, and him during their drive times. This aspect of listening in on mobile calls was part of the job training in those days. By participating in such training, one would likely gained essential skills in active listening, effective communication, and professional conduct over the phone.
Fast forward about seven years later, in the 1997, I had made significant progress in my career, and I became a newly hired producer for Mattel , a prestigious toy company known worldwide. My Hollywood expertise and producer skills brought me to collaborate with Intel in Portland, an exciting opportunity given Intel’s prominence in the technology industry.
Jill Barad’s Visionary Leadership: Transforming Mattel’s Success from 1997 to 2000
During that time, Jill Barad had risen to the position of CEO of Mattel, a testament to her exceptional achievements as a businesswoman with leadership and vision. She would drive Mattel forward and solidified its position as a major player in the toy industry during her CEO tenure from 1997 to 2000.
As part of her vision, she supported this new collaboration between Intel and Mattel. Jill Barad visited the co-lab skunk work offices in Portland at Intel PLAY. The Intel Play product line, developed and jointly marketed by Intel and Mattel, was a product line of consumer “toy” electronic devices. The other toys were the Digital Movie Creator, the Computer Sound Morpher, and the Me2Cam.
Intel Play Digital Movie Creator
During her visit, I had the chance to greet Jill Barad warmly, and it was a humbling experience to be recognized by her still after seven years. The encounter in front of the assembled representatives of both INTEL and MATTEL, helped my own professional reputation with the work that I would do over the next three years as the program manager of the Digital Movie Creator.
Intel PLAY – Digital Movie Creator
Intel Play Digital Movie Creator was featured as an easy-to-use digital video camera and movie-making software package that allows children to use the PC to script and star in their own feature movies. At the time of development and release in 2001, the goal of the Intel Play products is to extend the value and utility of powerful PCs, like ones based on the Intel® Pentium® 4 processor.
A Journey of Dedication and Growth
Overall, the journey from being an office assistant to Tom Barad to becoming a producer collaborating with Mattel and Intel showcased my dedication and professional growth. That early encounter with both Tom and Jill Barad, added an inspiring chapter to my career, emphasizing the value of meaningful connections and the potential for advancement in the corporate world.
You never know how a chance meeting or encounter with someone may impact your life or theirs. It could lead to a new friendship, a valuable business partnership, or simply a moment of joy and inspiration for both parties involved. Treating others with kindness and showing genuine interest in their perspectives and experiences can create a positive ripple effect and contribute to a more compassionate and understanding society.
Although Jill Barad, one of the highest-profile women in corporate America at the time, resigned as chairman and chief executive of Mattel Inc., ending a turbulent three-year tenure marked by a disastrous acquisition and a stream of earnings disappointments.
It’s important to acknowledge the contributions of legacy leaders like Jill Barad, left a lasting cultural impact on the industries they were part of, including get a reference to their contribution in movies like Barbie.
