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Gale Anne Hurd gets Star on Hollywood Walk of Fame

Posted By Administration, Wednesday, December 19, 2012

Hollywood Chamber honored Gale Anne Hurd with Star on the Hollywood Walk Of Fame

Hollywood Chamber of Commerce honored Gale Anne Hurd with star on the famous Walk of Fame on October 3, 2012 at 6621 Hollywood Boulevard in front of Napoleon Perdis Hollywood. Emcee Leron Gubler, President/CEO of Hollywood Chamber of Commerce, and guest speakers James Cameron and Andrew Lincoln helped unveil the 2,483rd Star on the Hollywood Walk of Fame in the category of Motion Pictures. Special celebrity guests included Roger Corman and the cast of The Walking Dead: Norman Reedus, Sarah Wayne Callies, Danai Gurira, Lauren Cohan and David Morrissey.

The star ceremony streamed LIVE on Enjoy watching the complete ceremony at the bottom of this page.

Gale Anne Hurd is one of the industry’s most respected and innovative film and television producers. Over the course of her career, Hurd has developed and produced films that routinely garner Academy Award® nominations, and TV programs that win Emmys® and shatter ratings records. By continually selecting daring material, championing technological innovations, and remaining hands-on in her approach, Hurd has carved out a leading position in the previously male-dominated world of the blockbuster, and become a recognized creator of iconic cultural touchstones.



After a successful rise from Roger Corman’s executive assistant to head of marketing, Hurd’s production career launched when she produced The Terminator, written and directed by James Cameron. This success was quickly followed with Cameron’s Aliens, which received seven nominations and two Academy Awards®, and the Oscar®-winning films The Abyss and Terminator 2: Judgment Day.

At the helm of her production entity, Valhalla Entertainment, Hurd continually develops and produces a broad range of projects, including AMC’s hit drama, The Walking Dead, which she developed and executive produced with filmmaker Frank Darabont. The third season premieres Sunday, October 14.

Hurd is also developing the feature films The Shipkiller with Arenamedia, The Nameless with Route Oneand Hellfest with CBS Films. Hurd’s indie film, Very Good Girls, starring Dakota Fanning and Elizabeth Olsen, which she is executive producing with Hawk Koch, is in post-production. Hurd’s company, Valhalla Entertainment, has an overall deal with Universal Cable Productions to develop new television and digital series. She is also developing a television series adaptation of Annie Jacobsen’s novel, Area 51: An Uncensored History of America’s Top Secret Military Base, for AMC, and is adapting Lord Jeffrey Archer’s The Eleventh Commandment for television with New Franchise Media.

Other Valhalla Entertainment productions include Marvel’s smash hit The Incredible Hulk, starring Edward Norton, the futuristic sci-fi thriller Aeon Flux starring Academy Award® winner Charlize Theron; The Punisher and The Punisher: War Zone based on the classic Marvel comic; The Hulk, directed by Academy Award® winner Ang Lee; the Academy Award® nominated Armageddon; Dante’s Peak; The Relic; the political comedy Dick; and the Academy Award® winning film The Ghost And The Darkness, amongst many others.

Hurd produced the critically acclaimed and award-winning films Tremors, Alien Nation, which was adapted into an acclaimed Fox TV series; Safe Passage starring the Academy Award® winner Susan Sarandon; and the Spirit and Sundance Audience Award winning indie, The Waterdance. She also served as executive producer of Terminator 3: Rise of the Machines.

Her producer credits include a number of distinguished TV movies, including HBO’s Emmy nominated Sugartime, the Emmy winning Cast a Deadly Spell, The Wronged Man starring Emmy winner Julia Ormond, Witch Hunt directed by Paul Schrader and the documentaries True Whispers: The Story of the Navajo Code Talkersand Choctaw Code Talkers.

Hurd serves on the Academy of Motion Picture Arts and Sciences’ Board of Governors and as an officer of the Producers Guild of America. She chairs the Nicholl Screenwriting Fellowship Committee and the Executive committee of the Producers Branch at the Academy of Motion Picture Arts and Sciences and is a member of the Film Festival Grants Committee. An avid scuba diver, Hurd serves on the Advisory Boards of Heal the Bay and Reef Check. Hurd also serves on the Advisory Board for Artists and for Peace and Justice. She was honored by Global Green USA with the Entertainment Industry Environmental Leadership Award, the Telluride Tech Festival Award of Technology, the Crystal Award from Women in Film, the New York Women in Film & Television’s Loreen Arbus Awards, the UCLA School of Theater, Film and Television/Producers Guild of America’s Vision Award and the PGA’s Charles Fitzsimons Award for her service to the Guild.



For more information and to view who shares a star on the Hollywood Walk of Fame, visit




The Hollywood Walk of Fame is an internationally-recognized Hollywood icon. With approximately 24 star ceremonies annually broadcast around the world, the constant reinforcement provided to the public has made the Walk of Fame a top visitor attraction. The Hollywood Chamber of Commerce continues to administer the Walk of Fame as the representative of the City of Los Angeles. The Walk of Fame is a tribute to all of those who worked diligently to develop the concept and to maintain this world-class tourist attraction. The Walk of Fame is open to the public. No paid admission or assigned seating at star ceremonies.

The Hollywood Walk of Fame and the Hollywood Sign are registered trademarks of the Hollywood Chamber of Commerce.



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Featured Member: Pamela Keller

Posted By Administration, Wednesday, December 19, 2012

Featured Member

Pamela Keller

AP Council Board of Delegates


My mom has a story that I used to give direction to my sister and our friends when we would play with Barbies. "No, say [the line] like this. We have to arrange the furniture this way, so Ken can enter from the back of the house, and Skipper will be surprised…' My mom asked if I was a director and I didn't know what the heck she was talking about.

I believe my love for storytelling is what attracted me initially, and it's what keeps me passionate about the business to this day.


I was a receptionist in a high-end post house in San Francisco. I moonlighted as a non-equity stage manager at a small theatre, and invited the producer clients to come see my show in the hopes that they would see similarities in the job, take a chance on me, and hire me as a PA. This was in the 90s when Industrial Light + Magic still had a commercials division. I guess it worked, because luckily, I was hired to work on the ad agency side as a production coordinator on a series of ILM's spots for Intel.


When Julia Sweeney was gearing up to perform her second monologue In The Family Way at the Groundlings Theatre; my second job was as one of the staff house managers.

I admired Julia's work, and never had the chance to see God Said Ha! when it was at San Francisco's Magic Theatre years ago. At the time, I was struggling to make ends meet, and the ticket price was too high for me to afford.

I looked up to Julia, and thought how great it would be if she could be my mentor. I begged and pleaded with my Groundlings boss to let me house manage her show, so he put me on the schedule.

After a few weeks, I finally got the nerve to ask her if she needed an assistant. I remember she looked at me and said, "Oh, that’s so sweet!" She thought it would be helpful if I could help her out on the weekends, so I gladly accepted my third job. Eventually, she hired me as her full-time business assistant and later, as the producer for her third monologue Letting Go of God In Los Angeles. Up until that point, however, I wasn't really sure what to focus on, because everything in this business seemed so dang fun. Producing the play was when something clicked for me, and I knew I was finally in my wheelhouse.


Ever since I knew of the Producers Guild, it became one of my career goals to become a member. I heard of the continuing workshops, and thought of it as an opportunity to rub shoulders with the best in the business, and that it would in turn, make me better at what I do.


My favorite project is Rough Cuts West, which I help run for the Documentary/Non-fiction Committee. A member submits a rough cut or trailer of a doc or non-fiction project, and screens for to our panel of experts (also PGA members). The panel provides constructive criticism and professional advice, which allows the filmmaker to make changes and improve upon their work. I believe everyone in the room learns something from the experience, and it’s a great way for members to network with each other. In fact, we're looking for projects to screen, and if anyone is interested, they can shoot me an email.


I recently wrapped Season 3 of Good Luck Charlie for the Disney Channel, working as production coordinator, and am currently prepping as the floor director and production manager for the University of Mixed Martial Arts’ next show at LA Live's Club Nokia on October 21st. I'm (already!) in talks about next year’s Produced By Conference, and have a few other irons in the fire in the development stage.


Theatre has taught me the most. I have to say, working with a live audience is the greatest. It's pure, instant feedback, and watching their faces as they're involved in the story can fill you with such joy.

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Debra Hill Fellowship: Weekend Shorts Contest 2012

Posted By Administration, Wednesday, December 19, 2012

Weekend Shorts Contest: September 28th-30th

The time is nearly upon us for the second annual Weekend Shorts Contest presented by the Debra Hill Fellowship.

Awards include well over $100,000 value in prizes, PLUS, Producers Guild mentorships with prestigious members.

Make sure to check back in at 2:01 pm PST on Friday the 28th for contest criteria and final instruction!

Debra Hill Fellowship's Weekend Shorts Contest 2012.

Winners From 2011

First place
Produced by Edgar Alvarez
Directed by Edgar Alvarez
Written by Edgar Alvarez and Amanda Rodriguez

Second place
Group Ethos
Produced by Joe Schober
Directed by Ian Spohr
Written by Chioke Nassor

Third place
The White Queen
Produced by Christin Mizelle and Dianne Ward
Directed by Bryan
Written by Chris Wiltz

In memory of Debra Hill and the films she produced, submitted projects were required to include:

  • Halloween as a setting. (In recognition of Debra Hill’s breakthrough film of that same title.)
  • Story Elements: a CHESS KNIGHT; a CASSETTE TAPE; a KNITTING NEEDLE. (Each of these objects has played a key role in one of Debra Hill’s films. Entries were required to include all three of these items in some fashion, with at least one items playing a central or important function in the story.)
  • Thematic Elements: ESCAPE; an UNLIKELY HERO; GRACE and FORGIVENESS. (Entries were required to include one of these thematic elements.)

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PGA Northwest Networking: "An Evening of Locations"

Posted By Administration, Wednesday, December 19, 2012

An Evening of Locations!
by Brandon Grande

Scouts and Location Managers are vital in determining logistics, working with the producers, and helping to organize aspects from legal and accessibility to parking and permits. So, on August 15th, 2012, the PGA Northwest chapter gathered at Ambiance Antiques in the SOMA for "An Evening of Locations”.

Ambiance can double as a movie set in itself, and it was the perfect backdrop for the night's event. Thrown by Teri Cundall, of local prop and wardrobe directory Propville, along with the PGA Northwest, the event drew San Francisco's best location professionals.

The salon’s experts speaking included:
Sussanah Greason Robbins - Executive Director San Francisco Film Commission
Ricardo Capdepont - Location Scout
Jason Pachura - Birdman Locations Inc.
Jim Baldwin - Baldwin Production Services
and Gail Stempler - Location Scout & Manager

Each expert offered a unique perspective and everyone in attendance had plenty of interesting experiences to share. The cocktail reception to follow was a great opportunity for everyone to network and the guest’s were treated to a divine spread of wine and local cheeses while they schmoozed amongst one another. The night offered a unique opportunity to learn about the details of locations and it was huge success!

photo credit: Stefani Renee, Production stills.

Speakers from left to right: Jim Baldwin, Ricardo Capdepont, Jason Pachura, Sussanah Greason Robbins, Gail Stempler

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Featured Member: Karen Sutton

Posted By Administration, Wednesday, December 19, 2012

Featured Member

Karen Sutton

Producers Guild Northwest


I’ve always had a passion to understand how things are made. When I watch TV, I’m always trying to count the number of cameras used and always have my eye on the details in the shots.


My first production-related job was working for a caterer at Jones Beach Theater in NY. We provided meals for the crews and artist dressing rooms. It was really a great learning experience to absorb everything involved in a live event, the staging, lighting, cameras, etc.


I started as an Associate Producer at Stanford University and had the opportunity to grow the business and move up the ranks.


I started with the PGA through friends in production who introduced me to the group. I attended events and decided to get involved.


I’m on the Event Committee now. The events we’re planning will be educational and social, including our annual Guild & Grapes this October. We’ll also schedule joint events with other industry groups in the Bay Area.


Roundtable 2012 Gray Matters: Your Brain, Your Life and Brain Science in the 21st Century, a production with 5-camera live switch, live webcast and live captioning.

The Uncommon Knowledge series is ongoing and airing bi-monthly.

TEDxStanford 2013

Redesign of our studio sets.


One of my most complex productions was back in 2005, a visit from the Dalai Lama. This event included 3 locations on campus over a 2-day period on a bootstrap budget. This was also our first webcast with live captioning. I was coordinating multiple crews and transferring equipment from venue to venue. Many things went wrong but in the middle of the chaos, I stopped to really listen to his message, "…compassion, combined with wisdom, always helps a broader perspective.”

Another production, also in 2005, was our Commencement speaker, Steve Jobs. His speech was one of the greatest reflections on life I’ve ever heard.

"Spotlight" Article

"Every day I have the opportunity to work with political leaders, Nobel laureates, journalists and thought leaders who are changing the world. It’s live production that’s in the moment. You do whatever it takes to make the production run smoothly.”

Karen Sutton’s position as Executive Producer/Director at Stanford Video (Stanford University) requires her to produce 175 events every year. She’s clearly in the right place to leverage her experience and well prepared to successfully negotiate the visibility, challenges and craziness of live event production.

Born on Long Island, Sutton went to college in Buffalo, majoring in broadcast communications. She was immersed in all aspects of production, including learning the ropes by producing a current affairs cable access program. "Early on, I worked for a direct mail agency on Madison Avenue, where I absorbed an understanding of marketing, corporate budgets and navigating a bureaucracy. My favorite project was the launch of the first Mercedes SUV, which was well received in the ad business at the time.”

After 2 years in NYC, Sutton decided to move west to get into traditional production. She was a freelancer in various roles in film and television before landing her first job managing a facility in Silicon Valley, where she produced corporate videos. Shortly thereafter, she learned of an opening as a teleprompter operator at Stanford. "I thought ‘I can do anything’ and took the job. This is where my Stanford career began. I worked in various roles including associate producer, director, camera, floor operator, audio and make-up.”

At the time, Stanford’s video group was part of the Stanford Center for Professional Development. Their mission was to get faculty on the networks and the local cable access channel in Palo Alto. "The business quickly grew and we began to capitalize on the constant change of the industry and broadcast standards. We invested in a multi-camera flight pack system, which allowed us to produce the video board shows for all the Football home games, medical training conferences with live surgeries, ‘Uncommon Knowledge’, a TV series for local and national PBS stations in partnership with the Hoover Institution, and our first-ever live webcast, Doug Engelbart’s ‘Unfinished Revolution’, which was a 30-year celebration of his contributions to the computer revolution.”

"With this growth, we no longer fit into the mission of the Stanford Center for Professional Development and found a new home with University Communications.” This new partnership allowed Sutton to work with Capital Planning to locate a site where a new facility could be built. After about 14 months, they finally did it without ever shutting down production. "We even ran live shots from a trailer in the loading dock at one point. The networks never knew we were in process on a major change.”

"The build of Stanford Video’s production facility is the proudest moment of my career. I was involved in all aspects of the design, build and equipment integration.”

One of Sutton’s favorite efforts was Stanford’s first-ever TEDxStanford event, which featured digital innovation, philosophy talks, student inventions, virtual reality, yoga, Taiko drumming, dance and musicians. The one-day event included 27 different talks/performances, which was one of her most technically challenging events. "I am so honored that has chosen to air 2 of our talks on their website. You can access the others on the TEDxStanford website.”

Sutton’s team also produces an annual event during homecoming called the Round Table. It’s another high profile event – moderated by talent such as Charlie Rose or Tom Brokaw. "We’ve held Round Tables about climate change, education reform, the aging population. These events are streamed live to an audience of more than 5,000 and we get an additional 1,000 viewers on the web. We market to Stanford Alumni and active university faculty and students. Round Table 2012 is titled ‘Gray Matters: Your Brain, Your Life and Brain Science in the 21st Century’ and will be a production with 5-camera live switch, live webcast and live captioning.”

Sutton’s team is small – there are seven full time staff, who are supplemented by a huge base of freelancers. Stanford Video continues to operate as a self-funded entity of the University and Sutton attributes their success to the long-term relationships formed with key University personnel and the trust and knowledge her team brings to the table.

Sutton started with the PGA through friends in production who introduced her to the group. "I attended events and decided to get involved. I’m on the Event Committee now. The events we’re planning will be educational and social, including our annual Guild & Grapes this October. We’ll also schedule joint events with other industry groups in the Bay Area.”

Question of the Month:
How is video-based education evolving at Stanford?

"I spend a lot of time assisting groups who are developing interactive courseware. The Stanford Center for Professional Development is producing courses in advanced project management, innovation and entrepreneurship, energy innovation and advanced computer science.

"Our next live webcast will be available on multiple platforms. It’s important to reach the audience where they are. In 2004, Stanford launched their iTunesU channel, which was a cost-effective way to provide access to an archive of Stanford content to alumni and the public as well. In 2008, we shot Oprah at the graduation ceremony to launch the Stanford U-Tube channel, another early adopter move for education. Today, all the classes on the channel are free. We produce much of it, but several departments originate their own programs. They can use our fiber lines and multi-camera packages and cover larger events.

"We've been putting lectures online for years, but Stanford is looking at expanding the quality and scope of online education. So we are in an experimental mode, trying out different technologies to capture and publish the videos more efficiently.”

"A lot of my job is educating the community about video and how to convey a training or promotion message. It’s ever evolving. I like that I’m traveling now and working with new crews in other states. That’s a great learning experience.”

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