|Featured Member: Jennie Bourne|
New Media Council
1. WHAT DREW YOU TO THE ENTERTAINMENT BUSINESS?
I’m a student of traditional storytelling and I love using the power of technology to educate and inform, but after working in news for a decade I’m developing more creative ways to tell people’s stories and deliver much needed information on the web.
2. WHAT WAS YOUR FIRST JOB IN THE INDUSTRY?
Associate Editor, Newsweek Broadcasting Service, translating articles from Newsweek Magazine for television. We used UPI Television News crews and writers like Peter Benchly, who was writing ‘Jaws’ at the time, as talent, and had access to the Movietone film archive.
3. HOW DID YOU START OUT AS A PRODUCER?
Working with a Production Manager shooting exteriors for ‘Paradise Alley’. I learned production budget breakdown, how to scout locations and pay off unions in cash when we burned through lunch and breaks and I met Stallone. It was his first directing gig.
4. WHAT LED YOU TO JOIN THE PGA?
As an editor and independent producer, I wanted more contact with colleagues in the field. It’s great to talk shop with some of the most prominent producers in the business. I have not been disappointed.
5. CAN YOU TALK ABOUT THE VOLUNTEER/COMMITTEE WORK YOU DO FOR THE GUILD?
I’m a founding member of the Online Content Committee; which is Producers Guild members working together to document seminars and events and to interview members about their work. We interviewed six PGA members on the set of the new Morgan Freeman movie directed by Rob Reiner, which is the first film to display the Producers Mark. I also moderated the ‘Brick City Event’, as a member of the Diversity Committee.
6. WHAT PROJECTS ARE YOU WORKING ON NOW?
Developing an urban media lab I’m calling New York Media Lab, designed to mine the creativity and ingenuity of urban life as the basis of developing new technologies. Look out MIT.
7. WHAT HAVE BEEN YOUR MOST INTERESTING PROJECTS, AND WHAT DID YOU LEARN FROM THEM?
Creating an online video channel for Pulver Media. I learned not to edit video on a laptop, in a cab, or try to upload it over wireless from Sweden, what makes it prohibitively expensive to build a video studio in an office building on Long Island, how to make telecom technology fascinating, and how to build a community around video content.