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Halloween week: theater, fests, quests

10/27/2017

Halloween is right behind the corner. It surely means that we are all getting ready with our fascinating costumes and extraordinary make-up ideas. But Halloween is not only a carnival. The months of October and November are bringing us a full basket of new theater play openings, festivals, concerts, shows and attractions. Here we gathered some of them for you, and you can explore and find even more events by going to the web-page link provided at the bottom of the page. Enjoy!

"Mice," written by Schaefer Nelson might sound innocent, but this one-act play evokes the feeling you experience when alone in a dark room surrounded by low squeaks and the scratching of tiny clawed feet. This is not the happy land of childhood magic, this is the playground of a deranged cannibalistic serial killer, a Mouseman who makes preacher's wives disappear”. (Terry Gloeggler)
http://www.estlosangeles.org/mice/

One man musical event!
“The plot is thus; in an attempt to cure his depression and at the insistence of his wife, Anthony bravely seeks solace with a psychiatrist. As a way to explain his somewhat unusual life, he takes the doctor and his mesmerized audience on a little trip down musical memory lane.”
http://theatrewest.org/onstage/the-face-behind-the-face-behind-the-face/

“Set in Paris during the Belle Epoch era of early 20th century, The Radiant by Shirly Lauro centers on a time in the life of Marie Sklodowska Curie”.

https://www.plays411.com/newsite/show/play_info.asp?show_id=4689

John Carpenter: Anthology Tour
As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians.

https://www.livenation.com/artists/80272/john-carpenter

Our friends at WickedLit prepared really cool Halloween stuff for you…Check it out!
https://www.timeout.com/los-angeles/theater/wicked-lit

Some other cool theater productions!
http://www.sonofsemele.org/

http://www.iamatheatre.com/

http://www.theatreofnote.com/

Find out more events in "Discover Hollywood"! Happy Halloween!

https://www.discoverhollywood.com/

What is your motivation for success?

10/9/2017

Whatever path we choose, whether artistic, business or domestic, or a combination of all the above, there is usually a drive that comes from deep within that "launches" us onto that path. An invisible force that makes us get up every day and continue on, no matter how hard it gets along the way. It can come from inspiration and a feeling of bliss, but it can also stem from those moments when we have felt our lowest, and now we are determined to prove to ourselves, and the world, that we can achieve what we have set out to accomplish.

That invisible force is our motivation. Some people have it in excess, others tend to loose a sense of it once in a while. I would say, most of us experience disappointments that just make us want, at times, to give up. Then, we pull ourselves together and get back on track. Self-motivation is a cultivated life- long pursuit. If we feel that certain choices are not aiding us on our road to self-actualization than we consider establishing other motives to drive us onward.

We are curious to ask our readers: what about you? What is your motivation? What drives you to pursue your goals and dreams? If you had negative experiences as a driving force how did you manage to turn them around into positive motivators?

Discuss in the comments section below! :)

Labor Day: Film and Theater events

9/2/2017

Since Labor Day weekend is already here, and we all know about Rooftop Cinema screenings and the Hamilton musical at the Pantages already, here are some theater plays and film events/workshops you might have not heard of.

Danny and the Deep Blue Sea produced by Rainbow Theater company and written by John Patrick Shanley @ the Edgemar Center.
http://www.edgemarcenter.org/danny-and-the-deep-blue-sea/

New comedy The Rainbow Bridge by Ron Relson, directed by Michael Myers @ the Ruskin Theater.
http://www.ruskingrouptheatre.com/

Acting workshops by Jeremiah Comey.
https://coursehorse.com/los-angeles/classes?school=jeremiah-comey-film-acting-studio

Director David Rountree On Camera On Set Acting Workshop.
https://www.eventbrite.com/e/join-critically-acclaimed-director-david-rountree-on-camera-on-set-acting-workshop-tickets-37081020330?aff=erelexpmlt

Cinecon Classic Film Festival @ the Egyptian Theater in Hollywood.
http://events.kcrw.com/events/cinecon-classic-film-festival/2017-09-02/

Some really cool sreenings at the South California Beaches.
https://www.eventbrite.com/e/beachfront-cinema-la-la-land-september-3-tickets-31497571083?aff=erelexpmlt

The Classics of Filmmaker John Houston at The Camelot Theatres in Pasadena.
http://www.palmspringslife.com/events/in-search-of-a-white-whale-the-classics-of-filmmaker-john-houston/2017-09-23/

Enjoy the Labor Day weekend! :)

Insight Into Editing

8/18/2017

by Nastya Perevozova

Ever wonder exactly what goes on in the edit bay? Wonder why editing takes so long? Editing is not just putting scenes together, it’s a full discipline, an art with the challenge to create something “compelling and watchable”. Outside of the artistic challenges the craft of editing often requires the editor to make “something out of nothing”, even with damaged footage, and a restricted budget. Most people don’t realize that even short form editing requires the same skill and preparation as a feature film or television series. Editing is a broad process, that includes pre- and post- stages. Good editing should achieve:

clear sequence of shots that is telling a story
correction and deleting of mistakes
condensing or expansion of time
communication of an aesthetic

Before any creative cutting can occur, several pre-stages take place:

digitizing of the rushes i.e. "clips", which means converting non-digital footage into digital form and/or making sure that footage from different sources is converted into the same format;
viewing and organizing the rushes into certain folders;
devise a paper edit (often time codes from shots) in order to organize the structure of the project

Here are the main steps of cutting:

1) Initial assembly: the selected shots are reorganized into the approximate order they will appear in the final cut;
2) Rough cut. This is where the editor would be reorganizing all the scenes, trimming and removing unnecessary footage, tidying up any kind of trails such as little fragments of the removed material or dissonances in video and sound harmony, and ultimately tightening-up the whole project;
3) Choosing the soundtrack, which is essential for creating a proper mood and atmosphere;
4) Adding transitions. A transition is an effect that helps to smoothly change one clip to another;
5) Fine cutting: ensuring accuracy and perfect framing, clear flow of all editing moments and fitting the required time limits.

The post-stages or finishing of editing often include color correction, sound shifting, correcting the image, etc.

To stress the importance of the whole editing workflow we’ll quote Francis Ford Coppola: "The essence of cinema is editing. It’s the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.”

At Award Winning Reels we work with some of the best editors in the business who specialize in short format editing. We always stress to our clients that if you want your work to represent you, your brand, or your project in the best possible way, you have to respect the challenging and time consuming process that goes into editing.

References:
https://www.videomaker.com/article/f5/1691-the-art-of-the-edit
https://www.videouniversity.com/articles/the-art-of-film-and-video-editing-part-1
Lucie Richards, Everything you need to know about professional video editing

Career Path: The Best Investment An Actor Can Make...

5/16/2017

by Anastasia Roussel

I had an important conversation with my acting coach this morning. He’s been my coach throughout the majority of my career as an actor, which is rare. He has been a mentor, a cool uncle, teacher and friend, but most importantly a guide, NOT a guru, and I am not his disciple. And this is why he has been such an invaluable influence in my life as an actor, my development as an artist, and someone I have learned from. We have a mutual respect.

I have often found when meeting young or inexperienced actors that they are seeking something outside of themselves to validate them. Consequently that results is getting caught up in the “business” of being an actor. Getting the best photographer, enrolling in the hot new class, taking casting director workshops, finding the guru- the teacher who’s going to give you the method or formula to ensure your success. But there is no magic pill, and there isn’t one person who can mold you into the consummate actor you wish to become. The responsibility of that my friend falls on you.

Ultimately you have to do the work. And the work is not just showing up to class or rehearsal, getting new headshots, or hiring someone to tell you to be pro-active about your career. The work is you digging deep, exploring, engaging in life, asking questions, discerning experiences, and constantly confronting yourself in order to grow. It doesn’t have to be hard, or a struggle, though life challenges us with hardships as well as brings us successes. The nature of life is cyclical, it’s best to embrace it and know that for every set back there will be a breakthrough just around the corner. Being committed to yourself is something no one can teach you, and you can’t buy. The person who knows you best is you. We all need guidance, support, and the humility to know that learning never stops. But looking to others for answers, direction, or purpose is a recipe for confusion and frustration.

Not only am I a professional actor, but I’m in the business of providing services to actors. I can say from experience that the clients that benefit most from what we offer are the ones that have a keen awareness of themselves, an open mind, and realistic expectations. Because of this they are able to recognize the hard work and dedication of others, what constitutes quality, and how those elements will benefit them in long run. It’s good business sense to recognize what services are an important investment in your career.

We’ve all been swept up by the desire to achieve success and the frustration when it doesn’t happen on our timetable. Just stay the course. Learn to trust yourself. Be open and willing to learn from every experience. Don’t give your power away to anyone, even if you admire them. No one can teach you more about yourself than you.

Getting to know yourself is the best investment you can make.

ACTING: How to Combat Nerves Before a Big Shoot!

3/20/2017

Picture this: You’ve finally made it. You got the part you always wanted, the roll you’ve forever dreamed about. Now you’re headed toward your first day of shooting, and it happens, your nerves begin to creep up. This may not be a new occurrence, especially when you’re in the entertainment industry, but it can be amplified when you’re approaching a major opportunity. Good nerves often help many actors, but what happens when you’ve identified your nerves as the type that may get in your way? Here are a few tricks that we’ve found to be most effective in these inevitable situations:

1. Breathe - Deep breaths, breathing exercises, as well as having an awareness of your breathing pattern, allows you to be present in the moments to come.

2. Movement - Stretching and moving the body allows you to combat the feeling of being stuck or paralyzed. Movement will allow you to become more relaxed and not so tight and tense for your scene!

3. Visualization / Meditation - This may take some forethought, but even 10 minutes of meditation before your scene can change your entire mindset. Imagine yourself doing the performance and it all going well, really see it and embrace it, your best performance is within you, you just have to truly believe that it’s there!

4. Relaxation techniques - There are several forms out there, test a few of them out beforehand and nail down what works for you!

5. Focusing on your partner - When in a scene or even an audition, focus on your scene partner or the reader, really connect, it gets you out of your own head when you focus on others!

6. Observation - Absorb your surroundings, allow your mind to focus on the details of the waiting room or the people in it before an audition. Rather than rehearse over and over, trust that you know and you’re ready. Get yourself out of your own head and let your preparation do the rest!

7. Smile at someone - It relieves stress. Do it even if you don’t feel like it. Research has proven that there is something to “fake it till you make it”, just the act of smiling can change your mood.

8. Trust and have faith - Remember that you do this because you love it, so do it for you and no one else. Trusting yourself and your talent can be one of the most valuable weapons to killing your scene!

9. Gratitude - take a moment to be grateful for the opportunity to do what you love. have fun! We don’t always have those opportunities, and they may not always be there, so let yourself enjoy the moment!

10. Perspective - Let go, and remember it’s not brain surgery! Plan to have somewhere to be afterwards so you don’t make this “moment” the most important moment of your life, but just another moment that is raising you to be the best you can be! If one or all of these helped, don’t keep it to yourself! Please share this blog, visit our website

(www.awardwinningreels.com) and follow us on our other social media outlets to receive more
tricks to succeed in the entertainment industry!

5 Tips to Make Working With Big Names a Success

2/10/2017

Do you have an upcoming shoot with and actor / actress that you admire? Knowing that you’ll be working with a big name celebrity for the first time can be a bit intimidating, but we caught up with Actress/YouTuber, Lisa White, and grabbed some tips and tricks of ways to keep your cool when you are on set with a Celeb!

1) KNOW. YOUR. LINES.
   Make your lines the biggest thing that you are least worried about! Knowing your lines inside and out will help you enjoy the experience and allow room to absorb and retain information as well as gain as much from the opportunity as possible. This is the forever golden rule to feeling confident on set, but especially when working with someone you know may make you exceptionally nervous. Know your lines better than ever before. If you already rock at memorizing, step up your rock-ness and rock even harder, then you can really play!

2) STAY SHARP WITH BRAIN FOOD
   To ensure all 10-2 situations are kept at an all time low, it is wise to start preparing your body ahead of time! Stay away from heavy, carb filled foods and keep it light and protein filled two days before. We know that a double double animal style the night before your shoot may sound like a good idea in theory, but trust us when we say, it will be worth it to save that treat till after the shoot is successful and completed! Too much heavy food can make you sleepy and sluggish. Eat healthy and light and you’ll be at the top of your game.

3) QUIET CONFIDENCE
   Please remember that you are not less than anyone else. When someone reaches a certain level of success we can oftentimes feel smaller or less than said individual. Remember that you are an equal, success is relative. You also experience that same level of success, maybe on a smaller scale or you have different successes. Just as you may be excited to meet your celebrity co-worker, there are others who look up to you in the same way that you look up to your celeb! Remember that “celebrity” is a title, but you can be just as talented and not have found your big break yet! You hold the power to ensure you see yourself as equal too.

4) BE YOURSELF
   Relax it’s not brain surgery! Have fun and be open. Don’t be afraid to make conversation. Keep a conversation piece handy at all times; a favorite book, or an interesting piece of jewelry can go a long way! There is one thing that 99.9% of humans can agree on: Animals are adorable. Don’t be ashamed to pad your photo album with a few more pictures of your cute Pomeranian Sergio, or your wacky Cockatoo Samson, if an opportunity comes up that you and your celeb friend can connect on that level, see that open door and waltz through it my friend.

5) GO THE EXTRA MILE
   Only after feeling good on the inside, is it time to think about looking good on the outside. One of the best ways to prepare for working on set with a big time celeb is making sure that you are confident with your appearance. Doing things to ensure you can execute the ‘look good, feel good’ mentality, will help you tremendously. Lisa recommends focusing on the details; go get a mani-pedi (yes guys, you should do this too), take extra time on washing, exfoliating and treating your face, hands and feet, set up an appointment to get your eyebrows threaded. Take the time to look your best. Let your preparation, self confidence, wardrobe and makeup team do the rest!

Have any tips to share, or experiences with your day on set with a celeb? We want to hear them! Comment below.

If you'd like to receive more tips from Lisa White, you can click below and follow her on these Social Media Platforms, or follow her on Instagram @lisaraqphoto or @lisa_raq

Look Your Best On Set

10/19/2016

by Anastasia Roussel

You’ve booked the job! Hooray! As the shoot day or days approach what can you do to guarantee you look your best for camera? Unfortunately we actors let vanity get the better of us. But in all fairness for good reason, it’s our face and frame that get scrutinized from every angle. The intimacy of the camera can be cruel, but there are some quick and simple tips to ensure that you do the best with what Mother Nature gave you.

Sleep - Yes, there’s a reason why they call it beauty sleep. There’s nothing that a good night’s rest can’t cure. Besides overall rejuvenation and the disappearance of dark under eye circles, here are a few more benefits:

Better memory, better performance.
Helps creativity and keeps you sharp.
Curbs hunger and promotes healthy weight, lessens inflammation in the body.
Lowers stress levels.
Levels out mood and helps prevent depression and anxiety.

Water - Another thing we often under-estimate are the healing powers of water. When you're dehydrated, your body will begin to retain water as a survival mechanism. Drink lots of it because it flushes out a multitude of diet sins. Your skin will love the hydration from the inside out. But also take advantage of various forms of Hydrotherapy. If you don’t have the time or budget to visit a spa and take a steam or jacuzzi, you can create your own spa at home. A hot bath followed by a cold shower will work wonders. Steam your face to open the pores, then once you’ve washed away the impurities close them with an ice water wash.

Exercise - Cardio, cardio, cardio, I can’t stress it enough. It’s the best form of exercise before a shoot because it helps muscles release excess water. Unless you need to bulk up, any form of strength training will put your muscles in repair mode. Microscopic tears occur in your muscle fibers when you lift weights. These tears are part of the muscle-building process, and they are often the cause of delayed-onset muscle soreness after intense training sessions. When these tears occur, muscles may swell slightly and retain fluid for a few days after the exercise. Plus who wants to be sore during a 10-12 hour long shoot day?

Healthy Diet - Eat clean and simple so your digestive system is not strained, prevent bloating, and so you don’t feel sluggish. Most people do best with lean protein, veggies, fruit, and limiting complex carbs. A little juicing isn’t a bad idea either. Replacing one meal with a healthy low glycemic juice will help you to feel lighter and leaner. Some ingredients that promote detoxification: grapefruit, cucumber, celery, ginger and lemon. Limit your alcohol consumption, and if you’re a smoker try to cut back. Alcohol and smoking will dehydrate you and takes a toll on your skin, so let it go if you want to glow!

Skin Care - Ready for your close-up? Your star-meter not high enough yet to afford spa facials? Here are some do it yourself facial tips for a youthful and glowing complexion.

Exfoliate - Oatmeal and Honey Mask
Simply blend together rolled oats and a good organic honey into a paste. The oats rub off dead skin, and the honey repairs damaged skin cells with it’s antibacterial, antioxidant and anti-inflammatory properties. This is a great mask to battle acne.
More ideas here: http://www.enkivillage.com/oatmeal-face-mask.html

Tighten & Brighten - Papaya and Egg White Mask
Egg whites will tighten pores and remove excess sebum on the skin’s surface. “Papaya is a beta-carotene-rich food filled with powerful enzymes and phytochemicals. The enzymes slow down the formation of fine lines and wrinkles by combating free radicals. The secret beauty nutrient in papaya is papain, an enzyme that has skin-lightening properties and can reduce the visibility of blemishes and acne scars. Together with alpha hydroxy acids, papain acts as a gentle exfoliator that dissolves inactive protein and dead skin cells. Applying papaya topically to skin will soften your skin, leaving it smooth and supple.” - bellatory.com

Check out all sorts of Papaya Facial Mask recipes here: https://bellatory.com/skin/papaya-face-mask-recipes

Moisturize
Slather on extra amounts of your favorite moisturizer throughout the days leading up to your shoot. And if you really want an inexpensive secret to silky smooth skin try Coconut Oil. That’s right, organic extra virgin coconut oil is the best night cream I’ve discovered. Some people, especially those with oily or combination skin are afraid to give it a try. Turns out coconut oil is antimicrobial, antifungal, and antibacterial, so it’s actually good for all skin types. Add a little Tea Tree oil too if you suffer from acne.

Relax
Sometimes relaxation is the hardest thing to do before a job. As actors we are often hustling for work so when one finally comes around our excitement hits the roof. Unless you’re working on a regular basis and are use to long days on set you’ll probably find it difficult to stay balanced. My suggestion is do something fun that helps you unwind a little and take the edge of the nerves or excitement, any activity that gets you out of your head. Meditation, a yoga class, watching a good movie, reading, listening to music, hanging or playing a sport with friends, or getting a massage are all good options.

When you decompress and relax you remember why you became an actor in the first place- because you love doing it. When you love what you do it shows, and you can be certain that when that shines through you’ll look your best no matter what.

Have some tips of your own to share? We want to know, so comment below!

How Can Actors Approach Script Analysis

9/8/2016

We've all heard the saying, if it's not on the page; it's not on the stage. Well, nothing can be truer. A script is quite possibly the most important creative step in a film or theatre production. It's the base on which the entire foundation is constructed. Therefore, as actors, you have to make sure you analyze and internalize the script as perfectly as possible, cause that's the only way you can make thoughtful acting choices that truthfully and impulsively bring the story and your character in it to life.
So, on that note, here are a few steps that can help you approach script analysis for your projects -

1. The First Few Reads - The first thing actors must do is read the script over and over and over. During this time, make notes about your character. Jot down anything which gives you a sense of the character's background, the character's relationships, ideas, motivations, etc. You can also use this time to get a general idea of all the literal situations and events that affect your character throughout the script.

2. Breakdown into Scenes - Go through each and every scene with a fine-tooth comb. Focus on every word and every bit of punctuation. For example - 'feeling low' is different from ‘feeling disconsolate' which is in turn different from ‘feeling broken down'. Similarly, an exclamation mark at the end of a sentence tells us something different from a period. Take note of all these minute differences and mark them in your script.

3. Turning the action into a playable objective - This is the step where you identify all your character's actions and your character's role in the larger scope of the narrative. Go through every scene and list down - ‘What does my character want?’ ‘How do I go about getting what I want?’ and ‘What stands in my way?’ Basically find out what your character's objective is in every scene and how you are going to get your character to accomplish that objective. That will give you an action to play in each scene.

4. Ask questions and stay open to changes - If there's something about your character you don't understand or something doesn't ring true to you, then feel free to ask your questions to the writer and director.
You can also find yourself in a situation where you have a slightly different interpretation of the character as to what the writer or director has envisioned. My advice in those times would be to hear out what the director and writer have to say and then incorporate that into your character in an honest way, based on your own analysis from before. Remember, acting, like all aspects of film and theatre production is a collaborative endeavor and sometimes your initial analysis might actually be wrong so input from the director is really essential.

In the end, make sure you don't treat script analysis as an academic exercise. That would be of no use to you. Treat it more like an organizational and collaborative tool that helps you make clear choices and helps you engage in the text both intellectually and emotionally.

As a fun tidbit, here are Ryan Reynolds’ notes (or should I say Deadpool’s notes) on the ‘Deadpool’ script. Enjoy!

Laura Mulvey's Theory and how Scorsese subverted it in 'Goodfellas'

8/18/2016

Laura Mulvey is a British feminist film theorist who is best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973. In the essay she argues that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire and “the male gaze”.

Basically, her theory centers around the idea that woman are portrayed as erotic objects in film and that the audience is put into the perspective of a heterosexual man. This is mainly achieved through the use of various camera angles, shot sizes, and camera movements, which accentuate the physical attributes of female characters. Tying into this theory, she also propounded the view that films generally showcase an inherent patriarchal society where men set the majority of rules, and play active roles, whereas women are more often than not relegated to secondary or passive characters, with little or no importance.

Martin Scorsese, the director of 'Goodfellas', in my opinion, completely subverts Laura Mulvey’s Feminist theory in the Karen-Henry gun sequence. By placing the woman, i.e. Karen in control of the entire scene, Scorsese does an extraordinary job of putting us, i.e. the audience, in the perspective of the female character, and making us feel and relate to her emotions throughout. He achieves this not only through the construct of the story and dialogues, but also through the visual depictions, which subconsciously plays with our notions of point of view and control.

The sequence begins with a POV (point of view) shot looking down on Henry. This immediately makes us view Henry through the eyes of the person holding the gun. It also showcases that Henry is in danger and clearly not in control of this situation. We then cut to the POV of Henry looking down the barrel of the gun held by Karen. This shot achieves two things. It tells us that the shot prior to this was from the subjective lens of Karen, and that she is the one in possession of power here. By not cutting to an objective shot at this moment, Scorsese masterfully puts us in the mind of Henry for that brief moment, making us feel what he's feeling, which in the context of the situation is tremendous fear.

Scorsese finally cuts to an objective shot of both of them at under a minute mark, but quickly goes back to the POV shot of Henry looking up at Karen. Now normally, this would indicate that we've gone back into Henry's perspective, but at that very moment, we start to hear Karen's voice over which puts us as viewers, back in her head. It's an amazing technique, which plays against our expectations of what constitutes subjectivity and objectivity.

The voice over then guides us through the scene as we hear Karen contemplate whether to shoot Henry or not. We hear the narration play over a close up shot of the gun directed at Henry's face, signifying that even though Karen is conflicted inside, she is the one who has the power and is in control of the outcome.

Finally, as Karen gets emotional and starts to slowly lower her gun, Henry lashes out and slaps her to the floor, gaining control of the situation. At this moment, rather than showing us a close shot of either Karen or Henry, Scorsese decides to just utilize an objective medium shot showing both of them from a distance. In doing so, he makes us the audience view the violence and aggression exuded by Henry in an objective fashion and doesn't portray Karen as an oppressed victim through the lens of Henry.

Hence, by following all these simple, yet highly effective techniques, Scorsese is able to make sure he doesn’t make the audience view the film from a sole male perspective, but rather through the combined subjectivity of both the characters in the sequence, especially the woman.

Now, some people would argue that Scorsese just gives us an illusion that Karen has power and that in actuality she’s quite ineffective, considering she gets punished for her actions in the end. I personally don’t think so. In my view, Scorsese portrays Karen Hill as an independent woman who feels trapped in her marriage, and rather than accepting it as her fate, has the courage to fight back. Even though she fails in the end. But that’s beside the point.

Other things to note would be that Karen has her own voice over, and that Scorsese constantly utilizes freeze-frames on her whenever we hear her thoughts through these voice-overs. Again, reinforcing my assertion that Karen in an important character who plays an active role in the narrative.

But those are my thoughts, and perhaps I might be in the minority here. In any case, I would love to know what you think. Do you agree with my analysis or do you think Scorsese falls in the same trap Laura Mulvey had theorized? Do leave your answer in the comment section below.

Authors

Anastasia Roussel is the head of Development at Award Winning Reels and White Swan Films.

Nicolas Pinzon is a filmmaker and storyteller currently enrolled in UCLA’s Professional Screenwriting Program. He has a B.A in Arts and Humanities with a concentration in both Music, and Gender and Sexuality.

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