{"id":8721,"date":"2019-04-24T18:02:20","date_gmt":"2019-04-25T01:02:20","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8721"},"modified":"2021-05-29T20:20:57","modified_gmt":"2021-05-30T03:20:57","slug":"stand-and-deliver","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/stand-and-deliver\/","title":{"rendered":"Stand and Deliver"},"content":{"rendered":"
\"Director
Director of Photography Tommy Maddox-Upshaw and On My Block<\/em>\u00a0 Co-Creator\/Showrunner Lauren Iungerich working on Season 2 of the Netflix series, set in South L.A.<\/figcaption><\/figure>\n

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Inclusivity Behind The Lens Is A Powerful # These Days \u2013\u00a0Here are two voices from the Netflix series, On My Block<\/i>, to help deepen the conversation<\/strong><\/p>\n

by Margot Carmichael Lester \/\u00a0<\/strong>Photos by Nicola Goode, SMPSP<\/strong><\/p>\n

I don\u2019t remember when I started hearing a lot about representation and inclusion in casual conversations about the industry \u2013 maybe it was when I was covering The Help<\/em>? The topic certainly picked up steam after #oscarsowhite hit social media in 2016. Productions like Black Panther, Roma<\/em>, Crazy Rich Asians, <\/em>black\u2022ish\u00a0<\/em>and\u00a0One Day at a Time\u00a0<\/em>brought the chatter to a fever pitch.<\/p>\n

But, let\u2019s be honest, most of that talk has translated into only fits and starts of real change. There\u2019s still too little screen time devoted to telling authentically diverse stories, and still too few people of color and women (and women of color!) involved in making them.<\/p>\n

While reporting on On My Block\u00a0<\/em>for the February\/March print edition of ICG Magazine<\/em>, the show\u2019s cinematographer, Tommy Maddox-Upshaw, and co-creator\/showrunner Lauren Iungerich, spoke so eloquently on the subject that we decided to take a deeper dive. The following Q&A is an edited transcript of our discussion of the importance of representation in front of and behind the camera, and how this pair of creatives works to ensure it.<\/p>\n

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ICG: Lauren, you had a great idea for a multicultural show but knew that you, as a white woman, couldn’t create it alone. Why do you think few people have figured that out?\u00a0<\/strong>Lauren Iungerich: I definitely am seeing a trend of artists caring to properly represent, but there are still people that don\u2019t get that authenticity and proper representation is not only important to the work but also important to the audience. While I believe all artists can tell stories outside their own experience \u2013 it\u2019s important for the audience that is reflected in those stories to know that their narratives aren\u2019t being whitewashed or exploited by people who have never lived that experience. It would be like a group of men creating a show about childbirth. How could they ever really do it justice without the involvement of women who actually give birth? That\u2019s why I knew I had to bring on collaborators who truly understood this world.<\/p>\n

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ICG: And those people were? LI: <\/strong>I asked my friend, Jeremy Haft, and his writing partner Eddie Gonzalez, who is Mexican-American and grew up in Lynwood and Compton, to create this show with me. I knew if I collaborated with them, I\u2019d ensure the authenticity of the world and thus the show would truly represent the characters and their stories in the right way. That said, I also believe even when the narrative is about white people, we still need to be inclusive in every facet of the process. People who have different life experiences than mine and by sharing them have made my life richer. Anyway, I don\u2019t understand why everyone hasn\u2019t figured it out yet but I think lack of representation behind the camera will continue until the studios and networks insist on it.<\/p>\n

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Tommy Maddox-Upshaw:\u00a0<\/strong>The important thing about cultural and ethnic representation on and off the screen is it helps everyone have a voice in this expression of cinematic art. I know I see a difference when my crew and I show up on set on a show that is predominantly a [people of color] cast. There\u2019s banter between cast and crew, and an excitement to push just a little bit more because we are closer to an accurate depiction of this country and our experiences through our own visual perception, and not just in the words. It also helps actors know they aren\u2019t performing a show through a white gaze. We have all seen that on the big and small screen, and it doesn\u2019t work. Yet we can\u2019t quite put our finger on why it feels inauthentic. There\u2019s a reason why Black Panther\u00a0<\/em>is such a massive success worldwide. With both [Production Designer] Hannah Beachler and [Costume Designer] Ruth Carter winning Oscars for their craft, it’s clear these black women brought a cultural edge to the movie that goes far beyond the words and performances. I have a daughter who may need a professional opportunity some day \u2013 it would be great to have her see greater diversity in this business.<\/p>\n

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ICG: How can we get more multi-racial and multi-cultural crews on productions? TM:\u00a0<\/strong>It\u2019s only recently that young filmmakers have begun seeing men and women of color in a camera department and this is happening because of programs like the West L.A. college program Hollywood CPR, which helps younger filmmakers of color get union days. A good number of us from the community can\u2019t necessarily afford film school and these types of programs help open internship doors. Camera houses like Keslow Camera have great in-house training programs that develop diverse young cameramen and women as interns. They teach and prepare them on how to move on after their time there. Dennis McDonald and Robert Keslow run that program. I was a camera intern at Boston Camera in Boston, Mass., and was the only black person or person of color there because Brian Heller the owner took a chance on me. There are allies out there, but we as POC need more like Dennis, Robert and Brian.<\/p>\n

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What\u2019s the biggest barrier for women? LI: <\/strong>I think the biggest barrier is being seen as an equal. The business \u2013 and even some women themselves, including me on occasion \u2013 sees women as \u201cFemale Showrunners\u201d\u00a0or \u201cFemale Filmmakers\u201d and not just \u201cShowrunners\u201d or \u201cFilmmakers.\u201d While there is power in identifying our assets as women \u2013 sometimes when we are being qualified it can be construed as \u201cless than.\u201d We have to fight that stigma and stop letting our gender be part of defining us.\u00a0To really make a change we need to give opportunity to women and people of color. And to do that we have to be okay teaching and giving people more than one chance to succeed. We need more people willing to pull people up the ladder with them and not just pull the ladder up once they get to the top.<\/p>\n

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ICG: On a show like On My Block<\/em>, which stars blacks and Latinos, is getting the skin tones right critical to the look? TM: <\/strong>It is, and with brown skin I am always trying to look for maximum reflection in the skin itself. Some dark-skinned people naturally have a lot of moisture in their skin and I embrace that. I ask, \u201cPlease do not make she or he matte, because matte brown skin is awful and makes it harder to light the beautiful brown skin texture.\u201d If the dark complexion has moisture, then you actually do not need that much directional soft light and it\u2019s easier to light along with black\/negative to shape it out or cut them out. Big. Soft. Directional. Moisture. Big doesn\u2019t mean bright. Using hard light is a case-by-case situation due to bone structure. Placing hard light to hit dark skin tones needs to be done with a sharp beam in a perpendicular fashion \u2013 never straight on<\/em>.<\/p>\n

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ICG: So it’s not necessarily subjective?<\/strong>\u00a0TM:<\/strong> Well, when I see brown skin front-lit I think that\u2019s a clear sign of not understanding how to embrace the beauty of brown skin tones at all. Take a look at how I mix color not only in chroma, but also in placement and exposure. I play it differently at times depending on the story from beginning to end in tonality. No one is ever front-lit on this show. I think it\u2019s disrespectful; its like saying you\u2019re too dark and the camera can\u2019t see you. I think in this age of new cameras that have so much range in mids for skin tone, [the light] can be anywhere! So let\u2019s do what looks best for story and take the time to learn what Ernest Dickerson [ASC; Do the Right Thing<\/em>,\u00a0Malcolm X<\/em>] and Malik Sayeed [Lemonade<\/em>,\u00a0He Got Game<\/em>] have been doing for years on celluloid \u2013 lighting black and brown skin tones with low-level lighting that is gorgeous.<\/p>\n

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What can we do to encourage others to put more emphasis on representation? TM:\u00a0<\/strong>I know a lot of DPs who do what they think is familiar when they reach a certain level. They ask: \u201cWho is everyone else hiring?\u201d Some folks just want to do what they\u2019ve seen and emulate what they\u2019ve seen their heroes doing. Yet, we are feeding the wheel of exclusion if we don\u2019t take a chance to hire the new faces we meet at the ASC open house, Cine Gear or via a mutual friend. Take 30 seconds to look at someone\u2019s work and drop an email for a reference \u2013 it truly doesn\u2019t take that long to vet anyone.<\/p>\n

 <\/p>\n

ICG: Lauren, what are your thoughts on this?\u00a0<\/strong>LI:\u00a0<\/strong>We have to understand our opportunity and responsibility. We, as filmmakers, have incredible influence with our storytelling. We can reach audiences and people who do not know people of color or know people who are LGBTQ and gender-neutral. Through our work and the characters we bring to life, the unknown becomes known. And people start to feel connected. They start to see themselves in people who aren\u2019t totally them. And with that, we change how we all relate to each other. We connect people vicariously, so it\u2019s important to get that work right; to ensure it\u2019s being told as authentically as possible, which means surrounding yourself with people \u2013 in front of and behind the camera \u2013 like the people in your narrative. Representation makes our lives richer and the art better.<\/p>\n

 <\/p>\n

\"Iungerich
Iungerich and Maddox-Upshaw in discussion with B-Camera\/Steadicam Operator Chris Loh<\/figcaption><\/figure>\n

On My Block<\/strong><\/em><\/span><\/p>\n

Local 600 Crew<\/strong><\/p>\n

Director of Photography: Tommy Maddox-Upshaw<\/p>\n

A-Camera Operator: Pauline Edwards<\/p>\n

A-Camera 1st AC: Prentice Sinclair Smith<\/p>\n

A-Camera 2ns AC: Jose De Los Angeles<\/p>\n

B-Camera Operator: Xavier Thompson<\/p>\n

B-Camera 1st AC: Alexander Lim<\/p>\n

B-Camera 2nd AC: Gina Victoria<\/p>\n

Digital Utilities: Tyson Birmann, Fernando Zacarias<\/p>\n

Still Photographer: Nicola Goode, SMPSP<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

  Inclusivity Behind The Lens Is A Powerful # These Days \u2013\u00a0Here are two voices from the Netflix series, On My Block, to help deepen the conversation by Margot Carmichael Lester \/\u00a0Photos by Nicola Goode, SMPSP I don\u2019t remember when I started hearing a lot about representation and inclusion in casual conversations about the industry \u2013 maybe it was when I was covering The Help? The topic certainly picked up steam after #oscarsowhite hit social media in 2016. Productions like […]<\/p>\n","protected":false},"author":2,"featured_media":8739,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-8721","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nStand and Deliver - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/stand-and-deliver\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stand and Deliver - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"  Inclusivity Behind The Lens Is A Powerful # These Days \u2013\u00a0Here are two voices from the Netflix series, On My Block, to help deepen the conversation by Margot Carmichael Lester \/\u00a0Photos by Nicola Goode, SMPSP I don\u2019t remember when I started hearing a lot about representation and inclusion in casual conversations about the industry \u2013 maybe it was when I was covering The Help? 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