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South African soprano Pumeza Matshikiza has sung in some of the world’s greatest opera houses, and gave a rare homecoming performance in Johannesburg in March 2017. Pumeza Matshikiza, critically acclaimed opera star, grew up in Khayelitsha, Cape Town, listening to classical music on a portable radio. Today, she sings in some of the greatest operas throughout the world. (Image: Official Pumeza Matshikiza website)CD AndersonPumeza Matshikiza fortuitously stumbled upon opera as a child living in Khayelitsha, Cape Town. Hearing a recording of Mozart’s Marriage of Figaro while scanning for stations on a portable radio, it was love at first listen.“I was just transfixed,” Matshikiza told The Australian newspaper in 2016, “I thought, ‘what language are they singing in, how people can sing like this, are they angels?’”Following her dream to imitate those voices, a teenage Matshikiza began to find her voice while singing in church choirs.As a student at the University of Cape Town, she collaborated with South African-born composer Kevin Volans on a number of his works for the Handspring Puppet Theatre. It was Volans who urged her successful application for a young artist scholarship at the Royal College of Music in London.Her rise in the world of operaIn a 2014 interview with The Guardian newspaper, Matshikiza said her varied education in music and opera is “driven by the curiosity of how the human voice works to produce these beautiful sounds”.Matshikiza sang her first lead role with Germany’s Stuttgart State Opera Company, and then later performed around the world in a variety of productions including Gershwin’s Porgy and Bess at Milan’s famous La Scala opera house, and as Mimi, the lead soprano, in Puccini’s La Bohème, a role made famous by some of opera’s legendary sopranos including Maria Callas and Angela Gheorghiu.Matshikiza gained widespread acclaim for her performance during the opening ceremony of the 2014 Commonwealth Games in Glasgow, Scotland, seen by a global television audience of over 20-million.She was also chosen to perform at the wedding of Prince Albert of Monaco and his South African-born bride Charlene Wittstock.Ever mindful of her South African roots, Matshikiza released her first album in 2014, titled Voice of Hope, which featured, in addition to stirring versions of some of opera’s most popular arias, unique operatic renditions of classic South African songs, including Mariam Makeba’s Pata Pata/Click Song. The album was well received by fans across Europe and South Africa.Matshikiza recorded a second collection of lesser-known opera favourites titled Arias in 2016.An opera superstarIn the often stilted world of classical music, Matshikiza is hailed as a veritable game-changing superstar. Opera Magazine called her voice “dusky, overtone-rich, abundantly sensuous, the timbre has fullness, freshness and purity alloyed to the darker tones of an almost-Callas like palette.”Of her stage performances, the Financial Mail said Matshikiza “steals audiences’ hearts, her voice is smooth, rich, flexible, her manner open and unaffected, her dramatic instinct keen.”The Sunday Times in the UK said her performances had a “distinctive beauty of a special voice.”In 2016, Matshikiza was the subject of a short but detailed documentary film by British filmmaker Claire Oakley, titled Tuning In.In an extensive 2014 profile in the Daily Mail newspaper, Matshikiza describes her performances as holistic experiences, saying “you put so much energy into your voice when you sing opera music, it involves your whole body.”Returning homeWhile Matshikiza has been always eager to return to South Africa to live and perform, there are more opportunities in Europe which has a rich tradition of live classical music. She told The Guardian “there are times when I think I would love to (return permanently to South Africa), maybe after five, 10 years, who knows?”In addition to filming music videos for her album in South Africa, Matshikiza returns regularly to the country to visit her mother and, as she did recently, to perform.On 16 March 2017, she performed alongside an upcoming South African opera talent, soprano Noluvuyiso Mpofu, at a once-off recital at Johannesburg’s Linder Auditorium. She also gave a live performance for radio station 702.The performances were made possible by Motseng Investment Holdings, whose CEO, Ipeleng Mkhari is a prominent patron of the arts in South Africa.In her introduction to the Linder performance, Mkhari highlighted the prominence and importance of Matshikiza as an inspiration to South African women, adding that “as a pioneering black woman-owned organisation, we believe that South African black women in this musical genre have been somewhat overlooked and ours is to celebrate their globally recognised excellence, passion and talent.”On this point, Matshikiza herself holds very passionate views, explaining in the Daily Mail profile that she continues to use her platform as one of the world’s top opera singers and as a proudly African woman, to passionately advocate for women’s and children’s rights:“The way to move forward is to concentrate on education and the next generation. The one truth I hold on to is that life is about opportunities and being able to recognise and seize them, paths should be open to [women]. It would be a shame if, after all we’ve endured as a nation, our efforts come to nothing.”For more information on Matshikiza’s career and to hear more of her musical talent, visit her official website. Source: Pumeza Matshikiza official website, Guardian, 702 Radio Would you like to use this article in your publication or on your website? See Using Brand South Africa material.
As the annual meeting of the World Economic Forum in Davos begins this week, South Africa will present a positive message of robust growth for the country, including details of the nine-point plan for economic recovery first disclosed in the 2015 State of the Nation address.A nine-point plan for economic recovery in South Africa forms part of the key message to the rest of the world at the WEF in Davos, Switzerland, taking place between 20 and 23 January 2016. (Image: Brand South Africa)In February 2015, in his State of the Nation address for the year, President Jacob Zuma unveiled a nine-point plan for economic recovery and growth in South Africa. During the course of the year, progress reports from the various government departments detailing the development of the plan were presented.Now, these reports will form part of South Africa’s key message to the rest of the world at the World Economic Forum (WEF) in Davos, Switzerland. The annual international gathering is taking place between 20 and 23 January this year. The overriding message that South Africa wants to convey to thousands of business, finance and government leaders from around the world is that the country is open for business for manufacturing, investment and trade.The theme in Davos this year is “Mastering the Fourth Industrial Revolution”, in an atmosphere of an increasingly challenging global economy.South Africa is determined to show the world that the country is serious about meeting those challenges, while sustaining a strong economic relationship with the rest of the world.As a country, it wants to achieve the critical targets set by its National Development Plan (NDP), namely: attaining a real gross domestic product growth of 5%, a crucial reduction of the unemployment rate from 25% to 6%, and the reduction of income inequality. These are all to be achieved by the year 2030.Resolving the energy challengeMuch has been happening in the energy sector. In December 2015, the Department of Energy published a determination on the nuclear programme, whereby 9 600 megawatts (MW) should be generated from nuclear energy.The Medupi Power Station Unit 6 went online in August 2015, producing an additional 794MW to the total installed grid capacity of 45 000MW.The R2-billion Coega Wind Farm project was officially opened in September 2015.Eskom has signed short-term power purchase agreements to secure additional electricity during peak periods, while a further 800MW will be added to the grid through co-generation.Energy-efficiency programmes have resulted in savings of 450MW.Various renewable energy projects under the Renewable Energy Independent Power Producer Procurement Programme (REIPPPP) currently supply 1 800MW to the grid.In October 2015, the minister of energy announced the 10 preferred bidders in the small projects REIPPPP.The department’s State of Renewable Energy in South Africa report revealed that the renewables sector had attracted R192.6-billion in investment, had contributed more than 109 000 construction jobs and had cut the equivalent of 4.4 million tons of carbon dioxide.Revitalising agriculture and the agro-processing value chainSimilarly, work has been ongoing in agriculture, with 43 agri-park sites identified by August and one agri-park already launched in North West. The programme aims to create 300 000 new small-scale producers and 145 000 new agro-processing jobs by 2020.The number of jobs in agriculture increased by 183 000 between 2014 and 2015, reaching a total of 891 000.Through the Agricultural Policy Action Plan, 24 162 hectares and the commodities on these were acquired, which were allocated to smallholder farmers.Fruit production for the year to date increased by R685-million, adding 1 868 jobs.Aquaculture growth over the last five years resulted in production increasing fivefold, to 20 000 tons. Growth between 2013 and 2014 was 25%, exceeding the average global growth rate of 7%, and contributing almost R3-billion to the national economy.Advancing beneficiation or adding value to our mineral wealthRegarding mining, draft amendments to South Africa’s Mineral and Petroleum Resources Development Act which would give provisions to stimulate local beneficiation, are currently with Parliament for consideration.The Department of Trade and Industry (DTI) is developing a Mineral Beneficiation Action Plan, which will be incorporated into the general national Industrial Action Policy Plan (Ipap).In addition, the country’s rich platinum deposits are being used in the development of hydrogen fuel cells.More effective implementation of a higher impact IpapThe seventh iteration of Ipap, which is aimed at raising the impact of government interventions to support industrial development and re-industrialise the country, was launched in May 2015.The DTI has designated 16 sectors, subsectors and products for local procurement, including transformers, power-line hardware and structures, steel conveyance pipes, mining and construction vehicles, and building and construction. In 645 infrastructure projects across the country valued at R3.6-trillion, the state procures these products from local manufacturers.The Black Industrialist Programme, designed to transform the manufacturing sector and unlock the potential of black entrepreneurs, secured initial funding of R1- billion from the DTI for the 2015 financial year. A further R23-billion from the Industrial Development Corporation (IDC) will be made available for the programme over the next three financial years.The IDC established a new industries unit earlier in 2015, focused on supporting and funding the entire value chain of emerging innovative sectors.Rail and ship manufacturing is been revitalised with ships for the South African Navy and locomotives for long-haul rail transport being manufactured in South Africa.Encouraging private sector investmentA DTI investment clearing house was set up in August 2015 to support local and international investment. In addition to identifying process bottlenecks, removing administrative barriers and reducing regulatory inefficiencies, the function of the clearing house is also to set up norms and standards and improve turnaround times, as well as to co-ordinate and fast-track investment enquiries.In the past financial year, the DTI helped to facilitate an investment pipeline of more than R43-billion.As of August 2015, South Africa was handling 116 foreign direct investment (FDI) projects. South Africa registered an FDI inflow of R43.3-billion from January to July 2015, creating 5 037 jobs.Six industrial development zones around the country attracted R10-billion in investment during 2015.Regulations for special economic zones (SEZs) are being finalised. With an SEZ board and supporting secretariat being established and approved, the DTI is close to completing the feasibility studies for eight new SEZs.The Promotion and Protection of Investment Bill that clarifies investor protection and ensures more open foreign investment was tabled in Parliament in 2015.A feasibility study for an initiative aimed at supporting increased investment to meet the needs of the National Development Plan is currently in process.Moderating workplace conflictUnder the leadership of Deputy President Cyril Ramaphosa, a continuous and special dialogue between business and labour is under way to improve labour relations. Specialist research and exploration teams are currently working on the nature of labour disputes and on finding solutions to the issue of wage inequality.A consensus on a working definition of a national minimum wage has been reached at the National Economic Development and Labour Council.Unlocking the potential of SMMEs, co-operatives, and township and rural enterprisesThe Department of Small Business Development continues to pilot its informal sector support policy, including the provision of business training, grants and co- funding. The department’s partnership with municipalities is continuing to revamp factory and business premises infrastructure.The Department of Planning, Monitoring and Evaluation has set up a unit to investigate late or non-payment of suppliers. And Minister Jeff Radebe, the minister in The Presidency responsible for planning, monitoring and evaluation, presented a comparative analysis of national departments between 2013 and 2014 that showed – despite delays in payment remaining a major problem – that there had been improvement in the average number of invoices paid within 30 days.Provincial departments for the same period also revealed an improvement of 5% in the average number of invoices paid within 30 days.State reform and boosting the role of state-owned companies; ICT infrastructure or broadband roll-out; water, sanitation; and transport infrastructureICTIn addition, work has been ongoing in getting the country connected. The government rolled out 41 351 kilometres of fibre optic cables for broadband coverage during January to August 2015.Telkom has a whole sale division, Openserve, that is aimed at facilitating the entry of new internet service providers, particularly black-owned companies.In line with stipulations by the Independent Communications Authority of South Africa’s universal service obligations, 623 schools around the country have been connected to the internet.The Universal Service and Access Agency of South Africa connectivity project is currently under way in the Vhembe and Gert Sibande districts.WaterIn October 2015, the Department of Water and Sanitation, together with Umgeni Water and the Ugu District Municipality, announced the completion of the Mhlabatshane Dam in Umzumbe in KwaZulu-Natal. It will provide about 100 000 people with potable water.Water was supplied to 19 119 households in the 27 priority district municipalities.In addition, 11 waste water treatment works have been refurbished.More than 75 projects involving the maintenance and upgrading of existing water infrastructure are under construction.The government is intervening to stop water leaks, which cost the country R7- billion a year. The Department of Water and Sanitation is training 15 000 artisans and plumbers to fix water leaks in their communities; the first 3 000 people were recruited during 2015/2016.Operation Phakisa, aimed at growing the ocean economy and other sectorsSmall harbour upgrades are being undertaken in Saldanha Bay, Struisbaai, Gansbaai, Gordon’s Bay and Lamberts Bay, in Western Cape.In addition, nine catalyst projects are in progress, and 10 fish farms have been supported. The industry has invested R305-million and the government R105-million and 521 new jobs have been created.Operation Phakisa has also resulted in decisions to expand the domestic shipbuilding sector and the development of Saldanha Bay as an oil and gas hub.A Mining Phakisa, aimed at replicating the ongoing success of the ocean economy plan in the mineral sector, was launched towards the end of 2015.Source: South African Government News AgencyWould you like to use this article in your publication or on your website? See Using Brand South Africa material.
A Web Developer’s New Best Friend is the AI Wai… Tags:#Analysis#start The electric car startup Tesla Motors made history this morning: the first IPO for an American car company since Ford in the 1950s. Eyes are on the company for a number of reasons: questions about the profitability of the green tech industry, the applicability of the VC investment model to the auto industry, the continuation of the post-Paypal success streak, and the possible reprise of the once-great technology IPO.A decade ago, the IPO was the ultimate exit sought by entrepreneurs and investors. But the stock market – and the economy as a whole – has changed substantially since then. The promises of an initial offering like Google’s, with employees and founders becoming instant millionaires – seem to have faded. Some of today’s leading Internet companies, including Facebook and Skype, have held back from going public, and smaller companies don’t even bother.VC Fred Wilson recently wrote that “IPOs Just Aren’t What They Used to Be.” Wilson shares two stories of companies who went public, one a failed IPO and one with a “happier ending.” But neither anecdote is a rousing success story and WIlson concludes that “Taken together, these stories tell a sad tale about the IPO market. First, it is way too expensive to go public. And if you don’t get your offering done, which is not an unusual occurrence, you are left with a huge bill to pay (and no cash to pay it with). And if you get your offering done, your company will likely be valued lower than it would be valued in a late stage private financing.” Wilson admits that he used to see the IPO as the “ultimate exit for a venture backed company.” But times have changed.Most companies, venture backed or not, really cannot take this route. Acquisition – by the likes of Google or Apple, or even Facebook or Zynga – has been presented as the best possible exit for entrepreneurs and investors. Tesla did well on day one. The company’s shares gained 41% from their original $17 price. Will more tech startups follow now and opt for an IPO?(Or, as news breaks this afternoon that Foursquare has just received $20 million in Series B investment from Andreessen Horowitz, perhaps more startups will opt to hold off on their exit altogether.) audrey watters 8 Best WordPress Hosting Solutions on the Market Related Posts Top Reasons to Go With Managed WordPress Hosting Why Tech Companies Need Simpler Terms of Servic…
We sat down with three women from the filmmaking industry to talk about their own experiences and the larger conversation about women in the film industry.We conducted a roundtable with three working professionals: documentary filmmaker Crystal Kayiza, director of photography Kristy Tully, and editor Carla Gutierrez. The result is a candid and informative peek into their world as women of different ages and races working in the film industry.A still from Edgecombe by Crystal Kayiza, an official selection of the Shorts Programs at the 2019 Sundance Film Festival. Courtesy of Sundance Institute | photo by Pete Quandt.PremiumBeat: Crystal, your short documentary, Edgecombe, was a nominee for Short Film Grand Jury Prize at the 2019 Sundance Film Festival. It won the Gold Plaque at the Chicago International Film Festival. Clearly, it is beautifully realized and well received — what was the path for you in getting it made? Did you find any resistance because of your gender, race, or youth?Crystal Kayiza: I was very fortunate to have a great support network, while making Edgecombe. I was a Woman Filmmaker Fellow at the Jacob Burns Film Center, and the project was produced through the Creative Culture program there. If anything, I think my own internalized issue with the film industry, in relation to my gender and race, was an obstacle. Even with a supportive environment, it becomes easy to second-guess your creative decisions.I was very lucky to have this project be supported by the Sundance Ignite Fellowship and Adobe. Even applying for that fellowship felt like a huge step, and something that I didn’t deserve. For most of my film education, I wasn’t exposed to a lot of non-fiction female filmmakers — which is wild to think about today. My experience taught me that a lot of the craft was about being a technician, and those roles — cinematographer, gaffer, sound ops, editor, colorist — were for men who were supporting the vision of male directors. I’ve had a very privileged experience, in that, I’ve had mentors and programs to affirm, and support me, along the way.PB: We know so much of history is written about men by men. Kristy, you were cinematographer for Raise Hell: The Life and Times of Molly Ivins, and Carla, you edited RBG. Both subjects were larger than life women, and the directors were women. How important is it for women to champion documentaries about women driven by women, and what has been your experience with audiences for the film?Editor Carla Gutierrez: I think it’s super important. What inspired RBG was that most people didn’t know about Justice Ginsburg’s role, in fighting for gender equality in the law, in the 70s. I was, like many, a fan of RBG, the judge, but I had no idea how crucial she was to my legal rights, as a woman. Her early work is super important in our history, and few people knew about it. So yes, to bring stories like this to the forefront is essential to complete the untold parts of our history — the stories on the margin. The stories of women.The most exciting has been to see different generations of women go to the theaters — together — to see the film. We heard of women who would take their mothers and daughters, or granddaughters, to watch the film. And, most come out surprised that they didn’t know this part of our history. It’s been really amazing.Kristy Tully: It just makes sense to me that women would be interested in other kick-ass women, and want to shine a light on their contribution. I had such a great time working with Janice, the director on this film. Molly Ivins is a huge inspiration, reminding us to speak truth to power, raise hell, and have fun while you’re doing it. Audiences have responded really well. It’s just so timely. What she was writing about 20 years ago is somehow even more relevant today. She was a journalist before twitter, and social media, and you just gotta wonder what she’d be adding to the discourse in this country, if she were alive today.We just won the audience award at SXSW, and we had a wonderful heartfelt response at Sundance. The film will go on to several more festivals across the country, starting next week, and I’m just really excited for people to get excited by the film, and inspired by this great Texan!Molly Ivins.PB: Do you think there is any validity to the female gaze? If the director, cinematographer, or editor is female, and the subject is also female, the object of the film takes on a different role?Carla: Yes, I strongly feel that there is validity to the female gaze. From picking the subject, to the focus of the story or narrative approach, our perspective as women informs every aspect of our storytelling. It offers, I think, more complete images of female subjects.For example, during post production on RBG, the directors conveyed early on how important it was to show Justice Ginsburg as an older woman, in present day. Not to only focus on her days as a young lawyer, but really show the splendor of her later years, visually, and return to those present moments, often. I think that conscious decision to focus on how much power and intellect a woman carries on her wrinkles, and how sexy that is, really came through in the way we approached the footage.Kristy: I think the female gaze is as real as the male gaze. I believe, however, that it is a choice the film makers make when deciding a film’s point of view, rather than if females or males are behind the camera.At the beginning of a project, you talk about the subject of the film, and then, more specifically, what the film is about. What is the camera visually saying, what is the camera’s prerogative, which can be different than what the film’s subject matter. I’ve been a part of the male gaze, and I’ve seen men contribute to the female gaze.Honestly, I’m not doing justice to the real conversation, here, about female gaze vs. male gaze. Is the female gaze simply the opposite of the male gaze — it is objectification of men on screen. Or, is there a female centric vision that is slowly making its way into our film culture, which would better represent the notion of the female gaze? But, that discussion is probably for another day 🙂Crystal: I think all visual storytellers need to be conscious of gaze. I think people who identify as women, who are directors, cinematographers, editors, designers, production assistants, or wherever you are on set, are sometimes pushed to move through spaces, differently, because of how we see gender on set, or in the field. I believe that the way that women do and don’t experience power, in film, changes our perspective. What’s stunning about this medium, particularly non-fiction storytelling, is the way that women are using that experience to challenge the ways we tell stories.Crystal Kayiza, director of Edgecombe, an official selection of the Shorts Programs at the 2019 Sundance Film Festival. Courtesy of Sundance Institute | photo by Andrea Gutierrez.PB: Gersha Phillips, costume designer for Star Trek: Discovery, had this to say after we suggested her designs were sexy, but not sexist. The women looked amazing, but unexploited. “Sexy means something different to every person you talk to, and I love working with that. My goal was to empower the female and male cast equally.”How often, when you work on a project, do you feel the female characters are as empowered as the men? And, in regard to the actor, are women given the same agency as men, in terms of being heard and respected?Crystal: In documentary film, I think a lot about how women are seen. There’s casting that happens in non-fiction storytelling as well, and it’s important to remain conscious of who is speaking on behalf of communities, and depending on the topic, who we see as experts within documentary projects. People, often times, engage with documentaries as a representation of a community. In our culture, many women aren’t believed when they say the same things as men, or aren’t seen, when they move through frames, the same way as men. As a director, I have to be conscious of that bias, and challenge those assumptions.Kristy: I’ve had the pleasure to work on two documentaries, recently, that are about empowered women getting attention right now. Feminists, What Are They Thinking (Netflix) and Raise Hell: The Life and Times of Molly Ivins (Sundance, SXSW 2019). I feel like there is a collective consciousness, right now, that’s interested in telling and seeing these stories.I, also, work as a sometimes camera operator on TV series. I worked on I Love Dick, which is basically a moving meditation on the female gaze; Transparent and Big Little Lies, which is dedicated to empowered women, both in front of, and behind, the camera. I also, recently, operated on Good Girls: Season 2. I filled in for a camera operator while she had a baby. Think about how rare of a sentence that is! The show is about empowered, accidental money laundering…..women. I think it speaks to the times that seem to be surrounded by woman centric projects, and also speaks to the effort that is actively working to cultivate female talent.I was given an opportunity to work on I Love Dick partly because of my documentary experience, and more importantly, because of Jill Solloway’s and Jim Frohna’s intent to cultivate female talent. I feel so fortunate to have been able to be a part of these projects. They are leading the way in this area.Carla: Well, as a documentary editor, we have the chance to write the story in collaboration with the director. There are already rich stories, in the footage, we are given to work with, and I’ve been lucky enough to work on many films about real-life, strong female characters. From the extraordinary singer Chavela Vargas, to the only professional female bullfighter in Spain, to a nun helping families find their disappeared relatives in the corrupt landscape of the US-Mexico drug war. I think there are more complex, diverse stories of empowered women in documentaries than you might find in fiction films. But, there could be a lot more.PB: We recently interviewed cinematographer, Carolina Costa, and asked how gender plays a role in the way she works, is respected, and heard. This is what she had to say:It’s definitely getting better. I can see big changes in the 15 years I have in our industry, but we still have a ways to go. It’s funny to answer this question today because, just two weeks ago, I was mentoring a young woman and was mentioning that my gender was a much bigger issue at the beginning of my career, than it is now. Cut to two days later, on the film I am shooting right now, and some technical crew that came with a crane were mansplaining to me how a crane worked — I was baffled. And this was to make an excuse, why they couldn’t execute with precision, the shot I had requested. A few days after, I was interviewing MOVI operators for the same job, and I can’t get off my mind the face of disgust that this one guy had, once he realized I was going to be his boss. That being said, both my producer and my director, who are males, were also shocked by the situation.Have you had similar experiences?Crystal: I’m fortunate to, mostly, work with people I trust. I’m not afraid to ask questions. Regardless of scale, there are so many moving parts to making a film, and posturing disrupts the creative process. In that sense, I’m lucky. I’ve seen, and been in situations, where one question turns into waiting for men to finish explaining something you know how to do. I’ve watched men ask questions and be seen as thoughtful and intelligent, and when women ask the same thing, they’re seen as unqualified. It’s the culture of how we communicate. It’s simple decisions like only hiring male PA’s because “they’ll get the job done,” but not a woman — the underlying assumption being that she’ll need more help. One piece of advice I got from a male producer was that it’s beneficial, for women who direct, to know the craft as well, or better, than men so that you can retain creative control of your work. But, that’s been my upbringing, in a lot of ways, as a black woman. Hearing that I need to be twice as good.Carla: I have had MANY instances of mansplaining. Other male editors “showing” me how to do a pretty basic shortcut on my edit system, as if they were showing me the world. Or a male assistant editor, talking over my head to the producers, about how to do the color correction for the film (he was totally wrong, by the way). I think that there is still a little ambivalence to hear from a woman about how to handle the technical aspects of an edit. I have worked with many amazing male directors, and I have the utmost respect for them. But, I sometimes have to wonder if my creative opinion is perceived with a little more resistance, because of my gender (or my thick accent). I don’t quite know if that’s correct. The edit room is such a delicate, creative space, that many factors are at play when you face a roadblock, or when magic happens.It is very encouraging to see so many women documentary editors in our community. And I think there is a real camaraderie among us. I consider many of them mentors, who’ve had a significant impact in my career, and my creative development. The one thing I would like to find out is if we are at the same salary level, as the men – based on similar experience, of course. That’s something I’m curious about.Kristy Tully.Kristy: I think a dialogue is important. I am cautious about framing these sorts of discussions, in ways that even might be construed of being answered from the place of “other,” because I don’t think it serves us. The truth is, there is bad behavior, sometimes, on set. I have stopped pathologizing the behavior, and instead, moved to surround myself with people that are collaborative, interested, and talented. In doing this, I think I have become available to some wonderful opportunities, to work with people who are amazing communicators and collaborators. Of course, there will continue to be bad behavior on set, and I invite women to stop questioning if their gender plays a role in it, and start wondering how to move away from negative energy, and encourage the kind of working environment that is enthusiastically creative.Jill Solloway is a wonderful example to mention here, as well. She strives to create a working environment that builds people up, and gives people room to grow. My first day on her set of I Love Dick was really surprising. I was used to the quick-witted, slightly inappropriate, banter I had become so fluent in (and good at).It was challenging to put aside my defense mechanisms, and become invested in being a part of a creative, supportive collective. I admire her for it, and I take that spirit with me to my other projects. I try to create an environment of respect, collaboration, and encouragement. It’s easy to be sarcastic and judgmental, on set. I’ve worked hard to put that easy go-to vocabulary aside, and work to be more communicative and positive in my problem solving, on set. That is a great discussion to have when thinking about this topic.Cover image via Kristy Tully.Looking for more industry interviews? Check these out.Industry Insights: The Blasting Company on Animation ScoringThe Editor of “Us” on Working with Jordan Peele and the Horror GenreIndustry Insights: Composing for Supergirl, Riverdale, and Nancy DrewIndustry Interview: Behind the Lens with Filmmaker Carolina CostaThe Costume Design Behind Star Trek, House of Cards, and Greek Wedding
The Gujarat government on Sunday gave its approval for a compressed natural gas (CNG) terminal at Bhavnagar with a proposed investment of ₹1,900 crore, an official said.A State government release said the facility, approval for which was given by the Gujarat Infrastructure Development Board headed by Chief Minister Vijay Rupani, would be the world’s first CNG port terminal. It will be developed jointly by U.K.-headquartered Foresight Group and Mumbai-based Padmanabh Mafatlal Group.The Gujarat Maritime Board (GMB) had signed an MoU with Foresight Group to set up this port terminal at Bhavnagar in the Vibrant Gujarat Summit held in January, the release said.Apart from the CNG terminal, the investors would develop a Ro-Ro terminal, liquid cargo terminal, and container terminal at Bhavnagar port with a cumulative investment of ₹1,900 crore. The proposed CNG port terminal will have a capacity to handle 1.5 million metric tonne per annum (MMTPA).The GMB manages the existing port at Bhavnagar, having a capacity to handle three MMTPA cargo, and the new terminals would take the overall capacity to nine MMTPA.While the consortium would invest ₹1,300 crore in the first phase, ₹600 crore will be invested in the second phase.To develop CNG and other terminals on the north side of the existing port would require major modifications in the existing infrastructure, including dredging in water channel of port basin, construction of two lock gates, and off-shore infrastructure for CNG transportation, the release said.