Emma Heald Interview!

Our Communications Director Jessica Kane interviewed Emma Heald (TSOA '04), one of the co-founders of the Fusion Film Festival. Here's the interview!

Jessica Kane: What initially sparked the idea for Fusion?

Emma Heald: We (myself, and fellow co-founder Gina Abatemarco) noticed that there were very few well-known female role models for students who were aspiring to be directors and cinematographers. We wanted to help encourage all students to follow their dreams by bringing female filmmakers to NYU as successful examples of women working in the industry. We wanted to discuss how these women had achieved their success in a traditionally male-dominated industry. We wanted to make the idea of women filmmakers, and their collaborative work within the industry, seem less unusual. We wanted to tell the student community that this was happening in the industry, that it was possible, and that the ambition to be a successful female filmmaker was attainable. As students at the time, on the cusp of graduating and looking at an industry where, for example, no woman had ever won an Oscar for directing and only three had ever been nominated, and where women filmmakers made up only a tiny percentage of the industry, Fusion was exactly what [Gina and I] needed to inspire us. I think the inclusion of both men and women in the festival meant that it wasn't a segregated event, but something that actually brought the community together. It sparked a lot of support and encouragement for all young, aspiring filmmakers at Tisch.

JK: How has Fusion changed since it was first developed?

EH: It has become a broader festival since it now tends to highlight the work of women working in many different roles in the industry. The initial idea was to focus primarily on those areas that were strongly and significantly underrepresented, which were the female director or the female cinematographer, because these were areas where historically there were few role models. We felt we needed to take action to seek out those role models and bring them to the forefront. That was our original angle as founders, and since then the festival has taken on a new shape each year with students deciding which areas of the industry are important to highlight. We always wanted the festival to be a new student creation each year, and that has been a very interesting process to watch as the original concept has grown and expanded to combine additional role models within the industry.

JK: What do you think makes Fusion different than other film festivals?

EH: Fusion is an entirely student-run event, and it has the capacity to shift its focus from year to year with each new student team that takes on the challenge of running the festival. This makes it an exciting event because there is always a fresh take on the theme of women filmmakers within the industry, and it has the ability to adapt to include topics that the student body is most interested in showcasing that year. it also has a nurturing quality, which is unique when comparing to other festivals. Many festivals mainly focus on showing work and granting awards, while Fusion does this and also tries to bring workshops and panels into its programming. The intention is that the panels and workshops will guide and advise young filmmakers about the industry so they are better equipped while making their next film, and for when they eventually leave the school.

JK: How would you explain the divide between male and female filmmakers, and how do you think it has changed over time?

EH: I don't know if the lack of women filmmakers has been because of sexism within the industry or because there are less women attempting to make film, or both, but I think as the industry has more women succeeding, it will encourage other women to want to try and make films. I think it's a very hard industry for any young filmmaker to try and tackle, and you have to have resolve and support and belief that you can make it before you even start. You have to get the knock-backs and let-downs that everyone has to deal with before becoming successful. Perhaps men had more support in the past to get them through this difficult stage, but I do think this is changing. I think that just because the industry has traditionally been male-dominated does not mean that women will always have difficulty getting their chance to direct and make films. The industry has many women in high places, working as producers and studio heads, and there are more women directors coming to the forefront in recent years as solid role models. It may look easier for male filmmakers to get breaks, but I don't believe for a second that if you're an incredibly talented female filmmaker that you will lack support simply because of gender. It's a hard industry for anyone starting out, and I think it is really about seeking out the right people to work with, building a team that is supportive of you, and just making your films any way you can.

JK: What do you envision for Fusion's future?

EH: I hope it will carry on being supported by the student community, and that it will grow to connect with other student communities in the US and abroad. Expanding to other festivals and universities would allow exciting programming opportunities with up-and-coming filmmakers further afield, which can benefit festival organizers and students after they leave Tisch.

JK: Who is a female in the industry who you admire? Why?

EH: I'm currently very interested in first-time British director Sam Taylor-Wood who has just directed Nowhere Boy, the story of John Lennon's teenage years. She is an artist and a photographer who has worked with film and video throughout her career, and has now moved into feature film directing. I love her story and her artistic path because it shows a completely different way of becoming a filmmaker, through pure art and imagery and music, things that in a way inspired me to want to do film in the first place. Her story made me realize that you have to follow your own path as a filmmaker and artist and follow whatever it is that really excites you, and that may not always be the most direct route to directing films.

JK: What did Fusion teach you to be prepared to work in the film industry as a woman?

EH: One of the panelists the first year in response to my question about how one becomes a successful filmmaker said: "Do lots of things, and take on lots of role." I think that has stuck with me because it can be a long path to success as a feature filmmaker, and if you're constantly wanting to be there now and have instant success, you're potentially negating years that could be very useful and joyful, and full of learning and self-discovery. I said no to a number of opportunities early after graduating to concentrate on my screenwriting, and, though I don't regret anything, I think that now I am much more open to opportunity than I was. You never know what you are going to learn, who you are going to meet, and what life lessons you may take on just by being a little more flexible with your personal goals and deadlines.

JK: What were some of your favorite panels and/or who were some of your favorite guests during your time with Fusion?

EH: It was a great first festival, and all the panels and guests were dedicated to what we were trying to do and were incredibly inspiring. Amy Heckerling was very supportive and down to earth. She flew out from Los Angeles to be at Fusion. Because she is an alum of Tisch, it was particularly exciting and honorable to have her at the first Fusion Film Festival to support us.

JK: What do you think are some benefits to becoming involved with Fusion?

EH: The chance to explore what's important and interesting to you within the film industry, and to have a vehicle to allow you to reach out to filmmakers within the industry who you admire and to bring them to Tisch. Also, the running of the festival itself teaches you valuable lessons about how to collaborate with a large team. You learn how to take on everyone's creative ideas and distill it until you get the right balance--much like making films. Connecting with people both at school and within the industry is invaluable, and it can lead to collaborations and opportunities after film school. Lastly, being able to support other young filmmakers, either through the experience they get from a panel or a film package they get as a prize towards making their next film, is very rewarding.