Celebrating Diversity: How Tribeca 2024 Filmmakers Are Embracing Equity and Inclusion
The Light Leaks had the incredible opportunity to take part in covering the 2024 Tribeca Film Festival, a vibrant celebration of indie film and storytelling.
We connected with filmmakers whose work was featured in the festival and they shared their insights on diversity, equity, and inclusion within the industry. Their experiences and perspectives offer new ways to foster a more inclusive and respectful filmmaking environment.
Here’s what they had to say!
How do you establish an on-set culture of respect, equality, and equity?
Rachel Wolther (Director/Screenwriter) - THE FRENCH ITALIAN
This is so important to me! My producer Miranda and I talked a lot about equity while we were crewing up. One thing we did was create “tiers” of jobs and made sure they were all paid the same. So all the department heads made one rate, all the assistants made another. Once we start working, I try to remember that everyone there is a human being and that most of them are also filmmakers and are just lending me their various talents. So I try to learn and use everyone’s names, and lead with respect. I’m also not super jokey on set, and I don’t like to do beers at wrap or anything like that, because I do want people to take it seriously as a place of work. Even though it’s a comedy, so the stuff we’re doing all day is quite silly.
Contessa Gayles (Director/Cinematographer) - THE DEBUTANTES
With a lot of intention! I hire crew from underrepresented communities in our industry and pay particular attention to making sure the film crew reflects the communities and film participants being documented. It’s also my job to lead by example and set the standard for everyone behind the camera when it comes to a sense of duty of care towards the film participants. We’re not entitled to access to any community or to anyone’s vulnerability on camera. It’s a privilege and a great responsibility to handle with great care. As a filmmaker who tells stories of people and communities that have been historically and presently underrepresented and misrepresented, and whose narratives have been extracted and exploited, I take this very seriously.
Delaney Buffett (Director/Writer) - ADULT BEST FRIENDS
I think the moment you step on set you have to establish an environment that fosters collaboration instead of competition. In indie filmmaking, your resources are scarce so it is easy to play the blame game and complain. But, if as a director [you can] create an ego-free safe space where people are allowed to make mistakes, you can encourage your cast and crew to problem solve as a unit rather than focusing on who dropped the ball. I also like to check in with department heads every day after wrap to make sure they are getting what they need and see if there is any way we can improve the next day of shooting.
Katie Corwin (Writer) - ADULT BEST FRIENDS
It starts at the top. Hires need to be thoughtful and intentional to create as much opportunity as possible. In terms of on-set respect and tone, neither Delaney nor I lead with ego, so we don’t really tolerate it in others.
Roxy Shih (Director) - BEACON
It really trickles from the top down. So I consider myself the top because I'm the director. So a lot of how culture goes is informed by my choices of who I choose to have around me. So it really is different when you cast not only inclusively in front of the camera, it also needs to happen behind the camera as much as possible. And by you doing that, even though it feels small, is already instigating change. Change that we so desperately need in our industry. And affording opportunity as well. When people say, “Oh yeah, it's the best person from the job.” I mean, that could go either way. Some people just never had that opportunity to really grow. Mentorship is also a really big thing. If I'm always trying to have someone shadow me, that probably is from my community, AAPI community or the queer community, to be able to come and see and observe, not just how I direct, but also what it's like on set, and if they feel particularly resonant with a type of role, being able to be there physically really helps inform a lot of what they want to do. So again, it's just like if you are in a place of privilege that you can make these decisions, advocate for it, fight for it. And then also it's about doing as much as you can. Sometimes you will be told no. But at least you started a conversation. So even if you're not successful at the end of it, it's like the fact that you pushed that in the first place is still change.
Alyssa Litman (Writer/Director) - PERFECT TEN
I think directing is about listening as much as it is about decision making. Nobody wants to feel like they’re being ignored. I always come prepared and know what I need to get so I’m not taking advantage of people’s time. I think the most respectful thing you can do as a director is clearly communicate expectations and what type of commitment your cast and crew is getting into. If everyone knows what’s expected and is being listened to then hopefully they’ll feel respected. Ultimately mistakes and challenging conditions happen on set, that’s part of every production big and small. Staying calm and quickly pivoting to a fix is the best way to save your project and keep everyone motivated. Freaking out really doesn’t accomplish anything. I also always try to include a diverse group of people in front of and behind the camera. I remember what it was like to be one of the few women in film school and the last thing I want on my set is for someone to feel intimidated or unwelcome. While I’ve only worked with small budgets and had to work on favors to complete my projects, this is something that I hope to continue to expand as I’m given more resources in my career.
Nay Tabbara (Director and Writer) - EBB & FLOW
As a former Assistant Director (AD), that type of set culture is the most important thing for me. As a human being in general, not just as an AD. And to make sure this is established, heavy prep, communication, and order are crucial. Problems mostly arise when collaborators feel like they can’t do their job or they’re not respected on set. Being open to communication and collaboration is very important as well as valuing people’s time and work regardless of the monetary reimbursement.
Callie Carpinteri (Director/Writer) - DIRTY TOWEL
This is such a great question. As a director, it’s really important for me to have a set environment that is inclusive, supportive, and respectful. From the first morning meeting on day one, I make that very clear to everyone and just express my hopes and expectations for set. Even beforehand, I usually vet every person who will be on the set and make sure that they are collaborative, kind, and able to treat others equally. It’s something I also make sure that myself and all the other department heads follow since I truly believe that’s how the tone of a set is founded and maintained.
I also always try to remain open and approachable so that if someone isn’t feeling great about a situation, they feel comfortable talking to me about it. I make sure to always listen to the feelings of everyone on set and take steps to ensure that the on-set culture is positive and healthy.
In a future of our industry where stories and storytellers are not burdened by scarcity or lack of access to opportunity, what kind of new, untold stories do you hope may emerge?
Nay Tabbara (Director and Writer) - EBB & FLOW
I hope I get to see fascinating stories by people from everywhere around the world that can transcend borders. It always feels like certain stories from certain regions have only one seat in the market. I hope that we can get to a point where there isn’t that scarcity that we’re looking at; where we can listen to and watch authentic voices, no matter the genres and the context.
Contessa Gayles (Director/Cinematographer) - THE DEBUTANTES
Authentic stories. Stories that exist in the more quotidienne space between our traumas and our excellence. Stories that create blueprints for joy and healing and liberation.
Delaney Buffett (Director/Writer) - ADULT BEST FRIENDS
I really love comedy, so I'd love to see more big budget, female led, action comedies through the lens of characters we have yet to see portrayed on screen.
Katie Corwin (Writer) - ADULT BEST FRIENDS
I would love to see more singularly-focused female stories. I want to follow a woman through everything from the (seemingly) world-ending lows of grade school to the small victories of independent adult life. We’ve done BOYHOOD, so let’s do GIRLHOOD.
Alyssa Litman (Writer/Director) - PERFECT TEN
I hope people get to tell stories that are true to their real life experiences, whether or not it seems like it will be broadly appealing to all audiences. I think there’s a universality in specificity and when something feels real it’s compelling.
Callie Carpinteri (Director/Writer) - DIRTY TOWEL
I am constantly amazed by [the] creativity of the storytellers around me. Storytelling is such a beautiful and personal art form and because of that, I feel like there will never be a shortage of new narratives to explore. I hope to continue to hear authentic, bold, and honest perspectives from filmmakers, and see them push past their creative limits even more.
Rachel Wolther (Director/Screenwriter) - THE FRENCH ITALIAN
I think you can see this already happening with the advent of super accessible video platforms like YouTube,TikTok. Because tons of people are creating amazing stories that are totally outside the traditional fiction or even non fiction formats. For example, I’m thinking of those videos where a person applies makeup while telling a juicy story - like, that’s not something a gate-kept “film industry” system would ever create - and yet it’s such a wonderful thing to watch. I look forward to seeing these new forms expanded and hopefully professionalized. Wouldn’t it be amazing to see a feature length “getting ready” video starring a virtuoso performer like, say, Lizzie Caplan?
How do you navigate the complexities of funding and financing for independent films, and what tips can you offer to other indie filmmakers?
Alyssa Litman (Writer/Director) - PERFECT TEN
Honestly this is one of the hardest parts of directing, and it’s a big part of the reason I became a writer first. Writing is free and if someone wants to purchase a project from you, it gives you the ability to negotiate to direct your own script. All of my short films and web series have been self financed with small budgets and favors from friends I met in film school. While I haven’t had the biggest budgets, I have had friends and family be generous with locations, time, relationships, and whatever other resources they can provide. I think if your goal is to take a big step ahead in your career, you can save money for a very modest budget and then be creative with how far you can stretch your resources. For example, finding an exterior bar location for Perfect Ten was too expensive, but renting a valet stand and putting it in a friend’s driveway in front of a bush was very affordable. If you can come up with workarounds like that, and it doesn’t take away from the film, it becomes much easier to get a reasonable budget together.
Delaney Buffett (Director/Writer) - ADULT BEST FRIENDS
I would say always but especially with independent film it is important to never rush a script. In the indie world, you will rarely have the support of an accredited company behind you, so a script has to stand on its own. And a good script can attract great talent. If a big actor gets excited about your script, they will attach and spread the word about the project. Once you have rounded out a cast and crew with experienced and talented people, it is much easier to approach financiers and ask them for the money to make your movie happen.
Katie Corwin (Writer) - ADULT BEST FRIENDS
I would recommend starting out as simply as possible, so you can make (unavoidable) mistakes on a small scale before raising the stakes with investors, etc. Skits shot on mobile, low-fi web series, bringing a scene to an acting class just to hear it outside of your head. I think it’s smart to work in this stage for a bit, so when it’s finally time to raise money and invest in a project, you can feel ready.
Nay Tabbara (Director and Writer) - EBB & FLOW
The Golden Question. This is of course one of the most challenging aspects of filmmaking, especially independent cinema. Most of the work I have done has been personally funded or received several grants to make it happen. Grant applications and grant writing can be one of the best ways to start financing the work. First off, it gives you a “stamp of approval” from the industry to then potentially seek money and sponsorship elsewhere. It is very time-consuming and demanding to do so, but regardless, applying for grants and answering the grant questions makes one better understand the film to be able to pitch it succinctly; and tackle any weaknesses or uncertainties in the script.
But grants aren’t the only way. Our industry is a lot about connections. And once you work with someone successfully or you click, it becomes easier to move the collaborations forward. Filmmaking is all about solving problems, and if a problem arises don’t be afraid of asking for help (respectfully of course) and making mistakes. Things might take time and they generally will, but surrounding oneself with people who believe in the project is more important than having money on board for something that will compromise it. So it’s important to find that balance too.
Roxy Shih (Director) - BEACON
I came from micro budget filmmaking and I didn't go to film school. I didn't have a foot in the door. I didn't know anyone when I moved to Los Angeles. And I was so desperate to become visible that I said yes to everything, which is a good or bad thing depending on what it is.
Find people that can help you raise the money rather than trying to do it yourself. I mean, this is kind of crazy. I don't mind that you talk about this because it was actually real. But for my first feature film, it was made for $80,000. And I did Kickstarter, a mix of money from friends and family also, and also a line of credit, which is really dangerous. And I know that's a huge risk because it's such a high risk, low reward sort of environment and industry. But something in me just told me that this is the right thing to do because I had a former life as an editor, and then I became a line producer. And being those two things helped me become a better director.
I know how to manage my schedule. I know how to budget. I know how not to go over time. I am very discerning about what it is I need for my edit or not. So if you feel that you're not doing what you love to do or you're asking yourself constantly, why am I not where I want to be? The universe has its path, and you're meant to be learning what you're learning now because you're supposed to be accruing tools in your tool belt that is unlike anybody else's experience, and it's going to help you inform your storytelling way down the line. I promise you that. And so I did that foolishly because that's such a high risk thing to do. I ended up having to pay it off over 10 years, but it was worth it to me because it got my foot in the door. And I also realized I'm a much stronger director than I was as an editor or a line producer, even though I did those things well, because I'm a woman and I'm Asian so I will do whatever it takes to survive. I think in terms of financing, I don't know if this is still the model, because streaming has made things all weird nowadays, like attaching reputable talent. But it really just starts with a very strong script. If you have a strong script and you have something that sings to people, people will want to do it. And if you're not meeting the right people now, don't rush. Take the time to really get to know people on a personal level. Don't meet a producer and start pitching right away. That's not how it works. Be very authentic. The more authentic you are, the better it will be. But if you're coming towards people with a false sense of pretense, people can smell that. So just don't rush because I rushed, and some of it worked out for me, some didn't. But if there's anything I would say is that you have to ask yourself constantly like, why am I doing this?
You are your own audience. You serve yourself first. So when it comes to that, no matter what framework it's in, whether it's an open directing assignment, whether it's something you're hired to do or whether it's something you've written and [are] producing yourself, you must honor that first. So financing the right people that will come on to support you will. And also don't be so close-minded in terms of where you can find financing in kind sponsorships. When I did Taiwanese American Films, Pine and Crane, the restaurant in LA sponsored us for free for catering. There's other ways to help find sponsorship. They can help you with food or whatever it is to help you make your movie. Fiscal sponsorship, applying for labs, applying for funding— all of these resources are out there to help you. Don't be so closed-minded as to where you can't or cannot find support. And there's a million ways to do something. You'll never have enough money to make your film. That's just a guarantee. But it's about how you approach it and how you see it. There's always opportunities and limitations, and it's a really great exercise if you want to become a filmmaker, because there will always be limitations. So being open to that and finding your creativity within those spaces, especially with financing, is really going to help for you.
Callie Carpinteri (Director/Writer) - DIRTY TOWEL
The way I’ve learned to navigate the complexities of funding independent films is by being resourceful, scrappy, and kind. Independent financing for films can be tough especially if you don’t come from money, which I don’t. When I was first trying to figure out how to fund Dirty Towel, I reached out to any filmmaker I knew for advice. In the end, I decided to crowd-fund to raise money for the short film and was grateful to have a team willing to work as a passion project, meaning the money we did raise went towards production equipment, design, and locations.
The best advice I’d give is try and figure out with the scope of your project what your dream budget is, how much is the cheapest you could make it for (without letting the quality or story suffer), and what is most feasible for you to achieve. If you want to make something that requires a higher budget, I’d look into grants that can help support that. However, if you can do it for a low budget then I would start with crowd-funding as well as reaching out to the community for help. We were so fortunate to have rental houses and locations work with us on discounts to accommodate our budget. That never would’ve happened had we not had the courage to ask and pitch our project to them. It’s not impossible to make what you want for a low-budget. It’s all about being scrappy and resourceful with what you have. If there’s a project you are passionate about making, express that to people and find the right team to help you navigate how you’ll be able to bring it to life. You never know what help others can bring until you ask.
In what ways can entertainment companies and festivals support creatives, particularly those from underrepresented backgrounds?
Contessa Gayles (Director/Cinematographer) - THE DEBUTANTES
Value our voices in the conversation and show that by programming our work and understanding that there is an audience for our films. One of the issues with diversity and inclusion mandates is that they often only make room for one at a time and that’s all the space we’re allowed to take up with our narratives. We get one Black incarceration film, or one film about Black girls, and the box is checked. The quota is filled for that season or for that slate. But we contain multitudes and we deserve a multitude of stories to represent and reflect the breadth and depth of our experiences. When the narratives are authentic and varied the audiences will and do show up.
Delaney Buffett (Director/Writer) - ADULT BEST FRIENDS
Tribeca has a program alongside Chanel called Through Her Lens which helps champion up-and-coming U.S.-based women and non-binary writers, directors and producers. I think creating more programs that provide both mentorship and funding at the start of their careers can help set filmmakers up for a more successful future. I think mentorship and consultation with successful writers, directors, producers and composers can help inspire hope in an industry that feels impossible at times.
Katie Corwin (Writer) - ADULT BEST FRIENDS
It would be great to spotlight the creators even more once the festival is underway. Profiles, public Q&As with buzzy moderators, featured screenings, social activations, anything and everything to get more eyes (and therefore more opportunities) coming in.
Alyssa Litman (Writer/Director) - PERFECT TEN
I think offering competitions where they provide funding based off of scripts is a great way to make directing a short film inclusive. Without those competitions we’re effectively creating a marketplace where only people who have access to a lot of expendable income have the ability to showcase their ideas. Offering courses or training about directing and the logistics of production would be a very empowering step as well, there are a lot of people who want to direct but are intimidated by the technical aspects of it. I personally feel like this can function as a gatekeeping tactic, but knowing someone who looks like you who has directed who will allow you to ask questions makes a huge difference.
Nay Tabbara (Director and Writer) - EBB & FLOW
It feels like the industry is slowly shifting and creating more space for stories from underrepresented backgrounds. But the opportunities are still very scarce and I think this is where changes need to be made. Entertainment companies rely heavily on filmmakers with experience, it’s always hard to crack through that door. So maybe more programs, events, and discussions that allow underrepresented communities to have access to these companies and open the door for potential work to be made.
As for festivals, it seems like what is needed the most for such stories is financial assistance. Submissions to festivals are expensive, and attending some of them can triple the entire film’s budget. There must be a way to help emerging artists from underrepresented communities to attend these festivals and showcase their work to resonate loudly without the financial dent. Some sort of assistance could be crucial for that.
Callie Carpinteri (Director/Writer) - DIRTY TOWEL
I think a big way is just by having programs that can help support emerging creatives, especially those from underrepresented backgrounds. Many filmmakers, including myself, have felt a lack of mentorship and career guidance as we begin our careers. Creating more programs that offer that is something I think would be immensely beneficial in supporting young filmmakers.
For festivals, I think just making sure that steps are in place to ensure a diverse, equally represented festival line up is so important until it is common practice. I also appreciate when festivals organize additional events such as panels, workshops, mixers, etc aimed at supporting creatives. Continuing to foster and increase those types of events is something I think would be really helpful. Additionally, offering grants, scholarships, and funding opportunities for projects by underrepresented creatives can make a significant difference. Providing platforms for these voices to be heard and celebrated will enrich the entire industry and make it a more equal and supportive place.
