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Timothée Chalamet, Guillermo Del Toro, and Michael Barker embrace at the Oscars Nominee luncheon on February 10, 2026. 💥💥💥

Twitter credit to ByClaytonDavis

#timothee chalamet #timothée chalamet #guillermo del toro #february 10 #Michael Barker #Oscars nominee #oscars nominee lunch

1/18/23.

I learned about 1-800-MIKEY from Goner Records. They received another shipment of "Plushy" from Under The Gun Records (East Los Angeles, California).

Turns out 1-800-MIKEY is Michael Barker (Sydney, Australia) who must have some ties to local punks - non other than Tee Vee Repairman played drums on a few tracks. Fellow member of Gee Tee, Kel Mason, plays drums on the other tracks.

This is punk in the vein of Jay Reatard and Nobunny. It's no wonder that Goner Records carries this release.

Erste Theke Trontraeger (ETT) is handling the European release.

#1-800-MIKEY #Michael Barker #Sydney #Australia #Tee Vee Repairman #Kel Mason #Gee Tee #Under The Gun Records #Erste Theke Trontraeger #ETT #Jay Reatard #Nobunny #Goner Records #Bandcamp

Women are making strides toward parity in the film business but there’s much more progress to be made, panelists at the Variety-Kering Women in Motion talk said Saturday.

While women are gaining more visibility on-screen — 40% of movies were led or co-led by females in 2018, according to Stacy L. Smith, founder and director of the Annenberg Inclusion Initiative at USC – behind the scenes the figures are more dismal for women in key filmmaking roles. Marvel may have hired “The Rider” director Chloe Zhao for “The Eternals,” but overall, bigger-budgeted films are being helmed by men.

“When money moves in, women are pushed out. Women aren’t projected into leadership roles, and when they are, they are punished more harshly,” Smith said at the Majestic Hotel talk moderated by editor-in-chief Claudia Eller.

The numbers are even more daunting for female minority directors. According to USC research released earlier this year, only seven of the 46 women working across the 1,200 most popular films in the last 12 years were directed by female minorities. And women still lag behind men in key studio roles; Smith said that in the major studios, only 25% of leadership roles are held by women.

“The gains in real life will die out if film studios do not tell the same story,” said Smith, joined on the panel by Sony Pictures Classics co-president Michael Barker, Anita Gou, producer of Sundance movies “The Farewell” and “Honey Boy,” film critic Jacqueline Coley and Kirstin Benson, VP of global entertainment at Getty Images.

Eller noted that Sony Pictures Classics have hired more women than any other studios — a fact which even Barker said he had not realized.

“At any given moment, you go for the projects or films that you think are the best, the finest and for which you can find an audience. These are the projects we chose,” said Barker.

The film industry veteran said things are changing, with female directors taking on bigger projects, like Zhao on “The Eternals.”

Gou stressed the importance of having more women in leadership roles to provoke a trickle-down effect. “Directors are in hiring positions: they assemble their crew. In both our pictures, we had female DPs. So you see that effect when you put women or people of color in those positions,” said Gou, a Variety producer to watch this year.

Benson said gender parity is also needed among photographers because the “female gaze is a real thing.” She noted that only two of the 250 photographers on the red carpet are women — and both are Getty staff.

Coley, meanwhile, said that increasing access for minority critics to movies that play at high-profile festivals is one of the key factors that could lead to greater inclusion. “Diversity is being invited to the party, inclusion is being asked to dance,” said Coley. “Cannes is a cost-prohibitive festival for many; (some critics) can’t make it here,” said the Coley, who suggested that film companies could allow reviewers to watch some anticipated films the same night they play at a festival in a different setting.

The panel also discussed the need to enforce quotas to create a 50-50 parity.

“The idea of a quota is a temporary solution. I think it’s a necessity because of the long history of things not changing,” said Gou.

#cannes 2019 #stacy smith #kering women in motion #michael barker

December 4, 2018 8:00AM PT

Glenn Close received the Museum of the Moving Image’s annual Salute at a gala on Monday evening in New York City, where leading actors and directors shared their experiences working alongside her — and the Tony-winner herself revealed the advice that’s kept her going throughout her impressive career.

Close now has 84 screen credits and nearly as many awards to her name, but Jim Dale remembers where it all began. The two theater legends co-starred in the original Broadway run of “Barnum” in 1980, which nabbed Close her first Tony nomination — and, as it turns out, her first film role.

“Glenny was sitting in a fake box on the stage as Mrs. Barnum, knitting away and waving to the audience as they came in, as if she knew them,” Dale told Variety on the red carpet. “And a producer and a set designer and a costume designer and a director came in, and they saw her, and the director said, ‘That’s the tranquility I need in the mother of this film we’re making’ — which was ‘The World According to Garp.’ So, Glenny got the part of the mother without even opening her mouth and auditioning. That’s how good she is!”

That film debut left an impression on an entire generation of actors — some earlier than others. Ethan Hawke vividly recalls “Garp” as his first encounter with Close’s work when he was just 14, and his mother took him to see the adaptation of her favorite novel.

“About seven eighths of the way through the film, my mother remembered how the book ended. She literally was like, ‘Alright, we have to go, we have to go, we have to go.’ And we were all like, ‘No, we’re loving this movie!’ ‘You have to go. You have to go.’ We got out, she went to go get the car and we ran back in, she pulled us back out. It seemed the wrong time to teach these teenage kids about oral sex and violence at the same time,” he said, laughing. “But I have since seen the whole film, and along with so many performances, it’s very exciting to be there.”

“Fatal Attraction” director Adrian Lyne echoed those sentiments, calling Close’s first read for the role of Alex Forrest “one of the bravest, most powerful auditions I have ever seen, and something I will never forget.”

Not every part fell into place so easily, but Close has never been one to give up without a fight. Both “Albert Nobbs” and her latest critically acclaimed drama, “The Wife,” took 14 years to make.

“A lot of times independent films depend on the crazy passion of the people who want to make them,” she told Variety. “My definition of an independent film is a movie that almost doesn’t get made, and both ‘The Wife’ and ‘Albert Nobbs’ fit into that category. But that should never change, because it means you’re telling a story people haven’t heard before.”

In addition to her own star turn in “The Wife,” its two screenwriters, editor, and costume designer were all women, something that Close said was important to her. She hopes that kind of diversity “will become a natural part of our culture.”

Close’s championing of independent films and of women in the industry reflects the persistence she’s known for, but she wasn’t always so confident. During her acceptance speech, the “Fatal Attraction” star described an early-career “low point” that led to a late-night call to her agent, Kevin Huvane.

“Kevin was on the other end of the line [in Los Angeles], hearing my distress,” she recounted. Fifteen minutes later, she opened the door to her New York apartment to find a beautiful bouquet and a note she would never forget: “Don’t let the f—ers get you down.”

Close has been looking ahead to the next project ever since. Asked whether the honor had led her to reflect on her career so far, she laughed. “No!” she said. “I feel like I’m 18! To me, it’s amazing. You make these choices and then all of the sudden here you are.”

Also at the gala were Christian Slater, James Ivory, Michael Barker, Maya Thurman Hawke and Adrian Martinez.