Remembering a Valley Icon...Bob Hope

It's Memorial Day weekend! While you're sitting poolside, cocktail in hand, with the grill cooking, we wanted to remind you to take a moment to remember & thank the men and women of the U.S. Military.

This weekend we're also remembering Bob Hope, born May 29, 1903, and a Valley resident for than 60 years until his death in 2003. From WWI to the Persian Gulf War, and everything in between, Mr. Hope headlined 60 USO tours.

In 1999, U.S. Congress declared him the first and only honorary veteran of the U.S. armed forces for his humanitarian work with the USO, to which he replied, "I've been given many awards in my lifetime — but to be numbered among the men and women I admire most — is the greatest honor I have ever received."

If you don't have friends, family, or relatives in the military, take a moment to reflect on the day and then fire up Netflix and stream The Road to Bali or The Road to Hong Kong.

Jules Dameron on Deaf Women in Film

Following up on our previous post about Alyssa Dole, we wanted to go into a bit more depth on the subject of deaf women working in film. So we contacted filmmaker Julia (Jules) Dameron, the founder of Deaf Women in Film. Here are some things she wanted us to know:

“How many deaf and hard of hearing people are actually out there? According to the National Association of the Deaf, about 17% of all people in the United States are deaf, hard of hearing, late-deafened or deaf-blind--in a simple word to summarize it all: deaf. That’s a lot of people, roughly 36 million people just in the U.S. Over four times the population of New York City. And roughly half of them are women, a community that itself has been historically marginalized and disempowered.

“Deaf Women in Film is not an official organization, but a gathering of people who need to be recognized for their unique circumstances in our society. The deaf and hard of hearing communities are very naturally close knit, sharing a wonderfully unique way of life and communicating, whether it be in the form of sign language, visual gestures, or the written word.

“Are there any deaf women in film? ‘Oh, wait! I know about Marlee Matlin. She won that Oscar for Children of a Lesser God in the 80s.’ That’s pretty much all the general public knows about us. Marlee Matlin is truly a fine actress and a wonderful representative for deaf people today. However, there are many more talents out there, and I want everyone to know it.

“Now, there’s no telling how many people work in the film industry, but the truth is, it’s becoming a larger industry nowadays, due to new and better technologies, globalization, and so many people interested in being media producers, distributors, or at least consumers. Filmmaking is sexy and spreading, no doubt about it, and it’s a big tent where all kinds of people can contribute.

“Film festivals are also helping, whether it’s the VFF or even several festivals around the world specifically devoted to films by or about deaf people. In the U.S., for example, there are the Maine Deaf Film Festival and the Deaf Rochester Film Festival.

“Still, deaf people are underrepresented in film, and yet they are also motivated. Working in film presents a lot of extra challenges, but the deaf often work (or at least aspire to work) in film for many reasons. Here are a few:

Film is a form of visual communication. For minds that are intimately trained to think visually, it’s only natural for deaf people to be drawn to forms of visual expression such as filmmaking. Not just interested, but really good at it—sort of like what they say about blind people having strong senses of smell, hearing, and touch; deaf people have the potential to use film and other visual media in more powerful, expressive ways than the average Joe.

Art springs from suffering. Well, that’s not always the case, but it happens often. Deaf people are doubly challenged, first by their condition and then by a society that is often clueless about how to respect or understand them. Even hearing parents of deaf children, who should know better, can be very insensitive. Deaf people have plenty of hard life experiences and frustrations that can help them to be powerful communicators.

Being unable to find work. Getting and keeping a job so often requires things like talking on the phone that it’s easy for deaf people to be intimidated and not even try to find “regular” work. They often end up working as American Sign Language teachers, teachers for the deaf, or in related government jobs, even though they would prefer more options and can bring a lot to the table. Deaf people also are often self-employed, creating their own businesses, or freelancing. In film, which is full of freelancers, many deaf people are filmmakers, actors, etc.

“Many deaf people are really motivated to work in film, and society benefits from their contributions. It’s important for all of us that deaf people—like women, like ethnic minorities, like gays and lesbians, like everyone—be able to portray themselves more accurately and honestly than what we usually see in the mainstream media.

“We’ve got to get away from the marginalization and stereotyping that, even today, we find in mainstream depictions of deaf people. For instance, deaf people being portrayed as victims in need of help, or as perfect lipreaders or completely mute. In fact, these are often not the case for individual people. There’s so much more diversity among deaf people than you would think.

“Deaf people already have done some great work, and not just Marlee Matlin. In the acting world of deaf talents there are Phyllis Frelich, Linda Bove, Deanne Bray, Shoshannah Stern, and Amber Zion, to name a few women. Among the men are Bernard Bragg, Troy Kotsur, Tyrone Giordano, Russell Harvard, Anthony Natale, and CJ Jones. Deaf filmmakers, aside from myself, include Wayne Betts, Jr., Mark Wood, Jade Bryan, Kamau Buchanan, Adrean Mangiardi. Each has such a unique and amazing voice to express on film.

“We have so many wonderful deaf women in the film industry eager to move forward in their careers. There are truly many talented actresses, filmmakers, cinematographers, editors, screenwriters, choreographers, makeup artists, wardrobe stylists, and the list keeps getting longer. Deaf Women in Film is expanding, and the website has links to most of these deaf women who have joined up.

Photo by Erik Call
Edited by James Latham

Deafness in Film: An Interview with Alyssa Dole

By James Latham

Getting any film made is usually a miracle, especially for filmmakers who face extra challenges, such as being very young or having physical disabilities. Alyssa Dole not only overcame both of those challenges, but made them into advantages, when she directed, wrote, and starred in Deaf Perception, a short film that we screened in 2010. Alyssa’s twin sister, Ashley, also wrote and starred in this story of two deaf teenage sisters sitting in a coffee shop and subjected to the reactions of the people around them. The film is a brief but impressive look at the challenges of being deaf today.


James Latham: What was your experience in film before making Deaf Perception?

Alyssa Dole: Ashley and I were extras in our father, Marc Dole’s, short films Tweet, The Bureau, and Mito-Kids. Deaf Perception is the first short film I ever wrote / directed. A lot of what I know about filmmaking is from the guidance of my co-director, Chase Bailey, and my father, who seems to always have a video camera in his hands.

JL: Can you tell us a little about Mito-Kids? What it’s about and how it might be interesting for people not directly affected by deafness?

AD: Mito-Kids is about me and my three sisters. How our different diseases are actually connected through mitochondrial cells. It also shows how even though we have health conditions we still live rather normal lives.

JL: How was Deaf Perception conceived? How does it draw from your personal experiences, and what are some things you want people to take away from it?

AD: One day my dad was teaching my cousin and me how to make a script. It didn’t take long for me to come up with the idea of twin sisters who are deaf and hard of hearing and face a lot of obstacles. I think it was about a week later when I got home from school that Dad told me that he handed my script over to his friend who, after reading it, said, “I want to direct this.”

The part where the cashier is being rude has actually happened to my sister and me a lot. It’s happened at restaurants, stores, airports, offices, etc. Another thing is people stare a lot. We don’t mind if someone is interested in sign language and wants to learn. We just don’t like it when people ogle us.

I want people to notice how, when we signed and / or verbally spoke, there were still captions for everyone to understand. That’s what every movie with deaf characters should be like.

JL: What challenges and rewards have you encountered so far as a young deaf filmmaker? How did the collaborative nature of filmmaking help or hinder your work on Deaf Perception?

AD: My mind is more open to artistic abilities. Because of this, I now take film as an elective at school. I love it.

I’m really proud to be a member of the Deaf Women in Film organization. I’ve never done anything like this before, and to have an organization like that for all deaf women is inspiring.

It was great working with my collaborators. One challenge was that it was exhausting to be a hearing impaired teen surrounded by regular hearing people for even just a few hours. There were interpreters, but they were more for Ashley, who is sign language dependent. Next time I’ll make sure to work more with interpreters.

JL: This might seem a little esoteric, but what thoughts do you have about film and sign language as forms of visual communication?

AD: To me, sign language is a beautiful way to speak. It’s so wondrous that you can see someone’s voice. It is complicated to put on film though. You can do very few close ups and wide shots. You also have to make sure that the scripted words can match the signs; and be aware of other things, like how your wardrobe will affect seeing the butterfly-like movement of hands.

JL: Where else have you screened Deaf Perception? How has the reception been?

AD: It’s been on the New Hampshire Chronicles that airs right after the local news. I remember a lot of people recognizing me at the mall because of that. We screened at the VFF and the New Hampshire Film Festival.

JL: What are your plans for the future?

AD: I’m currently working on making a sequel to Deaf Perception. I hope to continue making films in other areas as well as deafness.

JL: And go to film school?

AD: I might take a few classes here and there but film school, no. It’s actually much more fun to learn as you go.

Love Thy Sound Recordist/Mixer & Boom Operator

If you didn't already know, The Valley Film Festival loves independent films. We love seeing images from nooks of the world we didn't know of, or bands we've never heard before, or feeling chemistry rock between characters on screen. In fact, there's very little we dislike about indie film. But there is one thing we really, really hate (besides a 10-minute vomit scene that serves no purpose) and that is...bad sound! 


In the last 48 hours, we've watched 10 feature films ranging in length from 50 minutes to over 2 hours for our pals at Dances With Films, who are 6 weeks away from their 14th festival. (Check them out June 2-9 at the Laemmle Sunset 5 in West Hollywood.) And, in every single film there was some sound element that brought us out of the moment. This is by no means a reflection on the festival itself, because we're willing to put money on the fact that every film festival from Cannes, to Sundance, to Telluride and Berlin, receive submissions with sound issues. VFF does!  OK, maybe if IATSE Local 695 had a festival, this would be the exception. 


There is nothing more annoying then trying to focus on the content of a film and having to adjust the volume up and down for every scene. And, we do mean EVERY scene. Or, watching a documentary about a band and not being able to hear their music over the clinking of beer bottles and audience conversation. Or, having one character mic'd up (and super loud) and not being able to hear the other character(s) in the scene. Or....we could go on and on. 

Production sound equipment available today has come a long way since the talkies -- it's better, easier to use, more affordable and accessible. And, if you don't have access to specific equipment, or didn't account for it in the budget, then perhaps that 2-hour musical isn't the feature film you should be mortgaging your house for. 

There is no place for poorly recorded sound in 2011. Period. 

The Valley Film Festival Can Cannes!

Two months ago, when Professional Accreditation applications became available for the 2011 Festival de Cannes, I submitted mine with fingers crossed. This is the third year I've applied.

Three years ago, requests were only accepted by snail mail. One had to include a CV, a letter of intent, and professional collateral. It was an ordeal and it took about a month to get approval. In the end, I received an email stating I had received the Professional Accreditation, but when I went to pick up the credential, I was given the limited and less desirable Cinephiles badge. It was "less desirable" to me because my intent was to network with independent filmmakers in the Short Film Corner and meet the international film commissions. The fabulous Cannes volunteers could see that the paperwork I held and the information in their system differed, and they tried to help, but in the end couldn't make it happen. They did, however, grant me a 2-day temporary pass to access the areas the Cinephiles badge wouldn't.

2010 was the first year applications were accepted online & my full-fledged access was granted in just over two weeks. Sadly, the VFF crew that went the year before was unable to scrounge up the money to make the trek together again. And, in the end, I opted to forgo Cannes.

This year, I received my accreditation in under 24 hours! A record. Regardless of who else is going, I will be there. But, I have a suspicion that some familiar VFF faces will be roaming the Croisette too and I hope you'll join us for a toast at Caffe Roma.

Monday, May 16 @ 3pm

Caffe Roma (across from the Palais)

1 Square Merimee

Cannes, France

More info and RSVP via Facebook or Eventbrite.