leslie linka glatter


In Honour of International Women’s Day:
10 Movies About Friendship Directed by women

Farah Goes Bang (2013) Meera Menon

Fort Tilden (2014) Sarah Violent Bliss & Charles Rogers

Friends With Money (2006) Nicole Holofcener

Girlhood (2014) Céline Sciamma

Miss You Already (2015) Catherine Hardwicke

Now and Then (1995) Lesli Linka Glatter

The Trouble with Angels (1966) Ida Lupino

The Sisterhood of Night (2015)  Caryn Waechter

Walking and Talking (1996) Nicole Holofcener

Zero Motivation (2014) Talya Lavie

Women directors bring unique experiences to the small screen — it's getting in the door that's tough
Women directors bring different experiences to television storytelling
By Joy Press

Aline Brosh McKenna, the co-creator and showrunner of “Crazy Ex-Girlfriend,” suggests that women are also sometimes put off by technical barriers. Where “men tend to blithely go into situations under-prepared and learn on the job,” she worries that women may feel they need to be ultra competent to take a shot at directing. When she directed the season finale of “Crazy,” Brosh realized she didn’t need “precise jargon” to communicate with the experts on set: They were there to translate and realize her ideas. “I’d say, this is what I want it to look like and feel like and here are some other shots that I found that have the vibe I am looking for.” Directing is about “storytelling,” she says, and all that really matters is that as the director “you know the story you want to tell.”

We are disappointed and disheartened in the article issued by The Hollywood Reporter in response to an ad that was taken out in their publication.

The story lacked facts and the reporter clearly failed to do even the barest minimum of research. The article was one-sided, disingenuous, and inaccurate.

- “Quinn’s death has been confirmed by other producers and Friend.” This line, in the article, links to this interview with Rupert Friend that was published in The Hollywood Reporter by Michael O’Connell the day after the season six finale. In fact, this interview includes the following two questions.

Was the talk any different this time?

He said basically the same thing. “I think you’re dead. Don’t hold me to it. But I’m pretty sure you are.”

Are we sure he’s dead?

Yes. I believe so. That’s what I’m told.

If Michael O’Connell truly believes that this, as phrased, can in any way be construed as a “confirmation” then we unfortunately have to question his career, as he seems to be lacking in comprehension skills.

- Their complaints did not fall on deaf ears.” This is obvious, but just because we were heard it doesn’t mean that anybody was listening. The idea that Gansa could issue a 95-word statement that utterly failed to address any of the concerns laid out in the letter and consider the matter closed is absurd. It is clear that both Alex Gansa and Michael O’Connell are missing the point; whether Peter Quinn is alive or if he is dead, it does not change the fact that the show’s treatment of him was unacceptable. The show’s failure to honor him in any way is unacceptable.

- “Executive producer and director Leslie Linka Glatter is also accused of "fielding all media response,” though that might have something to do with the fact that she’s nominated for an Emmy and, thusly, doing press.” First of all, spell her name correctly. Second, Lesli is the only producer of the show who has spoken at all, before or after the Emmy nominations came out. The weight of this has fallen completely and utterly on her shoulders.

- “Despite their successful efforts to raise enough money to buy an ad, the group doesn’t seem to be that large.” This statement is backed up, in its way, by referencing the number of followers that @NotOurHomeland has on Twitter.

This is fair enough, though Michael could also have viewed our Facebook page, done a search for the hashtag #NotOurHomeland on Twitter, or contacted us and asked us to define our reach. We just purchased an ad in the publication that employs him; apart from the fact that we listed a contact e-mail at the bottom of the ad, his colleagues at The Hollywood Reporter have the personal contact information of several admins of the group.

- The article originally stated that NOH “claimed to have raised over $4000” for a veterans charity. This, at least, has been corrected. There is a prominent link to the Crowdrise site on our website, and you can easily verify how much we have raised.

- Both the article and Gansa’s statement failed to address the nearly all-male writers room, the “ambiguous” sexual abuse storyline, the brutal treatment of veterans, or the devolution of Carrie Mathison’s character.

NotOurHomeland was created in the past month in an effort to unite the many, many unhappy fans of this show. There have been hashtag events on Twitter. A petition has been signed by 500 people. Blogs shut down. Letters have been written. This was created for everybody who has been slighted by this once-great show, for all of the people who have submitted thousands questions that we, your fellow fans, cannot answer.

The article in The Hollywood Reporter was irresponsibly written, and the statement by Alex Gansa failed to address any of the concerns posed to him. This is not okay with us.


This day in Homeland - July 17, 2012 - the pivotal scene of “Q&A” is filmed
“It was chilling. I literally felt Henry Bromell’s hand reach over and grab my arm. We just stood there. I’ve never experienced anything like it… It was one of the most profound days I’ve ever had on a set.” –Lesli Linka Glatter

My Letter To Gansa

All of us who’ve been participating in Homeland communities know how much personal grief and confusion has been shared online since 6.12. We also know that the Homeland producers seem unaware and unconcerned about how their finale impacted their viewers. Rupert Friend is the only team member who has expressed empathy for the confusion and sadness many of us feel. Instead, we have seen a steady stream of the producers pandering for Emmys, which has sent a clear message that the Homeland creators are primarily interested in winning critical acclaim rather than understanding the emotional impact their story had for ordinary viewers.

This attitude is perhaps understandable, as traditionally creative professionals were not able to communicate with fans. Even today it would be impossible to monitor each and every Tweet, blog, and Facebook post. However, the extremity of their refusal to listen and respond to our reactions has feels like contempt – as though they have disdain for our emotional involvement in their story and their characters.

The #NotOurHomeland campaign aims to make it easier for the professionals behind Homeland to listen to fans by collecting our stories and presenting them to Alex Gansa. We’ve already raised over 3 thousand dollars to help brain injured vets and we hope that sum will communicate the real intensity of our feelings and pressure Mr. Gansa into taking the time to read about how his work effected his audience.

My own story about Season 6 is focused on Carrie Mathison’s desire for intimacy. I realize that Alex Gansa and Leslie Linka Glatter have both stated that Carrie’s journey in Season 6 is her growing disillusionment with the American Government, as represented by Keane’s betrayal and the ending shot of Carrie looking at the capitol. I didn’t see Keane’s betrayal as approaching the significance of Carrie’s loss of Franny and Quinn, and I am amazed that the creators do not view those losses as the central theme for Carrie in Season 6.

When an exhausted Carrie said “We’ll make it work;” when she tried to get home before her daughter fell asleep but also felt pulled to make things right for Sekou; when Franny calls to Carrie while she is in the middle of an intense interaction with Quinn at the same time Redda telephones; when Carrie arrived home late just to be called back to help her client; I completely related to her struggle. She was trying desperately to care for everyone who needed her and she never could do enough. I have three children and I am absolutely dedicated to the mission of my career, so I felt a connection to Carrie at a deeply personal level. Most of the female heroes we see on TV fit the stereotype of the nearly perfect intimate partner and in-control professional. That image of society’s expectations for me does not capture my heart like Carrie Mathison with all her flaws.

I never thought that Carrie would achieve balance, but I did hope she would make some progress. Instead, I was punched in the gut when Carrie ended the season losing both Franny and Quinn because she was too focused on her mission. Isn’t her mission her career? I always thought of Carrie as a feminist character because she rejects society’s demand that female heroes are virtuous and self-controled. When she suddenly lost her personal relationships due to her emotional investment in her vocation, I felt like vomiting.

I hoped that some insight from the producers would help me to understand how Carrie’s loss and Quinn’s despairing death might move the Homeland narrative forward. Instead, Leslie Linka Glatter has said “I don’t see how Carrie can ever get over this.” At the beginning of this season, we heard a lot about how excited the HL team was to tell the story of a disabled action hero, but we now have no acknowledgement of how that story turned nihilistic and no sympathy for fans who expected some restorative relief for the unrelenting suffering of a beloved character. Instead, the few interviews producers have given are focused on awards, the significance of addressing fake news, and Carrie’s disillusionment with the American government. Nothing we have heard indicates any understanding that fans are focused on yet another devastating loss. This disconnect between the artists and their viewers seems strange and adds to our pain and confusion.

That is my story, Mr. Gansa. I thought I was watching a feminist antihero, but Carrie has turned into a cautionary tale for women who love their work and value personal relationships. I thought we would see how compromises can result in hurting people and how forgiveness and love are both powerful and imperfect. Instead I saw how personal mistakes can result in complete despair followed by death and isolation. Then, rather than acknowledging the dark ways you’ve changed your story and expressing empathy for the viewers, you are giving us contemptuous silence.


I hope that others who related to Quinn or Carrie in personal ways will share how the finale affected them (I know a lot of you out there relate more to Quinn than Carrie!). With unity and determination, I believe we can get someone to listen.

Claire & Lesli Discuss "The Letter"
  • Claire: Rupert wrote that!
  • Lesli: Alex Gansa said to Rupert, what do you think Quinn would say to Carrie and he wrote that letter.
  • Claire: He said “Well I can’t talk, I just have to write it” and that’s verbatim. Just cut and paste, that was Rupert.
  • (mumbling)
  • Claire: How beautiful is it though? It’s so wonderful because its so kind of true of Quinn. And Rupert also is - there is part of him that - he’s not immediately available, there’s an opacity, a reservedness - but you go deep and there is just such richness and sensitivity and intelligence. I just thought it was so beautiful.
  • Leslie: And the first time he recorded it we were sitting in that same hospital room you know just getting a scratch track and literally I burst in to tears. There is no crying in baseball. It was just so unexpected. Oh my goodness this guy who never says anything says everything and in such a poetic way.
  • Claire: And not in a saccharine way, just a really beautiful, elegant way. So yeah, it connects so immediately with that first image of Carrie.
  • Leslie: He’s the only one that really sees her completely .
  • Claire: Yeah. But also, that’s Alex, I mean that was true of Season 4 and he really likes to have it called back, to complete the circle.

anonymous asked:

I'd love to know how many people actually showed up to watch 6.12 at UVA. First of all, why would you want to sit through it again? Second, if you're not caught up, why watch the finale? Makes no sense to me.

I personally would have suffered through 6.12 again for the panel alone! 

The University of Virginia has an an incredible arts department, though, and it’s only an hour and change from Richmond… between students and people in the area involved/interested in filming, I have no doubt they’d be able to scrounge up a respectable audience. 

It’s just weird that I can find no information about it online! Anybody else having any luck?