Steven Poster, ASC, president of the International Cinematographers Guild (IATSE Local 600), issued a statement on the plea deal which averted a trial involving three defendants–director Randall Miller, his wife and business partner Jody Savin, and executive Jay Sedrish–who were charged with involuntary manslaughter and criminal trespassing in the Georgia freight train crash that claimed the life of camera assistant Sarah Jones during filming for Midnight Rider, a movie about singer Gregg Allman. Six other crew members were also injured in the crash on a railroad bridge a year ago in rural southeast Georgia.
Miller pleaded guilty and was sentenced to two years in jail Monday. Prosecutors agreed to drop charges against Savin. Sedrish also pleaded guilty and got 10 years on probation.
Jones’ death prompted behind-the-scenes film workers nationwide to push for improved safety standards on the job.
ICG president Poster’s statement on the plea deal read: “There were no winners today. Randall Miller’s sentencing in the case involving the tragic death of IATSE Local 600 camera assistant Sarah Jones is nothing to be happy about. But the quick conclusion to the case does provide some small sense of closure following last year’s tragedy, and helps continue the healing process for Jones’ family, friends, and fellow crew members.
“We cannot comment on the specifics of the legal proceedings, but we hope this sentencing sends a message to everyone in the industry that the safety measures already in place must be followed at all times. No movie or TV show is worth a life, which is why Safety on Set is our highest priority as a union.
“We hope this message gets out to everybody in production–from student or low-budget films to major productions–and that workers recognize their rights to a safe set and safe working conditions at all times. We also hope all crew members will now feel empowered to speak out against unsafe working conditions. That’s why we developed our new safety app that includes the industry-wide safety bulletins and safety hotline numbers. We encourage workers to remember the spirit of Sarah and exercise those rights.”
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More