Christy Haubegger has worn many hats throughout her career. From starting Latina magazine fresh out of college in 1996 to working as an agent at CAA, she’s seen the entertainment industry from…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Christy Haubegger has worn many hats throughout her career. From starting Latina magazine fresh out of college in 1996 to working as an agent at CAA, she’s seen the entertainment industry from many angles, always pushing for representation from the inside. Now, she’s working towards change in her role as the chief inclusion officer and executive VP of communications at WarnerMedia. In conversation with senior artisans editor Jazz Tangcay for the Variety Streaming Room presented by WarnerMedia, Haubegger discussed how she views the importance of diversity, equity and inclusion in the world of entertainment.
“I feel like we are, as a company and an organization, and even as an industry, I think we’re finally moving past the, ‘Did you count who was in the room? Did you count who was on set?,’” Haubegger said. “I mean, that’s sort of the 1.0. I think we’re moving to the 2.0, which is sort of equity, right? Equity of opportunity, equitable distribution of opportunity. And then inclusion is what kind of experience did you have when you got to the set? What kind of experience did you have in the writer’s room? What kind of experience did you have at the company?”
This year, the WarnerMedia Access Festivals initiative, which gives emerging filmmakers the opportunity to attend and network at film festivals, expanded internationally at Sundance. Haubegger stressed the importance of the program, because it provides new and underrepresented talent with the chance to connect with others in the film industry.
“The reason we call all these programs access is because we think folks are ready,” Haubegger said. “They’re not insufficient or deficient in any way, what they really just lack is access. And so what we decided to do this year was expand our festival access program to Sundance. And what we’re doing is we’re providing passes for a number of emerging filmmakers from underrepresented groups to not only participate in the festival, but have conversations with filmmakers and some networking and all the other things that make the connective tissue around the festival experience for people. So we’re hoping to accelerate folks’ entrance into that community.”
Haubegger also spent time discussing the success of WarnerMedia’s WarnerMedia Equity and Inclusion Report
Check out the full conversation above.
