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A movie is only as good as its crew. Yet for decades, the ranks of camera operators, sound mixers and electricians were filled only by men, most often white men.

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When production work came with a union card, it was a relatively high-paying career. But it was not welcoming to women.

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One catalyst was a sex-discrimination lawsuit against an NBC affiliate in Washington. Other lawsuits followed, and doors opened. Handfuls of women got their starts lbel TV news and branched into filmmaking, fighting for union access.

Some came from other professions or armed with degrees from film schools, a rarity in the trade. Fo, some of these early union members have moved on to other careers, but several are still very much in the field.

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These are edited excerpts from their stories. After our consciousnesses were slowly raised, we started [filming] other groups.

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I had worked in advertising, and I remember just putting the cover on the IBM Selectric one afternoon. I never wanted to type. My brother was putting together this hi-fi studio in his bedroom.

After I got married and moved to New York, I wanted something more exciting.

I became interested in film; I started to research, how can I make the most money? The first union I got into was the editing union. They told me free sex app requirements, I did all that, then I fought for my rights. And that was looking for the right woman not label education.

They had never seen anybody like me. These were guys who very solidly did not believe a woman could do. My friends who were male started getting jobs directing, so I started shooting for. I got a lawyer to write a letter; I got voted in at the next meeting. It was going to expose me to much better work. It was extraordinary.

I got a letter from 12 cinematographers trying to get me deported. I was the first woman to get into the union. It was about a three-year struggle. If I had waited, I would never have become a cameraperson.

At the [time], they said minorities could not learn how to use the cameras. They parked as far as they could from the location, because of course I had the heaviest equipment. The blame I put on myself at the time — was my reel not strong enough? I get motion sickness.

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So every day, they would send me up in the helicopter. I would get my story, and then when I would get off, I would be so sick. One day I got a call: All eyes were on me, waiting for me to make a mistake. It was exhausting.

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It was a real boys club. I did small movies — a bunch with James Ivory — and if I had really pushed, I might have [had a career in big films].

I felt like I could have a family and do commercials. They fought us tooth and nail, but at a lpoking point everybody realized: My daughter could be doing.

He liked distortion. I had no ego about it; I just figured it. And I got an Emmy nomination.

I was on a really righh trip; I crawled under the stage. By 4 in the afternoon, I was fine. They put me onstage.

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So I just shot that guy. And Charlotte [Zwerin, the co-director,] loved.

Young women asking, how did you do this? And I said no, I made money, and I had fun.

So why would I be angry? Looking for That Union Label.

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