Stacy Codikow is one of the founders of POWER UP, a non-profit organization with chapters in L.A., New York, and Chicago designed to "promote the visibility and integration of gay women in entertainment, the arts, and all forms of media."

Why did you found POWER UP and are there any other organizations out there doing some of the same things? How has POWER UP evolved since its inception?

POWER UP was created to fill a void in the Lesbian community. As a community, we lack in resources for women to share or communicate with one another. We have no restaurants, coffee houses, maybe 3 bars and a couple “girls” nights here and there. POWER UP is unique in that it’s a club, were membership means you belong. A virtual lesbian community, arts, and entertainment center in the heart of West Hollywood. We are the only non-profit organization who finances, produces, and distributes films made by our membership to the industry at large. When we started we thought maybe we would have a hundred members and get togethers, but quickly we became a national organization with nearly 900 members and chapters in Chicago and LA. We plan to launch San Francisco this year.

What are the membership requirements?

Fill out an application and make a donation. It’s that simple.

You’ve had a lot of major corporate sponsors for your events and fundraising efforts; why do you think these companies are interested in supporting your organization, and have you encountered any challenges with this?

Corporations realize that the gay women’s community is an untapped market of double income family’s with expendable money that would be interested in their products. Most companies that we have approached realize the value of what we do and create and really want to be a part of it.

How has the mainstream Hollywood press responded to your organization, and has this changed over time?

They have embraced us from the start. The Hollywood Reporter had a ½ page photo of POWER UP with an article about us mentoring women in their 2000 Most Important Women in Hollywood issue. We have been included a half a dozen times in both the Reporter and Variety reporting on such things as the film grant program, our honorary board of directors, and our mentorship programs.

What’s the biggest challenge you face as an organization today, and how is that different from those you faced when you first launched in 2000?

The biggest challenge is trying to maintain the programs and events we have become known for and trying to create new opportunities for our members at the same time. As the group grows it takes on new faces and creative ideas that we want our membership to realize and take full advantage of. I guess I am trying to say, the group grows, shifts, changes, expands and membership needs to keep up with the possibilities and continue to participate in the evolution.

You just rolled out the first full-length screenplay competition (in addition to your existing filmmaking competition); any plans to expand into even more competitions soon?

Well, this year we are into our third filmmaking grant program where three directors are paired with three writers to make three short films. The feature screenplay competition this summer will also have three winners who receive money, software and introductions to several agents and managers. We have had a competition to “shadow” a director on Six Feet Under and are planning on creating “shadowing” of writers and directors on a series later this year.

What do you base your decision on when choosing winners in your competitions?

The film grant competition is open to professional members. The scripts cannot be longer than 15 pages and are judged on the quality of the writing, the idea, and execution. They can be on any subject and do not have to be gay themed. All screenplays have the writers name removed to add a greater sense of non-bias. The tapes are judged on talent and all filmgrants applications are chosen by the member of the Honorary Board of Directors. The screenplay competition will be open to members and non-members alike. These scripts will be judged on the quality of the best scripts. Again any subject and do not have to be gay themed.

What kind of success have your grant winners seen since she started awarding them?

We have had grant winners who have written for TV, won the Student Academy Award, been hired to direct a feature film, hired to write a screenplay for Universal, but perhaps the most famous over night success was Angela Robinson’s D.E.B.S. that was an official selection of the Sundance Film Festival, the Berlin Film Festival, got Angela a writing job on The L Word and is being made into a feature films by Screen Gems.

You mentioned in a recent interview that you’d like to see more films about people who just happen to be gay (like, a gay Jaws or Sound of Music); do you see any trend in that direction in Hollywood?

No, “Hollywood” puts out Boat Trip where straight guys play gay for laughs--Hollywood makes movies that make fun of diversity and it sell tickets……I think it will be up to Gay Hollywood to take on that responsibility.

What kinds of differences do you perceive in the way movies with gay male themes are received and promoted versus films with lesbian characters and themes?

Well, distributors put more money behind the male films, because they believe there is an audience. Women have a reputation for not being an audience. I think that is wrong and all people want to see stories that depict there world and women could support a bigger release if the distributors would put the money behind a good film.

What’s your perspective on how easy or difficult it is to be a gay woman and work in the entertainment industry, and how has that changed over time? Does it seem like this varies by job type (i.e. actress vs. director vs. editor etc.)?

I believe, if you believe in yourself, your talent and your drive, that you can make it anywhere. Lots of people feel that they must fit in and that is what is dictated to them through their career. I have never felt in my career as a producer and writer that being gay in anyway hindered my opportunities.

Have you had any difficulty recruiting board members or even regular members because they are afraid to be affiliated with such an explicitly lesbian organization?

An “explicitly lesbian organization” is not how I see POWER UP. We have male, female, straight and gay members and supporters. Our mission is about integration. I suppose if you feel shame you may not what to be a part of POWER UP, but I think for the most part women are pleased to know it’s there. That there is a place for them.

Someone the other day referred to your organization jokingly as The Lesbian Mafia (in the sense that you’re all about looking out for gay women in entertainment); do you think this is idea of gay women helping other gay women is valued by your members? Any success stories resulting from the informal networking opportunities you offer members (rather than the more formal competitions)?

People should look out for, help and guide anyone whom they believe in. As gay women we need to empower and support one another. That does not mean because you are gay you should be entitled to anything or because you are a member that you should expect anything beyond what you are willing to put in. POWER UP is about opportunity and exposure.

Several of our members have created production companies together, made films together, hired one another to crew, have gotten jobs writing for several magazines and our quarterly, had meeting with agents, managers, producers, we have introduced several members to casting directors and had pitching opportunities too.

Everyday is another opportunity for networking, communicating, and advancing, but you can’t win if you don’t play.

Note: For more information or to become a member go to Power-Up.net