Zeon: EDITorially Obsessed and Growing Through Fashion Film

Zeon with Mextilo Team at ASVOFF

Growing up in Mexico City, Alejandro Salinas was captivated by the artistry of music videos. Crafting images and story to music, and the creativity that went along with it, was something he knew he wanted to be a part of. Eventually, this transitioned from a dream to a reality, and now he is professionally known around the world as Zeon, an extraordinary director and editor who isn’t just passionate about what he does, but this passion translates to talent, making him one of the best.

Zeon’s career has been filled with accomplishments making music videos and films. This past year, he also saw success in the fashion world, which he calls one of the highlights of his career so far. Zeon directed and edited first Mexican fashion documentary, titled Mextilo.

“I travelled to Paris, met all these important fashion designers and saw how far a simple idea can take you,” said Zeon. “It was an amazing experience. I collaborated with a very hard working and talented team, who are now great friends who I keep working with. We’re like a family now and I’m glad this project allowed all of us to come together.”

The documentary did so well that it’s now being turned into a book, something Zeon is very proud of. He originally wanted to work on the film because the producer, Gustavo Prado, was someone he had always admired and wanted to work with. However, after being exposed to the project, it being the first of its kind made it even more attractive to get involved with.

“I worked very closely with Gustavo. I had a great time, because he’s not just a co-worker, but a good friend and someone I learned a lot from. The editors are now friends of mine with whom I’ve worked on in different music videos. They are all very talented and fun,” said Zeon. “But getting to know all these designers, the fashion history behind my culture, and this whole visual world I got to explore by making the documentary made working on Mextilo amazing.”

The film had a long process of editing and re-editing, shooting interviews and making the film better with each cut, but having a clear structure and organization allowed Zeon to push through. This perseverance led to outstanding results. In addition to the book deal, Mextilo was the first Mexican fashion documentary premiered at ASVOFF film festival in Paris.

“I feel very honored to have been personally invited by Diane Pernet to the festival. Working so hard on a project locally and seeing how it was much bigger when seen from a worldwide perspective was very rewarding,” said Zeon.

Although it was the first Mexican fashion documentary to appear at the festival, Mextilo was not Zeon’s first taste of success in the world of fashion film. He previously worked on the fashion film and music video Dieode.

“It’s motivating to have such recognition because it proves I’m not the only one who sees potential in what I do, and even though some people in my country don’t seem to appreciate it, the rest of the world does, even more than I expected,” said Zeon. “It was great being involved in all the creative aspects of the film and getting to develop my creative vision with many talented people that further expanded everything in the best way.”

Dieode went on to be an official selection at various festivals, which is satisfying to Zeon as he was in charge of creating the entire concept of the film from scratch, and he worked hands-on with every single creative department.

“Zeon strives for perfection–he’s one hundred percent focused on the work in all the videos or films he’s involved in, always with a lot of responsibility, communication and passion. He’s very detail oriented,” said Kether González, the producer of Dieode. “He is very friendly and kind with the people he works with. He is definitely one of the most dedicated and responsible people that I know in this business.”

Still from Dieode fashion music video.

The film premiered in early 2014 at the Cineteca Nacional in Mexico City, with full attendance in the theatre. Zeon was very humbled to see this video finally done, and that people enjoyed it so much.

“People were silent until the very end of the video, and when up until the final credits showed up on screen, everyone clapped euphorically,” he said.

Despite having worked on music videos in the past, Dieode was Zeon’s first time fusing fashion with music videos. He wanted to create his own version of that hybrid.

“It was a very strong and simple idea I thought could work. It would allow me to push my limitations by working with other creative disciplines alongside me,” he said.

With his true passion being in making music videos, Zeon has worked alongside Lady Gaga on the video for her Academy Award nominated song ‘Til it Happens to You, as well as La Lupita, Icon for Hire, and the Raíz collaboration of Lila Downs, Niña Pastori, and Soledad. No matter who he is working with, he knows directing and editing is what he was meant to do.

“I wanted to get into this field because I would be watching music videos that were already released and thinking: “No, this needs to cut faster! It’s the chorus of the song and the most emotional part! How come we’re in a static shot?!” I felt that only by doing it myself would I be able to get my vision across,” said Zeon.

“There’s so many feelings that can be accentuated and drawn just from the right editing, and I’m obsessed with making that happen,” he concluded.


Sergey Savchenko talks working on Russian hit “Liberation of Europe”

Sergey Savchenko has always known film was his passion.

Growing up in the heart of Siberia, Sergey Savchenko was not like other children. While many passed the time with toys, Savchenko turned to movies. Film slowly transitioned from his childhood pastime to his life’s ambition. He would sit and watch the same film over and over again, enjoying it more with each viewing. He would study it, and try to understand how each scene was put together. Upon stepping onto a film set for the first time, his dream was realized.

“On that day, I realized that I’m not alone with dreams and hobbies. It’s like a family, not everyone can understand your worries and complex thoughts so clearly,” he said.

Now, Savchenko is a successful director of photography, working around the world doing what he loves. This year, viewers in Russia had the pleasure of seeing Savchenko’s artistry on 1TV’s Liberation of Europe, a five-episode documentary series highlighting the difficult decisions made in the headquarters of different countries during the second world war. Actor Victor Verzhbitsky, the main narrator of this movie, goes through the events of the World War II, still frozen in time.

“It was a long journey, like a short life. In the process, I visited a lot of European countries, met a lot of very interesting people, gained priceless experience in large reconstructions staging. We worked a lot with actors in emotional scenes, and as a DP it was very interesting to me to set the lighting and searching for needed emotions in a frame,” described Savchenko. “The range of emotions in the film varies, going from bravery and courage, to treachery and intrigue. It was very interesting to work with such a script.”

The difficult format of filming included shooting real characters and events, working with the actors, staging feature scenes, and the cinematic language of the series. The team needed an experienced Director of Photography to be able to handle the complexity of the task, and the director Pavel Elkin chose Savchenko.

“Working with Sergey, to me as a director, was much easier than with any other DPs, due to the fact that his understanding of the process of making the film is much deeper than of many others. He doesn’t need to be explained the principles of shooting for future postproduction or graphics, he is fluent in the technical side of the issue. In addition, the director of photography is essentially the eyes of the director. It is important that `the head` and `the eyes` work together and understand each other well. In creative matters Sergey is simply brilliant,” said Elkin.

While working on Liberation of Europe, the team needed to split the crew to create a second unit, which happened several times. Savchenko ended up taking over for the duties of the director on the second unit.

“I must say, it was done very well. The color of all the featured episodes was also the accomplishment of Sergey. He’s really good at his job and another two or three dozen related tasks,” said Elkin.

The job did not come without its challenges. There were many large-scale reconstructions required, with many people working on them, which made the staging complex, as well as many interviews from people all over the world. But for Savchenko, it was teamwork that made all of the challenges that were presented seem minimal at most.

“Thanks to precise work of the crew, we managed to shoot everything we needed,” he said. “And you know, I can talk with Pavel easily. We understand each other perfectly. He has a vision of a product in general, and clearly understands what he wants and can explain what he needs. has a great shooting experience all around the world, including Europe, it’s brought up in Paul a great sense of taste. He knows all specifics of filming and post-production, so we successfully managed to avoid a lot of problems while shooting. Even in difficult conditions we reached the right results, working quickly like a clockwork mechanism.”

The right results were definitely achieved. The series, which premiered in May, received extremely high ratings in Russia, and had led to a collaboration with companies such as Panera Films, Reality Production, as well as projects advertising for Avon and Siemens. It also inspired the documentary The Great Che.

“Watching it, I was filled with a sense like finishing a book. In my memory, there were much more events and emotions than what had been shown in this project. You just can’t experience this feeling in ordinary life, this feeling of finishing something great, something you have a very warm feeling to,” he concluded. “It is impossible to describe; it can be only experienced.”

Lanie McAuley is the apprehensive yet unapologetic “Bitchy Girl”

Canadian actress Lanie McAuley has a diverse set of roles on her resume. A pro snowboarder in Aeris, a driven dancer in Center Stage: On Pointe, Hollywood starlet in The Unauthorized Melrose Place Story, and many others. None of them were cathartic in the same manner as her role as Heather in Lost After Dark. Far from her normal films, Lost After Dark is a straight up horror/slasher film which pays homage to the 80’s films that gave birth to the genre. McAuley’s portrayal as Heather (an obvious nod by the filmmakers to the film Heathers) displays the actress in all of her spiteful and venomous bitchiness. The role gave Lanie an opportunity to play a character possessing none of the endearing qualities found in many of her other performances, yet audiences still found a way to make her one of their favorites (likely THE favorite) cast member of the production. With a deluge of one liners that portray Heather to be every bit of the archetype bitchy girl in a slasher film, McAuley’s sense of comedic timing gives a release to the tension found in the frightening tale. It’s the perfect combination of release, terror, and vindictiveness that makes this role (and the actress) so memorable in Lost After Dark. Writer/director Ian Kessner recognized the actress’s ability to clearly communicate Heather’s energy from the moment he saw the audition tape. He recalls, “She was my first and only choice for the role of ‘Heather.’ None of the other actors in contention for the part even came close to displaying Lanie’s level of talent. She’s natural, intuitive, and blessed with amazing comic timing. Lanie can make you laugh just as easily as she can make you cry. It’s crazy! On screen, she crafted a masterful performance that audiences fell in love with. The depth Lanie brought to the role made her character incredibly likable and relatable, and contributed immeasurably to the film’s ultimate success. When the movie was first released, I attended screenings at prestigious film festivals around the world. Lanie was always singled out by the audience as the one they loved most. That’s a testament to her tremendous talent and skill. And it’s the reason I’m writing a role for her in my next film as we speak!”


So how does one become “the bitchy girl” when you are known for being considerate, amenable, and a consummate professional?  When questioned, McAuley tells of her love for movies like Mean Girls, Heathers, and The Shining. This cocktail makes considerable sense when viewing her performance in Lost After Dark. While she was confident in her ability to deliver a great performance as Heather, she remarks, “Ian [Kessner] hired me off an audition tape. He phoned me and said, ‘When I watched your tape, I knew you were my Heather.’ It was really flattering… although it’s a bit of a double-edged sword because if you’re the obvious choice to play the bitchy girl…is that a compliment?” Playing the role very close to her audition (an occurrence that almost never happens in film), McAuley expanded her understanding of Heather by voluminous viewings of the genre, from the 80’s through to modern productions. She knew that the character would have to be grounded in the archetype but play to the sensibilities of modern fans. Her attempt was to honor the tradition while breaking fresh ground in her presentation.


The dichotomy in Heather is that her dark and self-centered demeanor fuel the comedy. The two are intertwined and as complimentary as sweet and salty. The approach was carefully crafted to McAuley’s strengths in comedic timing. She comments, “I was thrilled that Ian was happy with my comedic timing! I’ve spent a lot of time in acting classes working on comedy in particular. Growing up, I loved being the funny girl, so I’m sure a lot of it comes from that. I’ve definitely had experience with the bias that attractive women can’t be funny; I’ve been in a lot of auditions and even social settings where people say, “Wow, you’re actually really funny.” as if it’s incredibly surprising. I booked another comedic role this year [Bad Date Chronicles] where I had the director and producers in stitches in the audition room. It’s satisfying to make people laugh. I hope that in my career I can help destroy the stigma that women can’t be funny. There are a lot of women out there blazing the trail who are stunning and hilarious: Kristen Wiig, Amy Schumer, and Emma Stone are some of my favourites.” Lanie continues, “I think a big part of why I was singled out as the audience ‘favourite’ was because I was the comic relief. In a slasher film, there’s so much stressful content…the audience needs a break. I’m lucky my character was written to be the funny one. Plus, everyone loves a good mean girl. There’s a guilty pleasure that comes with watching someone say nasty things. So if the audience was digging it, I’m flattered; it means I did my job right. Despite her less than redeeming qualities, I tried to make Heather likeable where I could. There is one scene where she says, ‘I don’t wanna be eaten by a cannonball!’ The comedy is in her idiocy, but there is almost a level of sympathy you have for this poor girl being so dumb (which is aided by Johnnie’s constant criticism of her). I think audiences had a soft spot for her in that way.”

Some of Lanie’s performance might have been aided by the environment and situation during filming. Production was nocturnal and usually in freezing cold temperatures. Add the requirement of Lanie’s character to be crying in hysterics, screaming, spouting vitriol, and running at top speed in high heels…it creates a weird head space for any actor. Channelling these aspects into a great performance is what McAuley does best. Lost After Dark premiered in the U.S. at Screamfest Horror Film Festival in LA, and had its European festival premiere at the IFI Horrorthon in Dublin, Ireland. The film also screened at Nocturna Film Festival in Spain and Fantasporto Film Fest in Portugal and was nominated for “Slasher of the Year” at the 2015 Moviepilot Horror Awards and “Trashiest Trailer” by the Golden Trailer Awards. Lanie was highly appreciative of the warm embrace the fans gave Lost After Dark noting, “I definitely think horror fans are their own breed! For one thing, they’re extremely dedicated. They know what they like and tend to have a really thorough understanding of the horror genre and sub genres. It’s cool to see. They’re really passionate. A lot of film & TV fans just love the good-looking actors and media hype; horror fans really care about story and the art of the genre.” In a genre which earnestly states about Heather and her ilk “The meaner, the better”, Lanie McAuley is one mean Heather!










Cinematographer Simu Feng and Director Paul Kowalski have worked together on a number of films. Although they both possess many impressive attributes, perhaps the strongest reason for their successful working relationship is that they are both classic over-planners. Both of these men subscribe to the idea that you should check every production aspect a number of times and have a back-up to your back-up. The security with which this empowers the entire production team allows the artists they work with to create outstanding films that are critically and publicly praised. As proof, consider that their latest collaboration, Breathe, which received more than thirty recognitions and awards from all across the globe including; Cannes Short Film Corner (France), Visioni Corte Film Festival (Italy) (Finalist – Best International Short Film), Southampton International Film Festival (UK) (Official Selection) (Nominated: Best Short Film, Short Screenplay, Leading Actor in a Short, Cinematography, & Score), Beverly Hills Film Festival (Best Short – Audience Choice Award), Aesthetica Short Film Festival (UK) (BAFTA Qualifying) (Nominated – Best Drama), and numerous others. The exemplary work that this duo creates together gives credence to the idea that great art is great art, regardless of your background or history. These two filmmakers come from drastically different backgrounds. Born in London to nomadic Poles, Paul Kowalski grew up in the Middle East Africa and across America. The only child of a civil servant and a nurse, Feng grew up in Shenyang, China and then moved to Beijing to study Geophysics in college. In an abrupt turn, he was accepted to the Beijing Film Academy graduate school and never looked back. While both of these filmmakers pursue the passion of their art, Kowalski notes that it is Simu’s calm nature and demeanor under the stress of production and filming schedules that aids in the director’s ability to remain calm while working together. The cinematographer is Kowalski’s barometer and governor at the same time; a great bonus to the heart of any successful working relationship.


Psychological thrillers have become Paul Kowalski’s calling card. He is adept at making films of this genre and he knows it. Simu Feng has worked with this director multiple times due to his creative and discerning eye for imagery in these films. Concerning Feng’s proficiency, Kowalski declares, ““Simu was integral in bringing my wildest imaginations for Breathe to the screen. Whether it was devising shots in our pool sequence where we had to closely follow our protagonist swimming, or in an operating room watching him perform neurosurgery, Simu was always able to offer practical, creative, and unique solutions to bring the story to life visually. A truly great professional brings more than this to the table though. Working with Simu was a total pleasure. His calm and reassuring presence on set complemented my own directorial intensity and was often a rock amid the chaos of production. The camaraderie he promoted among his camera team made on-set execution a breeze and helped us get over production hurdles when they arose, with great ease.”


Breathe depicts a neurosurgeon’s psychological battle with reality in coming to terms with his wife’s death. The tragedy has propelled the main character into a place in which discerning reality from the images that haunt him is a constant struggle. As he descends into a surreal state, one gripping scene shows him descending into a pool; he struggles for his own life in the same way he struggles to accept the reality of his situation. Feng comments, “For the night pool scenes, we wanted the space to represent his sub conscious. We wanted the pool to be dark, scary, & moody, regardless of what a public pool should look like. I lit the scene mainly using the reflection of the water, creating a constant flowing light all around the area, adding to his unstable status of mind. I cared a lot about the eye light in the scene. I wanted to enable the audience to see into the character and feel his emotions. For this scene, we really wanted to be with the character…to jump into the pool with him and swim with him while feeling his pain through all the action. To do this, I did some research. I measured the size of the pool and came up with a plan that we could afford. We set up a 21’ ft. crane on the track along one side of the pool and swung the camera into the pool area just above water. For some shots, I had my camera operator walk into the water, holding the crane head and following the actor swimming. The shots turned out really well.” Kowalski expounds, “We needed highly-charged, stylized images to help represent our protagonist neurosurgeon’s growing derailed state of mind. The ALEXA was the solution. In our night pool photography, this camera was able to vividly capture flickers of reflected light, rendering them in crystal clear, ethereal blues. In our operating room scenes, the camera allowed us to keep skin tones vibrant while maintaining the low-lit, psychological (over naturalistic) feel we were after. The quality and flexibility of the ALEXA greatly contributed to the mood and style of the film.”


Simu enjoyed creating and designing ways to “trick” the audience when it came to guessing what was real and what was imagined in Breathe. He relates, “Since our plot is not one with a lot of twist and turns, a great deal of the plot point is in the subtext. We really need to figure out a way to keep the audience with the character all the time, immersing them into the world of this film. We took a lot of time designing the shots, making sure we covered all the beats and delivering the emotion for each moment. For me, the great enjoyment in being a cinematographer is that you get to create a story and touch the audience with your images. I enjoy turning the words in the script into something tangible and delivering the emotion of the story through imagery. I get the most sense of accomplishment when a scene is cut together and works the way it should; plus, it’s so much fun working with lighting and playing with all the cameras. It is such a creative job. It forces you to keep coming up with new ideas.  I love to do a job that isn’t routine and repetition.”

As a fan of the US film industry, Simu has aspirations to make it his professional home. He admits to watching both films from his native China as well as US productions in his formative and adult years but makes note of his admiration for the infrastructure and lineage of American film. He states, “I think the US film industry is a fully developed industry in every aspect. There are rules to follow and paths to pursue; a design to getting things done. For example, you make a short, go to festivals, get noticed, and develop an independent feature. Then you go to festivals and get noticed by big studios. Whereas in places with developing film industries, filmmakers need to find their own ways to develop their career. The US has created a proven system that is admired across the whole world. I’m excited about being a part of that established model.”










Actress Romy Teperson is ecstatic about her role and involvement in Next Door to the Velinsky’s. The Australian actress has been in her fare share of TV and film productions. Whether it’s her comedic role as Sally Enfield on the comedy hit Swift and Shift Couriers (currently airing in the US on Netflix), as the pivotal female character in Unforgivable Sin, or any of her other lauded roles, Teperson brings an energy that has elevated her to being one of the most highly sought after actresses in her homeland. Not only is she proud of her performance as Doctor Jay in Next Door to the Velinsky’s but she is also proud of the film’s selection as an Official Screening at the Cannes Film Festival. She states, “It’s extremely exciting. To have your film be a part of the history of that festival and reach that level of accolade is definetely a humbling accomplishment. Lots of films get sent to a lot of different festivals throughout the world but Cannes is on a whole other level.” The recognition of Next Door to the Velinsky’s was not limited to this alone as it also received the Award of Excellence from the IndieFEST Film Awards and premiered at the New York International Film Festival. While Teperson is widely known in Australia, the film’s international visibility gave her talent a higher vantage point for fans and critics alike.


Some of the tag lines for Next Door to the Velinsky’s include: “How far would you run to escape your past? What if the only way to survive is denial? Some secrets should never be told.” These all hint at the hidden storyline of the film. It is a psychological thriller about a young man [James Marshall] who meets up with his childhood friend [Ruby Taylor], a girl who is crazy and deluded after having lost her memory in a car accident. James has to help Ruby remember who she is as well as forcing her to face the traumatic dark secrets of her past that she has worked so long to forget. As Dr. Jay in the film, Romy is the medical advisor to a legal panel trying to build a case against the lead character Ruby Taylor. Dr. Jay is a prominent surgeon who is all business. She is quick to shut down the run around attempted to be laid upon her, by the smooth talking marketing firm quick to try use her as an expert witness/testimonial for their legal case. While the role of Dr. Jay required Romy to play a character whose profession and age are different from hers, she found it easy to relate to her. Teperson notes, “I feel like in most cases at least you are able to find one or more qualities of the character that you can grab onto and identify with personally. This at least gives you some insight and an understanding as to how they operate and see things; how they work. If you at least have the similarities, you can focus on those to identify with the character. Achieving these means that the differences don’t become as much of a hindrance. I was fortunate with Dr. Jay; her no nonsense love of telling it how it is and going after the bigger picture are all qualities I can definitely relate to. There were for sure more similarities than differences.”

All of those award acceptance speeches at the Oscars, Golden Globes, etc. are truthful when the winners state that a recognized film and performance is the result of a group effort. Even more than the presentations at these awards shows, the greatest benefit to doing exemplary work is that you are remembered and asked to work again on other films. It was a combination of peers and fans that brought Romy to play Dr. Jay in this production. Writer and Producer of the Next Door to the Velinsky’s, Chloe Traicos, had been a fan of Romy’s work and requested that she appear in the film as Dr. Jay. Traicos wrote the part for Teperson. Since the making of this film, Chloe Traicos (Writer/Lead actor), Jon Cohen (Director/Producer), Chris McHardy (Cinematographer), and Romy have worked on five projects together, giving credence to the mutually beneficial working environment of this ensemble. Having worked with several of the other actors on a variety of productions created a familiar and comfortable environment for Romy to step into the character of Dr. Jay. She remarks, “The rapport (between cast members and the director) was there so we were able to perform within the safe confines of this. It almost felt like being at drama camp. Getting to act with a group of people you admire and also happen to be your friends, that’s a very satisfying professional experience.” Speaking of Teperson’s work, Jon Cohen declares, “As a director that has been on a plethora of film and television sets, I have seen a lot of talented performers but Romy stands out as an extremely talented actress who brought her own unique style and vision to each role. Her commitment and dedication to her roles in my films were some of the best character studies I’ve seen in all my years working in the entertainment business.”

Romy’s travel experience is something she put to use for her portrayal of Dr. Jay in Next Door to the Velinsky’s. Teperson’s love of the US emerged in the tone of her character as she states, “I like to say I’m an Australian by nationality, but a New Yorker by build. I identify with the tough, brash, no nonsense humor that NYC is known for. So for me, even though the Dr. Jay isn’t a ‘New Yorker’, she still possesses all those same qualities; ones which felt very comfortable for me to play. I have filmed mostly in Australia. However, if I was going to shoot more anywhere else, it would be within the US. Specifically, more studio work in Los Angeles and more location shooting in New York. I would love the experience of shooting a series in front of a live studio audience. For location shooting, couldn’t think of anywhere more exhilarating and exciting to shoot live than around the streets of New York.”




Many of us from the West are mesmerized by the martial arts. Though we might pretend otherwise it’s mostly about self-protection peppered with a dash of “I’m cool.” The difference is that those from the part of the world in which this discipline originated and who truly understand it is this; it’s a way of life. There is a mastery of self that transfers to all parts of one’s life. It becomes a lifestyle rather than an expertise with combat. Yes, the physical benefits are there but the mental and spiritual one’s supersede them. Livi Zheng is a respected producer and director began her career as a stuntwoman and actress due to her mastery of martial arts on the enormously popular Asian television program Admiral Zheng He. Immersing herself in the production world, she began assisting in all of the different department until she became the assistant to the producer. Quickly thereafter she was working on scripts, doing research, prepping for shoots, and finally became the producer herself. The immensely popular program about Admiral Zheng He led to a film about this historic Chinese figure. As a testament to the benefits of her martial arts training, Livi assessed what was needed to conquer the production world; achieving great acclaim in the ever-expanding Asian TV and film industry; no small achievement for even the most accomplished professionals.

Livi is originally from Indonesia but moved to Beijing, China with her brother to further pursue martial arts training. While her excellence in the discipline would lead her to working on the hugely popular TV show about one of the most respected historical figures of China, it would also take her life down an entirely different path. The Admiral Zheng He TV series is a massive hit in Indonesia; to simply be an actor on the show would already register as a great success for Livi. But she was so interested in the workings she saw behind the camera that she immediately began the pursuit of assisting in the many different parts of production. Her dedication to learning every aspect of production paid off when she began her role as a producer on the program. In her role on the series as Suhita she was a Javanese queen regnant and the sixth monarch of the Majaphit empire (the biggest empire in Southeast Asia), ruling from 1429 to 1447. Somewhat mirroring that character, Livi oversaw productions that took place in China, Indonesia, and Thailand. It’s poetic that Zheng would learn the lifestyles of each of her people (the cast and crew) and then rule (produce) with the knowledge and empathy gained.

Livi’s work was so successful and lauded by the viewing audience as well as the production company that she was asked to produce the film inspired by the TV program’s success; The Empire’s Throne. Her abilities as an actor together with her skill as a producer, handling the production schedule and budget, made Livi the two most valuable people involved in the series.

Managing hundreds of extras and animals on set with lead actors is quite a feat for any producer. Zheng is frank about the fact that The Empire’s Throne was all about spectacle with expansive vistas and huge numbers of foot soldiers and cavalry. Recalling one scene she states, “There was a very big fight scene with a many horses and challenging stunts. We prep it ahead of time but there was still so many details to work out on the day of; such as getting all the stunt people and extras in the period costumes and props. I hired an extra crew just to get everyone ready faster. I wanted to maximize the shooting time rather than using it to prep the hundreds of people involved in front of the camera.”


The Empire’s Throne is a colossal dramatic action film, based on the story of the empire Majapahit, the most powerful Empire in Southeast Asia. The film tells the story of the epic struggle for the throne of this kingdom. It features a huge cast, stunning Southeast Asian sets, costumes, locations, and music. This epic period piece possesses a unique cultural aspect. Its spectacular production design is extravagant and unique in the eyes of US audiences, so much so that it garnered an official selection in Boston International Film Festival. It’s of great relevance that one of the stars of both the TV series Admiral Zheng He and The Empire’s Throne took note of Livi’s professionalism and excellence on these productions. In addition to being a star of the show, Saifullah Yusuf (also known as Gus Ipul Job) also has the distinction of being the Indonesian State Minister for National Development Planning (2004-2007) and Deputy governor of East Java, Indonesia (2009- Current) …meaning that he understands the historical accuracy and authentic recreation of these tales. as Saifullah Yusuf related,


”Livi Zheng is a talented and dedicated producer who has shown herself capable of executing sophisticated productions with significant budgets. On the TV series Admiral Zheng He (Laksamana Cheng Ho) and the feature film The Empire’s Throne she coordinated a cast of over 1000 extras along with hundreds of horses while shooting in three different countries. In the action genre her personal experience as a multiple award-winning martial artist gives her unique insight into the stories she produces. Not only was I impressed by her ability to access her prodigious skills and experience, but also by her devotion to depicting realistic portrayals of the locations and historic periods in her films. To this end she spent a good deal of time gathering research from museums around China to add authenticity to the production.”


Director/producer Nirattisai Kaljaruek has worked with American household names such as Nicholas Cage and Bon Jovi. Regarding his experience working with Livi on these multiple productions, he comments


“Livi’s upbeat spirit and strong vision were an inspiration to our cast and crew, helping them realize the tone and spirit of the film. Her energy and passion are infectious. She manages to oversee everything with compelling detail, while paying attention to budgetary and scheduling constraints. Having grown up in Indonesia and China, and then continuing her education in the United States, she brings a unique multicultural perspective to all of her creative work.”


Zheng’s work on the productions concerning this popular historic figure continued as producer on the feature film Legend of the East. The film was a huge hit with notable achievements, including:  Nominated at the Madrid International Film Festival for Best Foreign Language Feature Film –Legend of the East (Livi Zheng and Nirattisai Kaljaruek), Best Director of a Foreign Language Feature Film (Nirattisai Kaljaruek), won Best Actor for Foreign Film and Best Supporting Actress for Foreign Film. With her successful directing credits adorning her resume  Zheng continues to expand her role as a respected filmmaker, more recently producing and directing the suspenseful Victorian period-piece The Lost Soul. Livi is currently fielding several  offers in the US.

(Title featured image courtesy-of-marie-claire-indonesia-by-irfan-hartanto-2)

Actress Tatiana Romao: Driven to Tell Touching Stories

Tatiana Romao
Tatiana Romao shot by Adrian Aguinaga

While many actors are driven to perform by the fame that accompanies the spotlight, Brazilian actress Tatiana Romao is driven by the unceasing need to tell stories that touch audiences on an emotional level.

Over the past two decades Romao has become known for her work in both South America and the United States through her roles in an impressive list of high profile films such as Bruno Costa’s Encantacao aka Enchanted, Benjamin Holk Henriksen’s romantic drama The Elephant Clan, multi-award winning director Giulio Poidomani’s 2012 drama Disruption, Nyon Visions du Réel and Santa Monica Film Festival Award winner Andrea La Mendola’s 2015 film Lips, Nir Paniry’s (Tina Bobina, A Scarecrow Story) film Extraction, which stars Sasha Roiz from the two-time Primetime Emmy nominated series Grimm and was nominated for the Audience Award at the prestigious South by Southwest Film Festival, and many more.

About what drives her to perform, Romao says, “I want the stories I am a part of to be an example to someone else of a reality different than what they know or have, a new perspective on the struggle they might be going through, to inspire, to give hope. To know that I am able to change someone’s life fulfills me in a way that nothing else does. That’s how I want to change people’s lives and that’s the story I want to live behind.”

One of her most touching portrayals to date came in 2014 when she took on the lead role of Diana in the dramatic feature film Simple Being written and Directed Marco Ferrari (Moonscape, Don’t Let Me Go). In the film Romao stars alongside Sol Mason (This Tunnel South, Gilmore Girls: A Year In The Life), Jasmin Radibratovic (Broken Hill, Misfire), Jeff Adler (Reel Evil, Criminal Minds, Modern Family) and Tony Award winner Paul Sand (Time of Your Life, Joan of Arcadia).

simple being Tatiana Romao
“Simple Being” Film Poster

Revolving around Clive (Mason), a college student who’s spent most of his life feeling like an outcast, Simple Being offers audiences a powerful look into one young man’s experimental journey into experiencing what it means to really have an impediment.

“It has a beautiful lesson and it teaches the world how to respect and appreciate others,” Romao says about the film.

With few friends in his life aside from Diana (Romao), Xécile (Radibratovic) and Aaron (Adler) who live with him, Clive’s overwhelming feeling of disconnection to the world leads him to embark on a three week journey of sensory abstinence– devoting one week each to experience what it’s like to be deaf, blind and mute.  

As Clive’s closest friend in life, Romao gives a knockout performance as Diana, the one person who supports him on the journey to finding himself and his place in the world.

“Diana gives him the idea to do the experiment for 3 weeks… She is the one who is always by his side and guiding him through it all. He needed to learn about life and she wanted him to find his path, to find himself,” explains Romao. “He is judged and somewhat mocked by his family and classmates and Diana is the only one supporting and pushing him to go all the way and finally discover himself in this journey, she is always by his side with a word of incentive.”

Journeying through each impediment, Clive discovers more and more about himself as each week passes. Over the course of the film we watch him go from being uncomfortably disconnected from everything and everyone to pushing the boundaries of his normal ‘comfortable’ life, and ultimately coming to a point where he is able to experience a new reality filled with real connection.

Produced by Hornil Brothers Productions (Missed Call, The Face of an Angel, Trouble Child, 6 Rose Circle), Simple Being did exceptionally well on the film festival circuit taking home the Best Feature Film Award at Italy’s Artelesia Film Festival, the Castell Award from the Barcelona Film Festival, the Jury Special Mention Award at the Detour On The Road Film Festival, as well as the Excellence in Cinematography Award at the Amsterdam Film Festival and an award at the Human District International Film Festival of Human Rights. Simple Being was also chosen as an Official Selection of the ARS Independent Festival, Brasilia International Film Festival, HollyShorts Film Festival, No Glass Film Festival, Canberra International Film Festival and more.

“This is one of those scripts that you just fall in love with straight away. It wasn’t so much about my role or who I was playing, but more about the story that was being told. That is exactly the kind of project that I want to be a part of, that I want my name connected to and that is exactly what inspires me,” admits Romao.

Romao’s performance in the film is so authentic and touching that you’d imagine she actually lived Diana’s life off screen. To those who have seen her work in the film it will come as no surprise as to why the film garnered such praise, and why she has become such a sought after actress on an international level.

Actress Tatiana Romao
Actress Tatiana Romao (left) director Lidia Damatto & production designer Elisa Lopes (right) at the Hollywood Brazilian Film Festival

In 2017 audiences will be able to catch Romao in the upcoming zombie horror film Valentine DayZ, which also stars Carrie Keagan from the hit series Reno 911 and the films The Hangover and Dead 7, and Robert Allen Mukes from the series Westworld and Weeds. She is currently in talks with Valentine DayZ producer Kate Rees Davies (The Girl, The Night Visitor, The Vanished) and director Mark Allen Michaels (Mind Rage, The Fiance) to take on a critical role in one of their upcoming projects, so stay tuned for more information about that!

Davies says, “When I first met Tatiana, I was so impressed with her ability as an actress and her passion. She is a very versatile talent… I look forward to continuing a strong work relationship with her for many years to come. She is already under consideration for many exciting projects such as ‘Babes With Attitude’ to be filmed in 2018 and ‘The Conflagration’ for the year after.”

For Brazilian actress Tatiana Romao, acting is a means of telling stories and touching the lives of viewers around the world; and, while she’s garnered international fame for her work, it is only a side effect of doing what she loves.


The CW Keeps Actor Nathan Mitchell Busy With Several Hit Shows

Nathan Mitchell
Actor Nathan Mitchell


From hit teen shows to action-packed dramas Canadian-born actor Nathan Mitchell has become a recognizable face on some of The CW’s most popular television shows, and it’s no wonder why—the guy’s got a lot of talent.

Over the last decade we’ve watched Mitchell break Lindsey Shaw’s (“Pretty Little Liars,” “Temps”) character Claire Tolchuck’s heart on “Aliens in America,” battle it out with Colton Hayes (“San Andreas,” “Teen Wolf”) aka Arsenal on the DC Comics inspired series “Arrow” and take on polarizing roles on both sides of justice in the series “Tomorrow People” and “iZombie.”

Ironically enough, Mitchell actually got his start on the small screen on The CW series “Aliens in America” where he played the recurring lead role of Jeffrey, an amiable high school jock who’s the on again off again boyfriend of Claire Tolchuck. Over the course of the first season we watch the two go back and forth falling in and out love with that hot and cold style that’s so characteristic of most high school relationships. At first Tolchuck tries to dump Mitchell’s character in an effort to raise her social status and find a more popular beau, but it doesn’t stick.

“Like any sophomore in love, I waited on her lawn and blasted ‘In Your Eyes’ till she came down and gave me a nice PG hug,” recalls Mitchell.

The two make it work for a little while, but like many high school boys, Jeffrey eventually decides he needs more freedom.

Mitchell says, “I decided she was too clingy so I ended it in between classes. Nice and clean. She was crying but I was cool, so whatevs. Playing the character was a blast!”

Nathan Mitchell as Jeffrey in “Aliens in America”

“Aliens in America” couldn’t have been a better jumping off point for Mitchell’s career, as we got to see the actor take his character from being a lovable stud to a nonchalant ass hole. Proving his dynamic talent, Mitchell takes the character from someone we immediately adore and transforms him into one that is easy to hate, making Jeffrey relevant and relatable to the show’s massive teen following.

In stark contrast to Jeffrey on “Aliens in America,” Mitchell went on to play a significantly more vile character on the Joey Award winning series “The Tomorrow People.” In the action-filled sci-fi series a group of young people who possess psionic powers as a result of human evolution are forced to keep their abilities a secret or risk being imprisoned and exploited by Ultra. Mitchell comes into the mix as one of Ultra’s key agents in the first season of the series, and he’s definitely one badass the Tomorrow People do not want on their trail. Comparing how intimidating his character is on “The Tomorrow People” to Jeffrey in “Aliens in America” it’s surprising that they are played by the same actor, from his mannerisms to the way he carries himself, Mitchell is that good at morphing himself into different characters.

Nathan Mitchell in “The Tomorrow People”

One of his most popular CW roles to date though is Isaac Stanzler, the bitter and abandoned protégé of Wildcat on the Leo and Prism Award winning series “Arrow.” In the show’s third season we get to see Mitchell put on his villain’s mask and battle gear and get into a nasty brawl with Arsenal aka Roy Harper in a tell-tale interaction that foreshadows the series’ thickening plot. Mitchell is clearly a force to be reckoned with on screen when it comes to action.

“Isaac’s showdown with Roy was epic… The fighting sequences were off the chart,” says Mitchell.

After Mitchell’s character commits a series of bloody murders in a ploy to frame Wildcat and get revenge for past pain, he encounters Arsenal who puts a stop to it all in an intense battle scene that keeps us on our toes.

Colton Hayes (left) and Nathan Mitchell (right) duking it out on “Arrow”

Mitchell’s most recent spot on The CW was in season 2 of the comedy crime drama “iZombie,” which aired earlier this year. Earning a Teen Choice Award nomination last year, as well as a Joey Award nomination this year, “iZombie” follows Olivia Moore played by Rose McIver (“Masters of Sex,” “Once Upon a Time”), a medical student who, after being turned into a zombie, finds a way to use her unique circumstances to help the police solve crimes around the city.

Mitchell first appears in the series powerful season 2 finale in a crucial role as a law enforcement squad leader who leads his team into the Super Max Rager research facility after a group of young researchers take a pill that turns them into bloodthirsty zombies. We see Mitchell take charge as he dashes through the doors of the building and orders Moore, Detective Babineaux and Major to vacate the building so he can clean up the mess.

Nathan Mitchell in “iZombie”

Audiences will also be able to catch Nathan Mitchell in a recurring role as a mercenary in season 3 of “iZombie,” which is slated to air on The CW in 2017.

From playing the high school stud to an embittered criminal, as well as several roles as dominating characters in positions of power, Mitchell has done a brilliant job of transforming himself to fit whatever the project calls for; and thanks to his unparalleled talent and undeniable good looks, audiences around the world can bet on seeing a whole lote more from the Canadian actor for many years to come.

Composer Kevin Smithers nominated for best original score for film On the Roof

While Kevin Smithers was studying his undergraduate degree in music, he came to the realization that he enjoyed sitting down and writing down a good sounding solo over a jazz piece than improvising. This realization shaped his future and career; making the transition from a performer to a composer. Throughout the rest of his studying, this passion grew to become a career. Now, Smithers is a successful film and video game composer.

During his career, Smithers has worked on over 20 films and web series, as well as the new PlayStation VR video game World War Toons. However, it was with the award winning film On the Roof that he received his nomination for best original score at the Sitges International Fantastic Film Festival under the Noves Visions SGAE Nueva Autoría section, which he describes as a great honor.

“It’s the way that Kevin understands the music for films: he also puts the story and the characters before his own work. He is very conscious that he’s making music in order to tell a story, for expressing feelings, not only for himself or for people to listen to his music separately,” said Damià Serra Cauchetiez, the director of On the Roof. “Working with Kevin is amazing. He is very hardworking and was very motivated about the story. He always understood what I wanted in every scene, and also he proposed many of the good ideas that they finally ended up in the score.”

On the Roof (also known as En la Azotea) tells the story of Adrián and his friends, who climb to a roof every afternoon to spy a girl who sunbathes naked. However, one afternoon won’t be like the others, as the friends realize that one of them is more interested in a guy showering in a close building. 

“Working on On the Roof was a great experience. Damià and I bonded over some of our favorite scores when we met in Spain and was really excited when he asked me to score his film. He gave me a lot of creative freedom to do something that I thought was interesting and new. In fact, the temp music in the film was radically different to what we ended up doing,” said Smithers.

Smithers wanted to tell part of the story with the music, with a very warm Spanish sounding score for the film as the film takes place during the Spanish summer. However, they didn’t want to go all the way with Spanish flamenco, which is when Smithers came up with the idea of using only an acoustic guitar.

“It’s a very Spanish instrument. I spent time trying to get as many different sounds from the guitar as I could and recording them in various ways. Once I had all these sounds recorded and ready to play with, it’s as if I had a standard ensemble that’s normally used to score a film” he described. “But we altered the sounds to have that cinematic feel as well. Even though it’s a very personal and introspective story for the character, it feels big and daunting from his perspective. By modifying the guitar recordings and doing a lot of guitar passes, we managed to get an intimate Spanish sound that could also grow into a full wall of sound needed for some moments.”

On the Roof has premiered at many film festivals, including Cannes, Berlinale, Sitges, Seminici, Vancouver International Film Festival, Seattle International Film Festival, and more. It has won awards at several of those festivals, including a nomination for best director and Miguel Casanova Rodriguez won for best screenplay at the Sitges International Fantastic Film Festival.

“The most pleasurable thing to me when writing music for film or games is when you’re done with a scene and the music just sits perfectly over it and really adds something to the project that wasn’t there before. This way of telling a story through music is a very specific way of writing, which I deeply enjoy,” Smithers concluded.





Brazilian Jean Paulo Lasmar is most commonly recognized as a Producer & DP but storyteller is probably the most accurate description of him. Director of Photography or Producer are the most easily labeled tools which he utilizes but that says more about our attempt to place a label on him than it does the actual way in which he creates. Consider the fact that he spent some time in Panama and Indonesia observing the people, their surroundings, their interactions… producing documentaries to tell their stories. From this he moved on to Latin America, the UK, South America, West Sumatra, and eventually the US. In his travels he simultaneously also pursued his love of photography, capturing the visual personalities of the people and places he encountered. Lasmar has spent his life thus far seeking out the less obvious and too often overlooked tales hidden in those not so celebrated. It is his perspective that there are far more interesting stories than the ones that often repackaged and repeated to the audience. While he employs the skills that are tried and true, Jean Paulo’s true talent lies in his ability (a benefit of his love of photography) in recognizing the beauty that is found yet masked by a veneer of the mundane. His film O Condominio (The Condominium, as writer/producer/director) came about as a result of his experience living in Sao Paulo, Brazil. While O Condominio is a film that was conceived and created by Lasmar, he has lent his talents to numerous award-winning films such as: Looking at the Stars (Documentary Winner of a Student Academy Award in 2015), the live action animated Mosquito: The Bite of Passage (2016 Telly Award Winner), Surviving a Funeral (screened at the 2014 Cannes Film Festival), and numerous others. While these films and his work have received copious accolades, Lasmar’s films are recognizable by the introspection of normal people and the unexpected complexity of their lives and situations.


Anyone who has spent some time in communal (esque) living spaces understands the bargain and sense of unease that exists in this lifestyle. Jean Paulo has known little else. He confirms, “The world I was creating in this film is very familiar to me. São Paulo is a vertical metropolis with thousands of resident buildings all over the city. I lived in three apartment complexes before I decided to write the story.” The inspiration to make O Condminio came at a time when he was not only living in an apartment but also when Lasmar was preparing to make another film. He recalls, “I had the rights to write and direct my version of a short story called ‘The Bird’ written by the famous Brazilian writer Regina Drummond. It is a story about euthanasia. It’s a very interesting and heart-wrenching story. Things weren’t falling into place as I had wanted and my wife Silvia took me to lunch, just to get out of the house. She literally dragged me out of the house. We stepped inside the elevator and there was a note on the wall. There was a group meeting happening soon to decide many items related to the building’s welfare and maintenance. Right then and there I saw the story; the characters, conflicts, who would approve, who would not. These group meetings are hell. They are chaotic. People really transform themselves in these situations and some really stand out as great leaders. We came back from lunch and I wrote twelve pages. I had been looking for some grand statement for a film and there was a great idea being served up to me.”

O Condominio is a satire about living together. The plot centers around the intense routine of a family man who becomes the building manager of a problematic apartment complex. Estevan (the protagonist)’s job is to take care of the building but he is also a family man. He needs to provide for his family. There more involved he becomes with the problems of the apartment complex, the less time he spends with his wife and kids. These opposing forces drive his internal conflict. Nestor, one of the problematic residents, wants to bring him down. The story becomes political; there’s a dispute for power. It’s a metaphor of a city, a state, and/or a country. There is the side which controls the system and there is the opposite side. Estevan ultimately has to make the decision of whether he should take care of his family or sacrifice his role as a family man for the sake of the others. He chooses his family but the power wheel is cyclical and will never end. It is a constant in human behavior. There is sarcasm in the aftermath of the events. Estevan becomes the opposition and he won’t be silenced. This conflict is analogous to our interaction with others as well as our own internal conflict. It’s a factor that Lasmar contends with in his multiple roles behind the camera. Writer/director Suzana Amaral relates to this as well. Amaral has been recognized for her films at the Berlin International Film Festival, the Havana Film Festival, The Moscow International Film Festival, the Cartagena Film Festival, and countless others. About Jean Paulo’s work, she comments, “Jean Paulo is a superb filmmaker whose capabilities behind the scenes are only rivaled by the glowing reception his work frequently receives. Jean Paulo has consistently earned widespread admiration and respect for his work. His accomplishments are evidence of the vast range of his work, as his talents span medium and mode.” One of the greatest difficulties with someone as talented as Lasmar is delegating when circumstances require. However, this is what enables the process of film production and allows for opportunities in the community. It also results in achievements such as O Condominio’s Official Selection at the 2012 Mostra Brasil Brasilianische Filmschau, in Munich, Germany. Jean Paulo concedes, “With my previous directing experience in O Outro Jorge, I felt like I paid too much attention to the frame, the composition, the light, and the camera movements. I should have focused more on the story and directing the actors. In O Condominio, as a writer/director and producer, I choose to do just that; focusing on the story and directing actors. I really prepared myself to do it. I studied directing actors with Fatima Toledo, one of the most talented actor’s coaches in Brazil. I also worked with Suzana Amaral. She is a great author and director who really knows how to direct her actors. I knew I had to trust my DP; to let him do his work. I tell you, it’s very difficult to do that when you are a cinematographer. Gabriel Morais is a fantastic cinematographer. He is young and very talented. He understood quickly what I wanted, and I finally let go and focused on my tasks. I also stepped down from editing, which is something that I usually do in my films. I wanted to collaborate and I wanted my crew to feel that their work was in this film. I also believed there can be a middle ground in terms of getting involved in the work of the other departments, after all the director is the maestro and it’s his vision. I just wanted to focus on the story and the performances. Nowadays, I work a lot closer with my collaborators, that’s how it should be.”


This is the lesson of both the film O Condominio and the filmmaker; learn how to work together for the good of all and, if possible, nurture the talents of others. When people are invested, whether in their personal life or their professional one, it is difficult to accept that things can never be done in the exact manner you would pursue…but the sense of achieving success together will likely be the most beneficial to all. Art imitates life and life can be enriched by art. This symbiotic relationship exists because of artists like Jean Paulo Lasmar; those who create and allow others to be a part of the successful results.