Film, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!

PRODUCER BRIAN MANCINI BRINGS LOVE AND LAUGHTER TO A TENSE TOPIC

October 19, 2016 pressva Leave a comment

One of the most positive aspects about the Arts and specifically film, is that it allows us to step into the experiences and thoughts of others. Film often makes the impossible transition from sympathy to empathy, in a very safe way. Rita Mahtoubian Is Not A Terrorist is a film which approaches a very prevalent and modern situation. The filmmakers have chosen a very unusual approach in the presentation of their idea; a romantic comedy. It’s not the usual approach for this subject matter and Brain Mancini is not the typical producer. With films like; A Meditation, Dryland, Star-O, and others to his Producer credits, Mancini has enabled many diverse films to be created for the public’s viewing. With Rita Mahtoubian Is Not A Terrorist, Brian was attracted to a number of aspect of this film. His litmus test is always, “Would I want to see this movie?” and it was a resounding “YES!” for him. Ultimately, Mancini states that what confirms his decision to work on a project is if he believes in the story being told. Rita Mahtoubian Is Not A Terrorist is a film which challenges the idea of stereotyping others in our modern age and tells us as much about ourselves as it does about those whom we might be unfamiliar with, as well as engaging us to question the reasons behind our thoughts. That probably sounds like a lofty status for a Rom-Com if you haven’t seen the film. The use of this genre to tackle the idea at its core, as well as some very interesting approaches to filming, removes a great deal of negativity out of the film, allowing the audience to focus on their own individual perception rather than a mob mentality.

Rita Mahtoubian Is Not A Terrorist garnered a nomination at both the 2015 Tribeca Film Festival and the Casting Society of America, USA. Being recognized by perhaps the most famous New York film festival as well as the professional community which seeks diversity in casting is the kind of outstanding achievement that lets Mancini know that he is striking a resonant chord with this film. His fellow producer Roja Gashtili (known for her work on Morgan Spurlock’s A DAY IN THE LIFE, MTV’s EXILED ,SATURDAY NIGHT LIVE: IN THE 90s) refers to Brian as “a magician!” Assembling the components (crew, cast, logistics, finances) needed to make a film which deals with people fears, prejudices, and matters of the heart, would certainly take some sort of magic to manifest. Rita Mahtoubian Is Not A Terrorist is really the story of someone who is being treated as an outsider even though they’ve spent their entire life in the US. When Iranian-born Rita sets out to change her life from ordinary to extraordinary, she accidentally captures the attention of Homeland Security. The film is a satirical comedy about romance and trying to be a better person. For example, when Rita attempts to make some friends by hosting a dinner party, it just so happens that she’s also acquiring the same household materials that could be used to make explosives. With her Iranian background, she gets flagged as a possible threat to public safety. Mancini states, “In the film we do critique the close-minded attitude that anyone of Middle Eastern decent must be a terrorist but the film’s intent is to show how that’s not the case. Rita Mahtoubian moved to America as a child and grew up American. It’s a subject that can be relatable not only for Americans but for all immigrants in any country. It’s all about not believing in stereotypes and actually seeing who people really are. The film is really romantic comedy about an FBI agent falling for the person he’s investigating. Most people found it to be heartwarming with a good message of how absurd it could be to judge someone solely on their family’s background and ethnicity.”

Brian and his production team came up with one very interesting approach which solved two hurdles for their film. He explains, “We shot “Rita” in Los Angeles as most of the script was written with specifically LA in mind. Early in development we had discussed the idea of shooting abroad as we had several scenes located in the Middle East. The creative way around this was when we decided to build miniatures and shoot all of those scenes in that style. Our main goal was to not sacrifice the story for any amount of money. We would often ask each other ‘How can we creatively get this same feeling that’s written in the script?’ Being able to shoot on a stage and creating the miniature sets gave us the capability of shooting a desert scene in the morning and then moving to steel mill only a few hours later.” Creative producing resulted in time and money saved, which could be channeled into other aspects of the film.

This production which has such an unusual approach to a timely situation, has been enormously accepted and appreciated by audiences. Brian feels that this validates his motivation to be involved in the core message of Rita Mahtoubian Is Not A Terrorist. His role as producer necessitates his involvement from pre to post production, which means Mancini puts a lot of time, effort, and heart into the films he helps to create. He comments, “The grand consensus is that the film is well liked by the mass audiences. I feel that because people can relate to the characters, it gets them invested. The humor successfully releases the tension when needed and helps audiences stay inside this world that we created. I hope that people see this movie and take a moment to think about our overall message. The feedback we’ve been getting from the film is that people understand and enjoy the message. Additionally, they enjoy the choices in our visual storytelling. The miniatures successfully capture audience’s imagination and the ending when the Agent walks through the explosion site into a heart shaped hole creates a warm and fuzzy feeling.” While Brian Mancini has no aspirations to the stardom and celebrity that drives many, he is always striving for the films he takes part in and believes in making. It’s about both the story and the art of telling the story for this producer. He confesses that there are so many possible ways to portray these tales…and he is eager to experience as many as possible in his career.

Behind the Scenes, Canadian Talent, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!

MIGUEL RIVAS: THE FUNNIEST EXECUTIVE PRODUCER YOU’VE NEVER MET

October 19, 2016 pressva Leave a comment

Being an Executive Producer (EP) is in many ways similar to being a UFC fighter. You put in an insane amount of hours preparing for the microscopic amount of time that the audience actually witnesses the entertainment which you create. You must predict the action which will take place in your mind, envisioning it months or years before it ever takes place. You choose the team of professionals who will hopefully insure your success. Not to be forgotten, you often feel as if you have had every ounce of energy kicked out of you before it is all over. If it sounds hyperbolic to you, a conversation with Miguel Rivas may alleviate this uncertainty. Rivas is well known in his native Canada (the US is now paying a great deal of attention to him) for his writing and acting abilities but, unknown to the public en masse, he has been the EP overseeing many of the productions for which he has become famous. The combination of writing and acting has given him an overview of what is needed and naturally steered him towards the role of EP.

Many often refer to the role of EP as an honorary title given to marquee name actors and actresses to placate these celebrities. While that may exist in some parts of the entertainment world, this scenario has no presence in Canada’s TV and film industry or Miguel’s experiences. Many times, Rivas has been asked to take on this task as someone who has the understanding of what the production needs as a whole. He states, “Being executive producer means ultimate control, but also maximum stress. The whole project rises or sinks based on how you put it together. That means primarily, finding the right people to work with. On ‘Japan’ and ‘Wanda’ (two of the films by comedy troupe Tony Ho), it was paramount to find people who understood our sensibilities as a group. As EP, you have to organize everything and keep multiple plates spinning at once. Independent films can be hard to fund; finding money and support for our voice was the single most important part of being EP on these projects. Once that was in place, it was just about doing every task, however large or menial, with an eye on making the best film you possibly can.” Tony Ho is one of the most established and lauded Canadian comedy groups to perform both live and on film. With a signature dark comedy style, they appeal to a wide audience by tackling the highly stressful situations that many of us face, or hope to never face. Japan won the Grand Prize for best film at the Laugh Sabbath Film Fest at NXNE, while Wanda was also recognized at the same Film Fest. Both films present the stresses that modern professions and love lives have on the average person, with ridiculous…sometimes fatal outcomes. Tony Ho’s Roger Bainbridge (Nolan in Japan) confirms the importance of Miguel as EP for the film, stating, “I was really fortunate to have Miguel as an executive producer on Japan with me. Most Tony Ho films feature just the three of us and maybe 1 or 2 more people but Japan required a large cast and many locations over different days. Miguel did a great job of finding the right people for the job, making sure they were paid well, organizing their schedules, and arranging the shoot days so that we could use the extras efficiently without wasting anyone’s time. Miguel was also key in finding our shoot locations. He did a great job in writing the script for Japan, but the humor comes from the fast pace of the story. We needed lots of locations to make the script work. Miguel used his connections to get us locations that would fit our script and budget. That was the beauty of having Miguel as both writer and executive producer, he turned a complicated script into an easy shoot. We didn’t have to compromise.” Adam Niebergall plays Marty (the recipient of some opportunistic nepotism) in Japan and reinforces Bainbridge’s take on Miguel’s abilities and expertise on Japan. Adam comments, “You can tell Miguel really loves making movies because he’s so calm about it all the time. On Japan there were lots of different people involved; extras, cameramen, transportation people, etc. Everyone went to Miguel to ask questions. He was the one who communicated with everyone, either in person or by phone/text, and everyone trusted what he said. Strong leadership is important on film projects and Miguel inspires confidence in everyone involved. Plus, he’s always nice about it. He never yells at anyone. He’s always more than happy to answer anyone’s questions. You can tell he’s thankful to everyone for helping to make the movie. He knows what he wants to do and accomplish and how to bring out the best in everyone’s work.” Daniel Beirne, the director of Wanda, reiterates, “he had no problem switching from his “actor/writer hat” to his “executive producer” hat. He was respectful of the crew we had there and made sure everyone was ok to keep working or asked if we should take a break. I love working with Miguel because he treats the set as a collective project; even though he was writer, actor and executive producer, everyone was equally important.”

As proof that he is no one-trick-pony, Miguel has applied this same template to music videos for a variety of modern artists. Alt Altman is the solo Toronto musician, Digits. Having toured all over the world, he’s released several successful international singles and albums under various monikers. He’s been shortlisted for the prestigious PRISM prize. Digits sought out Bainbridge because of the multiple strengths that he could bring to a production. The video for “Street Violence” (Named one of the Top 5 videos of the year by Exclaim!, featured on VICE, and MuchMusic) is an epic tale of the downfall of society and one couple’s attempts to evade the gangs who rule the streets. While the gang monikers are often comedic, the action which takes place and the anger that is vented on individuals throughout the course of the video, carries a sobering impact. Digits declares, “It’s Hard not to have only great things to say about Miguel. The cast and crew that he assembled, the storyline, the costumes, and the fact that it was finished in a matter of days…I’m so pleased with the video and the response it has gotten!” Jay McCarrol is a member of the hugely successful band Brave Shores, whose pop song “Never Come Down” was a huge hit. Jay is also one of the minds behind the web series Nirvana: The Band The Show, which had a large premier at TIFF. Rivas produced two videos for Brave Shores, “Never Come Down” (which has amassed nearly 700 thousand views on YouTube and was featured on Silent Shout, MuchMusic and VICE) and “More Like You.” McCarrol refers to Miguel noting, “As an artist, it’s important to have a professional who will listen to your ideas; Miguel is that kind of artist. He made sure Stef (Stefanie McCarrol, sister/bandmate) and I were comfortable with the concepts and took our ideas into consideration during the early phase. I like that he was flexible and fun. He is the best to work with. He also knew how, as producer, to stretch a dollar, which believe me, is needed with music videos.” While “Never Come Down” is upbeat in tone and comedic in action, “More Like You” is somber and introspective in terms of the music as well as the visuals that accompany it in the video. Rivas comments, “The music videos were slightly different as funding was secured beforehand and the task then focuses a little tighter. A major duty when acting as EP is making sure everyone at all levels of the project is happy and involved in the right way. For the Brave Shores music videos, I was the liaison between our projects and Universal Music as well as the band. You have to be level headed and a little political to make sure everything gets done in a way you’re happy with. It can be doubly difficult to occupy other roles (writer, actor, director) while acting as EP, but it offers an ability to control and lead things in a way that I find very satisfying.”

Perhaps what stands out most when considering all the aspects and talents of Miguel Rivas is that he is foremost a conduit for himself as well as others to communicate a story. He might be involved in creating lines, delivering lines, or finding the right people to finance the microphone that captures the lines which someone else is speaking; whatever the vehicle of delivery, Miguel is somewhere in there grinding away because he believes in the art of telling a great story.

Artist, film crew, international Talent, Intetnational Films, Reviews, Interviews & Features!

PUSHING HER ARTISTRY TO NEW PLACES: BINBIN MA

October 19, 2016 pressva Leave a comment

A good artist is someone who invests a great deal of their life into mastering the skills needed to communicate their vision. The recipe doesn’t end there. They are driven and inspired by the work of others, sometimes through the previous work of others and sometimes due to the collaborative effort in which they take part. This “inspiring and receiving” cycle is the creative representation of Ourboros. Without it, the Arts would become stale. It contains all the essential elements of a good artist. Greatness is similar to this but contains one extra and paramount facet; the willingness to try things that are uncomfortable, the desire to take chances by traversing into unknown areas with the understanding that failure is a distinct possibility. Only by testing our limitations can we expand beyond them. If one’s desire is to recreate perfect art, being good is more than substantial, but if one desires greatness…well, it is a good idea to get comfortable with the idea of being uncomfortable. This idea could be considered artistic CrossFit. Binbin Ma understands this concept. As a story board artist and graphic designer on many successful and lauded films, Ma has used her artistic abilities to enable directors and cinematographers to conceptualize, materialize on paper, and communicate their collective vison to the cast and film crew. She has become a sought-after artist due to her abilities on paper as well as her insight into tailoring her images to the specific filmmakers she works with. Binbin has brought her skills to award winning films such as; Robots & Cowboys, Stand Up, & the heart-wrenching and inspiring Happy Tree. In striving for greatness, Ma has tested herself in both new avenues as well as thought provoking subject matter. The challenges which she takes on in an attempt to grow as a consummate storyboard artist and graphic designer testify that Ma is a professional who wants to break new ground in her own field by understanding the inner workings of her peers and coworkers.

For the film Nothing But Her, Ma took on the Herculean task of not only Storyboard Artist and Graphic Designer but also Writer, Director, and Editor. The film was her attempt to step into the shoes of those she so often works with while also expressing a creative vision of her own. Nothing But Her is the story of a man (Jim) who observes his father’s Alzheimer condition worsen, a condition which puts Jim’s wife in danger at one point. This places Jim in a very uncomfortable and difficult situation. Binbin took on this film and its heavy subject matter as a way to see the different sides of telling such an emotionally demanding story. The idea came from her personal/cultural inspirations. Ma reveals, “It was my second year after leaving my home. I was homesick. In China, we have an old saying “child doesn’t travel if parents are still alive”. In our culture, Chinese think filial piety is the highest priority of all. Family vs. self-development has inspired me to ask ‘What if a young man had to choose between his Alzheimer’s family member and a pregnant wife.’ Making this film was a great experience for me. My skills as a storyboard artist and graphic designer saw immediate improvement after this experience. It was such a great way to learn and improve.” Because of her perspective as an artist over the course of her career, Nothing But Her displayed Binbin’s signature framing and composition. The film was received quite well with appearances in 2016 at Cannes, the Hollywood International Moving Pictures Film Festival, and the Los Angles Independent Film Festival Awards.

Cinematographer Xuexue Pan (credits includes the critically acclaimed family drama The Key, the widely celebrated film Dancer from Picture, and the fan-favorite horror film Depth, to name only a few) states, “Ms. Ma is a storyboard artist of the highest caliber. She performed several leading roles for the critically acclaimed film Nothing But Her, but in addition, she has established herself as an enormously accomplished storyboard artist of the highest regard within her field. Her prowess is unparalleled in the industry. Her achievements in the industry have cemented her as a creative force to be reckoned with. Binbin’s achievements not only establish her as one of the most outstanding and accomplished storyboard artists in her field, they also qualify her as a genuinely one of a kind storyboard artist and graphic designer.”

There is a good reason that the Boston LGBT Film Festival nominated the film The Ex Factor for the Audience Choice award in 2016. While this community has gained many legal rights in modern US society, they are still challenged with being viewed with the same level of emotional validation and “normalcy” of other couples and relationships. One of the reasons (and intent) of the filmmakers to hire Binbin as the Storyboard Artist for The Ex Factor was a desire to portray the characters and action of the film in a romantic tone with use of images and lighting; Ma was the first step in creating this. Using headshots of the actors and meeting with director Chantal Le Hunte to discuss the mood served to inform Binbin of the “vibe” which was paramount to placing the audience in the desired emotional environment. Le Hunte declares, “Ms. Ma’s unparalleled talent for our film was such an integral element to the overall production of the film that I have no reservations in attributing her with our enormous critical acclaim. The Ex Factor was nominated for the Audience Choice Award for Best Short Film from the critically acclaimed Boston LGBT Film Festival, and received Official Selections from the Los Angeles CineFest, the Indie Night Film Festival, and the California Women’s Film Festival, to name a short few. After only one meeting about the images we needed for our film, she completed the storyboards in a way that allowed me to perfectly communicate my ideas to the cast and crew, thereby making our filming process successful and enjoyable. The accolades we received are directly attributable to the work that Binbin did on The Ex Effect.”

These two films are proof of a professional who, while still at a young age, has amassed an impressive list of credentials and yet always strives to learn and grow as an artist. Binbin Ma is a team player who is also a gifted artist, always ready to lend her talents to the ideas of others in order to create the films which allow us all to view the joys and hardships of others…while hopefully being inspired by their journey.

Film, film review, Reviews, Interviews & Features!

Film Review: “Dying to Live”

October 13, 2016 Victoria Sayeg Leave a comment

dying-to-live-cover — Poster for “Dying to Live”

Director Ilya Rozhkov astounds again with his latest brilliantly executed film, Dying to Live, which was chosen as an Official Selection of the Cannes Film Festival’s Court Metrage, as well as by the Manhattan Film Festival where it was nominated for Best Dramatic Short and the USA Film Festival Int’l Short Film Competition where it was the Runner Up for the Best Short Film Award.

The visceral story follows a young man, Jesse, on the day he learns of his terminal illness, and takes us on a journey that is somehow both deeply tragic, and, yet, joyously light.

The film opens at Jesse’s miserable workplace, a car lot, as he watches his co worker and love interest, Anne, proudly exit after she quits her job to travel to Paris. Played by the engagingly talented and strikingly beautiful Tammy-Anne Fortuin, Anne tries to convince Jesse to quit and come along. “We’re about to hit our 30s,” she argues. “If not now, when?” Bound by subtle and relatable hints of fear, Jesse obediently returns to work, only to lose consciousness in the breakroom shortly thereafter.

With exceptional attention to detail, the film takes us down the fluorescent hallways of the hospital and into a small office where Jesse is faced with his diagnosis for the first time. It is in this scene where any hope on Jesse’s face is shattered. Actor Aleksander Ristic brings Jesse to life, really, during his confrontation with death, making the scene both too long, and not long enough.

Jesse is carted off to a shared room where he meets his roommate, George, played by actor John Colton (The Young and the Restless, Days of our Lives, Tosh.0) An older man with a heart condition, George convinces an emotional and angry Jesse to live it up a little, and together, with the help of a bottle of booze hidden in a cut-out bible, they share moments of true happiness and an unlikely friendship on the roof of the hospital. This is where the cinematography of the film really shines, with everything in stillness, and faces hiding in just the right amount of shadow.

The next morning, when Jesse’s boss calls, he does what he’s always wanted to do: he quits over the phone. Jesse and George celebrate in a moment of real and genuine surprise and limitlessness when a nurse walks in, bringing the gravity of the situation back to earth. Rozhkov does an outstanding job bringing emotions up and down, without bruising the viewer. His sense of timing, and his ability to mix the perfect cocktail of comedy and depth, is simply not teachable.

Since Dying to Live is full of little twists and turns that bring what could be cliche into a category original and creative, we learn next that, during a medical scan, George has taken Jesse’s phone and text messaged Anne, saying he’d be over later that night. Unable to simply stroll out of the hospital on their own, George and Jesse make a casual exit dressed as doctors. They are chased out by an angry nurse when George clutches his chest and falls to the ground. Jesse speeds off to meet Anne in George’s old red Mustang, and as soon as the screeching tires are out of sight, George opens his eyes, smiles, and asks if Jesse got away. George’s laughter takes the viewer through the credits.

The use of music throughout the film is chill-worthy, and producer Jainardhan Sathyan, along with Radhika Womack, do a noteworthy job ensuring the film stands as one cohesive project. Every setting is perfectly staged, every word is ideally written and delivered, and the overall concept is clear and powerful. The story, told with wit and grace, is an important one, and Sathyan makes sure it is told in the best way possible. The viewer is left with room to write the rest of the story, so to speak, all while feeling entirely satisfied with the story as told.

Such a topic of life and death can be hard to tackle, but Dying to Live is truly a gift to viewers in that every bit delivers compassion, depth, and humor with every scene, and leaves audiences feeling inspired.

Artist, film crew, international Talent, Reviews, Interviews & Features!

MARI LAPPALAINEN BRINGS AUTHENTICITY TO A FRIGHTENING FILM

October 11, 2016 pressva Leave a comment

Masters of any field are not born, they are made. However, some individuals possess attributes which cause them to be ahead of the crowd. Those who are leaders in their field have become so because they recognize there is always another way to hone and define their abilities. Mari Lappalainen is this type of professional. Although she has many films and television productions to her credit, Gehenna: Where Death Lives was her first horror film as Production Designer. Director Hiroshi Katagiri recognized her talent as well as the opportunity for her to experience a new genre of film, partly due to his own experience. The film is also Katagiri’s directorial debut, which meant he took care to insulate himself with a crew he completely trusted. Lappalainen is known for her work as an Art Director on films such as: Danny Boy, Share, Awaken, and others but has been working increasingly as a Production Designer crafting the look of a film early on. Katagiri is lauded for his special effects makeup career (working with Steven Spielberg on Jurassic Park, A.I., and War of the Worlds as well as films with Rob Marshal, Guillermo del Toro, Sam Raimi, and others). There was a kinship shared between Lappalainen and Katagiri as talent recognized talent. With Gehenna, the results were entertaining, chilling, and culture blending. A great deal of this is a result of the look of the aesthetics of the film which Mari and Hiroshi worked so hard to create.

Gehenna is the story of a group of American real estate developers who travel to Saipan to scout land on which to build their next hotel resort. Unknown to the group, the area is sacred land that had been cursed centuries ago. They cross paths with an old Japanese WW2 bunker and enter to see if this will be an issue for their development. Soon, the door gets shut and the team is at the mercy of the curse; a curse which states that the last one alive loses and must face eternity alone in the dark. Although the film’s setting is on this Pacific island, the actual filming took place in Los Angeles. Director Hiroshi Katagiri is a stickler for authenticity. This meant that he took Lappalainen, as well as the Cinematographer, and Line Producer on a trip to Saipan to get a feel for how the set should be. Mari recalls, “The story was set in Saipan, on a small island across the world with significant WW2 memories. To get the feel of Saipan, their history of the war, and get accurate references for our Japanese bunker set to be built in Los Angeles, we flew to Saipan in early September. We scouted our filming locations there and photographed old war time bunkers and materials/finishes for reference. As almost everything in prop and set dressing wise was Japanese, I spent a few days in Tokyo to look for our hero props and set dressing references from museums and archives of the war period.”

As Production Designer, Lappalainen used some modern tools to give Hiroshi and the crew the most realistic sense of what the set should look like. Mari comments, “For Gehenna, I did the 3D modeling myself, adding textures to the model to show the director what we would be expecting and helped him to develop ideas for the storyboards and imagine the blocking for the action. It took a lot of research, especially for the small details as it was a Japanese WW2 bunker. There were no standing sets in Los Angeles like this so we had to create if from scratch. We looked at Japanese war movies and went to museums to learn about Japan at this time.”

Mari took great care to study the script for Gehenna, breaking down the script to understand the needs of the film in terms of visual language and character. Her trip to Japanese museums gave her a complete understanding of how the troops quarters were organized as well as the psychological and emotional “vibe” of the space; an element key to the actors and the audience getting a sense of the surroundings.

Gehenna: Where Death Lives was an obvious success as its inclusion in so many well-known festivals attests. Gehenna was selected to The New York City International Film Festival (NYCIFF), the Bram Stoker International Film Festival 2016 (UK Premiere), A Night of Horror film festival in Australia, and LA’s Shriekfest. Katagiri states, “Gehenna is a biblical term for a horribly evil place, and Saipan was the site of the heaviest fighting of WWII. To keep my vision, the look of the film needed to communicate this with the surroundings in an unspoken way; Mari Lappalainen made this happen flawlessly. She perfectly achieved creating the setting I imagined.” Lappalainen’s foray into horror films proves that her consummate abilities as a Production Designer translate from genre to genre. Being vetted by a recognized leader in the horror, fantasy, and sci-fi genres like Hiroshi Katagari is certain to bring Mari continued work. Whether in a romance, drama, comedy, or horror film, Mari will be bringing her self-demanding work ethic to the positive reviews of filmmakers and audiences alike.

Director, Reviews, Interviews & Features!, Television

Director Ben Bhatia goes on holiday with Channel 4’s Tattoo Fixers

October 4, 2016 pressva Leave a comment

Everyone seems to have a bad tattoo story. Whether it is their own, someone they know, or something they have seen, they make for great cringe-worthy yet fun stories to tell amongst friends. Most people learn creative ways to hide those tattoos they don’t want people to see, some people decide to get them removed, but some people turn a bad tattoo into one they love. That is where the UK television program Tattoo Fixers comes into play.

The show has been a runaway success for Channel 4 in the United Kingdom. The format of the show is a split studio and location format. People apply to be on the show because they have a tattoo disaster that they want to fix. Examples of these tattoos can be anything from the name of an ex-partner, to an embarrassing drunken tattoo. They visit a tattoo parlour to get the tattoo corrected into something they would prefer. During their consultation, a video of their backstory is shown. They then go into the tattooing room to have their tattoo corrected. The big finish is then the reveal of what their new tattoo looks like and their reaction.

Director and producer Ben Bhatia worked on a special edition of the program, Tattoo Fixers on Holiday, which premiered this summer. He had the responsibility to produce the backstories video for the contributors on the show. This would either tell the story of their life or how they obtained the said tattoo. A vital task, because if viewers aren’t hooked by the back story of the person they are watching, they change the channel.

“I loved being able to flex my creative muscles and have the flexibility to devise, write and shape the script,” said Bhatia. “I shot, produced and directed the clips. This was an awesome opportunity for me.”

The ‘Holiday’ spin-off was something new for the show as it takes the series out of its normal studio setting and would take the cast members to a foreign holiday resort and would fly contributors over from the UK. This was unchartered territory for the show, but was an instant success with the help of Bhatia.

“Ben was highly recommended by many of my peers in the industry. Because of this, we knew he would be the perfect fit and we were keen to invite him to become a part of our successful series. Within his career he has established himself to be a well-respected and forward thinking director and producer, and has a very bright future ahead,” said Matt J Smith, the executive producer for Studio Lambert, who is responsible for the show.

“Ben is a real pleasure to work with, he has a natural creative and visual flair, he is an outstanding communicator, he works exceptionally well as both leader and part of a team,” continued Smith. “Ben could be nothing but the brightest of assets to any company or production.”

As well as working with Smith, Bhatia also worked with Tim Harcourt, both of whom are extremely well established veterans in the UK television industry. They have developed many television shows in the UK, including Gogglebox, which has become such a big hit as a format it has spawned regional versions all over the world.

Despite having never worked with Studio Lambert before, Bhatia’s work was so impressive that he was asked to edit and produce an entire episode, giving him full control. With this, he had the opportunity to learn how to use an entirely new camera.

“Due to the small amount of time to get accustomed to the camera, I had to hit the ground running. Luckily I was quick to adapt and it has become a skill that I have used elsewhere ever since,” said Bhatia.

Using a new tool wasn’t the only obstacle to overcome to ensure success. The time constraints on making the bio clips meant Bhatia had to think quickly.

“I personally feel like I work best under pressure, so when I saw the final product that was transmitted, I was very happy and felt like I had achieved a lot,” he said. “I also enjoy reading twitter posts about the show and seeing how well received the episodes and stories have been.”

It is impossible to complain, as the project was shot on the beautiful Greek Island of Crete. Bhatia got to experience the scenery while working alongside some major players of British television.

“This was a fun project to work on,” he concluded. “Having the ability to lead a team to shoot that would creatively tell the contributors backstory and using a wealth of exciting technology was something I really enjoyed being a part of.”

You can watch episodes of Tattoo Fixers on Holiday here.

Actor, Behind the Scenes, Canadian Talent, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!, Triple Threat

A GUIDE TO PROPER AND IMPROPER VIEWING OF JAPAN

September 30, 2016 pressva Leave a comment

Artists are dangerous; not in a “hold you at gunpoint demanding your wallet or your life” kind of way but rather, they can be highly intelligent people who use their talent to sway both individual and mass opinion/sensibilities. If you upset a writer, they can compose something that addresses you in a subversive way. An actor might deliver the lines in a subliminal tone, guiding you to a feeling that might differ from what is instinctual for you. All that is needed is an Executive Producer to enable them to make it all happen. Combine all three of these with a slightly sarcastic comedic wit and timing and you’ll get Roger Bainbridge…the most interstin…err, dangerous man on Earth…well, at least in Canadian entertainment. Comedians and comic actors get away with saying and displaying some truly awful things by delivering them in a way that shines a light on their ridiculousness. Case in point; Bainbridge had seen many of his friends taken advantage of as unpaid interns. Not only did these people not receive monetary compensation for their toil but, they were quite often not treated with respect. As a writer and an actor with the resources to green light a film, Roger used his role as a part of the Canadian comedy group Tony Ho to create, produce, and present Japan. The film reveals the politics and disrespect (in a very funny way) of the modern office template.

Roger Bainbridge has worn a lot of hats in his career; writer, actor, music video director, executive producer, but he is most commonly associated with Tony Ho (the aforementioned Canadian comedy group). Tony Ho enjoys tackling ideas like threesomes (Wanda), dysfunctional family dynamics laced with time travel (Time), etc. No subject seems to eclectic for Tony Ho. Bainbridge was inspired to write Japan based on the shared office experience many of us have. He explains, “The impetus for writing Japan was seeing a lot of my friends being forced to take unpaid internships at places that really should have been paying them, and seeing how messed up the job market was at the time for people just getting out of school. From there I just thought about what might spurn a change of heart in someone in charge of the hiring. I worked briefly in an office where we did subtitling, so it wasn’t a really traditional office. Everyone had headphones on, pretty cut off from everyone else. No one really spoke to each other, it was all done through email. So I guess I was just left with an impression of people being timid to go talk to anyone, which creates this awkward tension, and tension is really at the heart of comedy.” As the writer of Japan, Roger had the inspiration and the skill to conceive the notes of his comedic sonata and as the EP he could find and reserve the concert hall, he simply needed to proper “musicians” to perform the piece with the delivery and skill that would inspire his trust.

Tony Ho has been creating comedy for over a decade. You don’t stay in any relationship that long unless you have a deep caring and trust of the other(s) involved. Once he had conceived the idea for Japan and written the lines, Bainbridge immediately understood that Tony Ho were the best performers suited to make the film. The trio of Tony Ho has spent more than a decade creating and performing together both live and on screen. Roger refers to Adam Niebergall and Miguel Rivas as two of the funniest and most interesting performers he has ever worked with. Niebergall diverts praise to Bainbridge stating, “He’s a ‘taste maker’ and he’s incredibly compelling. I’ve spent a decade or so working with him in comedy and I still can’t ever see it coming. I’m amazed by Roger’s Vision. He has an unwavering integrity with his comedy. His work is so good because he is always asking himself what he would want to watch and he would never bother making anything that doesn’t pass that test. I think a lot of people write things with the mentality “Oh, this would be good; people are talking about this right now.” and a lot of times that type of thing can come off flat. You can tell when a comedy writer isn’t obsessed with her/his subject matter. Roger knows what he wants to say as a writer and for me that’s always much more compelling to pay attention to. He’s always one step ahead. He thrives on making people think about themselves and it really motivates his work.”

With the writing of Japan completed and Tony Ho set to star in the film, Roger’s job as EP meant he would acquire the production team that would capture the action of Japan. Henry Sansom was the professional that Bainbridge entrusted to be seated behind the camera. DOP Sansom echoes Adam Niebergall’s sentiments, declaring,” In my experience, Roger Bainbridge is one of the most talented and disciplined minds in comedy in Toronto. Not only an incredible actor dedicated to craft and context, he is a star writer of subtlety, relevance, and boldness. Without seeming too fellating, if there was only one artist I could work with for the rest of my career, and know that every project was able to reach the highest standard, that would be Roger Bainbridge.” Inspiring confidence in others is the template of Roger’s career, a worthy attribute for someone whom both creates and enables the filmmaking process. The fact that he is so adept at creating the storylines and situations that take place on camera might divert one’s attention from the fact that Bainbridge is such a respected an accomplished actor. A viewing of his many diverse roles and the temperament of his characters serves as a confirmation that he is truly in his element in front of the camera.

Roger reveals the tone that he wanted for the action on film as he communicates, “In making Japan, we knew we were really pushing ourselves to make something more relatable in tone of comedy, pace, and look, so it was nice to have it be received so well by people who

have seen it. Our stuff can tend to be a bit more challenging, so this was a test to see if we could dip a toe in something a little more mainstream, and people seem to like it.” Centering on the stereotype that the Japanese culture is focused on workplace competition and Karaoke leads Miguel’s character to force Roger and Adam to compete in a sing-off with the winner being awarded a paid position for the company. While Sophie B Hawkins “I Wish I Was Your Lover” has never been so amusing, it’s the flashbacks and narration that empower the performances to have deeper laughs than simply the action might elicit on their own. Japan has a greater level of complexity in terms of the number of sets and number of cast members involved than many of the Tony Ho productions. There is a trait that enables Japan and the theme to be irreverent to the stereotypes that the general public often feels comfortable buying into. Bainbridge agrees, “I think Canadians have a unique take on comedy because we have the benefit of being influenced by both American and British comedy. The British style can be a great deal more subtle and satirical and American stuff can be so in-your-face and broad and angry. I think we have the ability to marry those two influences in an interesting way. I have never been to Japan, and that’s deliberately part of the humor of the piece for me. I like it when people feel like they completely understand a place by just gleaning bits and pieces of their culture as it’s been distorted through media. The larger joke is that these are ideas people may hold about Japan while not actually knowing anything about the place.” Bainbridge is currently in development for TV productions with Tony Ho. With successful comedy albums, his involvement heading films and music videos, Roger Bainbridge is equipped to bring the full package to the home viewing public.

Producer, Reviews, Interviews & Features!

Producer Elena Ioulianou working with Milk and Honey Films all over the world

September 28, 2016 pressva Leave a comment

Elena Ioulianou is a Greek South African. She was born and raised in Johannesburg, South Africa. Like many of us, she had a dream. It may not have seemed practical to her parents, who encouraged her to pursue a business degree, but despite this, she never gave up on it. She always loved performing and filmmaking from a young age. Now, she is an internationally successful producer with Milk and Honey films and Milk and Honey Pictures.

Throughout her school career, Ioulianou was very involved with drama and performing arts. She performed in every school play and loved being on stage. Her passion to perform was very evident. When she finished high school, her parents advised her to obtain a degree before pursuing anything arts related.

“I have no doubt that my parents believed it was a phase and that it would eventually pass, at least they hoped,” she said.

A phase it was not. Ioulianou attained her Bachelor of Commerce in Economics and Econometrics at the University of Johannesburg, but she knew her passion still was with filmmaking. She then chose to attend Reel Edge Film Academy, and her life changed.

“During the course of my first year I fell in love with ‘behind the camera’ work. Every minuscule technical detail and little creative elements became my whole world,” she said.

During the course of my studies she became more and more enthralled by the business side of film, and realized her future was in producing.

“I never thought I would use the financial side of my econometrics degree but turns out it came in handy,” she said. “My dream career was now vivid and complete. I was going to be a financial and creative producer.”

Success has since followed Ioulianou. She worked on major South African campaigns for 1:Face Watch, the electoral IEC Cool Campaign, and the human trafficking PSA Ruby’s Story. She has worked on commercials for Land Rover and many more. Early in her career she worked on the series The Message. She also worked on the PR of the film Little One, which went on to be the South African selection to be nominated for an Academy Award, and recently worked on a film with Studio 4 with Oscar-nominee James Franco. Now, she is a producer with Milk and Honey Films in the United States.

“Elena has a background in financial analysis. This combined with her unique international network throughout LA and South Africa makes her a formidable asset to any production,” said Tomas Krejci, the CEO of Milk and Honey Films. “When I learned she was interested in coming to Los Angeles, we discussed what she had done. Her extensive experience in feature films and commercials in South Africa is impressive and that caught my eye. She clearly understands the very complicated ins and outs of production budgets on wide-reaching scale.”

Milk and Honey Films and Milk and Honey Pictures is a global production company which provides services for commercials, feature films, TV series and content creation. Ioulianou will be working on many commercials with them that are in pipeline, as well as two television series and three feature films. She will be very busy.

“I have a long way to go and there is still so much I still have to learn. My biggest challenge is trying to remain patient with myself while building my career. It’s not easy, I try as best as I can to learn from and absorb whatever guidance industry professionals are prepared to give me and then I actively take strategic steps towards reaching my goals,” she said.

Ioulianou has relocated to Los Angeles to work with Milk and Honey. However, they will be opening up a Cape Town South Africa branch, which she will be heading along with the Los Angeles Branch.

“What attracted me most to this career path is my belief that film can express anything. It is a secondary reality that can move one emotionally and open one’s eyes to new ideas, exposing the viewer to a different perspective on life. Film is like most forms of art; first and foremost, it is about expression. It is a collaboration of creative ideas and technology to create the finished product that will captivate others. I can think of nothing more exciting than that,” she concluded. “For me, a producer is the heart of any production.”

Behind the Scenes, international Talent, Producer, Reality TV

DRAMA ON A DESOLATE ISLE WITH GRIVAS KOPTI

September 27, 2016 pressva Leave a comment

UK based Naked Entertainment is the producer of a new reality show titled Stripped and Stranded, commissioned by Channel 5. This factual-entertainment series is not about unclad individuals on a desert island but rather, it shows multi-generational families attempting to complete challenges while relying on each other for support and survival. The real goal of the show is to present all viewers with someone whom they can relate to regardless of what age and background they come from. Even more importantly, the show wants to reveal that we all struggle with relating to someone in our own family and should not discount their potential contributions to our life. One of the great things about reality TV is that it allows the public to see “regular” people, representative of all walks of life. We wanted to find out more about the contestants and the programs itself, so we approached leading casting producer Grivas Kopti. As the person at the heart of finding, researching, and presenting the family members on Stripped and Stranded, Grivas has a perspective unique to all others involved. Mike Warner, Senior Executive Producer at Naked Entertainment sought out Kopti because, in his own words, “He is undoubtedly one of the industry’s most prominent associate producers, and I am positive that he is among the most elite in his field. Mr. Kopti’s involvement on many celebrated and nationally distributed programs is an excellent example of the undeniable success that Grivas brings when he performs the leading role of associate producer.”

Stripped and Stranded was filmed in Panama but the process began in England with casting. The goal of the show was to find families with multiple generations. This meant that normal social media blasts would not work as many of the older generations are not as tech-savvy and tech-conscious. Online forums, newspapers, as well as social media were used to attract interested applicants. Following extensive interviews, Kopti worked with an editor to create 1:30sec Skype audition tapes which were then used to decide which four families would offer the most interest as well as the greatest potential for growth. For those unfamiliar with the role of leading casting producer, Grivas found the applicants, screened them, produced pitch tapes, produced and oversaw all legal paperwork for applicants (on a survival series!), and wrote extensive family biographies which are key in shaping the narrative of each episode. Essentially, Kopti performed as interviewer, legal advisor, film producer and editor, and journalist…all before the show began filming!

Grivas has an extensive and highly successful career in casting. He has been in charge of finding the “right” people for reality shows like; Tattoo Fixers on Holiday, Celebs Go Dating, Naked Attraction, Couples Come Dine with Me, and numerous others. As someone who has always been able to talk and connect with strangers, his natural talent resonates well in the TV industry. His desire to focus on Reality TV is centered around the diversity that it depicts in society. He states, “There is always a magical element to seeing faces on TV that you don’t usually see or wouldn’t expect to see; especially in a show like this one, where we really delve into people’s lives and dysfunction. That’s one of the biggest takeaways for the viewers, insight into communities and homes you don’t see too often.”

The challenge of Reality TV shows like Stripped and Stranded is to show real people in a way that we can all relate. However, most of us don’t find ourselves stranded on a desert island, fighting for survival. The subtext of the show, and its true goal is to depict how family members relate to each other when times are good and bad. The producers hope that, in seeing the drama and struggles exhibited on-screen, viewers will not only discuss, but also learn from the challenges which the contestants endure. Grivas feels confident that all viewers will find something relatable, as did he, revealing, “One of the families was unable to communicate effectively and make decisions simply because most, if not all members, are extremely headstrong, proud and constantly talk (scream!) over each other. I come from a feisty Greek family, so that explains a bit there. You definitely know when we are home; as do our neighbors.”

Stripped and Stranded could be considered “extreme” family therapy. The families learned a great deal (good and bad) about their own feelings as well as those of their family members when confronted with dire circumstances. Just as in counseling, participants were faced with uncomfortable thoughts and history in order to move ahead and grow. Kopti confirms, “After carrying out in-depth research, we concluded that, when faced with challenges and obstacles to overcome collectively, people in disagreement are more likely to put their differences to one side to overcome the hurdles they are faced with. We wanted to put that to the test and see what happens when families who are in some sort of crisis are stripped of their technology and other modern comforts and left on a deserted island for an amount of time to fend for themselves. What took me by surprise, even after extensive casting interviews and from meeting our contributor’s prior to filming, was just how much the families had not communicated amongst themselves. There were a lot of stones unturned and things never said. As families, we want to avoid things instead of dealing with them – which is so detrimental to a family’s dynamic and bond in the long run. Ultimately, from an editorial perspective, we wanted to achieve some resolution and peace at the end of each episode/story. We were hoping to say that when we take away every day distractions and modern comforts from people, we can actually instigate healthier communication and positive, healthy relationships.”

The filming location for the show is Panama. The crew obviously needed open and remote locations as the “stripped” part of the show’s title refers to being stripped of modern conveniences. The natural aesthetics of Panama produced a pleasant backdrop dichotomous to the tense action. Grivas relates, “It’s beautiful landscape. It’s paradise. For a show of this scale, as Stripped and Stranded was, we need to ensure we have an elaborate space, so Panama seemed perfect. It has many different sides to it. Obviously you have Panama City, then you have the beautiful islands. Both were great as a backdrop for the show. It wasn’t only the cast that was at risk for this production. Most of the crew was petrified of exotic spiders and snakes; you can only prepare so much for those kind of things. I think education is key, more than anything, to know how to best handle a potential encounter with a dangerous species.

Stripped and Stranded has yet to air which means you won’t find any spoilers here. Only the participants and the producers know the actual outcome. While much of Kopti’s work has focused on individuals relating to other individuals, he finds the familial aspect of Stripped and Stranded to be very rewarding and complex. Grivas confirms, “Every generation will have something to say and things they want to change, that’s just natural. Parents want the best for their children, but need to accept that that it’s not necessarily what they had in mind for them. And I think that’s okay. It’s certainly something I battle over with my parents.” Stripped and Stranded will soon air on UK’s Channel 5.

Reviews, Interviews & Features!

Mike Goral went from radio DJ to voice actor extraordinaire

September 23, 2016 pressva Leave a comment

Imagine having only your voice, with no gestures or expressions, to convey every emotion you wish to release. Imagine these emotions are not what you are truly feeling, but you have to express them anyways. Imagine doing this, completely isolated in a dark room.

That is what voice actors do on a daily basis. They have very little stimuli: there is no scenery to pull from, no props to use, no actors sharing the scene to work with. They have to trust their abilities completely, and use only one tool to do this. It takes a specific talent to excel in such a field, and that is exactly what Canadian voice actor Mike Goral is.

Goral has many achievements in his years as a voice actor, with an extensive resume. He has worked with networks such as HGTV, ESPN, Cartoon Network, Discovery Channel, DIY Network, and many more. Despite his success, he remains humble.

“I’m very fortunate,” he said. “I enjoy working for myself. It’s very rewarding. No two days are the same. I love all my clients. I get to work with wonderful people from all over the world, and I have many loyal clients who have worked with me for several years. Nothing beats working with nice people every day.”

Goral has been a voice actor for over twenty years. Back in the early 90’s, he started working at a local radio station in Burlington, Ontario, a neighboring city to where he grew up. He had always wanted to be a radio DJ, but found it wasn’t quite what he wanted.

“I finally got my shot at being a radio personality. Once I got a taste, I realized I didn’t really enjoy it, so I started hanging around the production room, and watching what the commercial producers did. This fascinated me almost instantly,” he explained.

This experience proved to be an excellent learning opportunity for Goral, and he eventually began producing commercials. Although, as it was early in his career, he wasn’t allowed to voice the commercials himself.

“The bosses wouldn’t let me, so I had to get whatever DJ was on the air at the time to voice the commercial for me. Well, it turned out one day that the usual DJ scheduled called in sick, and the department needed a male voice to do a local nightclub commercial,” said Goral. “I got my big chance. The rest is history.”

That it is. Since that time, Goral relocated to Los Angeles, and now Scottsdale, and has done voice work for commercials, video games, documentaries, and television programs.

He recently worked with Spirit Communications as they promoted their introduction of their Gigabit service for broadband and OAJ, which is the Jacksonville Regional Airport out of Jacksonville NC. For this, he worked alongside producer John Peace. They had worked together previously on countless automotive campaigns, and various other parts.

“Mike is a very enthusiastic and reliable voice talent. He’s always a pleasure with which to work. His work ethic is very high and he completes projects quickly so that we may meet our clients’ deadlines and expectations,” said Peace. “There are many qualities that earn Mike the title of talented voice actor. Versatile, Flexible, easily directed. Also, Mike will work within the client’s budget, which opens up the door to more for more exposure and the opportunity to make the most of his fiscal potential by working in volume. Mike has never declined a project because he ‘didn’t feel right for the job’. He’s eager to tackle anything.”

Goral really does enjoy his job, and wants to go for any project. He auditions on a daily basis, and overcomes any challenges presented to him, including the feeling of solitude that comes from working in a room alone on a daily basis.

“I have many great colleagues, but I don’t see them every day. It’s fun to get together with them when it’s possible. Many of them share that feeling of isolation. That’s why seeing old friends at industry conferences and agency parties is so much fun,” he said.

Even though being alone for extended periods may be difficult, Goral says it is worth it. He has been a professional voice actor for a long time, and has no plans of slowing down. Hearing his voice through the speakers of the small screen is a good high.

“What’s the highlight of my career?” he concluded. “Hearing myself on a commercial on a major network during an NFL game.”