As an industry leading hair and makeup artist in Australia, Zuleikha Stevens does not simply apply some makeup and style hair, she transforms people. Every day, she makes people feel like the best version of themselves, enhancing one’s natural beauty and allowing them to feel good on the inside as well as out.
“You can really change someone’s day or moment in their life. As a makeup artist, there is a beautiful trust that your client enlists in you to transform their face,” she said.
From sporting events like Big Bash and Supercars to renowned channels including MTV and Network 7, Stevens has conquered the beauty world in Australian television. She loves the versatility of her chosen career, with something different to look forward to on every new project.
“You can be a part of so many different and exciting things from red carpet, to live music, sports, advertising, editorial, news, TV drama, breakfast shows, etc. You can take your makeup skills anywhere in the world,” said Stevens.
Stevens mentioned breakfast shows because of her work with Sunrise, Australia’s number one morning show. As one of the main makeup artists for the breakfast show, she is a pivotal part of the team to make sure the looks are current, appropriate and on trend and that everyone gets to air on time and ready for a three and a half hour long live show.
“I love working on Sunrise and have for years; the challenge of live TV is exciting. It’s the number one rated breakfast show on Australian TV. The show covers everything from news, sports, the days hot topics, entertainment and current affairs to everyone right across the country,” said Stevens.
Stevens personally takes care of Entertainment Main Host Edwina Bartholomew, Sport Host Mark Beretta and Co-Host David Koch every day, as well as a variety of guests. The guests vary every day, and can be famous musicians, celebrities, doctors, journalists, specialists, politicians and more.
“It’s people telling their story. I love the variety of people we meet and get to do hair and makeup on. I learn a lot from everyone that sits in my chair and knowing everyone’s story brings so much more to my life. It is so nice to have someone in my chair and watch them transform with makeup. This is vital for them to feel confident and good when going on screen,” said Stevens.
Stevens thoroughly enjoys working on Sunrise as she gets to use her hair and makeup skills, and get the talent looking and feeling good. She makes decisions with the hair and makeup depending on what the hosts are wearing, what their look may be, what they are talking about and basically the overall feeling of the day. She even sometimes utilizes her fashion stylist/wardrobe skills if anything needs to be steamed, changed, or mended. To do all of this, Stevens always has to stay on top of trends and work quickly. Working with the talent and wardrobe department in regard to looks and trends is extremely important for a live morning show. All of the hosts need to look good together. On top of this, Stevens and her team start work very early every morning and are often some of the first people the hosts see, so they need to be energetic and ready for anything live TV can throw at them.
“It is so nice to be part of such an ongoing successful show, seeing your makeup work up on the screen day after day and showcased all over the country. Seeing something that I do that I am passionate about every day is so great, it makes getting up in the middle of the night worth it, especially when the hosts are happy, and you meet so many amazing and talented guests and make them feel good. Being part of a team that brings so many stories and news to everyone’s lives is a great feeling,” she said.
Sunrise is on Network 7 every day at 5:30 a.m. Be sure to give it a watch to see the touching stories and Stevens’ beautiful work.
If you haven’t had a chance to check out Madonna’s new music video for “Dark Ballet,” which dropped on June 6, then you are definitely missing out. The video for the song “Dark Ballet,” a single off her upcoming album, “Madame X,” pulls inspiration from French Catholic saint Joan of Arc, who’s played by African American rapper and activist Mykki Blanco in the video.
Madonna, the fourth best selling music artist in the world, is known for her ability to push the envelope and continually shock viewers with her music videos; and she does not disappoint with “Dark Ballet.” Set in a monastery, the video is symbolic of the cruel persecution of minorities at the hands of the patriarchy, with Mykki, as Joan of Arc, being jailed and burned at the stake. Madonna, who only works with the best in the industry, has a solid reputation for delivering strikingly powerful and highly cinematic music videos, and it was no different for “Dark Ballet.”
Internationally known art director and post-production supervisor Julia Kerguelen, who hails from France, is one of the key figures behind some of the video’s striking visual effects. Coming on board the music video as the post-producer in charge of VFX production, Julia, who was surrounded by an amazing team of VFX artists, oversaw the creation of many of the video’s key visual effects, such as the smoke, flying particles and flames that envelope Mykki’s body while he’s bound to the stake.
For the video, which already has upwards of 2 million views on YouTube, Julia worked through Mathematic Studio, a Paris-based animation, VFX and motion design studio that is known for other high-profile projects such as the music videos for Snoop Dog’s “So Many Pros” and Brodinski’s “Can’t Help Myself,” as well as projects for Cartier, Nike, Hennessey, Dom Perignon, Peugeot and more.
Julia, who was also the post-production supervisor on upcoming commercials for Armani and Van Cleef & Arpels, brings a pretty impressive skill set to the table so it makes perfect sense that Mathematic Studio chose her as the post-producer in charge of VFX on “Dark Ballet.”
“I think I have a good creative eye and I understand quickly where the creatives and the client want to go. Also I know exactly what we need in order to do something and I can anticipate and give advice on how to avoid tricky situations… I can check every media we receive, I can review what’s wrong in our work, etc. I know how to make tough decisions and work in a fast-paced environment and keep the pressure on myself so my team can work in good conditions and have great artistic results.”
Though Julia has undoubtedly proven herself to be an exemplary leader and skillful creator in her work as a VFX producer and post-production supervisor, she is first and foremost, an art director. Over the years she has been sought out as an art director on a slew of illustrious projects, such as Renault’s 2012 International convention of Renault business owners at the Geneva Car Show, the Airbus Pavillion at the 2015 and 2017 Paris Air Show, Valeo’s immersive exhibition at the 2016 GreenBox eXperience in Berlin, Michelin’s exhibition at the 2010 BIB Worldwide Exhibition, L’oréal’s exhibit at the 2007 International Hair Fair and many more.
The connecting theme in much of Julia’s collective body of work is that many of the project she leads as an art director exist in the sphere of events and live shows; and there’s a reason she’s continually tapped for such high pressure projects.
She says “I used to work and prefer events because of the stage and the ‘one shot’ thing. You can’t fail, everything should be perfect ‘cause you don’t have a second chance.”
Julia’s finesse and affinity for art directing massive events stems from her early years on stage. At the age of 14 Julia began performing as a comedian on stage in a small town in the Brittany region of France where she grew up.
She recalls, “It was like a revelation to me! I felt that I had a lot to express, on stage as a dancer and a comedian. When I am on stage I cannot hide myself and I don’t need to… I can share my emotions, my stories, my colours, my way of seeing the world… I guess arts became obvious to me when I started being on stage.”
It didn’t take long before Julia relocated to the metropolitan city of Paris where she continued performing on stage as a comedian, actress and dancer; however, while in search of a more stable career, she discovered her passion for graphic design. Creating a strong foundation and reputation for herself as a graphic designer, Julia quickly moved up the ranks and was soon being called in as an art director.
“I start by analyzing the needs of the client, what is the brand, what they have to say, why they want to communicate this way or not, what are their products and what is the purpose, etc. Then when I have all this information and can see the big picture, I will write a story,” explains Julia. “Something to inject meaning, to give birth to the product as something with a soul and a purpose, to give emotions to the audience. I like to think I’m like a storyteller but with images.”
Considering Julia’s background on stage combined with her unparalleled vision when it comes to branding, she was the perfect art director to lead projects for well-known theatre company, Broadway in Paris, led by director Michael Pereira.
Michael says, “I have had the pleasure of working with Julia on a few things. She is the creator of my brand logo Broadway in Paris™. She and I collaborated on the idea and she made it come to life. I am so happy with the outcome. Later when I was searching for a project manager for my next big project, the French version of Pippin, she was the only person I wanted.”
Knowing her history of top-notch work, Michael hired Julia to serve as the supervisor on set, art director and editor on the promo video for Broadway in Paris’s productions of “Pippin” which use vaudevillian numbers to tell the story of a man in search of fulfillment.
“As I am very familiar with dance and I know post-production, [Michael Pereira] asked me to help him with the editing,” explains Julia. “I reached out to the cameraman, sent him some examples of framing I imagined for the edit and I tried to supervise the shooting on set to have enough material as dance is complicated to film. As I know some of the choreography it was easier for me to tell him what he should record. After that, I did the transcodes, watched all the footage and did the editing in a very short period of time.”
Julia’s personal history on stage combined with her extensive skill set as an art director, which requires her to have a comprehensive grasp over editing, graphic design, motion graphics, film editing and more, was exactly what Michael needed to create a powerful visual story on film for the company.
Michael says, “What Julia brings is an amazing global idea to this project. I have never directed live singing and dancing for the camera before and Julia put me at ease and helped me envision angles, cuts and ideas for the camera. Also, her knowledge of movement was priceless to me. Furthermore, when we went into the editing room her vast knowledge aided us tremendously and the result is a completely wonderful sizzle reel.”
Whether she is working as an art director or in the film and commercial world as VFX producer and post-production supervisor, Julia Kerguelen is a rare creative force who always nails her mark with innovative and seamless designs.
Julia says, “I think that because I am a dreamer I can bring some magic! I mean, there are plenty of artistic directors out there and probably better than I am but I think what makes my vision unique is the ‘vision.’ I am not here just to do some technical stuff or a beautiful image I want to create joy, hope, light, and dreams in the heart and eyes of the audience. I am a multidisciplinary artist and I’ve learned so much about the technical side that I can create everything I want. I am able to find creative solutions even with tight deadlines, short budget and high technical constraints. It’s like a giant playground to me, I know the rules, I just have to enjoy the game and make it count! ”
As a musician, Alex Stewart knew that performing never intrigued him. Instead, it was the avenues of music that didn’t involve a stage. With a passion for television and the movies, he found himself drawn to the power of a score and its ability to alter the emotions of a scene. He realized at only 16 years old that he wanted to be a part of the aspect of movie magic and has never looked back. He is now a celebrated composer with countless esteemed projects on his decorated resume, and as the masses enjoy his work, he knows this is what he was destined to be doing.
Stewart has made quite a name for himself in his home of Australia and in the United States, composing for hit shows like Paradise Hotel, The Contender, and The Curse of Civil War Gold, and films like Cosmic Fling. He knows how to entertain through his music, and how to tell a story. Composing for reality television requires a unique touch, as it is real people’s lives you are conveying through each note. He executes such a large task with perfection with every project he takes on.
“I believe that a piece of music is only as good as its fundamental idea. If your melody, chord progression, or original idea is bad, then there is no way the piece can be good. I often spend the most time working on just the idea because it’s easy to build the piece if the idea is good. Badly written music can easily ruin a project,” said Stewart.
Music is an essential part of the experience when watching any film or television show, and Stewart knows this well. On Fox’s acclaimed reboot of the reality show Temptation Island, Stewart knew that his score was of the utmost importance to keep audiences engaged.
In this social experiment, four couples at a crossroad in their relationship put their love to the test by giving “single life” a try. On the Hawaiian island of Maui, they’ll take a break from each other while living in separate houses with sexy singles to discover if there is another partner with whom they are more compatible. In the end, will the couples leave together? Will they leave with one of the island’s “tempters”? Or will they break up and go home alone? Whatever the outcome, there is plenty of drama along the way.
“As we watch the events and drama that unfolds, it raises questions that many people might not normally ask themselves about their own relationships, both intimate and not intimate. Some of the people in this show rediscover a love and value in their partner, and others realize that maybe they’re better off taking different paths. It’s important for us to question why we choose to have certain people in our lives so we, as individuals, can thrive and not let others stand in the way of us getting to where we want to be,” said Stewart.
Stewart works with the immensely popular music production company Burnett Music Group on the show, who constantly reach out to the composer for contract work, knowing he is one of the best. Burnett was looking for a modern pop style sound with elements of tropical music that underscored the drama. This presented a fun challenge for Stewart, as these are two styles of music that do not typically go together. Therefore, a lot of the music he wrote for the show is electronic, but with instruments that make one think of the beach, like ukulele, steel pan, bongos, and conch shell. They were also looking for a vast range of emotions, everything from deep sadness, to upbeat dancing music, and Stewart delivered. His music captured the show very well, letting the audience be taken away with the cast to the tropical island through the sound, and also amplifying the emotions in each scene.
“I liked the challenge of combining modern pop with tropical/island sounds in various emotions and energy levels. But outside of that, I really liked working with the other people on the project. Everyone involved was an awesome person and easy to work with. I thought it was a fantastic opportunity to get better at writing quickly. Sometimes I struggle with getting things done fast, so I used this project to practice getting music written and mixed within a day. I always enjoy challenging myself,” he said.
Temptation Island premiered on the USA Network on January 15th, 2019. It was a weekly episodic show that ran for 11 episodes, with extremely high ratings. For Stewart, that success is secondary, as he just likes to make music that audiences enjoy listening to.
“It feels nice to know that I was able to be a part of a show that so many people enjoy. It was a great project to contribute to. Seeing all the ads and hearing people talk about it online has been awesome and I’m certainly happy that most of the reviews and talk around this show has been positive. I look forward to the chance to work on another season,” he concluded.
Always a musician, Canada’s Michael Shlafman found himself drawn into the world of composing and orchestrating for film and television because of its limitless possibilities. There are almost no creative boundaries when working in the medium outside of what is dictated by the needs of the project. He can go from working on a score that features a jazz trio one day to a symphony orchestra the next, and that is what excites him; he simply aims to make authentic and sincere music, with endless flexibility and an eagerness and willingness to always be learning and growing.
“I like to think that my style of composing is whatever it needs to be for a given project – after all, that’s what I love so much about working in this medium in the first place. Though I really love to write music that combines traditional acoustic instruments with electronic elements such as recorded and manipulated sound effects, synthesizers, etc. into a hybrid sound that blends sound design with more traditional styles of music,” he said.
Throughout his esteemed career, Shlafman has become an internationally sought-after composer and orchestrator. Millions around the world have heard his work, whether in the multi-million dollar movie Pet Sematary (orchestrator) or the television shows LARPs: The Series (composer) and Best. Worst. Weekend. Ever. (additional music). He has also worked on several acclaimed documentaries, like La Guerra, My Indiana Muse, Botero, and more, knowing just how music can enhance the genre though it needs to be done with a little more care and respect than may be required for a fictional story.
“I think there’s a really interesting distinction to be made between working on documentaries versus working in fiction, especially regarding the music. For starters, documentaries are real. They’re about real people/events, and as such they require a slightly different treatment that is perhaps more careful and respectful. When you’re working on a movie based on a fictional story, of course you still need to be tasteful and respectful, but the characters in the film are never going to watch it. I feel that there’s a lot of pressure to do right by the subjects of a documentary, as there should be. You can’t just throw any music over some painful moment of someone’s life that was caught on camera as though it were a soap opera, it needs to be handled delicately,” said Shlafman.
Music can be a very manipulative tool in documentaries if not used responsibly, and Shlafman always makes sure to do the film’s subject justice when he works. Music changes how an audience reacts emotionally to a piece of film, and for a documentary, where the filmmaker’s job is to present fact and truth as cleanly as possible, music can sometimes be too leading. Shlafman makes sure not to taint the story through the music and does his best to help the director present a perspective as unbiased as possible.
“Music can also really help with the pacing of documentaries. No matter how interesting the subject is, sitting through over an hour of interviews or ‘talking heads’ can get tiresome, and music can help make it feel faster,” he said
David Bertok’s score for Botero, which Shlafman orchestrated,is a perfect example of how a score can set the pace of a documentary. The film is a poetic documentary profile of Colombian artist Fernando Botero and provides a behind-the-scenes chronicle of the life and art of this painter and sculptor – the world’s most recognized living artist.
“I wanted to work on Botero because it’s a very engaging and thrilling story about a world-renowned artist, Fernando Botero. I think it’s important to share these stories so that they’re not forgotten and so that their legacy lives on,” he said.
As an orchestrator on the film, Shlafman played a pivotal role in the post-production process. When a composer creates a mockup on a computer, it is designed to sound as convincing and realistic as possible. The issue then lies in translating that data to a piece of paper that a musician can perform from and achieving a better version of the intended sound through the use of professional musicians with decades of experience. That translation is at the crux of what an orchestrator does, and his role with this project was to help take the data from the mockups and create scores that could be read by the musicians, fulfilling the composer’s vision of the score. In the end, they had a live string orchestra, and with Shlafman’s dedicated work, it turned out beautifully.
These thoughts were echoed by critics, as Botero went on to win several awards at festivals all around the world. Shlafman is proud to have been part of the film, especially one that tells the story of such an iconic artist.
“It’s always a good feeling to know that something you worked on was successful, and even more so when you really believe in the importance of the story. I think it’s important to honor great artists, and this is an excellent way to help preserve Botero’s legacy,” he concluded.
When Omer Lotan first began pursuing filmmaking, he thought he wanted to be a director. At the time, he was new to the industry and was not aware of the many positions, so directing seemed like the obvious choice. However, he soon discovered a love for cinematography, and he knew that was his destiny.
“I learned to understand that from all the positions on a film set, this would be the most interesting, challenging and rewarding one, since the look and feel of the film is truly in your hands. I found out how much I could learn about original cinematic ideas from working together with a range of talented directors,” he said.
Lotan was right to trust his instincts and pursue cinematography, and he is now at the forefront of his industry in his home country of Israel. Having worked on many acclaimed projects, from the films Thunder From the Sea and Last Round, to the hit music videos “Time to Wake Up” by Hadag Nahash and “Childhood and the Big City” by Ivri Lider, to the viral commercial for Viber, Lotan has shown audiences everywhere that he is a master at his craft on whatever the platform.
One of Lotan’s first taste of international success came back in 2013 with the film Remains, which tells the story of Itamar and Thomas, who share a bed, walls, an apartment and electricity bills. Thomas commands, manages, and criticizes; Itamar is silent and listens. In the face of the couple’s confinement and the abysmal feeling of suffocation, and in the face of the power struggle that permeates their daily conversations, Itamar is forced to take action – an action that briefly allows him to feel things through the body, through the concrete world. The story was influenced by Writer and Director Yotam Ben-David’s personal experiences.
“Power, domination and oppression are in the heart of the story, and I found it very interesting to understand how to translate these topics into a cinematic language. I think the film has elements, which everyone can relate to and be moved by, and since I personally know Yotam well, it was even more interesting for me to take part in his very personal and emotional film,” said Lotan.
When working on Remains, Lotan knew he had to come up with creative ideas and search for original ways to bring his and the director’s vision to life. The director wanted the intimate film to have an epic ambience, which is why they decided to have a lot of wide shots, as well as many camera movements. The camera work and the lighting, with the long wide shots, the dark and contrasted interiors, as well as the quiet urban night shots, enhance the main emotions of the film. Lotan used the architecture of the urban areas and the apartment’s spaces to tell the story and describe the character’s feelings, feelings that create a tension and sometimes might even be uncomfortable to watch.
“Both Yotam and I share similar aesthetic visions, and our previous collaborations led to a deep creative dialogue throughout our work together. He is very clever and original with his cinematic approach, which always encourages me to bring creative ideas to the table as well,” said Lotan.
Remains had an impressive festival run. It was screened and competed at various film festivals in Israel and around the world and won the Best Short Film Award at the Evolution Mallorca International Film Festival, as well as Best Short Narrative Film Prize at the Jerusalem Film Festival, none of which could have been achieved without Lotan behind the camera.
“After screenings of the film I received a lot of positive feedback about the visual impression left by my work. It is always exciting to be complimented for your work, especially when these kind words are coming from a variety of audiences from around the world,” said Lotan.
So, what’s next for Lotan? The upcoming documentary Homeboys is set to premiere next year. He travelled to Uganda to film the musical-documentary that follows Samuel and Isaac, South-Sudanese teenagers deported from Israel who dream about being musicians. Be sure to keep an eye out for it.
There is no greater feeling in the world for Samuel Lam than to hear his music played by other musicians. As a film composer, this is something he gets to experience on a regular basis, and why he loves what he does so much. Every musician adds their own personality into his music and interprets it differently in their own ways, and he believes that is the true artistry to his role, and every day he gets to work with musicians from all over the world.
Throughout his esteemed career, Lam has shown why he is such a renowned composer and orchestrator in China. With celebrated projects like Crazy Alien, Who Lives My Life?, Delay of Game, and more under his belt, he has continuously shown the world what he is capable of, and he has many more plans to keep doing so. He is currently working on several exciting new projects, including Paramount’s Playing with Fire, starring John Cena, Judy Greer and Keegan-Michael Key.
Lam’s new film My Ex-Girlfriend is a Shovel will be having its official world premiere later this month at the Palm Springs International Shortfest on June 21st, 2019. It is also an Official Selection in numerous film festivals, such as the Montana Film Festival, Calgary International Film Festival, Reel Shorts Film Festival, Creative Artist Agency Moebius 3, and the Bogotá Short Film Festival so far, with many more expected to come later this year.
“I am really glad that this film can reach out to so many audiences. It is a truly unique story, and I hope the audience will not only have a good laugh, but also be moved by the story. That is the real reward,” said Lam.
My Ex-Girlfriend Is a Shovel tells the compelling story of a woman named Coral after her girlfriend of three years breaks up with her. Coral soon realizes that her ex wasn’t actually a person, but was in fact a shovel. Ultimately, Coral must confront her shovel ex- girlfriend to be able to move on.
After Lam read the script, he was immediately interested and touched by it. The heart of the story is very relatable, and the director had his own unique way to tell the story.
“It is a story about a woman who is in love with a shovel, but the more honest answer is this is a film about the way we remember our exes, and the way we objectify the people who we loved and who have hurt us. So even though it is a comedy, it has an emotionally relatable side as well,” said Lam.
My Ex-Girlfriend is a Shovel obviously tells a very unique story, using an extreme and comedic way to portray the hardship of getting over a devastating breakup. The choice of music greatly affected the emotion and meaning conveyed by different scenes.
Dezi Gallegos, the director, had a very clear voice in his mind. Together, Lam and Gallegos spotted the film, which had already been filled with temporary music. They discussed the concept behind the film, and Lam pushed for the music to have a serious tone, even for the comedic parts, and maintain an indie feel within the score. For example, during a comedic montage sequence in the project, which is showing the memories of the main character with her girlfriend “Shovel”, instead of scoring the scene with comedy music, Lam took this scene very seriously, and scored the montage with a beautiful piano solo. As a result, not only do audiences have a good laugh during the screening because of the contrast, but they also have a bittersweet feeling from the momentous scene.
“Nothing makes me happier than writing music for an interesting story. It is a very fun collaboration, and the director gave me a lot of freedom on the music. My favorite part is seeing the reaction of the audience during the screening,” said Lam.
My Ex-Girlfriend is a Shovel perfectly captures what Lam is capable of as a composer, and is a can’t miss.
By Annabelle Lee
International Entertainment, and the Talents that Leave us Buzzing….