Mary McBain, British actor (as well as comedian, screenwriter and producer) takes her profession above and beyond thanks to the social emphasis with which she directs her career, acting as a voice of feminism in the world of entertainment.
The distinguished McBain breaks the mold of mere acting, thanks to her professional background. Undoubtedly, her extensive knowledge of the industry has allowed her to exploit her versatility and talent to other areas with a collective conscience.
In acclaimed project Spaghetti: Silence Is Not Consent, McBain led her co-stars to a series of impactful screenings.
Spaghetti raises awareness about consent in sexual relationships, which denotes the very essence of the comedian, who constantly pays homage to a form of conscious entertainment that very few artists manage to exploit. The project has obvious resonance in a post #MeToo era, allowing McBain to connect with viewers on a deeper and more personal level.
“I spent a lot of time then talking to men and women who have been on both sides of the consent conversation and felt as though there was a huge need for education on the subject – for both parties,” says McBain. Her concern to raise awareness about consent then led her to participate in one of the projects that would become an unimaginable critical success.
Due to its warm reception from globally esteemed film critics, the production was selected for screening at the British Academy Film Awards, which has been long-recognized as a world leading independent arts charity. The BAFTA awards, has over 8,000 members worldwide who are creatives and professionals working in and making a contribution to the film, television and games industries.
A project as deep as Spaghetti reaches the pinnacle McBain was looking for, reaching out to prominent schools in London to promote sex education to children, and positively impacting society more broadly.
McBain, again, stands out as a prominent writer and actress, but also as a spokesperson for social causes that place her in an exclusive group in her field. Besides the above, her involvement with young audiences includes other well-reputed productions, such as Penny Sweets.
Penny Sweets, also known as Penny Candy, confirms McBain’s extraordinary performance as an industry professional and an incredible actor. She consolidates an artistic success with such a high level of acclaim that it sells out all the tickets for its performances. Therefore, the play is now available on Amazon and continues to gain favor with viewers all over the world.
The production strengthened a close working relationship with a group of young people who shared their experiences so that McBain could give them a voice in this acclaimed project.
“Over a period of three months I organized workshops with the teenagers in the acting company. The response was incredible and very moving. The participation was much greater than we expected and everyone showed immense vulnerability,” says McBain, with a humility often reserved for only the best actors.
It’s no surprise, then, that the success of Penny Candy has come to generate tour offers for McBain.
Thus, the expectation for the new projects McBain will be working on increases due to the high standards she has set. Leaving us with a perspective of the industry that runs through a more humanistic vision, it suggests that young people from all around the world will be able to build more critical perspectives due to the strong job of elite screen artists like McBain.
As renewed COVID-19 restrictions have taken over Sydney amidst the delta variant, viewers have once again returned to their screens to find a welcome respite from the stress of it all. Viewing habits have of course turned towards revisiting the comfort of Australian favorites, which lead our editors to speak with one of Australia’s brightest stars, Dan Hamill.
Multi-talented entertainer and actor Daniel Hamill brought his versatile skill-set and experience to the renowned Australian drama television series, Love Child. That performance, along with his appearances as a finalist on Popstars and X-Factor, was one of many which solidified Dan’s place in the Australian screen and television industry, so our writers thought it was befitting – as the series experiences renewed popularity via streaming – to revisit Dan’s work and the continued evolution of his career.
The acclaimed Australian star, who also worked as a series regular across 26 episodes of SheZow and is due to work on an exciting slew of projects in the US in the coming years, is humble and down to earth in person. It’s befitting therefore that he played his role on Love Child with a salt-of-the-earth sensibility that was simultaneously elevated by a distinctly 70s debonair quality.
Love Child follows the lives and staff of the Kings Cross Hospital and Stanton House in Sydney, based on the real-life forced adoption program in Australia. The series beautifully captures the coercion and stigma of unmarried women in Australia and the plight of their children. One of Australia’s most popular dramas, the show was loved for its “70’s style” and its gripping emotion, which Dan was able to realize with his flair and emotional depth. His contributions solidified the show’s continued high-ratings as he became a fan favorite, helping Australia’s Nine Network strengthen its position as Australia’s top network.
“Being part of a hit show like Love Child was such an honour,” Hamill explains. “It was one of those dream roles that fit like a glove and felt like a real extension of self. The reason it was so popular was because it was about WOMEN- 95% of the cast! and that was a really important story to be a part of and told.”
“I loved playing Dr Andrew Patterson as he was such a forward thinking guy for the time, he broke the rules, and was in FULL support of empowerming women and rewriting/opposing the patriarchal and archaic mindset of men in that time. Looking back to when I was a kid, playing a leading man ‘heartthrob’ was such a far off dream. I had to pinch myself a few times saying to myself ‘hey buddy, how fun is this!”
Love Child notably received numerous prestigious accolades in the entertainment industry. At the 2015 Logie Awards, an awards event which celebrates Australian television, the show was nominated for the Most Popular Drama Program Award, and in 2016, the show was nominated for both the Best Drama Program and Most Outstanding Drama Series. Love Child also received a nomination for the Best Drama Series Award at the Golden Nymph Awards, which are the prizes awarded to the winners of the Official Competition of the Monte-Carlo Television Festival, meaning Dan’s work has been enjoyed at the international scale and contributed to awards acclaim.
Hamill elaborates on the experience of what it meant for the show to be recognised internationally.
“For Love Child to be nominated internationally was such a phenomenal nod to the show. We were all in disbelief initially when we heard about this. It’s a really heavy show- we talk about abortion, abandonment, women’s rights and injustice. It just goes to show that this is what the world needs right now.”
Love Child also featured Jessica Marais, Jonathan LaPaglia, and Matthew Le Nevez and was directed by Geoff Bennet, who won the AACTA Award for Best Direction in a Television Drama or Comedy. Hamill’s performance as the charismatic Dr. Andrew Patterson, a continuing fan favorite who impedes Dr. Joan Miller’s (Jessica Marais) efforts to continue her career after the birth of her child, represents the societal resistance towards unmarried women who had children in Australia during the twentieth century.
Hamill joined the team in the show’s fourth season, but made an immediate impact as in the lead male role, claiming that although the loss of Jonathan La Paglia’s talent and role on the cast left big shoes to fill , “the cast was so lovely and welcomed me with open arms, so it was good to be there.”
In one particular scene in the season’s fourth episode, Hamill’s character diagnoses Joan’s baby, Laura, with pneumonia, and does everything within his ability to assist the child but must simultaneously accept the reality that the child could die. Dan gives a showstopping performance by capturing the anxiety and panic of the moment, with fans and critics noting that the episode “drew out the best performances” from Dan. Hamill’s participation on the show made an immediate, demonstrable impact as IMDB indicates that ratings for each episode in the fourth season consistently exceeded 9/10, as opposed to the previous season’s episodes which largely received 8/10 ratings.
Hamill’s character also plays an essential role in the season finale, when he discovers the evidence that proves Joan’s baby was swapped with another mother’s, another cold reminder of the violations of familial bonds that occurred in Australia at the time.
As Hamill explains, “the finale of the show was heavy. I mean in terms of dramatic tension, you can’t really beat a baby swap storyline right? Jess Marais and I had really built a beautiful emotional rapport and trust with each other and had learnt to really support each other in the heavy scenes.”
Acting, particularly in drama, requires a performer to deeply personalise and go deep into memories or imagined circumstances that trick your imagination and nervous system to believe these things are really happening in order to convey truth and emotionally affect audiences.
Hamill elaborates on the dynamic with his scene partner.
“Jess and I as buddies in this, sharing so many scenes together, created a really special space where we would drop into the depth of our emotional world to pay the script justice – you can’t fake that stuff. At the end of a scene or between takes that required deep grief or rage or even intimacy- we would give each other a little look that said ‘I got you mate’.”
Hamill explains further. “That special bond you have with another actor that really goes there, as much as you do is so damn special and makes the whole process super, safe, beautiful and in an odd way healing.”
Hamill also played an important role in the popular Australian television series Jack Irish alongside Guy Pearce. Here, Hamill appears as Wayne Dilthey, a member of the Way of the Cross Church who uncovers the nefarious actions of the church. His eventual murder later becomes the focal point of the show as Jack Irish (Guy Pearce) ends up getting framed for the crime. The show was one of the six most watched programs in all of Australia upon its release, recording nearly 1 million viewers, and Hamill’s popularity amongst television audiences undoubtedly contributed to this significant figure given the importance of his character. Critics praised the show and fans continue to stream it worldwide, and in the US, via Acorn TV.
Hamill versatile skills as an entertainer in film and TV was also confirmed with his performance as a voice actor in the animated series SheZow. He performed in 26 episodes, showing his indispensability to the show as a talent. When watching the series, it’s clear that Hamill is an accomplished performer who can convey emotional depth and entertainment with just his voice, in addition to his skilled performances on television as a singer and actor.
Award-winning Australian icon Noni Hazelhursts says the following of Hamill:
“One of [Dan’s] great strengths as an actor is his “look” – he has the same ability that Heath Ledger did to play anything from a romantic lead to a hitman to a tramp. His looks are hard to define – he could be James Bond, he could be a filthy junkie – his casting potential is enormously wide.”
She elaborates further with reference to his transformational character abilities.
“I can honestly say…[Dan] is one of the hungriest performers I know – constantly striving to stretch his knowledge, to challenge himself and to take risks in his choices. It’s starting to pay off, but his major contribution is yet to come. He could tackle any role. He is so talented and interesting.”
With the enduring popularity of some of his most popular roles, the ubiquity of streaming, and some exciting projects on the horizon, it’s safe to say Dan will continue to shine on screens all over the world.
The Ukrainian brand Terrasse continues its successful path under the leadership of Kostiantyn Vlasenko
Opening a new store in the Retroville shopping center in Kiev, restructuring the brand to meet online sales, a necessity during the pandemic, and expanding the brand’s target audience are just a small list of achievements made by the brand Terrasse since Kostiantyn Vlasenko stepped in as a leader and production manager.
The Terrasse brand was created by an American designer of Ukrainian origin Viktoriia Vlasenko, whose career encompasses both fashion design and costume design for cinema. Several years ago, she transferred the management of the brand into the hands of her brother Kostiantyn, who continues to manage a large production in Kiev while also being integral to helping Victoria implement her new ideas.
“Kostiantyn is literally my right hand, it’s hard for me to imagine how I would have realized all of my plans without his help,” says Viktoriia about her brother. “He has so much energy, he has so much experience, and he’s always finding new opportunities for us to grow, I rely on him for absolutely everything.”
While Viktoriia works from the United States and Kostiantyn from the Ukraine, the distance does not stop the creative collaboration this powerful brother and sister team have created. Over the past few years they have developed and implemented many new collections under the Terrasse brand, whose products are currently sold in seven of their own stores, as well as a number of additional outlets throughout Ukraine.
Kostiantyn previously lived in America where he graduated from the New York Film Academy, as well as starred in more than a hundred films, however he later returned to the Ukraine for familial reasons.
“Despite the fact that my soul remains devoted to the cinema, the production of clothes captures me no less… In addition, Viktoriia is full of ideas, and all of us in Terrasse, even during a pandemic, had no time to get bored,” comments Kostiantyn Vlasenko.
“We are intensively expanding the range of the brand’s clothing, and now it will focus not only on a youth audience, but also on successful and stylish older women, which means a change in concept and a completely different approach to production. All of these tasks are complex and interesting at the same time, especially in an environment where the coronavirus pandemic has caused difficulties in business. However, we have managed to cope with everything, we continue to go forward and this spring we opened another store in Kiev in the Retroville shopping center.”
The family collaboration of Viktoriia and Kostiantyn is famous for more than just the unique clothing innovations that they’ve made with the Terrasse brand, but also for their unusual social and artistic fashion projects. Viktoriia Vlasenko’s largest social project, which received a wide response and drew the attention of the Milanese society to the war in Ukraine, was called “I can’t keep calm: Stop War in Ukraine,” with all of the fashion design created by her.
Within the framework of this project, a collection of women’s clothing was created, as well as a collection of dolls, which were exact copies of the models at the shows. The project also included the release of a book of the same name, which sold 100,000 copies and the creation of the film “No War.” Kostiantyn Vlasenko also took part in the implementation of this large-scale project.
In addition, Kostiantyn and Viktoriia collaborated on the production of costumes for several films. Working together behind the scenes, Viktoriia handles the creative part of this process, including the creation of images, patterns and prototypes for the costumes, while the complex production process, logistics and overall management is headed by Kostiantyn. They’ve spent the last few years carrying out their cinematic creative work simultaneously with their work on the Terrasse brand, but this has by no means meant their fashion brand has become less successful.
Over the past few years, the Vlasenko siblings have received 17 awards from various film festivals for their costumes, and this seems to be the very beginning of a long and prosperous creative journey.
According to Viktoriia Vlasenko, in the near future she and her brother are planning to carry out another large-scale art project, the name of which has yet to be disclosed, but is intended to be released in both the Ukraine and the United States.
While Hannie May’s acting skills were put to the test in the film Breakdown, it’s clear that the passionate actress passed with flying colors. The recent project is but one of many hallmarks in a career that has been characterised by overcoming challenges, to eventually rise to the top. Indeed, May has cited how the industry is shaped by contradictions. On the one hand, the stereotypical casting in some instances provides challenges for actors with multi-cultural backgrounds to explore their possibilities to the fullest. On the other hand, it’s opening the world up to an onslaught of more diverse casts on high-profile projects – from Crazy Rich Asians to Marvel’s upcoming Shang-Chi and the Legend of the Ten Rings. It’s clear that the diversity of casting choices has stepped up to the next level, and May – as one of the industry’s breakouts – has most certainly stepped up too.
While much has been written however around increasing diversity of representation in film, the subject of this piece became clear when reviewing May’s work. The depth of talents rendered all socio-political commentary irrelevant, as the true significance of May as an actress comes to the forefront when watching any of her films. She simply makes it about the work, and makes it as deep and meaningful as possible.
In the case of Breakdown, it was up to May to not only lead a film, but also empathise with the character’s circumstances to the degree that any viewer would feel like the significance of mental health was given meaning and respect.
Ultimately, Breakdown is a display of a personal battle between self versus self, a real-life struggle that continues to go on today. In one particularly memorable moment, Hannie has to face a mirror and gradually let her inner self out while watching at her own reflection. The scene involves no dialogue, and is entirely fulled by the actress’ emotional expression.
The continuation of the story sees May’s character suffering from mental health issues, which triggers her to resent her own values and build up a significant fear from society. The internal crisis becomes an external one, providing a rich opportunity for May to showcase her significant emotional range as an actress.
In the words of one industry professional, May is a tour de force in the film and a reason for why and how it resonates with any viewer.
All the more impressive is how Breakdown was created and directed by Finnish filmmaker Cristal Alakoski, herself known for a prolific career in Europe marked by memorable projects like music videos and commercials with Finnish band Aija Puurtinen & Brooklynin satu for their popular song Maantie (Highway), and another music video for John Westmoreland with his acclaimed hit, The Sparrow.
Being the lead in a movie is one thing, but being cast as the only role of a film is an accomplishment worth celebrating. Even more impressive was the development of Breakdown and its unconventional filming process. While the role of Diana and her circumstances came with a lot of challenges, aside from being vulnerable to the audience, the project also did not have a set shooting script.
May expected the role of ‘Diana’ to come with different challenges, but this knowledge didn’t make it any easier.
“It was one of the film projects I’ve worked on that requires the majority of acting from improvisation. So the process of filming this project with Alakoski was also a journey of experimenting with the idea of the film together,” said May.
While the storylines Breakdown and May’s other recent project, Interrupted Girls couldn’t be more different, the emotional weight of each reflects the level of responsibility filmmakers place on May in casting her in such meaningful stories.
Indeed Interrupted Girls, the release of which preceded Breakdown, was one such impressive project which garnered May significant attention.
Directed by Christopher Cass, Interrupted Girls, focuses on two sisters who come from a broken home. May plays Elena, who is forced to side with her mum and go against her sister’s wishes.
Award-winning director Cass is best known for his work on Trey Pops (2020), Scrubbers (2014), and The Bus Stop (2017).
Christopher brought extensive experience from his career when directing May, and also boasted associations and screen experience with NBC. It was this epxienece that undoubtedly made May feel comfortable in front of the camera, expressing vulnerabilities about topics which – although incredibly specific, are also especially universal.
Hannie’s exquisite performance in Interrupted Girls is best effectively distilled at the moment where her character chooses pride when it was “happiness” that she wanted. When it came to “Elena” and her self growth during the film, the remarkable emotional access of Hannie’s talents made especially clear in memorable moments where she was vulnerable and driven by her emotions in a significant way.
Divorce is a hard topic to discuss, many families everywhere have been torn because of failed marriages, and struggling relationships.
May’s polished skills brought life to the character of Elena, further shedding light on the value of sisterhood With a statement as powerful as the one that Cass’ shared, it required a lot of strength to push through discomfort, two things that Hannie May provided with excellence and perfection.
In a scene where the two sisters fight, May shows the extreme of her character’s personality and emotions within the confines of no movement or dialogue. Her performance not only shows a strong internal life, but also reveals the contrast between the two sisters’ personalities and shows authentic real-life emotions which deeply connects with any viewer.
Ultimately, it’s these dual experiences on film that signify the mark May is leaving on her field as an actor, a storyteller, and more generally, a professional empathizer.
“What’s the most interesting to me in acting is finding the complexity in every single character,” she beams with a smile.
“The story behind what’s on the page, what I enjoy digging into, is always more than what I have to show in front of the camera.”
When we were asked to choose one of our 2020 interview guests for a ‘New Year’ check in, we didn’t hesitate in selecting Grant Lyndon.
When the renowned New York International Film Festival announced its most recent winners in December 2020, Grant Lyndon was “humbled but proud” to be among the list and acknowledged as Best Actor for his work in the acclaimed film, Ruby.
For anyone else in the industry however, it’s no surprise, as Lyndon has been turning in acclaimed performances for years. While under the radar for the early stages of his career, during which he appeared in ABC’s Rogue Nation alongside Gold-Logie winner John Wood, Lyndon continues to attract national and (clearly) international attention for his work and media appearances, recently generating rave reviews in Frontline Views and Entertainment LA.
The New York Film Awards were held in a COVID-safe public screening event at Producer’s Club, in the heart of Manhattan, the urban core of the New York metropolitan area.
The award is an important moment for Lyndon, who has had an arduous career as an actor in film and television, as well as in the theater and voice-over spaces in Australia. The New York International Film Awards have also offered his colleagues a way to record his hard work in the industry, but also to thank him for his contribution as one of Australia’s most reliable talents.
In this way, Grant himself has referred to his career as “a long haul.”
Grant Lyndon has not only stood out as an exceptional actor in any area in which he’s worked, but has also offered expertise and encouragement to motivate emerging actors through teaching, and to build empathetic connections with his characters to convey to each audience a real and profound experience that is far from mere imitation. He understands this field well and from his self-knowledge and his professional career he knows how to distinguish clearly from a neat and well-developed job from any other.
Hence, his extraordinary skills have been recognized in productions such as Home and Away, Old School and A Place to Call Home, where in each of them he has been able to show us completely different characters, but equally impressive.
In Home and Away, Grant played Professor Calabra.There, audiences identified him with a resistance that denotes tints and shades as intense as delicate from each other. His performance gave the audience a serious, quite formal character, something abrupt that transmitted emotions against him. Such a clean performance that could make anyone disconcerted and angry just to see how well he played a disdainful and badly humored role. Afterwards, as if nothing has happened, Lyndon changes his position and shows himself to be kind, attentive and respectful.
Without effort or tension, Grant part of Home and Away’s huge bump in ratings, making a memorable impressionthrough the turn in the story that his character produced, unleashing new dramas and new challenges. Ultimately, Grant allowed a depth of authority with reason to underpin the storyline involving Marie Claire covergirl, Pia Miller’s character, to work through her challenges.
For juxtaposition, a viewer can find Lyndon’s portrayal in the acclaimed series ‘Old School’, which attracted some of Australia’s highest-live-to-air ratings with more than 664,000 viewers tuning in to Grant’s performance. An eight-part series screened on ABC1, created by Paul Oliver and Steve Wright, and directed by Gregor Jordan, that follows the adventures of the retired criminal Lennie Cahill and the retired cop Ted McCabe, played by legendary actors Bryan Brown and Sam Neil (Jurassic Park).
Marcel was crucial to the plot in Old School, as he underpinned and greatly affected the dynamic of the long running lost love battle between Barb (Linda Cropper) and Lennie (Bryan Brown). He was the new love of Barb that set Lennie off into a jealousy spiral. The tone set by Grant on set was clearly irreplaceable, when watching the footage. He held the line between Barb & Lennie with good weight. This gave a great and realistic feel to the underworld aspect of the show.
Last but not least, we should also mention his appearance in A Place to Call Home as Jay Kenneth Katzan III in the Do Not Go Gently episode. Ironically, his role seemed to be kind like no one else, arousing the anger and envy of others. There, Grant showed a side of himself in which his body expression said more than a thousand words. At first, without a script, he had the duty to make known an imposing, elegant and charismatic position of an epochal character. Only through his gestures, his movements and his smile he conquered the heart of the audience. Later, as if this had not been enough, he intervened with a dialogue as friendly as he had shown himself.
The abovementioned roles are a distinct distillation and manifestation of Lyndon’s wide-ranging career path. From the early days of his career, Grant has been able to recognize his strengths and to express it, whether it was with a neutral character or with another hateful one. So much so, that even without a word or a thousand of them, he always made himself stand out.
Not surprisingly, he has more artistic facets than just his performance in front of the cameras and in theaters. Grant is known as Australia’s ‘voice over king’, and in fact, his record in this area is as competitive as his long stage career. Thus, he has developed magnificent voice works where he is able to vary between American, British and Australian accents.
Therefore, he has his own podcasts hosted on major platforms such as Spotify and Apple: Busy Dads, described as a podcast packed full of great information, stories, and resources for dads on the go, and The Defiance Code, a health and motivation podcast exploring remarkable mature minds and how they stay fit, happy, and vital. Productions that stand out for relying on listeners and speakers as an assertive means of communication where Grant’s background as a voice artist plays a key role in delivering a powerful message to the audience.
On the other hand, his work is perfectly complemented by the use of his voiceover for narratives such as House Rules, Aussie Lobster Men and the Australian National Museum. Grant reliably connects with the viewers and listeners of each project, respectively, generating an undeniable added value. This also led him to be part of the animations Mia & Me and Motown Magic, animated series with a much sought-after impact on children’s content in Australia’s continually evolving film and TV industry.
For all these reasons, it is a pleasure for the entertainment industry to have the certainty that Grant will continue to develop new roles in the future. Building on his successes, his next step involves productions in the US. These projects, involving award-winning filmmakers from all over the world, include a hilarious role as ‘Utag the Barbarian’ in ‘The Role World’ from Dlugos ventures, and in White Pixel’s highly-anticipated feature film project, ‘The Other Mike.’
“I’m super excited because I’m in a place where I can draw on all of my experience from both my life AND my career. A great part of my inspiration also comes from my family. My four kids keep me very real & greatly inspired with a healthy curiosity for the arts. The innocense and command of “Why not?” from a child always brings me into thinking – “Yeah, why the hell not!”.
Adding more excitement to our conversation, Grant continues.
“My 2021 is going to be filled with breaking down even more barriers, and keeping a youthful thirst for work alive. In a lot of ways I’m at a time in my career when I feel this really is just the beginning. I’m very grateful for all the opportunities I’ve had to date, but am even more excited for what’s to come!”
While 2020 has been a year characterised by people being forced to pivot, Australian actor Grant Lyndon has been used to doing just that on a regular basis since the beginnings of his career in Sydney for quite some time.
As he, and any other prominent studio executive or producer would attest, actors need not just be malleable and versatile in their screen abilities, but their dexterity with life too.
The life of an actor calls for flexibility and frequent change. It’s to be expected that, in the case of an expert on the matter like Grant is, he boasts prominent experience across all different mediums and genres.
The Shane-Abbess-directed feature The Osiris Child, where Grant is listed amongst other cast members such as The Mummy franchise star Luke Ford and Transformers actress Isabel Lucas, represented a pivot in a medium after Grant had spent years in television and voice work.
In his role as Dr Curruthers, Lyndon stands out especially in the penultimate scene counseling Sy (played by Twilight star Kellan Lutz) through the loss of his wife in the futuristic world’s emergency room.
The gritty realism infused with a metallic energy reminiscent of the best George Lucas movies formed a fitting backdrop for the compelling energy of Grant’s time on screen in character, underscoring the notion how he is a true cinematic actor deserving of a close-up.
Grant’s pitch-perfect embodiment of an American character was also a notable feature of the stand-out role, which is an effective juxtaposition to the father-of-four’s memorable appearance in Home and Away.
The iconic and long-running TV series could not be more different from the futuristic world in Shane Abbess’ feature, serving as another strong example for how Grant – in his dexterity as a trained actor – effortlessly jumps from world to world.
There was one similarity between the roles however, as Grant was asked by Home and Away producers to embody the senior academic authority of his Osiris Doctor character when playing the part of Professor Calabra. While the storyline was crucial to viewer interest, involving the development of Pia Miller’s Katarina Chapman’s career changes, the performance gives any viewer insight into the skills and talents that set Grant apart from other Australian TV actors.
For one, echoing the words of notable producers, Lyndon’s handling of the material and dialogue encapsulates a masculine credibility as conflated with an understated sensitivity. This duality, seen throughout exchanges between Grant’s character and others as well as in private moments and close-ups, embodies a masculine credibility more reminiscent of old-style Hollywood than modern television.
If that proven versatility wasn’t enough, Grant also is well-known for his voice work. In Motown Magic, Grant voices the character of Johnny in a role well-received by viewers of the hit children’s series all over the world on none other than streaming giant, Netflix.
In one notable moment, Grant brings the tender tones that are available in one’s voice when using a US accent, to console his daughter. Less is definitely more in this case. The subtleties that are required to really nail a convincing performance so the accent is as natural as possible & doesn’t get in the way, can only come from an artist who has carefully fine tuned his craft over years of development and work.
The role in Motown Magic solidified a relationship Lyndon has proven with the streaming platform, as he also made a memorable appearance in the popular Netflix series Chosen, alongside Sam Hayden Smith and AACTA-nominated actor Fayssal Bazzi (who stars alongside Cate Blanchett in Stateless).
Playing another surgeon, Grant clearly solidified his place as the ‘go-to’ doctor in the Australian film and television industry.
When asked about the secret to carving out places in different pockets of the industry, Grant speaks from a humble place.
“You just need to be yourself. Ultimately there is something in the essence of each character in all of us. Locating the likeness (sometimes it may be something we don’t necessarily like about ourselves!) in your character allows you to really walk in the shoes of your character.”
The spirit echoed in Grant’s words speak to the balance between focus and relaxation needed for people during a stressful year like 2020.
If there was any advice to aspiring actors, Grant’s would be: Be patient, and use all of the experiences in your life, good and bad, to allow you to deepen your empathy, and ultimately give life to any character you play with authenticity and truth.”
Grant also adds something someone once told him: “the best advice I was ever given was, “Be the kind of actor that gets booked twice”, meaning be humble, generous, and a team player.”
If dominating the feature, television and animated corners of the industry wasn’t enough for the accomplished actor, however, Grant boasts a career as the undisputed ‘voice over king’ of Australia.
Grant is not just the voice of one, not two, not three, but 6 major household name companies in Australia, ranging from Toyota, bank ING, Qantas, Channel Seven and none other than McDonalds.
“Putting in the hard work on your technique, really getting used to hearing yourself in a studio environment, and knowing your strengths are all super beneficial to becoming a working voice artist…It’s also great to be able to work remotely. It’s a saving grace in a world where human contact has been very limited. Most voice artists have a home studio set up of some description.”
Suffice to say, Grant’s capable of giving valuable advice but doesn’t stray away from continuing to evolve himself, as 2020 has shown.
Award-winning Australian actors Blanchett and Hugh Jackman have each been quoted on a number of occasions that their success on screen, and their award-winning performances, are attributable to their early careers in the theatre. And while it’d behove many young actors to follow their advice, it’s rare in today’s age to meet a successful TV or film actor who develops a career on stage like the generations of actors before them in an era of TikTok and Instagram.
Award-winning Australian actor Alec Ebert therefore falls into a rare category. After starting out a career in sales, Ebert burst onto the Australian theatre scene in 2016 with an acclaimed performances Charlie Fox in David Mamet’s Speed-the-Plow. It’s this past history which has formed a solid bedrock onto which his film and TV career has been built which, in the word of those industry professionals interviewed for this profile, will allow it to continue for decades to come.
As well-known actor Chris Thornton attests, “…few can rival the skills and ability Alec Ebert possesses. I would rank Mr. Ebert as one of the very best performing artists internationally.”
Alec’s work in the film The Expert is in many ways a synthesis of his work in the theatre. In the intense thriller, Ebert plays Derek, an introverted, socially awkward man who fetishises one of his work colleagues. The story concerns the presumptions we make of others, social isolation, and a thriller-style twist, while dragging the audience into the dark inner life of Derek. When watching the film, it’s clear how it called on Alec to tap into a range of intensity reminiscent of Marlon Brando.
In one moment, Alec, as Derek, portrays the intensity and inner life of his character through wordless expression, raising a scarf stolen from his crush in his mouth in a creepily sensual way, leaving no allusions as to how we as the audience feel about this guy.
It probably also helps that The Expert’s director, Rachel Soland, has also worked on Hulu thriller series Into The Dark, from legendary ‘horror’ production company Blumhouse (helmed by Oscar-nominated producer Jason Blum). That company, helmed by Oscar-nominated film producer Jason Blum, is behind such mega horror successes like Insidious, The Invisible Man (Elisabeth Moss), Paranormal Activity and Happy Deathday. Such esteemed associations evident when examining Ebert’s career reinforce how the creme da la creme of the industry always ends up working with one another, and that he himself belongs in an elusive category of artists who – while ironically commercially and financially successful – are first and foremost focused on story and craft.
Good art leads to commerce, as they say. Not the other way around.
When asked what theatre has taught him, and how it has undoubtedly informed his success which can be seen in film Vulture, andDavid-Lynch-like online series After Nightfall, Alec is simple and direct.
“The theatre taught me that no performance is too big if the inner life of the character’s experience is truthful. This is as true for the camera as it is for the stage.’
In many ways it’s not a shock to learn of Alec’s success, as it’s to be expected that someone with such an ardent appreciation of art, as he shows, would want to have explored every facet of performance on his way to moving through the ranks to be among the top of the acting field in Australia.
“Child-like curiosity is in all of us, sometimes just below the surface, sometimes buried deep. As we grow older, we forget it, we ‘grow up,’ but it’s still there. I really believe that the secret to true maturity is finding your curiosity – learning to be a child again. I learned this from my late grandfather and it is how I found acting.”
Alec’s upcoming starring performances in US projects from filmmakers like Tim McNeil and Eric Thompson are a testament to how the international film industry seeks out exceptional talent, no matter where they are in the world. The engagements in these projects were arranged by his Amercian sponsor, underscoring how vital a role he will play at the companies in the future, given the high-anticipation the industry places on the productions as it seeks to recover from COVID-19.
Ebert, who was originally born in Melbourne, Australia to parents of Sri Lankan and Australian heritage, is humble when asked about his current success, even when we point to the the recent acclaim The Expert attracted at the Los Angeles Thriller Film Festival or the Minnesota Terror Film Festival, and his acknowledgment by the Short + Sweet Festival for Best Actor, where none other than Miranda Otto and Peter O’Brien were in attendance.
Alec’s appearance in DNA: The Petersons is an additional reflection of the wide range of his craft as proven in a number of leading roles in production of significant merit. In that film, Ebert worked with Nelson Cruz.
“Acting will never be about Instagram or networking or accolades. These are incidental. It’s all the work you do in the quiet of the night that will define you. It is hard and it is rewarding. The true joy of acting is in the process – to honour the truth of a story – not the honours that come from a job well done. Having said that, it’s always nice to indulge in a little recognition every now and again!”
The extensive and superior role of a script supervisor requires immaculate focus and attention to detail, not to mention the ability to overcome high-stress situations when unexpected curveballs are thrown their way.
With a superpower-like range of skills to her name, leading script supervisor Tamara Hansen is undoubtedly the ultimate behind the scenes ninja when it comes to filmmaking.
A true master at multitasking, Hansen’s ability to go above and beyond her general job expectations made her an invaluable member behind the scenes of the recent 2020 conspiracy thriller film “18 ½”.
The dark comedy was produced by award-winning filmmaker Terry Keefe (“Slaves of Hollywood”) and directed by award-winning producer, author and screenwriter Dan Mirvish, who was recently named one of Variety‘s Top 50 Creatives to Watch.
The film, which stars two-time Primetime Award winner Jon Cryer (“Two and a Half Men,” “Pretty in Pink”) and award winning actor John Magaro (“The Big Short,” “Carol”), is a 1970s era Watergate scandal conspiracy thriller about a Whitehouse transcriber who obtains the only copy of the infamous 18 ½ minute gap in the Nixon tapes.
Hansen’s role on set was to ensure continuity and prepare the edit logs for all departments, including camera, lighting, sound, wardrobe, make-up and sets, helping to prevent any errors that could occur between takes.
Considering the size of each department, Hansen’s scrupulous organizational skills along with her ability to facilitate clear communication channels between all teams were integral to ensuring that production ran smoothly.
“For a director, having a strong script supervisor is essential. Tamara was a wonderful creative collaborative partner to work with, dedicated to the film, and loyal to a fault in helping protect my creative vision for the film,” says “18 ½” director Dan Mirvish.
He adds, “Tamara is easily the best script supervisor I’ve ever worked with, and she’s an invaluable member of the filmmaking creative community… We couldn’t have made this movie without her.”
Unfortunately, due to the global Covid-19 pandemic, the production of the film took an unexpected halt in March and only recently completed shooting in late September.
“Tamara’s calm but determined personality was exactly what our cast and crew needed,” says the film’s producer Terry Keefe. “Nerves were very frayed because of events happening in the outside world.”
Director Dan Mirvish adds, “She’s always got a welcoming smile on her face, whether it’s first thing in the early morning, or after a long night’s worth of filming. She’s incredibly even-keeled and supportive even when the rest of the crew is freaking out or panicking.”
“Dan always listened to my notes which was great,” says Hansen. “Now that we’re in the edit, Dan is sending me cuts of the movie to get my notes and thoughts on it, for a final edit, which is very exciting and I really appreciate his trust.”
The highly anticipated film is currently in post-production, and expected for international release in 2021.
Her exceptional work as the script supervisor on the 2020 horror “Dreamkatcher” had the film’s award-winning writer and director Kerry Harris (“Grip and Electric”) dubbing Hansen as the “Google” of filmmaking.
“Tamara is quite simply indispensable and I fear by singing her praises I may not find her available for my next film,” says Harris. “That said, the filmmaking world deserves to know.”
“Dreamkatcher” tells the chilling story of a young boy trapped in a nightmarish entity, and stars Radha Mitchell (“Man of Fire,” “Finding Neverland”), Henry Thomas (“E.T the Extra-Terrestrial,” “Legends of the Fall”) and Lin Shaye (“Insidious,” “There’s Something About Mary”).
After applying for the role via a job posting, it was her strong determination to follow up with the director after several weeks of silence that essentially landed her the job.
“I remember not hearing back from the line producer and thought I didn’t get the job,” she says.
“After two to three weeks I followed up and she let me have an interview with the director. I found out later that the director didn’t like any of the others who interviewed previously that’s why they were still looking. This is the best example for when persistence works out.”
Given that Hansen is extremely diligent when it comes to detail, it was her ability to maintain strong continuity between each department that ensured every shot remained unanimous in order to cut together for the final edit.
Her flawless edit logs became invaluable to the film’s editor, who thoroughly relied on her notes to effectively bring the whole film together.
She adds, “I made sure the editor had a record of what the director’s choices on set were, what takes he liked best, what worked out great and what didn’t. I made sure everything stayed cohesive and would cut together in the edit.”
The film, which was released in April 2020 by global entertainment corporation Lionsgate, is streaming across major digital entertainment giants such as Amazon Prime, Hulu and Netflix.
But it’s not just Hansen’s studious leadership and organizational skills that sets her apart from the rest.
Notorious Hollywood directors and producers often rely on her ability to make decisive verdicts on set, which inevitably improves the final result of the shoot.
Her ability to actively support the production team extends to include more than just full-length feature films, and over the years she’s applied her unwavering work ethic to the detailed world of documented television series.
The historic docuseries “The Food that Built America,” which was narrated by award-winning actor and producer Campbell Scott (“The Amazing Spider Man 1 & 2,” “Jurassic World: Dominion”), tells the unknown stories of the innovations and rivalries behind the American food industry’s best known tycoons.
“Working on a tv-show is more fast paced than filming a movie,” says Hansen. “It was a recreation show, which was very interesting, because we recreated the stories of how Heinz Ketchup was invented, how McDonalds became a franchise etc., It was interesting learning and recreating real life events.”
Coming off the run of an incredibly strong first season, which drew over 18.8 million viewers, the hit series has been renewed for a second season by leading documentary channel History, which will include 18 episodes.
Hansen was asked by the show’s line producer to return for season two, however due to her prior commitments on a soon to be announced independent film, she was unable to commit.
When a director or producer requires integral information, whether a slight detail in a costume change, or whichever lens was used in the film’s opening scene, it’s guaranteed that with Hansen’s precise memory and intricate edit logs, she’ll always have the answer.
“18 ½” producer Terry Keefe says, “Tamara has an almost photographic memory, or maybe she has an actual photographic memory that may be a superpower, she keeps that a secret.. that really comes in handy in her work.”
With a stellar repertoire of success to her name, and with consistent praise from honored Hollywood filmmakers, it’s no surprise that Tamara Hansen is renowned as the ultimate right-hand woman when it comes to filmmaking.
Playing a character that not only hits close to home, but also marks a time in history when cultural conversations are needed most is a rare and powerful opportunity for any actor.
Establishing success as one of the only Kurdish actors in the industry today, LA based actor Shvan Aladdin’s Middle Eastern heritage and colossal talents have helped bring a stronger sense of multiculturalism to Hollywood.
Capitalizing on his Kurdish roots, Aladdin has landed numerous leading roles across film and television productions in stories that are fundamentally relevant to today’s society.
His creative approach to depicting stories of substance on screen have helped to ensure individuals from around the world are seen and heard in a more authentic way.
“First and foremost, it’s an honor to know that I am one of the first to represent my country in a place like Hollywood,” Aladdin proudly shares. “But I really hope there will be many more than me in the future. And I hope that by me being here, it’ll open up the doors for many more who start to believe in themselves.”
Societal issues such as racial profiling, gender equality and women’s rights continue to surge news headlines. Cultural diversity amongst the entertainment industry however is a whole conversation on its own.
With independent studios and progressive filmmakers pushing the boundaries to expose stories of truth, cultural conversations are now the storyboard for many award-winning mini series and Hollywood blockbusters.
“I want to tell stories that are not out there. I am from Kurdistan and it’s so rare we see Kurdish stories being told to the greater audience,” Aladdin shares. “I want to be one of those who brings those stories to life. Aside from that, I want to work with stories that hopefully teaches me, the actor, and the audience something new.”
Despite seeing some movement in cultural diversity across Hollywood of late, many will argue that we still have a long way to go to achieve equal rights.
Recent studies from a 2019 report shows that out of 3,895 speaking or named characters had an easily identifiable race or ethnicity. Of those, a full 63.7% were white, 16.9% Black, 5.3% Latino, 8.2% Asian– but, only 1.5% were Middle Eastern/North African.
Focusing on roles behind the camera, the report also indicates that out of the 112 directors from the 100 top films of 2018, a mere 3.6% were Middle Eastern/North African.
Evidently these stats show great room for improvement, there’s no denying that. However most recently we’ve bared witness to change as some of the industry’s most reputable sources are praising diversity.
The 2019 Korean drama “Parasite” won the award for Best Film at The Oscars earlier this year, marking Hollywood history as the first non-english film to take home the prestigious award.
Arab-American star Rami Malek earned critical acclaim for his portrayal of Freddie Mercury in the incredible biopic “Bohemian Rhapsody.” Malek became the first ever Arab-American to win an Oscar for Best Actor for his outstanding performance in 2019.
And although Egyptian born Mena Massoud skyrocketed to Hollywood fame for his role of Aladdin in the 2019 box office smash remake, the star has struggled to land auditions ever since.
Thus leads us to question, why is there a continual lack of diversity in Hollywood? And why is there still a misrepresentation of cultures in film and television today?
Being one of the only Kurdish actors in Hollywood, Aladdin recognizes the demands for further diversity, adding, “the truth of the matter is that there aren’t any Kurdish actors out here, and it’s a pity. I hope that we will get to a place where tons of other Kurdish actors move out here and get the opportunity to work in this town.”
He continues, “It’s crazy when you think about how big this city is and yet there are no Kurdish actors in it. I really hope for a change in that section.”
So how does one man from Kurdistan implement such change in Hollywood? By moving away from the stereotypical roles which questions the accurate representation of the Middle East.
A 2018 study showed that 78 percent of all Middle Eastern and North African actors were cast in villainous roles, such as terrorists or tyrants, something that Aladdin has personally experienced.
He shares, “I used to get many auditions for stereotypical roles. But then it got to a point where I just had enough. There are only so many terrorist roles you can do before you feel drained.”
Being one of the only Kurdish actors in Hollywood has come as an advantage to the talented star, who is leaving behind the typecast roles to depict characters of substance and truth.
“There have been many times where directors have been looking really hard for Kurdish actors and it’s just impossible to get a hold of them.” Aladdin continues, “I was in a film ‘Noise’ by Michael Aloyan and it took us weeks to find a Kurdish actress. The girl we ended up finding wasn’t even an actor but it worked out.”
The final casting was flawless, and the engaging film gained widespread viewing via Amazon Prime and was nominated for Best Short Film Award at the 2018 Austin Film Festival.
Aladdin’s genuine performance as the young Kurdish immigrant in the touching film is a character that hits close to home. He reflects, “My mother immigrated from Kurdistan to Sweden in the late 90s, so growing up being a child of an immigrant, I have enormous respect for immigrants.”
He proudly continues, “I know that no mother or father immigrates just for fun. It’s all about giving your children the opportunities you didn’t have growing up. All I am today, I have my mother to thank for.”
“Noise” tells the story of two unique individuals who find love in the most unexpected form with a deaf American woman and a young Kurdish man developing a connection based on sensory touch and vibrational rhythms. Using a notebook as a translator, the characters prove that when you remove language, communication really has no limits.
Their connection becomes tested when the pair are introduced to alternative characters who, according to societal comfort appear to be more suitable. But after a brief moment of contemplation, the two trust their instincts and find their way back to each other.
The optimism shown in the final scene proves that love can exist in all forms, with Aladdin adding, “It’s beautiful. It shows that there’s no limits when it comes to love… I’m so proud to have been part of it.”
Emerging far beyond the stereotypical roles, Aladdin’s career was inspired by the comical pleasures he gained from watching sitcoms as a young child.
Describing his upbringing as “organic,” Aladdin was born and raised in Slemani, Kurdistan. Looking back on his early childhood he reflects, “It was very interesting, sometimes it feels like I’ve gotten to live two very different lives. In Kurdistan, we didn’t have water or electricity 24/7, this was in the 90’s.”
Having water and electricity for most young children is a thought barely to even be considered, however for Aladdin and his brothers this was ultimately a different story.
“I remember having a water company on my street and huge trucks would come and fill them with clean water,” he continues. “Once they drove away, water would keep running down for some minutes before it completely turned off. My brothers and I used to run and fill buckets with clean water so we’d have it for the days to come.”
Reflecting on his past, Aladdin shares, “These are things we take for granted today but there was a time where I didn’t. And it’s interesting thinking about living life then compared to now. “
After migrating to Sweden with his family at age nine, Aladdin became absorbed in the world of network television growing up on classics such as “The Nanny,” “Family Matters,” “Friends” and “The Golden Girls.”
Influenced by these sitcoms Aladdin found direction. “Naturally after a couple of years I just realized that I wanted to do what those actors that I looked up to were doing,“ he shares. “The TV was my best friend for many years…it also taught me Swedish and English.”
Profiting from his Middle Eastern background, Aladdin scored one of the lead roles in 2018’s “Akeda” directed by Dan Bronfeld. The award-winning film tells the story of a young orphan boy who, whilst filming a movie has his humanity tested when the director pressures him to give a violent performance that blends fiction with reality.
Aladdin plays the role of Mustapha, a filmworker who also lost his parents at a young age. Filled with empathy, Mustapha is torn between professionalism and succumbing to the relatable pressures that the young boy feels.
After reading the script Aladdin became riveted with the storyline, adding, “I think that viewing the world through a child’s perspective makes us question ourselves a lot. We forget that this crazy world we live in and witness, the children witness as well. They look up to us to reach a solution to all these problems. And at times we hand over the responsibility to them. I think that is the core of what the story [Akeda] is about.”
“Akeda” earned critical praise winning Best Film and Best Screenplay at the 2018 San Diego International Film Festival, Catalina Film Festival and Downtown Film Festival Los Angeles, as well as a further 13 nominations across global festivals.
Aladdin’s strong ability to paint a character’s depth and sorrow was proven in the 2018 drama “Martyrdom,” a dark film about a radicalised Middle Eastern man struggling to adapt to a society he sorely doesn’t fit in to.
Feelings of defeat takeover when the character’s heinous acts of crime result in the accidental murder of his wife and son, and the repercussions that follow will haunt his remaining years.
When preparing for the grieving role Aladdin shares, “It was a lot of responsibility but I worked day and night preparing for this character and making sure that I knew who he was completely. I ‘knew’ my son, my wife. I made sure to create a full background for the character so that even though I was alone in the short, I still had the life of the character out there to play around with.”
Being the starring actor in the movie, Aladdin was the driving force behind the film premiering at the Montreal Film Festival along with its nomination for Best Short Film.
Reflecting on these outstanding performances and the achievements which followed, it’s obvious that the plethora of skills Aladdin has on offer have helped establish the successful and influential career he has today.
“Thankfully, these past years I’ve gotten to play many well rounded characters that tell deep and beautiful stories.” He adds, “and that’s something that means a lot for my creativity and the vision I have of what I want to do as an actor. I’m not here to play a terrorist.”
Using his Kurdish roots as an accurate representation of the Middle East, Shvan Aladdin is turning heads and changing minds of those who drive diversity in Hollywood. Although a long way to go, multiculturalism is on the rise as more and more industry heads, much like Aladdin are paving the way for change.
Though the career paths for many go undecided until later in life, ‘signs’ of a person’s natural gifts and interests are often apparent in childhood– we just have to know how to spot them.
Growing up in Espergærde, a small fishing village outside of Copenhagen, Denmark, Sophie Gohr was surrounded by a bucolic countryside that fueled her creative imagination. After attending a National Geographic photo exhibit, she went home and made her own camera out of cardboard. She was 6.
“I was absolutely in love, I knew I wanted to do something like that when I got older,” recalls Gohr.
With a lens made out of a toilet paper roll, Gohr would take her ‘camera’ across town, going on photo adventures and capturing everything ‘mentally.’ Quickly taking notice of their daughter’s budding interest, Gohr’s parents bought her a camera. It was then that the young Dane began cultivating the creative eye that would later lead her to become a sought after cinematographer.
“I would sneak up to the library in school at every chance I got to look at photography books,” says Gohr. “My favorite photographers were Steve McCurry and Yann Arthus. The photographs were telling a story and it was like magic to me, I could feel it, smell it and it was like I was there.”
With a painter for a grandfather, and a fashion designer and dance instructor for a mother, Gohr grew up surrounded by creatives who supported and nurtured her developing interest in the arts. Some of her earliest memories are of her grandparents taking her to museums to look at paintings, and attending ballets, opera houses and Riverdance performances with her parents.
“I remember my mom telling me to draw or paint what I felt the opera or dance was about and how it made me feel. To me that has been such a gift in making the connection of feeling something and putting it down on paper,” says Gohr.
“My mom also started meditating and doing visualizations with me when I was 10. I think a lot of these things influence you, especially having parents that supports you in your art emotionally.”
Today, Gohr’s ability to seamlessly infuse the shots she captures with emotive qualities and create a visual language that pulls viewers into the story on screen is one of the key elements that sets her apart from others in her field. Whether she is leading the camera department as the cinematographer on films such as “Wretched” and “Madeleine,” or on tv series such as the upcoming Danish comedy “Frida and Karo” and the upcoming docuseries “A Woman’s Story,” Gohr has a unique talent for nailing the director’s vision.
The new comedy series “Frida and Karo,” which Gohr recently wrapped production on, is directed by award-winning director Jonas Risvig, who’s known for his work as the director behind several cinematic music videos such as Felix Cartal’s “Get What You Give,” Sopico’s “Paradis,” and Tritonal’s “Call Me.”
“Sophie was our prefered cinematographer for the project and made us able to visualize our humor in the aesthetics of the piece,” explains Risvig. “She has a great eye for details and visual identities.”
Starring Karoline Brygmann from the series “Yes No Maybe” and “Something’s Rockin’,” Frida Brygmann and Peter Zandersen from the series “Follow the Money” and “Ride Upon the Storm,” and produced by Reinvent Studios, the series “Frida and Karo” is set in the modern age and follows the lives of two friends. Gohr’s seasoned skill in terms of lighting and visual composition has made her a powerful cinematographer who knows exactly how to frame and light each scene in a way that supports the story.
Gohr says they were going for a ‘very bright and happy’ look in terms of the visuals for the upcoming series. “Since it’s a comedy I decided on warm tones for the lighting, and get sunlight vibe. And I used soft vintage Leica lenses to create the feeling of softness,” explains Gohr. “I used my RED weapon to get the clean cinematic look. The director really wanted the framing to be very simple as if it was a Youtube channel show. A living room type of situation, that turned out really fresh and different.”
Through cinematography Gohr has not only found a field that utilizes her unique range of skills, but it’s one where she gets to shoot projects like the ones she dreamed of doing in her youth. Earlier this year she began working as the cinematographer on the upcoming docuseries “A Woman’s Story” from director Nathalie Jornheim. With each episode taking place in a different country, the show depicts stories about specific women across the globe and incorporates aspects of the local culture and cuisine from the countries portrayed.
“I can’t talk too much about the show yet because it hasn’t been released and we are still shooting,” explains Gohr. “But I love the theme, cultural documentaries are what I fell in love with as a kid. I’m enjoying observing the stories of each of these women, and having a director who is very visual makes it an awesome project to be a part of.”
As the head of the camera department, Gohr is in charge of creating more than just the visual look of the series, but overseeing her department’s budget and the work of those on her team. About some of the differences between shooting docuseries such as “A Woman’s Story” and some of her other work, Gohr says, “You have to be ready and on your toes at all times, to get that special moment. Where as commercials and narrative projects are usually shot in more controlled environments, and there is more prep time.”
Though the release date for the series “A Woman’s Story” is not set just yet, Gohr confides that the creators of the series are in talks with Amazon, Netflix and Youtube as potential platforms.
Though she was born and raised in Denmark, Gohr moved to London at the age of 16 to study music prior to moving into photography.“At that time I really wanted to be a rockstar and photography was something that would happen in the ‘future’ for me,” recalls Gohr. “I have now learned that sometimes what you think is only going to be a hobby, actually ends up becoming the love of your life.”
The hobby has undeniably turned into a full-fledged career for Gohr, and it’s one that continues to fuel her curiosity, ignite her passion and draw on all of her skills. In addition to working on a plethora of film and television series, Gohr regularly works as the special on set photographer on projects from Pink Banana Studios, an award winning creative production company based in London, which earned 9 AVA Digital Media Awards this year. As the special photographer, Gohr has captured crucial behind the scenes shots on numerous commercials for Pink Banana Studios, including ones for Dove, Green Berger, the Huggle App and more.
International Entertainment, and the Talents that Leave us Buzzing….