Some actors just have the kind of face audiences can’t help but love and Australian actor Toby Levins is definitely one of them. Besides being naturally good looking, Levins’ has an amiable and magnetic on screen presence that makes him an easy fan favorite– so it comes as no surprise that he was cast to take on the lead role of Deputy Bill Todd in the first five TV movies in Hallmark Movies & Mysteries’ on going “Murder, She Baked” series.
You can catch Levins reprising his role as Deputy Bill Todd in the series fifth film, “Murder, She Baked: Just Desserts,” which premieres Sunday March 26 at 9:00 p.m./8:00c on Hallmark Movies & Mysteries!
Based on the cozy mystery novel series written by Joanne Fluke, the films follow Hannah Swensen, played by Daytime Emmy Award winner Alison Sweeney (“Days of Our Lives”), a small-town baker who starts splitting her time as an amateur sleuth after her delivery driver is found murdered behind her bake shop in the series’ first film “Murder, She Baked: A Chocolate Chip Cookie Mystery” released in 2015.
Levins’ character Bill Todd, Hannah Swensen’s brother-in-law, is the town deputy, who works closely with series’ lead Cameron Mathison (“All My Children”), who plays Detective Mike Kingston.
While Levins is widely known throughout the industry for his recurring roles in several action heavy dramas such as the Primetime Emmy Award nominated post-apocalyptic drama series “The 100,” ABC Freeform’s Saturn Award nominated fantasy drama “Beyond” and the Leo Award nominated crime series “Rogue,” his character in the “Murder, She Baked” franchise is the polar opposite of most of his other roles. As Deputy Bill Todd, Levins effortlessly brings the films’ comic relief, further proving his dynamic range as an actor.
Levins’ says, “In one of the earlier films I was joking With Alison Sweeney, who plays Hannah in the franchise, that Bill should be based on Yosemite Sam. So now before a scene I just think ‘What would Yosemite Sam Do?’ How can you not have fun at work when that is your mindset!”
The on-screen chemistry between Levins and Mathison is immediately evident, and their relationship is definitely critical to the popular movie series as Bill is always at the scene of the crime doing his duty to enforce the law as Detective Kinston and Hannah try to solve the case.
About working with Levins, Mathison (who is also a lead reporter for “Entertainment Tonight”) says, “He is a riot on set. All of our procedural police scenes are together, and Toby and I always have a blast when we work together.”
Despite the mystery murder concept that runs through the “Murder, She Baked” series, there is definitely a romcom element, especially as things begin to heat up between Hannah and Detective Kingston over the course of the films; and with Levins’ character Deputy Todd married to Hannah’s sister Andrea, played by Lisa Durupt (“Preggoland”)– Hannah, Kingston and the Todd’s might just become one big happy family. But you’ll just have to keep watching the on going series to find out!
Since “Murder, She Baked: A Chocolate Chip Cookie Mystery,” Levins has starred in the series’ follow up films “Murder, She Baked: A Plum Pudding Mystery,” “Murder, She Baked: A Peach Cobbler Mystery,” “Murder, She Baked: A Deadly Recipe,” and most recently, “Murder, She Baked: Just Desserts.”
Film Poster for “Murder, She Baked: A Deadly Recipe” released in 2016
The “Murder, She Baked: A Deadly Recipe” film will air on Sunday at 7:00 p.m./6:00c on Hallmark Movies & Mysteries, just before the most recent film in the franchise premieres.
In “Murder, She Baked: A Deadly Recipe” Levins takes center stage when his character Bill Todd runs for town sheriff. Up until then, Levins’ character has been a staple in the series representing the honest, good-natured energy of small town law enforcement. However, when the current sheriff, the one Bill is running against in the upcoming election, is found murdered, he becomes the prime suspect. The film offers quite a drastically divergent plot line from the previous films, one that gives way for a lot more character development on Levins’ part, which he nails as usual. To find out whether the lovable Deputy Bill Todd is actually a cold-blooded murder who’s been disguising his evil ways all along, you’ll have to catch the movie when it airs on Sunday.
Out of all five films, Levins admits that his favorite one to work on so far has been “Murder she Baked, Just Desserts.” “I had a lot of police procedural scenes with Cameron Mathison (Mike), who is a lot of fun to work with. We have an ongoing battle to make each other laugh during a take. I am kicking his ass,” explains Levins.
Over the last few years Toby Levins has been one incredibly busy actor who continues to be in high demand for a number of lead roles. Since shooting the first five films in the “Murder She Baked” series between 2014 and 2016, he’s also played an impressive list of critical recurring roles on some of the most-watched TV series in the U.S. and Canada.
His lead role of Lieutenant Carl Emerson on season 2 and 3 of the “The 100” really gives audiences an opportunity to see Levins’ capacity for playing intense, dark and action-packed characters.
The series follows a group of 100 teens from the Ark Space Station who return to earth 97 years after a nuclear disaster to see if earth is inhabitable. There they find that a few groups had survived the disaster, but the surviving groups are caught in an intense power struggle, with the Mountain Men having the dominant upper hand.
Marie Avgeropoulos (left) & Toby Levins (right) in “The 100” Season 2 Ep.11 ‘Coup de Grace’
Levins’ character Lt. Emerson, the right hand man of the Mountain Men president, comes onto the scene in season 2 when he tries to kill members of the Ark, but is captured instead. He becomes a key piece in the Ark’s unfolding plan to gain the upperhand when they send him back to the Mountain Men with a message: “We’re coming for you.” Towards the end of season 2 Emerson becomes the only surviving Mountain Man after Mount Weather, the Mountain Men’s headquarters, self-destructs killing everyone but him. Despite being on the antagonist side of the story, Levins’ portrayal of Lt. Emerson easily made him a fan favorite in the show.
While Levins look has made him an easy cast for authoritative, law enforcement roles, the stark contrast between the characters he plays has revealed him to be an incredibly dynamic actor.
“What makes a performance interesting, and I am speaking for myself here, is truth. There is nothing duller than watching an actor working extremely hard in order to show the audience how amazing an actor they are,” explains Levins. “What is mesmerizing is watching an actor and forgetting they are an actor. What leads to this, I think, is twofold; making the truth of both the scene and the character the highest priority, and not allowing one’s ego (which is usually a very loud voice in an actor’s head) to have skin in the game.”
Up next for Toby Levins is the highly-anticipated scripted comedy series “Loudermilk,” which is being developed for AT&T Audience Network by Peter Farrelly and former “Colbert” Report writer Bobby Mort. The 10-episode series centers on Sam Loudermilk, played by Golden Globe nominee Ron Livingston (“Swingers”), a recovering alcoholic and substance abuse counselor with a bad attitude.
Levins will play a key recurring role as Carl, the boyfriend of series’ lead Allison, played by Laura Mennell (“Alphas,” “Watchmen”). “In playing Carl I was afforded the opportunity to improvise with Ron take after take, a luxury so rare and rewarding. ‘Loudermilk’ is a show that I would watch if I wasn’t in it – that is a very nice thing to be a part of,” says Levins.
Stay tuned for updates on the release date for the upcoming series “Loudermilk,” and make sure to catch actor Toby Levins in the premiere of “Murder, She Baked: Just Desserts” Sunday, March 26 at 9:00 p.m./8:00c on Hallmark Movies & Mysteries.
The world is full of people who take pretty pictures, so what is it about the work of certain photographers that sets them apart from the pack? What quality do they contain that others lack? The answer lies is their ability to make the observer feel something, to capture an emotion or a moment in time.
Irem Harnak, a photographer whose name is internationally recognized throughout the world of fashion and commercial photography, is one of those rare visionaries whose portraits flawlessly capture the personality and emotion of her subject in a way that transports viewers and makes them feel as if they know the person in the photograph.
Over the years Harnak has amassed an astonishingly impressive portfolio of work that places her among the upper echelon of today’s photographers. Marie Claire (China) featured her shots of designer Erin Kleinberg, who dresses Golden Globe winner Lena Dunham(“Girls), and her long list of fashion stories and editorials have been featured in other well-known print and online magazines such as The Ones 2 Watch, The Fashionisto, Fantastics, Bon Bon, the Uk’s Kenton, Boys by Girls and Pause, Germany’s Superior Magazine, and more.
Audiences will also recognize Harnak’s work from the plethora of lookbooks and campaigns she’s shot for recognizable fashion brands over the years, such as leading activewear brand Titika, women’s golf apparel company Birdy & Grace, swimwear company Zubaida Zang, top Canadian designer Joeffer Caoc and others.
Harnak was also hired by Baker Vandertuin Inc., an ad agency known for its creation of successful campaigns for major clients such as the Heart & Stroke Foundation, Canadian Touring Car Championship and Durabond Racing, to shoot famous jazz singer June Garber.
Jazz singer June Garber shot by Irem Harnak
“She is an amazing jazz singer, great performer with so much charisma, elegance and energy. I find it hard to get that kind of energy from the 16 year old models I shoot,” admitted Harnak about shooting Garber.
With such a wide variety of subjects, the through line that connects all of Irem Harnak’s work is the eye-catching creativity she brings to the table and the way she manages to bring out the unique personality of each of her subjects in every shot.
Although she has spent the last decade in Canada, Harnak was raised in Istanbul, Turkey, a thriving city that she described in an interview with Yes Supply Collective as: a crazy, beautiful city with layers upon layers of civilization and history. It’s a place where everything has a voice, everything talks, day and night. The waves of the sea, the ferries going east and west, the seagulls, the breeze, the cars honking, people rushing from one street to another simultaneously talking to each other, telling each other stories day and night.
Anyone who’s had the chance to check out some of Harnak’s breathtaking and emotive photography will immediately see how her early beginnings in a visual inspiring place such as Istanbul has impacted her work.
Jenna Earle shot by Irem Harnak for Kenton Magazine
While Harnak’s shots of famous models such as Carly Moore, Jenna Earle, Emma Génier and Robbie Beeser have put her work in the spotlight and made her a sought after fashion photographer, she’s also managed to successfully translate her skills as a photographer into the film world.
Harnak says, “I have always been inspired by cinema, that was one of the things that pushed me to become a photographer. Being a photographer one understands the lighting, the framing, how to execute a visual language in one or more frames. When you are a cinematographer, you need to do everything a photographer is doing to create a unique shot, but bear in mind that whatever you are framing is a continuous action not a moment frozen in time.”
As the cinematographer of the films “Personal Space,” “Living with Strangers” and “I Am You,” Harnak has proven her ability to move from shooting beautiful stills to creating moving imagery that effectively tells a narrative story.
The feature film “Personal Space” follows Sid, played by James McDougall (“The ABCs of Death 2”), a down in the dumps twenty-something guy trying to move past his recent breakup with Karri, played by Amelia Macisaac from the 2015 comedy “The Spirit of 39B.”
A self-proclaimed anti-love story, “Personal Space” is one of the few films out there that truthfully depicts what it’s like when the passion fades from a relationship, the uncomfortable phase that follows when two lovers have no choice other than to separate and the unglamourous depressive period that follows a break up. The way Harnak chose to capture the shots throughout the film create an authentic portrayal of real life, without all of the escapist fairytales that most films rely on.
About shooting “Personal Space,” Harnak explains, “I was working in really tight spaces, I was literally in the actors’ personal spaces, I had to light the space with little lights and rely on bounces, and reflectors. It depicted the feeling of loneliness and being lost that we were trying to get across.”
Just like real life, “Personal Space” is often awkward to watch, for example, the many times Sid tells Karri he wants to talk but has nothing to say. Overall the film gives viewers an accurate slice of live view into a real breakup, and Harnak’s cinematography nails the mark the whole way through.
While Harnak received praise for her cinematic work on “Personal Space” and “Living with Strangers,” her work on “I Am You” is what has really brought her unparalleled talent as a cinematographer into the spotlight.
“I Am You,” which debuted at Toronto’s Kaleidoscope interactive art crawl, is more than a movie, it’s an innovative step in using virtual reality technology to create a film. The film follows a young couple who discover a new VR app, which allows them to swap bodies and experience life as the other; and, as the viewers watch the film from the characters’ perspectives, it’s as if they too have been transported into the film.
About her work on “I Am You,” Harnak explains, “I shot the traditional part of the film. With the framing I set up, I was trying to describe the alienation, disconnectedness the couple was feeling towards each other. I placed the camera at a considerable distance and used a bit of an unconventional frame cropping to make the viewer feel unease.”
Although photographer Irem Harnak has clearly cut out an indelible mark for herself as a fashion photographer, her work as a cinematographer is definitely worth taking note off; and frankly, we can’t wait to see what she comes up with next!
There’s a scene in the hit film “Rollin’ with the Nines” where Anthony Warren, playing the Jamaican drug dealer Karnage, stabs an informant trying to buy drugs. Warren’s performance is so believable and his Jamaican patois so on point that anyone could be forgiven for thinking they were watching a documentary about crime on the island nation. Upon meeting the successful British actor however, it’s clear that the scene was very much a reflection of his impressive acting talent. Warren is a charming and imposing figure all the same, representing the ideal combination for leading men in the world of film.
Anthony’s ability to jump into distinctive roles that prove to be memorable and game-changing for any film of which he takes part is making him known in the industry. He tells us that the aforementioned scene in particular was “so violently gross [to film] but it was fun.” If anything, the London native was so convincing to his co-stars on the set of “Rollin’ with the Nines” as a menacing drug dealer that “Eastenders” star Terry Stone felt compelled to literally hit Warren in the head with a frying pan in a scene where he and his buddies try to swindle Warren’s antagonist. It hurt, according to Warren, but he swears it was an accident.
Anthony Warren’s hugely successful career began over 20 years ago, in a more humble fashion than compared to his current position of fortune. His work in “Rollin’ with the Nines” marked the beginning of his dominance in the action genre that began simultaneously over a decade ago with his critical role in “Control” opposite Academy-Award nominee Willem Dafoe (“Spiderman,” “The Aviator”), and “Fast and Furious” and “Avatar” heroine Michelle Rodriguez. Leading and starring roles in similar projects have continued, and when watching his impactful performances in films like “Rollin’ with the Nines” and “Control,” it’s clear why Warren hasn’t lived the typical life of the struggling artist.
While many actors take on work whenever they’re hired, Warren’s sought after stature in the industry means he needn’t be concerned with just taking on any project. If anything, his filmography proves his careful selectiveness and irreplaceable position within the acting field.
The truthfulness of Warren’s leading performances in other genre films like “The Deaths of Ian Stone,” opposite “Under the Dome” and “Bates Motel” star Mike Vogel, and as Capt. Naish in the Wesley Snipes (“Blade,” “Passenger 57”) and William Hope (“Aliens, “Captain America,” “Sherlock Holmes”) feature film “The Marksman,” are all proof of Warren having firmly found his own place in a world characterized by high-standards, loyal fans and blockbuster thrills.
“Rollin’ with the Nines” film poster
“Rollin’ with the Nines” in particular has been a thrilling highlight for Anthony, notably so for representing his collaboration with successful director Julian Gilby who also directed Will Poulter (Oscar-Winner “The Revenant”, “We’re the Millers”) and Emma Rigby (ABC hit “Once Upon a Time in Wonderland”) in the 2014 hit-film “Plastic.” It further reinforced his growing profile with action films shot in the UK and his association with the music industry, as “Rollin’ with the Nines” concerns small-time drug dealers releasing their music in urban London.
And therein lies part of Warren’s truly exceptional talent – he has managed to traverse genres effortlessly. In his case (and maybe for this decade) action and musical theatre specifically. Alongside his key roles in action films “The Contract” with Academy Award winner Morgan Freeman (“Driving Miss Daisy,” “The Dark Knight”), Warren’s classical singing training and skill on stage landed him a leading role in Opera North’s Rodgers and Hammerstein production of “Carousel,” directed by Jo Davies, and “Brashana O”, directed by Geoffrey Creswell.
In “Brashana O”, a story based on the legendary rolling calf that forms part of Jamaica’s folklore, Warren wowed audiences with his portrayal of Barker. His connection to Jamaica gave the production a refined sense of integrity, helping to sustain the belief that the Rolling Calf is really a ‘duppy’ (ghost) that has the ability the change, if and when necessary, into other animals. Warren’s performance was easily considered as both impactful and humorous all at the same time. His role as Heavenly Goggin in “Carousel,” a more traditional musical, was an important one that esteemed reviewer Geoffrey Mogridge noted as “mysterious,” and set the scene for the protagonist’s confrontation with the production’s antagonist.
One could say that Anthony Warren is something of a ‘jack-of-all-trades.’ But his success in the different areas of the acting field prove that he is certainly not a ‘master-of-none.’ We look forward to seeing him in many more blockbusters (hopefully action movies, and more musicals) for years to come.
Last month, Chinese-based film companies Huahua Media and Shanghai Film Co. announced a $1 billion deal with Paramount. It comes one year after China media conglomerate Dalian Wanda Group purchased Legendary Entertainment for $3.5 billion. The trend for major Hollywood-China partnerships is growing, with large future investments promised as China is set to surpass the U.S. in box office receipts later this year.
“Chinese moviegoers are hungry for content,” said Hollywood-based Producer Bochen Zhang, originally from Tangshan, China. She grew up watching American movies like The Lion King and Titanic.
Zhang is typical of the artists and filmmakers who are now in demand as international partnerships drive the film industry. Zhang began her career in China working in commercial production for brands like MasterCard, VW and Procter & Gamble before entering the world of creative production.
“I started to become restless with the kinds of production we were doing,” said Zhang. “When I learned how important characters and storytelling were to every kind of media, that changed everything for me.”
When she won an award for her production work on the multi-award winning short film, A Part Apart, Zhang knew she wanted to move to Hollywood to gain the expertise and connections to be a part of the Hollywood-China film boom.
While Zhang was learning the ins and outs of the digital and film business, China’s influence in the world market grew. China became the worlds #2 film market in 2012, just ahead of Japan. Since then, China has added 10 new screens a day and has seen a 34% jump in box office revenues, according to a report last year from IHS Markit.
“Chinese audiences love American films, but they are ready to produce their own extraordinary content, too,” said Zhang.
Like many young filmmakers from China, Zhang came to Hollywood, first earning her MFA at the American Film Institute and later producing films lauded on the international film festival circuit. She helped produce Unremarkable, which was shortlisted for a prestigious BAFTA Award and Wonderland, which earned a “Jury Award” at UCLA’s MFA Director’s Spotlight, Zhang earned a “Best Producer” nomination by the TMC London Film Festival for her work on The Strangeness of Coming Home, a story of an American war veteran.
Zhang is now poised to be part of the estimated billions in digital partnerships between China and U.S.-based productions. “Chinese people have become a sophisticated audience,” said Zhang. “Digital content is a natural extension of that phenomenon.”
Late last year, Zhang helped to produce On Pilgrimage in a Jeep, a four-episode web series celebrating Jeep’s 75th anniversary. She led the production team from China across the U.S. on an off-road excursion through terrain like the Rubicon Trail in California.
The series was produced by The Bag Ladies Productions (Shanghai, Hong Kong and Bangkok) for the NYSE listed Chinese interactive auto platform, Autohome.com.cn. The site draws more than 93 million viewers per month. On Pilgrimage in a Jeep episodes garnered over 8.83 million views on the Auto Home site, and also streams oniQiYi, the largest online video platform in China, with more than 219 million users.
“I think the U.S. is still very aspirational for China. At the same time, China has built the capacity, technology and expertise to take on a bigger role in production partnerships,” says Zhang. “Being in the middle of that intersection is the reason I came to Hollywood.”
This year Zhang produced the concept film Virtual High starring Kylee Russell (Mississippi Damned, Jump In!) and Chelsea Zhang (Andi Mack, The Cheerleader Murders). Directed by Alexander Berman (App, Songs From The Tundra) and Camille Stochitch (Maria Bonita, Interstate), Virtual High is the story of teen adventures in a virtual high school.
Last August, Disney Channel premiered Virtual High on their YouTube Channel, which has nearly one million subscribers. It earned more than 100,000 views upon its release. Disney Channel approved the concept and is now developing it into a digital series.
Zhang is working to develop several independent films, currently in pre-production, in addition to a project with Netflix, Ultimate BeastMaster, that is a partnership with the U.S., China and four other countries. “With any project, my goal is to bridge this cultural gap that divides so many of us,” said Zhang. “The way I think that happens is through characters and stories, because that’s what connects all of us.”
Zhang is a Hollywood-based producer and has guest lectured at American Film Institute and University of New Orleans.
So much money and creative effort goes into a film before it makes it to the screen, and while the fruits of a powerful collaboration are undoubtedly fulfilling, the real payoff comes from getting audiences to give their attention to a project, something that graphic designer Jiping Liu achieves with unparalleled mastery.
Many may ask how a graphic designer such as Liu fits into a film production, and the answer comes down to her ability to create striking graphics that grab a viewer’s attention and makes them want to watch a film they know very little about.
In addition to getting her bachelor’s in digital media arts from Beijing Jiaotong University, Liu, who is originally from China, spent a decade of her life painting.
While her creative skill as a graphic designer brought her a great deal of success back home in China, with Liu designing for Tencent, one of the largest internet companies in the world, as well as for leading mobile digital platform developer Inforgence, she knew there was an area where her talents would not only be better suited, but also more personally fulfilling, and that came through film. Fearlessly diving into her passion for film, Liu left her successful career as a graphic designer in China to complete her master’s in filmmaking at the New York Film Academy where she received a scholarship, and she has made incredible strides in the industry since.
Earlier this year she did the graphic design for the heart-warming film “She Gives Me Sight,” which revolves around a young blind boy named Cecil, played by Diego Delpiano who viewers can also catch in the upcoming film “The Zookeeper’s Wife” starring Golden Globe Award winner and two-time Oscar nominated actress Jessica Chastain (“Zero Dark Thirty”). The film, which Liu also wrote and directed, follows the way Cecil’s grandma, who is played by Rosemary Stevens (“Tumble Leaf,” “Newlywed and Broke”), raises him to be a strong and capable adult despite his disability by treating him as though he is no different than anyone else.
“She Gives Me Sight” film poster designed by Jiping Liu
For the “She Gives Me Sight” film poster Liu created a captivating picture of Cecil appearing in a dark silhouette with the silhouette of a city skyline juxtaposed against the ‘Sight’ portion of the film’s title, with the poster’s background being a warmly lit representation of his grandmother’s home lined with a series of lamps. Revealing the dichotomy between dark and light, and the way a blind boy learns to see through ways other than his eyes, Liu captures the essence of the film perfectly with the poster she designed for “She Gives Me Sight.”
The film has done extraordinarily well on the film festival circuit taking home awards at the 2016 Direct Short Online Film Festival, the LA Underground Film Festival, the Hollywood Boulevard Film Festival and the Hollywood International Moving Pictures Film Festival, as well as earning an award nomination at the International Monthly Film Festival, and being selected as a semi-finalist at the I HELLA Love Shorts Film Festival and the Hollywood Screenings Film Festival. “She Gives Me Sight” also screened at the Los Angeles Independent Film Festival, the SHORT to the Point Film Festival and the Roma Film Festival where it was chosen as an Official Selection.
Over the last few years Liu’s creative eye and skill as a graphic designer have led her to land coveted positions as the creator of eye-catching film posters for films such as “Successor of the Southern Star,” “Red Cherries,” “Don’t Touch Me” and the upcoming film “Sea of Mirrors” from well-known Macau director Thomas Lim (“Roulette City,” “The Rat-Ox Diaries”).
What makes Liu such a unique artist in the film industry is the way she has expanded upon her foundation as a graphic designer in a way that has allowed her to contribute her talents to a variety of vital roles on film and television productions.
Earlier this year Liu contributed her strengths as a graphic designer to the art department of Thirati Kulyingwattanavit’s award-winning horror film “Kumal.” Based on the ancient Thai legend of sacrificing an unborn child in order to achieve immortality, the film follows Tom and Charlie, two friends who hear screams from a decrepit house and dash in to help; but when they find themselves in the center of dark voodoo ritual, they soon discover that their good samaritan impulses may have put them in a situation from which they may never escape.
Being chosen as an Official Selection of more that 20 film festivals across the globe, “Kumal” has earned numerous awards including the LAIFF August Award at the Los Angeles Independent Film Festival Awards, four Awards of Recognition from the Hollywood International Moving Pictures Film Festival, and the Award of Merit from the Depth of Field International Film Festival Competition.
As part of the film’s art department Liu worked on creating many of the props and wardrobe elements in the film including the character’s bloody shirts and the blood drenched baby, as well as oversee the continuity of the bloody props from shot to shot. After wrapping the filming of “Kumal” Liu has also been tapped graphic design a new version of the film’s poster and title design.
She says, “Graphic Design helped me work in the film’s Art Department on set, and after shooting I worked on the poster and title design, so I worked in two processes for the film, which helped me connect and get a deeper understanding of the film, making it much easier to work on the poster and title design.”
With several award-winning productions under her belt, and several production companies clamoring to hire her for unique talents, it’s clear that Jiping Liu has found a powerful niche in the film industry thanks to her adept skill as a graphic designer.
While many actors are driven to perform by the fame that accompanies the spotlight, Brazilian actress Tatiana Romao is driven by the unceasing need to tell stories that touch audiences on an emotional level.
Over the past two decades Romao has become known for her work in both South America and the United States through her roles in an impressive list of high profile films such as Bruno Costa’s Encantacao aka Enchanted, Benjamin Holk Henriksen’s romantic drama The Elephant Clan, multi-award winning director Giulio Poidomani’s 2012 drama Disruption, Nyon Visions du Réel and Santa Monica Film Festival Award winner Andrea La Mendola’s 2015 film Lips, Nir Paniry’s (Tina Bobina, A Scarecrow Story) film Extraction, which stars Sasha Roiz from the two-time Primetime Emmy nominated series Grimm and was nominated for the Audience Award at the prestigious South by Southwest Film Festival,and many more.
About what drives her to perform, Romao says, “I want the stories I am a part of to be an example to someone else of a reality different than what they know or have, a new perspective on the struggle they might be going through, to inspire, to give hope. To know that I am able to change someone’s life fulfills me in a way that nothing else does. That’s how I want to change people’s lives and that’s the story I want to live behind.”
One of her most touching portrayals to date came in 2014 when she took on the lead role of Diana in the dramatic feature film Simple Being written and Directed Marco Ferrari (Moonscape, Don’t Let Me Go). In the filmRomao stars alongside Sol Mason (This Tunnel South, Gilmore Girls: A Year In The Life), Jasmin Radibratovic (Broken Hill, Misfire), Jeff Adler (Reel Evil, Criminal Minds, Modern Family) and Tony Award winner Paul Sand (Time of Your Life, Joan of Arcadia).
“Simple Being” Film Poster
Revolving around Clive (Mason), a college student who’s spent most of his life feeling like an outcast, Simple Being offers audiences a powerful look into one young man’s experimental journey into experiencing what it means to really have an impediment.
“It has a beautiful lesson and it teaches the world how to respect and appreciate others,” Romao says about the film.
With few friends in his life aside from Diana (Romao), Xécile (Radibratovic) and Aaron (Adler) who live with him, Clive’s overwhelming feeling of disconnection to the world leads him to embark on a three week journey of sensory abstinence– devoting one week each to experience what it’s like to be deaf, blind and mute.
As Clive’s closest friend in life, Romao gives a knockout performance as Diana, the one person who supports him on the journey to finding himself and his place in the world.
“Diana gives him the idea to do the experiment for 3 weeks… She is the one who is always by his side and guiding him through it all. He needed to learn about life and she wanted him to find his path, to find himself,” explains Romao. “He is judged and somewhat mocked by his family and classmates and Diana is the only one supporting and pushing him to go all the way and finally discover himself in this journey, she is always by his side with a word of incentive.”
Journeying through each impediment, Clive discovers more and more about himself as each week passes. Over the course of the film we watch him go from being uncomfortably disconnected from everything and everyone to pushing the boundaries of his normal ‘comfortable’ life, and ultimately coming to a point where he is able to experience a new reality filled with real connection.
Produced by Hornil Brothers Productions (Missed Call, The Face of an Angel, Trouble Child, 6 Rose Circle), Simple Being did exceptionally well on the film festival circuit taking home the Best Feature Film Award at Italy’s Artelesia Film Festival, the Castell Award from the Barcelona Film Festival, the Jury Special Mention Award at the Detour On The Road Film Festival, as well as the Excellence in Cinematography Award at the Amsterdam Film Festival and an award at the Human District International Film Festival of Human Rights. Simple Being was also chosen as an Official Selection of the ARS Independent Festival, Brasilia International Film Festival, HollyShorts Film Festival, No Glass Film Festival, Canberra International Film Festival and more.
“This is one of those scripts that you just fall in love with straight away. It wasn’t so much about my role or who I was playing, but more about the story that was being told. That is exactly the kind of project that I want to be a part of, that I want my name connected to and that is exactly what inspires me,” admits Romao.
Romao’s performance in the film is so authentic and touching that you’d imagine she actually lived Diana’s life off screen. To those who have seen her work in the film it will come as no surprise as to why the film garnered such praise, and why she has become such a sought after actress on an international level.
Actress Tatiana Romao (left) director Lidia Damatto & production designer Elisa Lopes (right) at the Hollywood Brazilian Film Festival
In 2017 audiences will be able to catch Romao in the upcoming zombie horror film Valentine DayZ, which also stars Carrie Keagan from the hit series Reno 911 and the films The Hangover and Dead 7, and Robert Allen Mukes from the series Westworld and Weeds. She is currently in talks with Valentine DayZ producer Kate Rees Davies (The Girl, The Night Visitor, The Vanished) and director Mark Allen Michaels (Mind Rage, The Fiance) to take on a critical role in one of their upcoming projects, so stay tuned for more information about that!
Davies says, “When I first met Tatiana, I was so impressed with her ability as an actress and her passion. She is a very versatile talent… I look forward to continuing a strong work relationship with her for many years to come. She is already under consideration for many exciting projects such as ‘Babes With Attitude’ to be filmed in 2018 and ‘The Conflagration’ for the year after.”
For Brazilian actress Tatiana Romao, acting is a means of telling stories and touching the lives of viewers around the world; and, while she’s garnered international fame for her work, it is only a side effect of doing what she loves.
From hit teen shows to action-packed dramas Canadian-born actor Nathan Mitchell has become a recognizable face on some of The CW’s most popular television shows, and it’s no wonder why—the guy’s got a lot of talent.
Over the last decade we’ve watched Mitchell break Lindsey Shaw’s (“Pretty Little Liars,” “Temps”) character Claire Tolchuck’s heart on “Aliens in America,” battle it out with Colton Hayes (“San Andreas,” “Teen Wolf”) aka Arsenal on the DC Comics inspired series “Arrow” and take on polarizing roles on both sides of justice in the series “Tomorrow People” and “iZombie.”
Ironically enough, Mitchell actually got his start on the small screen on The CW series “Aliens in America” where he played the recurring lead role of Jeffrey, an amiable high school jock who’s the on again off again boyfriend of Claire Tolchuck. Over the course of the first season we watch the two go back and forth falling in and out love with that hot and cold style that’s so characteristic of most high school relationships. At first Tolchuck tries to dump Mitchell’s character in an effort to raise her social status and find a more popular beau, but it doesn’t stick.
“Like any sophomore in love, I waited on her lawn and blasted ‘In Your Eyes’ till she came down and gave me a nice PG hug,” recalls Mitchell.
The two make it work for a little while, but like many high school boys, Jeffrey eventually decides he needs more freedom.
Mitchell says, “I decided she was too clingy so I ended it in between classes. Nice and clean. She was crying but I was cool, so whatevs. Playing the character was a blast!”
Nathan Mitchell as Jeffrey in “Aliens in America”
“Aliens in America” couldn’t have been a better jumping off point for Mitchell’s career, as we got to see the actor take his character from being a lovable stud to a nonchalant ass hole. Proving his dynamic talent, Mitchell takes the character from someone we immediately adore and transforms him into one that is easy to hate, making Jeffrey relevant and relatable to the show’s massive teen following.
In stark contrast to Jeffrey on “Aliens in America,” Mitchell went on to play a significantly more vile character on the Joey Award winning series “The Tomorrow People.” In the action-filled sci-fi series a group of young people who possess psionic powers as a result of human evolution are forced to keep their abilities a secret or risk being imprisoned and exploited by Ultra. Mitchell comes into the mix as one of Ultra’s key agents in the first season of the series, and he’s definitely one badass the Tomorrow People do not want on their trail. Comparing how intimidating his character is on “The Tomorrow People” to Jeffrey in “Aliens in America” it’s surprising that they are played by the same actor, from his mannerisms to the way he carries himself, Mitchell is that good at morphing himself into different characters.
Nathan Mitchell in “The Tomorrow People”
One of his most popular CW roles to date though is Isaac Stanzler, the bitter and abandoned protégé of Wildcat on the Leo and Prism Award winning series “Arrow.” In the show’s third season we get to see Mitchell put on his villain’s mask and battle gear and get into a nasty brawl with Arsenal aka Roy Harper in a tell-tale interaction that foreshadows the series’ thickening plot. Mitchell is clearly a force to be reckoned with on screen when it comes to action.
“Isaac’s showdown with Roy was epic… The fighting sequences were off the chart,” says Mitchell.
After Mitchell’s character commits a series of bloody murders in a ploy to frame Wildcat and get revenge for past pain, he encounters Arsenal who puts a stop to it all in an intense battle scene that keeps us on our toes.
Colton Hayes (left) and Nathan Mitchell (right) duking it out on “Arrow”
Mitchell’s most recent spot on The CW was in season 2 of the comedy crime drama “iZombie,” which aired earlier this year. Earning a Teen Choice Award nomination last year, as well as a Joey Award nomination this year, “iZombie” follows Olivia Moore played by Rose McIver (“Masters of Sex,” “Once Upon a Time”), a medical student who, after being turned into a zombie, finds a way to use her unique circumstances to help the police solve crimes around the city.
Mitchell first appears in the series powerful season 2 finale in a crucial role as a law enforcement squad leader who leads his team into the Super Max Rager research facility after a group of young researchers take a pill that turns them into bloodthirsty zombies. We see Mitchell take charge as he dashes through the doors of the building and orders Moore, Detective Babineaux and Major to vacate the building so he can clean up the mess.
Nathan Mitchell in “iZombie”
Audiences will also be able to catch Nathan Mitchell in a recurring role as a mercenary in season 3 of “iZombie,” which is slated to air on The CW in 2017.
From playing the high school stud to an embittered criminal, as well as several roles as dominating characters in positions of power, Mitchell has done a brilliant job of transforming himself to fit whatever the project calls for; and thanks to his unparalleled talent and undeniable good looks, audiences around the world can bet on seeing a whole lote more from the Canadian actor for many years to come.
Actor Souleiman Bock’s intriguing and versatile look coupled with his phenomenal acting skill have been integral to the actor becoming a hit both at home in London and abroad. Considering that Bock landed one of his first roles on the hit British TV series “MI-5,” aka “Spooks,” it was an easy bet that the uber talented actor would soon be hot on everyone’s radar, and he has become just that! In “MI-5” Bock took on a major role as an ill intentioned terrorist who plans to bomb London’s House of Parliament and takes a ship hostage along the way. For anyone who has had the chance to watch his performance and how he embodied a man of evil deception down to the most minute detail, it’s easy to see why he has continued to land roles of a similar nature.
In the dramatic crime series “River,” which aired last year, Bock took on the critical role of Khaalid Mohamoud, a hard-working immigrant who harbours a game-changing secret to protect a friend. In “River,” which earned the Golden Nymph Award from the Festival de Television de Monte Carlo, as well as a BAFTA TV Award nomination, Bock acted alongside one of his icons, multi-award winning actor Stellan Skarsgard (“Good Will Hunting” “The Avengers”), a memorable experience to say the least.
Bock recently wrapped filming on an episode of the upcoming series “Riviera,” which stars Golden Globe nominee Julia Stiles from (“The Bourne Ultimatum,” “10 Things I Hate About You”). In the series Bock takes on the critical role of a doctor acting alongside multi-award winning actor Idal Naor from hit series “The Honourable Woman” and “The House of Saddam.”
With undeniable magnetism on screen, those with even the toughest of standard will conclude that Souleiman Bock is a gifted performer. Aside from bringing some of the most challenging characters to life, Bock is fluent in English, French and Somali, something that gives him an edge over others in the industry.
To find out more about Souleiman Bock and some of his exciting upcoming projects make sure to check out our interview below!
Hey Souleiman thanks for joining us! Can you start by telling us where you are from?
SB: I was born in Djibouti, East Africa. I traveled a lot as a kid because my dad was in the French army, we then settled in Paris when I was about 10. But I have been living in London for almost 10 years now.
When and how did you get into acting?
SB: Acting was always on my mind growing up since I loved films. Although i wanted to play soccer professionally as a kid and almost ended up doing it, when I turned 20 I went to my first acting class in Paris and after that I was hooked and never looked back.
When did you land your first onscreen role? What was the project and how did it feel being a part of it?
SB: MY first professional acting job was on the British Drama “Spooks” or “MI-5” as it’s known outside the UK, I was really happy getting the role since I had been a fan of the show before and I considered it to be the best spy/action drama anywhere. It was quite an experience being on a show of that quality with a really great cast and crew.
You’re currently shooting the upcoming series “Riviera,” can you tell us about the show’s story?
SB: The show is about a rich family who inherits an empire from their father when he dies in the South of France. But all hell break loose as they discover all the dark secrets he left behind. The lead actress is American actress Julia Stiles.
What character do you play and why are they important to the story?
SB: I’m not allowed to go into to much details right now since the show is in production, but I can say that I am playing a Doctor who is key to the storyline, and there is a nice plot twist regarding him.
Did you face any challenges in bringing this character to life?
SB: Being quite young, playing a Doctor with a lot of experience and weight to him has been a very interesting challenge.
What was it like working with director Damon Thomas and the rest of the cast on the series?
SB: I think this has been my best shooting experience so far since we were shooting in the South of France in some amazing locations. The director was really experienced and efficient, and the cast and crew are really friendly, which always makes things better.
How about the crime series “River,” what was that about?
SB: “River” I would say is my best job to date, and definitely my most demanding job as an actor. It was a great experience bringing Khaalid to life because of the complexities of the story and the character. Also acting opposite Stellan Skarsgard which I considered before I met him on set to be one of the best actors out there, was a really amazing experience. I learned a lot watching him work and grew a lot from it as a result.
Still of Stellan Skarsgård (left) and Souleiman Bock (right) in “River”
How did it feel when you found out you had landed a recurring role on the series?
SB: I was really happy, again because I knew I was going to work with Stellan Skarsgard and the story I felt was really different and special. The show has has some amazing reviews on its quality and originality.
Can you tell us about your character Khaalid Mohamoud? What kind of guy is he and what happens to him in the story?
SB: He’s an immigrant in the UK who has been working hard to support his family and struggles to find his place in society, he’s central to the story because he’s hiding information in an effort to try and protect someone, a move that could change the course of the story.
You are also in the series “Call the Midwife,” can you tell us about your character?
SB: I actually just finished shooting and I am in season 6. I play a British Merchant Navy Seaman in the show. It is set in the 60’s and my character is trying to have his wife go back to Africa to give birth and that’s when all the drama begins.
What is the series about?
SB: The story is about midwives in the 60’s in post war London, and the job they did. It is a very popular show worldwide with great reviews.
In the episode you are in, how did your character fit into the story?
SB: I will be in season 6 episode 6, which comes out in 2017. The entire episode is dedicated to my storyline and that of my wife in the show. It’s a really heavy and sad story that will be very interesting to watch.
How did the character challenge you as an actor?
SB: Having to play a man living in the 60’s was the challenge, since people of that time had a completely different view on things but we had an amazing script to help, and I asked for details from my parents to find out what it was like for them during the 60’s as well.
Can you tell us about the project “Spooks”?
SB: “Spooks” was my first job on TV. It’s a Spy/Drama and was one of the influences for the “Bourne” movies, it is a very gritty and realistic show about the Spy world. “Spooks” is slang for spy in government official circles. I was playing one of the terrorists who planned to bomb the house of parliament in London and took a boat hostage. As this was my first experience with a show of that scale, I had to overcome a bit of nerves at first but was quickly put at ease by the cast and crew. The director of this show was Paul Whittington and I was playing opposite Richard Armitage (“The Hobbit”) who was the main Spy I took hostage in the episode and Iain Glenn, who went on to be one the main character of “Game of Thrones.”
You’ve had quite a bit of success as an actor on television so far– do you have plans to focus more on film work anytime soon?
SB: Definitely in the future that is my goal!
What is it about working in television that you enjoy?
SB: Television has become such a great quality media that you would really miss on a lot of opportunities if you didn’t look at it. Plus it is a great way for an actor to show their skills as you could have more time to develop a character, and really these days TV has amazing quality shows!
Can you tell us about some of the film projects you’ve done?
SB: Around the same time I was shooting “Spooks,” I had my first role on the big budget film “Gulliver’s Travels.” I was playing a soldier and it was a great experience. It was a massive shoot and Jack Black was really great to work with and very friendly. I also did a film with French director Mass Youssoupha called “Conscience” that we are looking to show at film festivals next year and I am really excited about that but I can’t really talk much about the story as I’m forbidden to do so. Also I have the typical actor’s story when I started I did a couple of background jobs in film to pay for for acting school, and that was also a great learning experience.
They are all very different, what made you choose to participate in these projects?
SB: At the moment, for example, the movie “Conscience” that we hope will be selected for festivals, the main reason I did this film was the director Mass Youssoupha. He saw my work on “River” and wrote that story for me specifically so I was really keen to work with him. In the beginning of my career working on films was not my priority, of course if you get an amazing project you will do it, but I was more focused on TV and now that my name is out there I go for castings for some great movie projects with great directors, and that’s what you want as an actor really– to create a window for you to have access to quality projects.
You get approached all the time to work on projects with people, what makes you pick one role over another?
SB: Now that my name is getting known it’s really about choosing that quality project that will make a difference in my career, that’s why I am very picky of what I want to be associated with. That’s why if you look at my work on TV so far it’s only be quality work. I am choosing quality over quantity!
Do you feel that you get cast to play a certain type of character more than others?
SB: At the beginning of your career you get typecast always, but you have to get your opportunities and show what you can do, and now really I get all kinds of characters. “River” has been a turning point for me really. But I would definitely say that I usually get the intense sometimes menacing type.
Out of all your productions both in the theatre and on screen, what has been your favorite project, or projects, so far and why?
SB: My favorite job so far has been the show “River,” this was where I learned the most and also the complexities of the character were so fun to play! Acting with Stellan Skarsgard has been the highlight of my career so far because I really admire him as an actor.
What has been your most challenging role?
SB: My character Khaalid on “River” was the most challenging, the range of emotions was great, and my character was always on the edge. This is really challenging as an actor.
What is your favorite genre to work in as an actor?
SB: Definitely drama, I think this is where I shine the most really. And it is also my favorite genre to watch.
What separates you from other actors? What do you feel your strongest qualities are?
SB: I have always been told that I have this sort of presence which is menacing and charming at the same time so maybe that, although it’s quite hard to judge yourself but I suppose I would agree with that.
Have you been in any commercials or music videos?
SB: Yes I did a Spring Water commercial for “Voslauer” with supermodel Agyness Dein, you can actually still see it on youtube it’s called “Voslauer Part II”.
What projects do you have coming up?
SB: Coming out next year are my roles in “Call the Midwife” and “Riviera.”
What are your plans for the future?
SB: I would love to be as versatile as possible as an actor and maybe learn a new language to act in, that would be really great since I have a passion for language.
What do you hope to achieve in your career as an actor?
SB: Hopefully grow as an actor and do lots of quality work.
Why are you passionate about working as an actor?
SB: It’s always such a joy for me really to disappear into a character, there is nothing like it!!
If you weren’t an actor what other profession do you think you might have chosen?
SB: My dream as a kid was to be a professional soccer player, so definitely that! I am still very much passionate about soccer and sports in general, i also love the NBA.
Even at the start of his career as an editor back home in India, Shayar Bhansali was making innovative contributions to the entertainment industry with his work. The now multi-award winning film editor began his career as the visual media editor for The Big Indian Picture, India’s premiere online cinema magazine. Whereas most of India’s prior entertainment outlets focused on Bollywood fluff, The Big Indian Picture offered audiences a serious look at the world of Indian film; and the videos Bhansali edited for the outlet earned the magazine national attention.
Bhansali recalls, “I worked with the producers to edit interview segments, and these interviews turned out to be so genre-defining that they became the first ever web-produced content to air on national television on NDTV Prime.”
After getting his feet wet as an editor in India, Bhansali moved to Los Angeles to complete his master’s at the world renowned American Film Institute. Once in the states, he dove in with full force creating a reputation for himself as an exponentially talented editor in the narrative film world. Some of his recent work includes Cusi Cram’s award-winning dramatic comedy “Wild & Precious,” which earned the Best Narrative Award from the NYLA International Film Festival, Mattson Tomlin’s family drama “Persuasion” and Stefan Kubicki’s “Against Night.”
“Against Night” film crew and talent from left to right: Shayar Bhansali, Elena Caruso, Stefan Kubicki, Saba Zerehi, Konstantin Lavysh, Lucas Lechowski at AFI Fest presented by Audi. (Photo courtesy of AFI)
In addition to winning awards at the USA Film Festival, Woodstock Film Festival, Ojai Film Festival, as well as being nominated for several more from the American Society of Cinematographers and Guam International Film Festival, Kubicki’s drama “Against Night” also earned Bhansali international recognition for his work. Delicately weaving together the story of a cosmonaut who struggles to deal with the haunting memory of the loss of his wife and young daughter, Bhansali’s work on the film earned the Festival Prize for Best Editing at the Kolkata International Film Festival in India and the June Award for Best Editing from the Los Angeles Independent Film Festival Awards in the US.
For Bhansali, the art of editing is all about striking a balance between the director’s vision and what his creative voice believes is best for the story.
“I find editing to be humbling and empowering at the same time – you’re constantly making decisions about the way in which a story unfolds, but you do this within the context of the director’s vision,” he explains. “This balance of finding my own expression and balancing it with the larger creative arc is what drew me into the world of filmmaking, and editing became a way of life before I knew it.”
One of the many unique aspects of Bhansali’s gift as an editor is his ability to adapt to the needs of a project and use his creativity to solve potential problems in a way that allows the production to flow seamlessly. His work as the editor on Tomlin’s 2014 film “Persuasion” speaks leagues to why these traits are such a vital asset to any production. “Persuasion” focuses on a father’s process of coming to grips with his son’s unnatural gift for controlling people’s behavior with David Kopelev (“The Escort,” “Heritage”) starring as the son and Gregory Linington (“Indigo,” “Dune”) as the father. Early in the developing story there is a scene where Kopelev’s character has a face off with a bear, an event that instills in the father the startling awareness of how truly powerful his son is.
Bhansali recalls, “Mattson was convinced that the only way to portray this scene in a realistic sense would be to shoot it with a real bear. Given that the child actor was only 7 years old, we had to come up with a way to use a motion controlled camera rig to shoot separate plates with the bear and child, and combine them in post production with the help of visual effects supervisor Mike Pappa.”
To ensure that the production captured the two separate shots in a way that would make it possible for Bhansali to seamlessly combine them in post, the visionary editor actually spent quite a bit of time on set during those shoot days providing quick mock-ups to show the team what the scenes would like. When most of us think of a film editor we imagine them tied to their desk spending hours upon hours cutting and sewing footage together; and while that’s mostly true, having an editor like Shayar Bhansali on set can mean the difference between saving time and money or having to go back and do those dreaded reshoots.
“This level of involvement is becoming more common for an editor and when done efficiently, I find it can be an irreplaceable tool for the director and production crew,” admits Bhansali.
Much of what drives Bhansali’s work as an editor is the inherent power that comes with job to change and shape the story; he enjoys the laborious and highly creative process of sifting through hours of fragmented pieces of footage, fusing the perfect shots into fluid scenes and purposefully forming a coherent whole that will impact viewers.
He explains, “I like the process through which we rewrite the story with editing, the power to manipulate and curate the emotions of our audience with every decision we make. I’ve always been drawn to the inner workings of a film, understanding how structure and scene construction influences the way we relate to characters and story – and editing for me gives me the opportunity to do this every day with every project I work on.”
From his work as the editor of the interview series “Tete-a-Tete” broadcast on NDTV to the powerful stories he crafted as the editor of the films “Loveland,” “La Bella,” “Persuasion,” “Against Night,” “Zoya” and “Wild & Precious,” Bhansali has amassed an impressive repertoire of work that spans several mediums and practically every genres.
Up next for Shayar Bhansali is the film “Rene” starring multi-award winning actor Xander Berkeley (“Taken,” “Airforce One,” “Justified”), and the film “Shinje,” which is in preproduction and will be directed by Stefan Kubicki.
When we are moved by a film, or encounter a new television series that sparks our attention and earns our love, few of us consider the long list of people behind the scenes that are responsible for making the project great; and why would we, after all the point of both mediums is to help us get lost in the story.
Regardless of whether we recognize the jaw-dropping level of collaboration that goes into a production or not, it still remains that hundreds of crew members band together to work long hours to bring our favorite projects to the screen, and film electrician and camera operator Ekaterina Doldjeva is one of them.
As the on set electrician, Doldjeva’s work requires her to take on a multitude of responsibilities from communicating with the cinematographer to determine what lighting they want in to order achieve the desired mood in a scene, to setting up the lights and deciding on their placement, as well as cuing the lights at the right time. Each and every one of her decisions has a pivotal effect on the final outcome of a production.
Doldjeva explains, “For me, every time I am lighting a set, it feels like I am painting with light… I have always believed that people tend to remember how a movie made them feel more than anything else. So, understanding and being able to control light is crucial in order to tell any story.”
One thing that makes Doldjeva a special force in the industry is the fact that she is also a skilled camera operator. When it comes to working as a camerawoman on set, Doldjeva’s work entails much more than simply pointing a camera. She has to maintain the composition of the shot and know what camera angles to shoot and when to move, all the while being conscious of the actors and set to ensure that everything that needs to be in the shot is– and that nothing that isn’t supposed to be in the shot accidentally makes it in.
While Doldjeva works grueling hours behind the scenes to bring magical stories to life for the audience to enjoy and rarely gets the recognition she deserves from the public, she doesn’t work in film for the fame, she works in the industry because she loves contributing her creative efforts to visual storytelling; and to her team behind the scenes, she is worth her weight in gold.
Finding a quick, resourceful and energetic electrician that the cinematographer can trust is rare, and that is one of the reasons why Doldjeva is such a sought after gem in the industry.
Serving as the electrician on the Primetime Emmy Award winning and Golden Globe nominated series “Shameless,” the Netflix original series “Sense8,” NBC’s “Chicago Med,” and “Chicago P.D.” starring Sophia Bush (“One Tree Hill,” “Partners”) has kept Ekaterina Doldjeva busy working nonstop for the majority of 2016 so far; and she shows no signs of slowing down.
She is currently working as the electrician on the comedy feature film “Office Christmas Party” starring Golden Globe Award winner Jennifer Aniston (“Friends,” “Horrible Bosses”) and Olivia Munn (“X-Men: Apocalypse,” “Zoolander 2”), the drama film “American Express” starring Oscar Award winner Charlize Theron (“Monster,” “Mad Max: Fury Road”) and the upcoming dramatic series “A.P.B.” starring Ralph Abbas (“Chicago Fire”) and Olivia Bird (“Empire”).
One of the qualities Doldjeva has to her advantage that few others do is the fact that she can easily transition across various roles in the field. While she works most consistently as an electrician on set, she has paid her dues and honed her skills as a grip and cinematographer as well. She was the grip on the romantic biographical feature film “Southside with You,” which earned a nomination for the Grand Jury Prize at the prestigious Sundance Film Festival, as well as the cinematographer and editor on the film “Heirloom.”
To find out what it takes to work as an on set electrician and camera operator in the highly competitive film world, make sure to check out our interview with Ekaterina Doldjeva below!
Hey Ekaterina, thanks for joining us! Can you start of by telling us where you are from?
ED: Absolutely! I am from a small town called Panagyurishte in Bulgaria. It is a patriotic town with a significant historical value. I lived there as a kid, then, I transferred for high school to the capital of Bulgaria, Sofia. Being thirteen years old, I had to learn to live by myself, which helped me grow and form as a person at an early age.
What was it like growing up their?
ED: Growing up in Bulgaria was a happy adventure. Many kids would gather daily and play soccer, tennis, basketball, volleyball, etc, until the sun goes down. We would go on trips and walk or bike around historical monuments in the woods. The nature is gorgeous everywhere in Bulgaria. There are various forests, lakes, rivers, caves and national parks all around the country. Hiking was another common thing to do either with groups of people or with family. We studied Bulgarian history along with international history and geography. This made me decide to study abroad, and travel as much as I can, so I can see different parts of the world and learn their culture and history.
When did you first realize you wanted to work in the film industry?
ED: I would say when I was in high school. My major had a main focus on computer science, math, and physics with an emphasis on English language. But I was interested in visual effects and animation and graphic design primarily at the time. I would look at the lighting style of a certain painting and try to create an image thinking about how to light it on the computer and make it seem real and alive for whatever project I was working on. Right after high school, I enrolled in a college in Los Angeles and started taking editing, camera operating, lighting and film history classes. My interests in visual storytelling became clearer, pointing me to the career path I chose to do today.
What was the first job you landed in the industry?
ED: One of my first jobs on a professional level was “Chicago Fire” TV series, but I did numerous short films, independent features and events before that as well. I started working on big productions my last year of college which was a huge accomplishment for me.
What was it like working on that production?
ED: “Chicago Fire” and other projects like “Betrayal,” “Chicago PD,” “The Other One,” “Empire,” “Shameless” and “Sense8,” were productions where I used all the knowledge I learned in college. At the same time, there was etiquette, which is crucially important behind the scenes. It is breathtaking to see how a certain scene is done especially on a show like “Chicago Fire.” Most scenes include lighting buildings on fire and heavy stunt work, but helping and contributing to create those scenes and afterwards see it on TV when the episode comes out, it repays for all the hard work I have done. I feel grateful that I am able to be apart of the crew at such a high level. Another interesting factor on working on this production as well every other one is that some of my bosses are Academy Award winners. They have done so many great movies and TV shows and working with them, seeing the decisions they make for a certain scene or a shot is always the most amazing part of my job.
What came first for you, working as a camera operator or electrician?
ED: I think that both jobs are equally important, but the reason I thrive to be a better and better electrician is to eventually become a cinematographer. Lighting is a crucial part of telling a visual story. For me, every time I am lighting a set, it feels like I am painting with light. However, being a camera operator is a true passion of mine. In order to be a cinematographer you have to be able to translate words from the script into visuals. There is way more into it, but I would say that one couldn’t work without the other.
How did one lead to the other?
ED: I realized that you couldn’t just point a camera and shoot something and expect it to look on a professional level. I started to research different lighting styles and how to create a certain look, mood and the atmosphere in a scene. I have always believed that people tend to remember how a movie made them feel more than anything else. So, understanding and being able to control light is crucial in order to tell any story.
Can you break down an average day for you when you’re working on set as a camera operator?
ED: Working as a camera operator involves constant communication with the cinematographer and the actors. The camera operator has to be cautious of the actors’ rehearsals, camera movements, lights and flares and anything else that may help or ruin the shot. Often, I have to fix problems and find solutions on the go. For example, it’s my responsibility to see if the shot comes out sharp. Also, I have to look for any unwanted equipment or props in the shot. Another important factor is talking to the actors either about their position in front of the camera or even anyone looking straight into the lens. This may seem insignificant, but scenes with more actors and extras requires that extra attention of detail. In other words, I am the eyes and ears of the cinematographer. I would say that communication and teamwork is essential throughout the day.
How about as an electrician?
ED: When I work as an electrician I see the shots and the scenes in a different way. Once the camera is set, then lighting begins. I often think ahead what the next set up will be in terms of lights, power and equipment. It’s very important to be quick, safe and efficient when you are lighting a scene. Every time we use big sources of light, you don’t want to blind anyone or set a light in an unsafe position. Weather condition is a key when we are shooting on location, so it would be my responsibility to make everything work in any circumstances. Teamwork is essential for an electrician. We often have to separate what we do, so we stay more efficient and productive.
What are some of the challenges you’ve faced in your position during a production? How did you overcome them?
ED: I think the most common challenge I face with most days is doing lighting cues. It could be as simple as a character entering a room and flipping a switch to turn on or off the light to flickering lights and thunderstorm effects, flashlights, TV screen effect, fire etc. It’s not uncommon to do a movement or an effect in a shot that is not in the script, so when this happens, I have to improvise and come up with a quick solution and see how as a team we can make it work, so we don’t slow down the production. This makes our crew look good in front of our bosses and especially the producers. I would say that I learned to overcome those challenges easily within every production that I have worked on since I meet different crews and bosses that have different ways of doing their job. This absolutely helps expand my knowledge and builds up my skill set.
Can you tell us about some of the productions you’ve worked on and what job you were doing?
ED: The past year I did a few very interesting projects such as the films “Office Christmas Party” and “American Express,” as well as the television series “The Exorcist,” “Shameless” and “Empire.”
“Office Christmas Party” is a comedy starring Jennifer Aniston, Jason Bateman and Kate McKinnon. The story is about a branch manager who throws an epic Christmas party in order to land a big client, so his branch doesn’t get shut down. Some of the scenes were shot in downtown Chicago and we had a pretty big crew, more than usual. Throughout the day, we experiences short blizzards, rain and clear skies, all within 30 mins. A rapid weather change like this is never good for a lighting set up. So, at times, I had to separate from the crew and follow the weather every 10 mins, so I can tell the gaffer if there will be a lighting change. We had lights on every intersection around the square we were shooting at, inside buildings, along trees etc. so I had to be close to a certain section and decrease or increase the amount of light on all lights every time the sun changes and let everyone know, so they can tell production. This was crucial for lighting continuity within every shot and scene.
Another project I did was called “American Express” starring Academy Award winner Charlize Theron, Amanda Seyfried and Joel Edgerton. On this project, I had the chance to work with a female cinematographer for the first time. She was specific in her choices of light and camera composition. Every time I had to set up a light whether on a ceiling or hidden around wall, most of the time it was my choice of placement. Because of my choices with the amount of light and shaping the light every time we set up, I got to be the photo stills gaffer for the feature film. In other words, we had photo sessions where I was in charge of the lighting set ups. A similar thing happened on the Fox pilot “The Exorcist” starring Academy Award winner Geena Davis. Since this series is a thriller, we had various lighting effects every day. I did all of the lighting cues at almost every location we shot at. For example, I had to simulate power going down on construction workers inside a church at a specific moment when the actors were passing by. Every time, timing was crucial especially when I had to repeat the same effect a couple of times in a row.
But, the Golden Globe nominated series “Shameless” and “Empire” were absolutely different from the three projects I just mentioned. “Shameless” has minimal lighting when the production comes to shoot in Chicago. I usually have to set up one or two lights but I have to avoid making them look artificial. “Empire” is absolutely the opposite of “Shameless” and maybe everything else I have ever done, because this is a drama TV series that has musical performances. So, I often had to navigate a spotlight and follow the singer across the stage. We had to set up lights for the shot but also, for the stage. Sometimes there will be a long shot where the performance might get interrupted; the singer would go off stage, or dance etc. A small mistake on a giant production like this could be inexcusable. I was electrician on all of these projects and it was important for me to be focused and quick in every decision I made.
What has been your favorite project so far?
ED: This is a hard question to answer because I’ve enjoyed all of the projects I have done. However, if I had to pick one to be my favorite it would be “Sense8.” It is a Netflix original made by Lilly and Lana Wachowski. Some of their work include “Matrix trilogy,” “V for Vendetta,” “Speed Racer,” “Cloud Atlas” and “Jupiter Ascending.”
On “Sense8,” I had the chance to work with Academy Award winner cinematographer John Toll, whose credits include “Braveheart,” “The Last Samurai,” “Iron Man 3,” “The Thin Red Line,” “Almost Famous,” “Vanilla Sky” and “Legends of the Fall.” He is one of my favorite cinematographers, I even studied his work while I was in college. I see him as a mentor and someone to look up to in terms of telling a visual story and becoming a better cinematographer. Having the chance to be apart of his crew and work directly for him is something I never thought would happen. Some of the techniques he used on set, whether setting up a shot or solving a lighting problem, even the way he communicated with the crew, was something I hadn’t encountered on set before. I think what I loved most about this project was the pace and the way the directors and the cinematographer perceived each scene and communicated to the actors.
What would you say your strongest qualities are in your field?
ED: Some of the strongest qualities I have are problem solving, I am quick and efficient, but safe, creative and absolutely reliable, and I am a team player. Working in the lighting department requires me to not only be knowledgeable of the equipment we use along with all the new updates and what new technology has to offer, but also, being able to use it properly. I think that those qualities helped me understand the professionalism behind the scenes and quickly establish my career path.
Can you tell us about the different types of lighting that you use for a scene to create a certain mood or atmosphere?
ED: Well, this really depends on the story, the director and the cinematographer. Some cinematographers prefer big sources of light that can be cut, diffused and shaped once set and others the smallest possible use of light possible. In the same way, I have worked with cinematographers who love the use of LEDs. An important factor of creating a certain mood or atmosphere in a scene is what the project is about. The contrast ratio defines the feel or the mood of the scene. For example, comedies tend to use a 2:1 ratio where if we look at the shadows in a certain shot they are almost non-existent. However, in thrillers there is lots of harsh lighting with deep, dark shadows that create a spooky feeling to enhance the surprise moment. On the other hand, in the case of a low light, high contrast ratio scenario or the other way around, the choice of the certain lights comes with the preferences of the cinematographer and the gaffer.
Earlier this year you were invited to judge the 2016 Fandependent Film Festival in Chicago, what was it like judging the festival?
ED: It was an interesting experience to judge versus having my movie being the one judged. Also, my comments had to be on point since this would help decide the winner of the festival. I can say that this was an overwhelming experience since I had a lot of responsibility on my shoulders but at the same time, I enjoyed giving an in-depth evaluation about each project.
What were some of the things you looked for when judging the films that screened at the festival?
ED: I would always start from the overall story whether or not it works or the plot makes sense. Next, I would focus on the acting and how each character carries the dialog or the story itself. Of course, I would focus on my field looking at the cinematography and lighting of the film and how everything relates to the story.
Can you tell us about some of the projects you are currently working on and what you are doing?
ED: Currently, I am working on “Sense8.” We have been shooting in various location houses where one of my main responsibility is to link all the LED panels we set to a dimmer board, so the gaffer would be able to quickly control the levels on each light throughout the shots. There are many issues that can come up doing this; so troubleshooting has been a major responsibility during this show.
At the end of the day, what is it that you love about your job?
ED: It encompasses creativity, technical knowledge and etiquette. Collaborating with so many people and various departments in order to create the final product repays at the end of the day especially when you see your name in the credits in the theatre or on TV later on. I wouldn’t change what I do for any other job.
What do you hope to achieve in your career?
ED: I would say my long-term goal is to work as a cinematographer and shoot feature films at an Academy level. For now, I am glad that I am able to work on such high profile productions and expand my knowledge with each project that I do.
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