Category Archives: Film

Cinematographers, Film, Reviews, Interviews & Features!

Andre Chesini tackles Alzheimer’s in moving film

August 24, 2017 pressva Leave a comment

Andre Chesini measuring light on Chocolate — Andre Chesini behind the scenes for “Chocolate”

Ask any cinematographer what they love about film and you’re likely to get a different answer. For some, it’s about having an outlet; a way to channel the vast array of emotions, thoughts, and experiences that life has to offer. For others, it’s a platform to showcase an artist’s creativity and to entertain audiences of all sizes. It is both gruelling and competitive; however, most cinematographers will tell you that above all else, it’s about the indescribable feeling of getting to see your work come to life on screen. Filmmaking is an ever-evolving art form and over time, it has broken barriers, tested limits, and motivated human beings to see the world in different lights. For award-winning cinematographer, Andre Chesini, it is about all of this and more.

“Cinematography is a dynamic process, borrowing from different art forms to create an art form of its own. It drives me to evolve not only as an artist, but as a human being and it has helped me to learn so much about the world that we live in. It is an endless process of discovery and it has given me the opportunity to travel to new places and meet new people. It’s in those places that ideas flourish and new projects come to life,” says Chesini.

At a young age, Chesini began to work with 3D CAD modelling at a SolidWorks reseller. It was here that he earned himself various positions working for prominent companies like Alston and Embraer Suppliers as a 3D modelling designer, using mechanics to help pre-visualize ideas and concepts. In those days, Chesini thought he might eventually work toward becoming an engineer; however, he was always hungry for more. His unrelenting desire and creative insight, paired with his technical skills, drew him toward cinematography and from there, he has never looked back.

As he continued to pursue his dreams, Chesini moved to the south of Brazil to lend his talents toward projects like the award-winning, A Fábrica; a film which won over 60 awards and went on to secure a nomination at the 85th annual Oscars Awards. Another of his works was a viral music video called Oração. If not for Chesini, it is unlikely that the video would have reached three-million views in less than three days. Achieving such success so early on in one’s career can often have a negative impact on his or her ego; however, this was never the case for Chesini. He is simply grateful for the recognition and motivated to continue to produce even greater work.

With a decorated career like Chesini’s, it comes as no surprise that director Thiago Dadalt was determined to work with him. Dadalt’s familiarity with Chesini’s work on A Fábrica solidified this desire. The two worked together for the first time on the wildly hilarious television series, Life on a Leash. When Chesini was approached about the possibility of working with Dadalt again for the film Chocolate, he found himself instantly intrigued. The film portrays the beautiful tale about the power of family and hope when a suburban housewife and mother finds herself homeless in Skid Row, Los Angeles as a result of her Alzheimer’s Disease.

“I feel a strong impulse to jump on board with projects grounded in a social issue. For Chocolate, we had the opportunity to portray the life of a house-wife who finds herself homeless as a result of her early-onset Alzheimer’s, a disease that degenerates the mind. I was born in Brazil, where homelessness is a prevalent social issue and I really wanted to portray it as close to reality as we could,” tells Chesini.

The reality that often goes unseen with cinematography, however, are the challenges that filmmakers must overcome to produce high-quality content for their viewers. By the time the ensemble hits the screen, a cinematographer’s work typically appears seamless. In the case of Chocolate, Chesini, Dadalt and their entire team encountered several obstacles along the way. It is in situations like these, however, where Chesini’s natural affinity for filmmaking comes to light.

“Chocolate had its production challenges. We were going to shoot in the midst of a hot summer in Los Angeles and our ideas involved several locations, as well as various moving parts. I decided to choose handheld and steadicam given our locations and hard placements to set tracks and cranes. I felt that it created a more intimate connection with the characters since the camera position was closer to the action. I also recognized that it was an emotional film for the actors, so Thiago and I decided we would use longer shots to help the actors delve deeper into their characters. Even with all of our production challenges, Thiago managed to pull a 29-minute cut. He didn’t need to re-shoot any of the material or film additional shots. The result was a consistent film that draws the audience into a tale of survival and love in the midst of the devastating reality of forgetting and losing yourself,” states Chesini.

Prior to completing the film in November 2016, Chocolate was already nominated for the London International Film Festival where it received the award for Best Supporting Actress. Following this early success, the film went on to be an Official Selection for the Hollywood and Hollyshorts Film Festivals in 2017. It later won Best Drama and Actress at the Firstglance Film Festival Los Angeles and Marché du Film at Le Festival de Cannes 2017 and continued to win awards thereafter.

So, what makes a short-film like Chocolate so successful? Naturally, it comes down to talent like Chesini. When asked about working with the cinematographer, Dadalt comments that “Andre is an outstanding professional that I feel extremely fortunate to have come across. We’re both Brazilian, so we share a mutual understanding of the unique challenge that it brings to establishing a career in Los Angeles. He is a very talented cinematographer with a keen eye for capturing the perfect moment. His input and his work ethic are a delight when filming.”

With a cinematographer like Chesini on the scene, one can only imagine the calibre of content that he will continue to bring to the industry.

Check out some behind-the-scenes footage of Chocolate here.

Film, international Talent, Reviews, Interviews & Features!, videographer

Videographer and video editor Maria Aguado had “the courage to pursue her dream”

August 11, 2017 pressva Leave a comment

“All of our dreams come true if we have the courage to pursue them.” Maria Aguado wrote this to herself at the beginning of her career. At the time, she was just a girl from Barcelona with big dreams; she wanted to make films. Throughout her life, Aguado never stopped believing she was meant to be behind a camera, and this belief became her mantra. Now, she is one of Spain’s best videographers and video editors, and her faith to overcome any obstacle has contributed greatly to her acclaim.

Throughout her career, Aguado has shown international audiences what she is capable of with a series of celebrated projects. She worked with high-profile fashion designers Claudia Morera and Carlota Cahis, the popular shoe brand Alvarez & Moixonet, the fashion company Brownie, the iconic fitness brand Les Mills, and the eclectic Spanish shop Button Barcelona. She worked with the advertising company Puente Aereo helped the company gain new clients, her videos for the magician Nilo with MCN Magic helped put the magician on the map, and just this year, she worked with the fitness company Human Body Experience to create outstanding informational videos for consumers. Her work in both filming and editing has impressed many, and her passion for what she does inspires others.

“As editors, having another point of view is basic. Working together gives us the opportunity to fusion our minds and obtain the best results. Maria brings a very creative perspective to every project. She is very hard working and has a huge knowledge as an editor. Working with her is a pleasure,” said fellow editor Felipe Bravo.

Bravo is a well-known editor in Barcelona, and has worked alongside Aguado many times. The two immediately connected because of their shared passion for film, and make quote the team. Last year, they worked on the award-winning short Happy Burger, a project that Aguado thinks of fondly.

“I love the feeling of being emerged. While I film or edit everything else disappears,” said Aguado. “I create a world that is later shown to an audience to express a feeling, a concept or an idea. Since the age of seven, I filmed my dolls, edited my films and wrote screenplays without being aware of what I was doing. I grew up with a camera.”

Aguado’s first job was years ago, working as a film editor for Puente Aéreo, an advertisement company. Just beginning, it helped the now esteemed filmmaker learn a lot about advertising and editing ads for television. Since that time, she has worked for countless brands. After Puente Aéreo, she moved on to working for the interactive party platform Get Wasted Events. She was ready for a new experience, and it was there was she learned exactly what style she enjoyed that has now become her signature.

“I always film with a bit of camera movement. My shots are not static and I use a lot of close ups. While filming I try to forget everything I’ve ever seen and have a new vision in each project. I play while I am filming, I don’t see it as a job. I also edit in my head while filming, I know which shot will go next to the other, it’s like building up a story,” said Aguado.

Aguado’s first time working with the fashion industry was with Carlota Cahis, a well-known designer of jewelry and clothes. By this time, Aguado already had an outstanding reputation, and the firm contacted her to film and edit Cahis’ fashion show. Cahis was instantly impressed, and contacted Aguado many times after this to shoot for her. Quickly, other designers began to notice her and to seek the videographer out. She did several fashion videos for fashion designers such as Mercedes Arnus in her “Pure White” Collection and Claudia Morera’s brand, selected in 080 Fashion Week Catwalk Barcelona.

“I’ve always known this is what I wanted to do. I grew up playing with a camera. This is what I’ve always done. Filming and creating is a huge part of me. Without filming and editing I wouldn’t be able to fully express myself,” said Aguado.

Not only does Aguado excel with advertising and fashion videos, she is highly experienced in film. She worked with director Max Larruy on the film Caperucita Roja, and later worked on the feature film Barcelona Nit d’estiu. She has an extraordinarily artistic eye whilst looking through a lens, and her editing experience helps her know exactly how to frame a shot. She also edits films, such as the short Blanco Roto by Director Belen Reina.

“Creating movies is a way to believe in the magic of life. It is a way to experience different lives. It is a way to be a part of new stories and experience another point of view. It is a way to make people feel, know, and experience new emotions, new ideas! It is a way to express the parts most inside of your soul, and surprise yourself in the process by opening your mind to new perspectives. It is a way to make your dreams come true while you show them to the world. Making cinema is the same as travelling around your dreams. Making movies is not letting the child you’ve got inside to die. It is a game. Being able to make cinema is a good reason to be alive,” concluded Aguado.

Actor, Film, international Talent, Reviews, Interviews & Features!

AVI AGARWAL’S COMMITMENT TO LOOSE ENDS

August 7, 2017 pressva Leave a comment

Avi Agarwal has received resounding accolades for his comedic performances in films like “Cowboys” but in “Loose Ends” he delivers a serious performance with gravitas (for which he was awarded the BEST ACTOR MALE at the Hollywood Boulevard Film Festival, CA. September 2016). “Loose Ends” literally portrays an experience that many of us have likely had inside our own minds. Almost everyone has that “tipping point” in life in which they see that they can either focus on something that will add positively to their life or negatively. It might be a relationship, a career choice, or simply a pattern of behavior that will lead to a peaceful or tumultuous existence. In the film “Loos Ends” Avi Agarwal becomes a proxy for the audience, considering the many decisions available and how they will manifest his future.

Agarwal is known for his physicality and intense discipline in approaching roles. The film’s cinematographer Rafael Nani notes, “It’s easy to see the talent of Avi in front and behind the camera. What most people can’t see is his tremendous dedication and passion for his job and his art. A serious hard worker who never gives up before getting the best, Avi is an example to the other professionals around him that greatness requires immense dedication. It was an honor work with him in ‘Loose Ends’ and it’s always a pleasure work to with him. Avi Agarwal is an artist who makes you want to do your best, and who you can always learn from.”

Avi’s physical dedication to the role came long before anyone arrived on set or began filming. In preparation for playing a college student, the actor’s training required a lean and in-shape build. Among his many means of training was an eighteen miles per week running requirement to sculpt the svelte appearance of a man this age. It’s a combination of mental, physical, and artistic purpose that drives Agarwal as he relates, “I show this intensity for every role I take. Sometimes I’m not able to get enough time but I work with whatever time frame I am given to make sure the results are visible. Every day, I used those voices in my mind of people demoralizing me saying ‘You can’t do it’ on the track to make sure I kept running. I basically used the negativity to my advantage and turned it into a positive. It really motivated me. Although I have nothing against the people who did not believe in me because I know they had the best interest at heart for me but, as an actor I used whatever I could find to become Sid. I take this approach since the change in my appearance definitely changes the way an audience see me in ‘reel’ life compared to me in my real life.”

“Loose Ends” was screened in December at the Mumbai Shorts International Film Festival in 2016 where it was recognized with the “SPECIAL FESTIVAL MENTION.” Agarwal appears as the main character, Sid, in the story that is a cautionary tale depicting one man exploring his potential for good and bad. Sid is an affable guy but a habitual partier and slacker. As a college student, he often ditches class due to hangovers or simple laziness. When he does attend, he is ill prepared and mocks those who are serious. His support system of friends enables this behavior and embraces him as their “always ready for a good time friend.” Sid begins to have visions of himself in the future leading the lives of others whom he feels likely lacked the focus and self-discipline that he does. Walking about in his everyday life he sees his own face in that of the alcoholic janitor, as a menacing felon on a wanted poster, and many less desirable life pursuits. In a course of “Rocky” determination, Sid begins applying himself, both figuratively and literally cleaning up his life.

The role and the schedule required Avi to access and convey such a wide variety of emotions that it was immensely taxing. So what’s the secret ingredient that allowed him to do all of this so effectively? For this actor it’s a combination of the Meisner and Chekhov techniques. He elucidates, “The role of Sid required different emotions such as, happy, sad, angry, lost, confused, uncomfortable, disturbed, hurt, frustrated, awkward, dismayed, ignorant, concerned and hopeful. There were times when I had to switch from different emotional states instantly in order to deliver the performance. I used the Meisner and Chekhov techniques in order to bounce off from one emotion to another. For example, I had just finished shooting a very emotionally challenging scene and right after that I had to shoot a happy party scene, I used Chekhov and started throwing my hands and legs at different places at fast pace, to loosen the nerves and let the heavy emotion drain from my body. I had discovered in Chekhov how the body movement and image has effect over our emotions. In my opinion, a technique is best implied when you use it but is not shown on screen. People who have studied Meisner sometimes know when on screen the actor has used it to make it look authentic on screen. I use Meisner and then combine it with other techniques such as Chekov to find the character. The difference being Chekov mainly focuses on attaining emotions through physicality of the character. However, Meisner mainly focuses on emotions so to find the characters posture I use Chekov. The combination of both has so far really helped me in making my characters more memorable ones.”

“Loose Ends” required a great deal from Agarwal and he confirms that he learned just as much from doing it. In what might be one of the most important lessons for this diverse, talented, and educated actor, his experience of intent that fell short revealed a truth to him. During the filming of a scene in which Sid sees himself as a down on his luck homeless man, the makeup artist was nowhere to be found. With the pressure of an extremely tight filming schedule, Avi improvised and grabbed a handful of actual mud from the street, smearing it on his face. To his surprise, his great overture of actual mud was not even visible on screen, yet his frustration shown through as the character. The moral; you never know what truly works until you see it onscreen.

Cinematographers, Film, Italian Talent, Reviews, Interviews & Features!

XING-MAI DENG VISUALIZES THE FEELINGS OF A NEW WAY OF WAR

August 7, 2017 pressva Leave a comment

Artists often bring up ideas that we may or may not agree with but it is important to see things from differing viewpoints. The artistic mindset is about the freedom to express ideas; they might be truth or they might just be opinion but in a well-balanced society it’s important to have all ideas heard and then weighed out. Whatever your opinion is on any particular subject, there is someone who disagrees with you, and that person should be important to you. By presenting an argument that challenges your belief, you either become more committed or you reassess; either way, this person has done you a favor. Artists of many different mediums have challenged our thinking for eons. Filmmakers like Xing-Mai Deng are simply the newest manifestation of this. As a cinematographer, Deng is the modern day painter with film and digital images as his canvas. The way the visuals appear in the Drama/Thriller “Drone” (2015) affects the viewers’ attitude towards one of the most modern approaches in warfare in an almost imperceptible manner, but achieves the desired emotional impact. It was for this very reason that producer Abi Corbin sought out Xing-Mai and persuaded him to take on the project.

“Drone” appears at first to be a film about the military when in fact, it is about humanity. It was his own personal experience with these two factors that actually convinced Deng that he wanted to be a part of this film. He explains, “Before working on the project, I happened to know a few people who were working on developing treatments for veterans with PTSD. Among them, the air force veterans were the majority and most of them were military drone pilots. Through my friends, I learned that even though the drone pilots did not see their enemies and the actual battles, they had a higher chance on incidence of PTSD because of their working schedule and the suppression of sleep. I knew what the pilots were going through. I invited my friends to the screening of the completed film and they all felt that the film was a realistic portrait of a drone pilot’s life.”

“Drone” is a story about a rookie air force drone pilot who finds himself increasingly attached to a target as he watches from halfway around the world. As a newly minted drone pilot, Matt (played by Daniel Sharman) enthusiastically flies his first stalk and kill mission, unconcerned that he knows nothing about the enemy target in his crosshairs. As the hours of surveillance turn into days, then a week, he finds it increasingly difficult to see the target as a mere white dot on the screen. When the strike order finally arrives, Matt must face the very real person behind the pixelated image.

Making any film is not as simple as displaying the actions of the characters onscreen. A story that concentrates so intensely on the emotional inner conflict of the main character requires a great deal of planning and expertise on the part of a DOP to properly convey this emotional turmoil. The subtlest of changes can achieve substantial returns in eliciting the proper response from a viewer. Deng prepared his concept in terms of the tone and the look before meeting with “Drone” writer Tony Rettenmaier to present these two different worlds he had created. Lighting in particular was key for this film as Xing explains, “When Matt is alone, his life is not fulfilling to him. To achieve the lonely feeling for the audience, we made sure the lighting on him is half a stop darker. It appears as if his life is always one shade darker than the rest of the world. And when Matt was doubting his world, we used a lot of close-up shots with a wide-angle lens on Matt to bring out the emotion. We placed the actor very close to the lens so he got distorted by the wide-angle lens, while other actions are happening in the background. After the strike, Matt was crushed by what he did. We placed him further away from the camera, using a longer telephoto lens to compress the background just to show how small he is compared to the world he is doubting.” He continues, “Most of the scenes were in the cockpit. We did research on what a real drone cockpit looked like. It was actually very different from what we imagined. In reality, the pilots were operating the drones flying on the other side of the planet, so they usually work during the night. In order to keep the pilots awake, the cockpit was usually lit with bright fluorescent lights. It is very bright and flat. We wanted the scenes to look interesting so we decided to use minimal lighting fixture to achieve the dark and dramatic look. The production built this on a stage so I had total control of the lighting. Most of the lighting was motivated from the monitors in the rack in front of the two pilots with cold colors. That was a very planned out cinematographic choice.”

The manner in which the characters and their surroundings are framed is exceptional in communicating what they are feeling. Whether it be of a claustrophobic nature or the insignificance of being miniscule in an open space, the viewer feels the impact of this perspective. The short, cutty, and lock-off shots of the main character early in the film contrast with later long moving shots to show the internal struggle of the character and the tension of the situation when Matt must decide to pull the trigger during the strike. We immediately understand the tunnel vision and comprehend that time is slowing down for this drone pilot. During the final sequence of the film as Hunter (played by Michael Trucco) tells Matt about his own story, the extreme-wide shot inside the drone hanger with a military drone in the foreground and the rusty roof on top depicts how small they are compared to the world of drone warfare. The metaphor relates that this kind of story happens every day.

One added benefit for Deng working on this film was an association with the famed Industrial Light and Magic who had allowed the production to use their drone model in conjunction with green screen shots. The investment was obviously well placed as Deng and his crew achieved a nomination for Outstanding Achievement in Cinematography (2015 First Film Festival) as numerous awards from others such as the DisOrient Asian American Film Festival, Phoenix Film Festival and numerous others. While these accolades were appreciated by Xing, he reiterates that his connection to the veterans who have been in these situations and the positive response which he received that “Drone” accurately and honestly portrays the experience of these men and women means that his highest goal was achieved.

Actor, Canadian Talent, Film, international Talent, Intetnational Films, Reviews, Interviews & Features!

YOU CAN’T TAKE YOUR EYES OFF ALSION ARAYA IN THE UNSEEN

August 1, 2017 pressva Leave a comment

Faust has been the inspiration for countless films about those who make a pact with the devil to get exactly what they want but end up making a great sacrifice for their gains. There’s always a loophole “gotcha” moment. While this has nothing to do with the theme of the movie The Unseen it might be found in the story of one of the film’s stars Alison Araya. If the actress were to design an ideal situation for herself, it would be The Unseen. While Araya has made numerous appearances in blockbuster films like X-Men Origins: Wolverine and Watchmen (and many others), this was her first major role. Alison’s portrayal of the fearless Moll who is involved in a same sex relationship drew great praise from critics. She even got to act opposite one of her adolescent crushes (Aden Young as Bob Langmore) in one of the film’s most climactic and prominent scenes. Everything was perfect except…wait for the twist…The Unseen is an action/sci-fi/horror story and Araya is one of the most squeamish individuals on the planet. A self-described chicken who can’t make it through the horror film trailers at a movie theater, the actress found herself in a perfect environment save the very premise of the film. With no way out of it and too much to lose by passing on The Unseen, Araya bit the bullet and accepted the role as Moll. Alison and the entire audience benefitted from this decision. The film itself was a resounding hit whose recognitions include: two Canadian Screen Awards nominations, eight Leo Awards nominations, selection of the Molins de Rei Horror Film Festival and Vancouver Film Critics Circle, and wins at the Other Worlds Austion SciFi Film Festival, Molins de Rei Horror Film Festival, and others.

While The Unseen is based on the lore of The Invisible Man, it’s a very different and unique take. Writer/director Geoff Redknap didn’t want to update the already familiar story with new actors and VFX; he wanted to create an entirely different focus. The Unseen dissects the idea of how this fantastic situation would affect the family of the person in this very odd circumstance. The inclusion of an ex-spouse, children, extended family members, etc. is similar to looking at a 3-D picture where your eyes cross and present a totally new subject…one which was previously invisible. The character Moll is the partner of Darlene, ex-wife of Bob who has literally disappeared. She is stepmother to Eva, Bob and Darlene’s daughter and has become fiercely protective of her new family, particularly when it comes to Bob. The actress portraying Moll would need to be both fierce and tender. Redknap stipulates, “Alison stood out during the audition process. She was fierce but what captured our attention was the vulnerability she bought to the role. She could have easily played a mere foil to her step-daughter but instead Alison’s multi-layered performance brought a greater depth to her own and the other actors’ performances. Alison was not afraid to go head to head with Aden Young and they created one of the most climactic scenes in the film. We knew we ‘got it’ when the air felt like it was buzzing with the electricity of the performance Aden and Alison had just given.” Producer Katie Weekly confirms, “It was important to find an actress who could carry the gravitas of Moll. We were looking for a dynamic and strong actress who could also play the vulnerability of the character. Alison bought nuance and passion to the role and really made it her own. A different actress might have played Moll as ‘the bad guy’ but Alison brought such life to the character that her transition from the beginning to end of the movie was much more satisfying.”

Moll could have been presented in a variety of ways; it was this fiercely loyal woman who protects her family and her partner that attracted Alison to the role. Moll is deeply in love with Darlene (played by Camille Sullivan) and has completely bonded with and come to love Darlene’s daughter Eva (played by Julia Sarah Stone) from Darlene’s previous relationship with Bob as her own. Being the woman in Darlene’s life, Moll has a chip on her shoulder when it comes to Bob. A drifter and absent father, Moll has seen firsthand the pain Bob has caused and will stop at nothing to protect the family she calls her own. Moll is stunned when she discovers that Bob is back in town and Eva is missing. Suspicious of Bob and the company he keeps, she pursues the truth and the two. When Moll is finally let in on the family secret, she is able to make peace with the relationship Bob and Darlene will always share and relaxes with her place in Darlene’s life knowing there are no secrets. The story is family drama with a very substantial secret ingredient.

In one of the film’s most intense scenes, Alison was called upon to do something that has been common place for her in numerous productions, exhibit the signs of seeing something that wasn’t there; which is both literal and figurative when you are in a movie about an invisible man. She recalls her process noting, “I remember struggling with that particular moment in the film, when I had to react to seeing something shocking and new to me. I remember trying to figure it out intellectually and I wasn’t getting anywhere. Then I just closed my eyes and visualized what was in front of me. Immediately my body reacted and I understood on a visceral level what was real for me. I love moments like that because we don’t always have it worked out in advance. Some moments stump me and they challenge me to look deeper into my tool belt or think outside of the box. There is no one path to the truth of the moment, there are infinite paths it’s a matter of knowing which one to follow on any given day.” One thing Araya wasn’t confused about was working with her co-star Aden Young. She admits, “Working with Aden was a career highlight for me! I was a huge fan growing up in Australia; Aden has always been on my radar. I had a huge crush on him after watching “Black Robe” and when I saw his name on the cast list, I could hardly believe it. Aden was so generous and really invited me to get inside the ring with him and go for it…and we did! It was exhilarating and scary and live. It was incredibly fulfilling and I hope to have many more moments on set just like that. I held it together and kept it very professional but there was a younger version of me inside that was going crazy with excitement.”

The Unseen as a film is contradictory; not in the sense that it doesn’t line up in terms of story or production but rather that this movie about the unseen is made so believable by what is seen. It’s not overuse of VFX or trickery that makes it compelling, it’s the performances of Alison and her cast that pull us into believing this very fantastic situation is as real as any discomfort a non-nuclear family experiences. The filmmakers ask us as the audience to buy into quite a bit and it’s the performances onscreen that make it much easier to be at ease with and suspend our view of reality. What is seen in The Unseen looks very good.

Art Director, Film, international Talent, Reviews, Interviews & Features!

Art Director Ji Young is vital to success of new film ‘The Sacred Mushroom Edition’

July 31, 2017 pressva Leave a comment

“There are few films that show how much the art department pays attention to details. In the film Room, the art department team studied the sun’s movement and bleached the part of the wall where the sunlight comes through the shed’s skylight and hits. They believed most of the objects inside the room should have some sort of stories because the five-year-old main character personifies every object. In Danish Girl, the set starts with the gloomy grey bedroom in Copenhagen where the main character couldn’t find his real identity, and then it shifts to a colorful room with beautiful floral pattern wall and Art Nouveau style architecture in Paris where he finds his real identity as a woman and starts blooming. I love art directors who are storytellers, who transfer the words into imagery by conceptualizing, using imagination, and creating the mood with emotion, style, and feeling,” said Young.

When Ji Young Lee talks about what it is to be an art director, one immediately understands that this is someone who not only loves what they do, but someone who appreciates every intricacy of their craft so fully that their passion and commitment are unrivaled. Young wanted to be an art director because she wanted to create a world that affects people who are watching the film; she thought it was fascinating that she could make the background world that helps people believe the story, whether it is real or fantasy. This is exactly what she does, and this vision is evident on every film that features her name in its credits. Director Ryan Betshart says without Young, he would not have the success he does today.

“Ji was my art director for two projects, the first being Paper Chase, a music video that has played Ann Arbor Film festival, which was a highlight of my career. Ji did so well and was so exciting and thoughtful to work with that I hired her for my next short film The Sacred Mushroom Edition,” said Betshart. “Working with Ji helped my career so much so that I intend on hiring her again on all my future projects. Her attention to detail is second to none – no one has an eye for set design like her – meticulous yet on budget and fast, a true professional. Her communication with the other departments, as well as with her own crew is clear and effective in ways I have rarely seen on set. Things get done, and so quickly and quietly one would think magic was being used to make everything perfect. Does this make Ji a magician? Does she have magical powers like a sorcerer? I’d say yes. Everyone on set respects her. The actors love her. She is the first to show up and the last to leave. I wish I had met her sooner, my previous films would all have done much better!”

Such accolades, although flattering, are not what keeps Young going. For her, it is all about her work. The Sacred Mushroom Edition is at the beginning of its festival route, and has already seen tremendous success. It premiered at Portland Underground Film Festival on April 9, followed by the prestigious Mammoth Lakes Film Festival on May 25, the Moviate Underground Film Festival in Pennsylvania on May 28, and internationally at Winnipeg Underground Film Festival in Canada on June 1. None of this could have been possible without Young’s artistic eye, and yet, she remains humble.

“It feels very surreal and exciting to have the film be doing so well. I don’t know much about experimental films, so I had no idea what kind of films our film was going to get chosen with for the festival. I’m just very glad that now I got some experiences in experimental film, which was the world that I never got to explore before and got these great festival opportunities by working with my great friends,” said Young.

The Sacred Mushroom Edition is an ode to the 1978 version of Kenneth Anger’s film Inauguration of the Pleasure Dome and its peculiar use of Electric Light Orchestra’s album ‘El Dorado’ over images of a ritual orgy between gods. The Sacred Mushroom Edition finds two fallen angels arguing over ELO and their lead singer Jeff Lynne’s affiliated super group The Traveling Wilburys – and his connection to the dark side.

“I watched the original film and loved how stylized the set design was. It was visually stunning and very artistic. Most of the films I’ve worked on wanted the art department team to stick to what’s exactly written in the script in terms of creating the set, but Ryan loved to hear about team members’ interpretation on the script and discuss with them which sometimes led to something unexpected. This film helped me to use more imagination and understand sometimes the filmmaking is less about form or content than it is about context,” said Young.

Although Paper Chase was a music video that focused on more digital manipulation of the video with a minimum set, The Sacred Mushroom Edition was the exact opposite. The film required two different sets, with strong contrasts between the two. The film starts in a backyard, and then it transitions into a darkroom. For the backyard, Young made some colorful choices for the set dressing, because she wanted to create brightness and lightness. For the dark room, she wanted to create some intimate, gruesome and cluttered environment, and therefore put different materials and furniture that had great textures for the set dressing.

“As this film is an experimental film, what it says is very abstract and poetic. The good part is it’s very artistic and unique film, but it could be difficult to understand for the audiences who used to watch the traditional narrative films. Therefore, my job was to provide some sort of device that would allow the audience to connect themselves with the film, so they don’t feel total alienation,” said Young.

There is little doubt as to why Young is considered one of Korea’s best recent art directors, and even less doubt that we will continue to see her name attached to many high-profile l films for years to come.

Film, International Musician, Music, Musician, Reviews, Interviews & Features!

Musician Jose Roman captures the feelings of film ‘30 Days with My Brother’ in song

July 31, 2017 pressva Leave a comment

premier 30 days — Jose Roman at the premiere of *30 Days with My Brother*

When Jose Roman thinks of his childhood, growing up in Quito, Ecuador, he recalls being exposed to a great variety of different music genres, artists and styles. As far back as he can remember, his dad would play him classical music, from Bach to Chopin. His mother, a self-taught pianist, inspired him to try playing the electric organ in his house. Later, when his parents purchased an acoustic piano, Roman experienced for the first time, the sensation of falling in love. He knew, no matter where life took him, the piano would be his driving force, and now at 27 years old, this remains his truth.

Roman has become an internationally successful musician, gaining fame as a member of the rock band Daphne’s Roots. He has always been a strong composer, writing hit songs and catchy melodies. His keyboard skills are instantly identifiable on a track, and his classical roots are an evident source of inspiration, no matter what genre he is playing.

“As my musical background grew while I aged, I listened to more keyboard driven bands such as Deep Purple, Pink Floyd, Queen and Dream Theater, just to name a few, the transition to play the keyboards was a given. My love for music was then solidified,” he said. “But now, I always try bending different flavours in my playing from my classical roots to blues, rock and even some electronic music.”

Despite his success with Daphne’s Roots, Roman’s versatility lends itself to all mediums, from accompanying individual artists, such as Sahandra Sundstrom’s Thinkin’ Out Loud, and even films. The 2016 drama 30 Days with My Brother, features an original song accompanied by Roman, as the producer Omar Mora, had heard the pianist’s previous work and knew he needed him to be a part of the music department.

“Once I heard how the concept of the song related to the movie, I knew exactly what I needed to do in order to make a top quality compelling work as a keyboardist. I realized that the style of the song was right on my ally. I was very inspired the whole time I was working on my keyboards part and I felt very comfortable doing it. I really liked the song so working on it was very pleasing and the keyboard arrangements came to me very naturally,” Roman described.

The song titled “Never Too Late” was written by Andrea Sandoval, the singer. When Roman started working on the track, the melody and basic structure were already taken care of, so his job was to enhance the harmony, write and perform all the keyboard parts. The song was mainly piano and vocals driven with some strings arrangement that Roman also wrote and recorded. It was vital to the film’s story and the film’s success.

“When I first heard about this movie I was immediately fascinated by how original and interesting the plot was. Then when I was asked to be part of the music department and record and arrange the keyboard part for the main song featured in the movie I was very excited. It was a no brainer for me since I love to collaborate with these amazing talents. When I heard the demo of the song and how it relates to the film I knew this was an amazing opportunity to create something memorable,” he said.

With a 92 per cent on Rotten Tomatoes and a 5-star rating on Fandango, 30 Days With my Brother has resonated with audiences. It tells the story of Alexis and Jonathan, two brothers from Puerto Rico that were separated after a terrible family tragedy. After 17 years, Alexis has become a doctor while Jonathan has become entangled with a dangerous group of people. One day, suddenly, Alexis packs up his things and moves to Los Angeles on a mission to reconnect with his long-lost brother. The two brothers meet and are forced to face their past, themselves and try to restore the bonds of brotherhood.

“It’s always satisfying to know that good movies are recognized and well received. It is particular rewarding to be part of such an extraordinary project that is highly celebrated. I always knew from the very beginning that 30 Days with My Brother was going to be a great success, since it has heart and top-quality production. I feel honoured to have been part of this project,” said Roman.

After premiering at the famous American Cinematheque’s historic Egyptian Theaterin Hollywood in April of last year, the film was picked up by AMC for national distribution across the United States. The song was essential for the film, and Roman’s contributions greatly affected the feeling, encapsulating the story and the struggles the brothers were going through. The song is piano driven, with intimate vocals. It has a memorable piano hook at the beginning, and a very sensitive keyboard interlude in the middle of the song.

“I believe that the balance between the vocals and piano accompaniment was essential for the song success within in the film. It is a very simple, but at the same time very touching piano ballad,” said Roman.

Producer and writer Omar Mora could not agree more. When he first heard the song, he was ecstatic, giving Roman the confidence to know that they had accomplished something special. Mora was so impressed, in fact, that he asked Roman to work alongside him once again on future projects.

“Jose is very easy to work with, and he is very professional,” said producer Omar Mora.

The next short film Mora is producing, titled White Orchid, is expected to premiere late this year. Audiences once again will be privy to Roman’s original music while watching that film. It is definitely something to look forward to.

Director, Film, international Talent, Reviews, Interviews & Features!

DIRECTING THE DIFFERING EXPERIENCES OF A MAN’S LIFE: THOMAS HEFFERON

July 29, 2017 pressva Leave a comment

It’s a requirement for a successful professional in the film industry to be versatile these days. Even so, those who are able to cultivate a sense of personal identity amidst the ability to be eclectic are among the most sought after. Actors, cinematographers, and definitely directors are the current-day elites in their vocations who are the most enduring when they have a style that is malleable to different formats while still retaining an intrinsic thread of personal perspective/self. Director Thomas Hefferon has revealed this trait in a number of films, music videos, and commercial productions. Considering his film work, it’s ironic that while the vast majority of his work (often co-written with T.J. Hundtofte) is female based, some of his most recognized and lauded films have a masculine story and center. Perhaps it’s just a natural byproduct of being male and artistic but the vantage presented in Hefferon’s films attest to his natural ease in conveying the different mental and emotional states from boyhood to manhood. The playfulness and sweet sensitivity is sometimes disrupted by the fear that boys avoid and men deny. Still, it’s apparent that there is a fondness Thomas has for his youth and he is able to take the audience into this treasure time with him via his many films.

In “The Confession”, Hefferon pays homage to the classic films of the 70’s. The production looks and feels authentic to the era. He worked painstakingly with cinematographer Andrew Edger and costume designer Natalie Conaty to authentically create the vibe of this period. Thomas notes, “The right crew really makes your life on a film livable or not. Andrew was wonderful to work with. Besides being very talented, he had just done a period film prior to this so he was in the proper mind state already. I was very lucky to get Natalie as she was working on “The Tudors” at the time and doing such fantastic work, and she of course brought her immense talent to our set.” Even beyond the visual presentation in the film, Hefferon wanted to recreate what the films of the 70’s felt like. He explains, “We definitely wanted the film to not just be set in the 70s but also almost feel like it was shot back then. We achieved this feeling mainly through the pacing of the film and the edit, and how it played out. Current day films have many more fast edits than films of the 70’s. There is almost a lingering quality to the way films were presented back then. We almost wanted to slightly bore the audience in the first half of the film, when they think they’re watching a drama and then…” One of the most enjoyable parts of The Confession is the “bait and switch” con that happens in both the storyline and to the viewer at the end of the film. The final moments of the film are completely unexpected as Thomas and his cast hold their cards close to their chest. Safe to say, the reveal recalls the great teen comedies of the 70’s that inspired this director. His adeptness in delivering this knockout punch awarded him the admiration of his cast and crew (not to mention multiple worldwide screening including the Tribeca Film Festival). The aforementioned Natalie Conaty professes, “I have worked with Thomas for the better part of a decade now and can say without a doubt he is one the most uniquely gifted people I’ve ever met. As a director he brings his vision to you without a hint of ego, eager to hear your thoughts and ideas. his attitude to filmmaking makes for a really creative environment where everyone pushes themselves to do better because they believe in the project. He owes much of his success to his auspicious mix of creative selflessness and dedication – on and off set.”

A more vulnerable and even frightening part of being a young boy is displayed in Hefferon’s “The Pool.” Most boys have experienced episodes of bullying but that’s not what at the heart of this tale. Academy Award-Nominee Lenny Abrahmson (for the Oscar Award-Winning Film Room) took a great interest in this film and Thomas as the director. Abrahmson remarks, “A film such as this relies on all the factors of film to amplify the tension, and Thomas displayed a masterful command over the collaboration between storytelling, breathtaking cinematography, believable acting and more to heighten the tension of the film, ultimately leading toward a truly powerful and impactful film. Few directors can convey such a command over the production as a whole. Thomas’s work on ‘The Pool’, where he utilized a great many tactics of top tier directors attests to his place among the best.”

“The Pool” seems at first to be a simple story of one boy’s fear of water (Sam) and his friends Charlie and Ben pressuring him to be in a breath holding contest with which he is not comfortable. The added pressure of appearing weak in front of the fairer sex is added when Katie shows up at the pool. Explaining that his fear originates from an experience with an unknown presence during his younger days, Sam stirs his own bravery but what happens next turns potential fear into a life altering experience for all of them.

Thomas reveals that his inspiration for the tension in the story and the film comes from his view of childhood. He notes, “I always felt like there was a window of time from about ages twelve to sixteen or seventeen when you’re growing up outside of adult supervision. You’re figuratively trespassing in this space where there are no rules and if there were, no one is truly able to enforce them. This is the time I experienced my most intense bullying and when I saw other be bullied in ways that changed me. ‘The Pool’, which I co-wrote with T.J. Hundtofte takes that idea of metaphorical trespassing and makes it literal. These kids are literally in a place they’re not supposed to be, at a time where they’re not supposed to be there. No adults. No supervision. So what I tried to do was create a sense of magical realism by having the entire place feel slightly heightened, as if it didn’t really exist in our reality. It’s reality-adjacent, to borrow a phrase.” One of the very effective ways that was done to give this sense of heightened reality on set was by laying down black tarp at the bottom of the pool. On camera this created the sense of no bottom in the pool, only darkness. It’s as if you’re looking into the deep of the ocean.

Following up “The Confession” appearing at the Tribeca Film Festival, “The Pool” was nominated at this prestigious event for the Jury Award Best Narrative Short. While it was a thrill to return with another of his films so soon, Hefferon concedes that seeing the attention the film’s young actors received was even more rewarding.

“The Heist” is the member of this film trio which finally makes the leap into adulthood and presents the type of fast paced, comical, and sometimes adversarial relationships that men can sometimes share. In this film, three would-be bank robbers sit in their car as they prepare to pull off the heist of their lives. But Francis’ minute instructions are quickly overshadowed by the rest of his gang’s petty arguments about anything from the colour of the ski-masks to who gets to be the cool, silent guy with a hair-trigger once inside the bank. Planning is derailed more and more by the crew’s wild tangents until they finally just decide to go for it and make their move. Only to find the bank closes early on Fridays.

What stands out most about this film is that Thomas is able to deliver a compelling and humorous story that is 99% dialogue and takes place entirely inside a car. The description sounds dichotomous to an entertaining experience and yet it proves to be very much so. Pressure can be a powerful motivator and can instill energy into performances and a production. A self-described guerilla production that was expeditiously conducted in the dead of winter outside (with only the cast inside the car), there was a deluge of intensity on set. Thomas relates, “We knew for this to work the pacing had to be lightning fast. Banter depends a lot on good editing, but you also need the right interplay from the actors on the day. Luckily our protagonist Francis, was played by an experienced Irish sketch- and Improv actor who got the tone we were going for right away. We were determined not to be derailed, even when our main actor forgot to put on the handbrake and the car started rolling onto the main road with crew in tow. Luckily no one was around at the time, but it was a bit of a scare.” Both scares and laughter are found in Hefferon’s many films, onscreen and off.

Costume, Film, Reviews, Interviews & Features!, Wardrobe Department

Making it in Wardrobe: Film Costumer Lisa Sass

July 28, 2017 lgreenbaulm Leave a comment

Originally from Hanover, Germany, costumer Lisa Sass is one of the key figures who works tirelessly behind the scenes on film and television productions to ensure that all the actors on screen visually represent their characters down to the most minute detail.

Over the past five years Sass’s vast skill set as a costumer have landed her leading roles on a huge range of high profile productions including the Oscar Award nominated films Star Trek Beyond and Star Wars: The Force Awakens, the Golden Globe nominated film Furious 7 starring Vin Diesel (xXx) and the feature film War Machine starring Oscar Award winner Brad Pitt (World War Z), which was released last month.

While it hasn’t taken her long to establish a reputation that is strong enough to be sought out by some of the biggest film productions in the world, she definitely paid her dues along the way. The path to becoming a costumer for film and TV was something that actually began for Sass during childhood.

She explains, “I’ve always been a big fan of movies and TV series. I started drawing when I was about 4 years old, started copying cartoon and comic characters at some point and went to more realistic drawings from there. I made up stories and started creating my own characters and their clothes. Going into costume design combined my passion for film and creating characters.”

Sass’ role as a costumer is one that starts long before the cameras begin rolling and finishes long after the director says ‘that’s a wrap.’ While the costume designer ultimately decides what costume each character wears on screen, it’s the costumer’s job to breakdown the script scene by scene and create a look-book for every single character documenting the multitude of costumes they wear over the course of a production. Sass then goes to work compiling a massive wardrobe collection to fit the main characters, as well as everything worn by the background talent. But her job definitely doesn’t end there, if it did, things would be far too easy.

020_lisa9 — Lisa Sass shot by Veera Ovaska

In addition to altering the costumes to fit each cast member perfectly, she is the person who makes sure her department has everything they need to keep the cast comfortable, which can be include everything from a wet suit to be worn under the clothing if the character falls into a cold lake during a scene to heat tech clothing to keep the cast member warm when shooting in frigid temperatures. She is also responsible for aging the costumes and adding desired effects depending what happens to the character in a specific scene and how that carries over into their wardrobe, and much more.

Sass first immersed herself in the industry in 2010 when she joined the the wardrobe department of the hit series Tatort, which has won over 100 awards since it first began in the 1970s and is still airing today! After learning the ropes from seasoned costume designer and German Television Academy Award winner Monika Hinz on the series Tatort, Sass was ready to begin working on her own as a lead costumer.

Immediately after completing her bachelor’s degree in costume design she landed a spot as a costumer on the set of the 26-episode comedy series In Your Dreams, an Australian/German co-production. One of Sass’s major roles once a production begins shooting is monitoring the continuity of each character’s costume throughout every scene, a skill she quickly acquired thanks to the grueling attention to detail required by In Your Dreams.

She recalls, “We were shooting all episodes out of order so it was essential, that you were fit in keeping the continuity of the costumes. A TV series usually shoots a lot more scenes in a day than you would on a film because of time pressure so we sometimes shot 10 scenes out of 10 different episodes a day which means you have to change the casts costumes after every scene and have to make sure it is worn exactly like the scene before or after one that you might have shot a month ago or longer.”

Sass’s early work on the series In Your Dreams, although demanding, served as excellent preparation for the many jobs that flowed in subsequently after, such as the German crimes series Monaco 110 starring Bavarian TV Award winner Monika Baumgartner (The Nasty Girl), the Jupiter Award nominated romcom film Vaterfreuden, the crime film Die reichen Leichen. Ein Starnbergkrimi directed by 10-time Adolf Grimme Award winner Dominik Graf (The Invincibles) and the crime series SOKO 5113 starring Gerd Silberbauer.

In Your Dreams director Ralph Strasser says, “We had quite a large cast on the series, and it was imperative that they always looked immaculate on camera, so the demands on Lisa and her colleagues were often quite intense. The ﬁlm set is a place where tensions frequently run high, but Lisa was always a friendly and good natured presence, doing what was required calmly and eﬃciently. Making ‘In Your Dreams’ was a very special experience in my career, largely due to the pleasure of sharing it with people like Lisa.”

After making a name for herself in the German film and television industry, Lisa Sass moved to Dubai where she began costuming for even bigger projects. There she was tapped as a lead costumer on the hit films Furious 7, Star Trek Beyond, Star Wars; The Force Awakens and War Machine.

Besides her unrivaled creativity, attention to detail and extensive wardrobe knowledge, one thing that has made Sass such a sought after costumer in the film industry internationally is the fact that costume designers can trust her to be prepared for any situation, and oftentimes that means having items on hand (that aren’t in the script) to keep the cast comfortable.

“It is not only important to dress the cast, it is also important to maintain comfort for the cast. There’s a lot of empathy and psychology at play but also simple things like providing warming jackets, heating insoles, warm blankets in between takes, umbrellas for rain or sun or fans on shoots in the desert. If the actors are happy, every shoot runs more smoothly and that can even mean a change of shoes in between takes or for a close up where you don’t see the difference,” explains Sass.

“This is all part of the job as a costumer behind the scenes for the things that you will not see on screen but is very important for the progress of the shoot.”

Aside from her key contributions to countless film and television productions, Sass has also been tapped to apply her skill as costumer on a plethora of major commercials for companies such as Nike, Nissan, Ultra Tech Cement, Lamborghini and others.

Earlier this year she was the costumer on the “What will they say about you?” commercial for Nike Middle East, which was geared towards women in the Middle East and created quite a buzz. The powerful and controversial commercial featured women athletes running through the streets, playing sports and being the epitome of strength, all the while wearing traditional Hijabs.

As someone who has made it to the top of the industry as an internationally sought after costumer, Sass is one person aspiring costumers should look to for advice if they are seriously considering making this a career.

Sass says, “The job needs a lot of empathy to work at your best in a team, adapt to the costume designer’s visions and be able to work with different people and personalities constantly. You have to be able to work well under pressure and think quickly on your feet and have a keen eye for details.”

Actor, Canada, Canadian Talent, Film, Reviews, Interviews & Features!

Actor Tim Hildebrand tackles important social issues in powerful film ‘BID’

July 27, 2017 pressva Leave a comment

Originally from the small town of Caronport, Saskatchewan, Tim Hildebrand always knew he wanted to be an actor. He remembers being just six years old, seeing the older children acting in the school play, waiting for his chance to step onto the stage. When he finally got his chance, he put everything he had into that first performance, singing a solo titled “When I Get a Flying Machine.” The applause he received was euphoric, and the rest, as they say, is history. Now, years later, Hildebrand is an internationally sought-after actor, acting coach, and writer.

With an esteemed resume, including roles in the crime series Deep Undercover, the film Embrace, and Lady Labyrinth, Hildebrand has shown the world how exceptional he truly is. He tells every story with a purpose, captivating audiences with his heartfelt performances. This was certainly the case with the film BID, which was released earlier this year. BID is an extremely timely film, addressing the scandal of billions of dollars stolen from the Brazilian government by illegal construction scams, which led to the recent impeachment of president Dilma Rousseff, and criminal investigations of eight ministers, 24 senators and 39 lawmakers in the lower house of Congress.

“This project is of such importance…. it’s a big deal. This film is the first, as far as I know, to really explore that event in a fictional format. It’s a grassroots film bursting with the heart of the Brazilian people who want reform and change,” Hildebrand described.

Hildebrand was the lead actor in this film, shot in Curitiba, Brazil. He played Bernard Leone, an American contractor who travels to Brazil to compete for building projects. He begins the film as a gruff but naïve businessman, but that soon changes as he finds himself caught up in a game he’s not prepared for, against people who will stop at nothing. Bernard’s wife and children are kidnapped, and he has to make frantic choices to secure their release.

To capture such a demanding role, he used Strasberg’s relaxation and visualization techniques to “help warm up his emotions and get them a little closer to the surface.” As cameras were being placed and lit to shoot the scene, he would sequester himself to imagine or remember scenarios that stirred similar emotions to what he would be called on to perform in the film. From there, he used a “Meisner technique” of performing a high-stakes activity (in his case, rebuilding a shredded airline ticket moments in an imagined life-and-death scenario, moments before takeoff), competing against a stopwatch. He timed the exercise to be able to take the resulting emotions straight into filming.

This kind of painstaking craftsmanship fit the urgent importance of the film, which producers called a “battle cry against corruption.” Hildebrand wanted to give the performance of a lifetime.

“It feels sometimes like democracy has become a spectator sport. We gripe and complain from our armchairs, but nobody does anything. This film is a call to action. It’s a protest. It’s a mirror held up by Brazilians to themselves and it asks the questions ‘Is this what we want? Is this the best we can do?’ And I believe it also answers that question,” said Hildebrand. “A lot of crewmembers were emotional on set. This is real life to them. Their country is at stake. And anytime you witness a strong person standing up for what’s right, there’s a domino effect. Courage begets courage.”

After shooting the film in fall of last year, BID premiered at Warner Brothers Studios to great acclaim, and is now being marketed to festivals around the world. It has so far been accepted to Festigious and the Palm Springs Film Festival, already winning two awards at Festigious. Undoubtedly, it will be accepted to many more. None of this could have been possible without Hildebrand’s honest portrayal of Leone.

“Tim was extremely committed to the character from the beginning. Since we had started working in Los Angeles way before travelling to the location in South America, and he was the only North American actor on a Brazilian movie set, he asked me for visual references from the Brazilian actors that he would be interacting with as family. Photos that he could create backstories with, etc. He also asked for the contacts of actors playing family members so he could start communicating with them and developing personal bonds. We used real facts, situations and feelings from Tim’s personal history to create several layers for his complex character,” said Raphael Bittencourt, the director of BID.

“Working with Tim is very rewarding. He’s very professional, very dedicated. He’s an actor in constant search of the truth of his characters…always intense, deeply intuitive, and yet very technical when the situation asks for it. At the same time, he’s kind and generous as a person. He really was there to help make a film, and not to perform, you know, on a catwalk with spotlights on himself. He was the consummate team player. I wondered sometimes if the naturalism of his interaction with his onscreen family came from me, as a director, and the efforts I made to create a comfortable working environment, or if it came from him being a truly great actor who simply made my life much easier. Probably more of the second,” Bittencourt continued.

Every person that worked on the film, like Hildebrand, knew the importance of the story they were telling. This led to a unifying rally against the unforeseeable problems that seemed to plague the film early on. At one point, a large shipment of film equipment that was flown to Brazil from Los Angeles was lost by the airline in Sao Paulo, causing shooting to be delayed. Lawyers had to be called in to fight with the airline, whom the producers suspected of confiscating the property for profit. After much back and forth the airline admitted it had indeed confiscated the equipment, claiming it had done so because it suspected the BID team of planning to illegally film the World Cup. The producers had to travel from Curitiba to Sao Paulo to get it all sorted out. Once they had finally had the equipment, they were informed that the main shooting location for the following two days had suddenly fallen through. While the producers scouted a new location, Hildebrand would not let the time be wasted, and used it to meet his cast-mates and rehearse some scenes that otherwise would have had to be performed cold. In terms of the quality of the performances, he thinks it all ended up actually working out for the best.

“We all had a sense when the film wrapped that we had been a part of something important, that the troubles had come to stop us in some cosmic way, but that we’d beaten them. It really brought everyone together,” he concluded.

Photo: Tim Hildebrand in the film ‘BID’ photo by Priscila Forone.