Veronica Li brings the sound design to director Alexandre Peralta’s “Looking at the Stars.”
The award-winning sound designer Veronica Li has proven herself as a talented and invaluable individual when it comes to the art of storytelling through sound. Her knack for effectively enhancing a film with her sound work is showcased throughout her most recent success, the short film, “Looking at the Stars,” written and directed by Alexandre Peralta.
Originally from Changchun, China, Li was first introduced to her craft while attending school at the University of Southern California (USC), where the art of creating sound design initially sparked her interests. “I remember when I first started doing sound design, there was a scene where a woman walked out of a hospital very upset, and my professor told me that I should make the sliding door close behind her sound like a sigh,” Li recalled. “That was the moment I fell in love with sound.”
Li’s time at USC provided her with many opportunities to collaborate on several strong, student projects. One of her earliest works titled “STAND,” consisted of a documentary about Krump Dancers in Southern LA. “It was very successful at several film festivals, and also won the Outstanding Achievement in Sound Award at the First Film Festival,” Li said.
By way of excellent recommendations, Peralta connected with Li after making contact with her during his search for a post-production sound designer for “Looking at the Stars.” Even before seeing the project, Li was enthralled by the story on its own, and also noted it as a great opportunity for sound design. “When Alex showed me the first cut, I was so moved by it,” said Li. “I loved the characters, their stories and the look of the film and thought, ‘I have to work on this project.’”
The film takes place in São Paul, Brazil, and follows the lives of extraordinary ballerinas who attend Fernanda Bianchini Ballet Association for the Blind, the world’s only ballet school for the blind. Peralta, a Brazil native, read about the ballet school one day in a magazine. After reading up on the school, Peralta said, “I realized that I lived two blocks away and would walk by the school almost everyday. Everything started out as a curiosity; I wanted to know how they were able to teach something so technical and visual like ballet to visually impaired people. When I visited the ballet school for the first time, I was even more fascinated. It was a lively and inspiring place, and I learned that ballet played and even bigger role in these girl’s lives. I needed to tell some of their stories.”
“Looking at the Stars” was aimed at inspiring a visually impaired audience, ultimately making it so that having, “A great sound design was almost more important than having a beautiful picture,” Peralta said. From the beginning, he knew that having a sound designer who understood this idea and possessed a unique talent would be essential in ensuring the film’s success. “We wanted it [the sound] to be immersive and poetic like the images that we captured. Veronica brought even more than what I expected. It became a much better movie after her amazing work.”
Li sound designed the short on her own with the help of two Foley artists. Said artists aided in capturing mainly dance moves, footsteps and other various close touching sounds.
The majority of the editing process took place over a holiday break when Peralta and Li were apart from one another, Li in China and Peralta in Brazil. “We thought the distance might create some communication issues, but it actually went very smoothly,” Li commented. “I sent him every path and he would give me clear feedback. He was also always very helpful with anything I requested of him, like recording more ADR or helping me gather Brazilian ambient sounds.”
Despite the extensiveness of the project, the team was given the same amount of time as other USC student thesis films to complete the mixing of “Looking at the Stars.” However, unlike the other student theses, Li had three different versions of the short film to mix. “It was very challenging just to get the work done,” Li said. The final product included the completion and delivery of a normal mix, a mix with English description for blind audiences and one with Portuguese description for the Brazilian release. “I’d never mixed a film with audio description before, and in order to fit the description, we had to adjust a lot of our original dialogue and sound design,” Li explained.
While perfecting the sound design for “Looking at the Stars” came with challenges, the project also allowed Li to showcase specific skills in addition to acquiring new ones. Not only did the short feature Li’s dialogue editing abilities, it also provided her ample opportunity to implement her own unique creative design.
“The sound design of the film is subtle and very effective emotionally,” Peralta explained. “You are not necessarily aware of the sound work, but you can feel it, and that’s how good sound design should be. I really like the little details that came from Veronica’s work; some of the memorable moments are in the dance sequences. When we were picture editing these sequences, they used to be like music videos. After the sound work, they became much more emotional and you could feel them in a totally different way.”
The short was awarded the Documentary Gold Award in the 42nd Student Academy Awards, one grand achievement out of many for Li. Regarding the award, Li said, “Winning the Gold Award means the project is a great film as a whole, including all aspects of filmmaking. The Student Academy Awards is one of the biggest student film awards in the world. Being a part of a team whose project won a Student Academy Award is definitely a great honor for me.”
While Peralta and Li were new to collaborating with one another prior to “Looking at the Stars,” their partnership will continue to grow throughout a second rendition of the short, as a feature film version of “Looking at the Stars” is currently in the works. “I felt the short was like a simple melody where we just follow the arc as it builds up to the end climax. The feature is more like a polyphony where we have to balance several different melodies and make them work well with one another,” said Li. This new interpretation will introduce another main character, while the stories of the short’s current characters will undergo an increase in complexity.
The release date of the feature version of “Looking at the Stars” is still to be determined, however, the post-production sound mixing is set to begin in April of 2016.
When it came to Li’s contributions to the short style of “Looking at the Stars,” Peralta commented, “I can say that there was a movie before and after sound design. She definitely took the movie to another level. I am so glad we are working together again on the feature version of “Looking at the Stars.””
His formula for acting is simple: interest in fellow man, being observant, educating on life and psychology, stepping out of one’s comfort zone and not being quick to judge.
It’s a proven methodology for German film and TV actor David Mihalka.
“Try to understand others. Walk in their shoes for a mile!” he said. “Always be a better version of yourself. That’s what I am working on each day.”
It’s certainly fair to say it’s been working.
Mihalka, who grew up watching many movies such as “Amadeus,” is known in the international filmmaking community for his dazzling character portrayals, chief among them his role in director John A. Mati’s feature comedy, “Monsieur Brucco.”
The Switzerland-released film follows Brucco (played by Mati), an Albanian who cuts his finger and is certified permanently unfit for work. Reluctant to accept early retirement, Brucco reinvents himself as a door-to-door toy salesman, but the new career takes a twist when he inadvertently becomes the target of the mafia.
Mihalka plays Monsieur Houstaf, captain of a spaceship.
“His mission is find a new leader for his planet,” Mihalka said. “The computer of the spaceship said that Monsieur Brucco is the chosen one. But he is a total fool and catching him becomes a challenge, since Monsieur Houstaf is a complete idiot as well.”
The role allowed Mihalka to tap into his profound comedic acting talent. He says he relished the chance of “being a fool” on screen.
“Life is so serious. Being a fool frees you! And with a captain from out of space, you have even more freedom to go overboard.”
The film was a success to the point a sequel is now filming. “All I can say is: The fool is still chasing the other fool.”
Other 2015 acting roles for Mihalka include Emilio Ferrari’s TV movie, “All I Want for Christmas,” Jonathan Moy de Vitry’s “Difficult People,” Alex Lewis’ “Driverless,” and Mickella Simone’s “The WorkPlace.”
David Mihalka stars in the hilarious YouTube comedy series, “Zero Button.”
Mihalka’s been acting since 2014 in the comedy web series, “Zero Button,” and he played Sean Benini in writer-director Stan Harrington’s “Lost Angels,” that won four awards at the Indie Fest USA International Film Festival.
“Sean is a sleazy paparazzi in Hollywood hoping to make big bucks,” Mihalka said. “The movie is about Los Angeles, the glamour and the gutter.”
Mihalka’s filmography also includes acting in Harrington’s multi-award-winning feature mystery, “Perception” and Yu Jung Hou’s “Forever.”
In “Perception,” Mihalka played the role of Yuri and said, “Yuri is a very shy and silent student. The opposite of me. It was my first movie…exciting of course.”
Mihalka’s theatre background provided a valuable training ground before he parlayed his talents to film. From 2010 to 2012, he studied at The Stella Adler Academy of Acting in Los Angeles and starred in theatrical productions of “J.B.” and “The Diviners.”
“In theatre,” he said, “I learned to speak up and be clear in my speech to make sure the guy in the last row won’t fall asleep. Also, I learned to get used to many eyes watching me. This benefits me on set since there are as many eyes watching you like in theatre.”
Veteran actor, writer and producer Tim McNeil has appeared in more than 30 films and television shows including “Forrest Gump,” “Contact” and “Starship Troopers,” as well as in over 40 plays. McNeil directed Mihalka in his original play, “Margaret,” at the Gilbert Theatre at Stella Adler Los Angeles.
“The play is about a community’s reaction to the unexpected suicide of a 16-year old girl,” McNeil said. “Initially, nobody speaks about it, all acting as though nothing has happened. Bruce, played by David, is the most vocal about his concerns. He is a drunk who is not afraid to speak the difficult truth, bringing comedy to a very dark and dramatic play. He is critical to the production because he is the only one who challenges everybody in the neighborhood to talk about Margaret, searching for an answer as to why she did it.
“David proved outstanding in his sensibilities and his knowledge of the character. He understood both the material and his own character, and in turn, made the play feel that much more real. His ability to bring comedy to such a tragic subject, and make it all seem natural without being over the top, is a testament to his ability as an actor. David has something to offer the entire world with his exceptional talent.”
Mihalka credits other actors as having a great influence on him. “Established actors taught me two things: find the unique things about yourself and don’t be shy. Enhance them and show it to the world. The other one is: never give up!”
Mihalka’s talents don’t stop in front of the camera – one look at his work in photography verifies another field where he excels.
Capturing difficult scenes through his work with a camera are a testament to his gifted photographer’s eye. Mihalka’s photography captures scenes from a diverse slice of life. From the sublime to the exotic, to the baseness of life, his photographic eye catches, captures and produces exceptional and unique perspectives of people, places, and situations.
Animation films are not what they used to be. From Finding Nemo to The Incredibles, the ToyStory series and others, these productions are big box office numbers and Oscar Winners. As some of the biggest films for any studio, they’ve also become a favorite of the talented actors who voice the characters of these stories. Tom Hanks to Brad Pitt, Kristen Bell to Renee Zellweger; these roles are more sought out than ever before. While there’s some truth to the fact that this cultivates a future fanbase of loyal admirers, many actors relate that the expressive nature is paramount for them; at least Canadian actress Jenna Wheeler-Hughes does. She stars as Fran, the tomboy in a group of otherwise male friends in the 2016 release Snowtime. With costars Golden Globe winner/Primetime Emmy nominated Sandra Oh, Angela Galuppo (of X-Men: Days of Future Past), and others, Jenna manifest the kind of small town challenges and triumphs that translate to any place on Earth. Nominations and wins at the Jutra Awards confirm that this talented voice actors and full production team have realized an animated film that will last for some time.
Snowtime proves to children and adults that boredom can be the catalyst for great adventure. Watching the movie, one might be convinced that modern technology is not the default to attention. In this story, the children of a small village decide to engage in an epic snowball fight during the Winter break. Eleven-year olds Luke and Sophie assume the mantle of leadership for opposing groups to overcome the other’s snow-fort. The only stakes involved are bragging rights and the occasional welt from a hard-pack snowball. Wheeler-Hughes portrays Fran, an awkward eleven-year old who simply want to be “one of the boys” and hang out with her friends. What is not simple at all is the large hearted performance that the actress brings to this role. Fran is truly a stand-out character as she treads the line between everyone’s buddy and yet obviously of a different gender than most of her circle of friends. She’s the kind of girl that causes boys to forget that she is any different from them…until of course, they do notice. Jenna states, “I was so excited to be a part of this project. She was so fun to create and voice. Developing the character was an amazing process, because not only did I voice her, but I was being filmed throughout the entire process so that they could capture my physicality and facial expressions and add them to the animated character. I felt like I really got to exercise my craft during this creative process. Fran is the comedic friend who doesn’t know she’s funny. Her humor and passion for life comes out in several scenes.
Fran is something of a dichotomy in the story. She’s obviously maturing and growing to the point that she will soon visibly be a young lady. In spite of the awkward transition period for her, she seems to be the wise counsel for many of those around her; it’s Jenna’s personification of this that makes it so believable in the story. When Fran helps Luke realize that he actually has a crush on Sophie, both audience and characters buy into her advice because of Jenna’s tone. Fran welcomes new girls, Sophie and Lucie to town, establishing a welcoming environment. Even when her team loses the snow-battle, Fran proves a gracious loser. Though she is going through puberty and questions who she is (or maybe who she is becoming) she is well rooted in her values and empathy, courtesy of Jenna’s delivery. Though Wheeler-Hughes can be found in TV and film roles more commonly, she revels in what this foray into animated films has given her. She notes, “It’s not just as simple as speaking for these films. In addition to mannerisms and truly embodying the funny/dorky girl, I had to protect my voice. I really relied on my vocal training to make sure I didn’t overdue it and cause harm. I’d find myself screaming as loud as possible for the sessions and I’d be asked to do it again louder. It was slightly painful but worth it. We laughed for a solid 10 minutes after those scenes.”
We recently had the chance to sit down and visit with the talented, lovely actress Zoe Cleland, who film and TV audiences would recognize from her stand-out character portrayals in “How to Plan an Orgy in a Small Town,” “Murdoch Mysteries,” “Saving Hope,” “Pay Up,” “Reign” and others.
A Toronto native, Cleland first starred on the stage before hitting the screen. She booked her debut TV role when she was just 15 and became the youngest actor to ever attend the National Theatre School of Canada.
Cleland has acted alongside famed talents such as Lauren Holly and Megan Follows, and has appeared in roles ranging from comedy to period drama to medical drama and more.
She’s been in the trenches on many productions. We’ve put the spotlight on Zoe, who shared this exclusive question and answer session that reveals just what it’s like to work nowadays as a film and TV actress. We think Zoe’s awesome and invite you to find out her story below!
When you read scripts and discover characters, what qualities do you look for and what aspects attract you to a role?
ZC: I’m attracted to all kinds of characters for lots of different reasons. Great writing has a huge impact on what I want to be a part of. I think if the writing is good, it usually means there’s a level of depth to the characters and the story that is super exciting to mine as an actor. I’m also drawn to roles that I feel will illuminate some aspect of the human experience that I feel needs to be looked at, that will benefit people to empathize with…and then sometimes it’s purely selfish in that a character might be fun to play or might have an aspect that I want to explore for my own understanding or personal development. It all depends! I rely a lot on my intuition.
You booked your first role at the age of 15 when you guest starred as Eva Rookwood on “Murdoch Mysteries.” How did this character tie into the episode and what was the experience like being on a television set for the first time?
ZC: Yeah, so I played Eva Rookwood, a British orphan who gets adopted into a well-to-do Canadian family, only to be abused by her stepfather. He ends up getting murdered and the episode revolves around solving that crime…won’t give too much away but the crime is a result of the abuse that was going on.
I remember the experience being totally thrilling and terrifying at the same time. Up to that point, I had mostly worked on stage so I really didn’t know much about working with the camera. So the experience was very very new for me. I was so excited to be on set, though, and I remember being completely entranced with how much detail went into to building each room…I remember looking at the books on the bookshelves and how much thought had been put into what they were, even though they probably would never be seen by the camera. I wasn’t used to being immersed on a set in such a realistic way and I thought I had landed in heaven.
You returned to “Murdoch Mysteries” in the role of Joanne Perly in an episode that aired earlier this year. How was this character involved in advancing the story and did you ever anticipate returning to the series?
ZC: I never anticipated going back; I just assumed that would be it for that show but apparently not! I can’t say too much about Joanne Perly without giving too much away, but I will say that she appears to be a sweet young mother but is actually something else underneath. She ends up being an intricate part of the episode, which revolves around a bank robbery. Her baby also goes on to be adopted by the Murdochs, which was a new kind of plotline for the show.
Last year you made your feature film debut in Jeremy Lalonde’s comedy, “How to Plan an Orgy in a Small Town,” a project just a little different from “Murdoch Mysteries.” What was your experience playing Young Cassie?
ZC: My experience doing that film was really wonderful, it was a great set to be on and it was so exciting to be playing the leading character in the opening act. I had to have a different relationship with the camera than I’d ever had before, because the emotional heart of the opening of the film rested on me…because of that I learned a lot.
What was it like acting alongside Lauren Holly in the film?
ZC: It was great; Lauren is really lovely and very generous.
Did you learn or absorb anything from working with her?
ZC: I did, I learned a lot just from watching her work and also from talking to her, we had a lot of time to chat in between takes and she was really open about her life in the industry, so I absorbed a lot from that.
Did the topic of “Dumb & Dumber” or Jim Carrey ever arise?
ZC: Haha no, I’ve never actually seen the movie.
What are the characteristics a great actress possesses?
ZC: Great question! I think the ability to empathize is probably near the top, because without that there would be no acting. Apart from that, I’m going to say openness, vulnerability, bravery and imagination.
How do you try to incorporate those qualities into your own acting?
ZC: I just try to be honest with myself about whether I really feel I’m being true to a character and/or situation…whether I’m going as far as I can into whatever reality I am portraying. I think if I am I will exhibit these qualities by default.
What is one thing that people would never suspect about being a film and television actress?
ZC: I think people tend to have ideas about film and TV acting that it is a really glamorous job…and that somehow the actors are the most important part of the whole production. In reality it is really a collaborative thing, there is so much work that goes into film from so many different people and it is truly a team effort. That’s one of the things I love about it. It also really isn’t as glamorous as people think, there’s a lot of waiting around and it takes a lot of passion and stamina to continue to be present in the work.
What’s surprised you the most or surpassed expectations about working in the industry?
ZC: I think in a way the most stunning thing about the film industry is that it even exists at all. When you realize how much work and drive it takes from so many people working together to do a project, it’s really amazing how much great work gets produced. There’s such a magical element to the film industry and it’s incredible how many people have the passion to come together to make it happen.
What’s been your single most difficult day on set?
ZC: I had one day on “Reign” when they didn’t get to my scene till about 3 in the morning, so the whole day was waiting in my trailer, and then trying not to fall asleep. That was difficult purely physically because it was challenging to stay alert enough to do my best work.
What has been the most rewarding role you’ve played thus far in your career?
ZC: I was in a production of “Three Sisters” by Anton Chekhov in theatre school that really changed my whole approach to acting, and actually made me want to go into film. I played Irina, one of the sisters, and I don’t know if I’ve ever dove more into a part than I did with her. I just got totally lost in her and her story. We had a director who really encouraged smaller, more naturalistic acting and it made me realize how much I loved that kind of intimate work.
Continuing on the theatre theme, you attended the National Theatre School of Canada. How does that training bode well for your portrayals in film and television?
ZC: I think my training at NTS taught me a lot about myself…that has been incredibly valuable to me on many levels. The lessons that I learned about myself there made me really know who I am and how my mind and heart work, which is so necessary to act. The school also had a really strong emphasis on building stamina when I was there and that has also served me well.
What was the best part of acting in the comedy series, “Guidance,” alongside Rob Baker?
ZC: The best part of the experience was actually working with Rob, acting in those scenes with him was like being in a verbal fencing match. It was just so much fun.
You played Odette in two episodes of The CW’s award-winning period drama, “Reign.” Tell us a little about Odette.
ZC: Odette is an unfortunate maid who gets involved in a lot of intrigue that she would rather stay out of. Because she is lower class, she is in some ways not part of the world of “Reign” in the same way that everyone else is. It was fun playing her because she is a bit of a deer in the headlights…someone really powerless who has to live day to day surrounded by a lot of danger in the world of the French court.
What’s the best part of acting in a big period piece? Is it the costumes, set pieces, the transformative nature of the production or something else?
ZC: I have always had an obsession with period pieces, so acting in them is really a dream come true for me. It’s kind of the ultimate playground for my imagination, because when you are in a period piece it really is like stepping back in time. You are totally transported into another reality in a way that you aren’t when you are in something modern.
What was it like acting with Megan Follows in “Reign”?
ZC: It was wonderful acting with her, she has such a strong presence and she is so focused.
You switched gears last year and acted in the role of Brianna Pierre in the acclaimed medical drama, “Saving Hope.” How valuable is the range of an actress who goes from comedy to period drama to medical drama and more?
ZC: I think it’s valuable for sure, but to be honest I try not to think of each project as being that different from the next. It feels the most authentic to me to approach every character the same way, whether it’s a comedy or a drama. I think that’s what usually gets the best work out of me, when I’m more focused on the character and their situation, rather than trying to fit into a “style.”
How would you describe your character, Shawna, in Craig Macnaughton’s comedy series, “Pay Up”?
ZC: I would describe her as a teenage girl who is trying to assert her power in a situation in which she feels powerless. She is an only child of recently divorced parents, and she is tying to stay connected to both of them…and to keep a feeling of security around her. Unfortunately, she doesn’t know how to do this in a way that will really serve her, so she ends up basically playing her parents off each other in order to get them to buy her things.
In “Pay Up,” Richard Lett plays a debt collector named Jack. Is Jack a guy you’d not want to cross or is he living on reputation?
ZC: I would say Jack has more bark then bite, if he even has much bark at all. He struggles a lot to assert his power over the people he is trying to collect money from, and that’s where the funny parts come in.
What are some go-to hobbies or activities when you’re not on set?
ZC: I meditate a lot, and I would say I have a pretty active spiritual life, so that’s something that I commit a lot of myself to…I also watch a LOT of movies. I also like to write and paint, but I’d like to be a bit more disciplined with myself about doing those things regularly.
Who is on your short list for fellow actors or filmmakers you’d like to work with in the future?
ZC: There’s so many! And it really changes from day to day. Lately I’ve been really getting into the work of Jane Campion. I love what she does. I’ve also been going on a Tom Hardy spree on Netflix…I have an insane crush on him in every way, and I think he’s an incredibly magnetic and dynamic actor.
For Erin Simkin, the journey began eight years ago.
“Color, location and people are what drive me to create,” she said.
And create she has.
The impeccably talented photographer from Vancouver has maneuvered the trenches of action filmmaking with Dominic Purcell, Stephen Lang and Danny Glover. She’s been on set in the depths of an abandoned subway station in search of paranormal sightings with Rose McGowan and Christopher Lloyd. She’s shot for leading magazines and brands such as Toronto Life, En Route, The Grid, Peroni, Grolsch and Sephora.
Simkin’s vast list of achievements have propelled her to the top of the photography industry. Her creative and technically versed work has refined qualities and characteristics that rope in viewers time and time again.
Whether on-set photography used for film marketing and P&A, portraiture, lookbooks, editorials or branded imagery, Simkin drives her craft forward with a photographic passion that reveals itself in each and every image she captures.
“My style is very clean, colorful, bright and with an air-like openness,” she said. “I’m very much inspired by natural light, as I feel there is an inherent beauty to it that artificial lighting can’t quite match without a lot of work. I love exploring new places, meeting new people, and capturing and combining all of that in one image in order to tell a visual narrative.”
With color as the catalyst driving her vision, Simkin’s images embody texture and a dynamic use of interesting spaces. She’s most recently shot for the films “Lower Bay” (with McGowan and Lloyd) “Gridlocked” (with Purcell, Lang and Glover) and writer-director Joey Klein’s romantic drama, “The Other Half.”
“There are always great locations that we get to shoot in, amazing costumes and beautiful lighting to tell the story of the characters,” said Simkin, who shoots primarily with the Canon 5D Mark III. “I love photographing people. Each person has such a different history and tells their own story through their facial expressions, their style, hands, their energy and I love being able to document them in their world and in their work.”
Applying the same approach, Simkin photographed for the feature film, “Mean Dreams.” Due out later this year and directed by Nathan Morlando, it stars “The Book Thief” Sophie Nelisse, Josh Wiggins (“Max”) and Golden Globe nominee Bill Paxton, of “Titanic,” “Apollo 13” and “Aliens” fame. According to Variety, Paxton plays a corrupt cop and Nelisse stars in the role of his daughter. After stealing drug money from her father, Nelisse goes on the run with Wiggins’ character.
Filming commenced in Sault Saint Marie and Simkin said, “The pure beauty of the landscape and light paired with the incredibly talented actors all combined seamlessly into such beautiful imagery.”
“Mean Dreams” features the work of cinematographer Steve Cosens, a five-time Gemini Award nominee who won a Leo for his cinematography in Keith Behrman’s “Flower and Garnet.” With “Mean Dreams,” Cosens shot using ambient lighting, which provided a challenge for Simkin to match her still camera shots with that of the motion picture camera.
Simkin shot for the film using a lower shutter speed equipped to capture images in low light scenarios. “The resulting images I was able to capture was worth the challenge of shooting in low light constantly,” she said. “The photos I was able to get while working on the film were extremely poetic and it allowed us to capture the delicate and subtle natural light working that far up north.”
For TV, Simkin shot for the CBC’s “Baroness Von Sketch Show,” a new comedy due out this summer. She was hired to shoot set stills and create key art for advertising the show.
“The cast of incredibly funny and talented women made this project so enjoyable,” she said. “We went for a “Vanity Fair” Hollywood style gallery shoot and both the cast and the producers loved the final images. We had so much fun creating the style of the gallery shoot, yet I still made sure to stay true to the characters and the visual tone and style of the show with its various sketches and characters that our cast played.”
Simkin worked again in the comedy genre in writer-director Matt Sadowski’s 2014 romantic comedy feature, “Pretend We’re Kissing,” that starred Dov Tiefenbach, Tommie-Amber Pirie and Zoe Kravitz. With a huge filmmaking presence in Toronto, the tax-friendly filming location is often used as a simulated location rather than as its own true setting. The Canadian theme resonated with Simkin, who currently resides and works in Toronto.
“I got to work with some amazing actors on a really fun film that heavily featured Toronto actually as Toronto,” Simkin said. “Many native Torontonians commented on how they had been living here for x number of years and they’ve never seen Toronto shot the way that we showed them, which was exciting because it meant that we were able to show a new side to the city which is relevant to the story as the main character [Tiefenbach] falls in love and then views the city in a different way. Working with Zoe Kravitz was a real pleasure, as she was so driven and fun to work with as her character was an extremely memorable one.”
Simkin’s photographic journey has included her work for Lindsay Mackay’s family drama, “Wet Bum” (also known as “Surfacing”), that received seven international award nominations. She also worked as photographer for the documentary, “Sweet Daddy Siki,” which covers the life and times of Siki, one of the first African-American pro wrestlers.
“I had the chance to visit with Sweet Daddy Siki for a few hours in his home and was asked to photograph his story, his history, and take his portrait. He was so gracious and open to anything, including putting on his old wrestling costumes, which added so much to the portrait that we took,” said Simkin. “I felt like I was opening up a time capsule and meeting an icon.”
Simkin credits her mentors in the still photography world including Kimberley French (“The Revenant,” “The Assassination of Jesse James by the Coward Robert Ford,” “Brokeback Mountain”) and Cate Cameron (“Arrow,” “Bates Motel,” “The 100”). “Their help and advice and support have been invaluable,” she said.
While also a long-established portrait photographer, Simkin worked with Elle Ziegler of Blissful Back, a Toronto-based retailer of yoga and meditation support accessories and contoured pillows.
“We have a family business and needed our images to tell the story of my father and I’s amazing relationship, and the uniqueness of our father-daughter business,” said Ziegler. “Erin’s best quality is her ability to tell a story though her lens. She captures vulnerability and honesty in her portraits by making people feel completely open and comfortable in front of the camera. She made decisions based on the locations, sunlight, shadows, props and backgrounds – things that we never could have predicted and things that I didn’t even notice – that resulted in stunning images.”
Talia Chai, founder of Talia Chai Wellness, echoed similar sentiments. Simkin shot portrait, lifestyle and blog photos for Chai’s wellness brand. The shoot featured a combination of people and interior spaces.
“I think Erin has a fine-tuned, expert eye when it comes to photography,” Chai said. “She multitasked effortlessly, working the lights, me, props and of course the camera all at once. She was in complete control of her environment and knew exactly how to take advantage of natural elements already found in the space. She has an incredible eye for detail, lighting, color, shadow and uses these elements both strategically and intuitively to create absolutely stunning images that stand out.”
Simkin’s other photography experience includes her shooting key art for Brendan Canning’s new forthcoming album, for a Samsung Vue social media campaign and boardroom wall photography for Accelerated Connections Inc. She’s shot at events for the Toronto International Film Festival and Russell Peters Live at the ACC, as well as for the Globe & Mail, Toronto Star, National Post, Peroni, Samsung, GAP, Scotia Bank, Women of Influence, Women of Action, the Jewish National Fund, Sharp Magazine, Flare Magazine, Canadian Cinematographer and more.
Virtual Reality Group MightyVR, Momentum Entertainment and Sports Network, Interpix, Inc. and Replay Collective are pleased to announce the production of “The Most Dangerous Women in Hollywood,” an unprecedented 360 degree virtual reality movie and game series.
Viewers journey on a fully immersive experience by wearing a headset that allows the virtual reality experience of trying out jets, sports cars and choosing one of “The Most Dangerous Women in Hollywood” to join up with and get away from the bad guys. Headset options range from high end models such as the Oculus to a $20 Google Cardboard set.
“We believe the entertainment industry is on the verge on a complete shift in media consumption because of virtual reality and, soon, augmented reality,” said Replay Collective producer Siddharth Ganji. “As storytellers, we are always looking at how technology will shape storytelling, and there is no doubt that VR is the next big evolution in this arena.”
The exciting new project is dedicated to all of the daring stunt actresses who provide audiences with an array of thrills including flying military planes, racing sports cars and more.
Dallas Santana is directing the project, which is scheduling to film this month in Las Vegas. He is the creator, director and producer of “Destination X Hawaii,” “Destination X California” and “Destination X Puerto Rico.”
Starring in “The Most Dangerous Women in Hollywood” are the selectable and delectable Olga Safari, a model and actress known for her role in Thomas J. Churchill’s “Check Point,” Jennifer Irene Gonzalez, an FHM cover girl and former Miss Taiwan, Tara Rice, a model and actress who has appeared in “Piranha 3D,” “Austin Powers in Goldmember” and “Entourage,” and Michelle Watterson, a leading MMA fighter and model.
Producing the project along with Ganji are Replay Collective’s achieved line producer Varun Verma and producer Raghav Murali. Replay Collective produces engagement-driven content and is known for producing viral YouTube videos for artists such as Trisha Paytas and Ricky Dillon.
“With MightyVR, we are working on an action-oriented, interactive short. You choose a character and make consecutive decisions in an effort to “stay alive,’” Verma said.
Murali explained, “Virtual reality takes consumer engagement to the next level. Rather than just feel involved, consumers can in essence attend events minus their actual physical presence.”
In tandem with the movie and game series, the new initiative includes a 360 degree video, an HD short video, a companion picture book and e-book.
“The Most Dangerous Women in Hollywood” will be released on MightyVR’s distribution platform as an app that may be purchased. It will be also be available online, for smartphones and its book releases will be sold by Amazon.com and Borders.com.
Filming VR of course requires a specialized approach to production. The end result is a product that is entirely VR. “We have a special GoPro rig provided by MightyVR that we will be using. It’s an interesting approach to production where we have to pre-light everything in such a way that we don’t see any stands or lights,” said Ganji. “When the shooting takes place, everyone needs to disappear from set, and it will only be the performing talent performing the action.”
Murali noted that most virtual reality camera rigs are created using multiple cameras such as the GoPro, which are fitted and film in a way where images overlap. “The stitching of these images creates the three dimensional 360-degree effect,” he said. “Most VR software requires the stitching to be done in post, but there is also software being developed that allows real time stitching, enabling filmmakers to watch their content in real-time.
A VR-focused, immersive production means there is no fourth wall to hide behind during filming. “No crew or equipment should be seen by the camera. This requires lots of rehearsal and planning, making it a rather different experience to traditional filmmaking,” said Verma.
Ganji, from Mumbai, India, sees this dynamic new technology as having many valuable, inventive uses. “A strong benchmark for what is coming is to look at the video game industry and how immersive and interactive those games/worlds have become,” he said. “On the flip side, I have a 79 year-old grandmother who has never visited me in the U.S., and probably won’t be able to because of health issues. I’d love to be able to visit her, pull out my phone and let her experience her own journey of wonderment as she literally walks down the Santa Monica beach. The possibilities for technology are so vast, but what this boils down to is finding a human connection to the content.”
That human connection could also expand to immersive training materials for a variety of industries.
Said Ganjji, “Imagine you’re a newly-hired electrician and your company is training you. I see VR eventually entering into entirely non-entertainment related industries as a tool for training. Look at how many companies are gamifying their businesses now to increase employee productivity. VR completely aligns with that goal, and, I believe, will have huge market potential for hiring and attracting young generations.”
The technology is also one that presents an alternative to 3D. “I think VR is next level 3D,” Murali said. “Rather than simply being shown a world from one perspective in 3D, one gets to experience the VR world in full 3D.”
Stunt performer and actor Carson Manning, who has daringly delivered stunts for more than 70 different film and TV titles such as the highly anticipated “Suicide Squad,” “X-Men: Days of Future Past” and FX’s “The Strain,” has attached to play the leading role of Michael in “Time Man,” an exciting upcoming feature film written and directed by Travis Grant.
Now in development, “Time Man,” will take place in a present day, urban New York City or Chicago-type city setting. The drama-filled, action feature film will tell the tale of a middle-aged, disgraced superhero named Michael, who is looking to redeem his name. Similar to many superheroes, Michael does have an expected heroic ability, however, the nature of his is presently under wraps.
No stranger to action, Manning has employed his expert stunt work in recent releases such as Henry Nader’s “Shoot the Messenger,” Allan Ungar’s “Gridlocked,” Columbia Pictures’ “Pixels” and “RoboCop” (2014) and Sony’s “Pompeii.” His stunt performing and utility stunts for “X-Men: Days of Future Past” led to a 2015 Screen Actors Guild Award nomination for Outstanding Action Performance by a Stunt Ensemble.
Manning’s acted in Fox’s “X-Men” in 2000, in Universal’s Oscar-nominated “The Hurricane” starring Denzel Washington and he performed stunts for New Line Cinema’s “Shoot ‘Em Up” starring Clive Owen and Paul Giamatti.
After reading the script for “Time Man,” Manning immediately knew he wanted to be a part of this high-concept, highly original superhero story. “The character Michael is multi-dimensional,” Manning said. “At the beginning of it, you can’t figure out who this guy is. I had already done all of the superhero films and thought ‘Wow, this is really different.’ The writing and the scenes were so compelling.”
Standing apart from the formula of superhero studio films, Grant, who is previously known for known for “Nick Ryan,” “Maybe Tomorrow” and “Paper Trail,” meticulously worked to create an original superhero story.
“I loved superheroes when I was a kid. When I first sat down with this, I felt like there was a bit of a hole. They’ve [the studios] glossed over character moments. They’re trying to make a big budget tent pole film,” said Grant, of his initial ideation regarding filling a gap in the current marketplace among superhero movies. “There are other superheroes you can explore that aren’t DC or Marvel properties.”
From this inspiration, Grant created “Time Man,” who is known as Michael in the story’s opening. On the character himself, Grant said, “He was looked up to as a shining beacon for the city. He became obsessed with one bad guy he couldn’t catch. He made a poor decision and that cost him everything – his powers, friends and family. He became a loner, about as far as rock bottom as you can get.”
The film will contain flashbacks, ultimately telling two stories at once. “‘You’re kind of seeing who he [Michael] became and also his fall. It’s reverse arcs at the same time. They converge at one pivotal scene at the very end,” Grant revealed.
The audience will find that the villain will play a very important role, as Grant also noted the character is integral to Michael getting back on his feet. Furthermore, alongside Manning, actor Ryan Barton (“Co-Ed”, “Owl River Runners” and “Nick Ryan”) has been cast.
Manning’s vastly impressive achievements as a stunt performer and actor have spanned nearly three decades and dozens of distinguished productions. Due to his wide-spanning, world-class experience in filming stunts, Manning is a person who can make judgment calls concerning safety, and recommendations pertaining to what realistically can and cannot be done budget wise.
In addition to starring in “Time Man,” Manning will also be coordinating and performing his own stunts, too. “To me, having an actor who is able to do all or most of their stunts is invaluable,” Grant said when describing Manning’s type of talent. “You’re not limited as to how you can shoot the scene. You can tell a story within the fight.”
Manning’s tour de force stunt performing and acting has also been engaged in many acclaimed TV series that have had international viewership. He acted in all three parts of ABC’s Primetime Emmy winning “Storm of the Century,” which was a miniseries event from writer Stephen King. Manning performed stunts for seven episodes of the Gemini Award winning action adventure series, “Mutant X,” six episodes of Syfy’s hit series, “Alphas” and for three episodes of The CW’s Primetime Emmy nominated “Nikita.”
Last year, Manning’s stunt performing was seen in Guillermo del Toro’s “The Strain,” The CW’s “Beauty and the Beast,” Syfy’s Primetime Emmy nominated “Defiance” and “12 Monkeys,” Global Television’s “Remedy” and the History Channel’s “Gangland Undercover.”
The action-packed, feature film “Time Man” will allow Manning to utilize both of his specialties at once as he delves into the mindset of his new role as Michael. “Time Man” is projecting to shoot this year and release in 2017.
Actor and stuntman Umar Khan on horseback in California
As an audience, when we get wrapped up in a fast paced action packed film it’s easy to forget that the actor on screen is rarely the one performing their character’s crazy stunts. A production goes to incredible lengths to cheat the shots and make an actor’s stunt double look just like their character so that when they hit the screen jumping off buildings, engaging in intricate battles and all the other physically challenging feats that make stunt men so heroic and necessary, that we as viewers remain on the edge of our seat, never noticing the role change. Although it is a rarity in the industry, there are some actors who actually do their own stunts and Umar Khan is among the best of them.
Khan is known for his work as both an actor and a stuntman in a plethora of titles including the films “Close Range” and “Deliver Us From Evil,” and the popular TV series “Bones,” “Rush Hour,” “Person of Interest” and “Scorpion.” Last year he also worked as a stuntman on the series “The Brink,” and “NCIS: Los Angeles,” as well as the recently released film “Whiskey Tango Foxtrot” starring Tina Fey and “Captain America: Civil War,” which is slated for its initial release on May 6.
Khan’s expertise in martial arts and various forms of combat have led him to become a sought after action designer in the industry with major productions hiring him to choreograph fights scenes for their projects. After working as the action designer on the 2014 TV series “The Hunger Games: Mockingjay – District Voices,” Khan formed Stunt Fighting Concept – Umar Khan Stunt Team. With his team Stunt Fighting Concept Khan has developed pre-visualized fight scenes for several films that are set to begin production including “Killing The Seeds,” “The Master’s Legacy” and the “The Man From Kathmandu.” He is now along with his team set to make a pre-visualized fight scene for the American remake of “The Raid.”
Prior to moving stateside several years ago, Khan established himself as a sought after stuntman and actor back home in Sweden where he both directed and starred in the film “Veracious Perception,” in addition to being featured in countless magazines and commercials.
To find out more about this incredibly talented performer make sure to check out our interview, as well as the video of Umar in action below.
I’ve read from some of your past interviews that you knew as early as age 7 that you wanted to become one of the few actors who also performs their own stunts– with that idea in mind, how did you initially approach your career?
UK: I started off like any kid by mimicking the fight scenes from the different action movies I saw. Later on, I developed an interest in fight choreography so I started choreographing my own fight scenes with my friends. During my years in middle school I used to borrow the school’s video camera to shoot my own “fight movies.” I remember that I was already a perfectionist at that age, I used to handpick my co-stars (based on their height, look and skills), do location scouting, direct, choreograph and act in the films I made. All of this would account for how I got more and more into the creative side of it.
For the physical aspect I tried to learn new moves and new styles all the time, trying to perfect each move and develop a new move out of it and so forth, watching martial arts movies and later on YouTube clips and comparing myself to the best in each discipline, that way I had a goal of where I wanted to reach skill wise. I think if you are truly meant to do something, there will be an urge that will draw you there no matter what obstacles you face along the way.
As a stuntman what are some of your special skills in the industry?
UK: My background is in martial arts, so I would say my primary skills as a stunt performer is screen fighting along with fight design, however I do a lot of different areas of stunts today.
How long have you been practicing martial arts?
UK: I have trained in martial arts since I was 7 years old.
Umar Khan as a teenager
You recently wrapped production on the upcoming films “Captain America: Civil War” and “Whiskey Tango Foxtrot” starring Tina Fey, can you tell us about the stunts you did in these films?
In “Whiskey Tango Foxtrot” I was initially set to do stunts only but I replaced the original actor who was cast for the role as “Wild-Eyed Man”, the director said that he was impressed with my performance while I was rehearsing the scene as a stand in for the actor so he cast me for the role instead. The character I was playing was possessed and was running in a crowd towards the lion cage screaming and eventually throwing a hand grenade inside the lion’s cage. We actually had a real lion on set, so it was pretty amazing to see such a magnificent animal so up-close.
In “Captain America: Civil War” I was playing Hero Mercenary and my main scene was fighting Scarlett Johansson’s character Black Widow, it was a great fight scene, one of the best in the movie, so you guys should definitely check it out!
What technical challenges did you face on these films when it came to mapping out how your stunts would play out on camera?
UK: The fight we did for “Captain America: Civil War” was a demanding one because of the extensity of the fight combined with the lack of time rehearsing it. Unfortunately, there wasn’t any time to rehearse the scene, which happens sometimes. We rehearsed the fight on set a few times right before we shot it and it all went really great actually. It all comes down to how well trained you are in screen fighting and how fast you can learn and adapt to a new choreography. Fortunately, that’s something I have always kept in mind since the day I started doing this, you never know when/if the director wants something different once he sees it in front of him, so I always keep in mind to prepare myself for any changes or the possibility of learning a new choreography at the last minute.
You have also worked as an action designer on several projects over the years– for our readers who aren’t sure what that entails can you briefly explain what you do as an action designer on a project?
UK: An action designer is basically a person or a team who is/are hired to design the action scenes on a production. In many cases, the stunt coordinator designs and choreographs the stunt sequence to suit the script and the director’s vision.
What projects have you worked on as an action designer and what were some of the different approaches that you took on each project?
UK: I designed a fight sequence back in 2014 on the TV mini-series “The Hunger Games: Mockingjay – District Voices.” While designing the fight scene for the series an idea I had many years ago of creating my own stunt team came back and so a couple of months later I formed my own team, Stunt Fighting Concept – Umar Khan Stunt Team. We have been fortunate enough after creating our first action design pre-viz (sponsored by Under Armor Germany) to get a lot of calls from producers requesting to make a pre-viz for their upcoming projects. We created two pre-vizes for Joyto Films for their upcoming projects “Killing The Seeds” and “The Master’s Legacy” and successfully locked the position on both as the Stunt Unit, and I’m set to Second Unit Direct/Stunt Coordinate on both projects.
We made another Pre-viz for a project called “The Man From Kathmandu” which my team and I will action design and coordinate on, I will Second Unit Direct and star in that film. We also recently made a pre-viz for Screen Gems that we’ll soon know if we secured the position of creating the action. And currently we’re rehearsing for our upcoming pre-viz for the American remake of “The Raid.”
I start preparing an action design for a certain project by reading the script a couple of times to get familiarized with the storyline and the characters involved in it, then I ask the producers or the director what his/her vision is and what they’re looking to do with the scene and then I’ll start working my way from there creating an action design that fits the script.
From safety to how things appear on camera, what are some of the most important aspects that you need to consider when designing fight sequences on a production?
UK: The general idea of my fight designs is to make it look as authentic as possible but also visually attractive for the audience, along with the unique camera technology that we possess (the only one on the market), the cameraman can approach the performers much closer in order to get the hands on feeling on the actual fight and give the audience almost a third person POV, video game kind of feel to it.
With this system in use comes a lot of other responsibilities to keep in mind. Not only safety for the performers but also safety for the camera man who is now one more “performer” in the mix and automatically becomes a safety priority. The fight sequences I design are meant to look very authentic due to the actual physical contact me and my teammates are inflicting upon each other, it’s not something I recommend; my team consists of guys that have fought professionally or are highly trained in various areas of the stunt business and are used to the physical contact as myself. We train the same way real fighters do, with sparring sessions combined with our choreography training to have the best of both worlds and adapt fast.
The second thing is the environment and the props. Basically we use props that look authentic and can simulate the real thing, just like in any of the props on set, we utilize them when we need but as little as possible since one of the main features of the camera technology we use is to capture the action scenes in “one shot.” We are limited when it comes to cuts between scenes so it requires a lot more from the performers to stay in shape, being well rehearsed and being sharp to prevent unaccommodated injuries to themselves or their fellow partners.
What is this new unique camera technology that your team uses?
UK: It’s basically something that we refer to as a “Semi-drone.” We believe that our concept will revolutionize how filmmakers capture movie fights and overall action scenes in the future. The reason being is that our system freely captures the fights and action in a video game style look by utilizing the DP as a part of the movement within the scene along with the performers and having a second camera operator moving the camera through a monitor for a more up-close and detailed view of the action, this way it won’t leave a single part of the move out for the audience to feel, you get the best of both worlds, the sense of POV along with the interactive part of 3D which makes it feel like you are a part of the action. It’s a pretty advanced technology that we are happy to bring to the big screen soon.
Can you tell us about your work on the 2015 film “Close Range”?
UK: I got a call from the director of the movie, Isaac Florentine, when I was in Texas and he told me that he had a part for me on his new movie. So I flew back to L.A and we started working on it. Working with Isaac was great, we had been in talks of working together for about 5 years when I was still in Sweden, so when the opportunity arose we made it happen. I was playing a Mexican drug cartel assassin called “Sesma”.
Umar Khan (left) and director Isaac Florentine (right) on set of “Close Range”
How does your character Sesma fit into the film?
UK: Sesma is the Mexican drug cartel boss’ right hand in the movie, he is an emotionless cold-blooded killer. Playing the character that doesn’t have a lot of lines is quite demanding but also a lot fun since instead of vocally using your thoughts you have to transcend them through your facial expressions and body language.
Do you feel that you get cast to play a certain type of character more than others?
UK: Not really, I have played a wide range of characters from different ethnicities and backgrounds.
Can you tell us about your favorite role to date as well as your most challenging role an actor?
UK: I would say until this date it’s probably a project I directed back in Sweden, “Veracious Perception.” I was depicting the role of Robert Martinez, a corrupt cop with multiple personalities, so I had to bring out so many different emotions while still maintaining character. It was very challenging but something I really grew from and enjoyed doing.
They are all very different, what made you choose to participate in these projects?
UK: My main goal when coming to America and Hollywood was to work on projects that were on the mainstream level, such as popular TV shows and big budget movies. It has been great working on big name productions doing acting and stunts but at the moment I’m also looking for challenging parts for the acting aspect and great action scripts for the action design.
You get approached all the time to work on projects with people, what makes you pick one role over another?
UK: If the role has a challenging side to it, it’ll be more intriguing to me. I prioritize the parts when I’m pushed out of my comfort zone to find a “new” me through the character I’m playing. I believe as an actor if you are not pushing yourself to take on the most demanding parts you’re not really testing your limits of what you are capable of delivering from deep inside you.
Have you been in any commercials or music videos?
UK: I recently did a commercial for EAS Sports Nutrition as one of the featured athletes, before that I did a commercial for Red Apple’s Ale, performing as the Latino boxer. I did a commercial for Dick’s Sporting Goods representing Under Armor jogging apparel, and last year I did a photoshoot for Harley Davidson and Carnivore Fitness (Australian athletic apparel) who are also now my sponsors.
I was in a bunch of music videos back in Sweden, such as, Fjarde Varlden’s “Ingenting,” Unlima’s “N’ Say Love,” Emerson’s “Back Off” and Cee Rock’s “The Fury.” Anderson Iz Nice and I did a couple of commercials like Idol 2005 and ICS for Sony Ericson, and I’ve also been featured in many magazines such as Fighter Magazine, Fitness Magazine, twice in M3 Digital World, the cover of Friskispressen, as well as Kamera & Bild.
What projects do you have coming up?
UK: At the moment me and my team are rehearsing for a previsualization for the upcoming American remake of the martial arts film, “The Raid.” I’m also in preproduction with another project that is set to be shot here in the U.S. and Nepal later this year, an action thriller called, “The Man From Kathmandu.” The film, which I’m both action directing and starring in, is being produced by Clear Mirror Pictures.
Last year, I was requested to choreograph/direct two pre-vizes for Tom Delmar, a renowned British action director making his directorial debut. We shot the pre-vizes with our technology and he was really impressed by them, so he put me in charge as the Second Unit Director and Stunt Coordinator on his upcoming features, “Killing The Seeds” and “The Masters Legacy.” It will be my debut as a Second Unit Director/Stunt Coordinator on a feature film so I’m super excited about that and deeply honored to have been given such a high position.
What are your plans for the future?
UK: My plans for the future are to develop more innovative Action Design for major shows and carry on what I started when I was in middle school, borrowing the school’s camera and bringing my friends to different locations to shoot my own projects, this time I’ll do it with my stunt team and with big budget projects. I also have plans to star and direct in my own projects in the future.
Arriving as one of today’s finest actresses, Jessie McLachlan has delivered outstanding character portrayals in film and television over the last decade. The Australian native played Anna in Tom Simes’ feature drama, “Run, Broken Yet Brave” and Rachel in the FilmOut Festival Award winning feature drama, “Newcastle,” written and directed by Dan Castle.
She starred as Monica in Antonio Oreña-Barlin’s short drama, “Suburbia,” that was nominated for an Australian Film Institute Award, and has dispatched her talents to TV including in Village Roadshow’s reality series “The Shire,” 7 Network’s (Australia) 13-time award-winning comedy drama “Packed to the Rafters” and Nickelodeon’s 12-time award-winning family drama, “Dance Academy.”
Chief among McLachlan’s flourishing acting career was her 27-episode recurring performance as Samantha Braxton on 7 Network’s romantic drama, “Home and Away.” Created by Alan Bateman, the series has collected more than 40 awards and has broadcast since 1988.
“I’m really proud I got to be a part of it, in some way,” McLachlan said. “I’m proud of the Australian industry, and it is a testament that a show has been running for so long.”
“Home and Away” follows the lives, loves and heartbreaks within the fictitious coastal town of Summer Bay, in New South Wales, Australia.
The role challenged McLachlan to carry out the antagonistic, Samantha, who was a troubled member of one of Summer Bay’s surfing gangs. An aggressor, Samantha was a character best known for creating conflict, and one opposite of McLachlan’s own persona.
“It is the beauty of acting morphing into a completely different person, whom is definitely not like myself,” said McLachlan. “It is always a challenge playing a character whom is a complete opposite to you, and the way in which you conduct yourself in life. I always like to reflect on a personal experience, and encapsulate that raw emotion and feeling I had and use it in a performance to make it as authentic as I can, but with this character I was very challenged in the beginning in learning to be angry at everything and everyone.”
Starring as Samantha in the series from 2010-2011, McLachlan said of the character, “It is hard enough to be a teenager now days let alone have hardship or social issue’s amongst your family to overcome. I think at heart she is good, but when your family has a blurred line between what is right and wrong, she was easily influenced.”
Australian Actress Christina Collard (“Dracula: The Impaler,” “The Girl’s Guide to Depravity”) recognized McLachlan’s dynamic acting in “Home and Away.”
“The role required an incredibly dynamic actress, as Samantha’s presence and demeanor caused a significant amount of drama throughout Jessie’s time as a leading actress on the series,” she said. “Her presence was felt in scenes that she did not even appear in, which is a huge accomplishment that further evidences Jessie’s many talents as an actress. Her character was the talk among critics and dedicated viewers alike, and has been hailed as one of the more memorable characters in the recent history of this long running series.”
“Home and Away” currently is the second longest running dramatic series in Australian television history. Sold to more than 80 countries, it has drawn huge audiences in locations such as the United Kingdom, Ireland and New Zealand. The show is the most successful program in Logie Award history.
Of her favorite single portrayal, McLachlan says, “The first episode of a new season will always be my favorite of any show. It is when some questions that I’ve waited for a few months are finally answered, but also then all these new story lines are revealed, and the show becomes so juicy and the curiosity makes you tune in or binge watch it.”
Developing her talent early in life, McLachlan started speech and theatre lessons and became a National Irish Dancer when she was just 7 years old. “Every time I performed, from an audition or in front of my Grandma, it gave me a sense of euphoria, a high but a certainty feeling.”
Her talent and passion for performing hasn’t gone unnoticed in the industry as McLachlan went on to work for shows televised by MTV, ABC and Australia’s 9 Network. A do-it-all talent, McLachlan also was signed as a singer/songwriter to Island Def Jam.
She’s trained at the renowned Lee Strasberg and Stella Adler acting institutions in New York and Los Angeles, and studies the craft with the acclaimed acting coach Michelle Danner, who has worked with many A-list talents such as Chris Rock, Gerard Butler, Penelope Cruz, Michelle Rodriguez and more.
Since Tom Stevens’ introduction into acting for film and television six years ago, his career has featured many milestones and highlights, and has reached a boiling point level of immense success. That’s not much of a surprise to anyone who has ever seen him act. He commands the screen in every scene he’s in, which has resoundingly resulted in his placement among the best actors in the business.
Pitting himself analogous to some of the greatest talents in cinematic history, Stevens has the ability to carry his performance in his eyes. Whether they offer sympathy, invoke charm, or bring out a raw intensity, they always draw in the audience. It’s this impressive characteristic— along with his natural instincts— that have allowed him to play so many diverse roles throughout film and television. Some well-known titles he’s acted in include the TV series “Fringe,” “Wayward Pines” and “Cedar Cove.”
But perhaps Stevens’ most fun, most heart-pumping role to date is almost certainly “12 Rounds 2,” where he starred opposite the WWE’s Randy Orton. A powerhouse of adrenaline, the film was directed by Roel Reiné, produced by WWE and Michael J. Luisi, and co-starred Brian Markinson. Released on DVD and Blu-ray, “12 Rounds” was a hit for action fans who crave action-packed sensibilities the genre brings, and for Orton fans who yearned for a new dynamic platform to see their hero perform.
The film follows Nick Malloy (Orton), a paramedic taking care of a patient with a cellphone stitched inside his chest. Before the paramedic can offer much help, he receives a call that his wife has been kidnapped. The only way he can get her back is to play a 12-round game run by an unknown, evil mastermind. Stevens’ character joins the chase early on in the rounds. He plays Tommy, a wealthy, drug abusing son to a big-time politician.
Playing Tommy wasn’t going to be easy to pull off. He had to be played by someone that could work well within the script, but also improvising when the time called for it. Most importantly, he had to be someone that was willing to perform the dangerous stunts director Roel Reiné envisioned.
Stevens didn’t shy away from any of these challenges. He recalled telling Reiné, “I’ll jump off the roof on fire if you want me to. I like the idea of falling off of something and doing my own stunt work.” That’s a Tom Cruise level of commitment; the making of true star, indeed.
Two of Tommy’s most dangerous stunts took place during a pivotal scene during round 10. The character’s father is being buried alive beneath tons of sugar by non-stop conveyor belts above him. Stevens was required to act below a hanging 3,000-pound bulldozer’s bucket, and later within circles of fire. On the experience, he said, “You’re not unprotected. I had my shirt off and you feel the flames.”
All these action-based stunts make perfect sense for a film so heavily connected to wrestling. Orton was new to film acting at the time of production, and this meant Stevens was able to give out some pointers to his co-star. Sometimes it was just in calming his nerves, or helping his acting achieve a more polished, authentic look. By the end of the shoot, Stevens found himself becoming friends with one of his once heroes.
Speaking on being a lead in a feature film, Stevens said, “It’s something about being a leading man in the film. People look up to you to perform. You show any points of spite, anger or sadness, people start going, ‘Is Tommy okay?’ Everybody’s connected on set. You’re in this together. It’s powerful to be that guy stronger than you are sometimes. It’s a persona, a mental challenge. That’s what being a leading man is all about. It’s about everybody else on set.”
With his role in “12 Rounds 2” under his belt, and many other roles such as those in “Battlestar Galactica: Blood & Chrome,” “Diary of a Wimpy Kid: Dog Days,” “Wayward Pines” and “Cedar Cove,” Stevens has established himself as one of Hollywood’s most sought-after, go-to acting talents.
“I expect Tom to be doing high end work in film and TV for years and years to come,” said Stevens’ manager, Robert Stein, who discovered and helped launch the careers of other superstar talents such as Heath Ledger, Mark Ruffalo and Jason Clarke.
Coming next for Stevens is his role in “The Game of Love,” where he co-stars with Heather Locklear. The to-be-released comedy drama movie is headed to TV this spring.
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