Category Archives: Film

Actor, Child Actor, Film, Reviews, Interviews & Features!

Victor Gilbert reminds the world that a kiss should just be a kiss

November 20, 2017 pressva Leave a comment

From the time he was a baby, Victor Gilbert has been immersed into a world of full of films, acting, and make believe. Given the fact that his mother is a cinematographer, Gilbert has played child roles in several of her films and he has had the unique opportunity to test his acting skills against a number of different storylines and plots. Like most children, Gilbert loves to play pretend and he finds himself energized by the ability to play pretend for more than just enjoyment, but as a career. Playing a wide range of emotions interests him, and he thrives on the chance to explore playing different versions of “happy,” “sad,” or “mad.” For Gilbert, acting is all he’s ever known. It is a part of his family. He has grown with it and he wishes to continue to let acting grow with him for the rest of his life.

As he has aged, Gilbert has slowly branched away from filming with his mother and has begun working with esteemed production companies, directors, actors, and more. At the mere age of 10, Gilbert is taking the entertainment industry by storm and having earned such great success so early on in his life, it is intriguing to wonder where his talents will carry him next. One of his most notable works was for Netflix’s Hell on Wheels, where Gilbert played the son of a railroad worker called Jeff Strobridge, played by Reg Rogers. In this role, Gilbert had the chance to act alongside Rogers, Anson Mount, the series’ lead actor, as well as several other experienced professionals. It was a great way to expose himself to various acting styles and techniques, and since he was a recurring character, he had the opportunity to develop his character throughout each episode he acted in. Gilbert thoroughly enjoyed learning from the individuals he acted with, and submerged himself into the film’s extravagant, western-themed set. To this day, he considers it one of the highlights of his career.

Another of Gilbert’s more enjoyable projects evolved over the summer of 2016 when he aced the audition for, and won the role of Peter in the influential film, The Kiss. The Kiss tells the emotional story of a young boy, played by Gilbert, kisses another young boy at school. It is set in the 1950’s and unpacks a controversial dilemma for a mother who tries to understand what her child is going through. With the tag line, “a kiss should just be a kiss,” the film explores deep themes of love and homosexuality, and is gaining a substantial amount of praise from film festivals around the world. Being only 8 years old at the time of filming, Gilbert was unfamiliar with the emotional nature of the plot line and didn’t realize the importance of the topic in today’s society. Upon learning of meaning behind the film’s premise, Gilbert was eager to play such an impactful role. In fact, Gilbert’s character was pivotal to the The Kiss’ storyline and he set the tone for the entire film.

Gilbert credits his role in The Kiss as being the toughest he had ever played. Having to travel back in time to the 1950’s through the film’s costumes and set design was unlike anything Gilbert had ever done before. When filming, he had to act out emotionally charged scenes involving kissing another boy, being scolded by his mother, and portray feelings of fear, sorrow, and intimidation. Fortunately, Gilbert excels in any environment where he has to sell different emotions for the better of his character’s storyline. He has a remarkable ability to play multi-dimensional emotions and despite his age, he never struggled to explore a new emotion when asked. David Emmanuel, who both produced and acted in The Kiss, has nothing but respect for Gilbert’s natural affinity to play his characters as realistically and organically as possible. He was astonished to see an actor as young as Gilbert displaying qualities that even some of the most established professionals have not yet mastered.

“Victor had a very, – I cannot stress it enough – very difficult scene to act at such a young age. He had to pretend to have kissed a boy in school, to dress up, to wear lipstick, and more. Still, he did an amazing job and was so right for the role. He was extremely patient and open-minded for this movie. Not to mention, he was very professional on set for such a young age. He listened to the director very well and was open to giving his input whenever he didn’t feel comfortable,” noted Emmanuel.

If you ask Gilbert, however, the film simply helped him tell an important story to the world and he was happy to have had the opportunity. Even he himself was moved by his character’s strength and determination. To play such an integral character at such a young age is a rare feat for any child actor and he hopes to be able to do so again in future.

“I think the story of this film is important because there are tons of people who are still too shy to love another person of the same gender. I think these kinds of films help these people come forward. It is so important to respect people for who they are. Films have a big impact on people and they can influence generations,” told Gilbert.

Upon wrapping The Kiss, it made its way to several prestigious film festivals in Orlando, Los Angeles, Brazil, Cannes, Germany, Sweden, and many more. Gilbert, along with everyone else involved in the film, are excited to see where else The Kiss will go and how many more lives they can touch with this incredible story.

Actor, Film, Reviews, Interviews & Features!

Michael Whalley steals the heart of ‘Jean’ and audiences in new film

November 18, 2017 pressva Leave a comment

There is a camaraderie that comes from playing sports. Everyone has the same goal, they wear the uniform, they experience the same victories and failures as a team. For New Zealand’s Michael Whalley, he experiences that same solidarity from acting. He represents the team while still shining on his own. He works with that team spirit to achieve the best result possible. He loves to play, and considers acting a serious game, as each new project brings a new match and a different opponent. To use such a metaphor shows how much Whalley appreciates the intricacies of his craft, and this understanding translates to raw talent for this celebrated actor.

With an esteemed resume and unparalleled versatility, Whalley is an internationally in-demand actor. While working on many acclaimed films, such as the 2015 award-winning feature Psychoanalysis, he has shown the world what he is capable of. His work on Slow West, alongside Michael Fassbender and Ben Mendelsohn, received praise from audiences and critics, and this trend occurs with almost everything Whalley takes on.

“To think I could be paid for doing the very thing I wanted to do every day was such an incredible thought, so I sought to make that my reality,” said Whalley.

Earlier this year, one of Whalley’s newest films was once again a large success. The actor played the leading character of Beverly Shepherd in the historical romance Jean. The film tells the story of Jean Batten, New Zealand’s greatest pilot, heroine, celebrity, and mystery. Beverly Shepherd is the romantic lead in the film. Beverly is a man with a strong moral backbone, a sense of fun for life and a determination to challenge for the things he wants in both affairs of his career and heart. Despite being the only son of wealthy Sydneysiders, he lacks the pretension of wealth. He can read people and knows instinctively if they are being untruthful. Independent and modern, he is attracted by Jean’s adventurous spirit and mystery. His greatest struggle is attempting to protect Jean from decisions that would put her in danger, only to have to accept that she isn’t someone who wants or needs protection. He knows he has to play a long game of love to not scare her away. Jean had lovers in her life, but Beverly is the one man who truly captures her heart. In the story, audiences see how headstrong Jean is with her life and career, and when Beverley sweeps in and shows her glimpses of recreation, fun and love, he innocently threatens her focus, creating Jean’s ultimate emotional conflict. Therefore, the filmmakers required a seasoned actor to play such a pivotal role in such an important story, and Whalley was the obvious choice, with the talent and passion to go with it.

JEAN 1 with Kate Eliot pic Ginnie Loane — Michael Whalley and Kate Elliot in *Jean*, photo by Ginnie Loane

“Especially in the past few years, it has been of growing importance to remind ourselves of the power women had in shaping the world. Too many films are one-sided in their portrayal of male heroes, and Jean was a heroine that defied the constraints of a male-driven world. The film, the first about Jean Batten, is a piece of entertainment, education and inspiration for New Zealand and the world to see. I had known of Jean Batten in the past, but this was a chance to see behind the tabloids and popular public image into the life of such a mysterious firebrand,” Whalley described.

After premiering earlier this year, the film has seen vast critical success. At the Film Awards New York 2017, Jean won an unprecedented nine awards, including “Best TV Movie” and “Best Drama Special”. These are immensely prestigious honors, as New York Festivals recognize only the best content from over 50 countries around the world. In addition, the film was successful commercially, airing on TVNZ, which reaches over 2 million people and has recently been acquired by distributor Banijay International for the ROW market. Such success could not have been possible without Whalley’s portrayal of Beverly.

“He brought a charm, wit and strength to the character of Beverly Shepherd that we could only imagine.” said the Producer and Writer of the film, Donna Malane.

Taking part in this period piece was enticing for Whalley, and as an actor he is always looking for new challenges and experiences to refine his talent. This story is set in the thirties, and Whalley researched the decade extensively to ensure he would completely transport audiences. Parts of this process were more fun than others, such as driving around an open top 1930s Model A Ford, and getting to know about the planes they were working with, which by a happy coincidence, were taught to Whalley by an old friend of his grandfather, Dennis. However, some parts of the preparation process were more grueling. Whalley had to take on the language, manner of speech and the classic nature of the period drama, and work to make that all ring true for his mouth, body and mind to create a genuine portrayal. To do this, Whalley infused his character with the parts of himself that fit best, which he tries to do for every role he can. This helps create an authenticity that captivates audiences, and what the actor is so well-known for.

Jean Ginnie Loane 2 — Michael Whalley in *Jean*, photo by Ginnie Loane

Whalley says getting into the mindset of the time was made easier by the incredible costumes designed by Kirsty Cameron. As soon as he put on his gear, he felt clean, classic and upright. “Putting on my costume became a very important part of my morning ritual to get into Beverly’s shoes, literally,” he joked.

Improvisation also was a great tool for the actor when preparing for filming. During rehearsals with his co-star, Kate Elliott, they would have a series of improvisations around the scripted dialogue, which he says was a sure-fire way to find out what they knew or didn’t know about their characters and the world of the film. These exercises were helpful as the role of Beverly was a refreshing change for the actor, who often plays “punks and public nuisances”, and the character of Beverly is very dependable and ethical.

The actor also uses music frequently to prepare for roles. For Jean, Whalley made a playlist specific to what Beverly may have been listening to at the time, mixed with songs from Postmodern Jukebox to “get in the zone to play”, once again, similar to an athlete.

Undoubtedly, Jean is a must-see, and Whalley is enchanting in it, as he is so well-known to be. His passion for the story is evident, and his passion for what he does is even more so.

“This was a chance to act in an historical and important story in both New Zealand and International history. The true love of Jean Batten, at one point the world’s most famous and respected women. To play a character who had the charm, wit, intelligence and pilot skills to win the heart of the Lady that kept it locked away,” concluded Whalley.

Top photo by Ginnie Loane

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

NOT YOUR TYPICAL FUNNY MAN: JAMES PRESTON ROGERS

November 15, 2017 pressva Leave a comment

Actor James Preston Rogers is tight lipped about the plot details of the upcoming 2018 release Benjamin (Darius Films). What he is happy to speak about is his enjoyment of being in this film cast alongside so many comedic heavyweights. Rogers is so often noticed and cast for action roles (with a commanding physical presence of 280 lbs. and over six and a half feet tall) that displaying his comedic abilities alongside Kevin Pollak, Dave Foley, Rob Corddry, Peri Gilpin, Cheri Oteri, and numerous others was a joyful difference for him. His appearance as Ulf, a Russian semi-pro hockey player allowed James to stay close to the accent he had developed for the “Siberian” in “Frontier” (on Netflix) playing the nemesis of Jason Momoa’s lead character. The accent is as close as James gets in this film to any aspect of the melee that the Siberian or the combative aspect of Ulf’s hockey career in this comedic role. The inference of Roger’s commanding stature might be the premise of a fish out of water but James takes his place evenly matched alongside so many recognizable faces in the comedic acting world. As director and costar of Benjamin Bob Saget states, “Simply put, James is impressive. His comedy talent is obvious. He understood the role of Ulf and added great depth to it. It would have been easy to present the character as one dimensional but James portrayed Ulf as sincere, deep, and of course with the imperfections that make real people so funny. It was a pleasure to work with him and we were lucky to have him in the cast.”

Benjamin is the title of the film as well as the character which the story focuses upon. A teen who has decided to delve into drug use, a group of family and friends hold an intervention to dissuade him. During the act of revealing the skeletons in their own closets (in hopes of eliciting a similar response from Benjamin) these individuals all come to realize how they are perhaps living more chaotic lives than the young man they came to help. Rogers appears as the Russian hockey player/boyfriend of Benjamin’s mother Marley, played by Peri Gilpin (perhaps best known as Roz from TV’s “Fraiser”). ULF comes in as Marley’s boyfriend very supportive of her and her situation. Throughout the course of the story ULF realize that he doesn’t fit into this new world he has embarked on, and need to focus more on himself to make his dreams a reality. English is Ulf’s second language. He really loves hockey and Marley and will do anything for either of them as the wild side of the sport and this woman fulfill a part of him. Amongst all the other adults who appeal to Benjamin, Ulf is the character who is likely the most unlike them and therefore has an unexpected connection with the perspective of Benjamin.

Appearing as Ulf is the second time recently that James has appeared as a Russian (the first being in “Frontier”). The language and accent are nearly second nature to this Canadian born actor who spent his childhood and early adult years amongst a variety of cultures. His childhood friends in Toronto were German, Irish, English, Scottish, and originated from many other parts of the world. This was early training for his ears, training that Rogers put to good use in his acting career. In regards to his role in Benjamin, James describes, “The advantage I have over Russian actors is that English is my first language. You need to know that the script is written in English and is for an English audience looking for a Russian accent. It can be difficult for a Russian actor who learned English as a second language to hit all of the nuances of the jokes the writer is looking for. I’m sure it would be the same for me if I were in a Russian language film. Sometimes it’s about what you don’t say and let the space be taken up for the audience to complete the joke in their own mind. This comprehension gives me an advantage and I usually book these kinds of roles over the Russian actors. Like almost anything, you need to know your audience. If you put the accents on too heavy, you will lose your audience. You need to put on just enough and know the comedic timing for the joke to get across.”

Being cast alongside so many famous comedic actors might seem intimidating, and James admits that it was at first. However, the process became so enjoyable and satisfying that any insecurities took an immediate backseat to the experience. Rogers tells that the scripted and non-scripted jokes were plentiful and the conversations off camera were intelligent and enlightening; proof that like James himself, his costars are far from one dimensional. Rogers feels drawn to roles that (similar to career courses of larger actors like Dwayne Johnson and Jason Momoa) dispel the idea that an actor who is cast in action roles does not possess the ability to be equally gifted in comedy or drama. He confirms, “Just because are tall or in good physical shape doesn’t mean that we don’t have life experiences and emotions that equip us to communicate through the camera and onto an audience. Most well-known actors get painted with one brush and it’s very rare that we get to color outside the lines. I love seeing a comedic actor cast in a dramatic role and present another side of themselves. My father was hilarious and I think that part of that comedy gene exists in me. When I was in 10^th or 11^th grade we’d have these things called ‘cut-fests’ at school. You’d square off with someone and trade insults. People would cut class just to watch. It was all for laughs. Between my father and the cut-fest I was working on my comedy timing through my entire childhood, I just grew into being a big guy. Benjamin has given me the chance to show that training and the fact that I’m standing alongside some of the best comedic actors in the present day entertainment industry is beyond exciting.” James Preston Rogers has taken his rightful place as the physically and comedically impressive gentleman alongside his talented cohorts and can be seen doing so in Benjamin.

Behind the Scenes, Film, international Talent, Reviews, Interviews & Features!, Screenwriter

FLIPPING THE SCRIPT WITH ROBERTO SAIEH

November 12, 2017 pressva Leave a comment

Honesty is one of the scariest things in our lives. At the same time, there can be no growth without it. One cannot move forward until acceptance of reality has occurred. This is both the core of the story of the film Asia A as well as the reason that director Andrew Reid worked with screenwriter Roberto Saieh on the project. Saieh has a talent for delivering a realistic perspective rather than the typical sanguine escapism which much of the industry is known for. While there is a time and place for both, the blunt actuality of Asia A (the title is derived from the American Spinal Injury Association classification of “A” for a person with no motor or sensory function preserved in the sacral segments S4-S5) causes it to stand out. Reid shares a strong connection to the storyline of the main character Marquise which made the film very personal for him. This makes it even more impressive that the director credits Roberto with flipping the story upside down in their initial meeting, a sure sign to him that this was the perfect screenwriter to help him create the intensity and realism that he demanded.

Asia A is the story of Marquise (played by London Brown of HBO’s “Ballers”), an athlete who has recently suffered a spinal cord injury which has changed his life dramatically. Without knowing whether this will be a lifelong change or a temporary one, Marquise is forced to deal with the uncertainty of his future and what he thinks it will look like. While the core of the idea may not be completely unique, the way in which the story is told is not the norm. This is not a film about events but rather about the characters and how their relationships are affected. The main character’s interaction with his (recent ex) girlfriend [Camilla] and his older hospital roommate [Noah, played by Emmy winner Pruitt Taylor Vince] present him with the choices of letting the actions of others determine his future or doing so for himself, during a very vulnerable and painful part of his life. Reid explains why he pursued Saieh to write the script stating, “Roberto’s creativity is what makes him unique from other writers. His goal is to create truly authentic stories that resonate with audiences. Storytelling is art, entertainment, and emotion all wrapped into one package and Roberto is a true storyteller. What ensures his success is his creativity and work ethic, which are unparalleled. Talent will get you into the room but it’s hard work that keeps you there.”

An extremely benevolent impact of Roberto’s work in the eyes of the film’s director is that he flipped many of the key relationships in the film and by doing so changed the emotional kaleidoscope of it. A few expertly made adjustments completely transformed the way that the audience and even Reid was witnessing the characters and events. While most writers would fixate on what happened to Marquise, this writer focused on his response to them and those around him. Saieh came to this perspective by an unexpected association as he tells, “It occurred to me that Marquise, the main character, had to grieve the life he once had in order to accept the one before him. Using that as a starting point, I loosely modeled his journey based on the five stages of grief: Denial, Anger, Bargaining, Depression, & Acceptance; taking each as inspiration. It’s impossible for me to know what it feels like to be an Asia A patient but I have experienced different kinds of loss in my life. It is that sympathetic emotion that I overlaid onto the story and used to shape Marquise’s journey. I firmly believe that no matter what you’re writing about, as long as the emotional honesty is intact it will ring true.”

Although the injury happened directly to Marquise, the experience affects all of those around him and particularly those closest to him. In the original script, Noah is the hospital roommate of Marquise and becomes a protector to him. Wanting to present something with an inverse correlation to the norm, Roberto wrote Noah as crass and irreverent with an almost forced cheerfulness. Noah’s deceased wife pitied him and he used this as a crutch to combat the depression and anger of his situation. A diabetic, Noah is eating himself towards death and has already endured two leg amputations. Rather than a wise mentor, Noah becomes a textbook example of who Marquise does not want to become. Saieh describes, “To me, characterizing Noah this way seemed like a truer version of how people are lacking self-awareness and are self-victimizing while at the same time offering a harder-hitting narrative. I didn’t want to shy away from exploring the darker side of the themes. This isn’t the story of someone who successfully went through a similar experience and is now mentoring someone else through it. It’s the story of someone [Noah] who couldn’t do what life is asking of Marquise now.”

Further driving this point and doing so painfully for the film’s protagonist is the fact that his ex-girlfriend Camilla pursues what she believes to be the right thing in reuniting with Marquise. While the comfort of her support could be a band aid, Marquise is constantly confronted with the choices Noah has made and whether or not to face his difficulties alone but with honesty.

Roberto began his writing career with Indie Dramas and desires to take this indie sensibility and attention to “character” that defined this early work to summer blockbusters and genre films. His fascination with romantic dramas comes from his belief that some of the worst wounds you can receive can be self-inflicted, which can seem even worse when they’re the right choice. This is perfectly stated in Asia A when Marquise rebukes Camilla’s offer in a self-aware understanding that her feelings resemble pity more than love. It’s a concept Roberto feels presents itself often in our lives. He remarks, “It’s a matter of digging into personal experience and those situations where you know a relationship is over but you also know it’s going to be up to you to end it because the other person, for whatever reason, isn’t willing to step up. Having the strength to self-inflict a necessary wound because it’s the only way to save yourself seems to be a recurring theme in some of my work; letting someone go, someone that you love to death, because they’re not right for you or because you know they will be your downfall. It wasn’t that much different writing Marquise in this situation, regardless of his status as a spinal cord injury patient.”

Behind the Scenes, Chinese Films, Film, film crew, international Talent, Intetnational Films, Reviews, Interviews & Features!

THE SOUND OF THE GRANDMASTER: JIFU LI

November 11, 2017 pressva Leave a comment

The human experience is diverse and complicated. There are layers upon layers of emotions that make up the life of every individual on the planet regardless of their experiences and their point of origin. This complexity can sometimes go unnoticed in the din of so many people. The beauty that makes up each person’s life is a story in itself. This concept goes overlooked by many but is always present in the mind of Jifu Li. As a Sound Editor, Jifu spends his time ensuring that the voices and sounds present in a film weave in and out of presence in the story as the filmmakers see fit. One might not think of sound in terms of color but it is precisely this perspective that allows a contouring of the experience by the audience. Jifu uses his talents in a wide variety of films ranging from Oscar nominated to independent productions, proving that those of great talent seeks to collaborate with great storytellers regardless of the price tag…because that’s what they must do as committed artists.

Creating any film is a massive endeavor. The Oscar-nominated feature film The Grandmaster was almost hyperbolically so. The footage was extensive, twelve reels by the time that Jifu began his work. The production’s shooting cycle had lasted four years. Li’s previous work on five films had convinced Wu Ling (general manager of the China film post Company) that Jifu’s talent and propensity to work long hours without complaint made him ideal for the position. The Grandmaster is the story of the martial-arts master Ip Man, the man who trained Bruce Lee. While it’s a gripping drama, the film is an obvious action story as well. The picture editing and audio editing of the film were done synchronously, which meant that getting the final frame version in perfect sync was an intimidating proposition. Altogether there were fifteen versions of the film. If an action scene changed, all of the effects and Group ADR required recutting by hand, sometimes even redesigning or rerecording. Describing what he does in a very literal sense, Jifu states, “If you cut from a punch to a slow motion reaction, the sound pacing should be fast to slow. I might add in some ‘Bass Drops.’ The hit should appear to the audience as it ‘feels’ to the characters, like you can hear the fist beat from the skin to the bones, all the texture and details. What happened a lot in The Grandmaster is that they would then change it on the other side; cut to the fighter’s slow-motion movement first, and suddenly speed up, hitting the others person’s face. The sound design will then change a lot. Sometimes there were voices and sometimes just music and sound effects. There are so many of these sonic aspects in modern films and in particular action films. My job is to make sure these subtleties are executed perfectly and to the desire of the director. It can be arduous but it’s always gratifying.”

A consummate professional like Jifu was necessary for The Grandmaster due to one technique which was employed during filming for the benefit of the action sequences. In this film (as in many action films) the director used music to aid in the fight sequences. This type of choreography is always about timing and music greatly aids in this. Quite often, the music used during filming is not the same that is used in the final edit (sometimes the music is altogether discarded). This results in extensive ADR (automated dialogue replacement). Even beyond the main characters, Li worked extensively on Walla Editing (the background character voices), Wild Tracks (sound effects which are recorded on location by the production sound mixer and then later edited for use), and Foley.

The Grandmaster is a beautiful film, visually and audibly. In addition to its 2014 Academy Award-nomination, it also received the Best film at the (2014) Asian Film Awards, Best Film at the (2014) Hong Kong Film Awards, as well as a Golden Horse Film Festival Audience Choice Award & Best Feature Film nomination. Most meaningful to Jifu was the Golden Reel Award for Best Sound Editing in Foreign Feature Film that acknowledged his skill on The Grandmaster and which he credits for inspiring him to continue to excel in the profession.

Though he enjoys the challenge of a huge budget feature film, Li also welcomes the opportunity of smaller films and the methodology they require. His work in Editing for the film “Love is Color Blind” helped to create the mood for a very different type of adversity and combat between the film’s main characters. The film, which won a host of awards at the London IFF 2017 and the Los Angeles Cinema Festival of Hollywood, is the story of an American woman who adopts an orphan from China and has brought it back to the United States. With adolescent rebellion, the child begins to gradually question the authority of her mother. Teen angst ensues and a rift is created between child and parent. As life educates the daughter, she prepares to sincerely apologize to her mother at her 18-year-old birthday party but the mother faints from weakness due to late stages of cancer. At the last moment of life, the mother and daughter finally understand each other.

Jifu had extensive conversation with director Liu Jiaqi about the emotional shading of the tone she wanted in the film. In creating the sound design for “Love is Color Blind” he used Avid Media Composer and Protools HD. The program creates sound Design effects and allows them to be categorized and moved around as per the director’s desire for subtle differences. These type of modern tools are equally applicable in major studio films or smaller indie productions. It’s a fact of the modern filmmaking era that both the tools and the skilled professional like Jifu who use them often work in both situations. The key factors in either are talent and hard work, something which Li is always mindful of. He reveals, “I remember when I worked for Kar Wai Wong the director and he told me an idiom which inspires me to this day. Everyone knows that the most valuable part of a toad is the toad oil but do you know how the toad oil is produced? The toad is placed under a light and is scorched by the light. It produces this oil, a process which takes about twenty hours. When I heard this, I thought ‘sometimes inspiration comes from dogged pursuit.’ The best thing/essence occurs at the moment when you feel you reach your limit and want to give up. If you persist, you might be surprised by your achievement. This is what keeps me working as hard as I possibly can.”

Cinematographers, Film, Reviews, Interviews & Features!

Ismaël Lotz on the honor of working alongside his childhood idols

November 11, 2017 pressva Leave a comment

When Ismaël Lotz looks back on his inspiration to pursue a career as a Director of Photography, Lotz recounts a unique combination of motivators. He recalls watching television and films with his father as a child. In fact, at the mere age of 7, Lotz saw E.T., and it was his first time seeing a film on the big screen. He was left in complete and utter awe, eager to see many more films just like it. After E.T., came films like Indiana Jones and Back to the Future. Eventually, he began experimenting with photographs and with shooting film on an 8mm camera. Even at a young age, he was confident that he could build a future out of his passion. His fascination with telling these gripping stories through different lighting techniques, filming methods, and sound styles opened an endless amount of possibilities and creative outlets for him to channel his artistry. He promised himself that one day, he would produce films that audiences would love the way he loved films like Back to the Future. Little did he know, he would one day work with the actors who crafted these stories before his eyes; however, today, instead of being his idols, these actors are also his equals.

Over the course of his career, Lotz has built himself into a highly sought-after Director of Photography in the arts and entertainment industry. His creative process typically begins when he assesses the story of a script and determines which style of film would best suit its inherent messages, moods, emotions, and atmospheres. Once he develops a vision for the script, he works tirelessly to ensure that he brings it to life in such a way that honors every element of the writer’s vision. Lotz distinguishes himself by his ability to capture every detail of a storyline, no matter how large or small. In his free time, he researches and experiments different filming techniques used by other directors of photography to master new techniques and broaden his range of abilities in order to enhance his skill set for the better of his future projects. In fact, in 2016, he had the unique opportunity to test his hand at filming a documentary called I Am Famous, featuring the life of Tom Wilson.

After he developed the idea of I Am Famous, Lotz was extremely excited about the opportunity to work with an actor that he had admired and idolized ever since he was a child. Wilson, who played the infamous role of Biff in Back to the Future, built an entertaining comedy reel out of his experiences after Back to the Future stormed the film industry. His role was so well known and vehemently disliked by audiences across the globe that he became accustomed to strangers approaching him and saying, “I hate you!” For I Am Famous, Lotz was not only the Director of Photography, but also the film’s sole director and editor. His personal approach to shooting the documentary allowed him to unveil Wilson’s true self. Being able to get to know one of the actors who inspired Lotz to become a Director of Photography was an opportunity unlike anything else he had ever encountered. He worked tirelessly to ensure that the final product of the project was nothing short of perfect.

“The way I create documentaries is very close and personal. I think the closer you can get to your subject, the more honest and real you can present them in your film. I like getting close to my subject on an intellectual level, but also with my camera. The result of I Am Famous was more than I could have ever dreamt. It turned out to be very successful,” told Lotz.

On the other side of the camera, Wilson was extremely humbled by the project. He doesn’t often allow for filmmakers to tap into his personal journeys; however, he felt that he could trust Lotz to portray him in an honest, organic light. He developed a confidence in Lotz that allowed him to feel at ease on camera and that allowed Lotz to challenge him to open himself up before his audience. When Wilson agreed to the project, he had no idea that he would be so moved by the final product and he felt that it was a distinct pleasure to be able to experience working with such a well-established Director of Photography.

“Working with Ismaël was a pleasure, as he is kind, easy to collaborate with, and keeps his humanity of the utmost importance – which is sometimes a rarity in filmmaking. His friendly demeanor makes a fine foundation for his skills as a cinematographer and director who gets things done. His knowledge of the technical demands that underlie the complex technologies of filmmaking are at the highest professional level and he has proven that with a long list of impressive professional work. In my almost forty years of filmmaking, I must say that Ismaël combines the essential ingredients for a successful filmmaker; a high level of technical skill, a deep commitment to the art of cinematography, and the personal character that makes for a solid and lasting success,” noted Wilson.

I Am Famous premiered in 2017 on ShortCutz Festival in Amsterdam. It went on to screen successfully at a number of subsequent film festivals such as the Miami Independent Film Festival, the Los Angeles Film Awards, New York Film Awards, Hollywood International Independent Documentary Awards, and many more. Knowing the film has done this well so early on in its screening life is a testament to Lotz’ prowess as a Director of Photography. He is motivated to explore the possibility of creating a follow up film.

For anyone aspiring to follow in Lotz’ footsteps, he cautions them to remain honest to themselves and to their environment. He understands that in his field, it is imperative to create as much as possible. With that, will come mistakes and ultimately, learning opportunities. By watching the work of other cinematographers, you can learn new techniques and gain an appreciation for all of the different styles present in the industry. The learning never stops and maybe one day, up-and-coming cinematographers will get to work with their idols and perfect their craft as Lotz has done in his remarkable career.

Director, Film, Reviews, Interviews & Features!

Saudi Arabia’s Talha Bin Abdulrahman is director extraordinaire

November 8, 2017 pressva Leave a comment

As a child, growing up in Riyadh, Saudi Arabia, Talha Bin Abdulrahman’s father used to rent movies and watch them with his family. This quality time together meant even more for the oldest brother, as he was enthralled by the films in a different way than the rest of his family. Bin Abdulrahman knew then that he was meant to be a filmmaker, and has spent his life making that dream a reality.

Now, as a director, Bin Abdulrahman does exactly what he always dreamed of. He creates all new worlds, and sees his job as gathering all the pieces of a puzzle and putting them together just right. This viewpoint is that of a perfectionist, which is exactly what Bin Abdulrahman is when it comes to filmmaking. His newest film, The Scapegoat, is a telling tale of a writer going through a rough spot, and is expected to be a strong contender at many of the world’s most prestigious film festivals. This is no different than his previous work. His comedic musical Film School Musical is an award-winning look at the difficulties a young filmmaker can go through, and his feature Viral Night, although still in pre-production, is a thriller that audiences can already look forward to.

“The rush of being on set, there’s nothing quite like it. You get to see performances of talented people giving you their best with what they were given, even when things go south there’s always some kind of silver lining or a lesson to be learned so you avoid it in future situations,” said Bin Abdulrahman.

One of the director’s favorite films to work on was the 2015 dramatic thriller Served Cold. Honoring television shows like Breaking Bad and Better Call Saul, Bin Abdulrahman wanted to tell a story about the drug world, showing that there is no clear-cut black and white in this world. Therefore, Served Cold is about a former drug lord who is sentenced to life in prison after killing an undercover cop. With the help of his shady attorney, he has to take desperate measures in order to be with his teenage daughter.

“There is a lot of interesting grey areas to discover and I wanted this project to shed some light on that theme. It’s essentially a cold revenge story about a criminal lawyer who poisons one of his clients who was sentenced to do a life sentence for illegal drug trafficking and killing the undercover DEA agent, who is also the lawyer’s father by adoption. This scheme doesn’t go as planned,” said Bin Abdulrahman. “Revenge stories can be very emotionally engaging and it’s a good way to see the characters faced with their worst nightmare, the rage behind the revenge fuels the whole story and it’s satisfying for the audience to go through this emotional journey.”

Bin Abdulrahman’s vision for the film was achieved when it won the “Audience Choice” at the SFA awards in January 2015, which was being held at the same time and place as the Sundance Film Festival. The film’s rights were then sold to ShortsHD, an international cable channel, where it was such a hit with audiences that it has aired twelve times during 2015.

“It feels very rewarding to be validated by awards and audience reactions. I think to myself that I must be headed on the right direction. It feels reassuring after five months of work to know that it wasn’t for nothing and it boosts you to move on to your next project,” said Bin Abdulrahman.

After writing the script himself and self-financing the production with his producer, Bin Abdulrahman made the decision to also direct the film. After finding the right cinematographer, the project took off. Immediately, Bin Abdulrahman became committed to telling the story of Served Cold with a specific vision in mind. He knew the look and feel that was appropriate for the genre and worked hard to bring the script to life. The story is very moody and has layers of dark tones, so maintaining that feeling depended a lot on the actors and how realistic their performances were, so as the director, Bin Abdulrahman strived to get the best out of his cast, and his efforts paid off. It gave him quite a lesson on finding the best way to get his actors in the mood and to get them be very serious, as all of the scenes were extremely intense. Throughout filming, the director strived to be fully harmonious with his crew, and he succeeded.

“Working with Talha is a blessing. He comes to set extremely prepared, knows what he wants and is very easy to work with. I enjoy working with directors like Talha who makes a producer’s life easier,” said Maan B., the Producer of Served Cold. “Talha is a very talented, creative, and visionary director. I experienced it on set with him; we came to set one day with something we have long prepared for, but something did not work, so Talha came up with a better idea on the spot and we continued with our day without losing money. That’s the kind of directors I like. He’s not married to his ideas. He’s open to suggestions and anything else that will help the project for the better.”

Bin Abdulrahman knows just how to bring the best out of those he works with, and the best out of himself. It is what makes him such an in-demand director, and why he will continue to have such a prosperous career.

Film, Producer

Producer Sherry Yang scares and educates audiences in new thriller ‘Under the Pieces’

November 8, 2017 pressva Leave a comment

The moment Sherry Yang steps onto a film set, she falls in love with what she does all over again. She is an extraordinary producer, and her passion for her work translates into each and every film she has done. She loves the feeling of working tirelessly night and day, as it allows her to see the magic of the filmmaking process in its entirety. She loves that as a producer, she nourishes a project from beginning to end; she works with every department; she is the go-to person for any problem that may arise and always has a way of solving it. For Yang, her work is more than satisfying, it is addicting, and that is why she is in demand all over the world.

Yang has produced many high-achieving films, and the success of each comes down to her talent and work ethic. Her versatility is superlative, and whether working on a historical story, such as the award-winning film The Letter, a telling comedy, exemplified by her films Jiaozi and Cash Back, or meaningful dramas like Te Echo de Menos, Yang’s producing is continuously top-notch. She has now also extended her resume to the thriller genre with her work on the new film Under the Pieces, and she has once again showed the world what she is capable of.

“I had always been very interested in the human psyche, which sparked my interest in Under the Pieces. I have been especially fascinated by the notion of dual personalities. This film decided to take a step further and make it multiple personal identities, and that made me excited. It was going to be another challenge to see how a mysterious murder would play out. I wanted to be one of the key elements that help in bringing this story to its successful,” said Yang.

Under the Pieces - Yuki Yoshimatsu, Brittany Fisheli, Sherry Yang - photo by Vera Zhang — Yuki Yoshimatsu, Brittany Fisheli, and Sherry Yang – photo by Vera Zhang

Under the Pieces follows a detective as she tries to put the puzzle pieces together of a horrendous murder that occurs inside a loving couple’s home. Yang was responsible for gathering the team, setting up meetings and rehearsals, and running daily productions. She also had to hire a writer and director. When she found Yuki Yoshimatsu, Yang then was involved in the creative aspect of the film. She would go over each draft and work with her team to ensure they were telling the right story. This made her extremely attached to the script, and she had to make sure she found the right actors for each part. Finding someone who can convincingly portray multiple personalities is not easy, as they had to be someone who could change their entire disposition just from the look in their eyes, but eventually she found just that in Mikael Mattsson. Her work was not done after that; once filming was completed, the team then looked for the ideal editor, one who would display the story in a manner that the audience would understand what happened whilst keeping the mystery of it until the very end, which they found in Monge. Undoubtedly, the film could not have achieved what it did without Yang, and these thoughts are echoed by her team.

“Sherry demonstrated exceptional problem-solving skills and communication abilities within and outside the production crew. In particular, when working with her, I don’t remember having a single problem with other departments or locations. When a producer is talented and particularly adept at their job it often goes unnoticed, because everyone else can tend to their own responsibilities without unexpected distractions. In this respect, Sherry was always an unsung hero on set by solving every ongoing problem that we were unaware of at the time. She is the best kind of producer, one who provides an environment where everyone on the crew can excel up to and beyond their individual abilities to collaboratively make the best possible product. I don’t even know much about her past work and accomplishments because when I’ve worked with her she has always been focused entirely on the job at hand rather than talking about herself. The filmmaking business is often correctly characterized for its narcissism. It is an industry where many people prop themselves up by tearing others down. It is notable that I have never heard a negative comment about Sherry from anyone else or a diminishing remark from her about anyone else. This might seem like a small thing, but it is a significant asset to the film industry because she has the type of work ethic and personality that sets a cultural and social example for an industry that is too often lacking,” said Edwin Beckenbach, a gaffer on Under the Pieces.

After premiering at the Los Angeles Cinema Festival of Hollywood in February where it won Best Student Film, Under the Pieces has had quite the film festival run. It was a selection at the celebrated Cannes Short Film Corner, as well as the L.A. Shorts Awards 2017 where it won Best Short Film Silver Award and the NYC Indie Film Awards 2017, where it took home Best Short Film Platinum Award.

“It is exciting that the film did so well. I am happy that many audiences and festival juries were able to understand the story and enjoy it. It assures us that the film was understandable and that we were able to tell the story correctly. We hope that this film has not only surprised audiences with the ending, but that it allowed them to connect with its message. We wanted the audience to understand that although perhaps not to the extreme of murder, but any individual in a stressful situation can snap with one simple push,” said Yang.

The film started out as Cinematographer Royce Gao’s passion project. Gao approached Yang knowing she was the best producer possible for her cherished film. Yang was not only eager to tell the story, but also to take on a more creative producing role, finding the correct writer and director, and being a part of the writing process. This made communication critical for the project’s success.

“I truly liked how I got to be involved creatively. The fact that I was able to put a few inputs to the story made this project a lot more personal to me. It made me more passionate to make sure the story was told right. I enjoyed being valued not only for my skills as a producer, but also for my creativity,” she said.

Above all else, however, Yang wanted to tell the story not just as a thriller that would excite and terrify audiences, but as a teaching tool. She wanted to educate viewers on multiple personality disorder, and put in a lot of research to make the story as authentic as possible.

Be sure to check out Under the Pieces and get a glimpse into Sherry Yang’s outstanding producing talents.

Top photo Victoria Geske, Sherry Yang – by Yuki Yoshimatsu

Artist, Film, Reviews, Interviews & Features!

Tooba Rezaei experiences the magic of touching hearts through ‘A Sweet Dream’

November 7, 2017 pressva Leave a comment

A-sweet-dream-poster-small — *A Sweet Dream* film poster

One of the most unique joys of being an artist is knowing that your work evokes raw, human emotions within those around you. Visual arts have the ability to transcend the mundane aspects of human life and to push people to explore themselves and the world around them. Over time, art has created change. It has inspired and influenced. It has created chaos and disruption, and it has birthed a community of dreamers, and creators. It has produced renowned artists like Tooba Rezaei, whose passion has allowed her to touch the lives of several different people throughout her career. For Rezaei, the true joy of her craft comes from the platform it gives her to make people feel things that they may not otherwise have the chance to feel. She gets to tell stories and to motivate her audiences to dream without limits.

When Rezaei was a child, she would immerse herself in cartoon television shows. When each show ended, she would take her pen and paper and challenge herself to draw all of her favorite characters. She was energized by the feeling of her pencils exploring the paper and loved the creating things that hadn’t otherwise existed. As she grew up, she continued to test her skills against various mediums and art forms within the field of visual arts. This led her to discover the wonderful world of animation, a world in which she feels that she belongs. She has a natural affinity for bringing her drawings to life via animation and loves the dynamics that the motion brings to her artwork. As an animator, Rezaei has created a number of well-known animations, such as her original animation, A Sweet Dream. Prior to creating A Sweet Dream, however, Rezaei experienced her first sense of impacting the lives of others through her artwork with her animations for the game SilverFit.

SilverFit was a game designed specifically for use by an older demographic. Essentially, it is a virtual therapy system to be used to train gross motor skills and ADL tasks during rehabilitation sessions. The game presents the necessary exercises for elderly individuals to follow along with and keep their muscles working accordingly. Since its inception, the game received great success and is now used by over 20,000 individuals a week. As SilverFit’s first designer, Rezaei acted as the background designer, background painter, character designer, and character animator. She designed a wide variety of different games, each based on the use of different motor skills to suit the game’s intended audience. In working for SilverFit, Rezaei got a taste of what it felt like to know that her work would directly aid in helping improve the health of its target audience. It gave Rezaei’s art a meaningful sense of purpose and she was addicted to the high of helping those around her. SilverFit’s founder and managing director, Maaike Dekkers-Duijts, was blessed to have Rezaei on board for the project. Her talents exceeded far beyond simply animating.

“Her animations really seem to come alive. They really ‘touch’ you. She is a great artist, creating extraordinarily beautiful animations. She is so artistic and has exceptional talent,” regarded Dekkers-Duijts.

After the success of Silverfit, Rezaei then extended her talents to the children’s show Parparook for Persian Gulf TV. Parparook (meaning ‘Pinwheel’ in the South of Iran) is a special program that is produced and distributed in Kahlije Fars IRIB (Islamis Repablic of Iran Broadcasting, also known as Persian Gulf). Rezaei wrote, directed, designed, painted and animated all the characters and all the objects on the background of Parparook, creating everything from scratch and differentiating her shorts from everything on the show. The producer and manager of the program were so happy with results that years later they used some of Rezaei’s work for other kid’s television programs as well.

Knowing that she had always wanted to create her own animated story, she knew that in order for it to be truly worth her while, she would need to give it an element of social influence. She wanted to do more than just entertain, and out of this determination, A Sweet Dream was born. A Sweet Dream can be described as a bittersweet, allegorical look at the desires of a little girl who wants the world to see her talents shine through her difficult life circumstances. Not only did Rezaei animate this project from start to finish, she also wrote and directed the storyline. To fit with the animated short’s premise, Rezaei felt it fitting to use a simple, two dimensional, flat design. In fact, she felt that the simplicity of the drawings was imperative to the overall mood she was attempting to portray. She wanted it to seem as if the little girl could’ve drawn the lines and shapes herself, making her world easier to relate to for her audience. Rezaei then added a second element to her design concept by showcasing the little girl’s reality through dark blue tones and contrasting it with her dream state, which Rezaei colored in golden tones.

“In her dream world, forms are curvaceous and delicate. There is dance and movement and inspiration. However, in reality, she is in an orphanage and the forms of the beds and the room are sharp and straight with harsh angles, alluding to her real-life struggles and difficulties,” said Rezaei.

Rezaei hoped that A Sweet Dream would challenge her audience to question their own harsh realities and evaluate them against their own hopes and dreams. She wanted them to think about how they would react if they were in the little girl’s shoes. Would their dreams be squandered by their reality? According to Rezaei, if we don’t push ourselves to understand the lives of others, we can never truly improve our society as a whole and make our collective world a better place. She felt as though A Sweet Dream helped to remind her why she does the work that she does. Seeing her audiences shed tears over her story solidified the reality that this is exactly what she wants to be doing and that she had succeeded in her efforts to make them stop and think about the consequences of their actions.

After screening at a number of different film festivals, A Sweet Dream even went on to win Best Animation at the Los Angeles CineFest, as well as Finalist in Animation Short at both the International Film Awards in Berlin, Germany, as well as at Constatine’s Gold Coin Festival in Serbia. If you wish to experience the magic, watch A Sweet Dream for yourself and you won’t be disappointed.

Image by Tooba Rezaei, captured from ‘A Sweet Dream’

Behind the Scenes, Cinematographers, Film, international Talent, Reviews, Interviews & Features!

“IF” HONESTY IS BEAUTY

November 6, 2017 pressva Leave a comment

Director Nikki Ormerod wanted to use her background in still photography as an inspiration for the film “If” which celebrated the differences in human beings. She wanted the most basic of presentations in order to focus all attention upon the individuals presented onscreen. She had long desired to work with cinematographer Stuart Campbell and was pleased when he consented. The resulting film was an official selection of the Ottawa Film Festival (2016) and earned Campbell a nomination for Best Dramatic Cinematography from the Canadian Society of Cinematographers. The most fitting description for the film would be classic. “If” is streamlined and yet possesses a massive emotional impact. If (no pun intended) the desire of Ormerod and Campbell was to exhibit the corporal form and communicate the essence of our connective substance, goal soundly achieved!

Most directors hope to capture a performance that is believable. In her film “If” Ormerod wanted to simply capture the beauty and complexity of what is already in existence. The desire was to manifest a “filmic version” of the type of photography that interested her most. The soul of the individuals onscreen should be visible and instantly relatable to the audience. Nikki knew Stuart’s work and knew that he understood how to capture the correct moments to exhibit this. She confirms, “Stuart elevated the film to levels of quality I had never thought possible. ‘If’ is a very simple film that centers purely on showing the faces of a variety of individuals from different walks of life. Considering the static nature of the shots, it was necessary to have a cinematographer that could think beyond just shooting beautiful photography and instead capture thoughtful, conceptual, and cinematic imagery that delved much deeper, which is exactly why Stuart was the only man for the job. Based on my initial idea, Stuart brilliantly introduced the idea of incorporating slow motion shots and poetic narration to the film to help support the idea and visuals, which I must say was a stroke of pure genius. The slow motion shots and use of black and white photography created strong rhythmic and timeless imagery.”

Working together, director and cinematographer created a visual statement which communicates a unifying vision of community; one which literally shows how we are all the same regardless of age, sex, race, religion, and other factors…because we all feel the same emotions. The Rudyard Kipling poem supplies the verbiage which tells this but the imagery packs the punch of this idea. Within mere seconds of viewing those onscreen, one can see the same desires, hopes, and motivation in an outwardly eclectic yet inwardly cohesive group.

The sincerity and simple beauty of Nikki’s idea for the film spoke so loudly to Campbell that he offered up a streamlined and simple approach to the camera’s view. In its singular manner, the cinematography of “If” established the ability of the audience to focus on the individuals seen on the screen rather than a variety of framing, lenses, and other technical processes that Stuart could have used. There’s no shortage of technology available to use on a film these days. Drones, Go Pros, and other technological gadgets enable a cinematographer to create a myriad of different looks for their work. Stuart explains, “Some prefer to have a lot of toys at their disposal so they have options while they’re shooting. I prefer to figure out what needs to be done and focus in on that and get the gear that is needed. Different jobs have different needs. Some jobs you really do need to have two, three, four cameras around because that’s what’s appropriate for the job and what you need to cover. Personally, I love one camera jobs because it allows me to shoot everything the way that I think it needs to be shot. Controlling? Maybe, but everyone is different and everyone sees the world differently. Someone else may not shoot something the same way I would. And sometimes things come up where you need to adjust and roll with what’s happening. There’s no guarantee that someone else will react the same way.”

There’s something to the idea that a great cinematographer gets inside the brain of the director they are working with. If the cinematographer is the eyes of the project, the director is most certainly the mind and heart of it. Campbell contributed more than just the images seen in “If” because he “got” Ormerod. Nikki’s original idea was to have music, vague & droning instrumental tracks to accompany the people seen onscreen but after prompting from Stuart and some research, the Kipling poem was added and gave a whole new dimension to the film. That poem was written for Kipling’s son as a piece of paternal advice. It gives general conditions to succeed in achieving a happy & beautiful life. If everyone lived by similar “rules” the world would be a much different place, and potentially a much happier one.

One very obvious and complementary part of Campbell’s contributions to “If” is the use of slow motion. The gravitas of the imagery in the film, coupled with the poem by Rudyard Kipling, are enhanced by the calculated lethargy of the movements seen in the film as a result of this. This grants the viewer the ability to hang on every person, every frame, every emotion, fully supporting the idea and experiment of a “moving photograph”, as was the director’s original desire. Stuart confirms, “The slow motion was a very clear way to allow the viewer to really take in the emotion that the subject was giving out. Like a photograph, the longer you have to sit with something, the more story comes out of it. It was an opportunity to let the viewer take their time and experience the visuals along with what was being said in the poem. The film is an emotional piece and sometimes it’s best to just take your time with things. Using slow motion also gave us an opportunity to make some emotions mean more by speeding them up or picking a speed somewhere in between. Shooting in slow motion just gives you options and lets you bring some more drama to what you’re shooting (sometimes).”

Stuart Campbell is known for getting amazing results with an often very basic camera set up. While he is quite comfortable with the updates that technology’s cutting edge offers up, it’s because this cinematographer is so committed to story and connecting with the essence of a production that he often uses a very limited set of tools for himself. It’s via this “primary” approach that Campbell feels he is able to more sincerely communicate the essential ideas that the storyteller wishes to impart. It’s Stuart Campbell’s contention that more tools do not make one more skilled, rather it’s by using the tools you have when they are called upon that empowers one to honestly communicate the essential idea of any story.