Category Archives: international Talent

Graphic Designer Laura Suuronen’s Flair for Arresting Visuals

Graphic designer Laura Suuronen’s command of virtually every conceivable visual format—designing everything from billboards and logos to web sites and product packaging—has established her as one of the preeminent leaders in her field. Suuronen’s gift for delivering a final product which surpasses her client’s original expectations is a skill that’s earned her an international reputation of significant renown.

She has a particular affinity for projects from the world of art and publishing—sophisticated platforms where her impeccable visual style and deep well of skill and instinct really come into play and one of Suuronen’s most striking achievements was her design of a monograph on famed artist Timo Heino for a retrospective exhibition at the Helsinki Art Museum.

“Timo Heino was represented by Galerie Anhava, the leading contemporary art gallery in Finland, who is a client of mine,” Suuronen said. “I’d seen his installation ‘Addiction’ when it was exhibited there, but otherwise I wasn’t familiar with his work. I’d already designed the 20th anniversary book for Anhava, and when Heino asked the gallery directors for recommendations on designers to do the catalog for his retrospective at the Helsinki Art Museum, they dropped my name.”

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This was no simple task. Heino is an acclaimed artist with a distinct approach that frequently emphasizes a striking juxtaposition of man-made and organic substances, and Suuronen relished the chance to complement his visual style. The project required her to bring all of her creative techniques to the table—art direction, graphic design, typography, photo editing, layout design—and the book she produced was a stunning example of Suuronen’s versatile design genus.

She managed every aspect of the challenging task from the top down, and typically, expanded her role to also create a visual identity for both the exhibition and its promotional materials.  “I created the entire book,” Suuronen said. “The client only provided me text files and photographs. I art directed and designed the whole thing book from the format, materials and photo editing on up. I decided the size and shape of the book, how it’s bound, selected the papers. I chose the typefaces, designed the typography, selected the images, and conceived the structure of the book, its rhythm, its pace, and further highlighted that by the use of different paper stocks.”

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From there, Suuronen went directly to the source to finalize the project. The whole process was pretty informal and most of what I presented got approved straight away, from the structure and layout style to paper stocks,” Suuronen said. “For the cover I offered several options, and they chose the one which best fit Heino’s work—we made it into a curious object, a hard cover book complete with soft, squishy cover boards. Seriously, who makes a book to be like an egg?”

Upon publication, Suuronen’s eye-catching mixture of elegance and eccentricity quickly earned significant notice. The monograph was recognized as a Beautiful Book by the prestigious Finnish Book Art Committee’s annual Most Beautiful Books competition and also by the Finnish Art Society with an honorable mention in its Literature Awards category. The Book Art Committee described Suuronen’s work with particular enthusiasm: “What is this? Human skin, animal hide, marble? The cover of this book casts the reader straight into the physical nature of contemporary art: grab, squeeze, open. Anyone who dares to venture into this book is rewarded with a fine introduction to the artist´s works and a pleasant reading experience. The difference between the natural-yellow of the text pages and the chalk-white paper of the photo pages, the calm and well-paced layout and the modern typeface all deserve due thanks.”

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Typical of Suuronen’s intuitive style, the book’s design itself reveal as great a depth of insight to the subject as the text and illustrations. “The book presents an experience similar to viewing Heino’s work in a museum setting, but with deeper insight into the artist’s philosophy and approach,” Suuronen said. “The text pages are printed in black only on uncoated cream-colored paper, while the projects are presented in full color on bright white, coated pages. The differences in paper stock not only create rhythm and pace into the flow of the book, but also make each section better functioning: the text sections are easier to read from the off-white, and the artworks are better reproduced on the coated paper. There’s also a few underlying narratives that run hidden throughout the book, should a reader really commit to the experience… there’s different levels in it.”

This is key to Suuronen’s constantly expanding international profile—her innate ability to enhance and elevate a project to the point where it assumes an even greater impact and significance for its audience. As the esteemed American designer Vanessa B. Dewey, formerly Mattel’s Lead in Creative and Development Experience and current LA Design Festival Board of Directors member, said, “I’ve been a fan of Laura’s work for some time—it is a fresh voice that stands out from current design. It possesses a refreshing elegance that catches your eye and pulls you in. While exploring, you’ll discover thoughtfully designed books with brilliantly sophisticated type to vibrant sculptural branding or poster design. Overall, it’s intelligent, simply brilliant design that’s never forced.”

The Los Angeles based Suuronen’s professional recognition steadily grows with each project, making her one of the most in-demand graphic designers anywhere—so much so that her current, very high-profile work load is subject to client mandated non-disclosure agreements. But, with her distinctive flair for arresting visuals, you’ll know it when you see it.

“I’d designed books and record covers before,” Suuronen said. “And these are the most permanent and culturally relevant mediums in the field of graphic design. I actually prefer making things that stand the test of time, as opposed to short lived, more commercial projects. I’m not interested in adding to the noise and clutter, but seek to create work that connects with people. I do love what we ended up with—I live for this stuff.”

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From “Intrusos” to Hollywood Cinema: Actress Nazarena Nóbile

Nazarena Nóbile
Argentinian Actress Nazarena Nóbile

Argentinian beauty Nazarena Nóbile will be making her debut in U.S. cinemas later this year with roles in the upcoming feature films “Summer Night” and “Intolerance: No More.”

Directed by Satellite Award winner Joseph Cross “Summer Night” stars Victoria Justice (“Victorious,” “Zoey 101,” “The First Time”), Justin Chatwin (“War of the Worlds,” “Shameless”) and Analeigh Tipton (“Manhattan Love Story,” “Two Night Stand”).

“Joseph Cross is amazing. He is such a wonderful person. I mean, I knew him as an actor but he surprised me as a director,” says Nóbile. “He is such a nice guy. And his wife and his little daughter Amelia is a sweetheart. In fact, she played my baby daughter in the film.”

Prior to making the move to the U.S. with her husband Juan Baldini three years ago, Nóbile  established herself as an actress through featured roles on several popular Telemundo series such as the multi-award winning show “Silvana Sin Lana,” as well as “Quien es Quien” and “Eva la Trailera.”

Aside from her onscreen reputation in Latin America, Nóbile emphasizes the help of producer and fellow Argentinian, Angel Cassani (“Never Surrender,” “The Pastor”), in connecting her with the right people in the states and sparking her transition into the U.S. film industry.

She explains, “I met Joseph Cross and producer Tara Ansley thanks to Angel Cassani. We met through a skype conference because I was in Buenos Aires at that time, my father had health issues and I had to keep him company for a few months last year. And suddenly they told me there was a part for me. I played Harmony’s sister… It was a small part but I was so happy to be involved in that movie. It was my first important project in LA and I truly appreciate they had thought of me for that.”

In the upcoming film “Summer Night” Nóbile’s character is the disturbed sister of the lead character Harmony who is played by Victoria Justice.

“It’s about growing up…. And how difficult it is to go from adolescence to grown up life,” says Nóbile about the film.

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Poster for Sergio Guerrero’s “Intolerance: No More”

In the upcoming film “Intolerance: No More,” a cop drama directed by Sergio Guerrero who earned the Cartagena Film Festival’s  Golden India Catalina Award and the Gramado Film Festival’s Special Jury Award for the film “A Day Without A Mexican,” Nóbile will be taking on a larger role as Lucy, the wife of a cop who’s struggling with concepts of life, death and justice. Produced by Yeniffer Behrens (“The Power of One,” “Encounters,” “Between the Lights”).

Nóbile says, “The film is about the abuse of power, which is in the spotlight a lot these days. It’s a very interesting movie. And it is filmed in a very interesting way. I think it’s gonna be a great surprise for a lot of people.”

Nóbile also has a producer credit on the upcoming film “On the Other Side,” a film that centers on immigration and is currently in post production. Clearly this multi-talented Argentinian has been busy making moves in the states. She is also planning to relocate from Miami to Los Angeles very soon.

I’m so happy living in the US. I love this country, Miami, New York, Chicago, but Los Angeles is my favorite place in the world. I feel most at home there.”

Though Nazarena Nóbile began acting as a child, it was actually while working as a journalist in Argentina that her name first became synonymous with ‘celebrity’ across Latin America. She admits, “I started to work as a journalist for very important Argentinian newspapers and TV networks. I mean, even though acting was my first and true love, journalism was my first important job in the entertainment industry.”

And it was upon landing a recurring role on the entertainment show “Intrusos,” Argentina’s version of “TMZ,” where she was a regular entertainment journalist and panelist for several years, that Nóbile such a well-known figure across Latin America. Though she says she doesn’t regret the decision to move to the U.S., that doesn’t mean leaving her home country and her position at “Intrusos” behind didn’t bring some sadness.

“‘Intrusos’ is one of the most important TV shows in South America. It was very hard for me to leave” she explains. “I love my country so much. It’s such a beautiful place to live. And the people are amazing there, Argentinians are very special people. I miss a lot of things.”

But it seems as though she’s adapted to stateside living quite quickly as well. And with both “Summer Night” and “Intolerance: No More” in post-production and expected to be released in the upcoming months, it’s safe to say audience in the states who didn’t know Nóbile before, will definitely know her after.

 

SALLY KINGSFORD IS HAPPY TO BE THE HEAVY IN THE AWARD-WINNING “STAMP”

Headshot 3Australia’s Sally Kingsford in known for playing comedic roles. She’s good at it and both peers and public know this. Being funny on camera is an inherent trait for some actors and it most certainly applies to Kingsford…she understands this. As Ashely in the award-winning and commercial hit Australian television comedy series “Summer Heights High”, Sally became an instantly recognizable comedic personality in her homeland, Europe (BBC 3), the US (HBO and Netflix) and other parts (such as the Comedy Channel in Canada). Numerous other productions have made use of the actress’s propensity for comedic moments but it was award-winning director Lukas Menitjes who wanted to flip that concept. He asked Kingsford to appear as the heavy, known as “The Suit” in his film “Stamp.” More known for being the always positive and often abused well natured character, Sally’s portrayal of “The Suit” in “Stamp” is that type of person we all love to hate, or at least strongly dislike. The actress was eager to show a greater breadth of range to her abilities in this film. While she has been often praised for the performances she’s given in a host of beloved productions, “Stamp” allowed her to show how she can bring a darkness to comedy as well.

Lukas Menitjes wanted to create an absurd comedy in “STAMP” and he felt that Kingsford would be the perfect villain for his story. As “The Suit” Sally appears as an obnoxious, self-involved, self-important professional with an over-inflated ego demanding others cater to her demands and condescending attitude. There’s plenty of comedy, based on reality in events of one Monday morning in a coffee shop. Rebecca (the barista) is hounded by a customer (Andrew) to get a free coffee after she refuses to give him an extra stamp on his coffee rewards card. Andrew tries various disguises to trick Rebecca into serving him. Rebecca eventually relents but takes solace in making Andrew the wrong coffee. “The Suit” adds to the chaos of the film (and Rebecca’s stress) by making her life at work a living hell with her demands. In a passive aggressive display, she complains on the phone to her friend about the barista right in front of her. “The Suit” serves to contribute a strong sense of reality by providing a more realistic character for Rebecca (the barista) to interact with in contrast to Andrew’s over-the-top characterisation and actions.

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Ask a director and they’ll likely tell you that the actors they choose for their villains are the ones who present them with a sense of humanity and relatability rather than one dimensional and cartoonish. In spite of her character’s exhibited negativity and rudeness, Sally sees her as very sensitive and donning a harsh defensive exterior to avoid being hurt. Meintjes confirms that it’s the actress’s ability to go deep into a character that caused him to approach Kingsford for the role. He professes, “Sally is an incredibly talented and diligent performer. In STAMP she delivered an excitingly bold and magnetic performance as ‘The Suit.’ The best actors have an insatiable inquisitiveness; this obsession enables them to create memorable performances. I can’t think of a more fitting description for Sally. Her passion is quite unlike the motivation I’ve seen in other actors. She is determined, honest, and possesses unequivocal integrity.”

Kingsford describes her preparation for roles as detective work but perhaps not in the traditional manner followed by most actors. Rather than delving deep into her own character first, Sally prefers a holistic sense of story, viewing the characters and actions from different angles/perspectives and then honing in on her place in the “big picture.” When she finally began focusing on her role in “STAMP” she looked outward. She communicates, “I did a lot of people watching. There is a street in Melbourne called Collins Street and the top end of it is known as the ‘Paris end’; it’s where all the most expensive designer stores are and where the most elite businesses and firms have their offices. This was the kind of place I imagined ‘The Suit’ going to work. I loitered around and watched people going to work in the morning paying particular attention to their physicality and imagined the kind of lives they lived. I knew that Andrew’s actions in the film were going to be over the top so I approached ‘The Suit’ in a very natural manner. I really enjoyed this role that was really a dramatic character in a comedy. I’ve done a lot of work in comedies being the funny one and it was nice to switch that around in this film.”

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Not only was “STAMP” embraced by the public but the short film received three nominations and a win at Australia’s Martini Awards. While the film industry peers who voted for the it appreciated Kingsford and her fellow cast and crew’s talent, the general audience recognized a part of their own lives that was delivered in a way that somehow made a common & difficult occurrence entertaining and enjoyable. Beyond the experience of working with the talented production members of “STAMP”, the woman in “The Suit” notes that there are some valuable life lessons to be taken from the film: 1) Don’t try and cheat the system, it won’t work, 2) Hard work and determination doesn’t always pay off, & 3) Don’t work as a barista…the customers are either incredibly rude or crazy.

 

Animator Sijia Huang brings joyful characters to life in new film ‘Breakfast’

As an only child, Sijia Huang was always looking for ways to entertain herself. She didn’t have any siblings to play with, and growing up in Chongqing, China, she immersed herself into movies from a young age, finding that it not only passed the time, but consumed her every thought. She knew she had to be a part of that world, and loving drawing from an early age, she became committed to knowing everything she could about animation. She studied her favorite films and scoured video stores to find new movies she could learn from. Now, she is an acclaimed animator, winning audiences around the world over with her unique style and commitment to her craft.

Her films Box Home, Quitting Brave Victory, Measures and Frames and Hear No Evil, Speak No Evil, See No Evil have allowed the world to see just what Huang is capable of. Her ability to generate smooth animation while still maintaining a good balance between tension and looseness generate the perfect rhythm for her films. She knows that in animated films, her work is the entirety of the visual aspect, making up 50 per cent of the movie goers experience, and she knows how to make that lasting impression.

“Just like having good actors or actresses in a film, a professional animator can create lively characters that will contribute lots to the story. A good story is one of the most important parts of a film. The power of a well animated character, a good story, and the aesthetic value behind an animated film is why I want to be a professional animator,” she said.

Huang’s most recent film is titled Breakfast, in which she was both the director and leading animator. She designed and crafted all the puppets and did all the stop-motion animation. Breakfast is a combination of 2D and stop-motion animation. The character design is what intrigued Huang to take part in the film, with a unique take on stop-motion puppets. She also found the script interesting, with funny and unique characters.

The story begins with two hands hitting two eggs. As the hitting goes on, the two eggs start to crack and finally explode into pieces. Two creatures come out of the eggs. One is a duck with hairy human legs. The other one is a muscular man with duck feet. The duck and the man both have a crush on each other and start to dance. In the middle of the dance, the two hands interrupt them by hitting them on their heads. A chase and fight commence. In the end, it turns out all the encounters and fights are happening in a child’s imaginary world when he plays with his toys – a rubber duck and an action figure, during his breakfast.

“The story is more about viewing the world with children’s perspective and the positive messages behind the story include love, support and equality,” said Huang.

Huang began working on the animation back in 2015, and it took over two years to perfect every image. After premiering at the New York Short Film Festival 2018 where it was an Official Selection, the film has already seen great acclaim. It was an Official Selection at the 2018 GUKIFF Animated Short, UK Monthly Film Festival, and the Oniros Film Awards. It also had an Official Screen at the Oregon Shorts section in the 41st Portland International Film Festival. At the Los Angeles Movie Awards, Huang was awarded with Best Animation for her work on the film, and at the Los Angeles Independent Film Festival she won Best Director. Needless to say, none of the film’s success could have been possible without her considerable contributions.

“Knowing the film has been so successful means a lot to me, as the director and the leading animator on this film, I had a lot of pressure. At the beginning, I didn’t know if the audiences would like the characters or not. This film is all about these interesting characters, which I personally love and had lots of fun on animating. It turns out that audiences really like it too, Every effort paid off at the end,” said Huang.

Huang was responsible for all the stop-motion animation in Breakfast, which was 90 per cent of the entire animation. Stop-motion requires working with puppets. While making the puppets, she was very careful when it came to the mold and cast process, one of the greatest challenges. When she began the process, she had no experience in casting them, and through trial and error, eventually created characters that were even better than the original design.

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Sijia Huang, Stan Lee, and Yifu Zhou with the Digital Domain team

“I first met Sijia when we worked together on some digital content pieces for Stan Lee, and immediately recognized her exceptional talent and matchless vision. She is one of these rare talents, as she clearly demonstrated in Breakfast, and her reputation precedes her in the industry. Her stop-motion work is renowned for being refreshing in the animation world, as it is simultaneously mature, artistic, and avant-garde,” said Yifu Zhou, Vice President and Visual Effects Supervisor at Digital Domain.

Although they are not human actors, Huang says the puppets require a lot of care. For example, the Duck character has a pair of hairy legs that need special handling and care when animating. Therefore, she chose to only touch the joints that she needed to bend so that the leg hair would not fall off. She also used baby powder to help reduce the stickiness of the silicon surface.

“The ball and socket armatures were so fun to animate. I enjoyed the experience of animating on stage. It is hard to imagine without the ball and socket armatures, how to work on some of the shots. The most difficult part is to animate characters in the air. Two characters in the film are made of silicon and super sculpted. The materials and steal ball and socket armatures make the puppets heavy to animate. In order to stable them in the air, I used special designed rigs, so I can tie the puppets to the flying rigs to create movement in the air,” Huang described.

Music was also a big part of the film. Not only did Huang find the ideal composer in Lance Trevino, she also needed the choreography to be perfect. This required an ample amount of research on Tango dancing in order to perfectly execute the animation. To do so, Huang analyzed the patters of the dance steps and extracted the key movements to fit the animation style. Her dedicated resulted in the Tango being the highlight of the film.

“I loved the film, so animating it was really fun. When you see the characters on this film, you will know why I love them so much,” she concluded.

Be sure to check out Breakfast to know just what Huang is talking about.

EXCAVATING THE EMOTION OF HISTORY WITH A CELLO

working photo for cello player

(By Luigi Paglia)

Dong Lei has many credits to his career as a production designer. As PD for award-winning films such as Emily, Cage, and Next Door, he has enabled films of varying genres to deliver their story with immense success. Sometimes one must step out of a comfortable role in order to stretch and learn. For Lei, taking the responsibilities of writer, director, producer, as well as production designer allowed him to challenge himself in creating a period piece. The Cello Player takes place in the mid 1940’s World War II era and is a remarkable in its recreation of the look of this time in addition to conveying a heart-wrenching experience. The story takes place in Poland as the Russian army is about to converge on German officers taking refuge in a brothel. A musician who plays for the entertainment of patrons is toyed with by a German officer who is facing inevitable surrender. Hoping to enact power and control over those in the brothel, in particular the Cellist, the officer conducts a game of mental/emotional cat & mouse. The constitution of both is tested as the sounds of war outside the walls of the building escalate.

Dong’s work on The Cello Player was recognized in 2017 with the “Best Production Design” award at both the Hollywood International Moving Pictures Film Festival and the Los Angeles Independent Film Festival. A responsible production designer always begins with immersion in research. A period piece such as The Cello Player requires more than the average amount of this if you want astute audience members to buy into the believability of the story. Lei spent considerable time researching in museums, libraries, and online to ensure that he created an environment which contained no cracks that could reveal the modern day in this World War II era drama. He spent time interviewing the older generation familiar with this bygone time as a final jury to vet the weaponry and technology displayed in the film was accurate. Actor Thure Riefenstien (known for his work in The Man in the High Castle, among others) played the German officer in The Cello Player and has had extensive experience appearing in films of this era. He comments, “Due to my own lengthy history of success in the international film industry I feel fully qualified to judge Dong’s exceptional achievements. I found his attention to detail impressive and insightful. In particular, we discussed the look of authentic German uniforms. As an actor, the costumes and the sets are a part of what allows you to become lost in the character and believe in yourself. The look that Dong achieved for this film was second to none. This greatly assisted myself and the other cast members to deliver a performance at the top of our abilities.”

Dong acquired props through prop houses and aged them to feel appropriate to the location in which the film takes place. The location was an actual hundred-year-old brothel. Always a stickler for details, Dong had the entire set wired for European electricity even though it was originally wired for US electricity. He hired a European electrical worker to rewire the set with the intent of giving complete accuracy to its appearance and design. With this completed, the set, specific wardrobe requirements (which Dong had created at Western Costume), and accoutrements like vintage typewriters, the entirety of the mid 20th century was complete. While these all play a prominent part of the film, a central piece is the Cello. The production designer acquired it via an unexpected circumstance. When Dong contacted a composer to create an original musical piece for The Cello Player, he met with him to discuss the story and this composition’s emotional contribution. The composer was so touched by the story that he offered up one of his beloved mid 1940’s Cellos as a prominent prop for the film. The action of the film vacillates between domination and détente in a compelling look at what we demand from ourselves and others when we have power, framed in a tale of a time when people were often at their worst.

Dong Lei openly admits that the work required from him to manifest the look of this film was immense. Over planning was the template which he used. The budget may not have been supportive of this goal but it’s a resourceful production designer who finds a way to achieve their own professional goals within these constraints. The look was so convincing that many of the actors profess that it inspired their performances. Thure Riefenstien himself was so moved by the story and setting that he gave an unplanned interview (while in his Nazi costume) about the lives of his own family’s personal experiences in Germany. The tale was so emotional and riveting that it was actually included in the final cut of the film. The work of Dong Lei cultivated a sense of believability that blurred the lines for both audience and cast of The Cello Player.

Renowned Writer Camilla Sauer Talks Top Projects

Camilla Sauer is one of Germany’s most successful head writers. Over the past 20 years of her career, she’s been accredited for her remarkable work on over a dozen different TV series, produced by some of the biggest German and European TV and Film production companies.

Getting her start as a creative writer at the young age of 19, Sauer proved early on that she was destined to spend her life creating and telling stories. Just three years after her first professional gig, she went from intern to full-time storyliner on Germany’s second highest rated TV series, Verbotene Liebe (Forbidden Love). With numerous awards won and over 4,5000 episodes aired, Verbotene Liebe circles around the lives of young men and women in Germany, their friends, and their families, and has become well known for its positive representation of LGBT characters and its presentation of controversial issues. The show is produced by UFA Serial Drama (Metropolis and The Blue Angel), one of Germany’s oldest and most distinguished entertainment brands

Sauer worked on Verbotene Liebe for two of its 20 seasons. From there, she climbed the ranks and earned what would be her first of many head writer titles for a season on the crime series Einsatz für Ellrich, of the award-winning production company, Constantin Entertainment.

“Two years later I started working for Alles Was Zählt, where I continued to work for three years,” Sauer said. “I was there from day one and was fortunate enough to be able to create this TV drama with some of the most talented writers. We were all so different, but each and every one of us was passionate about the show. We were encouraged to tell fresh, new, and compelling stories. We all put 100% of our effort into the stories – and it paid off.”

In February of 2008, while Sauer was the head writer on the show, Alles Was Zählt was awarded Blu Magazine’s Best National TV Format award for its portrayal of the relationship between two of its characters, Deniz and Roman. Additionally, Guido Reinhardt, Chief Creative Officer of UFA and producer of the groundbreaking series, provided Sauer with the opportunity to work as a creative producer together with the producer of the TV series Unter Uns, ultimately trusting her to relaunch this show and work with a different team of writers, with a different broadcast station in the process. “Camilla is truly a writer of extraordinary merit and ability,” Reinhardt recently commented of his professional colleague of over 10 years. “She possesses a talent that is rare, and it is her unique combination of talent and experience that has resulted in her becoming one of Germany’s most successful head writers.”

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Camilla Sauer

Having aired in 2006 to the present, Alles Was Zählt is one of the longest running TV dramas in Germany.

While it’s obvious that creative talent is a must-have when it comes to being a successful writer, one of Sauer’s greatest strengths that Reinhardt pointed out: life experience, along with empathy and a sense of structure, are also qualities that mustn’t be overlooked. Sauer is well versed when it comes to all of these, her expansive success as a head writer in the entertainment industry serving as proof. Expanding upon what she’s learned regarding the importance of these assets, Sauer explained, “It takes empathy to create characters and to be able to connect with how they feel and act. Not because you would do so, but because your character with his background, culture, and personality would do so. It takes some life experience because life gives you the best inspiration every day, everywhere. The best stories I’ve ever heard stem from real life experiences. Lastly, structure is needed to be able to take your story to the next level; To create a plot, a script, a scene. I know a lot of writers who are either very creative, but have issues with creating structure, and vice versa. If you have both – you are considered one of the lucky ones.”

In addition to head writer, Sauer has also worked diligently as a creative producer and story consultant on numerous distinguished projects broadcasted on some of the most established networks throughout Europe such as, Soko Familie, Herzflimmern, Unter Uns, the award winning Dahoam is Dahoam, and Lena – Liebe Meines Lebens, the latter which she first began working on a few years post her work on Alles Was Zählt.

“A story consultant in Germany is probably considered a creative producer, or a co-showrunner in the US. It’s someone who works closely with the producer and/or show runner. Together they create the story concept, characters, and the long running plots of the TV series,” Sauer said of her job title. “This particular work is not so much focused on the details like scenes or dialogue, but more so of the development of the whole concept of the TV series. The staff writers break our ideas down into episodes, scenes, and scripts.”

In 2010, Sauer was hired by the academy award winning production company, Wiedemann & Berg (The Lives of Others, WhoAmI, Welcome to Germany, and Dark), to create Lena – Liebe Meines Lebens with showrunner Günter Overman (Storm of Love, Verschollen, and Hinter Gittern – Der Frauenknast). The series title translates to Lena – Love of My Life in English, and is an adaptation of the Argentine series Don Juan y Su Bella Dama, created by Claudio Villarruel and Bernarda Llorente.

It was on Lena – Liebe meines Lebens where Sauer first worked with co-founder and CEO of Wiedemann & Berg, Quirin Berg. Berg, who thinks quite of the writer’s talents, shared, “I have had the pleasure of working with Camilla Sauer and can without a doubt certify that she is an exceptionally talented head writer, and furthermore, one of the best head writers in Germany. Camilla is extremely unique in many aspects. She is outstandingly creative, a very fast thinker, she has a wonderful ability to express her ideas clearly, create deep and three-dimensional characters, and eventually bring them to life. Additionally, she can immediately identify specific problems in a story and articulate a solution to them.”

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Camilla Sauer

Since 2012, Sauer has been staffed as the head writer for Germany’s hit series Schicksale – und plötzlich ist alles anders (Fate – and suddenly everything is different). Produced by Constantin Entertainment, the TV series has been running for eight years, consists of twelve seasons, and was recently picked up for another (1 year).

In Camilla’s words, the idea behind Schicksale – und plötzlich ist alles anders is that, “Things are not happening to you, they are happening for you. Even if it looks like something bad is happening to you, it just creates a new opportunity for us to learn, to grow, and to eventually make better decisions that lead to a better life. ‘Fate’ is about that one single moment, that ‘accident’ that might look like some random situation, that completely changes your life.”

While working on such a long running show for an extended period of time has its challenges, Sauer has demonstrated that she is an expert when it comes to contributing fresh and exciting stories to an ongoing series, and in doing so has played a pivotal role in the success of Schicksale – und plötzlich ist alles anders. Former CEO of Constantin Entertainment Christoph Knechtel raved of the head writer, “Camilla is truly a head writer of extraordinary merit and ability. I was fortunate enough to witness her extraordinary talent in screenwriting when she served as writer, head writer, and showrunner on numerous television series like K-11-Kommissare im Einsatz, Einsatz für Ellrich, Schicksale, In Gefahr, Im Namen Der Gerechtigkeit, and Soko Familie for huge networks such as Sat. 1, RTL, VOX, and more. Her demonstrated skill and unparalleled creativity on these and other projects have earned Camilla widespread recognition and international acclaim as one of German television’s leading writers.”

Presently, Sauer is in development with the German TV production companies, UFA Serial Drama, Constantin Entertainment, and Bastei Media, on a few pilots and television series while continuing to write for Schicksale – und plötzlich ist alles anders.

 

For more information on Camilla Sauer, please visit: http://www.imdb.com/name/nm4646044/?ref_=nv_sr_1
 

Article Written By: Ashley Bower

YUXIN BOON HEARS THE ART IN FILM

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Sound editor Yuxin Boon works in the film industry but when she is asked exactly what a sound editor does, she often explains that it’s like being in a band. Boon does have a background in music so this isn’t simple conjecture…she knows what she is speaking about. Yuxin describes, “The general public has a view that the only job of a sound editor job is dealing with sound effects. The truth is that editors are divided into different categories of sound, like dialogue, Foley, and ambience. A sound editor is not usually in charge of remaking all the sound the audience hears. Editors are assigned to one particular category of sound but also applying their work to the overall sonic image of the film. It’s like a band; every member has one instrument and task. They need to play their own instrument while also working cohesively as a team to make the music and deliver the emotional intention of the song.”

As a professional female sound editor focusing on dialogue and Foley editing in the film post-production industry, YuXin has created a career path in the industry that includes working with Oscar-Award winners (as she did in “Heavy Rain” with Bill W. Benton) that display nature’s fury, romance films (“Christmas in Mississippi” & “Enchanted Christmas”), Westerns, and a myriad of other genres. A sound editor is required to be creative as well as detailed, which are the characteristics which drew her to this work. While many vocations in the TV and film industry steer professionals towards a certain genre, it’s the absence of this aspect for sound editors which allows professionals like Boon to test themselves to apply their talents a wide variety of story types. While the application of abilities may differ, the means by which they are applied is often universal.

A sound editor must possess a discerning eye, well…perhaps ear is the appropriate body part in this particular scenario. Talent is a requirement and the application of these are a given but Boon believes that this is only a baseline for contributing to a production. One needs only to watch your favorite movie with the sound down to gain an immediate appreciation for the work of a sound editor. Even this simple example does not properly communicate the affect a sound editor has on the entertainment. The work of Boon and her peers involves layers upon layers of sound that weave together a sub-story that most of don’t ever fully appreciate. In Yuxin’s opinion, a good editor not only inspires the other professionals on the production team to perform at the next level but also carries the emotion to the audience for a better understanding. A good sound editor can offer intriguing soundscapes which the director is looking for as well as combining it with creative designs and techniques. Skill is an element that can be used to evaluate editors’ work, but it’s far from the only one. Creativity may be the most important trait a sound editor can bring to those they work with.

It’s likely that Boon’s unique perspective came from her path to sound editing. As a child of parents who were not musicians but great lovers of music, her parents took her to piano lessons and encouraged (but did not push) YuXin towards making music a part of her life. While she thought that her aim would be in the music world, Boon took a film class and discovered that her natural inclination towards detail and her finely tuned ear (thank you piano) made her highly adept at timing and sound editing/design. The process of mixing different elements to create completely new sounds, such as the dinosaurs’ roar in “Jurassic Park” fascinated her and stimulated her creatively. As Boon discovered that a sound editor is given the opportunity to work with aspects like dialogue, Foley, and other sonic presentations of a film, she became increasingly drawn to it. Trail blazers like Singapore’s Ai-Ling Lee (Oscar-Award Nominee for La La Land) continue to reinforce the idea that an Asian woman/professional has a place in the film industry of Hollywood.

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Any art form must grow. To achieve this requires individuals with fresh perspectives who understand and respect the process and individuals which created the template being used. Yuxin Boon has already created a community of peers and professionals who recognize this in her work and her view of her own application of her talent. The very fact that she sees her role in a manner that is simultaneously similar and differs from the traditional idea indicates the reasons why she has found herself so busy with an eclectic set of productions these days.