Category Archives: international Talent

Otavio Rabelo talks passion for graphic design and working with ‘TheWrap’

IMG_0565As an industry-leading Editorial and Marketing Designer with Deadline Hollywood, Otavio Rabelo works with typography, colors, images and other design elements to create unique graphic layouts that are printed or used digitally. He designs conceptual layouts to all sections of a magazine using all the mentioned elements on computer software, and he is responsible for checking and sending final files to printers and making sure that everything is going to be printed correctly. It is a pivotal role in the success of each issue of a magazine he touches, and he knows this well. He remains dedicated to his craft at all times, a true perfectionist.

“Publications are always trending around the most well-known people in all fields. People love to read about who is on top of the world. I work creating printed and digital content to announce nominees and winners. It’s fun to get to know before everybody else what the editorial team is thinking,” said Rabelo.

Prior to his work with Deadline, Rabelo worked with other renowned magazines, including FourTwoNine and TheWrap, the latter of which truly allowed his work to be seen by Hollywood’s elite on a regular basis.

TheWrap is a well-known entertainment magazine in Hollywood/Los Angeles. When the opportunity presented itself to me, I was excited to grow as an Editorial Designer and show my design skills to such a great audience. The magazines that I design are only distributed to the most well-known people in the industry,” he said. “TheWrapis a small company but very well- known in the entertainment industry. Working there I was able to use my own design skills as an outlet for the projects.”

Working at TheWrap presented several new and unique challenges for Rabelo, who had previously never designed for the entertainment industry. It was his first time working with Oscar and Emmy Seasons, and he had no idea how the entertainment world worked. There are always new films and TV shows being released, as well as nominations and awards, the Oscars and Emmys are extremely important and he had no idea how complex the film industry was, with new festivals always coming up that he needed to stay on top of. He loved the challenge and knew understanding the industry was extremely important in knowing the design, as he had to understand his target market. Now, he feels like a seasoned professional, and the learning curve was well worth it.

“Getting to know the inside of the entertainment industry for the first time was very new to me. I got to see the world’s most famous actors, actresses and directors in person. It was the first time that I realized that my work was important and respected by those professionals,” he said.

Rabelo was responsible for designing and creating layouts for different sections of each publication. He was also in charge of checking and sending advertisements with final editorial files to the printer. He made sure to always have a perfect copy, as if something was incorrect after the final approval, there was no way to fix it. During his time at the magazine, there was never a single mistake to be fixed.

“Since it was such a small company, everybody at TheWrap was always very connected with me and my work. People would often ask my opinions about multiple projects based on my skills. Once the magazine was out everybody would be very nice and compliment me a lot about the issues,” he said.

By Annabelle Lee

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Five Feet Apart is Ideal for Dianshuo Zhang

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It used to be that the look of a film was credited almost entirely to the cinematographer. While it’s most certainly true that the artists of this profession are among the most talented in connecting visual aesthetics with the emotional content of a story, there is no denying that in modern filmmaking they also share this with the VFX department. VFX Compositor Dianshuo Zhang has worked on numerous award winning and nominated productions such as CBS’s Primetime Emmy nominated The Good Fight, FX’s Fosse/Verdon (eleven Primetime Emmy Nominations), and others. Her work on the CBS Feature Film Five Feet Apart helped to create some of the most touching and sweet moments of this film. The film has already acquired a huge fanbase in the teen market with a slew of nominations at the Teen Choice awards and a WW Box Office Gross in excess of $80 Million.

 

Director Justin Baldoni (writer/creator of the award-winning documentary My Last Days) knows how to engage young audiences. He cast Haley Lu Richardson as Stella Grant (Jane the Virgin, M. Night Shymalan’s Split, Golden Globe Nominated Edge of Seventeen) Cole Sprouse as Will Newman (Riverdale, Friends, Adam Sandler’s Big Daddy) in the lead roles of Five Feet Apart for their unique chemistry. The story might be described as a modern day medical Romeo and Juliet. The two teens must be kept apart as a result of their potential cross infection; Stella has cystic fibrosis and Will has a dangerous bacterial lung infection. Their love story involves rebuking authority (even though well intended) to pursue some real life experiences. Their story is heart wrenching and ultimately bittersweet.

 

Many of the romantic moments for the two main characters were augmented by Dianshuo’s work. When the teens scape the hospital to make their way to the Christmas lights in a neighboring small town, the picturesque scene of blue sky, lake, and small bridge appear courtesy of Zhang’s matte painting. The detail is impressive, right down to the ice texture on the lake and the color correction. She illuminates regarding the unobvious high tech aspect stating, “This shot was outside a parking lot surrounded with some houses, green trees, and mountains in the background. I used 3D tracking to create a camera in order to add the matte painting in different depths. When the camera moves, you could see the parallax between objects. The 3D tracking also created a PointCloud, so I could see where the ground, the houses, the trees, and the background are, etc. I put each layer of the matte painting, such as winter trees, snow on the houses and ground, and holiday lights, on a card to the shot and matched the correct position according to the PointCloud. I also animated the holiday lights blinking in distance in order to give the background some life. In this way, I turned this spring shot into winter.” It’s not an exaggeration to state that the skill of Dianshuo contributes massively to both the appearance of the film and its production budget.

 

While she doesn’t always get to attend the premiers or screenings of the films she works on, Zhang notes that viewing Five Feet Apart with an audience was special for her. She relates, “It’s always exciting to watch your work on a big screen. It’s an honor to work with so many talented artists and see what we can create together. Attending the screening of this film, I was so happy to overhear some audience members profess their amazement that the scenes were VFX; that’s the highest compliment I can receive.”

Jun Li Honestly Sees Son of Wanderer

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Movie fans across the world are familiar with the marquee names of actors. Directors and producers like Steven Spielberg, Stanley Kubrick, Jerry Bruckheimer, and Quentin Tarantino have also achieved the king of international notoriety that places them in the celebrity category. For each of these, there are legions of publicly unknown artists whose talent creates the stories that tug at our hearts, unearth laughter, and move us to appreciate the world we live in. Though the public may be unaware of these exceptionally skilled professionals, those who truly understand the storytelling process proclaim their contributions. Three-time Academy Award winning producer and writer Jana Sue Memel has produced more than twenty-five feature films as well as countless live action shorts airing in more than thirty countries. In discussing the film Son of Wanderer (on which she served as screenwriter) Memel points out, “The Camera Man position on a film is truly underappreciated. Jun Li was the camera operator/Steadicam operator for Son of Wanderer and his insightful contributions were a direct part of the recognitions the film has already received.” These recognitions include wins for the film at the London Independent Film Awards, Los Angeles Film awards, Rome Independent Prisma Awards, and others. While the producers, directors, and others are the brain which comprehends the story, professionals like Jun Li are the eyes which allow audiences everywhere to see first-hand the events which unfold on the screen. They are the windows to the movie’s soul. As the camera operator’s motto states “We see it first.”

 

Son of Wanderer is a story that allows us to see that holding back from those closest to us can cause a great divide. Mingzhe Li is a successful artist in the US but originally from China. He appears to have a great life with a beautiful and loving wife but he is estranged from his mother [Li]. When Li shows up unannounced at the couple’s San Francisco home, the motivation for this visit is kept secret. Through flashbacks we learn that Mingzhe’s father was a famous and talented artist in the 1970’s before the Cultural Revolution in China and alcohol led to his downward spiral. The family eventually dissolved and when her teenage son showed an inclination for art, Li quickly snuffed this notion. This planted the seed of resentment which would separate mother and child. In present day, Li finally informs her adult son that she has come to America to inform him of his father’s death. A torrent of emotion, years in the making, erupts and Li leaves for China at once. Only Li’s secret box contains the antidote to their discourse.

 

Director Chi Zhou and cinematographer Nan Li wanted to express the unusual coldness between mother and son in the movie, without the need for exposition. In many of the scenes, there is literally a divide between them. Jun’s skill with the Steadicam was heavily utilized in Son of Wanderer to obtain not only the composition but the feel which was so essential to this film. His carefully calculated movements with tight lock offs and use of negative space for both characters establishes a tone that belies its difficulty to create with a Steadicam. What might appear as dolly and track moves are in reality Jun’s skills operating at an exceptional level. He communicates, “I’m very delighted this film received so many cinematography awards. There are three main points made the look of this film. Because the theme of this story is a modern family drama, we based it in a realism style, emphasizing the saturation from very beginning. Secondly, in order to make each character stand out, we used a wide open lens for the whole shoot. The very shallow depth of field creates a grand cinematic look. Finally, the slow and gentle camera movements run through the entire film and transfer this sense of timing to the audience. All of these components were carefully crafted to help the viewer feel the emotions of our characters.” Camera operator/Steadicam operator Jun Li’s contributions to this production are key in presenting the story and its success. The verification of this is found in both the awards Son of Wanderer garnered as well as the deeply moving experience of watching this acclaimed film.

 

 

Manifesting a Shop of Eternal Life with Dara Zhao

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Creating a mood, an emotional atmosphere; this is the immense contribution of a production designer in the film world. The audience, the actors, and the crew are all required to do less belief suspension when the PD cultivates the world envisioned by the director. Dara Zhao is asked to glimpse the vision of her collaborators through their eyes, whether that be a dark one or one of optimism. It’s something she’s known for doing exceedingly well. She has been sought out by Indie filmmakers and massive production companies, as evidenced by her current work on the live-action version of The Little Mermaid. Her role as PD on Shop of Eternal Life skews to a tale much more about the foreboding and menacing topic of mysticism and the afterlife. Regardless of the subject matter, those who collaborate with an exceptional leader in the film community like Dara are eager for the opportunity because they know that her eyes can see their way to replicating the artists’ imaginings.

 

Many films are about sacrifice but Shop of Eternal Life is an original and cultural take on the specific cost of this. Every culture has its version of Aesop’s Fables, Grimm’s Fairytales, and the like; stories of foibles and redemption. Shop of Eternal Life takes place in the not so distant Twentieth Century and depicts the personal cost of trying to do something to help others. The plot follows a poor man who approaches a pawnshop owner about buying his wedding ring. Explaining that he needs money to pay medical expenses for his sick wife, the man’s offer is countered by a covertly sinister one from the shop’s owner. Rather than a small sum of money for the ring, the pawnshop owner suggests the man sell his soul for more than enough to cover all the hospital bills. When the man returns to the shop many years later, to collect his heart, the events which transpire are both shocking and telling about the potential for danger we all possess. There’s an obvious occult/metaphysical component but this applies aptly to the human character as well.

 

Shop of Eternal Life culminated in a DGA award for director/producer Yizhou Xu, who in turn praised Zhao for her ability to help realize the world he envisioned. The film which stars Award-Winning actor Jesse Wang (of the film God’s Not Dead and CBS series Code Black) as Chaofeng, Allen Theosky Rowe as Mr. Song, and Gengru Liu as Xiao Dong. Taking place in the 1920s and 1950s with nearly all of the action occuring in a pawnshop, the aging of the characters as well as the advancements in technology is subtly visible. Beyond the aesthetic challenges of manifesting this are the budgetary constraints for a smaller Indie production such as this. Dara remarks, “Yes, the most substantial obstacle for a smaller film is always the financial one. Ha. The freedom you experience is what you balance this against. I’m proud that we created two different decades in such an authentic manner. This was a really interesting environment which offered great potential. I wanted to create a narrow and isolated space; one with an unspecified location which seemed very real, especially with a sense of hopelessness at moments. Even thought this was a period piece, it was more like an allegory; a Faustian story. It was hard to combine these fantasy elements into a realism society environment. I used a lot of metaphors to support the storytelling. We used authentic props and set decorations from China but created what we needed when it didn’t exist.” The results are dramatic. Dara’s dedication and skill resulted in the world of Shop of Eternal Life transporting the looming anxiety of its characters directly into the psyche of the audience. The slow impending sense of doom and the constant comfortability one experiences when watching Shop of Eternal Life is a testament to the expertise of Dara Zhao to fully realize the world the film’s director aspired to display. Viewers don’t want to contemplate budget or lighting, or any other facet of the production process. Dara Zhao makes that concept a part of her equation when working on every production. It’s for this reason that you’ll find her working on productions throughout many different countries for quite some time.

 

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Coomes in Bye Bye Blue: a Thoughtful Portrait of Mental Illness

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Kasia Kowalczyk’s film Bye Bye Blue is receiving a great deal of buzz as it prepares to debut on the film festival circuit; actress Sarah Coomes is a major part of this. Sarah’s moving performance as Flora breaks down a number of walls around two subjects about which the public feels great unease; homelessness and mental illness. Though they’ve been displayed numerous times, the performance Coomes delivers in this particular production draws a very clear line that communicates her circumstances in a very relatable way. A great actor is not only someone who is believable in the role but who enables the audience to see something of themselves in the character; something Coomes resoundingly achieves in Bye Bye Blue.

Clever is a word which might imply someone with dual intent, perhaps even duplicitous. While Sarah’s presentation of Flora is most certainly clever, there is no ill intent or deception involved; at least not by design. The remarkability of both actress and film in Bye Bye Blue is that we not only discover more about this person whom we are quick to judge, but also come to understand our own inclinations of labeling others in difficult situations. Flora is a woman afflicted with a mental illness brought about by physical circumstances. Describing her iteration of the character, Sarah describes, “I didn’t want her to be presented as a ‘mad person’ or typical person that we’ve seen so often in film. I did a lot of research about people with mental illness and how their minds become fragmented. They become dissociated with reality and are forced to construct new ones. Honestly, it’s a way of investigating the amazing human mind and what it can do to protect itself. That’s vastly different than someone screaming and pulling their own hair out. I researched everything from schizophrenia to imaginary friends. There’s a huge spectrum out there.” As recipient of awards from the Jerwood Foundation, RC Sherriff Trust, and winner of the Westminster Prize Soho Theater, Coomes is known throughout the industry for her dedication to detail in constructing her characters.

This Kasia Kowalczyk directed film is the depiction of a young woman living on the streets who has collapsed outside her tent. While it is clear that she is suffering from some mental illness, hearing disembodied voices and only tolerating clothes which are blue, it’s evident how dire her situation is once she is taken to the hospital. While the doctors attempt to explain to Flora that her brain tumor is killing her and increasing her mental symptoms, she is unable to accurately process this. When Sarah (as Flora) flees the hospital in a panic, her desperation is palpable. It’s at this point when the film becomes surreal and points to Flora’s end. Her imaginary friend “Blue” leads her to the beach where they play. Flora is confronted with the notion that she must either say goodbye to Blue or die.

What both the filmmakers and the actress have done in Bye Bye Blue is to personalize, justify, and place a very real face on those who live on the streets. Coomes in particular manifests layer upon layer of a young woman dealing with the most sobering of circumstances while being void of a support system. Her personification of this character is deeply moving and altering. What could have been a gross over simplification bordering on a trope was instead crafted into a person of which many of us might state, “That could be me!” With so many films that cover the same events, it’s often the actors like Sarah Coomes who captivate us and make these films unique. Bye Bye Blue serves to erase any demarcation between “regular” members of society.

 

Walt Disney Animation Studios Hosts Bali: Beats of Paradise

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In a moment that mirrored the artistic exchange of the film Bali: Beats of Paradise, Walt Disney Animation hosted the talent of the film for a screening at their studio. Director Livi Zheng, Executive Producer Julia Gouw, and gamelan composer Nyoman Wenten viewed the film with some of Disney’s most creative forces, including the producer of Moana and the Head of Story for Frozen. Disney’s invitation is yet another indicator of the recognition Bali: Beats of Paradise has been receiving since its US release on November 16, 2018.

Beyond exploring the culture that created Balinese gamelan music, the film displays western artists being influenced by its character; integrating gamelan into modern day western musical styles. A question and answer session followed the screening in which Wenten, Gouw, and Zheng discussed filmmaking and Indonesian culture. Nyoman Wenten remarked, “It is amazing how quickly like-minded people attract each other. I can already see the start of a beautiful relationship between Livi and the creatives at Disney. I don’t know if any other Indonesian before Livi Zheng was ever invited to show their movie in front of the top brass in Disney. This is amazing and it makes me proud today to be an Indonesian”

Receiving a hospitable tour of the Disney Animation Studios, Livi revealed, “Disney is  remembered fondly by many children around the world. I remember so many happy memories from watching Disney movies; I am very glad that today I was able to be here and introduce my unique culture to the hardworking artists at Disney”. Executive Producer Julia Gouw noted during the film’s premiere at the Academy of Motion Picture Arts and Sciences in Beverly Hills last November, “Crazy Rich Asians put Singapore on the map, so we hope that Bali: Beats of Paradise will put Indonesia and Bali on the map.”

The Lost Soul: Victorian Horror/Thriller Premiering Next Week on Amazon Prime Streaming.

 

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NEVER MAKE A DEAL WITH THE DEVIL, NO MATTER HOW SMALL…

 PREMIERING OCTOBER 23, 2018

STREAM INSTANTLY ON AMAZON PRIME

How do you get your soul back after you sell it? You steal it.

 LOS ANGELES, CA (October 20, 2018) THE LOST SOUL, a mysterious look into the afterlife follows a man grasping at life and narrowly escaping death. Available now to stream on Amazon Prime. Distributed by Sun and Moon Films, the film is created by filmmaker Jeff Caroli (“BALI: BEATS OF PARADISE”).

 The Lost Soul is a fantasy mystery film that has been screen all around the world. The premiere was held in New York City, USA. Since, it has been screened both in Europe and Africa. The film was nominated for best cinematography for Jeff Caroli.

Jeff Caroli is an accomplished cinematographer. For the past 11 years Caroli has been a cinematographer and has garnered millions of views on Youtube.His works include “Queen of the Hill” a music video starring Grammy award winner Judith Hill and the upcoming feature films, “Bali: Beats of Paradise” and “Insight”.

 

ABOUT SUN AND MOON FILMS:

Sun and Moon Films is a US-based production company producing films locally and internationally. The company has produced in the US, China, Indonesia, and Thailand. Sun and Moon Films has had theatrical distribution as well as screenings in various film festivals around the world. The company’s film Bali: Beats of Paradise is premiering at the Academy of Motion Picture Arts and Sciences in Beverly Hills, November 7, 2018. Upcoming projects include Insight, starring Madeline Zima, Tony Todd, Keith David, and Sean Patrick Flannery.