Category Archives: international Talent

The Common Thread of Great Films: Edward Line

Film editor Edward Line made his name editing commercials and music videos, working with award winning directors including Traktor, Matt Lambert, Paul Hunter, Jonas Akerlund and Lucy Tcherniak. A natural collaborator and storyteller it’s not surprising that his talent led him to cutting short films where he has continued to fine tune his craft. It’s a well-rounded career course which Line explains, “From years of cutting commercials and music videos, I have become very disciplined in how to tell stories efficiently and within a set duration. While these skills are transferable, working on short films has relieved me from editing to time restraints and allowed me to approach performances in different ways.  With short films, I’m always thinking of how an edit decision will affect the audience emotionally in a later scene, as character develops and stories unfold. This is true for commercials as well, but of course there is much more breadth in a short film which typically runs for 10-20 minutes, rather than a 30 second commercial.”

Confirming his affinity for narrative editing, Edward’s short film work has been selected and recognized at international film festivals including Tribeca, Sundance, BAFTA and The Academy Awards. Here’s a look at some of his favorite work.

The Counsellor – Hand

The Counselor 2

Not strictly a short film, but a notable promo film that showcased Edward’s sensibility for dialogue cutting.  The film was a collaboration with director Johnny Hardstaff and featured actors Michael Fassbender (Prometheus, Hunger) and Natalie Dormer (Game of Thrones) in a sexually charged scene that takes place in a lingerie store.  Edward subtly edited nuanced looks and dialogue to create a tension filled scene which left the audience asking questions, as intended by the filmmakers. This promo film was used by 20th Century Fox to market the release of Ridley Scott’s film The Counselor in 2013. He communicates, I really enjoyed editing this film. Apart from enjoying the first class performances from Michael and Natalie, the suspenseful and dreamy tone of the film was really appealing.  I enhanced this mood in the edit by paying close attention to the characters subtle eye movements and breathing, then hanging on these moments for longer than comfortable. During the edit, I added the ambient dream like soundtrack which further heightened the tension and atmosphere. When I showed the director my first cut he wasn’t expecting music, but he loved my music choice and it was included in the final film.”

St. Patrick’s Day 

St. Patrick's Day 1

In 2015 Edward teamed up with director Gary Shore to edit the film St. Patrick’s Day.  The film concerns a teacher who gets pregnant, with her doctor warning her, “we’re not certain with what.” It turns out to be (in a riff on the legend of st. Patrick expelling snakes from Ireland) a reptile, but her maternal love has no limits. The dark comedy was part of the “Holidays” anthology feature film and selected for the Tribeca film festival in 2016. Edwards relates, “I was keen to work with Gary Shore on a film after we had collaborated on two commercials in 2015.  Unlike the commercials, which were action packed and heavy in visual effects, this film is a pure narrative dark comedy. The film had over 12 scenes and included several nods to horror and comedy genres, which were fun to play with in the edit. These included creating a comical 1980s style documentary about the myth of St. Patrick. I edited this in a more literal ‘see-say’ style where the voiceover describes exactly what the images are doing, but in an exaggerated way. In the edit, we added a VHS video effect and traditional Irish music to add authenticity. We were so pleased with the resulting ‘mini-film’ that we used it for the opening scene.”

The Painters

The Painters

In 2016 Edward teamed up with longtime collaborator and director Sam Larsson (of multi award-winning collective Traktor) to edit “The Painters”.  Edward recalls, “Sam and I worked together on my first commercial edit in 2011 and have collaborated numerous times since, so when he wrote his first short film it felt natural that we’d team up again.”

The short film follows four house painters who kill time in a parked van as they philosophize about life and recall anecdotes, revealing a glimpse of who they really are. The editor communicates, “This film was a dark comedy with some serious undertones and an editorial challenge being a pure dialogue piece that takes place in one location, inside a van. The success of the film relied heavily on my edit to keep it entertaining and it took some experimenting before we found the film’s rhythm. During the edit I wasn’t shy to cut lines from Sam’s script that we felt were not helping the story, and Sam was very open to my ideas and choices.  As ever with editing, it was important to cut in order to move the story forwards and for emotion, and this was a perfect film to test that theory.” Larrson notes his affinity for the professional partnership he has experienced with Line as he states, “I have always held held Ed Line in high regards for his professionalism and dedication ever since I started to work with him back in the mid 2000. Ed is a great collaborator and very adept at his craft. His intelligent story-telling and comedic instincts have made him a pleasure to work with on every job we have done together. His skills for sound design and broad musical knowledge are invaluable and elevate the films we have worked on. He has a profound dedication to each project and will often stay involved even after his defined role is complete. He is one of the first editors I turn to when I am crewing up for a project.”

The Painters was selected for L.A. Shorts Festival in 2019 and will continue to be seen on the festival circuit into 2020.

Wale

Wale1

Inspired by racial tensions in East London, “Wale” follows the story of an 18-year-old mobile mechanic, who learned his trade whilst serving time in a young offenders institution.  After his release, he attempts to get his business going after being hired by the mysterious character O’Brien.

The ongoing tone that permeates the film the story is one of suspense and masterfully achieved through a blend of the director’s vision and editor’s pacing. Edward’s influence is prominent from the opening montage of Wale in which the footage slows down, causing the image to ‘strobe’ as it repeats frames. This editorial technique helps to convey danger and unpredictability and sets the mood for the rest of the film.  Later, in the scene where Wale [the main character] goes to O’Brien’s house to discuss fixing his car; Edward identifies nuanced moments in the character’s performance and lingers on shots to cultivate an uneasy and mysterious tone. The editing is full of restraint in a key driving scene where Wale wrestles with many emotions as Edward holds the shots longer than one might think possible; allowing the audience to really feel Wale’s emotions and try to understand where his mind might be taking him. Edward magnanimously states, “sometimes not cutting is the best decision an editor can make.”

Director Barnaby Blackburn recalls, “Ed has an extraordinarily natural talent for storytelling. He is able to quickly grasp the vision of the filmmaker and translate it on to screen in addition to his innate understanding of the appropriate tone, pacing, and emotion for every film he works on. Ed is not afraid to experiment beyond the traditional norms of film editing, which continually makes for groundbreaking work that pushes the craft of editing, and filmmaking in a broader sense, forward.”

Wale was very well received and boasts an impressive festival run, winning the prestigious Grand Jury Award at Dances With Films and ‘Best Short Film’ at a further five festivals.  The culmination of its success came in being shortlisted for an Academy Award (Oscar) and subsequently being nominated for a BAFTA in the ‘Best Short Film’ category.

The success of the film points to the strength of the relationship between Director Barnaby Blackburn and Edward who have forged a strong working relationship.  As such, they collaborated again in 2019 and completed another short film Dad Was’. This film follows the story of Mattie, an eight –year-old boy as he gives the eulogy at his father’s funeral. The production reunited many of those who worked on ‘Wale’ and will be submitted to festivals in 2020.

Edward Line 5

(Editor Edward Line at work)

 

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

Five Feet Apart is Ideal for Dianshuo Zhang

3-five_feet_apart.JPG

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

Son of Wanderer

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

IMG_4839.JPG

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.

 

IMG_8147

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

Bye Bye Blue

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.

 

Yu-Ying Chuang Serves Up No Deer for Dinner

No Deer for Dinner

Chemistry; it’s vital to great filmmaking. Yes, this relates to the actors visible on the screen but even more so to the talent interacting behind the scenes. Director Yuhang Chen, Editor Yu-Ying Chuang, and Writer Otoniel Walker combined their talent for one of the most suspenseful and unique thrillers of the year in No Deer for Dinner. There’s more than one perspective on morality by the different characters in this film and it’s presented in a highly entertaining fashion because of the work of this trio. Chuang confirms that her initial discussions with the director about the story excited and convinced her to take on the editing responsibility. Her editing work has a pronounced and beneficial mark on this film which was the winner of Best Horror Short and Best Thriller Short at the Independent Shorts Awards this year. The twists and turns of the story become more understandable when viewed through his explanations of the process which sculpted it.

In a mountainous Nevada town, many people have gone missing without a trace. For the past thirty-six years, a single individual has vanished each year without any belongings left behind. When a young couple enters the town after robbing a bank, they take refuge in the home of an elderly couple by taking the residents captive. In a plot that keeps viewers guessing who is the greater threat, it becomes uncertain who is the captive and who is the captor. No Deer for Dinner is the sort of film which instills the idea that the most dangerous and lethal situations are the ones just slightly out of sight. The young felonious couple comes to the realization that hunters disappear in this Nevada town for a frightening reason.

“You might need to use editing to support me.” This was the phrase that director Yuhang Chen greeted Yu-Ying with when proposing she edit the film. His frustration was a result of conditions during the filming. Several scenes had been deleted leaving holes in the story. Chuang informs, “When I got the footage, I was surprised because it was not the same as the original script. We discussed how to solve the problem and how to create suspense from the footage we had. There was certainly some difficulty to this approach but it wasn’t impossible.”

Yu-Ying concentrated on spotlighting key scenes to make the tone more prominent. The fast pace of a frantic hunter being chased in the first scene is exponentially more panicked by the quick-cut editing. When the elderly couple are eating dinner and engaging in an unusual conversation, Chuang lets the scenes linger to an almost uncomfortable extent which maximizes the awkwardness. Describing the end of the film, Yu-Ying explains, “The penultimate scene ended in Roger killing the police and taking the gun out to shoot the female robbers. At the beginning of the last scene, I wanted to have a little suspense about what kind of a person Roger is. The first picture I used is Roger is preparing food and when the camera slowly slides back, the woman is tied on the chair and the policeman’s body is on the table. I wanted to make the audience think that it was a normal day. It’s this shocking realization that Roger hunts the hunters to eat their organs and meat.”

No Deer for Dinner 2

While editors are referred to as filmmakers often equal to the director, in many cases they are dubbed “problem solvers.” No Deer for Dinner has a disturbing and chilling feeling most prominently because there seems to be a realistic path to this situation actually occurring. For this film, Yu-Ying Chuang has drawn and highlighted this line with great effect and success, to the benefit of the film and audiences.