Category Archives: Producer

China Film Industry, Chinese Filmmaker, Chinese Films, Film, Producer, Reviews, Interviews & Features!, Television

LIVI ZHENG EARNS HER REPUTATION AS AN INTERNATIONAL FILMMAKER

December 17, 2016 pressva Leave a comment

Many of us from the West are mesmerized by the martial arts. Though we might pretend otherwise it’s mostly about self-protection peppered with a dash of “I’m cool.” The difference is that those from the part of the world in which this discipline originated and who truly understand it is this; it’s a way of life. There is a mastery of self that transfers to all parts of one’s life. It becomes a lifestyle rather than an expertise with combat. Yes, the physical benefits are there but the mental and spiritual one’s supersede them. Livi Zheng is a respected producer and director began her career as a stuntwoman and actress due to her mastery of martial arts on the enormously popular Asian television program Admiral Zheng He. Immersing herself in the production world, she began assisting in all of the different department until she became the assistant to the producer. Quickly thereafter she was working on scripts, doing research, prepping for shoots, and finally became the producer herself. The immensely popular program about Admiral Zheng He led to a film about this historic Chinese figure. As a testament to the benefits of her martial arts training, Livi assessed what was needed to conquer the production world; achieving great acclaim in the ever-expanding Asian TV and film industry; no small achievement for even the most accomplished professionals.

Livi is originally from Indonesia but moved to Beijing, China with her brother to further pursue martial arts training. While her excellence in the discipline would lead her to working on the hugely popular TV show about one of the most respected historical figures of China, it would also take her life down an entirely different path. The Admiral Zheng He TV series is a massive hit in Indonesia; to simply be an actor on the show would already register as a great success for Livi. But she was so interested in the workings she saw behind the camera that she immediately began the pursuit of assisting in the many different parts of production. Her dedication to learning every aspect of production paid off when she began her role as a producer on the program. In her role on the series as Suhita she was a Javanese queen regnant and the sixth monarch of the Majaphit empire (the biggest empire in Southeast Asia), ruling from 1429 to 1447. Somewhat mirroring that character, Livi oversaw productions that took place in China, Indonesia, and Thailand. It’s poetic that Zheng would learn the lifestyles of each of her people (the cast and crew) and then rule (produce) with the knowledge and empathy gained.

Livi’s work was so successful and lauded by the viewing audience as well as the production company that she was asked to produce the film inspired by the TV program’s success; The Empire’s Throne. Her abilities as an actor together with her skill as a producer, handling the production schedule and budget, made Livi the two most valuable people involved in the series.

Managing hundreds of extras and animals on set with lead actors is quite a feat for any producer. Zheng is frank about the fact that The Empire’s Throne was all about spectacle with expansive vistas and huge numbers of foot soldiers and cavalry. Recalling one scene she states, “There was a very big fight scene with a many horses and challenging stunts. We prep it ahead of time but there was still so many details to work out on the day of; such as getting all the stunt people and extras in the period costumes and props. I hired an extra crew just to get everyone ready faster. I wanted to maximize the shooting time rather than using it to prep the hundreds of people involved in front of the camera.”

The Empire’s Throne is a colossal dramatic action film, based on the story of the empire Majapahit, the most powerful Empire in Southeast Asia. The film tells the story of the epic struggle for the throne of this kingdom. It features a huge cast, stunning Southeast Asian sets, costumes, locations, and music. This epic period piece possesses a unique cultural aspect. Its spectacular production design is extravagant and unique in the eyes of US audiences, so much so that it garnered an official selection in Boston International Film Festival. It’s of great relevance that one of the stars of both the TV series Admiral Zheng He and The Empire’s Throne took note of Livi’s professionalism and excellence on these productions. In addition to being a star of the show, Saifullah Yusuf (also known as Gus Ipul Job) also has the distinction of being the Indonesian State Minister for National Development Planning (2004-2007) and Deputy governor of East Java, Indonesia (2009- Current) …meaning that he understands the historical accuracy and authentic recreation of these tales. as Saifullah Yusuf related,

”Livi Zheng is a talented and dedicated producer who has shown herself capable of executing sophisticated productions with significant budgets. On the TV series Admiral Zheng He (Laksamana Cheng Ho) and the feature film The Empire’s Throne she coordinated a cast of over 1000 extras along with hundreds of horses while shooting in three different countries. In the action genre her personal experience as a multiple award-winning martial artist gives her unique insight into the stories she produces. Not only was I impressed by her ability to access her prodigious skills and experience, but also by her devotion to depicting realistic portrayals of the locations and historic periods in her films. To this end she spent a good deal of time gathering research from museums around China to add authenticity to the production.”

Director/producer Nirattisai Kaljaruek has worked with American household names such as Nicholas Cage and Bon Jovi. Regarding his experience working with Livi on these multiple productions, he comments

“Livi’s upbeat spirit and strong vision were an inspiration to our cast and crew, helping them realize the tone and spirit of the film. Her energy and passion are infectious. She manages to oversee everything with compelling detail, while paying attention to budgetary and scheduling constraints. Having grown up in Indonesia and China, and then continuing her education in the United States, she brings a unique multicultural perspective to all of her creative work.”

Zheng’s work on the productions concerning this popular historic figure continued as producer on the feature film Legend of the East. The film was a huge hit with notable achievements, including: Nominated at the Madrid International Film Festival for Best Foreign Language Feature Film –Legend of the East (Livi Zheng and Nirattisai Kaljaruek), Best Director of a Foreign Language Feature Film (Nirattisai Kaljaruek), won Best Actor for Foreign Film and Best Supporting Actress for Foreign Film. With her successful directing credits adorning her resume Zheng continues to expand her role as a respected filmmaker, more recently producing and directing the suspenseful Victorian period-piece The Lost Soul. Livi is currently fielding several offers in the US.

(Title featured image courtesy-of-marie-claire-indonesia-by-irfan-hartanto-2)

Behind the Scenes, Intetnational Films, Producer, Reviews, Interviews & Features!

JEAN PAULO LASMAR CREATES ART FROM AN UNCOMFORTABLE LIVING SCENARIO

December 1, 2016 pressva Leave a comment

Brazilian Jean Paulo Lasmar is most commonly recognized as a Producer & DP but storyteller is probably the most accurate description of him. Director of Photography or Producer are the most easily labeled tools which he utilizes but that says more about our attempt to place a label on him than it does the actual way in which he creates. Consider the fact that he spent some time in Panama and Indonesia observing the people, their surroundings, their interactions… producing documentaries to tell their stories. From this he moved on to Latin America, the UK, South America, West Sumatra, and eventually the US. In his travels he simultaneously also pursued his love of photography, capturing the visual personalities of the people and places he encountered. Lasmar has spent his life thus far seeking out the less obvious and too often overlooked tales hidden in those not so celebrated. It is his perspective that there are far more interesting stories than the ones that often repackaged and repeated to the audience. While he employs the skills that are tried and true, Jean Paulo’s true talent lies in his ability (a benefit of his love of photography) in recognizing the beauty that is found yet masked by a veneer of the mundane. His film O Condominio (The Condominium, as writer/producer/director) came about as a result of his experience living in Sao Paulo, Brazil. While O Condominio is a film that was conceived and created by Lasmar, he has lent his talents to numerous award-winning films such as: Looking at the Stars (Documentary Winner of a Student Academy Award in 2015), the live action animated Mosquito: The Bite of Passage (2016 Telly Award Winner), Surviving a Funeral (screened at the 2014 Cannes Film Festival), and numerous others. While these films and his work have received copious accolades, Lasmar’s films are recognizable by the introspection of normal people and the unexpected complexity of their lives and situations.

Anyone who has spent some time in communal (esque) living spaces understands the bargain and sense of unease that exists in this lifestyle. Jean Paulo has known little else. He confirms, “The world I was creating in this film is very familiar to me. São Paulo is a vertical metropolis with thousands of resident buildings all over the city. I lived in three apartment complexes before I decided to write the story.” The inspiration to make O Condminio came at a time when he was not only living in an apartment but also when Lasmar was preparing to make another film. He recalls, “I had the rights to write and direct my version of a short story called ‘The Bird’ written by the famous Brazilian writer Regina Drummond. It is a story about euthanasia. It’s a very interesting and heart-wrenching story. Things weren’t falling into place as I had wanted and my wife Silvia took me to lunch, just to get out of the house. She literally dragged me out of the house. We stepped inside the elevator and there was a note on the wall. There was a group meeting happening soon to decide many items related to the building’s welfare and maintenance. Right then and there I saw the story; the characters, conflicts, who would approve, who would not. These group meetings are hell. They are chaotic. People really transform themselves in these situations and some really stand out as great leaders. We came back from lunch and I wrote twelve pages. I had been looking for some grand statement for a film and there was a great idea being served up to me.”

O Condominio is a satire about living together. The plot centers around the intense routine of a family man who becomes the building manager of a problematic apartment complex. Estevan (the protagonist)’s job is to take care of the building but he is also a family man. He needs to provide for his family. There more involved he becomes with the problems of the apartment complex, the less time he spends with his wife and kids. These opposing forces drive his internal conflict. Nestor, one of the problematic residents, wants to bring him down. The story becomes political; there’s a dispute for power. It’s a metaphor of a city, a state, and/or a country. There is the side which controls the system and there is the opposite side. Estevan ultimately has to make the decision of whether he should take care of his family or sacrifice his role as a family man for the sake of the others. He chooses his family but the power wheel is cyclical and will never end. It is a constant in human behavior. There is sarcasm in the aftermath of the events. Estevan becomes the opposition and he won’t be silenced. This conflict is analogous to our interaction with others as well as our own internal conflict. It’s a factor that Lasmar contends with in his multiple roles behind the camera. Writer/director Suzana Amaral relates to this as well. Amaral has been recognized for her films at the Berlin International Film Festival, the Havana Film Festival, The Moscow International Film Festival, the Cartagena Film Festival, and countless others. About Jean Paulo’s work, she comments, “Jean Paulo is a superb filmmaker whose capabilities behind the scenes are only rivaled by the glowing reception his work frequently receives. Jean Paulo has consistently earned widespread admiration and respect for his work. His accomplishments are evidence of the vast range of his work, as his talents span medium and mode.” One of the greatest difficulties with someone as talented as Lasmar is delegating when circumstances require. However, this is what enables the process of film production and allows for opportunities in the community. It also results in achievements such as O Condominio’s Official Selection at the 2012 Mostra Brasil Brasilianische Filmschau, in Munich, Germany. Jean Paulo concedes, “With my previous directing experience in O Outro Jorge, I felt like I paid too much attention to the frame, the composition, the light, and the camera movements. I should have focused more on the story and directing the actors. In O Condominio, as a writer/director and producer, I choose to do just that; focusing on the story and directing actors. I really prepared myself to do it. I studied directing actors with Fatima Toledo, one of the most talented actor’s coaches in Brazil. I also worked with Suzana Amaral. She is a great author and director who really knows how to direct her actors. I knew I had to trust my DP; to let him do his work. I tell you, it’s very difficult to do that when you are a cinematographer. Gabriel Morais is a fantastic cinematographer. He is young and very talented. He understood quickly what I wanted, and I finally let go and focused on my tasks. I also stepped down from editing, which is something that I usually do in my films. I wanted to collaborate and I wanted my crew to feel that their work was in this film. I also believed there can be a middle ground in terms of getting involved in the work of the other departments, after all the director is the maestro and it’s his vision. I just wanted to focus on the story and the performances. Nowadays, I work a lot closer with my collaborators, that’s how it should be.”

This is the lesson of both the film O Condominio and the filmmaker; learn how to work together for the good of all and, if possible, nurture the talents of others. When people are invested, whether in their personal life or their professional one, it is difficult to accept that things can never be done in the exact manner you would pursue…but the sense of achieving success together will likely be the most beneficial to all. Art imitates life and life can be enriched by art. This symbiotic relationship exists because of artists like Jean Paulo Lasmar; those who create and allow others to be a part of the successful results.

Behind the Scenes, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!, Uncategorized

PRODUCER BEATRICE VON SCHWERIN ENABLES “ALL THESE VOICES”

November 25, 2016 pressva Leave a comment

There have been many, many films about World War II. With subject matter as prolific as this it is difficult to find a new angle. The film All These Voices is one of the few films to achieve this goal. The film’s producer Beatrice von Schwerin understood this when the opportunity came her way. While history informs us about the events, the arts enable us to comprehend the lessons learned as well as to take on the emotional quotient of these events. It is often true that the perspective of a war is viewed differently based on your geography. It is this fact that helps to make von Schwerin the perfect person to oversee the making of All These Voices. In addition to her excellence as a producer, Beatrice hails from Europe; giving her an ideal perspective to produce this Hollywood film. A member of Swedish nobility and possessing a resume of celebrated European film work, this producer brings many obvious talents…as well as a few less obvious ones. All These Voices struck a resonant chord. The award-winning film was screened at a wide variety of festivals including; AFI Film Fest (Los Angeles, CA), Carmel Film Festival (Carmel, CA), American Film Festival (Wroclaw, Poland), LA Polish Film Festival (Los Angeles, CA) ICARO Festival International de Cine (Guatemala) Las Vegas Film Festival (Las Vegas, NV – Winner Best International Short), 24 FPS International Short Film Festival (Abilene, TX), Kino Otok Isola Cinema Festival (Izola and Ljubljana, Slovenia), LA Jewish Film Festival (Los Angeles, CA), Resistance Film Festival (Tehran, Iran), Southway Film Festival (Mykolaiyy, Ukraine), Centre Des Arts (Geneva, Switzerland – Special Screening and Lecture), European Student Film Festival (Geneva, Switzerland – Special Screening and Lecture), Newport Beach Film Festival (Newport, CA), FIC Autor Film Festival (Guadalajara, Jalisco, Mexico), Washington DC Jewish Film Festival (Washington DC, MA), Woods Hole Film Festival (Woods Hole, MA). It’s important to view this list as a whole to understand that All These Voices had such a major appeal to so many different sections of the world population. Based on the locations of these screenings, we can easily assume that regardless of cultural, economic, or religious affiliation, these audiences were intrigued and attentive to the film’s message. This is proof that films which don’t involve CGI or superheroes can have mass appeal to audiences with many varied lifestyles. The fact that Beatrice was able to produce this film on a minor fraction of the average Hollywood budget is a major achievement for any production these days.

All These Voices is highly unique in the way that the story is presented. The film takes place in the days following the end of World War II. A young SS officer has sought out refuge by hiding in an abandoned Polish theater. A theater troupe of survivors enters to celebrate the end of the war. Having camouflaged his identity, and remaining mute so as not to reveal his native German tongue, the soldier joins the survivors in a vibrant celebration. As he witnesses the expression of their painful past, he is forced to come to terms with his complicity in their grief. It’s an idea that seems quite possible to have occurred in post WWII Europe. Multiplying the ease with which the audience can accept the story is the location. Nothing could be as appropriate as watching a film in a theater while the action takes place in a theater. Of course, with the events taking place in 1945 Poland, the surroundings needed to reflect that era. Beatrice chose the Roxie Theater in Downtown Los Angeles. Hollywood continually proves that its ability to be malleable is one of its greatest assets. This attribute, in addition to the talented community, is what has interested von Schwerin in possibly pursuing a residency in LA even though she has already experienced great success as a producer in Europe. She concedes, “Hollywood has always been the center of film; I don’t think that that will ever change. The film industry has been active here for over 100 years. The major studios are still located in and around Hollywood. It falls naturally that once a center for any type of industry is built, it stays there. I am actually looking forward to the day when I am part of a movie that will shoot its full production days in Los Angeles; it would be wonderful, to be closer to home. I know that the shorter commute home would be nice [laughs].”

The production All These Voices took on some highly difficult tasks, not the least of which was the presentation of its theme. Making sure that the story was told in a proper and respectful way was the greatest challenge. The Holocaust and the effect that it has had on people is a very important story to tell. Beatrice reveals that she gained some new knowledge from her director and multiple-productions collaborator David Henry Gerson. She notes, “I had what I thought was good knowledge about the Holocaust and its effect on people. However, working with David Henry Gerson helped me to get a stronger sense of it. Seeing it from David’s point of view, he has family that lived through the holocaust, and hearing his stories together with their stories has opened my understanding. None of my direct family has ever lived through such a trauma, so this has definitely helped me understand in more detail what the survivors had gone through.” It is obvious that Gerson was appreciative of von Schwerin’s attention and care of the subject matter as well as her producing skills as he comments, “Beatrice cares deeply about protecting and supporting the creative vision of the film. Working with her on All These Voices made this more apparent to me than ever before. She is an utmost professional, who inspires greatness and action in her crews and those working with her. Everyone performs their best having Beatrice around as a producer. Regardless of whether it was with myself as the director of any other member of the cast and crew, she listened carefully, assessed scenarios swiftly and effectively, and always, always, always was 110% prepared. Her intelligence governs all of her decisions. She has a rare ability as a leader and is a great force of positivity, effectiveness, and inventiveness. Making this film without her would be inconceivable.” The film’s writer, Brennan Elisabeth Peters echoes this sentiment stating, “As the screenwriter on All These Voices, having a producer as capable as Beatrice supporting my vision was crucial to its development and execution. As an artist, an important part of my process is thinking in terms of possibilities rather than limitations, especially on the script level. Unfortunately, due to the nature of filmmaking as a particularly logistically challenging and collaborative art form, this is not always possible. On other projects, I frequently feel the need to hone my vision and rein in expectations based on the limitations of my collaborators. However, with Beatrice on All These Voices, I truly felt free and uninhibited to write a script that was ambitious, gratifying, and, ultimately, award-winning. That was due in large part to my faith and trust in Beatrice as a producer.” One of the most difficult obstacles for the film is probably unnoticed by the majority of American audiences. All These Voices is extremely detailed in its recreation of the era and location of the events taking place…even down to the language being spoken. As producer, von Schwerin had to be involved in just about every aspect of the film production. This meant making sure that the dialogue was spoken correctly and believably. Beatrice states, “The cast on ATV were a very special bunch. Seeing that the film is all in Polish and German, probably the hardest part was making sure that the dialogue and pronunciation was correct. Parts of our cast were born and raised in Poland and some were not. Our film was seen all over the world, including places where Polish and German are the native languages; this required us to be painstakingly critical of the language in order to be authentic. I’m really proud that we were able to achieve this goal so well.”

It’s hard to imagine a young Beatrice von Schwerin roaming the grounds of her family’s castle in Sweden and then maturing into this commanding presence on set. How many of us would leave a comfortable life of adulation and nobility in order to face challenges day after day on a production? Beatrice conveys this commitment best in her own words declaring, “Producing is never an easy job, if it were easy, I would probably not be working as a producer. I need a proper challenge and producing gives me that challenge. When I moved to LA I promised myself that once I stop smiling when I see the Hollywood sign, I would quit my job and move back to Scandinavia. I am still smiling.”

Behind the Scenes, international Talent, Producer, Reviews, Interviews & Features!, Television

PETR GOLIKOV USES HIS PRODUCING SKILLS TO CREATE AWARD-WINNING DOCUMENTARIES

November 9, 2016 pressva Leave a comment

As far back as we can trace the history of mankind is how long storytelling has existed; that’s because storytelling allows us to communicate our own history. At some point (most likely around a campfire) storytelling became an art and, as art does, the tales became more grand and entertaining. Through the ages, the means by which stories were communicated has evolved; oratory, legible, theatrical, and eventually we came to our modern cinematic means. Moving Pictures may be just a skooch over a century old but they have already transformed in so many ways and have escalated the art of storytelling on a global scale. Hollywood may be the epicenter of TV and film but many countries in the world have ingrained some form of the industry into their social fabric. Hollywood can be proud that its child has become loved everywhere on planet Earth. All the corners of the world use this means to tell their tales. By studying the productions of different countries we can understand more about them as well as gain insight into how they see themselves. Petr Golikov is a Russian producer who has had immense success in the world of commercial production but who has also been a producer on many documentaries which present the history of his country as well as how historical figures have effected Russian society. Because of his successful career as a producer and his respect for US productions, he has a healthy respect for Americas contributions. Viewing the documentaries, he has produced allows one to have an insider’s look at many historical figures and social aspects of Russian society that are not often presented to the US. It’s particularly interesting that a producer like Petr, who has such a lauded career (working with well-known US companies like: PUMA, Gillette, Kraft Foods, Ford, Phillips; with campaigns that won awards such as: an Effie Award, a Silver Prize at the Kiev International Advertising Festival, and a Golden Prize at the Golden Hammer International Advertising Festival, as well as others) is always searching for a way to hone his abilities and challenge his approach. Golikov left the world of commercial producing for a period of time to work at the award-winning Studio Ostrov. Studio Ostrov is a recipient of many prestigious awards including: an Emmy Award, Bafta Award, and Nika Award. This award-winning production company was founded by the award-winning filmmaker Sergey Miroshnichenko. Petr admits that when he was offered the opportunity to work with an artist as important as Sergey Miroshnichenko, he could not forego the experience. It is a scenario that has altered his approach to production ever since, particularly his style of communication with directors.

The production Gogol: The Farewell Letter mixed actual letters of correspondence from one of the most celebrated Russian writers with a very artistic presentation. The film was recognized and awarded at the Kiev International Film Festival in 2009. The film is based on Nikolai Gogol’s correspondence with friends and contains reconstructed scenes from the life of this writer and the intellectual debates which he led with them. The main role was played by Eugeniy Voskresenskiy (he won an award at the Kiev International Film Festival for this role). Golikov describes the creative approach which the film is known for, stating, “Three-fourths of the film took place in the set designed and built to look like a huge head of Gogol. People appeared there like ghosts or thoughts or images. We wanted the viewer’s to feel that they were inside Gogol’s head and we took the metaphor to a very literal place, which the audience seemed to really enjoy.”

One of the films Petr produced (at Studio Ostrov) which received the most accolades was The Word. This film is about the life of famed writer Aleksandr Solzhenitsyn. The Word received a TEFI Best TV film nominee, a LAVR (2009) Best documentary film award, and a special award at the 2^nd New York Festival of Russian documentary (2009). The Word was filmed shortly before Aleksandr Solzhenitsyn death in 2008 and discussed the writer’s book The Gulag Archipelago, his ideas, & future plans. The documentary contains rare footage of his life outside Russia and unpublished exclusive interviews in which he discusses modern literature and the future of Russian in the 21^st century. Because the film discussed one of the most important writers and thinkers who witnessed such an extensive change in the world, it was paramount that it present his firsthand take on history and the literature of his lifetime.

One of the most intriguing documentaries which Golikov produced for Studio Ostrov is titled Closest. This is a riveting and poignant documentary which views the city of Kazan in Russia. This location is extraordinary in the fact that its population is comprised of Christian, Jewish, and Muslim people who live peacefully together. It is a model which attempts to explain if we can live amongst each other with these differences without strife and war. The production asks if “love thy neighbor” can truly exist. Filmed on location over a ten-day period, Closest gives first-hand accounts of what these different ideological groups think of each other and how they implement their religious teachings.

Reaching much further back into Russia’s history, Petr produced Pyotr and Fevroniya: Story of Eternal Love for Studio Ostrov. The Orthodox Church in Russia has declared this couple saints and the keepers of family and marriage. According to lore, Pyotr and Fevroniya were buried in separate tombs but the following day their bodies were discovered together in the same tomb. Many people visit this tomb and ask for intercession. Golikov communicates, “I had to approach the story with great care before it was presented to channel’s producer. There was a presentation for a priest from the Orthodox church because this couple is recognized as saints. The church was happy with it and the film crew was actually very moved by the story, as were the viewers…which gave us such high ratings. It’s a wonderful love story.

Petr’s acclaim as a producer of both documentaries and commercials in Russia has led to upcoming productions with Feel Good Video in the US. Golikov has been enlisted to bring his talents to a number of projects for Feel Good Video including the documentaries Dreams by the Ocean and Twinsters in addition to a series of commercials for both Dyno Wave and Joe To Door brands. Petr’s immensely popular and acclaimed work in the past is a causality to the effect of these international offers. The best reward for a professional such as Golikov is the abundance of offers that continue to find their way to this consummate producer.

Chinese Filmmaker, Film, Producer, Reviews, Interviews & Features!

Jinming Zhao Stands Up as extraordinary producer

October 24, 2016 pressva Leave a comment

When Jinming Zhao began making the film Stand Up, she knew she would be making a film that inspired audiences. What she didn’t know was that making the film would inspire herself and her confidence in her abilities as a producer as well.

Stand Up is the story of a quiet teenage girl who has trouble processing her emotions at her beloved grandfather’s funeral, until her evil father comes for the heritage. The idea for the film came from Zhao, who was convinced to make it perfect.

“It was really good experience,” she said. “It’s nice to get the chance to collaborate with so many talented people.”

The film has been making waves across film festivals. It won Best Film of the Month at the Director Short Online Film Festival. It is an official selection in the Short Stop International Film Festival, Access Code Short Film Festival, and Love International Film Festival, and was nominated for Best Film of the Inspired Faith Film Festival where it won the Excellence Award. In the Top Shorts Film Festival, it received Audience Awards, and it won the Award of Recognition at the Hollywood International Moving Picture Film Festival.

“It’s amazing,” said Zhao when describing what it was like to when the first Audience Award. “When I got a trophy for the first time, I sent my mom a picture, and she said she was proud of me. That’s a moment I’ll never forget.”

The awards were well deserved. Zhao had to work harder than most to achieve what she did, and overcame the challenge of being stereotyped against while producing the film.

“I found a perfect house with reasonable price but when I talked with the owner for the first time, she didn’t want to talk about it at all, and she thought I didn’t look like a producer at all, because I’m an Asian small girl. She didn’t treat me seriously. I was hurt by that experience, but I didn’t give up because I wanted the house,” she said.

Zhao was relentless, and went back to the house a second time, with more confidence and a prepared statement. The visit secured the location with no issues.

“I told myself that I’m an independent, talented, smart, and strong woman, and there’s nothing I need to be afraid of,” she said.

This sentiment resonates with whoever she works with, as Zhao is recognized as a truly talented producer amongst collegues. Guannan Li, who worked with Zhao on Stand Up, attributes the quality of the film to Zhao.

“I am certain that without Jinming’s irreplaceable talents as a producer, the film would not have maintained such a high quality. She is a creative and talented producer, and we were entirely fortunate to have included her on the film,” said Li.

The two had prior success while working on the horror film Emily back in 2014. The film won Best Horror at the Los Angeles Independent Film Festival, Best Horror Short Film at the Hollywood Horror Festival, and Best Short Film at Mad Town Horror 2015. It was an official selection at the London Digital Film Festival 2015, the Fill Bloom Film Festival 2015, the Hollywood Horror Fest of Shorts 2015, the BigHouse Invitational Year One 2015, the Fort Lauderdale International Film Festival 2015, the International New York Film Festival 2015, the Horror Short Video Contest 2015, the Los Angeles Short Film Festival 2016, and finally the HollyShorts Film Festival 2016.

Zhao also worked with director Jun Xia on Emily, who approached her about working on the film.

“She is a creative powerhouse that we were very fortunate to include on our film, and I wholly attribute much of our success to her leading contributions,” said Xia.

Zhao had never worked on a horror film prior to Emily, and when she first read the script she was hesitant to accept the role of producer. However, the opportunity to work with Xia changed her mind.

“We worked on the script together and came up with a great story,” she said.

The success that Emily received prepared Zhao for a future full of success, but working on Stand Up gave her something even more valuable for her producing career.

“I learned that if I want other people to respect me, I have to respect myself first. I understand that to be as a foreigner would face more problems than local people do, but I have confidence and capability to overcome them,” she concluded.

Film, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!

PRODUCER BRIAN MANCINI BRINGS LOVE AND LAUGHTER TO A TENSE TOPIC

October 19, 2016 pressva Leave a comment

One of the most positive aspects about the Arts and specifically film, is that it allows us to step into the experiences and thoughts of others. Film often makes the impossible transition from sympathy to empathy, in a very safe way. Rita Mahtoubian Is Not A Terrorist is a film which approaches a very prevalent and modern situation. The filmmakers have chosen a very unusual approach in the presentation of their idea; a romantic comedy. It’s not the usual approach for this subject matter and Brain Mancini is not the typical producer. With films like; A Meditation, Dryland, Star-O, and others to his Producer credits, Mancini has enabled many diverse films to be created for the public’s viewing. With Rita Mahtoubian Is Not A Terrorist, Brian was attracted to a number of aspect of this film. His litmus test is always, “Would I want to see this movie?” and it was a resounding “YES!” for him. Ultimately, Mancini states that what confirms his decision to work on a project is if he believes in the story being told. Rita Mahtoubian Is Not A Terrorist is a film which challenges the idea of stereotyping others in our modern age and tells us as much about ourselves as it does about those whom we might be unfamiliar with, as well as engaging us to question the reasons behind our thoughts. That probably sounds like a lofty status for a Rom-Com if you haven’t seen the film. The use of this genre to tackle the idea at its core, as well as some very interesting approaches to filming, removes a great deal of negativity out of the film, allowing the audience to focus on their own individual perception rather than a mob mentality.

Rita Mahtoubian Is Not A Terrorist garnered a nomination at both the 2015 Tribeca Film Festival and the Casting Society of America, USA. Being recognized by perhaps the most famous New York film festival as well as the professional community which seeks diversity in casting is the kind of outstanding achievement that lets Mancini know that he is striking a resonant chord with this film. His fellow producer Roja Gashtili (known for her work on Morgan Spurlock’s A DAY IN THE LIFE, MTV’s EXILED ,SATURDAY NIGHT LIVE: IN THE 90s) refers to Brian as “a magician!” Assembling the components (crew, cast, logistics, finances) needed to make a film which deals with people fears, prejudices, and matters of the heart, would certainly take some sort of magic to manifest. Rita Mahtoubian Is Not A Terrorist is really the story of someone who is being treated as an outsider even though they’ve spent their entire life in the US. When Iranian-born Rita sets out to change her life from ordinary to extraordinary, she accidentally captures the attention of Homeland Security. The film is a satirical comedy about romance and trying to be a better person. For example, when Rita attempts to make some friends by hosting a dinner party, it just so happens that she’s also acquiring the same household materials that could be used to make explosives. With her Iranian background, she gets flagged as a possible threat to public safety. Mancini states, “In the film we do critique the close-minded attitude that anyone of Middle Eastern decent must be a terrorist but the film’s intent is to show how that’s not the case. Rita Mahtoubian moved to America as a child and grew up American. It’s a subject that can be relatable not only for Americans but for all immigrants in any country. It’s all about not believing in stereotypes and actually seeing who people really are. The film is really romantic comedy about an FBI agent falling for the person he’s investigating. Most people found it to be heartwarming with a good message of how absurd it could be to judge someone solely on their family’s background and ethnicity.”

Brian and his production team came up with one very interesting approach which solved two hurdles for their film. He explains, “We shot “Rita” in Los Angeles as most of the script was written with specifically LA in mind. Early in development we had discussed the idea of shooting abroad as we had several scenes located in the Middle East. The creative way around this was when we decided to build miniatures and shoot all of those scenes in that style. Our main goal was to not sacrifice the story for any amount of money. We would often ask each other ‘How can we creatively get this same feeling that’s written in the script?’ Being able to shoot on a stage and creating the miniature sets gave us the capability of shooting a desert scene in the morning and then moving to steel mill only a few hours later.” Creative producing resulted in time and money saved, which could be channeled into other aspects of the film.

This production which has such an unusual approach to a timely situation, has been enormously accepted and appreciated by audiences. Brian feels that this validates his motivation to be involved in the core message of Rita Mahtoubian Is Not A Terrorist. His role as producer necessitates his involvement from pre to post production, which means Mancini puts a lot of time, effort, and heart into the films he helps to create. He comments, “The grand consensus is that the film is well liked by the mass audiences. I feel that because people can relate to the characters, it gets them invested. The humor successfully releases the tension when needed and helps audiences stay inside this world that we created. I hope that people see this movie and take a moment to think about our overall message. The feedback we’ve been getting from the film is that people understand and enjoy the message. Additionally, they enjoy the choices in our visual storytelling. The miniatures successfully capture audience’s imagination and the ending when the Agent walks through the explosion site into a heart shaped hole creates a warm and fuzzy feeling.” While Brian Mancini has no aspirations to the stardom and celebrity that drives many, he is always striving for the films he takes part in and believes in making. It’s about both the story and the art of telling the story for this producer. He confesses that there are so many possible ways to portray these tales…and he is eager to experience as many as possible in his career.

Behind the Scenes, Canadian Talent, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!

MIGUEL RIVAS: THE FUNNIEST EXECUTIVE PRODUCER YOU’VE NEVER MET

October 19, 2016 pressva Leave a comment

Being an Executive Producer (EP) is in many ways similar to being a UFC fighter. You put in an insane amount of hours preparing for the microscopic amount of time that the audience actually witnesses the entertainment which you create. You must predict the action which will take place in your mind, envisioning it months or years before it ever takes place. You choose the team of professionals who will hopefully insure your success. Not to be forgotten, you often feel as if you have had every ounce of energy kicked out of you before it is all over. If it sounds hyperbolic to you, a conversation with Miguel Rivas may alleviate this uncertainty. Rivas is well known in his native Canada (the US is now paying a great deal of attention to him) for his writing and acting abilities but, unknown to the public en masse, he has been the EP overseeing many of the productions for which he has become famous. The combination of writing and acting has given him an overview of what is needed and naturally steered him towards the role of EP.

Many often refer to the role of EP as an honorary title given to marquee name actors and actresses to placate these celebrities. While that may exist in some parts of the entertainment world, this scenario has no presence in Canada’s TV and film industry or Miguel’s experiences. Many times, Rivas has been asked to take on this task as someone who has the understanding of what the production needs as a whole. He states, “Being executive producer means ultimate control, but also maximum stress. The whole project rises or sinks based on how you put it together. That means primarily, finding the right people to work with. On ‘Japan’ and ‘Wanda’ (two of the films by comedy troupe Tony Ho), it was paramount to find people who understood our sensibilities as a group. As EP, you have to organize everything and keep multiple plates spinning at once. Independent films can be hard to fund; finding money and support for our voice was the single most important part of being EP on these projects. Once that was in place, it was just about doing every task, however large or menial, with an eye on making the best film you possibly can.” Tony Ho is one of the most established and lauded Canadian comedy groups to perform both live and on film. With a signature dark comedy style, they appeal to a wide audience by tackling the highly stressful situations that many of us face, or hope to never face. Japan won the Grand Prize for best film at the Laugh Sabbath Film Fest at NXNE, while Wanda was also recognized at the same Film Fest. Both films present the stresses that modern professions and love lives have on the average person, with ridiculous…sometimes fatal outcomes. Tony Ho’s Roger Bainbridge (Nolan in Japan) confirms the importance of Miguel as EP for the film, stating, “I was really fortunate to have Miguel as an executive producer on Japan with me. Most Tony Ho films feature just the three of us and maybe 1 or 2 more people but Japan required a large cast and many locations over different days. Miguel did a great job of finding the right people for the job, making sure they were paid well, organizing their schedules, and arranging the shoot days so that we could use the extras efficiently without wasting anyone’s time. Miguel was also key in finding our shoot locations. He did a great job in writing the script for Japan, but the humor comes from the fast pace of the story. We needed lots of locations to make the script work. Miguel used his connections to get us locations that would fit our script and budget. That was the beauty of having Miguel as both writer and executive producer, he turned a complicated script into an easy shoot. We didn’t have to compromise.” Adam Niebergall plays Marty (the recipient of some opportunistic nepotism) in Japan and reinforces Bainbridge’s take on Miguel’s abilities and expertise on Japan. Adam comments, “You can tell Miguel really loves making movies because he’s so calm about it all the time. On Japan there were lots of different people involved; extras, cameramen, transportation people, etc. Everyone went to Miguel to ask questions. He was the one who communicated with everyone, either in person or by phone/text, and everyone trusted what he said. Strong leadership is important on film projects and Miguel inspires confidence in everyone involved. Plus, he’s always nice about it. He never yells at anyone. He’s always more than happy to answer anyone’s questions. You can tell he’s thankful to everyone for helping to make the movie. He knows what he wants to do and accomplish and how to bring out the best in everyone’s work.” Daniel Beirne, the director of Wanda, reiterates, “he had no problem switching from his “actor/writer hat” to his “executive producer” hat. He was respectful of the crew we had there and made sure everyone was ok to keep working or asked if we should take a break. I love working with Miguel because he treats the set as a collective project; even though he was writer, actor and executive producer, everyone was equally important.”

As proof that he is no one-trick-pony, Miguel has applied this same template to music videos for a variety of modern artists. Alt Altman is the solo Toronto musician, Digits. Having toured all over the world, he’s released several successful international singles and albums under various monikers. He’s been shortlisted for the prestigious PRISM prize. Digits sought out Bainbridge because of the multiple strengths that he could bring to a production. The video for “Street Violence” (Named one of the Top 5 videos of the year by Exclaim!, featured on VICE, and MuchMusic) is an epic tale of the downfall of society and one couple’s attempts to evade the gangs who rule the streets. While the gang monikers are often comedic, the action which takes place and the anger that is vented on individuals throughout the course of the video, carries a sobering impact. Digits declares, “It’s Hard not to have only great things to say about Miguel. The cast and crew that he assembled, the storyline, the costumes, and the fact that it was finished in a matter of days…I’m so pleased with the video and the response it has gotten!” Jay McCarrol is a member of the hugely successful band Brave Shores, whose pop song “Never Come Down” was a huge hit. Jay is also one of the minds behind the web series Nirvana: The Band The Show, which had a large premier at TIFF. Rivas produced two videos for Brave Shores, “Never Come Down” (which has amassed nearly 700 thousand views on YouTube and was featured on Silent Shout, MuchMusic and VICE) and “More Like You.” McCarrol refers to Miguel noting, “As an artist, it’s important to have a professional who will listen to your ideas; Miguel is that kind of artist. He made sure Stef (Stefanie McCarrol, sister/bandmate) and I were comfortable with the concepts and took our ideas into consideration during the early phase. I like that he was flexible and fun. He is the best to work with. He also knew how, as producer, to stretch a dollar, which believe me, is needed with music videos.” While “Never Come Down” is upbeat in tone and comedic in action, “More Like You” is somber and introspective in terms of the music as well as the visuals that accompany it in the video. Rivas comments, “The music videos were slightly different as funding was secured beforehand and the task then focuses a little tighter. A major duty when acting as EP is making sure everyone at all levels of the project is happy and involved in the right way. For the Brave Shores music videos, I was the liaison between our projects and Universal Music as well as the band. You have to be level headed and a little political to make sure everything gets done in a way you’re happy with. It can be doubly difficult to occupy other roles (writer, actor, director) while acting as EP, but it offers an ability to control and lead things in a way that I find very satisfying.”

Perhaps what stands out most when considering all the aspects and talents of Miguel Rivas is that he is foremost a conduit for himself as well as others to communicate a story. He might be involved in creating lines, delivering lines, or finding the right people to finance the microphone that captures the lines which someone else is speaking; whatever the vehicle of delivery, Miguel is somewhere in there grinding away because he believes in the art of telling a great story.

Actor, Behind the Scenes, Canadian Talent, international Talent, Intetnational Films, Producer, Reviews, Interviews & Features!, Triple Threat

A GUIDE TO PROPER AND IMPROPER VIEWING OF JAPAN

September 30, 2016 pressva Leave a comment

Artists are dangerous; not in a “hold you at gunpoint demanding your wallet or your life” kind of way but rather, they can be highly intelligent people who use their talent to sway both individual and mass opinion/sensibilities. If you upset a writer, they can compose something that addresses you in a subversive way. An actor might deliver the lines in a subliminal tone, guiding you to a feeling that might differ from what is instinctual for you. All that is needed is an Executive Producer to enable them to make it all happen. Combine all three of these with a slightly sarcastic comedic wit and timing and you’ll get Roger Bainbridge…the most interstin…err, dangerous man on Earth…well, at least in Canadian entertainment. Comedians and comic actors get away with saying and displaying some truly awful things by delivering them in a way that shines a light on their ridiculousness. Case in point; Bainbridge had seen many of his friends taken advantage of as unpaid interns. Not only did these people not receive monetary compensation for their toil but, they were quite often not treated with respect. As a writer and an actor with the resources to green light a film, Roger used his role as a part of the Canadian comedy group Tony Ho to create, produce, and present Japan. The film reveals the politics and disrespect (in a very funny way) of the modern office template.

Roger Bainbridge has worn a lot of hats in his career; writer, actor, music video director, executive producer, but he is most commonly associated with Tony Ho (the aforementioned Canadian comedy group). Tony Ho enjoys tackling ideas like threesomes (Wanda), dysfunctional family dynamics laced with time travel (Time), etc. No subject seems to eclectic for Tony Ho. Bainbridge was inspired to write Japan based on the shared office experience many of us have. He explains, “The impetus for writing Japan was seeing a lot of my friends being forced to take unpaid internships at places that really should have been paying them, and seeing how messed up the job market was at the time for people just getting out of school. From there I just thought about what might spurn a change of heart in someone in charge of the hiring. I worked briefly in an office where we did subtitling, so it wasn’t a really traditional office. Everyone had headphones on, pretty cut off from everyone else. No one really spoke to each other, it was all done through email. So I guess I was just left with an impression of people being timid to go talk to anyone, which creates this awkward tension, and tension is really at the heart of comedy.” As the writer of Japan, Roger had the inspiration and the skill to conceive the notes of his comedic sonata and as the EP he could find and reserve the concert hall, he simply needed to proper “musicians” to perform the piece with the delivery and skill that would inspire his trust.

Tony Ho has been creating comedy for over a decade. You don’t stay in any relationship that long unless you have a deep caring and trust of the other(s) involved. Once he had conceived the idea for Japan and written the lines, Bainbridge immediately understood that Tony Ho were the best performers suited to make the film. The trio of Tony Ho has spent more than a decade creating and performing together both live and on screen. Roger refers to Adam Niebergall and Miguel Rivas as two of the funniest and most interesting performers he has ever worked with. Niebergall diverts praise to Bainbridge stating, “He’s a ‘taste maker’ and he’s incredibly compelling. I’ve spent a decade or so working with him in comedy and I still can’t ever see it coming. I’m amazed by Roger’s Vision. He has an unwavering integrity with his comedy. His work is so good because he is always asking himself what he would want to watch and he would never bother making anything that doesn’t pass that test. I think a lot of people write things with the mentality “Oh, this would be good; people are talking about this right now.” and a lot of times that type of thing can come off flat. You can tell when a comedy writer isn’t obsessed with her/his subject matter. Roger knows what he wants to say as a writer and for me that’s always much more compelling to pay attention to. He’s always one step ahead. He thrives on making people think about themselves and it really motivates his work.”

With the writing of Japan completed and Tony Ho set to star in the film, Roger’s job as EP meant he would acquire the production team that would capture the action of Japan. Henry Sansom was the professional that Bainbridge entrusted to be seated behind the camera. DOP Sansom echoes Adam Niebergall’s sentiments, declaring,” In my experience, Roger Bainbridge is one of the most talented and disciplined minds in comedy in Toronto. Not only an incredible actor dedicated to craft and context, he is a star writer of subtlety, relevance, and boldness. Without seeming too fellating, if there was only one artist I could work with for the rest of my career, and know that every project was able to reach the highest standard, that would be Roger Bainbridge.” Inspiring confidence in others is the template of Roger’s career, a worthy attribute for someone whom both creates and enables the filmmaking process. The fact that he is so adept at creating the storylines and situations that take place on camera might divert one’s attention from the fact that Bainbridge is such a respected an accomplished actor. A viewing of his many diverse roles and the temperament of his characters serves as a confirmation that he is truly in his element in front of the camera.

Roger reveals the tone that he wanted for the action on film as he communicates, “In making Japan, we knew we were really pushing ourselves to make something more relatable in tone of comedy, pace, and look, so it was nice to have it be received so well by people who

have seen it. Our stuff can tend to be a bit more challenging, so this was a test to see if we could dip a toe in something a little more mainstream, and people seem to like it.” Centering on the stereotype that the Japanese culture is focused on workplace competition and Karaoke leads Miguel’s character to force Roger and Adam to compete in a sing-off with the winner being awarded a paid position for the company. While Sophie B Hawkins “I Wish I Was Your Lover” has never been so amusing, it’s the flashbacks and narration that empower the performances to have deeper laughs than simply the action might elicit on their own. Japan has a greater level of complexity in terms of the number of sets and number of cast members involved than many of the Tony Ho productions. There is a trait that enables Japan and the theme to be irreverent to the stereotypes that the general public often feels comfortable buying into. Bainbridge agrees, “I think Canadians have a unique take on comedy because we have the benefit of being influenced by both American and British comedy. The British style can be a great deal more subtle and satirical and American stuff can be so in-your-face and broad and angry. I think we have the ability to marry those two influences in an interesting way. I have never been to Japan, and that’s deliberately part of the humor of the piece for me. I like it when people feel like they completely understand a place by just gleaning bits and pieces of their culture as it’s been distorted through media. The larger joke is that these are ideas people may hold about Japan while not actually knowing anything about the place.” Bainbridge is currently in development for TV productions with Tony Ho. With successful comedy albums, his involvement heading films and music videos, Roger Bainbridge is equipped to bring the full package to the home viewing public.

Producer, Reviews, Interviews & Features!

Producer Elena Ioulianou working with Milk and Honey Films all over the world

September 28, 2016 pressva Leave a comment

Elena Ioulianou is a Greek South African. She was born and raised in Johannesburg, South Africa. Like many of us, she had a dream. It may not have seemed practical to her parents, who encouraged her to pursue a business degree, but despite this, she never gave up on it. She always loved performing and filmmaking from a young age. Now, she is an internationally successful producer with Milk and Honey films and Milk and Honey Pictures.

Throughout her school career, Ioulianou was very involved with drama and performing arts. She performed in every school play and loved being on stage. Her passion to perform was very evident. When she finished high school, her parents advised her to obtain a degree before pursuing anything arts related.

“I have no doubt that my parents believed it was a phase and that it would eventually pass, at least they hoped,” she said.

A phase it was not. Ioulianou attained her Bachelor of Commerce in Economics and Econometrics at the University of Johannesburg, but she knew her passion still was with filmmaking. She then chose to attend Reel Edge Film Academy, and her life changed.

“During the course of my first year I fell in love with ‘behind the camera’ work. Every minuscule technical detail and little creative elements became my whole world,” she said.

During the course of my studies she became more and more enthralled by the business side of film, and realized her future was in producing.

“I never thought I would use the financial side of my econometrics degree but turns out it came in handy,” she said. “My dream career was now vivid and complete. I was going to be a financial and creative producer.”

Success has since followed Ioulianou. She worked on major South African campaigns for 1:Face Watch, the electoral IEC Cool Campaign, and the human trafficking PSA Ruby’s Story. She has worked on commercials for Land Rover and many more. Early in her career she worked on the series The Message. She also worked on the PR of the film Little One, which went on to be the South African selection to be nominated for an Academy Award, and recently worked on a film with Studio 4 with Oscar-nominee James Franco. Now, she is a producer with Milk and Honey Films in the United States.

“Elena has a background in financial analysis. This combined with her unique international network throughout LA and South Africa makes her a formidable asset to any production,” said Tomas Krejci, the CEO of Milk and Honey Films. “When I learned she was interested in coming to Los Angeles, we discussed what she had done. Her extensive experience in feature films and commercials in South Africa is impressive and that caught my eye. She clearly understands the very complicated ins and outs of production budgets on wide-reaching scale.”

Milk and Honey Films and Milk and Honey Pictures is a global production company which provides services for commercials, feature films, TV series and content creation. Ioulianou will be working on many commercials with them that are in pipeline, as well as two television series and three feature films. She will be very busy.

“I have a long way to go and there is still so much I still have to learn. My biggest challenge is trying to remain patient with myself while building my career. It’s not easy, I try as best as I can to learn from and absorb whatever guidance industry professionals are prepared to give me and then I actively take strategic steps towards reaching my goals,” she said.

Ioulianou has relocated to Los Angeles to work with Milk and Honey. However, they will be opening up a Cape Town South Africa branch, which she will be heading along with the Los Angeles Branch.

“What attracted me most to this career path is my belief that film can express anything. It is a secondary reality that can move one emotionally and open one’s eyes to new ideas, exposing the viewer to a different perspective on life. Film is like most forms of art; first and foremost, it is about expression. It is a collaboration of creative ideas and technology to create the finished product that will captivate others. I can think of nothing more exciting than that,” she concluded. “For me, a producer is the heart of any production.”

Behind the Scenes, international Talent, Producer, Reality TV

DRAMA ON A DESOLATE ISLE WITH GRIVAS KOPTI

September 27, 2016 pressva Leave a comment

UK based Naked Entertainment is the producer of a new reality show titled Stripped and Stranded, commissioned by Channel 5. This factual-entertainment series is not about unclad individuals on a desert island but rather, it shows multi-generational families attempting to complete challenges while relying on each other for support and survival. The real goal of the show is to present all viewers with someone whom they can relate to regardless of what age and background they come from. Even more importantly, the show wants to reveal that we all struggle with relating to someone in our own family and should not discount their potential contributions to our life. One of the great things about reality TV is that it allows the public to see “regular” people, representative of all walks of life. We wanted to find out more about the contestants and the programs itself, so we approached leading casting producer Grivas Kopti. As the person at the heart of finding, researching, and presenting the family members on Stripped and Stranded, Grivas has a perspective unique to all others involved. Mike Warner, Senior Executive Producer at Naked Entertainment sought out Kopti because, in his own words, “He is undoubtedly one of the industry’s most prominent associate producers, and I am positive that he is among the most elite in his field. Mr. Kopti’s involvement on many celebrated and nationally distributed programs is an excellent example of the undeniable success that Grivas brings when he performs the leading role of associate producer.”

Stripped and Stranded was filmed in Panama but the process began in England with casting. The goal of the show was to find families with multiple generations. This meant that normal social media blasts would not work as many of the older generations are not as tech-savvy and tech-conscious. Online forums, newspapers, as well as social media were used to attract interested applicants. Following extensive interviews, Kopti worked with an editor to create 1:30sec Skype audition tapes which were then used to decide which four families would offer the most interest as well as the greatest potential for growth. For those unfamiliar with the role of leading casting producer, Grivas found the applicants, screened them, produced pitch tapes, produced and oversaw all legal paperwork for applicants (on a survival series!), and wrote extensive family biographies which are key in shaping the narrative of each episode. Essentially, Kopti performed as interviewer, legal advisor, film producer and editor, and journalist…all before the show began filming!

Grivas has an extensive and highly successful career in casting. He has been in charge of finding the “right” people for reality shows like; Tattoo Fixers on Holiday, Celebs Go Dating, Naked Attraction, Couples Come Dine with Me, and numerous others. As someone who has always been able to talk and connect with strangers, his natural talent resonates well in the TV industry. His desire to focus on Reality TV is centered around the diversity that it depicts in society. He states, “There is always a magical element to seeing faces on TV that you don’t usually see or wouldn’t expect to see; especially in a show like this one, where we really delve into people’s lives and dysfunction. That’s one of the biggest takeaways for the viewers, insight into communities and homes you don’t see too often.”

The challenge of Reality TV shows like Stripped and Stranded is to show real people in a way that we can all relate. However, most of us don’t find ourselves stranded on a desert island, fighting for survival. The subtext of the show, and its true goal is to depict how family members relate to each other when times are good and bad. The producers hope that, in seeing the drama and struggles exhibited on-screen, viewers will not only discuss, but also learn from the challenges which the contestants endure. Grivas feels confident that all viewers will find something relatable, as did he, revealing, “One of the families was unable to communicate effectively and make decisions simply because most, if not all members, are extremely headstrong, proud and constantly talk (scream!) over each other. I come from a feisty Greek family, so that explains a bit there. You definitely know when we are home; as do our neighbors.”

Stripped and Stranded could be considered “extreme” family therapy. The families learned a great deal (good and bad) about their own feelings as well as those of their family members when confronted with dire circumstances. Just as in counseling, participants were faced with uncomfortable thoughts and history in order to move ahead and grow. Kopti confirms, “After carrying out in-depth research, we concluded that, when faced with challenges and obstacles to overcome collectively, people in disagreement are more likely to put their differences to one side to overcome the hurdles they are faced with. We wanted to put that to the test and see what happens when families who are in some sort of crisis are stripped of their technology and other modern comforts and left on a deserted island for an amount of time to fend for themselves. What took me by surprise, even after extensive casting interviews and from meeting our contributor’s prior to filming, was just how much the families had not communicated amongst themselves. There were a lot of stones unturned and things never said. As families, we want to avoid things instead of dealing with them – which is so detrimental to a family’s dynamic and bond in the long run. Ultimately, from an editorial perspective, we wanted to achieve some resolution and peace at the end of each episode/story. We were hoping to say that when we take away every day distractions and modern comforts from people, we can actually instigate healthier communication and positive, healthy relationships.”

The filming location for the show is Panama. The crew obviously needed open and remote locations as the “stripped” part of the show’s title refers to being stripped of modern conveniences. The natural aesthetics of Panama produced a pleasant backdrop dichotomous to the tense action. Grivas relates, “It’s beautiful landscape. It’s paradise. For a show of this scale, as Stripped and Stranded was, we need to ensure we have an elaborate space, so Panama seemed perfect. It has many different sides to it. Obviously you have Panama City, then you have the beautiful islands. Both were great as a backdrop for the show. It wasn’t only the cast that was at risk for this production. Most of the crew was petrified of exotic spiders and snakes; you can only prepare so much for those kind of things. I think education is key, more than anything, to know how to best handle a potential encounter with a dangerous species.

Stripped and Stranded has yet to air which means you won’t find any spoilers here. Only the participants and the producers know the actual outcome. While much of Kopti’s work has focused on individuals relating to other individuals, he finds the familial aspect of Stripped and Stranded to be very rewarding and complex. Grivas confirms, “Every generation will have something to say and things they want to change, that’s just natural. Parents want the best for their children, but need to accept that that it’s not necessarily what they had in mind for them. And I think that’s okay. It’s certainly something I battle over with my parents.” Stripped and Stranded will soon air on UK’s Channel 5.