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SYD2030 star, and commercial favourite Alistair Cooke, on his leading career in Australian TV

Alistair Cooke has become used to dealing with the pressures of a busy acting career. Originally from Perth, Australia, this home-grown successful thesp sits down with us to reflect on his critical role in the award-winning online series, “Syd2030”.

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Alistair Cooke, photographed and styled for our story about his impressive career.

Alistair prefaces the conversation with a declaration on why he does what he does.

“At the end of the day, I believe in story-telling and that’s my main purpose,” he clarifies with the wisdom of someone three times his age.

When asked to elaborate, Alistair points to what he hopes to do with his acting in general.

“I’m an actor focused of sharing the experiences of characters and giving audiences the opportunity to learn and experience things they wouldn’t in their day to day life.”

We begin our discussion with a reflection the hit drama, “Syd2030.” When asked about his contribution to the show, Alistair speaks with an authoritative confidence.

“My character “Avery” in “Syd2030” was a necessity to the show. He brought the comedic relief in what was a drama heavy production.”

Indeed, watching the show it’s very clear Alistair brings an inviting humour into every scene in which he appears, but balances that out with a extremely strong grip on the dramatic tension. Proof of the exceptional acting talent he has come to be known as.

“Syd2030” was acclaimed as Australia’s answer to “Gossip Girl’ meets “Suits” – a fictional inside look into the lives of ambitious law students. This meant that some episodes were laced with heavy topics, include drug use and depression. The role of Avery, as played by Alistair, therefore became a fan favourite for the way he offered comedic punctuations to every scene in which he appeared. This balance in tonality clearly struck a chord with industry peers, as it helped the propel the show to critical acclaim and win Best Drama Webseries at the highly regarded Webby Awards.

“Syd2030 was an enjoyable production to be a part of and I loved every minute of it,” Alistair says with a smile.

Adding to the specialness of the project was the fact the show’s season, and the many episodes in which Alistair’s work appeared, premiered at an exclusive venue in Bondi in Westfield Bondi, one of Australia’s biggest event centres.

“It was really fun, I took Giselle Van Der Weil, from Channel Seven’s “Manhunt,” as my date…once seeing my character’s comedic relief in the show on the big screen, it all made sense.  My role helped keep things light and relatable for an audience when the scene was in a dark or emotionally turbulent place.”

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Alistair with fellow famous Aussie actor, Giselle Van Der Weil, on the red carpet for SYD2030, in which he played the compelling character, Avery.  

When viewing the series, it’s clear that Alistair’s acting allowed an audience a conduit through which they could connect with the character’s storylines, because of the unique humanity he brought to the character of Avery. Producers of SYD2030 attribute the jump in viewers – estimated to be 3 million across Australia alone – to Alistair’s involvement.

Aside from the inextricable function Alistair played in the second season’s plotline about upper-class law students at Australia’s best law school, Alistair’s casting in the show is equally impressive.

“I was actually contacted by producers who had seen my work in the past and asked if I would be interested in the role,” when asked whether he auditioned for the job.

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Alistair in action playing ‘Avery’ for the award-winning series, SYD2030.

It’s clear that, such is the excellent reputation Alistair has built for himself, he is frequently in demand.

For example, Alistair shot his key role in internationally-syndicated “Behind Mansion Walls”, which airs on Investigation Discovery in the US, in between various stage shows in Sydney.

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Alistair in character for the hugely popular show “Behind Mansion Walls,” in which he played the twisted character, Marc Shrueder.

Alistair’s eyes light up when recalling that shooting experience.

 

“Behind Mansion Walls” was actually my first experience on set with a fire arm. I played Marc Schrueder, a young man who killed his grandfather with a gun.”

The menacing nature of the character meant that Alistair was the subject of the show’s storyline, and without his committed performance of playing a real-life person, the story simply would not have worked.

“It was a very interesting experience,” Alistair continues, “learning how to use the weapon and how to use it safely was an eye opening experience that helped me sink into the worldview of the character more accurately. “

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Alistair, mid-scene in “Behind Mansion Walls,” had to learn how to use a firearm in preparation for this chilling scene.

The significance of Alistair’s performance in “Behind Mansion Walls” aside, it’s apparent that Alistair is particularly adept at lighting up the screen with his distinct portrayal of joyous characters.

It’s this casting niche that has meant he has also experienced a lengthy record of success in Australian TV commercials, meaning audiences have become used to associating Alistair with household brands.

“Commercials are definitely a fun part of the job,” Alistair smiles, who also appeared as a lead in the TV series “Wicca” with “Innuendo” actress Naomi Lisner that same year he was the face of a campaign for Crown Resorts, Australia’s largest entertainment, resort and and gaming conglomerate.

“Working with famous AFL footballer “Nic Naitanui” was a commercial highlight. It was advertising “Crown Resorts”, we were in a sports bar watching the footy together.”

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Alistair (left), in the hugely popular Crown Resorts campaign featuring famous AFL footballer, Nic Natanui 

Indeed, Alistair was a central part of the campaign, as the story centred around him watching the big game with his friends, when they bump into AFL football star Natanui who then joins Alistair’s character for a drink to watch the game. The premise of the commercial was that is “you’ll never know who you will meet at Crown Resorts.”

When we followed up with Alistair about the TV campaign, Alistair’s representatives were quick to boast: “this commercial had a very large budget, so over 80 people auditioned for this role!”

Aside from this budget, Crown Resorts is one of Australia’s leading companies, generating 4.71 billion dollars in revenue in 2015 alone – the same year Alistair’s campaign originally aired. Alistair’s connection to the glowing success of the company is ultimately undeniable, and has been very lucrative for the dedicated thespian who originally started his career determined ironically to live as a ‘starving artist’ to benefit his craft.

Commercials have also resulted in Alistair building on the prominence of his working relationships, as his leading role as the face of KFC gave him the opportunity to work with American director Ken Lambert.

Sounding like the health-conscious actor he is, Alistair added “However…I was certainly looking forward to salad by the end of the shoot.”

And on that note, Alistair tells he needs to get back to set. He adds with a smile, “they’ve got really healthy catering on this one though!”

Alina Smolyar to star in upcoming horror ‘Skeleton in the Closet’

photo Valery Sobol
Alina Smolyar, photo by Valery Sobol

Growing up in Odessa, Ukraine, Alina Smolyar always believed she would be a painter. She had been drawing since the age of three and gained recognition for her work around the world. However, at twelve-years-old, she quit it. Even at that age, she knew she did not have the inspiration or the drive to become a visual artist; this was her parents dream, not her own. She knew she had another passion to explore, one that excited her beyond anything else, and that was acting.

As a childhood pastime, Smolyar would put together small plays or sketches with other kids in her neighborhood. They invited audiences of their parents and neighbors, and every time Smolyar would perform she felt an energy that was unparalleled with anything else she had ever experienced.

“When it came to that point when I had to choose my future job I totally knew what I wanted to do. The only problem was that I had to convince my parents that I could do it. They didn’t want me to become a professional actress. They are not related with show business at all,” said Smolyar.

Now, Smolyar has indeed shown not only her parents, but also the entire world just what she is capable of as an actress. She starred in her own filmMolehill, taking home several awards for Best Actress for her performance from many prestigious film festivals around the world. She has been in several national commercials and acclaimed television series. She has worked alongside Hollywood’s elite, like Denise Richards, Val Kilmer, and William Baldwin in the upcoming comedy 1stBorn.

Smolyar’s latest film is the action/thriller feature Skeleton in the Closet. The film tells the story of Jason, 20-something slacker and computer savant who, on a dare, hacks the White House computer servers. He covers his digital tracks, but a hacker buddy boasts of Jason’s exploits online. The FBI tracks down the friend – then breaks down Jason’s door. The events that follow are a race against time, a battle of wits, and a fight to the death for two young computer prodigies pitted against a group of armed, determined criminals who will stop at nothing. In the end, the difference between life and death rests solely upon superior intelligence – and willingness to trust, but as things spiral further and further out of control, the question for us is: will they make it?

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Alina Smolyar, photo by Valery Sobol

“It’s so fresh right now audiences will love it. It’s going to be a Ukrainian-American project, a thriller with some action elements. I won’t give you details about the story but it’s very hot and new for this particular time. It’s a thriller, you will see a lot of action and of course everything is based on love. You’ll see some drama, elements of comedy. David Ransil is a script writer, you will enjoy it for sure. He definitely knows what he does,” said Smolyar.

In the film, Smolyar plays a pivotal role. At first, her character appears to be very nice and helpful, but she is also very deceiving. She aims to benefit herself in every move she makes. She also is pivotal to the climax of the story, helping audiences better understand every characters’ motives.

Smolyar is very excited to be working on such a unique film. Not only does she like the story, but she loves the team she will be working alongside. Shooting will begin in September, with an expected release date of next year.

“It’s very important to have a great team. I like the script, the idea, my character and the place where we are going to shoot it. It’s a huge mansion with an amazing lake. I am really looking forward to it,” she said.

Smolyar has quite the year ahead with Skeleton in the Closet and1stBorn. With so much going on, she still remembers being a young girl in Ukraine with a dream that her family didn’t support, and now, for others that may be facing the same challenge, she offers the following advice.

“Think wisely before choosing this career. You always have to be prepared to hear no and just move on. The best phrase for that if you can see yourself doing something else besides acting, do it, don’t start an acting career. But if you decide to take this road you have to understand that it takes so much commitment, inside power, taste and knowing what you’re selling. You are a product, know your brand,” she advised.

To stay up-to-date with Skeleton in the Closet, check out the film’s website here.

 

Written by Annabelle Lee

Editor Yun Huang introduces China to rest of the world in compelling docuseries

When Yun Huang was just a young child, growing up in China, her passion for film was born. Her grandmother was a movie projectionist and would share stories of her job with her granddaughter. She encouraged Huang to not only watch films, but to appreciate them. Since then, film has been an important part of Huang’s life, and she knew it was more than a hobby. Now, as a seasoned editor, Huang works in filmmaking every day, living her childhood dream.

Having worked on several successful projects, Huang is an internationally sought-after editor. Earlier this year, her commercial “Choice” amassed millions of views online, and her work on the film Stardust led the project to many awards at several prestigious international film festivals, including Huang herself being honored with Best Editing at Festigious International Film Festival.

It’s important as an editor not to have one specific style. Your job is to help the director to create their own style. You can provide different editing styles that you think can be used, but you must respect the director’s thoughts. That is what makes a great editor,” said Huang.

One of Huang’s ongoing projects is Unveil China Outside China, a documentary series that allows her to share her country with the rest of the world. The series is distributed on people.cn, a large-scale news platform built by The People’s Daily. The People’s Daily is the biggest newspaper group in China. The paper is an official newspaper of the Chinese Communist Party, published worldwide with a circulation of 3 million.

“Yun was our video editor when we were doing the post-production of this documentary series. I have known her for a couple of years and always like her work. Yun works effectively and always has a good attitude for communicating with the crew. I believe her talent in editing will bring even more fancy artwork to the world,” said Leiqi Lin of The Oriental Vision, Inc.

While making the series, Huang and her team have conducted many interviews with foreigners, from American politicians to ordinary people in the streets of San Francisco, from the founder of international think tanks to the engineers of Silicon Valley. The idea of this, from an overseas perspective, is to let them tell the story of China. What kind of role does China play in today’s world? How does the world see the development of China? What is the expectation of the future of China? Through their narration, the audience can find different answers.

“The documentary series include aspects of Chinese achievements, innovation in China, ‘Made in China’, Chinese diplomacy, China’s economic globalization, important meetings of the Chinese government, reform and opening-up, and so on. We interviewed many foreigners who told stories of China in overseas perspectives. I like to know more about China in different angles. I’m so proud that I can introduce China to the world by editing this series,” said Huang.

Having had previous documentary experience, Huang knew she was up for the task of creating and launching Unveil China Outside China. The monthly series involves a lot of work, and when Huang receives the footage, she only has a few days to turnout a compelling installment. At first, she found this to be a challenge, but now she finds it exhilarating.

“I only have three or four days to finish an episode, which was a challenge for me in the beginning, because I also have to work on the stock footages and special effects, find the background music, and more. However, after I had edited two episodes, I knew that I enjoyed such high intensity work. It let me have a sense of accomplishment. I believe resilience is a skill that all editors should possess,” she said.

The first episode premiered in October of 2017 and was published on both people.cn and People’s daily app. The premiere received over 810 thousand views in its initial month of being live, and Huang knew then and there that they were making something special. Now, they have ten episodes, each more successful than the last.

Unveil China Outside China is just one of the many projects that exemplify what a versatile and talented editor Huang is. She knows that the most fundamental aspect of her job is storytelling, and she encourages all editors that are looking to follow in her footsteps to make sure they know just how to do so.

“Try to learn more things rather than simply editing, such as fine art, music, literature and so on. These are extremely important skills and knowledge while you are editing videos with various subjects,” she advised.

You can watch one of Huang’s most recent episodes of the series, Unveil China Outside China: Riding on a bullet train is fabulous, here.

 

Written by Annabelle Lee

Art Director Cman Wong works with award-winning film composer on captivating video

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Cman Wong

Always interested in all things art and design, Cman Wong was, in a way, destined to be an art director. Although she did not always expect to express her passions in the form of advertising, she found it a way to explore her creativity in a way she never thought possible. When creating dynamic visuals for the world’s largest brands, she feels a thrill.

“It’s a fancy job title with the responsibility beyond the job title. As an Art Director, you’re basically responsible for all visual elements of a product or campaign, from the presentation deck to the overall look and feel. You have to provide a visual direction that not only is eye catching, but also relates to your target audience and divert the message through it,” said Cman.

As an in-demand Art Director, Cman is consistently impressive. She has worked on projects for Marvel, Ferrari, and Undercover to name a few. She is always stimulated by her work and finds that although it may seem like she simply works in marketing, she is truly an artist.

Cman has also had the opportunity to work with acclaimed artists and filmmakers throughout her career. In December of 2016, the Art Director collaborated with Tan Dun, an Academy Award and BAFTA Award winning film composer and conductor. This experience was one of Cman’s highlights of her career.

“It was such a great honor to collaborate with such a prestigious composer like Tan Dun. It is one of my favorite experiences in my career and my life as a whole. Cross discipline collaboration has expanded the possibility and audiences of my work. It was another example to prove the boundless and flexible art I could make,” said Cman.

The project in question was that of the Modern Media National Spirit Achievers Awards 2016. The National Spirit Achievers Awards was first issued in 2007. It is a pioneering work of the Modern Communication Group to carry out “Everything Monthly” sincerity for the eternal moments of the times. It aims to recognize Chinese leaders who have achieved excellence in various fields and created an era. Eighty-one creators, including IM Pei, Fan Jin-shi, Xu Bing, Tan Dun, Ye Jintian, Zhang Yimou, Mao Yuchen, Zhang Xiaogang, Zeng Fanzhi, Ding Lei, Jia Zhangke, Chen Qigang, Huang Yongsong, and Lang Lang, were honored with awards in fields such as art, music, film, architecture, business, education and more. Nowadays, the National Spirit Achievers Awards has become an award with outstanding influence. Each awards ceremony has also become a glorious moment for elite leaders from all walks of life to meet.

For the ceremony, Cman provided the art direction on the video content for the main performance, setting the overall artistic style and visual image. In doing so, she developed key frame content that transformed the audience’s experience, adding another level of entertainment and layer of enjoyment to the performance. Rather than simply listening to the music, they had a visual spectacle created by an artist like Cman.

The video visualized the rhythm of the music in a poetic way. It was inspired by the music and culture of Tibet and Chinese traditional performance. In the breathtaking opening scene, dust begins moving, followed by a cinematic Chinese opera theme form in the 13th century during the Song Dynasty and digital ink Chinese painting scene. It reformed the best image of traditional Chinese Art in a modern way.

The response for the video was tremendous, and Cman personally received not only great feedback from the client, but also the audience who were completely immersed in her creation.

“I like it most because it’s a live performance to see the actual reaction and feedback from the audiences. It’s such a great lesson and inspiration to work at such a high level of international standard performance,” she concluded.

 

Written by Annabelle Lee

Cinematographer Yang Shao personally connects to award-winning film ‘Once More’

Growing up in Changzhou, a small town in the Eastern part of China, Yang Shao found himself drawn towards filmmaking. As a child, he would pick up his family’s handy-cam and experiment, filming everything he considered interesting. In such a way, he was destined to be a cinematographer. He always had a good eye for photography and frame composition, and when the average person would just see tall buildings while walking in the city, Shao saw letters, signs, magic. He spent his youth thinking of what angle every image he took in would look the best, and he still applies this mentality now, years later, as a celebrated cinematographer.

Shao has put his artistic touch on many film and television ventures. Projects such as A Better World, Life is Horrible, Under and The Great Guys have gone on to see international success with the help of his talents. Audiences can soon expect the same from his upcoming features: Need, In the Middle of the Night, and Excel on the Highway.

The highlight of his career, however, came just last year when Shao worked on the film Once More. It perfectly showcased his talent and passion for cinematography, as the Director and Producer were eager to let him explore his creativity. He was also eager to share the story with the world.

“I was really moved by the story this movie tells. I believe in the importance of telling good-hearted stories and this one is a perfect example of that kind of story. Also, we had an amazing team who was working on the project and working with those folks was really a pleasure,” said Shao.

Once More explores the tale of a psychologically collapsed dancer who failed in a renowned competition and broke his left leg. As the remedy to this life, he intends to commit suicide, but he is accidentally saved by a neighbor girl he was in secret love with. This subtlety encourages him to get back to the stage by dancing with the bum leg.

“At the present time with the #TimesUp movement showing the toxic environment in the film industry that was exposed in the recent year, I think there’s still a lot of room for masculine vulnerability. In fact, that kind of trait in men actually gives me hope in our future. And this movie is a good example of bright and pure emotions that are left in men’s souls. I believe in importance of bringing up the stories that have to be heard but at the same time I know that good-hearted and kind stories is what will make this world a better place,” said Shao.

Once More premiered in March 2017 at the Hollywood International Moving Pictures where it was a semi-finalist on the festival program. From there, it saw great success at many international film festivals, and Shao himself was recognized at many of them, winning Best Cinematography at the American Movie Awards, the Hollywood International Moving Pictures Film Festival, Top Shorts!, Festigious International Film Festival, Los Angeles Film Awards, and more. In total, the film brought Shao seven awards for cinematography, and also numerous awards for Best Film, Best Director and Best Producer. Such acclaim could never have been possible without Shao’s artistic eye.

“I always knew that Yang is a talented cinematographer and always wanted to work with him. He brought his outstanding skill-set to the project. I’m looking forward to working more with Yang,” said Kees Van Oostrum, Executive Producer of Once More.

It was Van Oostrum that approached Shao to be a part of the film. He knew Shao’s cinematography style and that he would be vital to the production. As the cinematographer, Shao chose to use more of the natural light because the story is very elevated by itself and a lot of artificial light would only have hurt the picture in his opinion. A large portion of the movie takes place in a theater, and he made a decision to use abstract lighting to highlight the emotional state of the character and emphasize the stress that the protagonist was going through.

Coming from the East, Shao shot the story with an Asian flavor, bringing the best traditions of the eastern cinematography combined with his extensive experience working in the film industry. This allowed him to obtain angles many would not have, and this tactic was fully supported by the Director, Rachel Zhou and main actor, Jaeme Velez.

“I think we found something very precious there on set. When people’s energies start to bounce around and more importantly play in the same key, that’s when the real magic happens,” said Shao.

Above all else, however, Once More was special for Shao because of the story. He saw himself in the main character, connecting to the protagonist’s artistic journey. It provided a beacon of hope during a difficult time for the cinematographer, and he will never forget what it gave him.

“His passion and will resonated with me on a deeper level. His struggle and obstacles that were on his way to his dream are similar to mine in a way, and to most of the artists’ paths. There was a time in my life where the only thing that was left was hope and big desire to create something larger than myself. And actually, this film came along right around that time. It was like a big sign telling me to keep going, and I think in the end it paid off really well,” he concluded.

 

Written by Annabelle Lee

All eyes on Producer Sherry Du for acclaimed new film

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Sherry Du

From a young age, Xiangrong (Sherry) Du always enjoyed watching film. Sitting in front of the screen, she felt the ability to transport into a whole other world. As a child in Heilongjiang, China, it was her favorite past time, and as she grew, this love for the art form did not falter. Despite such a passion, she never thought of it as a career path. It wasn’t until she was a teenager that she realized she had to pursue her passion and decided to become a producer. She wanted to have the power to change the Chinese film industry and producing was just the way to do that.

Du has since made quite a name for herself as an industry leader. Having worked on several acclaimed films like Front Door and August, she aims to tell impactful stories that resonate with worldwide audiences.

“Filmmaking is a form of art exploration; they express a feeling they want to say to an audience; they form a connection in that moment,” she said.

Earlier this year, Du’s latest film Eyes on You premiered at the Oniros Film Awards where it took home the top prize. It tells the story of a lawyer named Gilbert. He knows that his wife is dating another man, but he does not hate his wife at all. Rather, he still loves her so much, even though he is a control freak guy. He has already decided to murder a man named Duke, as he thinks that this is the only way that he can keep his wife with him. Gilbert plans to meet with Duke as another identity, so that he can have him comes to his house. Unfortunately, Gilbert kills his wife before Duke comes to meet him. Somehow, Duke manages to survive.

“Even though it’s hard to finish the film, it was definitely worth it. Every time I complete a project, it just encourages me to keep doing more,” said Du.

Du had previously worked with the Director of Eyes on You, Guoqiang Sheng, on the film August back in 2017. Sheng was instantly impressed with the producer’s work ethic and asked her to take part in his independent film.

“Guoqiang is a really hard-working person, the exact type of director I like teaming up with. The moment he asked me to join his project, I said yes,” said Du.

When it came to filming, Du found it to be one of her favorite experiences of her career. Everything went smoothly on set, and one of the easiest ones she has worked on. The crew had worked together previously, and a certain chemistry existed that was unparalleled.

The one challenge was the location. Finding the ideal place, the shoot provided some obstacles that Du was quick to overcome. Her vast experience producing allowed her to get the permits she needed.

“Once we had the location all set, I didn’t need to worry about too many things since the crew knew each other. Once I got them fed each day, everything went perfectly,” she joked.

Growing up, Du could only dream of having the career that she does now. Producing is where her heart lies, and she encourages other children in China to never give up on the same dream if that is their passion.

“Make sure you love your job otherwise it’s a waste of your time. Producers need patience and need to know how to work under stressful conditions. Work hard but don’t give up your own story,” she advised.

 

Written by Sara Fowler

Sought After Editor Aijia Li: A Master of the Cut

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No matter how powerful the actors’ performances, how brilliant the director, or how adept the cinematographer, the film that audiences ultimately see is only as good as its editor. When tens to hundreds of hours of footage reach the editor’s desk, the success of the film is in their hands. Like a conductor who turns the unbridled chaos of an orchestra into the most beautiful of symphonies, a great editor can create a timeless masterpiece from a million disparate pieces, and that is exactly what editor Aijia Li accomplishes with every project she takes on.

Hailing from Changchun in northeast China, Aijia developed a passion for film and photography when she was just a teen. She spent her youth hungrily absorbing every movie she could get her hands on. By the time she reached college she’d accumulated a huge collection of movies, and was falling more in love with filmmaking with each passing day.

“I’ve had a passion for telling stories since I was a kid, and then I started writing stories and novels. But film has always been my spiritual food,” Aijia recalled. “In junior high, I spent all my allowance on DVDS, and now my parents still have a few boxes of my collection in the house.”

It was during college that Aijia seriously began experimenting with creating and editing her own films. She discovered just how crucial the editor’s job was to the overall process and realized that she had a natural aptitude for the delicate and often-arduous job. But editing films was not just something she was good at — it was something she loved. As an editor, Aijia was able to work hand-in-hand with the director to shape and define the story as they envisioned it. It’s not much of a stretch to liken her role to that of a midwife, guiding the film through the last critical stages before it enters the world.

“Film can [only] be film because of editing. A good editor can save the director’s life. I think in the digital age, the editor as the director’s closest partner may become more and more important,” Aijia explained. “The relationship between the director and the editor is like a marriage. After they finish shooting the film, the director spends more time with the editor than their own family. A good director understands that the film is the editor’s work. Before editing, what the director has is only the raw material.”

Editor Aijia Li
Film poster for “The Moon Also Rises”

Nowhere is the power of that partnership between director and editor more evident than in the quality of Aijia’s work. Time and again she faithfully executes the director’s vision, blurring the line between art and science with equal measures of calculated efficiency and creative instinct. The 2018 drama “The Moon Also Rises” is a perfect example of Aijia’s unparalleled editorial prowess. Simultaneously moving and thought-provoking, “The Moon Also Rises” is an existential exploration of the impacts that people have on the lives of those around them, and the lasting traces they leave when they’re gone.

“This film is different from any other film I’ve edited,” Aijia said. “In the process of cross-editing, the difference between the images and the proportion of the frame gives the audience a strong sense of the drama’s conflict… The director of this film is a pure artist.”

Faced with the daunting challenge of creating a final product that lived up to director Yao Yu’s lofty expectations, Aijia’s work on “The Moon Also Rises” was a trial by fire. The resulting film is a testament to both her technical expertise and keen creative instincts. Impressed by the film’s concept and execution, judges at the prestigious Cannes Film Festival included “The Moon Also Rises” in the festival’s 2018 lineup of screenings.

Aijia had already cultivated a stellar reputation as an editor prior to “The Moon Also Rises.” Among her earlier works was the inspiring 2016 film “Short Term” about the unlikely paternal bond a homeless man develops with a young boy he finds living on the streets. Written, directed and edited by Aijia Li, “Short Term” explores the perennially-relevant subjects of poverty and racism and the impacts they have on the most vulnerable members of society.

“As the editor, the only way to make this kind of emotional story great is to edit by heart. I understand the characters, I feel them…,” Aijia explained of her process. “Another thing is, less is more. I don’t cut too much when there’s a heavy, emotional moment. I hold it. Because good editing is not just about skill and it’s not an editor’s showreel. It’s a story.”

Aijia Li
Film Poster for “Short Term”

That philosophy guided Aijia’s work throughout the editing process, and when critics and audiences watched “Short Term” it was obvious she had a gift possessed by few others in the field. The film immediately caught the attention of festival judges across the country. In addition to winning top prize at the 2016 Women’s Independent Film Festival, “Short Term” was also a semi-finalist at both the Los Angeles CineFest and the Hollywood Screening Film Festival. It was also an official selection at the International Family Film Festival, the Lady Filmmakers Festival and the Glendale International Film Festival — where it was also nominated for two additional awards.

Among some of Aijia Li’s other masterful works as an editor is the recent film “Float,” which earned multiple prestigious awards from the 2017 European Independent Film Awards, Hollywood Film Competition, London Independent Film Awards and the LA Shorts Awards, and Pantha Rahman’s dramatic film “Deceased,” which was chosen as an Official Selection of the Nepal Human Rights International Film Festival, Bucharest International Film Festival, Indian Peacock International Film Festival and more.

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Editor Aijia Li at the Glendale Film Festival for the film “Short Term”

“I have encountered many editors during my time in the film industry, but Aijia was my only choice to work on this film. Aijia has the best feel for editing out of any professional I have ever worked with,” admits “Deceased” director Pantha Rahman.

“I was incredibly impressed by the high level of emotion she added to my film… Ms. Li’s unlimited knowledge and understanding of editing was evident in every single cut she made… Her vast knowledge and wealth of experience were essential in building the film’s narrative structure… Without Ms. Li as the editor of ‘Deceased,’ the engaging visuals and sentimentally resonant narrative would have never come together, making me forever grateful for her work on the film.”

Editor Aijia Li
Film Poster for “Deceased”

A great editor understands a film’s story and characters as well as they understand the technical aspects of the job. In many ways a film is a lot like an unassembled puzzle when the editor’s job begins. Only, this puzzle includes hundreds of extra pieces and there is no picture to reference. The only way to know where the pieces go and what they’ll form is to fully understand what the director’s vision is and how to bring it to life. In the simplest terms, that’s what Aijia Li does — from thousands of scrambled, disparate pieces, she builds stories with the power to move audiences to laughter or tears.

 

Award-winning MUA Flavia Vieira Brings Actors into Character

Makeup Artist Flavia Vieira
Brazilian Makeup Artist Flavia Vieira

Flavia Vieira’s passion for makeup started as a little girl sneaking into her grandaunts room and applying an assortment of cosmetics all over her face. She thought no one noticed her face full of color but didn’t bother saying anything. Today, this award winning makeup artist continues to turn heads with her skills as she leads actors into the life of their characters. This Brazilian native understands that her magic touch as a makeup artist is the turning point for an actor to delve deeper into their role.

Behind the scenes Vieira stays focused and precise as she too digs deep into a script or talks to the director or writer about every part to create the best possible look. She thrives in this collaborative environment and it allows her creativity and vision to surface.

“If you think about special effects and a characters makeup, once they’re transformed into a creature, or have bruises and cuts it helps them dive deeper into the character’s life story. Most of the time they leave their own personas behind and completely give up to the character,” Vieira said.  

Whether it’s a simple beauty look or a drastic character change Vieira performs her role on set to perfection. What makes Vieira stand out from the rest is her clear communication with directors and writers, and her ability to produce the most realistic personification of the characters they’ve created. Her careful research and understanding of the script makes her so well trusted and sought after. It is no wonder why her work is award winning.

“I always like to exchange with directors and writers if possible. Specially when I’m creating the looks of the characters. The writer invented the character. The director is bringing him to life on the screen. What I need is to understand the core of the character to be able to translate it on the look,” said Vieira.

Becoming Lucy
Film Poster for Becoming Lucy

Having worked on multiple films Vieira thrives as a behind the scenes makeup artists interacting with actors to transform their look. Becoming Lucy, was one of her favorite sets where she worked closely with the main actor in making a look that was natural yet stood out. The film is about a teenage girl named Lucy who is struggling with her parents divorce. Lucy blames her mother for her father leaving them for a 24 year-old blonde. When she finds out her crush at school likes blondes, she dyes her hair to get the attention of both men.

“The most standout character was Lucy herself… The other characters were all pretty simple. I wanted her to have a complete distinct look than all the other blonde girls in the movie, being the only brunette,” explained Vieira.

Vieira’s challenge was making the image of the young teenager look believable. This film tugs at the heart with scenes of a beautiful young girl struggling to understand love. Makeup as we know is a vital part in a young girls transition and Lucy’s look did not distract, instead it added to the storyline. Vieira executed the natural youthful no-makeup look for the character which was a challenge in itself. Not to mention, Vieira perfected the imperfect carrot dyed look of a wig, which was one of the main focal points of the film.

Flavia Vieira
MUA Flavia Vieira (left) turning actress Maitlyn Pezzo (right) into Lucy

Vieira said, “Lucy, in the story dyed her hair blonde by herself and it turned out disastrous. So, I had to buy a natural hair wig, cut it to resemble the actresses normal hair and of course dye it until we reached the result we wanted.”

Her time on set as she recalls was fun and challenging but well worth it. Vieira’s dedication and vision for the characters of film earned her much deserved recognition with her work leading the film to earn the Bronze Award for Best Makeup from the International Independent Film Awards and the Diamond Award for Best Makeup from the LA Short Awards. Becoming Lucy also earned the Festival Award from the Festigious International Film Festival, the Platinum Award from the Mindfield Film Festival Los Angeles and more.

Another film where Vieira revealed her seasoned skill as a makeup artists was the four-time award winning film My Two O’Clock. The film revolves around Neil Brennan, a young man going into a two o’clock interview for his ‘dream’ job. While he’s determined to knock it out of the park, things quickly turn when, immediately prior to the interview, Neil grows uncomfortable with a personal profile completed by the interviewer. When he finally grasps that it’s a game, Neil must decide if it’s worth it?

My Two O'Clock
Film Poster for My Two O’Clock

Produced in a short amount of time, My Two O’Clock brought the added pressure to execute things perfectly under time constraints for Vieira. However, with My Two O’Clock taking home the LA Short Awards’ Diamond Award, being chosen as a Semi-Finalist from Los Angeles Cinefest, the Award of Recognition from the IndieFest Film Awards, and the Global Film Festival Award, it’s clear that Vieira and the rest of the cast and crew were up to the challenge.

One key for a makeup artist on set is understanding they way their work affects the actor’s confidence and ability to get into their character, even if the makeup seems minimal to outsiders.

“Even beauty makeup can add a lot to the actors performance and self esteem. Talking about self esteem, an actor, whether it’s a man or woman, wouldn’t feel comfortable to be in front of camera without makeup or even without knowing a makeup expert took out the shininess out of their skin and took care of unwanted hair flyaways,” said Vieira.

Although Vieira enjoys bringing out an actor’s natural beauty and confidence, she also loves the drastic side of what makeup can do to a face. Vieira likes to get her hands dirty with special FX makeup. She prides herself in this area of her work to a great degree as it allows her to challenge her skills and go beyond the basics of foundation, blush and lipstick. Sci-fi films rely heavily on makeup artists to create that magical illusion on screen and Vieira never fails to do just that.

On the film Bloody Eyes she was in charge of the main special effect looks. The film is about detectives who find themselves locked in a drug lab, but soon notice traces of bizarre experiments taking place. And after realizing that they’re not the only living creatures in there, they’ll do anything to escape.

Flavia Vieira
Flavia Vieira working on actor Danny Hansen on Bloody Eyes

Vieira worked on multiple characters that had bloody scars, cuts, bruises and fake guts. She describes the transformation process for some of the gory looks, specifically for that of The Creature, which involved a prosthetic silicone face.

“In the film people die, get chased, get dirty. Overall there was a lot of blood, scratches, cuts and dead people. I was responsible for the 5 main characters to do retouches and maintenance of The Creature and also small part characters and extras,” said Vieira.

Through multiple award-winning films across every genre, as well as a plethora of high profile commercials, Vieira has continually proven herself to be a key figure behind the scenes when it comes to the aesthetics we see on screen.

Her advice for others is: “Don’t get stuck in a life that does not fulfill you… I moved from Brazil to LA to pursue a career and I was 30 years old already. If you love it and want it don’t let anything stop you. Try, try and try until you’re on it.”

 

From Rehearsing in a Church Basement in Norway to Producing Music for International Artists: Music Producer Peder Etholm-Idsoee

Music Producer Peder Etholm-Idsoee
Music Producer Peder Etholm-Idsoee shot by Alex Winter

Today internationally recognized music producer Peder Etholm-Idsoee is best known for his work as a music producer on the BMI award-winning song ‘Que Los Mares No Se Enteren’ by Nico Farias, the multiple songs he’s produced for international artist Naïka, such as the world pop chart-topper ‘Ride,’ Lexxi Saal’s new single ‘Break a Bottle,’ Lauren Carnahan’s ‘Criminal,’ which has streamed over 600,000 times on Spotify, and more.

Etholm-Idsoee’s musical journey began back home in Oslo, Norway when he picked up the guitar at the age of 6. “This is when my rock star dream really started” he recalls. “At that time, I dreamt about playing in a band, touring the world just playing shows and making music on the go. I think somehow everyone that does music for a living has had that dream in one way or the other.”

Though he wouldn’t go on to become a ‘rock star’ in the traditional celebrity sense, that was a decision all his own. Instead he would become a major behind the scenes figure in the careers of many of today’s prominent artists.

By age 8 he was fully immersed in voice lessons, which he says he is now ‘extremely grateful for,’ and by age 10 he’d started teaching himself drums and bass, two instruments that fuelled his passion and led him to begin playing with rock bands in his youth.  

Often times rehearsing in the basement of the local church, Etholm-Idsoee recalls during one heavy metal rehearsal in particular that, to the band’s surprise, the church priest casually walked in. “We all thought that we might be in trouble because of the nature of the music we were playing.” Rather than scolding the young musicians, the priest had something else in mind. “He came over to my drum kit and he looked at me and said ‘that looks fun, do you mind if I try?… He sat down behind the drum kit and to everyone’s surprise, started shredding like a god, no pun intended, which ended up in an amazing jam session with the priest. I quickly jumped on a guitar, and we ended up playing for hours.”

Etholm-Idsoee marks that experience as one that taught him to ‘never judge a book by its cover,’ a vital lesson to his work as a producer, and a good rule of thumb for us all.

But it wasn’t until the age of 12 that he got his first recording equipment, and that is when he began laying the groundwork for his career as a music producer. “When my cousin installed my first DAW, the software to produce and record music, that really sparked my interest in the craft of producing. This resulted with me starting to produce and arrange for every band that I was in.”

After playing gigs in Norway with several bands in his youth Etholm-Idsoee soon realized that, while he loved creating and playing music, the celebrity appeal of being a ‘rock star’ was not all that appealing to him.

Music Producer Peder Etholm-Idsoee shot by Alex Winter
Music Producer Peder Etholm-Idsoee shot by Alex Winter

“I never really had the urge to be a frontman,” explains Etholm-Idsoee. “I’ve always been interested in the recording and arranging aspects of music in many different genres… I’m a nerd, I love when I can sit down and make sounds and really geek out on the technical aspect of this type of work, something that never gets old for me at all.”

By that point he’d achieved an impressive skill level on multiple instruments and had several years of experience recording and producing for all of his own bands, so it came as no surprise when he was accepted to the highly competitive Berklee School of Music in Boston, MA., where he would go on to graduate Summa Cum Laude with a degree in Music Production and Engineering.

Whilst living in Boston, he was invited to work as a music producer on Nico Farias’ single ‘Que Los Mares No Se Enteren.’ With Farias already having the song written, Etholm-Idsoee and his co-producer Jason Strong came in and arranged the song and made additions to the melody. Earning Best Song of the Year from the 2015 Latin Billboard Awards and ranking No.1 on Guatemala’s iTunes chart, ‘Que Los Mares No Se Enteren’ was the first Latin pop song Etholm-Idsoee produced, and it quickly became a major international hit.

Music Producer Peder Etholm-Idsoee shot by Alex Winter
Music Producer Peder Etholm-Idsoee shot by Alex Winter

At around the same time that he began working with Farias, Etholm-Idsoee came on board as a lead music producer for the artist Naïka, who has since signed with Capitol Records/Universal Music Group.

Naïka says, “Peder and I have been working together for almost 3 years, and he has been a part of many of my projects. Our first release together was my first single ‘Ride,’ which has done extremely well, and led to me to my record deal with Universal Music Group. Since then, Peder has contributed to most of my upcoming singles that are to be released under UMG including ‘Serpentine,’ ‘Sleeping Pill,’ ‘Oh Mama’ and ‘Lose Control’.”

Taking the No.2 spot on Spotify’s Global Viral and US Viral charts, and being selected as one of the top 50 tracks on the Viral charts for more than 12 countries, Naïka’s not embellishing one bit when she says the single ‘Ride’ has done extremely well.  

Earlier this month Naïka released the track ‘Serpentine,’ and like ‘Ride,’ music producer Peder Etholm-Idsoee played a pivotal role. Present from the very first session, Etholm-Idsoee created the bass riff in the chorus of ‘Serpentine’ using one of his synths, a key element that sets the dark and sexy mood of the track, and is the basis on which they built the rest of the song.

Amongst the many things that set him apart from other music producers in the U.S. is the fact that Etholm-Idsoee grew up in a different country. His Norwegian cultural background has not only had a huge impact on his musical influences and his approach to producing, but it has created an avenue for more creativity when it comes to working with artists in America.

“It has been such a pleasure having Peder by my side along the way,” Naïka explains. “Not only has his talent elevated my songs with his production skills, he has also helped me develop and define my artistry and my sound.”

Aside from being one of the lead producers for Naïka, he is also the music producer behind the rock band Migrant Motel, who’s newest single ‘Blue’ made it onto Spotify’s Rock Total playlist earlier this month. As Migrant Motel’s music producer since 2015, Etholm-Idsoee recorded and produced their debut album “Volume One,” which was released last year, and is currently working on the next releases, which are scheduled to drop later this year.

Peder Etholm-Idsøe - Studio Shot 2
Music Producer Peder Etholm-Idsoee shot by Alex Winter

“I love being ‘the guy behind the glass’ working for the project. So producing for other artists is just right up my alley of what I like to do,” says Etholm-Idsoee. “I honestly just want to create music that provokes an emotion in people, either it is happiness you can share with your friends, being able to relax and enjoy the present, or helping a person through a tough time in his or her life, and I can keep doing that for the rest of my career, I would say that I have achieved my goal.”

 

Olivia Jun helps Rain Zheng bring ‘Esther’ to life in blood curdling horror film

Olivia Jun headshot
Olivia Jun

Unlike many niche professions in the Arts and Entertainment industry, film producers wear many different hats under one blanket title. There is no one-size-fits-all version of their job and they tend to assume responsibility for a wide variety of different tasks involved in seeing a script through from inception to completion. For instance, some producers handle budgetary planning, whereas others oversee contracts, permits, and hiring duties. Some work on set, others do not. Despite this reality, one thing remains constant: they are always in charge of collaborating with each department involved in making the film and ensuring that each and every member of the production is on the same page in terms of how they want the film to turn out. Esteemed Chinese producer, Olivia Jun, understands these demands all too well. Throughout her career as a producer, Jun has learned that it is her job to find the ideal avenue to achieve the best possible result for any project she works on. She is a master at her craft and she knows that with the right amount of hard work and dedication, she will be able to continue helping tell compelling stories and entertain audiences for the rest of her days.

As a film producer, Jun has lent her talents to a number of successful films and commercials over the years. For instance, in 2017, Jun produced an advertisement for eHi Car Service, which featured the highly esteemed, professional basketball player, Stephen Curry. She is also no stranger to the movie world, having produced films like Luz, The Gift, and Donna. She has even tested her hand at the art of producing documentaries, music videos, and prestigious events such as Jackie Chan’s Yaolai International Cinema Open Ceremony/The Karate Kid Premiere. There are few limits to what she can achieve when she sets her sights on a goal and she is energized knowing that she gets to do it time and time again for each new project that comes her way.

Earlier on this year, an old colleague of Jun’s, Rain Zheng, requested that she join him in bringing his script for a horror film, Esther, to life. Her reputation, coupled with their shared interest and passion for the film’s script, made for the ideal team to make this dream a reality. Estherfollows the story of a teenage girl living in a remote, rural outpost in an undisclosed nation in the late 19th century. The events of the story kick off when the girl discovers a bloodcurdling message written on her bedroom wall: “you’re mine to kill.” The subsequent events that transpire are enough to send shivers down the spine of even the most avid horror film lovers.

Although Zheng was the brainchild of the film’s story, Jun helped him to develop the script and determine how best to bring the film success. Due to its historical elements, Jun ensured that she researched and studied the time period in order to determine the best shooting locations, product designs, wardrobes, hair and makeup looks, special effects, and cinematography. During her research, she came across a house called Cohen Bray House in Oakland, California, which accurately captured the type of house represented in the script. She then liaised with each department to bring them up to speed on her and Zheng’s plans for the film, detailing exactly what they’d need to do to keep audiences on the edge of their seat for the duration. She also satisfied the role of guiding Zheng through pre-production, selecting cast and crew members, whilst dealing with budget planning and scheduling matters. As a result of her contributions, the team were equipped with an exceptional shooting plan, schedule, permits, insurances, release forms, agreements, locations, equipment, transportation, and much more. She was instrumental to the entire process and Zheng quickly learned that he had made the correct choice when he approached her about the opportunity.

Upon completing the film, Jun distributed it to more than 50 festivals where it went on to receive an astonishing 16 awards/official selections and counting at a number of well-known film festivals like the Los Angeles Independent Film Festival and the Top Indie Film Awards. She, Zheng, and the rest of their cast and crew were blown away by how well received the film was and felt an overwhelming sense of pride in knowing that their hard work and dedication had paid off in such a big way. Overall, what Jun enjoyed most about this experience, however, was the unwavering amount of passion and joy she shared with her fellow cast and crew members from the very start of the project to the very end.

“I loved my cast and crew. I could sense their passion and their efforts throughout the entire process. We may be from different countries, and we may all do different jobs, but we had one dream in mind for the film and we made it come true. All of the crew worked for free, donating their time and talent. Still, they came up with the best work that they could, encouraging each other and making each other love being present on the project every day. It was a passion project, and I could not be prouder of the outcome,” she concluded.

 

Written by Sean Desouza