Category Archives: Reviews, Interviews & Features!

FIGHTING FOR A BETTER LIFE…& FOR HIS LIFE: EL GIGANTE

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Edwin Perez takes acting very seriously, not in a dramatic sense but rather in the way that he gives every bit of himself to the role. Many of those in his profession give their psyche over to a character but in the film “El Gigante” Perez approached his lead role of Armando with a level of commitment that is often used to refer to such intense leading males like Daniel Day Lewis, Tom Cruise, and others. Edwin’s intense performance is augmented by the bilingual dialogue and the extreme physicality of the storyline (the actor performed all of his own stunts). This emotionally draining Horror story (for both the audience and the actor) was fertile ground for Perez to exhibit his intense commitment to the film. His eclectic credits include animated productions (Nina’s World), Romantic Comedies (Heartfelt), and others but “El Gigante” is best described as Action/Horror. Edwin seems custom tailored for each of these roles and his performance as Armando might well be the shining star of them all. The process was draining in a number of ways for him but the success of this film and his performance justify the toll it took. The film has appeared at multiple festivals worldwide, winning over forty international awards and receiving acclaimed as one of the best horror short films ever made, for which the director has said that “This recognition wouldn’t be possible without Edwin.” It has also gone on to inspire a Japanese comic book series based on the film, distributed by Studio Kurabayashi.El Gigante 2

  The immense popularity that this gritty film received had to start somewhere. For the film’s director Gigi Saul Guerrero that spark was during Edwin’s audition. She professes, “Edwin Perez is by far one of the most outstanding and committed actors I have had the pleasure of working with. The moment he auditioned for Luchagore production’s most famous/successful short film “EL GIGANTE” there was no doubt that he was born to play the lead role. “EL GIGANTE” didn’t only involve a lot of emotion and pain in the horror world we built, but also a great deal of physical strength and creativity from the actors.  Edwin showed enthusiasm and initiative when it came to creating the atmosphere involving the character. He did not disappoint transferring the uniqueness of his craft from the audition room to set. Luchagore considers themselves lucky to have collaborated with Edwin.” The audition scene which won the lead role for Perez is that of a man fighting for his life and his family. While the setting is violent, surreal, and disturbing, Edwin focused solely on the humanity of his character and his fear for his loved ones rather than for his own life. While action is involved, it takes a backseat to the desperation the character openly exhibits.El Gigante 3

  “El Gigante” is the story of Armando (played by Perez) who is attempting to get his family across the US/Mexico border in search of a better life. He awakens in an unknown room, his body broken down and a Lucha Libre mask sewn onto his neck. He is forced to fight for his life against a sadistic family of killers in an effort to escape and find his wife and child. While the movie falls into the Horror genre it also has equally important social connotations. Perez himself immigrated legally into Canada with his family as a young boy. Armando’s plight and the potential dangers is a story not unheard of with those whom the actor has known. The actor made use of his Latin roots to increase the authenticity of the character, working with a dialect coach to perfect his North Mexican accent (the region from which Armando originates).

  The actor’s penchant for physical training paid off in spades when it came to the action scenes that were so vital and so believable in “El Gigante.” While he may not have been a wrestling/MMA super fan, his physical conditioning allowed him to quickly be at a level required for training. Perez communicates, “Fight sequences are like a dance, you have to work with the timing and abilities of the performers. We had a stunt coordinator and a technical consultant for the authenticity of the wrestling moves. The fights were choreographed based on the things we could do physically but it was very demanding. The whole film is also an homage to lucha libre (Mexican wrestling) so we also had to stay true to those guidelines. I was a fan of wrestling as a teenager so I was familiar with the popular moves. That’s where we started and then adapted these to what worked best on film.  With the size difference between David [Forts] and I, we thought it would be really great do some aerial moves. I also really wanted to show the brutality of the beating Armando suffers. We worked on my ability to take a hit and make it look devastating. Needless to say ,I took a lot of bruises throughout this film. During the fight scene with El Gigante, David Forts was supposed to lift me up in the air like a plank over his head. We used rigging to do this. David is a big strong guy but I’m not as light as I look. During one particular take, he threw me against the ropes in a classic wresting set up. The move was for him to grab me by the shoulder and inner thigh; I would plank and then he would press me above his head. Plans don’t always work and he missed my thigh, resulting in his hand slipping right to my groin as he went to lift me over his head. I took an extra-long pause on the canvas after I came down.”El Gigante 4

There was a lot of pain and discomfort involved in “El Gigante” in the script and in the making of the film, not that Perez considers this something he would avoid. The somewhat hyperbolic nature of the film seems actually possible in the real life climate these days. The filmmakers and the cast wanted to make a film which depicts a heightened state of the reality for the people of Mexico who risk it all to gain a better life for themselves and their loved ones. The actor concedes that he was uncertain at the audition for “El Gigante” if he would be offered the part yet Guerrero and others were immediately convinced of his greatness. There’s a bit of an analogy in this facet of his involvement and the story itself. Immigrant comes to a land and is able to achieve greatness and exponentially add to the success of others. Armando may have never been given the opportunities of Edwin but Perez is determined to portray the character’s greatness with his own abilities and talent.

Through Motion Visualization Captures and VFX Zhaoyu Zhou Creates Innovative Film “Last Dance”

VFX artist and director Zhaoyu Zhou23592110_10215392853721198_2657579445691441541_o
VFX artist and director Zhaoyu Zhou

From manipulating the imagery of live-action footage to creating characters like the titular bear in “Paddington,” the CGI Autobots in “Transformers: Age of Extinction,” and even bringing former ones back from the dead, such the “Rogue One: A Star Wars Story” character Grand Moff Tarkin, the advances in visual effects technology has given filmmakers exponential freedom to literally create anything they can imagine.

A perfect example of the unique power and possibilities that new digital technologies have brought to modern filmmaking is Chinese VFX artist and film director Zhaoyu Zhou’s recent film “Last Dance,” which earned the Best Experimental Film Award at the Miami Short Film Festival and was chosen as a Semifinalist by the 2017 Adobe Design Achievement Awards.

An experimental motion capture visualization film, “Last Dance” tells the ancient Chinese romance story “Farewell My Concubine” in the way of Peking Opera, a traditional Chinese performing art that combines music, vocal performance, mime, dance and acrobatics.

"Last Dance"
Poster for “Last Dance”

”I came up with this idea and concept back in 2015 since I have family and relatives engaged in Peking Opera performances, and I have also been influenced by this traditional performing arts since childhood,” explains Zhou. “By creating this film I wanted to depict Peking Opera in a new form, while also giving audiences the opportunity to experience this traditional Chinese performing art.”

Zhou shot “Last Dance” using famous Peking Opera artist Zhang Ming, who assisted in the choreography and performed the dance as both the King and the Concubine simultaneously on a motion capture stage. Zhou then transferred the motion capture data into Houdini where he created the dynamic simulation effects we see on screen. A data intensive film, Zhou also brought in Houdini FX artist Debra Isaac, who’s known for her visual effects work on the documentary films “Holy Man: The USA VS. Douglas White” and “Wildest Weather in the Solar System.”

“Motion visualization is a newer form of storytelling, and it utilizes the most advanced VFX techniques. The final visual look is achieved through the effects of dynamic simulation. I used Mantra to render and Nuke to composite,” Zhou explains. “There are no texture maps on the two characters, so in order to achieve the elegant look I had to tweak the light and shader material.”

The film, which has also been chosen as an Official Selection of the 2018 USC First Look Film Festival, is visually beautiful, with Zhou’s master skill in VFX making it possible for the figures to dance gracefully across the screen. Zhou’s minimalist style in “Last Dance” provides a lot of space for the viewer’s imagination. The dynamic fluidity of the characters, their bright colors– a key representation of the costumes in Peking Opera performances, and they way he structures the two characters, with the King coming across with a level of sharpness and the Concubine with smooth rounded edges, make “Last Dance” a rich expression of innovation and a homage to tradition at the same time.

Another key element to the film, one that helps create an emotional experience for the viewer, gives life to the characters and drives Zhou’s concept of blending the traditional with the modern is the accompanying music.

He says, “This kind of experimental work using motion capture and CG not only require a unique visual style, but they also need to be fully integrated with the music to achieve the best audio visual experience. I am so grateful to my composer Meizhen He for creating the music.”

Zhou, who’s originally from Qingdao, China, began his career a little over five years ago, and what he’s accomplished since is nothing short of amazing. Lately Zhou has been pulling in award after award for his films, which for the most part, are either animated or created through motion visualization techniques. His seasoned skill as a VFX artist is definitely one of his most powerful assets, one that is matched only by his unique creativity and the stories he’s driven to tell.

Some of Zhou’s other films include the 2017 animated film “Karma,” which earned more than nine Best Animation Awards at festivals including the Los Angeles Film Awards and Asians on Film Festival, as well as the Award of Distinction at Greece’s Athens Animation Festival, the 2016 film “Spherical,” which was chosen as an Official Selection of the Melbourne International Animation Festival, the Adobe Design Achievement Awards and more, as well as “Reunion,” “Dancing Blue” and others.

Considering Zhou had already proven his strengths as a narrative storyteller through his previous work, and being someone who’s driven to push his personal creative boundaries, “Last Dance” was the perfect opportunity for the VFX artist and filmmaker to experiment with his craft and create something new.

“This time I wanted to try something new. I saw a lot of experimental works in the beginning. The ones I found most inspirational are the series of motion visualization films by Universal Everything in the UK and WOW studio in Japan,” explains Zhou. “Minimalism combined with surrealism, and integrated with the Chinese Opera is such an innovation. Being able to innovate and combine traditional art with modern technology has always been my pursuit.”

Thanks to his vast knowledge and experience with VFX, Zhou was able to translate an age old form of performance and storytelling into the experimental and wildly creative concept that he envisioned in his mind; and created something audiences across the globe could enjoy.

“It was such an amazing journey for me. My favorite part was transferring the design and concept to the final look through the way of VFX by using Houdini. I couldn’t imagine making this happen without VFX,” says Zhou, adding that, “motion visualization has never been easy but it has challenged me to move forward without fear.”

 

Orlando Pineda exhibits truth as one of the Immigrant Brothers

Screen Shot 2018-01-02 at 12.43.00 PMOne of the most provocative present day subjects in the US is immigration. While debate is ubiquitous in the media and in political conversation, it’s the plight of the real people who travel to the States in search of a better life that is sometimes overlooked. The filmmakers of Immigrant Brothers made it their mission to portray an accurate representation of this story. Orland Pineda portrays Marcos in the film which depicts the story of three men who struggle to weave themselves into the fabric of America. The story is about Kemar, Ali, and Marcos, three illegal immigrants who meet on the streets of Los Angeles. Coming from different countries and cultures, they find out that they have that one thing in common, the dream of a better life here in America. In order to achieve this, they must first survive, pushing their own personal boundaries and doing things they have never considered possible before. The trio bonds, becoming a family away from their original one and faces situations that would easily frighten and break the vast majority of Americans. The film is a personalization of the current immigrant experience that is depicted with the emotional intensity inherent in these circumstances, adeptly communicated by Pineda and his costars.

Immigrant Brothers received numerous awards including Festival Prize at Atlantic City Cinefest, Best Drama Film at the European Cinematography Awards, and many others (including nominations at the Gold Movie Awards, Los Angeles Cinefest, & Hollywood International Film Festival). The film’s director Nicholas Joseph Cunha relied on Pineda to bring the gravitas he required. Cunha states, “During the filming of Immigrant Brothers, Orlando showed a level of intensity that went beyond the other actors that auditioned; confirming what I saw in his audition. In real life he is a very happy and charming person. I did not expect him to make such an extreme transformation the way he did for the character. His mannerisms, physicality, and emotional center were unrecognizable from the actual person Orlando is in his real life. He took the role very seriously and our film was the recipient of his hard work. I loved working with him. Orlando is a versatile actor who can change his essence in order to play other people.”

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Pineda’s performance as Marcos is that of the protector of the group. He’s the father figure who keeps everyone in line but also has to ensure their safety on the perilous streets of Los Angeles. Marcos is a caring person that would do anything for those he loves. Marcos is an advisor, a provider, and a guardian but his circumstances have required him to become more aggressive than the life which he previously knew. In precarious situations he can turn aggressive, resorting to a fight or flight mode. Even in the midst of this metropolis, the trio can easily find themselves in the type of threatening scenarios that most of the population will never even glimpse. The daily struggle is presented in common situations such as when Kemar (played by Marlon Samuda) disapproves of Marcos stealing food and the pseudo-patriarch reminds him that his actions will provide enough food to last them for a week. What might be called “hunting” in ancient times is easily dubbed “stealing” now, while the actions and outcome are very nearly the same. Pineda communicates all of the inner turmoil of Marcos in these situations and challenges the audience to consider what they might do in the same situation, more for their family than for themselves.

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Pineda’s own status as an immigrant in the US gave him an added empathy for the story of Kemar, Ali, and Marcos but he quickly admits that it is a minute fraction of the actual experience. In addition to other methods of connecting with the life of Marcos, Orlando prepared by spending many nights sleeping on the floor rather than a bed or sofa, going barefoot for days, and refusing other common conveniences which most of us take for granted. This created the aches and pains that influenced the physicality of Marcos as well as his irritability. The actor confirms that these slight shifts in your daily life can greatly affect your demeanor. While uncomfortable, this was essential to understanding Marcos and his “adopted” family. This type of empathy is a requirement for actors and in particular those who feel they have an important story to tell. Orlando relates, “I feel that we live in a time where these stories should be told, not because the story is new but because people are talking about it and are aware. Yes, professionals in the entertainment world can be described as dreamers but that’s not a trivial thing. I think everyone on Earth dreams. We all have aspirations. As a part of the film industry, I can help people who might never find themselves in a certain situation to somehow relate to and understand someone in need. It’s emotional and I love being part of that part of the experience of others. Maybe we can create consciousness and educate people so that they do not end up like Marcos and his friends. Maybe we can help people who are more fortunate to see these people as individuals who want to better their lives rather than just as someone who isn’t trying.”

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The numerous nominations and awards received by Immigrant Brothers confirms that the audience and film community had a great affinity for the film. For an actor like Orlando Pineda, it’s the proof of affecting individuals with the film’s message that holds the greatest importance. He didn’t have to wait for the audience to watch the film to attain confirmation of the stories relevance and impact as he reveals, “When we were shooting a scene in one of the streets in downtown L.A., an old lady came up to Marlon (Kemar) while he was performing a monologue sitting in a corner next to a trash can. Unaware that he was an actor and that we were filming, she leaned towards him and gave him a dollar stating, ‘There is always more than this. Have faith.’ Most of the crew held their work because everyone had tears in their eyes. That was one of the most memorable moments, not only of the film but of my life. That lady didn’t know that her kindness strengthened our resolve that there are good people out there who care for their fellow man and we can have some small part in helping to tell this story.”

 

Alastair Osment on His Craft And Working With Oscar-Winners

Not every actor gets to spend most of their time employed. Even more rare is an actor who gets to spend time on a critically lauded TV series. And even rarer than that? Acting opposite Academy-Award winners. Fortunately for him, Alastair Osment can say he has achieved all three, as this busy leading man recounts his rewarding experiences on highly esteemed shows like “Deadline Gallipoli”, “Home and Away” and “Top of the Lake” – all shot in Australia, and all loved the world-over.

Most recently, Alastair offered a scene-stealing turn playing the role of Morgan in the Golden-Globe winning series, “Top of the Lake: China Girl.” Besides two of his highlights being that he shared screen time with “The Handmaid’s Tale” and “Mad Men” star Elisabeth Moss, as well as “Game of Thrones” fan-favorite Gwendoline Christie, it’s no surprise that a huge part of this project’s appeal was his chance to join a cast that included Oscar-winning superstar, Nicole Kidman. “Nicole is obviously a world-renowned actress with a huge career behind her; to meet her would be an honour for any actor, but to be in the same cast list as hers is an accomplishment of which I’m very proud.” Although it’s significant, Alastair’s role in “Top of the Lake” isn’t the only acting accomplishment for which he receives kudos in his native Australia. “Although the show winning awards is impressive, my job as an actor and in playing Morgan was to bring as much life to the character written on the page.”

Prior to his work on “Top of the Lake,” Alastair also played an incredibly important role in “Deadline Gallipoli,” a big-budget Australian mini-series that aired on the ‘Australian Home to HBO’, the Showcase network. “I personally love the Showcase network, so I was very excited to be working with them, along with the production company “Matchbox Pictures.” Also produced by “Avatar” superstar Sam Worthington, who also starred in the series, “Deadline Gallipoli” tells the story of journalists who struggle to report the true story of events occurring at Gallipoli during WWI in 1915. The period drama, which further featured Oscar-nominee Rachel Griffiths and Emmy-nominee Hugh Dancy in the cast, gave Alastair the opportunity to explore his country’s history and represent the ‘Australian everyman’ in the character of Melvyn.

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Promotional shot for season 2 of the critically acclaimed drama, “Top of the Lake.” 
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Alastair has a strong relationship with the Australian ‘Showcase’ network, Australia’s “home of HBO.”

The production, which was awarded multiple AACTA-Awards (Australia’s equivalent to the Oscars), was especially important to Showcase and Matchbox because it involved telling a story about an event that helped birth Australia’s identity. Alastair felt a responsibility to bring humanity to his character, as his character’s actions resulted in a monumental turning point in the psychology of the main character Charles Bean, played by actor Joel Jackson who stars opposite “Harry Potter” star Daniel Radcliffe in the upcoming film “Jungle.” Producers frequently talk deep respect when discussing the critical importance Alastair played in not only the success of the production, which averaged incredibly high ratings in Australia, but also story-wise.

“I brought pathos in the form of human loss and the loss of friendship, the scene where my best friend Arthur dies in my arms was described as one of the mini-series’ most heartbreaking and moving scenes.”

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Alastair Osment in a moving scene from “Deadline Gallipoli,” where he played the key role of Melvyn.
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Alastair worked with “Game of Thrones” actor Charles Dance in “Deadline Gallipoli.”

It’s clear that Alastair embodies the typical Australian man, given his characters that live in the time of WWI up until modern day. In the hugely popular series “Home and Away”, a show on which “Thor” star Chris Hemsworth appeared in a lead role and a series that is sold in over 100 countries around the world, Alastair played the important role of Cal Jackson.

Alastair therefore not only shared his acting talents with viewers in Australia, but with countries like Ireland where “Home and Away” is the number one TV show and entertains millions with its storylines about the residents of a seaside town called “Summer Bay.” “I felt very fortunate to play Cal, because the trajectory of two other main characters hinged on my performance.” Indeed, as Cal, Alastair plays a university student who causes something of a love-triangle when Summer Bay High students visit an art gallery where Cal exhibits his artwork. The emotional depth Alastair portrayed in the storyline provided the foundation upon which writers and producers built a major story arc around the two leads’ relationship.

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Alastair caused quite the stir when he joined the cast of “Home and Away”

“Home and Away” star Nic Westaway, who appeared in 387 episodes of the show over four years, offers his thoughts for what makes Alastair a successful actor. “What makes Alastair truly extraordinary to work with is his generosity as an actor. He is always willing to work collaboratively to achieve the greatest outcome for the story and the production.”

The importance of Alastair’s roles in such highly-regarded television productions ironically seems small when compared to the rest of Alastair’s hugely impressive career. Alastair gives credence to the notion that actors are not merely ‘performers’, but storytellers and artists who need a finely-tuned instrument and highly refined understanding of the craft to inject humanity into what is otherwise just words on a page. The fact that Alastair Osment has worked on the same productions as Oscar, Golden-Globe and Emmy-winners is obviously impressive, but he has also shown how in the age of social media and Kardashian-culture, pedigree and skill build integrity and success.

 

STUNTWOMAN EBONY DE LA HAYE HAS AN EXCITING CAREER BUILT ON WATER

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The saying goes, “Choose a job you love and you’ll never work another day in your life.” Those who have found a way to monetize their passion and interests are considered lucky. You could say that Ebony De La Haye is one of the lucky few but that would be a complete misnomer as luck has no part in her story. While still in the early stages of grade school, Ebony began training in her lifelong love of water skiing. Countless competitions and awards later, she took a foray into performing as a stuntwoman and morphed into a new career that became very successful. There’s no denying her ability to turn her love of what she does on the water into an internationally praised body of work, just as there is no denying her incredible abilities. For anyone who feels that you establish yourself and then sit back, De La Haye serves as an example that you are best served doing the antithesis of this. She has systematically built her beginnings as a child prodigy in waterskiing into that of an acrobatic/fight trained entertainer…sometimes doing so while delivering lines in an array of different languages. Whether it’s a calculated plan or simply her ability to continually embellish her skill set, Ebony is literally and figuratively constantly in motion.

When Ken Clark of Action Horizons contacted De La Haye about the position as stunt double for actress Kiersey Clemons in the film Sweetheart, she was already interested in more film work. The fact that filming was taking place in Fiji certainly didn’t dissuade her compulsion to accept the position. Ebony served double duty, arriving two weeks prior to filming to train Clemons for the scenes which would not allow for a stunt double. In addition to being a physical match for the stunt scenes, serving as a mentor/trainer to the actress strengthened the trust bond between the two…resulting in an ease of performance in the more physical scenes of the film. Director J.D. Dillard had worked to take full advantage of De La Haye’s abilities by creating highly dynamic fight scenes that incorporated weaponry and aerial wire work. Because the filming took place on an island, the rigging set ups had to be assembled on site in an environment atypical for normal productions. The film also contains a great deal of underwater work like scuba diving. Countless opportunities for danger required immense planning and preparation to ensure the safety of the cast and crew. These environments were familiar to Ebony, as was the climate (De La Haye spent time starring as the female lead Helen in Universal Studios Singapore’s live Waterworld production). She relates, “The climate in Fiji was very similar to Singapore. The sun took a toll on everyone but we took advantage of filming on an island and took lunch dips in the ocean. It was important to stay incredibly hydrated and take electrolytes in order to do the job with energy and focus. The ocean caused some difficulties as the water conditions were unpredictable. The cast and crew would travel to and from the island we filmed on by boat every day, sometimes in very rough water conditions. This was a daring task. We also encountered some difficulties with the unpredictability of the ocean when filming underwater scenes. Natural elements such as rain or tidal movement would affect water clarity and therefore the overall quality of the shot able to be produced on that day. We very much had to work in sync with mother nature.

This same skill set and exemplary performance led Action horizons to enlist De La Haye to become a part of their stunt team for the Horror/Thriller Prey. The second (and most demanding) part of filming took place in Johor Bahru, Malaysia where an enclosed submergible set was built. For twenty days of filming, Ebony’s role as stunt double required her to be submerged in confined spaces utilizing controlled breath holding and scuba safety. While not as outwardly/visibly demanding, the risk levels were perhaps much greater. The experience of working in Malaysia presented some challenges. Due to shooting on remote islands off Langkawi, the entire production had to be loaded onto small local taxi boats before each shoot day, including all equipment. This meant preempting any stunt or safety equipment needed and preparing contingency plans for all the possible scene variations and running sequences of the day. Travel boats were small and space was limited. Some of the islands are only accessible during high tide, requiring the use of tide charts to map the tide conditions and ensure the production would be able to get on and off the islands safely. All of this served to increase the potential risk for Ebony and increased the need for someone of her skill and experience. She adds, “Prior to working on Prey I had done stunt work on two television productions, “Serangoon Road” and “Indian Summers”. Prey was the first feature film I had worked on. I was excited to be doubling the lead actress and to be on set for the full duration of the shoot. To begin with, I was nervous as it was something I had wanted to do for a while. I felt pressure to do a good job for both the production and myself. We had two weeks of prep time for stunt training with the actors. We created the fight choreography for the action scenes and worked in a pool to establish swimming skills and the underwater action scenes. By the time it came to shoot I was no longer nervous and just really excited to make a movie.”

Stunt coordinators and stunt performers are a highly proficient group requiring immense trust and respect between them. Ken Clark of Action Horizons declares, “Both these films required not only talent but also intelligence and quick thinking. While our goal is to get an amazing and thrilling take, our number one priority is safety. A lot of the time this means performing while being hyper aware of your surrounding and anticipating the potential for danger. On both the features Sweetheart and Prey Ebony was the stunt double for the lead actress, which required her to be on set for the duration of the shoot. Whilst filming Sweetheart Ebony was required to execute numerous stunts involving aerial wire work, performing fight scenes, and the use of her scuba skills to achieve deep under water scenes with a specialized scuba film crew. The filming of Prey also required these scuba skills, working in submerged sets and deep water film tanks, as well as utilizing Ebony’s stunt fighting skills in the choreography and performance of multiple fight scenes. As the stunt coordinator of Prey and Sweetheart, Ebony impressed on both of these projects. A stunt performer is the ultimate team player. They take all the risk to make the star look great. Ebony De La Haye makes her stars look incredible!”

 

SILENT NIGHT IS A FRIGHTENING SOUND

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Composer Jayden Lawrence has always embraced the path less traveled. While it hasn’t always been the case that this leads to success in the film industry, advances in digital media distribution, streaming services, and overall music recording technology have led to a diversity in the industry which has created numerous opportunities for him. Both traditional film and more contemporary mediums have benefited from Jayden’s talent. Feature films, documentaries, shorts, and many other types of productions have included the musical contributions and enhancements of this composer. He’s known for an eclectic palette that encompasses everything from symphony orchestras to Hip-Hop to just about anything you can think of. A major reason for his success and popularity among filmmakers is because he is a listener. His approach is best stated in one of his favorite quotes from jazz trumpeter Miles Davis. The be-bop icon stated, “It’s not the notes you play, it’s the notes you don’t play.” More specifically put in regards to Lawrence’s compositions, he often sounds different because he isn’t trying to announce his prowess as a composer but rather focuses on only what will complement the action on screen, whether it be marching parade drums, a string section, or a modern grooving dance beat. Lawrence’s score to the film Silent Night is shining proof of this.

The film Silent Night takes place in Australia. The year is 2036 and the government has imposed a system purging anybody considered undesirable or a burden to the society. In the opening scene, a woman gives birth under the supervision of a nurse. The infant’s DNA is tested for any signs of illness or “detrimental” conditions and when a positive result is received, the child is taken away amid the mother’s wailing. This sets the dark tone for the film. Much of the story follows the perspective of Carly, a different Nurse at a purgation clinic. Her duties are to process and see out the purgation of individuals who are admitted to the clinic, having been deemed a burden or risk to the advancement of the race and population. A series of different “victims” are seen being euthanized in a chemical bath. These range from elderly homeless people to young children with infirmities. Videos play on a screen to distract these victims until it is too late. All the while, Carly struggles with her role in this culling of society. There’s a none too subtle statement about society’s indifference and paranoia as it relates to those who fall outside the fortunate “mean.” The tale is disturbing and applicable to virtually all cultures and geographic locations. Lawrence’s score is the nail which allows this picture to hang on the wall for all to see. His emphatic musical “hits” force the audience to turn in the direction that the filmmakers who created Silent Night wish the audience to observe.

One of Jayden’s most important contributions on any film is his focus on individual characters and the ability to make their emotions and motivations have an audible presence on film. While it’s a major part of what he does, he concedes that it’s not always a conscious decision on his part. He often watches the film and is intuitively inspired by it to manifest an emotional counterpoint in the music. This is where his familiarity and being well-versed in different styles and instrumentations pays off, giving him a greater pool of musical options to pull from. In Silent Night, the score is primarily composed of a string ensemble which is used to represent the story world and most importantly, Carly. As an ensemble, a string section is one of the most versatile instruments available in terms of range of pitch, dynamics, mood-setting, and articulations allowing for textural techniques like tremolo, trills, flautando, harmonics, and more. The composer describes, “Carly is portrayed to be quite a warm & caring personality but juxtaposed with the harsh grittiness of using razor blades to inflict pain and cut herself. I wanted to add an element of fragility to Carly, and highlight the pain she is going through so I incorporated a bit of ‘edginess’ into the tonality of the strings and used techniques such as tremolo to represent the fragility and inner turmoil she was experiencing. The strings are also used to bring a softness and warmth to Carly’s character, most notably towards the end as she is deeply touched by what is happening with the young boy.”

Sitting in front of studio (best)

Creating a film, any film, is no small feat. The finances, schedules, and most importantly the desire to do great work can often mean working under a considerable amount of stress while being expected to deliver emotional performances. Even for a composer, often in the studio alone, the demands are great. For Jayden, it’s not a matter of if the pressure will come (that’s a foregone certainty) but how you handle it when it does come. Keeping a cool head about things is absolutely essential for a career in film scoring. Tight deadlines and team dynamics are not always pleasant. This digital age has brought with it enormous flexibility when it comes to media creation but it has also thrown the concept of a “final cut” out the window. Spontaneous last minute changes by someone in the production line necessitate momentary flexibility. When it comes to scoring a film this can mean considerable alterations. In the end, a composer’s job is to serve the film, whatever the demands. This often means creating at the highest level while ensuring the environment is copasetic. Silent Night producer Danielle Reston professes Lawrence’s exceptional abilities on all these points stating, “Working with Jayden on Silent Night was the best experience a producer could hope for. From the first spotting session he was already throwing out ideas and it was clear that he understood the director’s vision. Jayden and I had worked together previously on a film called Oedipus which met some complications during the post-production stages that resulted in a complete re-edit of the film; a composer’s worst nightmare! Jayden simply embraced the change and took it in his stride, delivering a fantastic and memorable score. Unsurprisingly, the score to Silent Night was no different. It created the right amount of tension, despair, and impact that made the film tug that much harder on the heart strings. Jayden’s music has a craftsmanship about it that is not always present in film scores. It was this craftsmanship that ultimately helped propel Silent Night into the success that it has achieved.”

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JOSE ANDRES SOLORZANO PEERS DEEP INTO MEXICO IN “HUICOLES: THE LAST PEYOTE GUARDIANS”

Jose Andres Solorzano was looking for work that has a greater sense of adventure. He already had a very successful career at Red Bull Mexico Headquarters but wanted to pursue his career as a filmmaker full time. Although he had experience as a cinematographer he had never taken the full plunge. Feeling that the fortune smiles on those who take the risk, he quit his safe day job and ended up getting more risk than he had imagined or hoped for. Within a very short time he received a phone call from Argentina. Hernan Vilchez, famed documentary director, was looking for someone to cover the gathering of the traditional government of the Huichol Nation on top of their most sacred mountain. The Huichol were discussing a situation with a Canadian mining company that involved one of their most sacred sites. Without skipping a beat Solorzano was in, beginning what would become a three-year-long journey which would include escaping from armed drug cartels, witnessing ritual sacrifices, and often find him alone in nature without protection from its brutality. If Jose were not so busy filming a documentary about the Huichol it would be fascinating to watch one about his own epic experience as DP for “Huicoles: The Last Peyote Guardians.”

“Be careful what you ask for.” is a highly appropriate description of this period in Jose’s life. For three years he travelled some of the most remote areas of Mexico, sometimes alone and often at great risk. At times being around other people posed more danger than the forces of nature. It’s fitting that the Huichol and such a spiritual and enigmatic people; it’s an apt description of Solorzano’s experience as DP working with Hernan Vilchez on this documentary. Hernan sent Jose to the Huichol traditions government gathering on top of the Cerro del Quemado. He was so convinced by what Solorzano captured (by himself) that he immediately extended the project into a feature documentary. Due to Hernan’s permanent residency in Argentina, he often sent his trusted DP out by himself to get the footage he required. The belief of this celebrated director was both confidence building and demanding.

“Huicoles: The Last Peyote Guardians” follows the Ramirez family trough their sacred pilgrimage to Wirikuta, the place where they connect with their gods and gather peyote in order to talk to them. The documentary portrays at the same time the cosmogony of the Huichol culture and their fight against foreign mining companies that are trying to create an open sky mining in their most sacred territory. This natural protected area known to them as Wirikuta is the most biodiverse desert in the world for cactus plants. The documentary tells the point of view of the Ramirez family and the Huichol culture but also presents the point of view of the mining companies and the mestizo population of that area, presenting a dialogue to all the parts that create the complex problem of mining in this region of Mexico. The members of the Ramirez family are introduced on camera as we learn about them, their history, culture, and this pilgrimage that is intrinsic to the relationship they have with their gods. We also see the inhabitants of the Wirikuta, a very poor region of Mexico in great need of the work resources that could be brought by the oil company. The documentary tries to balance both points of view, allowing the audience to make their own decision.

The journey of the Ramirez family and the documentary start in Laguna Seca, Jalisco and it finishes on the top of their most sacred mountain, the Cerro del Quemado (Mountain of the burned one). Jose created a visual language for the film based on his director’s desire to be very realistic but also communicate the aesthetic of the sojourn. The method which both director and DP agreed upon was the use of time lapse photography as a recurring resource for this language. Time lapse allowed for the portrayal of these amazing locations in an unconventional way. This technique allows the audience to witness with an altered perception of time and movement normally unseen by the human eye. Time lapse allowed for this film to show the stark contrast of natural terrain and topography versus machines and other manmade objects. Of course, it also magnifies the viewer’s understanding of the mysticism and magic the Huichol feel connected with.

Remote locations without electricity, the middle of the desert, tops of mountains, the depths of mines, etc., were some of the many challenging factors which Solorzano was confronted with in his work on this production. The absence of running water or a sewer system can be navigated but cameras without electricity cannot be dealt with the same way. Solar power mats, power inverters that ran off car batteries, and gear which utilized less power in general were all a part of the required package for the cameras. Extreme heat, cold, and pervasive dust exacerbated the complications of running even a small amount of production gear. Jose concedes that it was the Huichol themselves who enabled him to survive due to their knowledge of navigating this perilous journey. Professing the constitution of these people he recalls, “We had been shooting a ceremony in the bottom of a valley and we needed to carry all the gear down the mountain to this sacred place. They sacrificed a cow and had a ceremony. After shooting the ceremony we needed to walk back to their village on top of the mountain. There was a moment when my legs couldn’t go any further. I was literally crawling and couldn’t keep on going. Hernan was still going forward and while in pain he kept a good attitude on every step of this way up. Near the end some of the women in the family grabbed my back pack and tripod and helped me to finish the way back to the village.”

Jose Andres Solorzano went looking for change and he found it. Perhaps it’s more appropriate to say that he helped to make it.  “Huicoles: The Last Peyote Guardians.” had a premier tour that visited many different venues, two of which were a part of the Huichol nation territory. Thousands lined up outside the theater in Guadalajara to see the documentary under the rain in Mexico City, a strong indicator for any premier. This feature documentary garnered more than 11 different awards at international festivals. The effect on the Huichol and those who viewed their story is public, the lasting meaning on Solorzano has been much more private until now. He reveals, “For me, this documentary changed my life and how I live it. Before starting to work on this production I came from doing a lot of actions sports content for brands like Red Bull and Vans. This content was really fun to shoot but I was missing something. ‘Huicholes: The Last Peyote Guardians’ took me back to my interests of trying to shape a better society with my craft. It also helped me understand a unique culture that is still alive in my country, the Huichol nation. With the understanding of their cosmogony it also opened my eyes to my interest in learning more from my roots and the different native indigenous cultures that are still alive in Mexico. If I had to choose the most memorable part of this production for me, it would be all the knowledge I gained and the people I knew in the road. That is a really interesting difference between narrative and documentary film. In a narrative film you are trying to create a world in order to portray an idea or message. In a documentary film you are trying to grasp that knowledge from other people and circumstances and at the end of the movie, you have changed because of all of that you have learned. Documentary filmmaking changes the filmmakers and the audience. At least, that is what it should do in my estimation. I believe that after three years of going to the desert and the different Huichol communities, I became a completely different person. The old Jose Andres died in the desert in one of those adventures when I rolled from a mountain or maybe when the drug cartels stopped us. One thing is for certain, without this movie I wouldn’t be who I am today.”

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(By Kelly James)

An editor can be a director’s best friend. Those who fill either of these roles on a production give a nod of acknowledgement to this statement. Editor Shiman Hu is an in-demand professional in the film industry and a highly valued collaborator on many a film set due to her understanding of this symbiotic relationship. As with any mutually beneficial partnership, an altruistic approach serves the entire group best. Producer Li Yuan (who worked with Hu on the film “Plus Slash Minus +/-“) extends that idea professing, “Shiman is the kind of editor that every producer and director wants to work with. She understands the storyboard and the director’s vision thoroughly. She completes a film not just by telling the audience what’s literally in the screenplay but by emphasizing the director’s theme with her excellent ability to combine different camera movements visually with editing rhythm. It sets up a tone which is exactly as the director desired.” This praise is vetted by the recognition which “Plus Slash Minus +/-“ has received such as being an official selection at a variety of film festivals like the Los Angeles Film Awards, Gold Movie Awards Goddess Nike, Top Shorts, and the South Film and Arts Academy Festival. The story of a very real life drama (inspired by true events) and the skill with which it is presented have made it a favorite of pubic and peers.

As the title infers to astute viewers, “Plush Slash Minus +/-“ is about dealing with the unexpected. It’s the story of Cathy, a promising high school teen on the surface but one who has felt the challenges of her single parent home. Now faced with an unplanned pregnancy, she insists on giving birth to her child regardless of everyone’s objection. Endless fights escalate in her life causing more drama that has driven both mother and daughter to the edge. Cathy’s immature boyfriend, her mother’s temporary lover, everyone is passively involved in this drama but are resistant to witnessing the birth of a child and continuation of a perceived cycle of struggle.

Hu worked with the other filmmakers under the concept that the film be presented in a stark manner, almost more as a documentary than a piece of fiction. Refraining from beautiful, wide sweeping cinematography shots/framing and the use of vibrant color, the story appears visually natural and realistic to drive home the idea that in real life things are not always attractive and pleasant to deal with. An underage girl with an unexpected pregnancy who looks to be repeating the difficulties her own mother faced; it’s not the typical escapism or overly grand super heroism that seem to be most easily digested by many viewers. Cathy proposes to the father of her child that they leave town together. When he refuses, she returns home only to find cigarettes, alcohol, and an instable financial situation to greet her. Chaos is the pervasive theme throughout the film as this young woman faces a very real and all too common occurrence in life.

Many times, the effect that the director desires on screen is most accurately realized in the editing process. Shiman embraces the opportunity that her role affords her in films such as “Plus Slash Minus +/-.” In a pivotal scene that redirects Cathy’s attitude and feelings towards her own mother, Hu was able to intensify the action filmed for the scene. When the mother’s boyfriend knocks Cathy down, the matriarch leaps to her defense and brawls with him to protect her child. Shiman used effects during this scene with Cathy’s POV shots to exhibit that she had been stunned by the force of the boyfriend’s assault, conveying the intensity and true harm caused.

Music is often the guide which lights the path for the audience, making the emotional journey more accessible; Shiman is an enthusiastic fan of its use. When Cathy discovers she is pregnant by using a home pregnancy test in the bathroom, chaotic music accompanies her. After the fight scene while mother and daughter cry together, a sole piano melody magnifies the moment. At nearly every emotional turn, the editor has inserted the appropriate musical accoutrement to assist the viewer in fully experiencing the moment with the characters of this film.

While she doesn’t refuse work in big budget feature films, Hu relates that she finds film like this one to be among the most important for her to be a part of creating. She notes, “This is one of the most challenging types of film to create. I’ve never edited a film with such a realistic theme before. It’s closer to the theme of a documentary and discusses a hot topic which many people are concerned about. I needed to arrange the image language to tell a complete story. The film was made up of many shots and every shot had many takes, especially the fighting scenes. I tried a lot of different ways to show this scene until finally determining the most perfect way to present it. It’s sometimes a difficult process but this is where the expression and creativity comes in to play. This difficulty comes not from the special effects but in regards to the existing footage’s ability to tell the whole story and cutting through the shots to emphasize the sense of rhythm; it’s a very important part of the work and a part which I love.”

Editing truly allows one to bring a very big change to a movie. Without a great editor, even the most beautiful footage can be useless. The final presentation of a script is about eighty percent related to the editor. An editor is like a magician; they can transform even unsatisfactory footage into something quite meaningful. They can make bad shots disappear and unplanned ones seemingly congeal out of thin air. Magic hands like those of Shiman Hu are to be respected, valued, and congratulated.

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A Craftsman’s Look With Cinematographer Tanmay Chowdhary

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Grief is a subtle emotion to communicate authentically. Director Sanford Jenkins and cinematographer Tanmay Chowdhary understood this in their work together for the film A Craftsman. If displayed too overtly it would seem overly dramatic and excessive. The duo had worked together on music videos but once Sanford witnessed Tanmay’s incredible work on the film Across Drylands, Among Nomads, he was insistent that the two collaborate on this film about a despondent widower and the attempts of those around him to save him. A Craftsman is as much a tale of the crushing power of love as its ability to rescue. Director and DP combined talents to create a film which honestly immerses the audience in the state of mind of the main character and his vacillation between embracing or rejecting the great unknown.

Starring Marvin Gay as Herman J. Willow, Shirely Jordan (of Code Black and Golden Goble series Friends) as Meredith Jenkins, and Leonard R. Garner Jr. (known for The Blues Brothers, multiple Primetime Emmy nominated series Rules of Engagement, and Wings) as Pastor Samuel Raines; A Craftsman follows a woodworker named Herman who is dealing with the recent passing of his wife. Applying the practicality of his vocation to his emotional despair, Herman decides to build his own coffin so that he may join his dearly beloved. When his friend Meredith discovers this plan, she decides that spending time with someone may be more beneficial to the grieving widower than direct confrontation. She asks Herman to teach her how to make her own coffin and through this process Herman is able to experience an array of emotions which remind him that he is still among the living. The story offers a glimpse into the heart of one of life’s most difficult experiences. As Herman takes the final step towards joining his wife, both character and audience are asked to question what we leave behind for those whom we love.

Filmmakers Sanford Jenkins and Tanmay Chowdhary were committed to taking extensive steps in making this film visually striking. Its monochromatic look focuses on color and displays strong influences from the sense of space and composition found in Pawel Pawliskowsy’s Ida and the movement in Tarkovsy’s Mirror. They employed the use of a vintage 1970’s Angenieux Zoom lens to capture the color shifts which give A Craftsman it’s unique aesthetic. Tanmay communicates, “The lighting was instrumental in achieving the mood of the film. The lighting was reflective of Herman’s headspace and hence it supplemented the story very effectively with its dim exposure and cloudy feel.” Describing the design of the most intense scene near the film’s conclusion, Tanmay reveals, “The last shot was in a way the most complex and the longest of the film. In this one-minute-long shot, Herman goes inside the truck and tries to switch it back on but then breaks down. The shot was designed to catch his reflection on time in three different mirrors and then land on a composition that would hold. We used two 2K lights from outside the garage and blasted it through the windows to light Herman’s face.” The cinematographer notes that he often edits in his own head. The results speak for themselves. In addition to A Craftsman’s overwhelming reception at nearly two dozen film festivals, it received the Best Cinematography Award at the Tide Film Festival in New York, Outstanding Faculty Award for Cinematography at the First Look Film Festival, and a nomination for the Student Edutes at Camerimage (the biggest international platform that celebrates the art of cinematography).

MAKING FILTH CREDIBLE: CHRISTINA SPINA

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The world of politics can be gritty and rough. The task of telling the stories of politics can resemble that as well. Both the process and the look requires a consummate professional to do it properly; makeup artist Christina Spina is such a person. Taking over for fellow artist Jessica Panetta when she was called away early in the filming of Filth City, Spina stepped in and created a seamless transition. Working with both Jessica and director Andy King, Christina established a tone congruent with the tone of the productions. Whether maintaining the design continuity or creating on the spot looks for day players, Spina used her skill to assist the director’s vision, empower the actors, and be a vital part of what would result in the film winning the award for Best Comedy and Best Cast at the Canadian Film Fest 2017.

The 2017 action/comedy/crime film is based on true events inspired by Toronto’s Mayor Rob Ford. Filth City tells the story of a city’s crack smoking mayor competing for reelection whilst in the heat of a scandal. When local kids record Hogg smoking crack on video, numerous media outlets compete to get their hands on the footage. Hogg’s campaign staff and syndicate of dirty cops work to keep the video’s existence a secret while others want to use this to put an end to the mayor’s political career. Crime, corruption, and the largest garbage strike in York history are all components as the plot follows a wide range of characters through this neo-noir crime tale. The film itself was provocative similarly to the real life events it was based on. During the world premiere at the Canadian Film Festival in March 2017 (at the Scotia Bank Cinema) Filth City received a massive amount of attention from the media, stoked by intense negative public comments by the city’s late mayor’s brother. His comments created a media frenzy and the film received tons of media attention as a result, creating buzz and selling out tickets; the very definition of turning a negative into a positive.

The director and the designer (Panetta) had created a look that was inspired by modern television crime dramas, and classic film noir crime films. All of this was communicated to Christina when she took over. While the public often thinks of makeup in TV and film as making the actors more attractive, the goal was anything but this for Filth City. The filmmakers knew that the story was about the reality of politics and the people involved, not the pleasant way these individuals project themselves. To this end the goal was to present what they referred to as “hyper realism.” The look of the characters was to be very specific and not the somewhat bland “wallpaper” approach commonly seen in film. Christina describes, “For example, a lead cop character had a specific flip to the front of his hair. The Mayor had redness in his face and was intentionally sweaty and shiny on camera. The cop turned drug addict character had a dry red patch on his neck and darkness under his eyes. A young woman in one of the lead roles wore gold eye shadow. All of these choices are so simple but specific in forming the visual language of character. In comedy, depending on the circumstances of the script and the nature of the show, characters tend to have bigger makeup design elements to increase the comedy aspect. Since this was a crime drama comedy, the ham factor was turned down and simplified into hyper-realism.”

In the work of a makeup artist, what appears “normal” on screen is every bit as challenging to establish as that which seems striking. That might seem counterintuitive but anyone who has appeared on camera without the benefit of makeup can attest to the fact that it can greatly aid or detract from your appearance. In TV and film productions, extremes at both ends of the scale can be challenging. If the viewer finds themselves paying attention to the makeup, it’s done incorrectly. Christina concedes that it is very difficult to produce a makeup look that appears flawlessly natural, as if the person is wearing nothing at all. This type of makeup is erroneously confused with being easy and fast, which is not at all the case as it takes refining and attention to the most minute details and should never be seen. The makeup style Spina used for lead character Mayor Hogg (referred to as breakdown makeup) displayed redness all over his face to resemble broken capillaries from substance abuse. This makeup design was very specific and required both written and photo documentation to ensure perfect replication for each scene.

Not all of Christina’s work on Filth City required painstaking recreation for the lead characters. She often got the opportunity to improvise looks for a number of day players (actors on the set for a single day, often performing peripheral or background roles). It wasn’t uncommon on this production to have an actor with four different look changes in one day. Because the story was set in current times with an emphasis on politicians, law enforcement, and the media, Spina often took her inspiration from the generalization of these types on day to day television. The proper simple choices can have a dramatic effect on camera. It’s this type of wisdom which augments the talent that Christina is lauded for. Her quirky versions of real people benefited both the comedy and the crime sentiments of the storyline. She agrees stating, “I am actually able to execute last minute requests successfully with a combination of methods. It mostly comes with years of experience. I am always facing challenges and learning from experience, and am lucky to have those experiences to move forward so that I am more prepared each day. I have learned so much over the years, and am learning still. Each experience encourages me to revise and restock my kit. I have learned so many valuable things, one important tip is to be able to improvise requests on the spot by having a fully stocked kit with all the tools and items to execute any request. It could be stressful when requests are made and crew is forced to wait on me or my department, a general rule on set is that you do not want to be the cause of holding up shooting. But with thorough communication and a solid plan of execution everyone can get their respective jobs done and not feel stress in a way that would compromise the outcome.”

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