Category Archives: Reviews, Interviews & Features!

Adrian Puan is first Malaysian songwriter to be signed to U.S. label

Some people are born with talent that they don’t realize right away. With no training, they can master something that someone else has spent their life studying. That is certainly the case with Adrian Puan.

Puan was born in a small town in a state called Melaka and moved to the capital city of Malaysia, Kuala Lumpur when he was 8. Now, he is recognized internationally as a songwriter and composer.

“To be honest, growing up, I never knew that one day I’d be involved in music or anything related to it, simply because I never had the interest in music, much less play it,” he said. “I guess it all started when I began organizing events in the university I studied in.”

Puan used to be an organizer during his studies, which required him to network with local musicians and constantly keep a lookout for upcoming talents to perform in my events.

“That was when I got to know the band Beat The System and we all became best friends. It wasn’t until in 2012 when Gerald, the drummer of Beat The System, asked for my assistance in writing some lyrics for a song the band was working on and he realized that I had the talent in songwriting. Gerald then began to push me to come up with melodies for a chorus, or a bridge, and subsequently a full song.”

The songs that Puan had co-written with the band went on to win multiple awards in the Asian region. “Shine” won Song of the Year, Best Genre Bender, and Best Collaboration at the Asian Voice Independent Music Awards in 2012, and another song titled “Hero” went on to win Song of the Year at the Asian Bite My Music Global Awards in 2013. Puan also won third place for a song that he submitted to the Malaysian Revival Songwriting Competition (MRSC) in 2013.

“That reassured me that I could actually write songs,” he said. “I didn’t have any sort of training. I used to write tons and tons of poems when I was younger and that’s the closest thing I did to songwriting at the time.”

Now, it is evident to everyone that works with Puan that he was meant to be a songwriter.

“Adrian has the ability to compose songs that are very relevant to the listeners now, he writes melodies that are catchy and it resonates with the listeners,” said Amelia Tan, director of Malaysian Revival Songwriting Competition.

“Working with Adrian was a great experience, he surely portrayed a very professional working attitude and took his craft very seriously,” said Mokhtaza Ahmad, head of A&R Warner Music Malaysia.

Songwriting allows Puan to write stories, to express his deepest feelings, and to channel his creative senses in melodically designed tunes that transport him to a place and time of familiarity or to a place that only he can imagine.

“It gives me no greater joy when the songs I create elicit strong emotional responses from those who heard them,” he said. “I always believe that music is an agent of cure to the human soul and I’m just glad that I get to be a part of it.”

However, the craft does not come without its challenges. Every writer experience a creative block every once in a while.

“As I don’t play the piano or guitar or any other music instruments, unlike most songwriters I can’t play some random chords and create melodies based off them. Melodies come to me by inspiration and imagination. It may happen at any time of the day like how ideas would. It comes when I’m sleeping or when I go for a walk outside or sometimes even when I’m taking a shower. There are times when I’d be able to write a few songs in a day, but there are also times when I won’t get a single song-worthy melody for months on end,” he described. “I also face certain challenges while songwriting especially when I can’t find the right words or a right tune to accurately describe what it is I want to convey. In writing lyrics, it’s particularly frustrating when the word you want doesn’t fit into what I’d call ‘a melody pocket’ whereby the sound of a syllable doesn’t pair well with a particular music note.”

He certainly overcomes all obstacles, being the very first Malaysian songwriter to get signed to a U.S. record label.

“My inspiration comes from many places. I’d say the love I have for God, my family and friends is the main inspiration for me to write music. Coming to learn of other people’s life stories and experiences inspire me to write as well. Having gone through much heartache and disappointment in my own life’s journey certainly do inspire me to write music that other people can relate to,” he said. “It’s funny how much less lonely we feel when we realize that we’re not the only ones feeling whatever it is we’re feeling and that somewhere in the world someone’s feeling the exact same thing as we are, and I believe music does that, it tells a story about the human life, its ups and downs, assuring its listeners that they’re not alone.”

Puan is now located in New York City, working with Beat The System on their upcoming album. He is officially a band member, coming a long way from being their “number one fan.” He says the music industry in American has many more possibilities for him as a songwriter.

“Coming from a small town in Malaysia where music is not as widely celebrated as it is here, my goal has always been to further my career in America as I know the people here deeply value the art of music. Back home, the English music market is too small and it’s saturated with delusional musicians who refuse to transcend the already low music standards. Instead of being supportive of one another and building each other up, they’d tear you down just to get ahead in the music scene. On the other hand, the music community that I’ve gotten to know in New York has been nothing but supportive and one can sense their genuine joy and pride whenever a musician they know has achieved something significant,” he said. “The music environment that the U.S. has created is unbelievably conducive and it is no wonder why every musician from any parts of Asia aspires to make music here. From music facilities to opportunities, no other country compares to the U.S. Like people always say, if you want to make it big in the global music scene, you’d have to make it big in America.”

Puan wants to continue to be the best songwriter he can be, and write for a variety of different artists across all genres.

“Despite pop being my absolute favorite music genre, I’ve had melodies recorded that lean toward rock, R&B, and even country music. There are also songs that I’ve written which I believe would be a perfect fit for certain artists that I look forward to working with and my goal is to make that happen,” he concluded.

Sound Engineer Daniel Hernandez craftily enhances both music and film

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Sound Engineer Daniel Hernandez

Making music is hard. Playing an instrument takes years of training and dedication. Being able to read music is similar to learning a new language. Writing music requires a type of creativity that is hard to come by. However, being a sound engineer adds an element that few can master. Not only do you have to be able to truly understand music, you have to have an appreciation and understanding of the truly technical aspects to it.

Daniel Hernandez is truly gifted in this matter. Starting as a musician, he has seamlessly penetrated the audio engineering world, receiving international recognition in film, television, and music.

In a short time, Hernandez has had many achievements in sound. He did the sound and music for the short film Angeles Rotos, which just received a Bronze Remi Award at the World Fest Houston International Film & Video Festival, and was also an official selection at the 2015 Dominican Film Festival, the El Ojo Cojo International Film Festival, the International Puerto Rican Heritage Film Festival, the Guayaquil International Film Festival, the Cine Fine Arts International Film Festival, and the Best Shorts Competition. The teaser he worked on for the television program Citizen of the World was an official selection at the 2015 Audience Awards and an honorable mention for On Location: LA Video Project at the New Filmmakers Film Festival.

Hernandez loves the versatility of being a sound engineer. There are a variety of tasks that can be done at any given time that can drastically alter the outcome of a film, song, or video.

“I like the abstraction of the process, either capturing the sound, or manipulating it. I like studying the acoustics of a room and its interaction with a specific sound, something that I do a lot when I’m recording music, when you use a specific room and a specific gear to enhance an instrument or give it a color,” he said. “When I’m recording sounds in a film production as a sound mixer, you are in a constant battle with the ambience to capture the sounds as cleanly as possible.”

Part of these tasks include mixing, which is something Hernandez enjoys.

“I like to use the stereo field and hear the sounds moving around according to the beat if it’s a song or to the picture if it’s a film score, or a sound design. I like to create a space with frequencies, reverbs, and volumes,” he said. “Mixing is like creating a three-dimensional collage of sounds and space.”

For Hernandez, his love for music led him to being a sound engineer.

“I always liked to experiment with effect pedals, and as a musician I use them all the time. That search of unique sounds sparked my interest in the field. I started as a music engineer producing some of my own songs and friends’ songs, but then, I started helping a friend with some film projects as sound mixer, which opened a whole new path in my career. That’s how I ended up doing movies.”

Director Jamie Esteban worked with Hernandez on several projects over the last few years, and describes him as a true pleasure to work with.

“His experience in the sound department is, in my opinion, above average and it always gives me a better understanding of the projects from this specific point of view. From sound recording and sound design, to sound mixing and music composing, Daniel’s work is always carefully done, astonishingly creative and professional in every detail,” described Esteban. “Daniel is also a very good listener. This, in my opinion, is the key for a good sound engineer. Daniel won’t usually take any risk creative wise until he makes sure he understands the goal of that decision throughout conversation and smart questioning, so when he does, his suggestions are always on point and helpful towards a good final result.”

Hernandez also had the opportunity to work on a feature film directed by the Goya nominated Cristina Trenas, titled From 7 to Eleven.

“Daniel always has valuable input to help the execution of the story and make the shoot move forward efficiently,” said Trenas. “The importance of sound is always underestimated when making movies. If sound is not properly done the story is ruined and the audience will immediately disconnect from the story. This is why it is vital to make sure that sound is taken care of by professional like Dani, who has mastered the craft after years of experience. He is always at the top of his game, providing a reliable and outstanding service.”

On his path as a musician, Hernandez is an integral part of the successful band the LA Brownies, which gives him the opportunity not only to play guitar, but to work on the technicalities of the sound.

“Daniel has a natural gift as a producer and a sound engineer. His professionalism in the studio is next to none. His musical ear was able to interpret my drum and rhythmic patterns into works of art,” said Michael Delgado, the drummer for the LA Brownies. “With the success of our first two albums we were able to produce seven professionally produced music videos to accompany singles and hits. Daniel’s experience as a sound engineer aided in the making of many of the band’s music videos. With his experience working on professional film and TV sets, Daniel was able to assist the producer and camera crew in the production of some of the most fan favorite music videos.”

Despite all of his success, Hernandez still says there are challenges to his chosen profession, and it is difficult to not get lost in the technical talk that comes with knowing the ins and outs of the craft so well.

“We engineers talk about timbre, frequencies, microphones, and reverbs and compression. Those are very abstracts concepts, and a very technical language, that makes the communication flow a little bumpy sometimes,” he described.

But he also says that is not the hardest part.

“I think the biggest challenge as a sound engineer is the creativity that exists behind the technique, on how to be original and not falling into repeating just a pattern,” said Hernandez. “Also, how to break those rules and experiment. This is a constant challenge because in my opinion every project has its own character, therefore you need to break some rules in order to enhance the project.”

Success keeps coming for Hernandez. The LA Brownies are releasing their third album titled Maybe, and he is set to compose the score and take care of the sound design for Lia Chapman’s new short film In My Mother’s Arms.

Guitarist Teddy Fan Tours With Hit YouTube Sensation Jason Chen

Jason Chen UMass Amherst

The YouTube generation is among us. This day in age, whether you’re a millennial or not, millions of social media goers are turning to this entertainment platform in search of videos of all kinds. The influence of online video is growing, so much so that performers are now making a living off of generating content for it. YouTube Singer and Artist Jason Chen is no stranger to using this tactic to market and make a name for himself and recently, he secured the widely successful guitarist, Teddy Fan, as accompaniment in touring, playing and creating with him.

Originally from Hong Kong, Fan has been playing the guitar since he was twelve years old and as of July 2015, now holds an Associate Degree in Guitar Performance from the Musicians Institute in Hollywood, California. “I love to perform,” Fan stated, and was very quick to add, “I always have – I really enjoy being on stage. Growing up, all I wanted to be was a rock star guitar player, so I decided to become a guitarist.”

After graduating from the Musicians Institute, one of Fan’s teachers and greatest mentors, Katsuya Sezaki, hired the musical genius as his recording guitarist. From there, Fan’s professional career took off and he immediately began booking gigs, several of them including Chen.

Fan and Chen have been working with one another since February of 2016, together becoming a viral musical success. “Teddy showed up at the right time,” Chen answered, when asked how the duo initially came about; a mutual friend initially introduced the pair to one another. “I needed a new guitarist, and that’s when Teddy came into the picture. He was a really talented musician whom I enjoyed working with. So, I asked him to be my guitarist.”

With over 1,300,000 subscribers on YouTube, Chen’s international fan base had already been vast. Resultantly, after forming a team with the acclaimed singer, Fan’s network of followers and subscribers expanded as well.

Jason Chen UIC

Together, Fan and Chen host live acoustic performances. These performances usually consist of a thirty-minute set where the musicians perform covers of preexisting, popular songs as well as some of Chan’s originals. It is Fan’s responsibility to rearrange these covers into acoustic versions. “The acoustic version of a song has to be simple,” Fan explained. “This is because there’s only one singer’s voice singing live, and I wouldn’t want to over cover his voice. The singer is who should take over more. Usually, I just listen to the song, pick the main rhythm and that’s what I play, unless there’s also an important instrumental portion of the song that needs to be covered, too.”

These talents of Fan’s are skills that Chen greatly relies on in order to ensure a successful and entertaining performance. “Teddy can always come up with a nice rhythm on this guitar to back me up when I sing. Each time I ask him to play a song, he learns it very quickly and precisely. He’s always really helpful with arranging sets and always comes prepared. I just feel really comfortable playing with Teddy. I really trust him,” Chen commented.

So far, the pair has toured in Chicago, Boston and Seattle, booking gigs at Northwestern University, Brandeis University and the University of Washington. They’ve played cover songs such as “Love Yourself” by Justin Bieber, “All of Me” by John Legend and “Stay for With Me” by Sam Hunt for their audiences, as well as a one of Chen’s most popular original songs titled “Best Friend.” “We usually play hip, pop songs depending on what’s popular at the time,” Fan shared. “Two of my personal favorites that we’ve covered are “Umbrella” by Rihanna and “When I Was Your Man” by Bruno Mars.”

Following each performance of 5-6 songs, Fan and Chen always hold a meet and greet with their fans. “The first meet and greet we held was the first time I was asked by fans to sign autographs and take photos. That was so memorable for me,” Fan recalled. “There was one time, while we were performing on stage, an audience member was non-stop screaming my name, which was cool because usually fans are screaming out Jason’s name a lot. After the performance at our meet and greet, she ran over to me and told me how much she loved my work and really wanted to take a photo with me. It was such a crazy experience; I didn’t expect it at all. Working with Jason has made me feel like my career is headed to a new level.”

While Fan solely plays guitar for Chen, he also dabbles with singing and song writing on his own. “Working in music means committing to the type of job where you never know when and where your success will come from, so you can never give up,” Fan said. “My ultimate dream is being a singer-songwriter. I really enjoy writing and performing music. That’s all I want in my life.”

Jason Chen Brandeis University

For more information on Teddy Fan, please visit: https://soundcloud.com/teddyfan

For more information on Jason Chen, please visit: http://jasondchen.com
https://www.facebook.com/JasonChenMusic/?fref=ts

Hunter Phoenix Soars to International Success as a Model and Actress

Actress-Model Hunter Phoenix is petite in stature, but carries a larger-than-life persona when she steps into the room. Phenomenally vibrant and immensely talented, the Toronto-born Phoenix exudes ambition that has gained her an impressive resume and roster of professional achievements.

“When I was a little girl I always wanted to be a model; but I was never very tall – I really didn’t think I had a chance since most famous models are 5’9 or more.” Phoenix said. “I was studying theater in school, and working in a bar to pay off my student loan when a casting director for a beer commercial came in and asked the owner if he ‘could recommend any beautiful girls for the spot.’ He suggested me. I went out on my first modeling audition, kind of by accident. I was up against 400 other girls, and I got the job—I thought ‘hey this is easy!’ And that was how I became a ‘Bud Girl,’ I did several posters and even live appearances. The Budweiser thing was a long term project, and it was a sweet gig. I was on my way.”

With a potent combination of warm personal charm and a figure of rare, profoundly appealing symmetry, Phoenix’s launch in the business steadily built momentum. “With the high visibility of the Budweiser campaign it was easy to get a modeling and commercial agent and I began doing more on camera stuff,” Phoenix said. “I started doing television commercials and it all just really took off. Soon, I was also doing a lot of print work, beauty products and food stuff. You just go where the work is.”

Phoenix ably floated through an impressive series of assignments, representing a broad spectrum of internationally known products from fashion and cosmetics, automobiles and electronics to food and drink.

“It was not an area of life that was too difficult, modeling is much more complicated now because of all the multiple online profiles and social media that you have to maintain.” Phoenix said. “But if you are signed with a top agency, clients trust their reputation and will book you based on pictures and previous work. They often just call and you really don’t have to audition as much. But it’s not always perfect. There are challenges—the difficult shoots.”

“I remember one where we had a done a year’s worth of commercials in four weeks and we were at the tail end of it all, working in the studio, and it was late, late at night, 3 or 4 o’clock in the morning. They were struggling to get the lights and the angle just right and at one point they had to put an asbestos filter over my head so my hair wouldn’t catch on fire! Tempers get short, and people get frustrated in the middle of the night. That was pretty crazy. Or the outdoors bikini stuff, they want it for summer so you’re out there and it’s March, you have to get your feet in the water and look like you’re warm and happy and of course it’s really freezing.”

Phoenix, who has also distinguished herself as a successful film and television actress, invariably transforms any such challenge into a positive, and with an intuitive knack for wringing out every available scintilla of knowledge from a situation, she uses each experience to her professional advantage.

“Theater and acting are great for the emotional side, but modeling has taught me very valuable lessons about business.” Phoenix said. “As a model, when you show up, you’re a brand ambassador but you’re also the last one to the party, and there’s been this huge complex campaign all worked out before you arrive. I learn a lot on set just keeping my mouth shut and observing, there are a lot of very sharp people from the ad agencies, and it’s taught me a lot about business in general. Everything is done on a very tight time frame—if you don’t respond to a call from your agent within 20 minutes you’ll lose the job. So it’s taught me to be punctual, adaptable and professional.”

With over fifteen years of experience, Phoenix remains an in-demand, versatile force in the industry, working up close as a hand model, appearing in print ads and acting in television spots.

“I still do lots of beauty stuff, a great deal of it in Europe.” Phoenix said. “I just signed with two new agents, one in Milan and one in Berlin, so there’s a good chance I’ll be doing jobs over there soon. I do a lot of travel, it’s one of the most wonderful aspects of the job. You get to meet cool people in all sorts of beautiful locations. I love getting that phone call, where they say ‘Okay you need to catch a flight to Paris in two days’—I just love that. There’s nothing else like it.”

Sound designer Veronica Li’s work takes a STAND

Every film tells a story. Every person that touches that film contributes to telling it. For a film about music and dance, the sound often replaces speech. The sound tells the story.

Sound designer Veronica Li knows this better than most. Her innate talent of working with sound compels audiences, which earned her the Faculty Award for Outstanding Sound at the 2014 First Look Film Festival.

STAND is a documentary about a Krump dance group in South Los Angeles. The subject of the film that discuss social problems through an art form and explore how art can affect people really attracted me.

Full of stomps, jabs, and something called ‘the get-off’, Krump is a cathartic release of emotion. It’s a dance form that is aggressive and loud, but can also be an intimate portrait of individual struggle. As an alternative to the rough streets of Los Angeles, a Krump group called Demolition Crew offers the youth a safe haven to express themselves.

STAND follows one of the crew’s leaders, ‘Krucial the Liberator’, a 24-year old South Los Angeles born and bred Krumper, as she uses her love of Krump to build a safer community in an area known for its history of violence.

“It was a wonderful experience working on STAND,” said Li. “Every crew member on the team was great. And since I also recorded production sound on the project, I got really close to the characters and the story.”

STAND has been recognized continuously for its powerful story and filmmaking. Originally released in July of 2013, it has gone on to receive several awards and nominations. These include the 2013 Director’s Guild of America (DGA) Jury Award for Latino Filmmaker, the 2014 San Francisco Dance Film Festival for Best Student Film, Indiefest’s award for Best Documentary Short, and nominated for Best Documentary at the 2014 First Film Festival. It also was an official selection in in 2014 for ONE LENS Film Festival, Pan African Film Festival, Beijing Film Academy International Student Festival, Chicago International Social Change Film Festival, and the SOUQ Film Festival in Italy.

Melanie D’Andrea, the director of STAND, attributes much of the film’s success to Li’s work.

“Veronica has proved herself to be masterful through an impressive variety of successful projects,” said D’Andrea. “What I love about working with Veronica, besides her respect to the material and her attentiveness to detail, is that she always pushes the soundscape of the film and presents very bold and emotive choices. Veronica’s talent and dedication to the art of sound design has no doubt opened many opportunities for her career. She has rapidly grown and evolved as a Sound Designer and Sound Editor and I am proud to see her credits expanding. I am eager to see her vision continue to be a part of Hollywood.”

Since working together on STAND, D’Andrea has reached out to Li to work on many projects.

“The director Melanie takes sound design very seriously and willing to experiment and explore with sound,” described Li. “It was an luxury as sound designer to have a director who is very creative and open to suggestions.”

Because STAND is truly a film about social problems, there were challenges that came along with properly telling the story.

“We tried to combine signature sounds in South LA sound scape into the sound design and also tried to make it work with the dance and music rhythms, which is quite challenging,” described Li. “There was scene when Krucial, our main character, was dancing on a overpass above the railway. The sound design of train, siren, metal sound elements from jail and ambiences worked so well. I feel it’s a scene that tell story and convey emotions purely through cinematic language without words. It’s very powerful.”

The sound is it’s own character in the film, and Li is the creator of that. She managed to tell an important story using no words, and allowed herself to be impacted by the work she was doing.

“There was moment that as the filmmakers we got so moved by our characters and situation that we had to hold our emotions in order to capture those moments perfectly, and those kind of feelings helped a lot when I started to design sound,” she said. “I felt I really connected to the characters, I was with them, I was one of them. STAND is not just a project, it’s such a unique life experience that I’ll always remember.”

Before Lights, Camera, Action! You Need Set Design.

For a director to let go of the reigns and trust a set designer without the nagging impulse to micromanage is a sign of true excellence on the part of the decorator. That’s at least the sentiment expressed by most every director who has worked with seasoned set decorator, Nancy Niksic.

Niksic, owner of a most impressive roster of achievements, just wrapped working alongside acclaimed film director and screenwriter, Azazel Jacobs (“Terri,” “Momma’s Man,” and “The Good Times Kid”) who raved about her invaluable work. “Nancy Niksic worked as my set decorator, and possess an exceptional ability to find unique and fitting set pieces, then decorates the set with a realism that adds to the character development. Nancy has true artistic talent and is an asset to work with. She understands my vision, which is incredibly beneficial to me as a director and to the success of my shoot.”

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Nancy Niksic is one of today’s premier set decorators who has crafted the look of many TV, film and commercial sets.

 

With 24 years of experience under her tool belt, Nancy has seen a variety of TV, film and commercial sets to visual perfection as set designer and decorator. Niksic’s versatility and adaptability are part and parcel of what has earned her keep amongst the greatest in the entertainment industry — including the Canadian “Amazing Race.” Niksic worked as the art director on the 1st season of the “Amazing Race,” and as production designer on the 2nd and 3rd seasons.

Niksic is the ultimate multitasker on set, with a strong comedy leaning as her niche. “ I look at it as an opportunity to have fun and really expand my creativity” says Niksic about her comedic set decorating sensibilities. “I’ve alway been super passionate about this niche market, especially the quirkiness and how odd some pieces have to be. Being a set decorator is all about contributing, and that takes understanding the joke and the tone and the subtleties of comedy. To make comedy work, there’s a tricky balance, knowing when to be understated and when to go big and in your face.”

Niksic nails the unassuming, keeping the audience unaware of the set decor, but at the same time having the pieces contribute to the comedic tone. “The audience won’t be able to put their finger on why it’s working, but it does. Directors like that I understand this. I love to scour the city for the perfect pieces,” adds Niksic.

Her comedic touch garnered her work on two seasons of “The Jon Dore Television Show” on The Comedy Network, as well as the short film “The Truth About Head” directed by Dale Heslip, which won several awards at Cannes.

Niksic recently worked on content for the comedy web­series by Sarah Silverman, Michael Cera, Tim & Eric, and Reggie Watts called “JASH.” The content produced by co­founder Daniel Kellison (original executive producer for “Jimmy Kimmel Live”), was about three CIA agents living in horrible quarters in Aleppo, Syria, so the set had to look believable. “I had to make it look real, while also finding space to add comedic elements,” said Niksic. “I collaborated with the directors on the nuances of the set, trying to play it so the audience gets a real feel for the environment, while also putting in elements to accent the comedy.”

What sets Niksic apart from her competitors is that she is not limited to the entertainment realm alone. Niksic handled the decor and design as well as the styling of a renowned rock & roll inspired hair salon in Toronto called “Grateful Head” [pictured below]. She truly does it all. Whereas most designers who work in film wouldn’t normally venture in this space, Niksic will not turn down creative work, making her one of the most multifaceted designers in the game.

 

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Nancy Niksic is a set designer extraordinaire, willing to work in any creative environment necessary. She knows what she, the audience and director/client want, and she stops at nothing to get it.

For Niksic, it’s about quickly understanding the director and the direction, and about establishing immediate trust while shouldering some of the weight the director carries. Her evolved sense of humor certainly comes in handy on any kind of set, keeping the list of opportunities running endlessly.

From Humble Beginnings to International Fame– Actress and Model Ashiko Westguard

Ashiko Westguard
Canadian model & actress Ashiko Westguard shot by Erwin Loewen

 

Ashiko Westguard has a lot to be proud of; her hard work as a model has led to international success and recognition, she has made a successful transition into the film industry and she has an inspiring family who encourage and support her.

Westguard’s family remain at the pinnacle of her life and even of her achievements, with the highly sought after model and actress crediting them for her passion, confidence and imaginativeness, arguably the defining traits, aside from her enticingly exotic and raw beauty, of her success in two of today’s most competitive industries. Westguard however, only speaks of the ease with which she wins over the many world-renowned photographers and clientele she has a repertoire with. She has a unique way of cultivating emotional connection and positivity through images, no doubt her enchanting character is a lasting effect of her lakeside upbringing back home in Innisfil, a quaint town in Ontario, Canada.

But don’t let her rural upbringing in mislead you, with a maternal role model like hers, it’s not surprising that Westguard has an awe-inspiring career which has continued to take her across continents modeling in Japan, Hong Kong, Spain, France, South Korea, Denmark and Slovenia. She attributes her strength, determination and courage, which have all helped her earn coveted jobs, like her most recent ad campaign for Dita von Teese Lingerie shot by Albert Sanchez, to her mother, a political refugee who arrived in Canada alone as a teenager from Czechoslovakia.

It takes a certain wild energy and emotional embodiment to command the world’s attention on the cover of a magazine. Westguard is no stranger to these high-paced shoots as she has graced numerous covers including Women Magazine, Femina Magazine, Women’s Fitness, Essentials Magazine, Sweat Equity and Verve Magazine.

Growing up with a father who is a champion hydroplane racer, this wild energy is in no short supply. Westguard called upon her wild women qualities for her recent shoot in Slovenia, where she took on the role of the ultimate wild woman, a Bond Girl, alongside Robbie Williams as James Bond, for the internationally recognizable brand, Café Royal.

While she may share some of the credit for her break into the modeling industry at age 18, with her younger sister who also signed with acclaimed agency Next Models, only her own hard work can account for Westguard’s introduction to the acting scene. Westguard’s modeling career has put her unique capacity for emotional intelligence and confidence on display in a long list of international ad campaigns, and it’s those same traits that have helped Westguard make a name for herself as an actress.

Acting became one of Westguard’s earliest childhood dreams since she first took the stage in the Stephen Lee Cock Theatre’s production of “On The Tip of My Tongue” back home in Canada; and her perseverance and dedication to turning it into a reality has definitely paid off. Training with professionals like David Rotenberg helped Westguard make the challenging transition from modeling into acting, and over the last few years she has successfully evolved from the portrayal of emotions externally to the embodiment of a character’s essence on screen.

Some of the roles she has become best known for over the years are from her portrayal of the riveting and exceedingly complex Eve in the sci-fi feature “A Dark Matter” and Beverly in the Leo Award winning series “Painkiller Jane” where she acted alongside multi-award winning actress Kristanna Loken from the films “Beyond the Game” and “Fighting for Freedom.” She has also guest starred on the series “Kaya,” as well as “The Red Booth.”

 

Ashiko Westguard
Ashiko at home in Innisfil with her dogs Zandaya (left) and Miley (right)

 

In the midst of a bustling schedule and international success,Westguard still finds time to return home to Innisfil, where she enjoys a simpler life, breathing in nature and being with family. With a family full of inspiring role models and a community that knows her more as their neighbour than the glamorous girl from the covers of magazine, it is no wonder that her childhood home is where she choose to return to for grounding and inspiration. Having this base has allowed Westguard to transcend the typical barriers of the fashion and film industry with grace, landing her on the side of blissful success, facilitated by the confidence, passion and self-worth instilled in her by her supportive family.

 

Spotlight on Award Winning Film Editor Shayar Bhansali!

Even at the start of his career as an editor back home in India, Shayar Bhansali was making innovative contributions to the entertainment industry with his work. The now multi-award winning film editor began his career as the visual media editor for The Big Indian Picture, India’s premiere online cinema magazine. Whereas most of India’s prior entertainment outlets focused on Bollywood fluff,  The Big Indian Picture offered audiences a serious look at the world of Indian film; and the videos Bhansali edited for the outlet earned the magazine national attention.

Bhansali recalls, “I worked with the producers to edit interview segments, and these interviews turned out to be so genre-defining that they became the first ever web-produced content to air on national television on NDTV Prime.”

After getting his feet wet as an editor in India, Bhansali moved to Los Angeles to complete his master’s at the world renowned American Film Institute. Once in the states, he dove in with full force creating a reputation for himself as an exponentially talented editor in the narrative film world. Some of his recent work includes Cusi Cram’s award-winning dramatic comedy “Wild & Precious,” which earned the Best Narrative Award from the NYLA International Film Festival, Mattson Tomlin’s family drama “Persuasion” and Stefan Kubicki’s “Against Night.”

Shayar Bhansali
“Against Night” film crew and talent from left to right: Shayar Bhansali, Elena Caruso, Stefan Kubicki, Saba Zerehi, Konstantin Lavysh, Lucas Lechowski at AFI Fest presented by Audi. (Photo courtesy of AFI)

In addition to winning awards at the USA Film Festival, Woodstock Film Festival, Ojai Film Festival, as well as being nominated for several more from the American Society of Cinematographers and Guam International Film Festival, Kubicki’s drama “Against Night” also earned Bhansali international recognition for his work. Delicately weaving together the story of a cosmonaut who struggles to deal with the haunting memory of the loss of his wife and young daughter, Bhansali’s work on the film earned the Festival Prize for Best Editing at the Kolkata International Film Festival in India and the June Award for Best Editing from the Los Angeles Independent Film Festival Awards in the US.

For Bhansali, the art of editing is all about striking a balance between the director’s vision and what his creative voice believes is best for the story.

“I find editing to be humbling and empowering at the same time – you’re constantly making decisions about the way in which a story unfolds, but you do this within the context of the director’s vision,” he explains. “This balance of finding my own expression and balancing it with the larger creative arc is what drew me into the world of filmmaking, and editing became a way of life before I knew it.”

One of the many unique aspects of Bhansali’s gift as an editor is his ability to adapt to the needs of a project and use his creativity to solve potential problems in a way that allows the production to flow seamlessly. His work as the editor on Tomlin’s 2014 film “Persuasion” speaks leagues to why these traits are such a vital asset to any production. “Persuasion” focuses on a father’s process of coming to grips with his son’s unnatural gift for controlling people’s behavior with David Kopelev (“The Escort,” “Heritage”) starring as the son and Gregory Linington (“Indigo,” “Dune”) as the father. Early in the developing story there is a scene where Kopelev’s character has a face off with a bear, an event that instills in the father the startling awareness of how truly powerful his son is.

Bhansali recalls, “Mattson was convinced that the only way to portray this scene in a realistic sense would be to shoot it with a real bear. Given that the child actor was only 7 years old, we had to come up with a way to use a motion controlled camera rig to shoot separate plates with the bear and child, and combine them in post production with the help of visual effects supervisor Mike Pappa.”

To ensure that the production captured the two separate shots in a way that would make it possible for Bhansali to seamlessly combine them in post, the visionary editor actually spent quite a bit of time on set during those shoot days providing quick mock-ups to show the team what the scenes would like. When most of us think of a film editor we imagine them tied to their desk spending hours upon hours cutting and sewing footage together; and while that’s mostly true, having an editor like Shayar Bhansali on set can mean the difference between saving time and money or having to go back and do those dreaded reshoots.

“This level of involvement is becoming more common for an editor and when done efficiently, I find it can be an irreplaceable tool for the director and production crew,” admits Bhansali.

Much of what drives Bhansali’s work as an editor is the inherent power that comes with job to change and shape the story; he enjoys the laborious and highly creative process of sifting through hours of fragmented pieces of footage, fusing the perfect shots into fluid scenes and purposefully forming a coherent whole that will impact viewers.

He explains, “I like the process through which we rewrite the story with editing, the power to manipulate and curate the emotions of our audience with every decision we make. I’ve always been drawn to the inner workings of a film, understanding how structure and scene construction influences the way we relate to characters and story – and editing for me gives me the opportunity to do this every day with every project I work on.”  

From his work as the editor of the interview series “Tete-a-Tete” broadcast on NDTV to the powerful stories he crafted as the editor of the films “Loveland,” “La Bella,” “Persuasion,” “Against Night,” “Zoya” and “Wild & Precious,” Bhansali has amassed an impressive repertoire of work that spans several mediums and practically every genres.

Up next for Shayar Bhansali is the film  “Rene” starring multi-award winning actor Xander Berkeley (“Taken,” “Airforce One,” “Justified”), and the film “Shinje,” which is in preproduction and will be directed by Stefan Kubicki.

Film Editor Pavel Khanyutin Cuts to the Heart of the Matter

The film editor is one of cinema’s true behind the scenes wizards, one who can escalate the intensity of any sequence, deftly manipulating the action and emotion in a way few other production contributors—whether writer, actor or director—are as readily able to match. Russian editor and visual effects supervisor Pavel Khanyutin, known for cutting with surgical precision and an acute sense of pace, is an ideal example of this dynamic, almost alchemical skill.

For more than a decade, Khanyutin has exerted a strong influence on his country’s visual experience, as a film editor and through his influential use of CGI—he made significant impact supervising VFX in Timur Bekmambetov’s popular 2004 fantasy thriller Night Watch and Andrey Kavun’s 2010 war drama Kandagar. He also excels in his other professional capacity, conceiving and directing commercial advertising spots.

Khanyutin’s relish is evident in whatever he takes on, and his 16 years as a creator of television spots for high end prestige clients have been an enjoyable pursuit that has produced many notable achievements, crafting memorable pieces for Google, Coca Cola, Ikea, Pepsi’s Adrenaline Rush, Panasonic, Mars, Nike, cellular network Megafon and many others.

“In advertising the tough deadlines and limited time make the process almost like a competitive sport.” Khanyutin said. “However, there always remain enough possibilities for creative work, in the storytelling and sophisticated editing.”

But it’s working as an editor and visual effects supervisor where he derives the most satisfaction; in Russia, after all, the art of film cutting has a particularly rich heritage, going back to groundbreaking mid-1920’s giants Sergei Eisenstein and Grigor Aleksandrov.

“In editing, the possibilities are nearly unlimited, and it’s almost impossible to overestimate its importance.” Khanyutin said. “It’s a language in which films speak to the viewer’s unconsciousness, and it can deliver every shade of emotion, just as speech does. This is the most interesting, most complicated aspect and is also what allows a film to really get inside a viewer’s head. It’s almost like metaphysics—a visual philosophy.”

“Each project is interesting in its own way.” He said. “Editing documentary films is a very special process, you could almost say that the movie is coming to life in the editing room—getting precise emotions, different shades, from the material is the challenge—to create a great piece of work. I am lucky that I had a lot of documentary experience at the beginning of my career.”

Khanyutin’s personal involvement with every project is intense. “Working on a feature film is a different matter.” Khanyutin said. “To tell a colorful story, it’s very important to really dip down into it, to lead everything through one’s own self, to believe in characters, yet always be sensible. Then every cut will be as conscious and meaningful as sounds in speech. And the time spent in the editing room—it could be one month or one year—becomes part of you. You even see it in dreams.”

That tireless commitment to film gains Khanyutin tremendous professional advantage. “I’ve worked with Pavel as directors and editors always work together—I’ve dropped material off at his door to do with as he pleases, and I’ve sat, lurking over his shoulder, for up to a dozen hours at a time.” Film maker-screenwriter Michael Kupisk said. “In both cases I found Pavel’s instinct and touch to be invaluable in terms of defining the final outcome of the product. He was able to show me angles and methods of delivering a beat or turn that I hadn’t anticipated and is always thinking of how to make the movie better. What I admire most about Pavel is his innate rhythm and instinct. He adds something to the project that is satisfying to both the filmmakers’ vision and the audience’s viewership of the material.”

Khanyutin’s singular grasp on how best to manipulate raw footage is an invaluable asset, and his singular propensity to anticipate and deliver a finished product that really reaches deep down into an audience’s emotions qualifies him as a cinema auteur with illimitable potential. For Khanyutin, his professional goals are simple and straightforward, best summed up in three words:

“More good movies.”

Prolific Composer Emily Rice Scores Complex and Moving Documentary

Much like film, television, novels, and theatre, music and song are also powerful forms of storytelling. In some instances they can stand on their own, while in others they are used as a means of enhancing and completing the expression of a particular story. Talented composer and orchestrator Emily Rice has been telling stories through sound for the past four years. Her framework of experience consists of a long list of accredited success stories, her work ranging from student films to Hollywood blockbusters. Most recently, Rice has been cordially attached to compose a new and exciting project; a documentary film called “100 Faces of Survival,” directed and produced by innovative filmmakers Jared White and Lilit Pilikian.

“100 Faces of Survival” focuses on the Armenian genocide, which had its 100-year anniversary in 2015. The documentary also partially follows the married couple, Pilikian, who is of Armenian descent, and White, as they travel to Armenia to see if they can uncover her family’s past home prior to them fleeing the genocide. “It’s a story of Armenian identity in general, but closely follows Lilit’s relationship with her own identity,” Rice said.

Elaborating on this, White added, “We had long thought about what we could do to mark the 100th anniversary of the Armenian Genocide. We didn’t want to just make another genocide documentary, as there are many well-made ones out there already. So, we landed upon our hook into the topic: exploring Armenian identity, and what it means to be Armenian 100 years after the genocide.”

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Composer Emily Rice

Prior to “100 Faces of Survival,” Rice collaborated with Pilikian and White on two previous films, composing both shorts titled “Clone Counseling” and “Kill Me Now.” The three have been working together for nearly a year now.

With as complex of a score as “100 Faces of Survival” is expected to have in order to help guide its viewers through a range of different tones and emotions, it was important that Pilikian and White selected the right composer for the job. The duo is confident that Rice has what it takes to bring the audience to those depths. “Emily strives to always keep the audience’s experience with the film in mind as she crafts her scores. She immerses herself in the films she scores, always works to help further the story, has a deep understanding of music of all genres and flavors, and adapts to best suit the needs of the project at hand. Her music often acts as a gateway into the emotional journey of the films she works on, so we knew she would be a perfect fit for “100 Faces of Survival,”” stated White.

Originally from Harrow, England, Rice received her Bachelor’s Degree in Music from the University of York in 2008. In 2014, she moved to Los Angeles and completed her Graduate Certificate in Scoring for Motion Pictures and Television at the University of California. “I did my undergraduate degree in music, so I always knew that I wanted my life to revolve around it. I’d spent a lot of time playing in orchestras so was always drawn to that sound, and from my experiences playing in bands I knew that I liked the storytelling aspect of songs. In many ways, film music is the perfect combination of these two things as it helps tell stories through the use of almost any combination of instruments,” Rice commented.

As a composer and an orchestrator, Rice’s responsibilities vary depending on what she is working on, though they always encompass a similar idea: to aid in telling a specific story. When it comes to composing, her main duty is to compose (or in other words, write) all of the music for whatever film it is that she is working on. “Sometimes, I perform on it and either record it or produce the final mixed mock-ups which will be used if live recording isn’t an option,” Rice explained of this task.

For orchestrating, Rice does this while simultaneously writing. “Orchestration is a slightly different and more complex thing to describe, but the two [orchestrating and composing] go hand in hand. Orchestration is about knowing each instrument inside out, whether they are orchestral instruments, synths, guitars, etc., and knowing which combination of instruments to use to achieve a specific sound or effect,” she said. No matter what Rice is working on, whether it be the music in a film or an episode of television, she states, “My role is always to enhance the story and emotion, not to ‘get in the way’ of it – especially of dialogue! It’s also important to me that the music has an opinion, or a ‘point of view.’ Music that blends into the background too much can seem like wallpaper, and I often try and imagine the scores I write to be another character in the story.”

For the score of “100 Faces of Survival,” this is exactly what Rice plans to do. “The consistent thread through the film is the issue of Lilit Pilikian’s identity as someone of Armenian descent,” Rice said. The film correspondingly addresses the different elements that make up ones identity, such as aspects of culture like language, religion, food, and geography. While the composer will be scoring the documentary alone, she is looking forward to working with a number of performers throughout the process in an effort to compose a number of themes based around these topics, as well as a recurring theme for Pilikian herself as audiences follow her journey. “Armenia has a number of indigenous instruments – the duduk has often been used in film scores and so I’m excited to have a legitimate excuse to use it in this score. The Armenian national anthem is also a fun piece of music, so I may weave a number of my own arrangements into the score, too,” she added.

Thus far, Rice has been reviewing rough cuts of the film in preparation for the composition work she will be creating throughout postproduction.

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Composer Emily Rice with Kaushik Sampath

“I think that the score is likely to be very broad, and what I mean by that is I’m expecting there to be a number of themes to write as well as an underscore. It’ll hopefully show my capabilities composing music connected to a specific geographical place despite not being from that place, and as I’m also hoping to use live players, that should enhance the overall quality of the sound of the score,” said Rice.

With a prospective scoring deadline of mid-August, a final release date for “100 Faces of Survival” has yet to be set in stone.

“It’s really a privilege that Jared and Lilit have asked me to score such a personal story that must have so many feelings and emotions mixed in for both of them. I think that my ideas for this film are strong because the filmmakers have a clear vision and the storytelling thread through the film is also strong. I love working with them, and I feel that scoring something with such a cultural/national identity will be a huge challenge, but also a wonderful opportunity to learn more about Armenian music and have the chance to write themes, something I love doing in my scores whenever I can,” Rice stated.

Forthcoming, Rice will be involved in preparing for the scoring process of the renowned composer Brian Tyler’s (“Iron Man 3,” “Thor: The Dark World” and “Fast Five”) upcoming projects. Her work can also be heard on the hit television show “Underground,” where Rice worked with composer Laura Karpman (“The Tournament,” “Carrie” and “Man in the Chair”), playing the cello on several episodes.

 

For more information on Emily Rice, please visit:
http://www.emilyricemusic.com/
http://www.imdb.com/name/nm5735558/

Follow Emily on Twitter: https://twitter.com/emricemusic
Follow Emily on Instagram: https://www.instagram.com/emrice.music/