Cinematography is a delicate balance between the technical and the creative, and Polish director of photography Martin Kobylarz has mastered the art of walking that fine line. Known for his work on both films and commercials, Kobylarz’s projects often raise questions about issues facing society in the past, present and future.
Born in Denmark to Polish parents and educated at the prestigious American Film Institute in Los Angeles, Kobylarz uses his vast and worldly experience to raise the bar for his craft. Recently, he was the cinematographer in charge of the National Autistic Society’s awareness campaign commercial, “Can You Make It To The End?”
“The whole commercial is seen from a first person perspective of a child with autism so it was up to me to find the right gear to give this a realistic feel,” Kobylarz said. “When reading about autism they give very specific definitions as to how they feel and perceive the world when they have sensory overload.”
The public awareness campaign was highly effective, and Kobylarz’s first-person approach played a large part in that success. The commercial’s frenetic and tense style is especially impactful, as if the viewer is experiencing the sensory overload as the child would.
Kobylarz has worked on a wide variety of film productions as well, including the 2012 drama “Wolves From Another Kingdom.” Directed by Christopher Carbone (“Mother Nature’s Son,” “Revivify”), the film centers around a group of children trying to survive after the end of the world. The project holds a rare 9.1 out of 10 rating on IMDb, and brought with it the unique challenge of strictly adhering to the child labor laws governing the cast of “Wolves From Another Kingdom.”
“My role included being a key creative figure and maintaining production efficiency, whilst working under strict child labor laws,” Kobylarz said. “My responsibilities also included overseeing and ensuring on-set safety rules and guidelines within my department were upheld.”
With more than 25 actors aged 5 to 17, safety standards were obviously a big consideration on-set. However, it’s a very different story within the ravaged world that audiences see in the film. Tasked with keeping his little brother Daniel safe, Aiden must navigate the ruins of a post-apocalyptic hellscape. When the duo meet a band of children living in the wastes, Aiden must decide whether or not to settle down with the group of dystopian Lost Boys.
“We worked very hard in prep across all departments. Plus I had time to read the script 100 times over and really get into the world of the film, and align myself to the director’s vision. I feel like every shot we made was discussed and thought about in prep,” said Kobylarz, who described the project as his favorite to date. “Of course we were open to spontaneous moments of inspiration when we got to the shooting, but because we were so prepared we knew if it was something that fit the project or not.”
Among Kobylarz’s myriad of other projects are the darkly-romantic drama “Do It Yourself,” as well as the upcoming historical drama “Adrift In Soho,” a period piece about a 1950’s artists’ movement in London to end nuclear proliferation. “Adrift In Soho” is currently in post-production and is scheduled to be released to eager UK audiences this July.
Using Nottingham as a stand-in for London, “Adrift In Soho” tells the story of the activists who pioneered the counter-cultural anti-war movement which evolved into a phenomenon that defined the 1960s Vietnam-era. The exceptional period piece also has the distinction of being the first film to document the origins of a now iconic symbol.
“‘Free-cinema filmmakers’… were documentarians who wanted to film the real people on the streets and everyday life. Coincidentally this was the same time that people started protesting about nuclear bombs and this was when they invented the peace sign that we know today,” Kobylarz recounted. “They used the symbol in their March to Aldermaston, which was a protest march the filmmakers captured. Our film is the first film ever to portray the origins of the peace symbol.”
Because of his unmatched passion for his work, Kobylarz’s projects run the gamut from film to advertising. He learned early in his life that his love for cinematography was a love for all film, and he doesn’t play favorites when it comes to genre or subject. In fact, the productions he’s been a part of are so diverse and his skills so varied that the only thing they all share in common is the exceptional talent and vision of his expertise as director of photography.
Media production expert thrives in producing high-rated television shows
Daniel Ariano is a seasoned television and film producer with over eight years of industry experience. His extensive list of credits includes hits such as “Ídolos” (Brazilian “American Idol”), “TUF Brasil” (Brazilian “The Ultimate Fighter”) and most recently, “O Aprendiz” (Brazilian “The Apprentice”).
Led by two different hosts over the course of its ten season run, “O Aprendiz” was a Brazilian, business reality show where candidates competed for a contract in a specific that would last at least one year, paid by the program’s sponsor. Competitors were divided into two teams where they were asked to complete a series of tasks that were then judged by the presenter and a panel of counselors.
A natural born leader, Ariano climbed up the latter upwards from his very first position on the show, moving from Production Assistant to Production Coordinator over a span of four seasons. Ariano was a part of seasons 7, 8, 9, and 10 of “O Aprendiz,” his responsibilities varying and increasing as the years progressed.
Prior to his work on “O Aprendiz,” Ariano gained experience with reality television via producing season 4 of “Ídolos,” Brazila’s version of America’s famed show, “American Idol.” His talents caught the attention of director Fernando Viudez, who later connected Ariano to “O Aprendiz.”
Speaking of their collaborations, Viudez provided, “I first met Daniel on the “Ídolos” production. Our crew was big, but Daniel was young and thirsty, and had a way of looking at television production like no one I’d ever met before. I invited him to be a part of “O Aprendiz” and, there, he surprised me even more. He is a leader, and he brought his intelligence and added to an already good TV show, making it great.”
The types of contestants involved and the overall theme of “O Aprendiz” that Ariano worked on varied from season to season. The 7th season followed college students, the 8th entrepreneurs, the 9th welcomed back the show’s original host, Roberto Justus, and the 10th showcased well-known celebrities. “Working on “The Apprentice” was a real challenge for me. I think it’s the most real TV show out there among all other reality TV. You give the contestants a task, and they can do and go wherever they want in order to complete it, so you have to be ready for every kind of situation,” Ariano said regarding his experience.
On the flip side of challenging, the production provided Ariano with luxury of traveling all over the world for his work as a result of his stellar communication skills and problem solving abilities. “Besides traveling all over Brazil, the show was shot in Turkey, Colombia, Orlando, Washington D.C., Italy, and South Africa, to name a few places. On top of location scouting and taking care of legal authorizations, my responsibilities were to follow all of the contestants during each of the tasks, make sure that the history was being told properly and that the logistics between the production crew were always 100%,” Ariano commented.
That being said, the perks of getting to travel for work didn’t come without challenges. “From dealing with flat tires to international travel arrangements for 60+ people, I faced it all,” Ariano admitted. “Traveling is fun when you’re on vacation, but when you travel for work, your mind never rests.”
With it’s multiple, demanding components, even Viudez agreed that working on “O Aprendiz,” “Is a challenge like no other. We chose every member of the production carefully. We have an inside joke that goes, “To be a good producer for The Apprentice, you can’t eat, sleep or sit.” However, joke aside, it’s hard. It’s really hard. And people like Daniel make it easy. He has a light way of dealing with hard situations, and that just makes everyone calmer. At his first season, he was a great producer. By his fourth, he was necessary for the show. Plus, if you enjoy the people you spend the majority of your day with, you will enjoy your work.”
Contestants over the four seasons of “O Aprendiz” ranged from everyday college students and businessmen, to musicians, actors, TV hosts, models, and athletes. For the first six seasons, businessman and TV personality Roberto Justus hosted the show, while entrepreneur, university professor and politician Joao Doria Jr. presented the latter end.
“My favorite episode was from the first season I worked on, the “semifinal” episode,” Ariano said. “It took place in Italy, and on that episode I had to go on camera and disqualify a contestant, Gabriela Gaspari da Costa, because she had broken a rule. The task was to get from one point in Italy to another point, in a different city, without money and without asking for it or for a ride. What you could do was find some work and get paid to do it. Contestants had 48 hours to complete that. What Gabriela did, was ask for a ride and ask for money to buy a train ticket. Since I was the one following her with a hidden camera, I had to disqualify her.”
In the final season of “O Aprendiz” involving celebrity contestants, every icon represented a single charity. The winning participant was volleyball player Ana Moser, who raised 828,000 reais (translated to something around $400,000) for her charity. “It’s always more satisfying when you know your work is going to help someone in need,” said Ariano of the matter. “It wasn’t about the audience, it was about doing the right thing. I gave so much of my life to this show, and knowing that charities benefitted from it made my time and work that much more worth it.”
Ariano stated, “There’s a saying among producers from The Apprentice that goes, “If you can produce The Apprentice, you can produce anything on TV.” And it’s so true. The show puts you on the spotlight constantly, and everyday is a new experience. Just when you think you’ve seen it all, something brand new is thrown at you, and being able to live through that makes you grow as a person and as a professional.”
Rob McLoughlin as DCI Mills in the film “Suspect 13”
We already know through his powerful leading performances in films like “Suspect 13” and “Bio Killer,” that English actor Rob McLoughlin’s dramatic disposition and captivating on screen presence have made quite an impression on audiences.
Early on in his career McLoughlin established himself as a diversely talented actor capable of holding his own alongside industry greats such as Golden Globe nominee Martin Freeman, who McLoughlin acted alongside in one of his first projects on the big screen, the BBC’s “Micro Men.”
Aside from being an extraordinarily talented performer, McLoughlin has the added bonus of being drop dead gorgeous by anyone’s standards. What’s more is the fact that, regardless of whether he’s playing a bad boy criminal like his character in the film “The Fry Up” or a debonair stud, which he portrayed in a recent commercial for Audi (which you can check out below), McLoughlin is a gifted chameleon who is able to easily adapt his look to fit the role.
In one of his most recent films, “Il Sonnambulo,” he applies his remarkable artistry to the horror genre for the first time. His expressive and self-aware nature is serving him well for this new challenge, as the psychological horror featuring a murderous Venetian “Boogey Man” has already won several impressive awards including Vancouver Web Fest’s Best Horror and Seattle Web Fest’s Best Cinematography and Best Director.
With his belief in the power of creativity, his trust in the writing and his engagement in the development of his characters, McLoughlin is a director’s dream. He worked closely with award-winning “Il Sonnambulo” director Doug Rath to create the dynamic character of Roberto Aurelio; an accomplished and somewhat arrogant journalist looking for a big break.
For the recent and first time dad, McLoughlin says, “The subject matter was challenging…although it was so much fun, it was really really dark too.”
It takes a certain positive attitude and passion to cultivate fun on the set of an intense and murderous horror film, read McLoughlin’s interview below to see how he does just that!
Hi Rob, thanks for joining us! Can you tell our audience where you are from?
RM: I’m from Liverpool but London has been my home for the past 14 years. It’s a great, fun and creative city.
When and how did you first get into acting?
RM: When I first came to London I was working as a model. I got into acting that way. I just got to help out on a couple of unpaid short films. Couple of lines here and there. That sort of thing. I got hooked immediately. I love being on set. I love the process of it all. It’s just so much fun and it is really absorbing to get into the heads of the characters and to tell their stories.
Can you tell us a little bit about the storyline of the film “Il Sonnambulo”?
RM: “Il Sonnambulo” translates as “The Sleepwalker” in Italian. He’s a Venetian ‘Boogey Man’. He is a character that people would warn their kids about, “Be good or Il Sonnambulo will get you.” That kind of thing. He’s really bloody horrible! He kills kids and adults; he mutilates them in fact!
So it begins with a very famous photographer, Atticus Hurst, whose daughter vanished 20 years ago and he’s been taunted by someone claiming to be Il Sonnambulo ever since. This has lead him to many gruesome murder scenes, but his pain of loss and over exposure to the gore has lead him to be somewhat desensitized to it all. Then he teams up with a ‘gonzo’ style journalist, who has forced his way on to the trail of Il Sonnambulo. Things take a very different turn for both of them after that.
How does your character Roberto fit into the story?
RM: I play the journalist, Roberto Aurelio. He’s a good guy. Was successful in the past winning loads of awards for his war stories when he managed to sneak into Syria to report on the conflict, but the past few years have been quiet for him. Getting an interview with Atticus Hurst is his big break back into the big time. And oh boy, does he want to exploit that. Roberto is a fun character. He’s a chancer, you know? He takes loads of risks. He’s cheeky and arrogant but somehow still remains likable.
How did you approach developing this character for the screen?
RM: I actually sat down with the director, Doug Rath and his wife Hanna and invented Roberto’s back story. He’s not a million miles away from me personality wise. He definitely looks like me for sure. I wanted him to be vulnerable but arrogant at the same time. He has to show balls but he’s scared shitless. And that’s confusing because he thinks Atticus is completely mad, that this is all some spooky crap that Atticus has made up after too many absinthes. However, it’s all too enticing and could get him back on track professionally. I mean, who knows that feeling better than an actor right? Pretty much everything we do is a shot in the dark. Maybe I’m closer to Roberto than I thought. Interesting.
Did you face any challenges along the way?
RM: The subject matter was challenging, I had never done an outright horror film before, and although it was so much fun it was really really dark too. It’s a psychological horror. I think I could have dealt with gore easier. The fact that we were dealing with the horrible murders of babies is what did it, as I had just become a dad for the first time and now I had to put these thoughts in my head. Yeah, it was really tough, as you can imagine. In fact don’t imagine, I have imagined it for you.
What were some of you most memorable moments during the production?
RM: I broke my nose. All by myself. Actually, I rebroke it.
We were waiting in the green room on set to do a scene at night to be shot in the back of a black cab and I was a bit fidgety. Doug has this cane that he got off a set in Chicago, it was an antique wooden stick with a heavy solid silver bulldog handle. Apparently it belonged to some nasty East End gangster in Victorian London. It was also supposedly cursed. I started spinning the thing around and sure enough I wack myself in the exact place where my nose had been broken 2 months before. I looked around the room and luckily no one had noticed until the makeup girl pointed out there was blood pouring from the bridge of my nose. We were just about to film a scene, man, not good timing.
Has “Il Sonnambulo” had its world premiere yet?
RM: It was shown on the productions own website at Halloween; IlSonnambulo.com. It’s now doing rounds at film festivals and gaining interest from several networks in the States to be shot as a series. It has a lot of legs and the story needs to be pushed on. We left it at one hell of an amazing cliffhanger, so all our fingers are crossed.
Does the film have any upcoming screenings that you can share with us?
RM: It’s been shown at the “Vancouver Web Fest” where it won for Best Horror. It also won Best Cinematography and Best Director at Seattle Web Fest. Its showing in Buenos Aires and Toronto, New Media Film Fest and Montreal Web Fest too. There’s more to be confirmed at this point.
Can you tell us about some of the other film projects you’ve done over the course of your career?
RM: I’ve done quite a few films. My first big film was on a BBC production called “Micro Men” starring Martin Freeman. It’s a true story about Clive Sinclair (Alexander Armstrong) who invented ZX Spectrum home computer and Chris Curry (Freeman), who invented the BBC micro computer which was used in almost every school in the UK. I played one of Curry’s technicians, Nick Toop. The BBC didn’t credit me with the role as I was a late casting, but I’m on the poster! Something I’m still trying to put right 10 years later.
“Suspect 13” was also a highlight in my acting career. Set in a high class private members bar in the city, I played a gangster, who sticks the place up taking all 13 witnesses hostage, and the investigating officer, who accuses all 13 of committing the crime. It was amazing fun to play 2 characters at the same time. Playing the bad guy is always fun. Written and directed by Sam Walker and produced by his company BloomBox, this was his first film. It was shot in black and white for a very noir feel. Sam has become a good friend since we worked together.
Can you tell us about some of the notable people you’ve worked with over the years?
RM: I spent eight years working at the Royal Opera House in London doing stage combat and stunt work. Working with Placido Domingo on Cyrano De Bergerac and Simon Boccanegra was awesome! I’ve worked with world renowned director David McVicar many times. One of the things I worked with him on was Le Nozze Di Figaro (The Marriage of Figaro) which won several awards. We actually devised an opening scene during the overture which has never been done in the two hundred years of its production so there’s a little bit of history there.
Going from there to films, back and forth has always kept things fresh for me. Working with Martin Freeman on “Micro Men” was great. He’s a super friendly guy. I also told him he was going to play the Hobbit after reading it in Empire Magazine. Something he knew nothing about at the time. I take full credit for that by the way!
They are all very different, what made you choose to participate in these projects?
RM: That is simple; fun! That’s why I do what I do. I love my job. Love it! I get to make pretend like we did when we were kids, but now I do it for a living. I hope that shows in my performances. One day I’m sword fighting on stage in front of two thousand people and the next I’m on set with fifty people who’ve all shown up because they believe in this script we’ve all read. It’s amazing! That’s the power of it. Everything we do, we believe is the best thing ever. That’s exciting!
You get approached all the time to work on projects with people, what makes you pick one role over another?
RM: The story for a start. The experience I will get and what I will learn from it. I’m not financially motivated at all. I leave that to other people. I’ve worked on many things for very little to no money because I believed in the story. You just know when you read the script, “I want to do this!” Everything is in the writing.
Do you feel that you get cast to play a certain type of character more than others?
RM: No, not really. I’ve probably played a version of the same character more than once but not that I’ve really noticed. Any similarities in roles I have played have always been far apart enough for me not to notice. So no, I don’t feel typecast in any way.
Out of all of the projects you’ve been in to date, what has been your favorite project, or projects, and why?
RM: Working at the Royal Opera House was amazing fun! I love doing the stunts and training hard. I even went and got a personal trainer qualification off the back of it.
“Suspect 13” was amazing! Pulling off a heist in the middle of the financial centre in London was brilliant. We nearly got arrested by the CID when we began filming as they didn’t realize we had permission to film in the area. Especially dressed in suits with balaclavas carrying baseball bats and concealed guns. That was a memorable moment!
I did a six week run in theatre playing the role of Jean in “Miss Julie.” That was a real eye-opener for me. I hadn’t done much theatre before then so playing the lead in a classic such as that brought it’s own challenges. I learned so much in those 6 weeks. On the last performance, a matinee on a Sunday afternoon, we did a performance for a school. When the curtain went down at the finale a 16 year old kid in the front row said to his friend (not too quietly either), “Thank f*** for that!” “Yep,” I said, “Thank f*** for that!”
What has been your most challenging role?
RM: Erm,…. a couple I think. I played an abusive husband in “The Loving Brutality.” That was tough as I had to get my head around someone who beats his wife. I had to find some sympathy for the character as that’s the only way you can play it. He’s a bully, a horrible guy, but of course, he doesn’t know he’s bully. It was dark. The role made me feel very weird, I don’t do bullies.
“Il Sonnambulo” was tough, again because of the subject matter. As a new dad, I didn’t expect I would be imagining horrific things happening to babies as part of my job. It was extremely challenging. Doug (the director) felt the same. He had a model made of a dismembered baby for one of the scenes. We couldn’t even look at it. Up close it didn’t even look that realistic but we kept it covered until it was needed. I don’t think it even made the final cut. It was too much.
What is your favorite genre to work in as an actor?
RM: Saying all that, I really liked doing the horror thing. We all get a thrill from being scared or creeped out. I’m lucky I got to make one. I would definitely do another one. I also love comedy. It’s so bloody hard to get that right. People always tell me the way to play comedy is to play it straight and I agree on the most part but America loves slapstick. You can’t play that straight. That needs to be amped up. Laughter is the best medicine they say.
What separates you from other actors? What do you feel your strongest qualities are?
RM: I’m me. I don’t look at others and wish I was them. I’m just me. I don’t really blow my own trumpet, I believe I have good qualities though. I have good acting chops! I know I can switch from drama to comedy. Sometimes in the same sentence. We’re particularly good at that in the north of England, and that’s how life is most of the time, isn’t it? I can scrub up ok, don a suit or scruff up quite easily for a role. My normal style is jeans and a t-shirt. I’m witty, I’m intelligent; I was given a good brain and I like to use it. I’m relaxed. Maybe too much sometimes but I’m also professional. I do my job to the best of my abilities every time.
Have you been in any commercials or music videos?
RM: Yes, I’ve done a few commercials. Last year I did a six-part Mark’s and Spencer ad for Valentine’s Day. It was based on an internet date that goes really well thanks to M&S. I also did a commercial for Audi recently. We filmed in Spain and I was strapped to the top of their new cars being driven down an airport runway at 80 mph. That was so much fun. I wanted to do it all week. The hardest part was I was meant to be reading a newspaper and looking really relaxed. Not so easy when the wind is pushing the paper into your face. We used a cardboard one in the end. It was like 100 degrees and I got totally burnt but I really enjoyed it.
What projects do you have coming up?
RM: So, apart from the interest in “Il Sonnambulo,” I’m currently attached to a film called “Betrayal,” written by my friend Malcolm Davies. It’s a really well written gangster drama. It’s in pre-production at the moment but there’s a few big names attached already. I’m set to play the co-lead in this. There’s such a nice twist in this story which sets it apart from the mainstream British gangster film, which usually gets centered around football for some reason. I’m really looking forward to getting started on it.
What do you hope to achieve in your career as an actor?
RM: I love working. I just want to work. I’m ambitious, I want to carve out a successful career. I can see myself directing at some point. I would love to write, direct and star in something one day. It’s the life less ordinary, isn’t it?
My family and friends have always supported me and my partner is a rock. I owe it to them to be successful.
Why is acting your passion and chosen profession?
RM: I studied fine art in college. My dad is an artist, my whole family is quite creative actually. We have lots of musicians and singers. It was a natural progression for me. I’ve always been obsessed with movies and I’ve always wanted to make them. I hope I can be behind the camera at some point, but for the moment I’m really enjoying working in front of it. I must be mad!
As a population we are bombarded with an influx of content and information on a daily basis, so much so that it becomes challenging to sift through the over saturated media and find stories that really matter. Regardless of whether someone wants to spread a message about an upcoming event, groundbreaking discovery, or just wants to make a YouTube video with the possibility of going viral, knowing how to produce the message in a way that will reach the most diverse audience and actually have an impact is the most fundamental building block; and, digital content producer Ishita Srivastava knows exactly how to do that.
Some of the projects she has spearheaded and produced digital content for include the “Deport the Statue” campaign that reached over 20 million people in 2013, and the “Be That Guy” campaign, which aired on the Jumbotron at the NASCAR Miami Speedway Championship in 2013 as well as every other NASCAR race across the nation over the course of 2013 and 2014.
What is even more impressive than the reach and effectiveness of the digital content Srivastava has produced to date is the fact that she uses her brilliant skill to create work that spreads awareness and mobilizes people to take a stand against injustice. The issues she focuses on in her work, such as immigration reform, violence against women and racial injustice, notoriously elicit a wide spectrum of opinions. Naturally, you are probably wondering how Srivastava has managed to create content that diverse audiences with clashing beliefs can connect with when it comes to polarizing human rights issues; and the answer is– humour!
As the Producer and Deputy Director of the U.S. branch of Breakthrough, a global human rights organization that she has worked with for the last six years, Srivastava has continually used humour and storytelling as a tool to magically transform issues like gender equality, immigration and race into topics we can come together and see as “human” issues that affect us all.
For the first video of the “Be That Guy” campaign, Srivastava was charged with the hefty task of creating content that would inspire audiences at NASCAR races across the U.S. (an event that notoriously draws a large group of beer drinking race fans, most of whom are men) to stand up against sexual harassment and violence towards women when they see it happening.
Instead of creating a PSA that vilified men (which would immediately turn off a vast majority of the audience), Srivastava created an animated short film that portrayed the sexual harasser in the video as someone we all probably know or have met in our personal lives. The video in no way tried to make us hate him, instead it made us feel a bit sorry for his ignorance, and called on audiences step up and intervene, letting him know “hands are for beer and high fives, to imply, “hey man, that’s not right.”
Over the years, Srivastava, who has directed and produced countless films including the powerful documentaries “Desigirls,” “Inside- Out: Expressions of Gender and Sexuality,” “Checkpoint Nation” and “Mansimran,” has proven herself to be a master storyteller. So, it’s not surprising that when she was asked to transform the initial NASCAR-fan targeted “Be That Guy” video into a video that would effectively spread the message to audiences at a Green Bay Packers’ tailgate party, she was up to the challenge. Set in an animated version of the Packers’ beloved Lambeau field, the video portrays a crude fan in the stands shaking a hot dog as he makes lewd sexual innuendos at the stadium waitress.
The overall message of these videos is that if an action promotes violence or sexual harassment against women, regardless of how small an act it is, then it is up to us to take a stand and let others know that it’s unacceptable.
About creating the “Be That Guy” campaign and producing videos that would make an impression on these audiences, Srivastava explains, “they were great challenge because they were totally outside of my comfort zone in every possible way.”
While using humour appears to be a seemingly simple approach that helps those with opposing views see eye to eye over issues that under normal circumstances are known to cause arguments, there are few other digital content producers, and even fewer human rights activists, who have been as effective as Srivastava in transforming the way we see many of these polarizing topics.
One of Ishita Srivastava’s most recent projects for Breakthrough is THE G WORD, a global storytelling platform that is transforming our perception of gender norms by inviting people to submit their personal stories and experiences with the subject. After launching in December, the platform has received hundreds of powerful story submissions from people of all ages all over the world, many of them are available on The G Word website: http://us.breakthrough.tv/thegword/
In an interview with Sue Ding for Docubase, Srivastava explained, “We invited people, not just women but everybody, to share their story with the invitation that we all have a gender story. They range from everyday experiences of norms to really dramatic stories of discrimination and violence.”
THE G WORD brings together a collection of stories that span a wide range of subtopics such as consent, masculinity, dating violence, the women’s movement, greek life and many others, all of which are connected through the issue of gender. Besides giving people all over the world a platform to share their stories, THE G WORD has made it apparent that many issues that we might not think of as being gender related, actually are. The Chore Challenge, one of the many story categories Srivastava created for The G Word, asks audiences to contemplate what household chores they have taken on and whether they are rooted in gender roles. Simple examples such as young girls being taught to do the laundry, whereas their brothers are tasked with such things as fixing things around the house or mowing the lawn show how gender norms have been woven into the fabric of each and every one of our lives; and that these issues connects us all, whether we realize it or not.
“THE G WORD has been a dream project for me—it is characterized by all the things that I love, the things that get me to work in the morning, Some of the stories we get can be hard to read, but they’re honest and nuanced, and work so well to inspire empathy and make complex and intersectional issues relatable.”
THE G WORD platform and the impressive collection of ‘videos for change’ that Srivastava has produced to date have not only been astonishingly effective in spreading messages about globally relevant issues, but her unique and thoughtful approach to digital content has made it possible for her work to break through the cultural and perceptual barriers that separate us, in turn providing us with a common ground where we can stand together.
Actor Cesare Scarpone brings passion and talent to all of his character portrayals.
Cesare Scarpone is an award-winning actor who consistently projects a formidable dramatic presence. The Canadian-born Scarpone inhabits each characterization with a masterly combination of skill and instinct, and whether it’s romantic comedy or a dark suspense story, he deftly crafts a persuasive, tangible persona imbued with the full spectrum of nuance, traits and emotion.
It’s a rare balance of sensitivity and showmanship and Scarpone, surprisingly, stumbled upon his avocation almost by chance.
“I started in high school, not knowing what acting really was, but coming from a town where theatre and acting are seen as a fantasy, imagined only through the TV, this attitude was the norm,” Scarpone said. “At my first performance, I stepped onto the stage and was overwhelmed by the mass of people watching me. I’d gotten through half the play but all of a sudden I froze. I’d forgotten my line and time stopped. This was the biggest rush I’d ever felt and I wanted more.”
Scarpone’s path was set, and the following year his performance as Jerry in the Edward Albee classic, “The Zoo Story,” earned him the Sears Drama Festival’s award of excellence for the York Ontario region.
“From there, I couldn’t get enough. I tried to do as many independent films as I could sink my teeth into,” Scarpone said. “This led to a few spots on television programs, union films and a commercial.”
Scarpone’s talent has shown up in his outstanding character portrayals in the films “Black Forest” from writer-director David Briggs, director Gabriella Bevilacqua’s “Aftermath,” Omii Thompson’s “Modern Romance is Dead,” Rebecca Carrigan’s “All I Need,” Rob Comeau’s “Chance” and “Dead Monday” from director Mark Korven. On TV, Scarpone has acted in History’s “Curious and Unusual Deaths” and Cineflix’s true crime docudrama, “Dual Suspects.”
“Working with Cesare on “Black Forest” was a great experience,” said Briggs. “It was obvious from the first take that Cesare is all about the character, and he digs deep to bring the script to life. He believes in the craft of acting, and that passion brought a lot to his role.”
Scarpone’s meticulous approach is fueled by a soul-deep passion, not just for the craft, but also its role in world culture. “Story telling is something that everyone knows in their hearts. We love it, yearn for it,” Scarpone said. “You see it in your everyday life, in some form or another and through different mediums, but we are slowly losing the original performed art. Our generation no longer needs to even get out of bed to watch a film or read a news article. They have everything in their hand. But the experience of live theatre can be life changing, perspective changing. You can truly connect with people, and not in a way that is buffered by static transmission through a screen. Everyone should know live theatre, and everyone deserves to have access to it.”
With almost 20 film and TV credits, Scarpone knew it was time to reach for an even higher level of accomplishment. “I decided to apply for a drama school, and this led me to London, England—the heart of theatre. What better place to train?” Scarpone said. “I came across The London Academy of Music and Dramatic Art, and decided to audition for their flagship courses. I was surprised to get the call from the legendary Rodney Cortier, head of the school, inviting me to their two-year acting course—the best of its kind in London, which equates as one of the best in the world.”
Arriving in London in 2014, Scarpone subsequently performed in more than half a dozen stage productions (including “A Midsummer Night’s Dream” and “The Tempest”), absorbing a full measure of the almost alchemical depth of skill which has always typified British stagecraft.
“When I got that call I was ecstatic and screamed at the top of my lungs because this meant that I would finally have the foundation I needed to have my skills really develop,” Scarpone said. “Now I am in my final term at the school, graduating in July and ready to attack this growing market.”
“What first led me to acting was the feeling of not only being free on stage, but also feeling the effect I was having on the audience in theatre and film. I love both mediums, each with their joys and merits, and both are something I’m extremely excited about,” Scarpone said. “There are so many new things going on in the industry, like immersive theatre, and advances in technology with film and television that allow new ideas to be better completed and given to the world.”
Scarpone has already distinguished himself as both a capable technician and self-possessed artist. His very sense of wonder itself generates an aura of appealing enthusiasm and is something he’s sure to bring in many more productions to come.
Cristina Tomas Rovira specializes in photography and videography for music, fashion and weddings.
Professional photographer and videographer Cristina Tomás Rovira has worked alongside with some of the greats of the entertainment industry, capturing moments via still photography and film for more than half a decade.
Originally from Barcelona, Rovira’s awareness of the arts was sparked at a young age. “I’ve been interested in this world since I was little,” Rovira said. “Every time I watched a movie or a TV show, I could picture myself working on one of them. I was, and still am, addicted to watching behind the scenes videos.”
After obtaining her first camera around the age of 10 and receiving praise for her photographs, Rovira explained that, “something just clicked. I loved the feeling of people telling me that my talents were special and that they liked my pictures. So, I kept going to continue to get the same reactions from them.”
Rovira began working professionally while attending The Centre de la Imatge i la Tecnologia Multimèdia (Barcelona) in 2010.
“My first job as a photographer was at a music festival in Barcelona. I was 19 years old at the time, and it was one of the best experiences of my life,” Rovira described. At the time, Rovira’s pictures from the festival were used for press, ultimately gaining her work recognition around the city of Barcelona.
It was also during college when Rovira picked up her first DSLR camera in an attempt to figure out the basics of videography. “I was working on a fashion assignment for one of my classes and noted a lack of videographers surrounding me. DSLR cameras were increasing in popularity, so I decided to try the whole video thing for myself. I ended up capturing the making of that fashion project, and from that day forward my life was forever changed,” said Rovira.
Since 2010, Rovira has been in charge of all filmmaking at Padilla Rigau, a leading, Barcelona-based Wedding Photography and Videography company. The company is known for capturing some of lives most precious moments with a unique, modern and fresh twist.
“I truly believe that our work as photographers and videographers is based on feelings – to create them, and to capture them,” said Rovira. “Attending weddings has provided me with a greater sensitivity towards what is in front of the camera, and I now use that sensitivity always, whether I’m shooting a wedding, a commercial or a fashion film.”
In Rovira’s opinion, two of the most powerful qualities a good photographer can have are that of speed and affectivity. One must be fast, humble and approachable, and the same goes for videographers. “If you shoot the same look or seen a thousand times, the subject will get the impression that it is his or her fault. If you have something specific in mind, you need to explain your idea when everyone’s around, so that everything translates, including your excitement regarding the prospective shot,” Rovira explained.
When it comes to her own work and creative tendencies, Rovira tends to enjoy capturing the details that are often overlooked. “I consider myself an adventurer,” said Rovira. “I have always been on the hunt of new perspectives. I like telling stories from a different outlook. I’m really observant. I’ve always been that way, and that fact about my personality has given me an extreme sense of what people like to see in my work.”
The work of a photographer entails so much more than a simple point and click. It is a job that requires an excellent aesthetic eye, and both creative and technical aptitude. For example, when it comes to the different types of lighting she’s worked with, Rovira provided, “You have to be like a chameleon and adapt to the lighting that has been given to you. Sometimes, I’m shooting something that’s happening under one kind of light, and when I turn around to film something else, the light is completely different, so I have a very small window of time to reset my camera to shoot the second scene. I have to be fast and prepared so I don’t lose the moment.”
Rovira developed her own photographic style upon moving to Los Angeles for a year, where she collaborated and refined her camera skills with the internationally renowned photographer, Joseph Llanes. Llanes’ work has been published in Rolling Stone, Billboard, Spin, New York magazine and L.A. Weekly. His wide range of clients includes talents like Rihanna, Justin Bieber, The Black Keys, Katy Perry and Gavin Rossdale, to name a few.
“Everything that surrounded me was invigorating and I felt a constant need to capture most of the people and things that I came in contact with,” Rovira explained of her introduction to the entertainment industry of Los Angeles. “Being a foreigner gave me the chance to see the extraordinary in the ordinary.”
Alongside mentor Llanes, Rovira assisted with multiple photo shoots with top clients, where she ultimately acquired an intense understanding of the building blocks of professional photography. “I always learn something from Joseph in every photo shoot or project that we collaborate on. He taught me the importance of creating a good environment at work, and to always be two steps ahead of yourself with every project. Have a plan B, C and D, so you’re prepared to quickly solve any problem that might occur during the shoot, without the client noticing that there was even a problem to begin with,” Rovira said.
Since this experience, Rovira has photographed and assisted with shoots involving many top tier musicians, bands and musical events, her framework including talent such as Quincy Jones, Phoenix and Els Catarres. In 2013, Rovira assisted Llanes at the world famous annual music festival, Coachella. She has also photographed leading music events in Los Angeles with Llanes such as Hard Summer and the Hard Day of the Dead Festival, where Rovira worked in photographing such famed talents as the Grammy winning DJs Calvin Harris, Skrillex and Zedd.
During the Aokify America Tour’s November, 2013 Los Angeles show for Steve Aoki, a Grammy nominee and Billboard Award winning EDM musician, Rovira photographed Aoki as well as music superstars Iggy Azalea, Linkin Park, Travis Barker and Kid Cudi.
As a videographer, Rovira has engaged her outstanding talents for companies Brownie Spain and Padilla-Rigau, for several years. As an innovative team member, Rovira has, and currently, films and photographs weddings and fashion events. “Nowadays, we are amongst the top ten wedding photographers and videographers in Spain,” Rovira said. “I love doing weddings because I work with two of my best friends. We have built a really strong company together.”
When it comes to fashion, Rovira has created fashion films with some of the most well known brands in all of Spain. Some of Rovira’s clients include Shana, Swarovski, Codigo Basico, Estel Alcaraz and Pompeii Brand, among others. Regarding her work, Rovira commented, “Working with [these brands] on a regular basis allows me to improve and try new things with each video. I love capturing what’s going on around me.”
With industrial designer Estel Alcaraz, Rovira has acted as her, “right-hand person,” as quoted by Alcaraz, since the beginning of Alcaraz’s career. “Cristina is a part of my team. I was lucky enough to know her when we were both starting our professional careers and we helped each other as much as we could. She works with me on every project I start. She’s exceptionally sensitive to detail and puts my ideas on paper or on video. Either way, she always gets what I want because she has the ability to capture the emotion and passion that I put into my products through her work.”
The pair worked closely with one another on one of Alcaraz’s most important projects, The Sardines Boots. The Sardines Boots are bright yellow, light, flexible rain boots that are designed to easily fold and compress to a backpack size. With the motto, “Don’t let wet socks give you cold feet,” the campaign was published worldwide.
“Cristina knows how to showcase the essence of my products and it was great to be known inside the world of industrial design with her work, as she is one of the people who believed in me from the very beginning,” Alcaraz said. “Working with Cristina is great because she always wants to go one step further and is always thinking about starting new projects. Sometimes, she even encourages me to design so that can she make a new video. She has this contagious positive energy that makes you believe that you can make everything come true.”
Rovira has also applied her profound camera skills for a TV commercial with professional Spanish footballer, Andres Iniesta. “I showed my footage and pictures to the director of that shoot and his reaction was priceless. He liked how I captured moments that he didn’t realize happened, and commented that the composition of my work was extremely beautiful.”
Jordi Egea, owner of the Spanish production company Smilefilms, directed the commercial shoot. Previously, Egea and Rovira have collaborated on several projects with the brand Dormity. Regarding Rovira’s sought-after skills, Egea said, “We hire her because she is great at doing her work, she gives you what you and your client ask for, and goes above and beyond what is needed of her. She understands her clients and what they want and captures the essence of every brand while still maintaining her personal style. Plus, people feel comfortable around her, and that’s key when you work with people who are not necessarily used to being in front of a camera.”
Game designer/producer Zi Li has been the brains behind many leading titles in today’s marketplace.
We recently had the opportunity to sit down and visit with Zi Li, a revered game designer and producer who has helped deliver award-winning titles including “Dissonance,” “Paralect,” “MiraLab,” “Dungeon Crash” and “Epic Knights.” Shining in both PC and mobile platforms, Li has also engaged her talents for the award-winning “Leviathan” virtual reality project and for the short films, “The Birthday Girl” and “Fly.”
Li, a Guangdong, China native, has a well-founded background for the field. She received a Bachelor of Engineering degree in Digital Media from Beijing University of Posts and Telecommunications, and a Master of Fine Arts degree in Interactive Media & Games from the University of Southern California.
Dispatching her design brilliance, Li has been instrumental in the development, design and execution of cognitive puzzle games, fantasy RPGs and adventure games. She works with Firefly Games Inc., that operates offices in both Shanghai and Los Angeles, and had prior stints with Digital Domain 3.0 Inc., Floor 84 Game Studio and Ericsson Communications.
Li has constructed a standout career with a formula comprised of artistic creativity, engineering ingenuity and a command of computer programming and design principals. We are excited to share her story below in our exclusive interview!
What was it like to grow up and live in Guangdong?
ZL: To be honest it was kind of boring. I grew up in a middle city. Its economy is okay to maintain people’s basic needs. But we don’t have much to do. People are very chilled and always have morning tea, afternoon tea and night tea. Being chilled and relaxed is not in my nature. I always want to go to other places and see what is exciting and creative. I guess that’s why I am here making games.
What games did you grow up playing?
ZL: I did not grow up playing games. My parents were very strict when I was young. They don’t allow me to access to anything that could make me feel addictive. I was learning painting and into manga when I was a child. I always wanted to do art.
Unlike a lot of game developers, I didn’t fall in love with games first. I have particular types of games I like. I love visual art and engineer first and then found games that express meanings and allow me to feel smart when I am playing are very attractive. That’s why I get into game industry.
What drove you to pursue a career in game design?
ZL: I would say I’m driven by the idea of communicating thoughts through art pieces. For me game is art. Game designers are the same as other artists.
I was good at science related fields when I was a kid. I thought my ability is enough support me to become an engineer in the future. On the other hand, I spent more than 6 years studying paintings until high school. I always thought I could become a part time artist. I did an animation later. I found that doesn’t satisfy my needs of expressing my engineering mindset.
Later, I got clearer that in the field that science intersects with art is what I’m really passionate about.
For me, games is a media that allows both science and art collapse together.
What is your favorite game genre?
ZL: Puzzle. I like games that can make me think and use my logic.
What are your top three favorite games all-time?
ZL: Braid, Machinarium, Windosill.
How would you describe your job as a game designer and producer?
ZL: My job includes a wide range of tasks. As a producer, I work with different teams and communicate with each team about their perspective of the game. Also, because I’m a game designer, I also work on game design decisions and help with correcting the game development direction.
What does it take to be a successful game designer?
ZL: I think a good game designer should be innovative, open-minded, and passionate. Other skills will come along as long as the game designer knows what he or she wants.
How did your academic career help shape your professional career?
ZL: I got an engineering degree in Digital Media. We learned lots of basic knowledge about films, animation and games. I learned how to program and work on cinematic pieces during my study in the Digital Media Department. I found my passion in films and games by trying out various media.
Then I went to graduate school for Interactive Media and Games. I was majoring in game design. I knew that this program is not only limited in traditional games. It matches what I want out of games. So I started as a game design student in the industry and gradually figured out my strength. I was involved in various games projects and learned different skills, like design methodology, cinematic expression and so on. They definitely help me to become a game designer and producer.
“Dissonance,” for PC, won the Indie Prize and the Experimental Game Showcase at the Out of Index Festival. Tell us a little bit about it.
ZL: Dissonance is a puzzle-adventure game developed by Team Dissonance. I created Dissonance as a bridge between puzzle games and a psychology concept cognitive dissonance. It started as my personal project. With six months development, the team has expanded to over 10 people. The developers transmitted the psychological concept cognitive dissonance into the core mechanics of game to make it more than just a puzzle game.
What place do puzzle and psychology games have in today’s gaming market?
ZL: Puzzle games are always popular. But I don’t see many games combining puzzle and psychology together. I think as one of the art media, comparing to other media, video games are still new and have lots of potential. Hopefully it will be growing and explored the usage in different areas.
The fantasy RPG – “Dungeon Crash” – has over one million downloads for Android and Apple. How would you describe the game and what’s made it such a success?
ZL: Dungeon Crash is a fun and adorable game which has playful battles accompanied by strategic role-playing elements.
The gameplay is deep and fun. Players always have the next goal in the game. The main goal of the game is to collect the best team of warriors, mages and healers. When a player is trying to work towards the main goal, he or she can balances other elements like gear, upgrade system, guild and so on. There are numerous things a player can do. Each person has their unique way to get close to the goal. Also they can show off their progress through fight against other players to get to the top position on the leaderboard.
Share with us a little on your background in art and how that’s helped shape you as a game designer.
ZL: At the place I grew up, my life contains 3 major activities: taking regular classes, painting and notebook shopping in bookstores (I collected notebooks when I was younger). Like I mentioned earlier, I spent 6 years studying painting. Also, my dad loves poets and calligraphy. He loves sharing them with me. I think this type of environment helps to build my aesthetic standards, creativity and cultivates my passion in arts.
I do think game design is a pretty flexible area. A lot of times, game designers need to make decisions with their aesthetic and design sense. Those things are very abstract and hard to grow in a short term. I’m glad that I grew up with practicing my aesthetic consciousness.
You contributed to the art that’s featured in the PC game, “Paralect.” What is the premise of “Paralect” and how did you enjoy working as an artist for the game?
ZL: Paralect is a 2D platformer that uses gameplay, visuals and narrative to tell a personal story of cultural un-rooting. It explores the paradigm shifts caused by culture shock and adaptation and investigates how those transformations affect one’s vision of people, their environment, the place you initially came from and, most importantly, the place you wish to call home. It is a story and a world inspired by the creative director Loan Verneau.
I had great time working Paralect. I like the concept a lot. I think the protagonist reminds me a lot of myself. I feel attached to the character. The game is programmed with C++, so all the art asset needs to be designed carefully. Loan and I spent time together figuring out how to interpret the design through programmed visual elements. It is great that I got to apply what I know into the game and learning new ways to express ideas in games at the same time. It also helps me to grow and build up experience to make my independent games.
“MiraLab” went on to win the Gold Award in the Education Category at the Serious Play Conference. Was the educational aspect a motivator for the Miralab team in creating the “MiraLab” concept?
ZL: The world in Miralab is a media arts world and accompanying design methodology that emerged out of a multi-faceted exploration of a naturally occurring biological process: the lifecycle of Turritopsis dohrnii, the immortal jellyfish. The biological structure acts as a contextual framing, research prompt, and unifying theme that generates multiple interdisciplinary arts and science media explorations. It foregrounds knowledge and outcomes associated with arts and design practice experimentation within the realm of interdisciplinary arts science research. It asserts how the unique potential arts practice engagement contributes to interdisciplinary learning. This abstract briefly describes each mode of exploration and contextualizes it within a larger poetic science methodology. It considers this methodology’s contribution to a new understanding of interdisciplinary arts science research centered in transmedia design principles.
That said, the “Leviathan” project you worked on implements some VR along with other components. What’s “Leviathan” all about?
ZL: The Leviathan project, based on Scott Westerfeld’s Leviathan trilogy, takes place in 1895, 20 years prior to the source material. In Westerfeld’s story, World War I is reimagined with bioengineered fabricated animals replacing technology and facing off against large mechanical robots. While the books focus on the tension of war, the Leviathan Project emphasizes the experimental exploration in the concept of fabrication. By taking place earlier than the series, the project builds a world of wonder and amazement for the unknown and the unexpected possibilities that can suddenly arise.
“Leviathan” received the New Frontier Project award at the Sundance Film Festival and was featured at CES in Las Vegas. What were the responses and feedback you guys got on the project?
ZL: Players are amazed by what Leviathan offers. In the Leviathan project, we adapt the techniques that can track the player position in a room. So what players need to do is put on the headset and walk around in the room. It is simple and intuitive.
They love that they can walk around in the Leviathan world and observe the world and the stories as an officer. They can get immersive experience while creating their own version of story.
What opportunities does your role as producer allow for at Firefly Games?
ZL: As a producer, I get the chance of communicating with each team and overseeing the project I’m responsible for. Also, I have been communicating with other producers from other projects to share our experiences and tools. I have lots of practice in project management, negotiation and various problem-solving skills.
What can gamers expect to get from Firefly releases?
ZL: Firefly Games focuses on the games that are intuitive and fun for mobile gamers. We have three games out there and are developing more games. Hopefully players can find that our games are fun and relaxing.
What are some of your hobbies outside of the gaming realm?
ZL: I like reading books and watching animated films. These two media can always offer me endless inspiration. Currently, I’m reading a book called The Hero with a Thousand Faces.
What types of games are you looking forward to designing and producing in the future?
ZL: As an artist, I hope one day I can make a game that offers players a unique experience in a way that they reach part of the mind they have never explored before. I always have fun knowing myself and learning about myself. I find it fascinating that a lot of us don’t know ourselves very well. And a lot of art pieces help us. For example, the pilot in The Little Prince does help me to see that I’m just like him. He wants to be a painter, not a pilot. And I’m a person who always wants to be an artist instead of an engineer. I hope people can try the game and then say ‘This game is affecting me. I never knew that I’m a person like that.’
Cinematographer Colin Akoon at home behind the camera
In the fiercely competitive film industry, it takes a lot more than some camera know-how for a cinematographer to stand out. Many people are skilled in the technical process but lack the artistic vision required to create compelling cinema. Others possess vivid imaginations but are unable to meet (or unwilling to yield to) the expectations of the director. A person with all of these traits is a rare gem, an invaluable asset with the potential to outshine all those around them in the highly saturated industry. Colin Akoon is just such a man.
An award-winning director of photography, or DP, Akoon is responsible for a countless array of critically-acclaimed film and commercial productions. He has been fascinated with storytelling his entire life, and at a young age discovered the power cinema can have on an audience.
“I remember being six years old, watching a horror movie at a neighbor’s house, one I probably shouldn’t have been watching at that age… I still recall the fear that paralyzed me… That night I slept in my parents’ bed. I made them put the radio on to distract me from the bumps in the night,” Akoon recalled. “Good cinema gets a hold of every part of you and doesn’t let go.”
In 2014 he was critical to the wild success of the award-winning “Canadian Tire Ice Truck” ad campaign. The campaign’s name is quite literal, as Akoon explained. To promote their new cold-weather battery, Canadian Tire contracted Ice Culture to build a fully operational truck out of ice. Ice Culture is internationally-known for making everything – from ornate sculptures, to exotic lounges around the world, from Thailand to Dubai – out of ice. But this project was their most ambitious undertaking of all.
Still of Ice Truck built by Ice Culture for Canadian Tire shot by Colin Akoon
“They were having a truck built out of ice, one that would actually start and drive,” Akoon said. “It was important that we tell the story of Ice Culture – a small family-owned business – and also get a sense of the small town where they’re situated… We really wanted to get across the idea that this incredible record-breaking feat was accomplished by hard-working, everyday Canadians.”
In addition to being used in commercials for Canadian Tire, a documentary-style behind-the-scenes film was made to detail the exhaustive process of creating a working truck out of ice. Akoon was the DP on the making-of film, which played a large part in the campaign’s overwhelming popularity — particularly among the judges at a number of high-profile awards ceremonies.
“The resulting video really shows the detail of the hard work that went into the making of this ice truck,” Akoon said proudly. “The ‘Ice Truck’ campaign went off to be nominated and win more than a dozen awards… and our making-of documentary was a big contributor to the overall success of the campaign.”
It was a brilliant stroke of marketing genius to complement the campaign with a making-of documentary. A fascinating glimpse into the creation of the eye-catching ice truck, Akoon’s work captured the attention of consumers and advertising critics alike. The campaign’s laundry list of accolades include the Best In Show Award and two Gold Medals (for “Best Brand Building Campaign” and “Most Innovative Idea or Concept”) at the 2014 PROMO! Awards, third prize at the 2014 world-renowned New York Festivals International Advertising Awards, and the honor of being on the shortlist of contenders for the 2014 Cannes Lions Award, often considered the most sought-after and prestigious award in the advertising industry.
As a cinematographer, Akoon has his fingers in a lot of pies and doesn’t restrict himself to any one type of project. His exceptional work in advertising is widely-recognized, but his creativity and visual mastery shine their brightest in his work on narrative film and television productions. One such example is director Mateo Guez’s 2014 film “Together Alone,” for which Akoon was the DP. The emotionally-charged film looks at the love and lust within a group of three star-crossed young lovers. However, “Together Alone” is much more than the story of an ill-fated love triangle.
“Mateo assembled a very small team to make “Together Alone” a feature film about two young men and one young woman as they struggle through friendship, sexual relations, and self-identity,” Akoon said. “Mateo desired to make a film that did not strictly adhere to any one script or blueprint, but rather would evolve through improvisation and experimentation. As a result, the filmmaking was a very intimately creative experience.”
Of the countless projects he has been involved in, Akoon describes Lorne Hiltser’s “The Incident(s) at Paradise Bay” as among his personal favorites. Gripping and heart-wrenching, “The Incident(s) at Paradise Bay” is based on the real-world Tranquility Bay reform school in Jamaica, which became the focus of global outrage in 2007 after allegations that the facility’s strict disciplinary methods were actually child abuse.
“The moral question of whether the procedures… were just or merely abusive was an interesting one, but mostly Lorne and I were fascinated with the poetic style by which the short script was written,” Akoon said, describing what drew him to the project. “There was an eerie dreamlike quality to the script that Lorne and I knew we wanted to explore visually.”
Akoon captured that eerily surreal sensation flawlessly. Every shot of every scene was painstakingly planned and calculated to maximize that dreamlike quality of the film. His use of zoom shots as a nostalgic beginning and ending of the film contrasts seamlessly with the close, tight shots used to introduce Marcus, the film’s protagonist.
“The sequence that shows Marcus in the ‘solution room’ cage was a very important one. This was our real introduction to the character and to the harsh treatment of the academy’s disciplinary attrition,” Akoon said. “We wanted the audience to feel they were Marcus in that cage. Depth of field for this sequence was kept to a minimum, visually suggesting the claustrophobic feeling of being caged.”
Throughout “The Incident(s) at Paradise Bay,” “Together Alone,” and all of Akoon’s countless other films, his talent and experience are unmissable. Akoon has a natural gift for capturing the exact aesthetic a project demands, a deliberate manner of planning and setting up each shot, and is unsurpassed in his aptitude for collaboration, constantly working closely with each project’s director to conceive and achieve a shared vision. In an industry with so much competition, nobody can hold a candle up to Colin Akoon.
Music supervisor Anna San Juan shot by Reymark Palcon
In the glamorous world of movie making, one aspect of the film production process is often overlooked and vastly underrated. This refers to the musical soundscapes that help mold the film into the magical art form that we have all come to know and love. Without the extensive efforts of a film’s music supervisor, in this case the talented Anna San Juan, all of the relevant audio featured in the film, including any and all music would be nothing but an illusion.
Born and raised in Manila, Anna San Juan has proven herself to be very talented when it comes to recognizing what sound best compliments a project she is working on. Many people don’t realize that being a music supervisor is much more difficult than just picking songs for a film. The job often entails not just the creative aspect of music but the business end as well including such tasks as dealing with numerous legal aspects of clearing song licenses’, extensive research to find the right’s holders, and most importantly reaching out to labels and artists about using their music in the first place.
San Juan realized early on in life that she had a deep passion for music and film so she figured why not try to involve both in her ideal career.
“It all started when a group of incredibly talented American Film Institute fellows took a chance on me bringing me on-board their films as the music supervisor. After two years of also learning alongside them, the opportunity for a feature film [Actors Anonymous] unexpectedly came along, ” recalls San Juan.
Actors Anonymous, the film in question, was a difficult project to take on, but San Juan’s music supervision endowed the upcoming feature with captivating soundscapes that take on a life of their own. It involved the collaboration of 12 directors and featured the esteemed actor, writer and director James Franco (127 hours, The Interview) in a starring role, who also happened to be the author of the adapted novel.
At times the role of music supervisor is a grueling job with little to no recognition for doing something that truly adds an inordinate amount of substance to the finished project. Nevertheless, San Juan certainly understands the importance of what she does for everyone involved with the production.
“My all-time favorite moments are always the unexpected. Something clicks in between song and picture, and suddenly the lines are blurred. At least this is how unique ideas blow me away. A great, innovative pick in my experience can transform and elevate the scene into more than it is. I wouldn’t say better, just different in an amazing creative way, ” adds San Juan.
Prior to her work on Franco’s Actors Anonymous, San Juan proved the diversity of her skill as the music supervisor on a variety of other films including Starman (2014), This Way Up (2014), Slut (2014), Young Americans (2014) and Martian American (2014). The latter two films went on to be featured at dozens of film festivals worldwide, won numerous awards, and both were presented with a prestigious Student Emmy Award in their respective categories.
Currently San Juan is working on a number of projects most notably The Chase and Pursuit, a comedy about a couple out on the run over a parking ticket, and the more serious City Limits, a crime drama that focuses on a man’s obsession with his father’s untimely death and the risk he and his friends take to uncover the dangerous truth about what really happened.
Photographer Tom Penpark specializes in panorama, natural landscapes, architecture, electronics, food, people and objects.
Tom Penpark has been at it since he was 6 years old.
“I was inspired by my father to become a photographer,” he said. “He carried his camera with him all the time. His main subject was my mom. One day, he handed me my first camera, and I’ve enjoyed taking pictures ever since.”
And since that initiation, it’s been a pattern of success, recognition, accolades and honors stemming from Penpark’s world-class photographic brilliance.
His outstanding work has been published with The Huffington Post, The Telegraph: UK, Discovery Channel, SF Chronicles: San Francisco, Amazon.cn, Photographer’s Forum Magazine, Popular Photography Magazine China, Chicago Metropolitan Association for Education of Young Children, and American Photographic Artists (APA) San Francisco, to name a few.
His photography clients have consisted of well-known brands like Adidas, Google, Crossroad Trading, Monster Products, and Rodeo Realty Beverly Hills. Additionally, Penpark has demonstrated his retouching skills with clients such as Men’s Warehouse, Levi’s, Old Navy, Peet’s Coffee, T-Mobile, Charlotte Russe, Airbnb, Adobe, Nike, See’s Candies, and Gillette.
Originally from Bangkok, Penpark was used to photographing communities where the scenery around him was all quite similar. Exploring America allowed Penpark to expand his photographic imagination and immerse himself into the realm of panoramic photography. “My first trip to the U.S. started with Yosemite National Park in 2007. I had my old Canon Rebel with me. I learned that I could not capture what I saw in one frame and I couldn’t show what I actually saw through my pictures. That’s when I began learning about panoramic photography and started shooting panorama in order to get exactly what I saw,” Penpark said.
While panorama remains one of Penpark’s highest interests, he thoroughly enjoys photographing many different subjects. From architecture, electronics to food, people and objects, and natural landscapes, his photography spans a wide range of topics.
Photo: Tom Penpark.
Regarding his versatile style of capturing, Penpark commented, “If I had to pick a favorite subject, it would have to be either landscape photography or people in landscapes. I enjoy traveling to places I’ve never been and conversing with and learning from new people. I love capturing people’s emotions and the perfections made visible in still life through my photography. Having to hike up to new destinations and dedicate copious amounts of time in order to ensure I get the perfect landscape photography always inspires me and constantly pushes me to work beyond my limits.”
Over the past ten years, Penpark has dedicated his time to exploring the different avenues of photography. “At the moment, I think my photography goes in two directions,” Penpark explained. When he has the time, Penpark continues to pursue his love of landscape photography through various road trips. “When it comes to my personal photography, I think the beauty of my photographs is the perfect of the imperfection. However, for my commercial photography, I focus specifically on perfection and what my clients are looking for.”
Early on in his career, Penpark worked as an Assistant Photographer to some of the biggest names in the business. For several years, he assisted talents such as Shalom Ormsby, Trinette Reed, Chris Gramly and David Fischer.
“I have learned all of my skills from others,” said Penpark. “My processes of planning, shooting, post-processing, and printing are all of general knowledge, the same as other photographers. Personally, I plan all of my shoots when I can. Long preparation and a short execution are always better than no plan at all for me. I will go the extra mile to find the best times and locations that will allow me to obtain the best final images as a result.”
Penpark has collaborated since 2008 with John Lund, a stock photography phenomenon, founding member of Blend Images and current APA SF Board Member.
“Tom’s background in art direction and design is apparent in his work, his Photoshop abilities are deep and professional, and his understanding of Lightroom and digital capture is extensive. Tom is more than just a talented photographer; he is a problem solver as well,” Lund said of Penpark’s many talents.
After earning recurring awards and recognition as a remarkable photographer by the American Photography Association (APA) early on in his career, Penpark was selected as a member and actively participates as leading voice in their events.
The APA is a non-profit organization built by photographers for photographers. It exists to provide business tools and creative inspiration in order to aid artists in the artistic process of photography and maintaining a stable, profitable business.
Over the years, many of Penpark’s images have been accepted by APA judges and exhibited throughout several selective shows such as the APA SF Something Personal Exhibition and the APA SF Selected Works Exhibition. In 2011, Penpark was awarded a Judges’ Fourth Place Award from the APA San Francisco Something Personal Exhibition.
“APA is a well-respected community for professional photographers. It was an honor to be selected for the APA Judges’ Fourth Place Award in their exhibition that took place in 2011,” Penpark said. In 2012, he acted as APA’s guest speaker at the Apple Store in San Francisco for their Creative Professional Series.
“After that,” Penpark continued, “my pictures were selected for their exhibitions almost every year.” In 2015, he was selected to be an APA judge. “As a professional photographer, this is a great honor.”
National Board Member of the APA and Chairman of the Board APA of San Francisco Chapter, Christian Peacock, commented of Penpark’s valued skills, “His talents and dedication to the excellence of his craft were evident in his examples of imagery that cannot be seen with the naked eye. I highly endorse Tom Penpark as an outstanding member of the APA and am looking forward to seeing his future accomplishments in our industry.”
Photography is a profession that requires both creative and technical abilities. Throughout the years, Penpark’s spent proving himself as an esteemed photographer. His work clearly showcases his mastery of having acquired both.
Photo: Tom Penpark
“Being a professional photographer requires a lot of investment in technical and artistic education,” Penpark said. “Having a solid foundation of the arts, painting and the history of photography are necessary qualities. However, at the same time, having excellent camera and lighting skills, knowing how to retouch images, and being knowledgeable of digital printing and digital assets management is important, too. Digital photography is half art and half tech. As a photographer, I can never stop learning and exploring.”
For the 2014-15 and 2016-17 editions, Penpark was selected and published as one of the Best Ad photographer’s for Leuzer’s Archive Magazine, a leading magazine for innovative ideas, photography and illustration. The honor is among the best in professional photography.
“The photos in Archive Magazine inspired me to become a full time photographer,” Penpark said. “I am proud and honored to be part of the selected group of photographers from around the world.”
In 2011, Penpark first initiated his role as a Contributing Stock Photographer at Getty Images and Blend Images.
Based out of Seattle Washington, Getty Images is a stock photography agency that is known for supplying business and consumers with an archive of over 80 million still, stock images and illustrations, and more than 50,000 hours of stock film footage. Similarly, Blend Images is an international commercial stock agency, founded by some of the world’s most successful photographers and industry veterans.
Penpark continues to successfully contribute his work to these stock agencies to this day and is now a Photoshop Production Artist with Schawk! on-site at Apple Headquarter in Cupertino.
Penpark formerly worked as the Digital Media Group Manager and Lead Photographer for Monster Cable Products, Inc., a company known for it’s manufacturing of audio and video cable products. The photographer fondly remembers one of his most recent shoots with the company – a concert at CES in Las Vegas, Nevada.
“It was a Michael Jackson Tribute Concert,” Penpark said. “I was given the opportunity to take pictures of Aerosmith’s Joe Perry, Ne-Yo, Rick Ross, Magic Johnson, Shaquille O’Neal, Christina Milian, and the Jacksons. I was their official photographer at that event. One of the best moments was when my prints were signed by Jermaine Jackson, one of my idols.”
At Monster Cable Products Inc., Penpark worked under Ryan Notch, the Former Digital Media Group Manager of the company. “Tom is the real deal,” Notch said. “Not only is he an incredibly skilled technician at his craft, but he is amazing at concept and creative as well. I have been extremely fortunate to have Tom as the rock on my team here at Monster. He is very hardworking, dependable, and self-driven. Best of all, Tom is truly a pleasure to be around. His thoughtful and eager-to-help attitude has always made him an integral team player within our department. I can’t say enough wonderful things about Tom. I would, without hesitation, recommend him for any and all opportunities that come his way.”
In 2013, Penpark had the opportunity to meet Hossein Farmani, the founder and president of the legendary “The Lucie Awards,” Co-Founder of the Palm Springs Photo Festival and an all-around icon of photography. “I showed my prints to Hossein and they were selected to be a part of the 180th Anniversary of Thai – U.S. Exhibition,” Penpark said.
Penpark’s photos were showcased in the same exhibition as other world-class famous photographers such as James Nochtwey, Steve McCurry, Greg Gorman, Colin Finlay, Benya Hegenbarth and Douglas Kirkland.
Penpark’s photographs have also been featured in a solo exhibition at Google Headquarters and recognized as an award winner in the Travel Category of the Top 50 Sony World Photography Awards of 2015.
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