Arriving as one of today’s finest actresses, Jessie McLachlan has delivered outstanding character portrayals in film and television over the last decade. The Australian native played Anna in Tom Simes’ feature drama, “Run, Broken Yet Brave” and Rachel in the FilmOut Festival Award winning feature drama, “Newcastle,” written and directed by Dan Castle.
She starred as Monica in Antonio Oreña-Barlin’s short drama, “Suburbia,” that was nominated for an Australian Film Institute Award, and has dispatched her talents to TV including in Village Roadshow’s reality series “The Shire,” 7 Network’s (Australia) 13-time award-winning comedy drama “Packed to the Rafters” and Nickelodeon’s 12-time award-winning family drama, “Dance Academy.”
Chief among McLachlan’s flourishing acting career was her 27-episode recurring performance as Samantha Braxton on 7 Network’s romantic drama, “Home and Away.” Created by Alan Bateman, the series has collected more than 40 awards and has broadcast since 1988.
“I’m really proud I got to be a part of it, in some way,” McLachlan said. “I’m proud of the Australian industry, and it is a testament that a show has been running for so long.”
“Home and Away” follows the lives, loves and heartbreaks within the fictitious coastal town of Summer Bay, in New South Wales, Australia.
The role challenged McLachlan to carry out the antagonistic, Samantha, who was a troubled member of one of Summer Bay’s surfing gangs. An aggressor, Samantha was a character best known for creating conflict, and one opposite of McLachlan’s own persona.
“It is the beauty of acting morphing into a completely different person, whom is definitely not like myself,” said McLachlan. “It is always a challenge playing a character whom is a complete opposite to you, and the way in which you conduct yourself in life. I always like to reflect on a personal experience, and encapsulate that raw emotion and feeling I had and use it in a performance to make it as authentic as I can, but with this character I was very challenged in the beginning in learning to be angry at everything and everyone.”
Starring as Samantha in the series from 2010-2011, McLachlan said of the character, “It is hard enough to be a teenager now days let alone have hardship or social issue’s amongst your family to overcome. I think at heart she is good, but when your family has a blurred line between what is right and wrong, she was easily influenced.”
Australian Actress Christina Collard (“Dracula: The Impaler,” “The Girl’s Guide to Depravity”) recognized McLachlan’s dynamic acting in “Home and Away.”
“The role required an incredibly dynamic actress, as Samantha’s presence and demeanor caused a significant amount of drama throughout Jessie’s time as a leading actress on the series,” she said. “Her presence was felt in scenes that she did not even appear in, which is a huge accomplishment that further evidences Jessie’s many talents as an actress. Her character was the talk among critics and dedicated viewers alike, and has been hailed as one of the more memorable characters in the recent history of this long running series.”
“Home and Away” currently is the second longest running dramatic series in Australian television history. Sold to more than 80 countries, it has drawn huge audiences in locations such as the United Kingdom, Ireland and New Zealand. The show is the most successful program in Logie Award history.
Of her favorite single portrayal, McLachlan says, “The first episode of a new season will always be my favorite of any show. It is when some questions that I’ve waited for a few months are finally answered, but also then all these new story lines are revealed, and the show becomes so juicy and the curiosity makes you tune in or binge watch it.”
Developing her talent early in life, McLachlan started speech and theatre lessons and became a National Irish Dancer when she was just 7 years old. “Every time I performed, from an audition or in front of my Grandma, it gave me a sense of euphoria, a high but a certainty feeling.”
Her talent and passion for performing hasn’t gone unnoticed in the industry as McLachlan went on to work for shows televised by MTV, ABC and Australia’s 9 Network. A do-it-all talent, McLachlan also was signed as a singer/songwriter to Island Def Jam.
She’s trained at the renowned Lee Strasberg and Stella Adler acting institutions in New York and Los Angeles, and studies the craft with the acclaimed acting coach Michelle Danner, who has worked with many A-list talents such as Chris Rock, Gerard Butler, Penelope Cruz, Michelle Rodriguez and more.
Australian-based makeup artist and hairstylist, Cat Sherwin, has established herself as an invaluable styling asset to several contestants of the hit television shows “The Celebrity Apprentice Australia” and “The Voice” over a course of multiple seasons.
Originally from Chesterfield, Derbyshire, England, Sherwin has been recognized as an accomplished artist in the entertainment industry for over eleven years. Her work as a makeup artist and hairstylist spans numerous platforms, encompassing everything from film and television programs to live, red carpet events. Sherwin has made-up both reoccurring and guest talent appearing on “Sunrise,” “The Morning Show” and “ABC News,” and has obtained a lengthy framework of experience with distinguished networks such as ABC, Foxtel, Channel 7, and Fox Sports.
Sherwin’s involvement with Fremantle’s “The Celebrity Apprentice Australia” began back in 2011 where she worked as a freelancer/contractor on contestants appearing on Season 1 of the series. Based on “NBC: The Apprentice,” “The Celebrity Apprentice Australia” features host and CEO Mark Bouris and a remarkable cast of celebrities, all competing for their favorite charities.
“Working on a show that is being produced for the benefit of charities is enormously fulfilling, as you really feel that everyone is ultimately working together as a team, from celebrities through to production, to produce something that has a real tangible result and that makes a difference,” Sherwin said.
In addition to Season 1, Sherwin has also been a part of Seasons 2 and 3 of “The Celebrity Apprentice Australia,” working various episodes and with a wide range of contestants as well as other stylists. Regarding all involved, Sherwin commented, “[It was] great meeting so many different people and personalities from different backgrounds. There was a great sense of team spirit when working alongside other makeup artists.”
Behind the scenes, the show was known for its spontaneity, resulting in extremely early call times and frequent, last minute scheduling changes. Call times and locations for the following day were often not released until quite late at night the evening before, however for Sherwin this regimen, “Felt exciting. [She] felt part of the celebrities’ adventure.”
Over the span of these three seasons, Sherwin styled a number of famed celebrities. Some of the participators Sherwin worked with in Season 1, consisted of Jesinta Campbell (Miss Universe Australia 2010), former competition swimmer Lisa Curry, Didier Cohen (“America’s Next Top Model”), celebrity publicist Max Markson, and Australian politician Pauline Hanson. For the duration of Season 2, Sherwin had the pleasure of styling professional boxer and water skiing champion Lauryn Eagle, Charlotte Dawson (“America’s Next Top Model”), former football player Jason Akermanis, Nathan Joliffe (“The Amazing Race Australia”), comic Vince Sorrenti, and David Hasselhoff (“Knight Rider” and “Baywatch”), to name a few. Starring on Season 3 of “The Celebrity Apprentice Australia,” Sherwin correspondingly worked with Kym Johnson (“Good Morning America,” “Dancing with the Stars” and “Entertainment Tonight”), Prue MacSween (“Weekend Sunrise” and “Australia’s Next Top Model”), competitive swimmer Stephanie Rice, Rob Mills (“Australian Idol”), and musician Brian Mannix, among others.
“The Celebrity Apprentice Australia” contains a segment of the show called ‘the boardroom,’ where meetings among candidates take place in a series of what usually consists of three stages. In the boardroom, the host and his advisors debrief the contestants, who are separated into teams, the winning team ultimately prized with a reward while the losing team endures an elimination.
When asked to detail some of her favorite memories thus far, Sherwin answered, “Getting the contestants ready for the boardroom as the show progressed. Everyone got closer as time went on, and you really felt his or her crusade and tension and wanted them all to win. You really felt like you were living and breathing the excitement and anticipation with them.”
Regarding her styling techniques in specific when it came to readying the stars for the boardroom, Sherwin explained that, “The looks were much more glamorous.” In one of the episodes, Eagle had a 1950’s-inspired waved hair look. “Ensuring the celebrity looked fabulous and felt confident was really important in helping someone get ready to state their case,” Sherwin stated.
Due to many different challenges within the competitive program that required completion, the show often moved locations, allowing Sherwin the opportunity to create distinctive styles and looks. Furthermore, on challenge days, she had to, “Consider environments, locations and weather when creating a look to ensure that said look would look real and simple and hold up during a long day, whilst not hindering the celebrity and at the same time, making them feel great,” said Sherwin.
Similar to her work with a diverse group of celebs on “Celebrity Apprentice Australia,” Sherwin has provided makeup artistry and hair styling for an innumerable amount of competitors on Shine’s award winning series “The Voice,” an Australian reality show based on the original Dutch talent singing competition. During Sherwin’s tenure, “The Voice” was hosted by Darren McMullen. The show contains a structure of three competitive phases: blind auditions, battle rounds and live performance shows, where the ultimate winner receives a recording contract with Universal Music.
“It was really exciting to be part of an artists’ journey in pursuing their dream,” Sherwin said. “As the show progressed, how we styled them according to themed weeks and alongside wardrobe directly affected the overall appearance of how the public saw the artist.”
The different rounds allowed Sherwin to really showcase her unique talents as a makeup artist and hairstylist. “It was fabulous to be able to create some really adventurous and eye catching looks. As a performer, you need to stand out on stage, so the makeup can be much bolder and braver [on “The Voice”] than say a lifestyle commercial. Often on commercials and television you have to create something within a set of quite tight parameters. “The Voice” felt much freer and unrestricted, with opportunity to be really creative and incorporate the latest fashion looks into someone’s personality and style on stage,” Sherwin noted.
With television being such the visual medium that it is, while each singer ultimate stood out based on his or her vocal talent, the intricate work of the entire creative process mattered. Observing this process, Sherwin said, “Everything from staging, lighting and costumes to hair and makeup really helps add the XXX wow factor.” While the work of a stylist can tie together a performance, effectively bringing all of the pieces of the process together is what, “Ultimately will help a new star shine,” said Sherwin.
At times, styling was a team effort. On a number of occasions, Sherwin styled “The Voice” Season 1 winner Karise Eden and Finalist Darren Percival, among others. “It was great seeing Karise’s confidence build throughout the show,” Sherwin said. “All artists started with their own look, which was often quite low key. We worked to build and evolve this into something with more mega wattage, whilst also retaining their own sense of unique style. As confidence flourished, so did the style – it was beautiful to watch.”
Much alike the boardroom of “The Celebrity Apprentice Australia,” Sherwin fondly remembered styling contestants for the final battle rounds of “The Voice.” The battle rounds are considered the second stage of the competition, where coaches instruct two of their teammates to battle one another by way of singing the same song simultaneously.
“There was so much energy and excitement around them [the battle rounds]. Nobody had anticipated quite how much the first season would take off in Australia and all the excitement around it. It was really quite electric,” Sherwin reminisced.
Moreover, Sherwin recalled witnessing moments of impromptu singing from talent. “I remember watching one of the judge’s coaching sessions with Delta Goodrem, and hearing her burst out spontaneously into song, with no background music, no aid. It was really beautiful – she has such an amazing talent, to hear her voice in the raw was breathtaking,” said Sherwin.
After her miraculous work on “The Voice,” contestants continued to book Sherwin separately for private gigs. Sherwin stated, “Contestant Emma Pask booked me privately on a number of occasions for gigs. I made her up for an outdoor Toronga Zoo Christmas concert. The setting was breathtaking with the Sydney Bridge and Opera House in the background.”
When it comes down to styling contestants for such high profile shows where the pressure always seems to be on, Sherwin insisted that, “Hard work and creativity are important, and so is pulling in the latest fashion looks into something that complements the outfit.” However, the key factor in it all, is creating a look that is, “Wearable by the artist and will make them feel confident.”
There are multiple steps involved in the complex process that Sherwin takes in order to ensure that all of the contestants she works with, “look and feel fabulous, and ready for action,” commented Sherwin.
Andressa Cor is a cinematographer from Brazil with over half a dozen years of experience in film and television. Her creative works have earned her the “New Filmmakers Program” grant at Panavision in 2014 and also the “Alfred P. Sloan Foundation” grant. Her AFI thesis film “Stealth” brought in awards from the 36th Student Emmy Awards, the jury prize at the Toronto International Film Festival and an honorable mention at the American Emerging Filmmakers Pavilion at Cannes.
On her own creativity, Cor said, “I stay curious about everything. My interest in subjects change almost every week. I obsess over a certain topic and learn as much as I can about it, til the next one comes. Because I am from Art school, more often than not I am obsessing over an artist. This happens to movies a lot as well. I take a certain filmmaker and watch a lot about him/her.”
Cor uses cinema as an exploration. She carries the camera with purpose. The rich colors within her frame bring out the emotion her story tells.
In her eyes, each film should have a style, and it’s the cinematographer’s job to translate that style into a language using the camera and lights. Ultimately, film is a collaboration, and as a result the cinematographer and director must be in communication. This is why Cor uses pre-production to “see what is the movie inside the director’s head and make sure my department is prepared to deliver that movie.”
Her film work has teamed her up with many great directors. She tends to seek out those who are like minded, and that she thinks she could build a friendship with. Three directors she’s had great experiences with are Bennett Lasseter, Diego Jesus and Andrew Crafa.
Alongside Lasseter, Cor has shot two films. One of them was the highly acclaimed, and highly awarded “Stealth.” The story follows a brave, young transgender woman guiding her way through life.
With Jesus, she also shot two films. “Incursion” was the first project they collaborated on. Using the camera as equals, they created a strong, unified and visually stunning film. The circumstances were rough, but things fell into place so well that they made another film entitled “Rosalia Marginal.”
“Some locations did not have electricity or generators and Andressa was forced to find unconventional ways to keep shooting in very difficult situations with limited resources,” said Jesus on “Incursion”. “She achieved this with ease, demonstrating an ability to improvise and problem solve as an exceptional Cinematographer under the most difficult of circumstances, while still creating beautifully impactful shots for the film that added a crisp, enlightening context that the documentary needed in order to truly impact our audience.”
Cor also shot two small projects with director Andrew Crafa. The first was a promotional piece for the 2015 film “Krampus” and the second was for the organization “I Have a Dream.” “Krampus” showcased Hollywood stars like Adam Scott, Toni Collette, and David Koechner. The promotional piece featured 14 of YouTube’s top stars.
Regardless of who Cor works with she has great admiration for her directors. “That’s why they say directing is a lonely task. There’s this village of people working for them, and they need to direct all of us to the same place. Sometimes, they have a bit of trouble with this, because we are making movies, is a lot about the visuals and the mood, it can get hard to explain. Every director has a different process of communicating, and I try to let him or her tell me the way they want to tell me. ”
Three of the biggest project’s Cor acted as cinematographer for are “60 Eight”, “Campground” and “No Tomorrow without Merci.”
“60 Eight” was shot in Burbank, California on a Red Scarlet. The film is about a child who wakes up after an accident to find himself a 60 year old man. Cor made sure her cinematography reflected “the clash of two worlds.”
“Campground” is about a young girl with hidden superpowers. The film was shot in two segments. The first was filmed in the LA desert, and the second was also filmed in Burbank, California.
On “Campground”, Cor said, “The goal was to make the audience walk in her shoes with her, and understand her world as she guided us thought it. Lighting was very natural for most of the movie except for the lighting cue we had when she finally reveals her capacities. ”
Her work on “No Tomorrow without Merci” helped the filmed win the Award of Merit at the 2015 Accolade Competition, and the Award of Excellence at the 2015 International Film Festival for Peace, Inspiration and Equality. It’s about a Jewish woman who decides to help an injured Nazi soldier. The goal was to shoot the film as realistically as possible using muted colors.
Two key influences on her work are Brazilian’s Cesar Charlone and Walter Carvalho. All the knowledge she gained from was completely unconscious. In fact, it took her years to realize her style of shooting was inherited from them.
“I didn’t know how much they influenced me until I recently rewatched “Central do Brasil” (Central Station) and saw that I had just shot the same set-up a week before!,” said Cor. “But instead of a little cabin, my camera was inside a car.”
Filmmaking is something that Cor has been fascinated by since she was young, but it wasn’t until she grew older that she learned about the position of cinematographer. She entered film school wanting to direct, but through her early works she started to gravitate towards the visual side of the process. Once her desires were focused, she set off to film as much as she could while in school.
“The best cinematography work that I like happened because the DP and the director are at the exactly same page,” said Cor. “I do believe a cinematographer is as good as his or her director. And I see with renowned cinematographers that they work get better if they are working with the directors they align ideas better and collaborate together. For example, every Roger Deakins work is stellar. But his masterpieces, in my opinion, happened when he was working with the Coen Brothers. ”
Making a good film is all about trust for Cor. As long as she continues to work with people that understand that, her work will continue to grow and visually stun.
In the entertainment industry, every creative position on a production plays a vital role to its success, and the job of the editor might be the most important of all. Even more so than the writer’s words or the actor’s lines, the editor is responsible for crafting the final version of what the spectator sees.
The editor helps make the footage speak to the audience, which is exactly why David Guthrie stands out among some of the most brilliant editors working in the industry today. Without his wonderful ability to tell a story, the sheer volume of film footage from the productions to which he’s lent his skill would lack a cohesive narrative.
“Most of the skill in editing comes from making creative decisions, what shot to use where, what music tracks to use, the pacing, rhythm, etc. All of that is easily done on all three platforms,” according to Guthrie.
The Toronto born editor has a knack for creating an effective, riveting story regardless of how many hundreds of hours of footage he has to sort through. Guthrie has also benefited from having a background in music, which greatly enhances the cadence of his edits.
“You try a hundred different tracks of music and none of them are the right one and you just don’t know why and then you find the one that works and you just know, you can feel it and then you cut it in and the whole scene comes to life.”
Guthrie’s exceptional talent landed him the role of editor on the critically acclaimed televised adaption Billy Bishop Goes To War directed by Academy Award nominee Barbara Willis Sweet, as well as the smash hit documentary Jiro Dreams of Sushi.
Currently streaming on Netflix, Jiro Dreams of Sushi has been an official selection at numerous festivals including Toronto, Berlin, and New Zealand International Film Festivals, as well as the Tribeca Film Festival.
After the documentary’s overwhelming feat, Guthrie took on the challenge of working on the labor intensive Weather Channel reality show Cold Water Captains.
“You can give me hundreds of hours of footage with no direction and I can sift through it and find the story thread. Having a writer‘s approach to editing has always been my strong suit, as well as having a music background,” says Guthrie regarding his editing process.
In Guthrie’s next project, he carried multiple hats as a director, writer, editor and star in the TV comedy Room & Bored. The project paid off immensely by becoming an official selection at the New York Television Festival, which led Guthrie to secure a development deal with the Gannett Network.
The outstanding editor recently completed production on the comedy series Beck & Call, produced by Rockfield Productions, Inc. The series follows two talent agents struggling to make it in Brooklyn. Season 1 of the show is slated to be released later this year.
Regardless of the genre or medium, David Guthrie’s remarkable editing prowess has placed him among the best editors in the industry; and, as he continues to flex his skill across platforms, it seems there is literally no stopping this talented Canadian.
Pentatonix’s music video for “Can’t Sleep Love” is a bona fide hit with more than 13 million YouTube views to date. Directed by the great Alon Isocianu, the “Can’t Sleep Love” video is a sensory stimulating masterpiece featuring the amazing talents of the five member a capella pop group, Pentatonix (RCA Records).
The video’s stylized color palette coupled with an innovative set design entices viewers to make visit after visit. No other treatment of the two-time Grammy Award winner’s piece could have been better imagined.
And imagination is Isocianu’s forte. An already internationally established music video director, Isocianu flexes with one his best career deliveries in “Can’t Sleep Love.” Revered, celebrated, and achieved, Isocianu’s effort creates definite anticipation for what lies ahead in his illustrious career.
Familiar personal themes establish a hypnotic, but relatable atmosphere to audiences. We’ve had those feelings. We’ve been down that road. We’ve been there those restless nights that bring on an unwanted dawn. “Can’t Sleep Love” hits the target without exception.
“The overall concept loosely revolves around the idea of staying up at night, not being able to sleep because all you can think of is someone you’ve fallen in love with,” says Isocianu. A careful examination of the brilliantly written lyrics reflect that – and more.
“Primarily the different colors and pattern designs are meant to distinguish the spaces from one another,” Isocianu said. “Each band member in Pentatonix brings a unique voice to the group, so I wanted to highlight that by giving each “vocal instrument” and each band member their own space. So while the designs don’t relate to the song’s lyrics or tone in any specific way, they do relate to the vocal arrangement.”
Chemistry between song lyrics and set design firms the tone for a unique blend. From the band’s idea of sitting on a couch in a multi-patterned room came the rich vision that eventually manifests itself throughout the video.
“I then took that idea and expanded on it, by creating multiple rooms, each with their own “hidden” dancers,” Isocianu said. Different dance styles are purposed to highlight the different vocal skills of each band member of Pentatonix.
An undeniable flair is reached through the vibrant colors and repetitive patterns in an acceptably excessive, theatric splash – a vibrancy rarely seen is achieved through the skillful director.
The individual Pentatonix vocals deftly harmonize to a finale with all the group’s members in the same room. The culminating effect is an impressive display of vocal talent and extraordinary directing skills.
From his directing of videos for Kelly Clarkson, to Shawn Hook, to Finger Eleven, to Meaghan Smith, and countless others, music and film enthusiasts both see Isocianu’s prolific prominence.
And thus it is with Pentatonix, who this month captured their second Grammy Award for the song “Dance of the Sugar Plum Fairy.”
“Pentatonix were great to work with,” Isocianu said. “They’re very humble and fun, and very collaborative. As performers they each have their own style which is really fun to watch. They each bring a distinct sort of vibe individually, yet when they’re performing together they seem to groove in a cohesive way.”
The list of Isocianu awards and nominations is extensive. And, it will no doubt expand.
The year 2015 saw him win the East Coast Music Awards “Video Of The Year” (Meaghan Smith’s “Have a Heart”), and a Berlin Music Video nomination for “Best Visual Effect” (The Angry Kids’ “Battle”).
In 2012, Isocianu received a Much Music MMVA “Pop Video Of The Year nomination for Victoria Duffield’s “Shut Up and Dance.” In 2011, his music video for Candy Coated Killahz’ “Neon Black” was nominated for the Much Music MMVA “Post Production of the Year.”
Through it all, Isocianu is a director skilled in bringing feeling to his work through the extensive use of explosive colors, patterns and a degree of welcomed quirkiness. It’s established him and set him apart from others as a uniquely skilled craftsman in his trade.
With an already established reputation synonymous with success, director Diego Arredondo embarks on his next project for the big screen, the feature film “Sonambulo.”
Set in Mexico City in 1941, “Sonambulo” follows Dr. Minvielle, a Parisian medical expert who travels to Mexico in an attempt to cure a growing number of inhabitants from a rural mining town suffering from chronic insomnia. However, Minvielle’s use of electroshock therapy and strange machinery unleash a mysterious chain of events within the town that threaten everyone’s lives including his own.
The filmmakers are hoping to land Cesar Award winner Vincent Cassel (“Black Swan,” “Child 44,” “Ocean’s Thirteen”) as Dr. Minvielle, multi-award winning actor Daniel Gimenez- Cacho (“Get the Gringo”) as Dr. Krauss, and Ana de la Reguera (“Cowboys and Aliens”).
“Sonambulo” was co-written by WGA writer Brian Horiuchi (“Brass Monkey,” “America So Beautiful,” “Parts Per Billion,” “Circle of Eight”), and is slated to begin filming in San Sebastian Del Oest, Jalisco, Mexico later this year.
Horiuchi says, “In working on ‘Sonambulo’ I was constantly delighted by Diego’s ability to find the truth of the story, to search the depths of the characters and allow the plot to develop naturally… Due to Diego’s contributions ‘Sonambulo’ has just been selected to participate in Strategic Partners, one of the world’s preeminent co-production/co-financing markets.”
LA-based post-production company Punch Media has already signed on to handle the film’s equity and post-production processing.
“In working on ‘Sonambulo’ I was constantly delighted by Diego’s ability to find the truth of the story, to search the depths of the characters and allow the plot to develop naturally… Due to Diego’s contributions ‘Sonambulo’ has just been selected to participate in Strategic Partners, one of the world’s preeminent co-production/co-financing markets.”
Diego Arredondo is one of Mexico’s most talented directors in the industry today. International audiences and festival judges began recognizing Arredondo’s prowess as a director even during the early stages of his career, something that is proven by the success of his films “Heel” (2004) and “Tequila Chamuco” (2005).
Created for the Straight 8 Film Festival in London, both films were awarded among the best films of the competition leading them to screen at the prestigious Cannes Film Festival.
Additionally, “Tequila Chamuco” screened at London’s Soho Shorts Festival and won the Best Short Award at the Silent Light, Cork Super 8 Fringe Festival in Ireland; and “Heel” took home the Straight 8 Film Festival’s Best Short Award. The films also aired during the BBC’s “4 Minute Wonders” special about the Straight 8 Film Festival.
Aside from the brilliantly crafted stories they portray, the laborious planning process and unique requirements that these films had to adhere to in order to qualify for the festival reveal Arredondo’s astonishing versatility and unparalleled vision as a filmmaker.
Established in 1999, the Straight 8 Film Festival requires all films to be shot and edited in-camera on a single Super 8mm film cartridge that the festival registers and sends to applicants once they have applied. This means that there are no second chances and no room for post-production editing; in fact, Arredondo didn’t even get to see his films until they premiered at Cannes. An assuredly nerve racking experience, which was only made less so because he knew his films had been awarded as the best out of hundreds of submissions.
Some of Arredondo’s other films to date include “Luchitas,” “Pancho Pozole,” “For the Wings of Angels,” “Hector y Tatis” and “Goyo.” He’s also had great success as a commercial director for globally recognized brands including Phillip Morris, Diageo, Tequila el Jimador, Tequila Corralejo, Mini Cooper, Dos Equis Entertainment, J&B, Corona and Heineken.
Another early accomplishment that testifies to Arredondo’s talent came in 2007 when he was chosen to participate in Berlinale Talents, a summit of master classes and lectures with the world’s most renowned filmmakers. The summit, which occurs annually during the Berlinale Film Festival in Berlin, invites five of the top young filmmakers from every country to attend.
While he was in Berlin, Arredondo also participated in the global documentary film project “Why Democracy”” where ten hour-long documentaries and 17 short films were broadcast in the world’s largest ever factual media event.
Arredondo’s film “Maria y Osmey,” which he wrote, directed and produced, was one of those films and as such, the film was broadcast in over 180 countries by over 48 broadcasters including the BBC, SVT Sweden, PBS USA, AL Arabiya Dubai and others.
To shed a little more light on the caliber of films included in “Why Democracy”” the film “Taxi to the Dark Side,” which showed alongside Arredondo’s film, went on to win an Academy Award for Best Documentary in the US in 2008.
Diego Arredondo has a creative vision unlike any other, but what is even more astonishing is the fact that his genius extends beyond film. Whilst living in London several years ago Arredondo solidified his reputation as a sought after music video director.
His debut in the format, the 2008 music video for the band Trickbaby’s hit single “Slipping Through Your Fingers,” which featured members of the Great Britain synchronized swimming team and was shot primarily underwater using Super16mm film, reached astonishing international acclaim and went on to be featured on MTV across London and Asia. Mexico-based production company Contenido Neto currently represents Arredondo as a music video director, and he is represented for commercials by Camaleon Films.
In addition to having created a dazzling repertoire of work over the past decade, Arredondo has attended some of the most competitive film schools in the world including the New York Film Academy, Central Saint Martins College of Art and Design London where he received his B.A. in Film and Video, and the London Film School where he received his Master’s Degree in Filmmaking.
Corona beer and Sony are also sponsoring one of Arredondo’s other upcoming films “Cloverlawn 3D,” a horror film based around events that take place at an eerie old house in Guadalajara, Mexico.
Actress Taylor Beadle-Williams shot by Sheldon Botler Photography
Whether it be in television, commercials, plays, or films, actress Taylor Beadle-Williams has proven herself to be quite the versatile talent through the plethora of roles she’s taken on in a variety of intriguing projects. Her ability to push herself to the limits in the craft of acting has distinguished her as one of the most talented actors working today.
In her recent film Clarity, Williams plays a blind photographer by the name of Celine. The character does not have any dialogue whatsoever, so Williams had to rely heavily on facial expressions in order to communicate without actually speaking a word, which is why she found this role to be a challenge, but an exciting one at that. In fact, in October of last year, the film was screened at the 59th BFI London Film Festival and grabbed the attention of the festival’s ambassador, Dame Helen Mirren, who expressed her delight with Williams’ performance being “amazingly believable and sensitive.”
Williams’ wonderful range extends to projects such as PLANS, a film series shot in 2014 and slated to be released at a number of film festivals, and online, later this year. Williams’ portrays Belle, a sociopath and lost soul who does just about anything she can to get by in life, even if it takes some manipulation to get what she desires. It’s currently Williams’ favorite role to date. The series also co-stars up-and-coming actors Rahel Romahn (The Principal, Alex & Eve) and recent AACTA nominee Alice Keohavang.
In addition to her film roles, Williams’ earlier work includes nearly a dozen commercials over the past couple years for brands such as Mazda, Hungry Jacks, Woolworths, Priceline, AboutLife and HCF among many others. However, her passion for film and her admiration for director Paul Kampf (From Grace) landed her a role in his 2014 independent film Amnesia: Who Are You?
Williams’ jumped at the opportunity to be in such a fascinating film about a man suffering from amnesia and his attempt to piece together his fractured existence. The film went on to win an award for Best Dramatic Film at the 19th Annual IFS Festival in Los Angeles.
The dazzling actress recently wrapped up Stanley Joseph’s Love You Krishna, where she plays the role of Radhika, an angel who helps guide the lead character, Kris, through some family struggles. Having such a poignant premise and being such a pivotal role, Williams couldn’t wait to take on this character. The film is currently in post production and is slated to be released later this year.
TBW: Although I was born in Sydney, Australia I grew up in Marrickville, which is near the city centre. I am actually a Kiwi because both of my parents are New Zealanders.
When and how did you get into acting?
TBW: I have always been a drama queen. I grew up in an entertainment household: my father is a well-known, established New Zealand singer, Mark Williams (currently the lead singer of the AUS/NZ band, Dragon), and my mother was a dancer, so the performing arts have always been in my veins.
During high school, which was a performing arts school, I started focusing on ballet and dance but I fell in love with acting, particularly after watching Joss Weadon’s Buffy the Vampire Slayer series. It was the show’s script writing, storylines, themes, and of course, the female actors playing strong, independent, riveting characters that really struck me. I just had to be a part of that world. Buffy really enlightened me on what I could do with my life: to be an actor, to develop the potential to be anything I want – to whisk myself away from normality and put myself in another person’s shoes and experience different worlds. Although I still dance, acting took my heart and I have never looked back.
Can you tell us about some of the film projects you’ve done?
TBW: In Clarity, I play the leading role, Celine. Clarity was presented at the 59th BFI London Film Festival in October 2015 as part of Giorgio Armani’s “Films of City Frames” section. The chosen directors were briefed to create films inspired by real lives and told through the eyes and emotions of characters immersed in the reality of everyday life.
Clarity is about having a different outlook and a fresh perspective of something that has always been there right before your eyes. My character, Celine, is a blind French photographer and is critical to this film as we see Celine’s perspective on the small but important details in the city. As Celine is filmed, Clarity progresses sonically using the other main character’s, Emma, voice over. Playing a blind woman was intriguing, plus my character didn’t have any dialogue, so to be able to portray a story through actions and say so much, without actually speaking, gave me the chance to really use a wider range of expression. It was a fantastic challenge. At the screening of the film in London, my director, Chris Joys, was approached by the London Film Festival ambassador, Dame Helen Mirren, who described my performance to Mr. Joys as “amazingly believable and sensitive.”
In Love You Krishna, I played Radhika. In 2013, while searching for the best actress to play one of the important “mistress” roles in his film production, Love You Krishna, writer/director of World Pictures Australia Stanley Joseph came across my body of work and immediately picked up the phone to contact me and see if I was interested in playing this significant role. I jumped at the chance, and it was then that our professional relationship, and friendship, began. Radhika is one of many angels’ who guides the leading character, Kris, through his journey of taking care of a family dealing with many struggles. Kris is a representative of Krishna, a worshipped Hindu deity, and I played one of his “mistresses/angels.” Love You Krishna is due for release later this year.
In early January, I attended the premiere of PLANS, which is a series that was shot in 2014 and will be released at various festivals and online later this year. I play Belle, one of seven lead roles. PLANS was written and directed by Do It Now Production founders, Peter-William Jamieson and Diana Popovska and is about seven young twenty something’s trying to find their own place in the world while living together. It confronts the everyday challenges and struggles facing this group: sexuality, relationships, guilt, grief, love and hate.
Belle is one of my favorite roles. A sociopath, Belle manipulates people, mostly men, to get her way. She is a lost woman, unsure of exactly what she wants in life so she uses other people as a means of controlling. Intelligent and sexy, Belle knows the power she has over people and knows how to work a room. Although, in some sense, she is aware of her control and manipulation, even Belle can surprise herself with her own power. She really disturbs a lot of the relationships in the series and causes some chaos. The series also stars recent AACTA nominee and Australian upcoming actor, Rahel Romahn (The Principal,Alex& Eve) who plays Zia, and AACTA nominee Alice Keohavong, who plays Belle’s arch-nemesis, Claire.
I also played Jeannine, in the US independent feature film, Amnesia: Who Are You?, directed by US filmmaker, Paul Kampf, which won the award for Best Dramatic Film at the 19th Annual IFS Festival in Los Angeles. Getting asked by producer, director, and writer Paul Kampf (who is now in partnership with Ted Field’s production company, Radar Pictures) was a real honor.
How about television projects?
TBW: The past 2 years have been a success: playing the lead in 10 Australian commercials for brands such as James Squire, Woolworths, Mazda 3, Telstra, Hungry Jacks, Priceline, Gravox, HCF, News.com.au, etc. This includes a cinema advertising commercial for Aboutlife. Shot as a music video, my role in the commercial was inspired by Julie Andrews in The Sound of Music. My character sings about the opening of a new AboutLife store in Surry Hills (Sydney suburb) spoofing “The Hills are Alive” song. In September 2014, I also played a role in the Sims 4.
I also played the guest role, Ginette, in the Channel 9 TV series Tricky Business, which co-starred Lincoln Lewis and Anthony Starr.
They are all very different, what made you choose to participate in these projects?
TBW: Diversity is a gift not many actors, or people for that matter, get to experience. There is nothing more exciting than being in someone else’s shoes for even a day or so, to trample in their footsteps and lose yourself to your own imagination. It’s exciting, it’s dynamic, and it’s creative. The best part is trying to find “yourself” in those characters, to still have the essence of you. That helps to bring truth to your roles, so they are well-rounded and 3-dimensional.
You get approached all the time to work on projects with people, what makes you pick one role over another?
TBW: I love a challenge. I am a go-getter when it comes to finding a character that I can really delve into. I do not want to be put into a hole – variety is my passion. I have to see how much I can push my acting chops to the edge while maintaining a grounded life. I must never let life imitate art with some of my roles; it’s too dangerous especially when my last three stage roles were a drug addict, a prostitute, and a burlesque fan dancer!
Also, if the writing isn’t great, then I usually won’t bother going ahead with a project. Although, I can be a professional and do my best to give every role a decent go, but ultimately, if you are let down by the script then the whole project will go down, and the end result can really be disheartening.
You’ve also performed in several theatre productions over the years, can you tell us what you personally feel are some of the difference between performing in the theatre and acting on screen? Which one do you prefer and why?
TBW: I have been involved in a lot of theatre, my most favorite productions being two seasons of the Black Box Production of Trainspotting, one in Sydney, the other in Port Kembla, in which I played the only female in a cast of four. The production did not receive one negative review. In September 2014, I also performed in a new independent theatre production for Sydney Fringe Festival 2014, called Ambrosia, with Grumpy Mandrakes Theatre.
I love the flamboyancy of theatre. A mistake a lot of actors fall into is getting bored by theatre because of the repetition, but I find that is the beauty of theatre – to explore more and more, and develop more. Just like people, a character is never “finished,” there is always more to find, always more to give, and that is a gift shared with yourself as an actor, and with other actors performing with you. Keep it exciting!
The process of screen is a lot like theatre, with rehearsals and explorations of character being important in the growth of every character. The real difference between the two is how big your performance is. The screen accentuates EVERYTHING, so actions and speeches are better delivered minimally when in front of the camera. Less is more on screen, and it is this challenge that makes me prefer theatre. It’s easy to go over-the-top in theatre and screen, but harder to control it in screen.
What has been your favorite project so far and why?
TBW: Both Trainspotting and PLANS have been my most favorite projects as I was really pushed to the edge with both – completely out of my comfort zones. To explore characters and world’s so different to my own really got my heart racing.
What as been your most challenging role?
TBW: I played multiple characters in Trainspotting. Alison was my main character. Alison comes across as headstrong, experimental and aggressive, but she is still a little girl lost in a big boy’s world. She is a junkie; she has lost her grip because of heroin, and is always on a quest for a distraction from her hum-drum life. Alison’s journey starts with experiencing pain and loss, then learning to forgive herself, and move on, finding her feet, making amends with herself, and getting revenge in every aspect of her life.
I also played pregnant June (a lonely, insecure woman, hopeless in her efforts to control her macho and abusive boyfriend, Franco); Lizzie (a sexy and fiery lassie with a short fuse); Lassie (another physical abuse victim); as well as other characters.
I enjoyed playing the multiple roles, although it was difficult at first to tweak each character’s own little niche and differences and to switch rapidly from one character to another during the show.
Besides the Scottish accent being the main challenge, being the only woman actor in the play means all the heavy subject matter falls directly on my head. I play a number of female characters, all of whom are victims. They all suffer under this machismo society, and each have to deal with it in their own way. Also, with regards to the graphic content of the play, particularly dealt with by my central character, Alison, it is sometimes difficult to tap into such emotions when her experiences have been so different from my own, but what I have realized is that this is it – this is their life – it is all they know.
What is your favorite genre to work in as an actor?
TBW: Comedy comes naturally, as I’m a quirky person, but drama is something I’ve worked hard at and therefore am getting better and better with each role I play. Crying on cue is always a challenge though! I would LOVE to be in a psychological thriller though. Or be slashed to death in a horror film. Oh, the dreams of actors!
What separates you from other actors? What are your strongest qualities?
TBW: My strongest qualities are:
– My patience and tireless efforts when it comes to character development. When I commit to something, I do it 1000%.
– My look – having an exotic “no-one can tell where you come from” appearance benefits me in picking up various roles. I love pushing for characters of all ethnicities and accents.
– I have a natural calmness, serenity and warmth to my acting too, however that is sometimes difficult to shake off when I am trying to play someone rough – take Belle in PLANS, or Alison in Trainspotting, for example.
– You have got to know how to laugh at yourself. I can never take myself too seriously, and, luckily for me, I can break out of character after the day is over, go home, and watch some trashy TV or read a book. I get so involved with each character that I HAVE to have some time to switch off. Not all actors can do that, and it really ticks me off. You cannot be too serious in this business or you will really be disappointed.
What projects do you have coming up?
TBW:Love You Krishna will be released later this year, and the series PLANS is being submitted to festivals this year, as well.
What are your plans for the future?
TBW: Travel, volunteer in Africa at a conservation reserve, and move to the States to continue my career as an actress. Those are my immediate plans. Until I achieve the latter, I will keep building my status here in Australia.
What do you hope to achieve in your career as an actor?
TBW: Success without the invasion of privacy, but that can be very tricky. Also, I want to be able to maintain that success, which can also be very tricky. This industry is very fickle and as long as you can laugh about it and you have a fantastic support system around you, then you’ll be just fine.
And to continue to be diverse in my characters – I applaud actors like Meryl Streep, Cate Blanchett, Kate Winslet and Rose Byrne, who are able to completely transform with every character they play, yet still keep that essence of themselves within their role.
And I would love to play the lead in a psychological thriller and in a biopic.
Why is acting your passion and chosen profession?
TBW: Because I am a child at heart, I have to keep playing and having fun. A 9 to 5 p.m. desk job just won’t cut it for me. I was a wild child when I was young, and I still (to some degree) am.
Since Tom Stevens’ introduction into acting for film and television six years ago, his career has featured many milestones and highlights, and has reached a boiling point level of immense success. That’s not much of a surprise to anyone who has ever seen him act. He commands the screen in every scene he’s in, which has resoundingly resulted in his placement among the best actors in the business.
Pitting himself analogous to some of the greatest talents in cinematic history, Stevens has the ability to carry his performance in his eyes. Whether they offer sympathy, invoke charm, or bring out a raw intensity, they always draw in the audience. It’s this impressive characteristic— along with his natural instincts— that have allowed him to play so many diverse roles throughout film and television. Some well-known titles he’s acted in include the TV series “Fringe,” “Wayward Pines” and “Cedar Cove.”
But perhaps Stevens’ most fun, most heart-pumping role to date is almost certainly “12 Rounds 2,” where he starred opposite the WWE’s Randy Orton. A powerhouse of adrenaline, the film was directed by Roel Reiné, produced by WWE and Michael J. Luisi, and co-starred Brian Markinson. Released on DVD and Blu-ray, “12 Rounds” was a hit for action fans who crave action-packed sensibilities the genre brings, and for Orton fans who yearned for a new dynamic platform to see their hero perform.
The film follows Nick Malloy (Orton), a paramedic taking care of a patient with a cellphone stitched inside his chest. Before the paramedic can offer much help, he receives a call that his wife has been kidnapped. The only way he can get her back is to play a 12-round game run by an unknown, evil mastermind. Stevens’ character joins the chase early on in the rounds. He plays Tommy, a wealthy, drug abusing son to a big-time politician.
Playing Tommy wasn’t going to be easy to pull off. He had to be played by someone that could work well within the script, but also improvising when the time called for it. Most importantly, he had to be someone that was willing to perform the dangerous stunts director Roel Reiné envisioned.
Stevens didn’t shy away from any of these challenges. He recalled telling Reiné, “I’ll jump off the roof on fire if you want me to. I like the idea of falling off of something and doing my own stunt work.” That’s a Tom Cruise level of commitment; the making of true star, indeed.
Two of Tommy’s most dangerous stunts took place during a pivotal scene during round 10. The character’s father is being buried alive beneath tons of sugar by non-stop conveyor belts above him. Stevens was required to act below a hanging 3,000-pound bulldozer’s bucket, and later within circles of fire. On the experience, he said, “You’re not unprotected. I had my shirt off and you feel the flames.”
All these action-based stunts make perfect sense for a film so heavily connected to wrestling. Orton was new to film acting at the time of production, and this meant Stevens was able to give out some pointers to his co-star. Sometimes it was just in calming his nerves, or helping his acting achieve a more polished, authentic look. By the end of the shoot, Stevens found himself becoming friends with one of his once heroes.
Speaking on being a lead in a feature film, Stevens said, “It’s something about being a leading man in the film. People look up to you to perform. You show any points of spite, anger or sadness, people start going, ‘Is Tommy okay?’ Everybody’s connected on set. You’re in this together. It’s powerful to be that guy stronger than you are sometimes. It’s a persona, a mental challenge. That’s what being a leading man is all about. It’s about everybody else on set.”
With his role in “12 Rounds 2” under his belt, and many other roles such as those in “Battlestar Galactica: Blood & Chrome,” “Diary of a Wimpy Kid: Dog Days,” “Wayward Pines” and “Cedar Cove,” Stevens has established himself as one of Hollywood’s most sought-after, go-to acting talents.
“I expect Tom to be doing high end work in film and TV for years and years to come,” said Stevens’ manager, Robert Stein, who discovered and helped launch the careers of other superstar talents such as Heath Ledger, Mark Ruffalo and Jason Clarke.
Coming next for Stevens is his role in “The Game of Love,” where he co-stars with Heather Locklear. The to-be-released comedy drama movie is headed to TV this spring.
When asked, most filmmakers will agree that maintaining creative control of a production is one of the most highly prized opportunities in any project. However, directors must often sacrifice that sovereignty when seeking financial backing. Investors frequently assume the role of producers, and leave the visionary with little power over their own original creation. Carlisle Antonio has successfully evaded that pitfall by producing every project he’s directed in his illustrious career.
Carlisle is an innovative artist as well as an adept businessman, and as the CEO of the Red Man Films production company he has proven his aptitude for both time and time again. The son of a “Navy man,” Carlisle was raised in Europe but spent much of his life in far-flung locales around the globe. That worldly experience, combined with his strong ties to his Native American heritage, sparked Antonio’s imagination and passion for storytelling and helped inspire some of his most acclaimed productions.
“I have a diverse background; my roots reside within an indigenous form of storytelling, and I feel this lends itself to a different style of creativity,” Carlisle said of his diverse influences, which include “European cinema to indigenous American, Latin and Brazilian art forms.”
He is particularly renowned for his work producing and directing a wide array of documentaries, which range from awe-inspiring and majestic to gripping and emotional in subject. Carlisle wrote, directed and produced the 2008 feature documentary “Coloring the Media” in partnership with the BBC. The documentary details the film industry’s long, shameful history of using dehumanizing stereotypes when portraying Native Americans.
“Coloring the Media” won a Millennium Award and was a hit success with viewers during its worldwide festival tour. It featured Sundance Film Festival founder, actor and Academy Award-winning director Robert Redford (“Ordinary People,” “Butch Cassidy and the Sundance Kid”), as well as the late John Trudell, a legendary artist, poet and prominent Native American activist. The film was bold and concise in its message, and as with many of Antonio’s productions, had a lasting impact on audiences and critics.
Carlisle’s work often centers on Native American culture and heritage, as well as on the lands that indigenous peoples called home for millennia. While working with the Alaskan National Park Service, he produced, filmed and directed three films aimed at promoting tourism by showcasing the raw beauty of the vast expanse of forest, mountain and glacier-covered Alaskan landscape. The films, “Walking the Wild,” “Bear Country” and “Under the Borealis,” offer viewers an informative peek into the gorgeous Alaskan parks. With stunning cinematography, the films teach potential visitors about native plants and wildlife, as well as ways to ensure safe visits to the remote and isolated wilderness.
As a filmmaker, Carlisle knows the value of his medium as a way to inform audiences and advocate for change. He is currently using this platform to give a voice to Native American victims of suicide with his upcoming film “Walking the Line.” Despite having the highest suicide rate of any group in the Western Hemisphere, Native American tribes are often unwilling to discuss the epidemic. Carlisle is determined to expose this tragic cycle, and plans to begin shooting “Walking the Line” later this year.
“I feel that by giving a voice to the dead, they may just be able to help the living, and perhaps help the grieving families and loved ones left behind,” Carlisle said, describing his passion for the project. “It could also help another young person living on the edge, or someone contemplating suicide as the only alternative. Film in any medium has the power to change and affect people’s lives.”
Filmmakers are perhaps the most powerful agents of social reform. By putting a spotlight on issues that are too often underreported, they can enlighten audiences and inspire action. As the CEO of his own production company, Carlisle has the rare and enviable creative advantage of being the writer, director and producer of his own projects. That level of control is critical when the subject matter deals with issues as monumentally important as those in Carlisle’s work. Anyone who has seen one of his productions can attest to the fact that Carlisle’s gift for filmmaking can open eyes, move hearts and change the world; and as he embarks on several upcoming projects, it’s a guarantee that he will he continue to do just that.
Katie Bright and her “My Fairytale perspective on Love” collection shot by Enzo Amato
In today’s world, the term “artist” is used rather loosely. Virtually anyone who has ever picked up a pen, brush or guitar is free to describe him or herself as an artist. Some however, possess an indisputable acumen for more than just aesthetics and are able to use the craft for its original intent. A visual storyteller, Katie Bright is one of these true artists. Her strikingly visceral works are seeped in both beauty and symbolism – the marks of true artistic masterpieces – and continue to grow in popularity among collectors and galleries alike.
Bright specializes in the fantastical, and her art is right at home on the other side of the rabbit hole. Much of her work features familiar characters from fairy tales like “Little Red Riding Hood” and Lewis Carroll’s “Alice’s Adventures in Wonderland,” and she has a rare gift for reimagining classic childhood fables from a more mature and often darker perspective.
“Fairy tales were the first stories to capture my imagination as a child,” Bright recalled. “They are a combination of morals with a touch of mystical and supernatural elements that propel the creativity.”
Bright, or Miss Brightside as she is known professionally, kicked off her career with a bang. The first time her work appeared in a gallery was at aMBUSH in Sydney, Australia, and was aptly publicized as an extravaganza, rather than as an exhibit or installation. The pieces on display exemplified the unique fairy-tale-gone-bad style that she has continued to cultivate, and which has become her trademark in the years since. Snow White, Tinkerbell and the Queen of Hearts are among characters depicted in Bright’s often hyper-sexualized scenes.
“From an adult perspective, fairy tales have a whole darker element. In particular, from a scholar’s level, the unraveling of the encrypted symbolism is prolific,” she said. “I found I had a division between my childhood ideals and existence in an adult sexualized society. For this reason I began entwining and reworking fairy tales within my artwork.”
“X Off with their Head” illustration screen printed on glass by Katie Bright
It’s a recurring theme, which Bright employs as a deliberately eye-catching metaphor for the dichotomy between childhood innocence and the expectations subconsciously placed on the children who grow up hearing those fables. The images used at aMBUSH were primarily screen printed on mirrors, and in tandem with Bright’s careful selection and placement of lighting, attendees were transported through the looking glass to a world of her invention. Her use of color in prints such as “Some Day My Prince Will Come” and “If I Had a World of My Own, Everything Would be Nonsense” is mesmerizing; an array of prime reds and blues and yellows, starkly contrasted with ominous black and white backdrops, with the shimmering surfaces of the mirrors serving to further capture viewers’ attentions and imaginations.
“It was more than an art show; it was a whole visual feast and a circus production. I made and curated 102 artworks, we had two pole dancers, a contortionist, dwarves dressed as cupids, two bands, a DJ, a film crew and press,” said Bright, describing just how extravagant the whole affair was. “The major alcohol sponsor was an absinthe brand, which supplied a mixologist who made ‘Love Potion’ cocktails, two women dressed as green fairies and two topless male waiters working the bar.”
The massive event, launched on Valentine’s Day 2012, was Bright’s first solo show and a watershed moment for her. Its opening night saw more than 1,000 people in attendance, and both inspired her and established her in the incredibly competitive field. Since the success of that first exhibit, Bright has organized several other huge art-and-culture events, including one in Swindon, England in early 2015. Working with Harris + Hoole Coffee, she took it upon herself to propose, plan, organize and ultimately produce a huge event for the company.
“The event I coordinated turned into a 3.5-mile radius tour of three artisan coffee stores that have opened in the last year. My concept was Love Coffee for Valentines Day,” Bright said. “I liaised with three venues, arranged sponsorship, wrote copy, designed promotional material, illustrated the map, logo and branding, filmed and edited a promo video and created a website. In addition to the tour I orchestrated Creatively Made In Swindon. An art and design exhibition displayed over the three venues during the Love Coffee Tour, which continued into March. For the exhibition I collaborated with seven local artists to curate and install the show.”
Currently, the extraordinary Miss Brightside is wrapping up work on a series of interior visual designs for the luxury hotel Surftides Lincoln City in Oregon. Asked to create a design based on a unique fairy tale, Bright chose to write her own, “Atargatis.” A brilliant show of her unlimited, cross-media creative talent, “Atargatis” tells the story of a mythical beauty, a girl who can transform into anything. But in so doing, the girl retains conflicting features of both bird and mermaid and realizes she has lost herself and become something unrecognizable and unsustainable.
“When creating the wallpaper design I wanted it to have a moral. This quote from Thich Nhat Hahn encapsulates the meaning behind the fairy tale of Atargatis — ‘Changing is not just changing the things on the outside of us. First of all we need the right view that transcends all notions including of being and non-being, creator and creature, mind and spirit. That kind of insight is crucial for transformation and healing,’” Bright said of her inspiration. “After I created the fairy tale based on the Thich Nhat Hahn quote, the illustration element was straightforward; I just illustrated the story.”
The results are as beautiful as they are imaginative. The gorgeous series of scenes tell the tragic tale of Atargatis, and in such a way that they would be just as suited for a children’s book as they are in this luxury beachfront locale.
Bright’s ability to accentuate and illustrate the darker undertones of familiar stories has made her an international sensation in the art world. Followers of her work will be excited to hear that she is currently planning for her next solo exhibition, tentatively scheduled for early 2016. A visionary master of storytelling through imagination, illustration, creation and design, Bright certainly lives up to her name and will never cease aweing viewers with her work.
International Entertainment, and the Talents that Leave us Buzzing….
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