Category Archives: Television

Conducting a Reality Competition Interview for TV, a how-to by Supervising Producer Emma Greenhalgh

Being a reality producer certainly comes with a lot of preconceptions, but the reality of producing, in my experience, is actually a very warm and rewarding career.

My name is Emma Greenhalgh, and I’ve spent fifteen years producing on reality competition shows for TV. It’s fair to say I’ve produced and directed hundreds of people’s life stories along the way, whether it be with the Got Talent franchise, Dancing with the Stars, and more. It’s been my job to bring people’s personal stories, experiences and emotions to the nations TV screens as part of a carefully crafted TV show. The core of sharing these stories is an on-camera interview, the moment where our subject gets to share a piece of themselves with the show and in turn the nation. It’s an opportunity to open up, to explain the road that lead them to appearing on that show and essentially garner the sympathy or empathy of the viewer at home, and it’s my job to help them do this in the most effective way.

Interviewing for reality TV is something one learns over time. I think the biggest misconception is that contestants are told what to say by a team of producers no one ever gets to see, and whilst yes, we are working hard to bring your favorite shows to your TV screen, we are not telling contestants what to say…we are helping them structure their truth in a concise way to have maximum impact. The key to conducting this kind of interview is to take a story, a personal experience, and present that to an audience in not only the most relatable way possible, but also in a very short amount of time.

The foundation of this kind of interview really is listening. Sounds obvious, right? I have met many producers over the years who have gone in to their interview armed with a list of great questions and a plan of how they want the interview to go, but then forgetting that they have to listen and respond. Sure, ask your first question, make small talk to create a bond and put the person you’re interviewing at ease (they’ll likely be nervous) but from that point on you should be listening and responding. Hear the story you’re being told, enter the world of the person you’re interviewing, imagine how it might feel to have their life, to feel their feelings, to have seen what they’ve seen and feel what they feel. It’s surprising how often even the most hardened of interviewees can be telling you a story but the second you ask them how it feels, it leads them to emotionally connect with the experience again and the regaling of the story changes, now you have the connection and the true feelings.

Ensuring you understand how a person feels is the core of any successful interview and if I could only give one piece of advice that would be it. That said there are a number of ways you can ensure your interview for TV is as thorough and successful as it can be.

So, as you head in to a reality interview think about the following list:

Research your subject

  • Always go in to an interview knowing your interviewee’s background. Who they are, what their life has been like. Know their story in advance and how you want to tell it and have a clear idea of the structure.
  • Ideally talk to your subject in advance for a pre-interview conversation. If that’s not possible, then do your research and know as much as you can about them before you sit down.
  • Write your interview structure/questions in advance. This gives you a guideline to ensure that a) you hit all the beats and don’t miss anything and b) stops you veering off track. Of course, things may change in the interview, but that list of questions acts as your guide and will keep you from losing your way.

Start Light

  • This may seem obvious, but when you have a lot to cover in an interview and perhaps a short amount of time to get it all done, it can be tempting to get in to the heavy or core of a story straight away. This is not a good idea. Let’s face it an interview is a pretty unnatural situation. I always find it’s a good idea to have a chat off camera first, kind of outline what’s going to happen but generally just put them at ease, so they feel comfortable talking to you.
  • Once you begin the interview, always start with the light topics, who they are, where they’re from, their background, growing up etc. No one tells a story by going straight to the middle of the book, you need an introduction to ease in.

Sentence Structure

  • Always get the person to answer your question in a full sentence. The interviewers voice is rarely used. If you asked where a person grew up, if they simply answer ‘Denver Colorado’ there is no context for that answer or what you were asking. The person being interviewed needs to incorporate what was being asked in their response e.g. I grew up in Denver Colorado.

Stay Silent

  • A little less natural, but as you listen to what the person you’re interviewing says it’s important for you to remain silent. You need the audio of the interview to be clean. Thankfully, you can convey a whole range of emotions through your face without making a sound. Using your eyes and facial expressions you can easily nod, shake your head, be sympathetic, be surprised, laugh, but all without sound to encourage the person you are interviewing but not messing up your audio recording.

Be reactive and flexible

  • Often even with all the research and pre-chat before the interview starts, sometimes they just don’t go the way you expect them to. Maybe the timeline is different than you thought, maybe the person doesn’t feel the way you expected, maybe the person doesn’t want to talk about something you were hoping would be the heart of the interview, it happens. The key here is being reactive, being able to work around the hurdles, find a different story or change the direction of what you hoped to get and adapt to the new facts.

Engage and be empathetic

  • An interview shouldn’t just be a list of questions. It’s essentially a conversation. Don’t ask a question to hear an answer and then simply ask the next question on your list. React to the response, maybe it sparks another question, maybe it brings up something you never thought of, ‘hear’ what the person being interviewed says and respond to it, offer empathy, offer sympathy, ask more questions that feel natural. It’s important to remain human and imagine how it must feel for the person you’re talking to, give them space to feel and show that emotion within the interview

Respect

  • Respect the story, it’s someone’s life. Whether you are shocked, saddened, or find it funny, it’s important to respect the story and allow the person being interviewed to tell it their way in their words.

Pacing and Space

  • Don’t rush! This is both for the success of the interview and for post. Always allow room and space at the end of each response for the person to complete what they’re saying or feeling and for your editor to have a clean end before your voice starts again.
  • It’s also very important to allow the person you’re interviewing to talk at their own pace. If they clearly think something is funny, let them laugh, if they are super sad and start to cry, give them room to cry. You can of course be empathetic and sympathetic, but this is where you have to go against natural instincts a little. It may feel uncomfortable but it’s real and it allows the viewer at home to connect with the person.

Obviously there a so many variables when conducting an interview and no two interviews are the same, but ultimately an interview is a carefully crafted conversation where the interviewer is in control but the person being interviewed is still being given the opportunity to speak freely and honestly.

The best way to get better at TV reality interviews? Work in the field but ALWAYS work in the edit too. This way you can see precisely the mechanics and process of how the interview becomes the one-minute piece on TV. The best producers are those that work in both field and post, no question. Oh, and practice, practice, practice; like with anything, the more you do it, the better you will be.

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Production Designer Elisia Mirabelli creates new worlds through her artistic eye

For Canada’s Elisia Mirabelli, Production Design is an element of acting, inhabiting another person, stepping inside of their world, and feeling their story. Each time she begins a project, the seasoned production designer tries to imagine herself as the character whose space she is creating. She asks herself why each object in the space remains there, the history behind it, the psychology of how and why a space is divided the way it is. How much time has been spent there? Who a character lets into their space? What it looks like if their alone in it vs what it looks like if a friend is over? She maps out a life in artifacts, creating backstory, revealing loves, interests, experiences, peeling back another layer.

“Production Design for me is really designing and shaping the insides of a person outwardly. In a practical sense, production design is the construction and creation of a film’s overall look through its set and prop design,” she said.

Mirabelli has a decorated resume, with esteemed projects such as Night Owl, Pretty Thing, Let Me Down Easy, and many more. She has created the background for celebrated music videos and popular commercials and collaborated with some of Canada’s biggest networks.

A highlight of Mirabelli’s career came in 2013 when she did the production design for the prolific network MTV. Working with Bell Media and MTV Canada, Mirabelli designed the promo spot MTV #IN24, a collaboration between FORD and MTV promoting MTV’s new cross-platform series #IN24. It aired domestically across the country on MTV Canada and online at MTV.ca and was winner of the 2014 Media Innovation Awards and also received the Silver Award from Best in Cars & Automotive Services.

For the commercial, Mirabelli designed an indoor forest equipped with real foliage, taxidermy and textured dirt flooring. She and her team built the forest set around the Ford Fiesta. The set included a pathway for actors to dance on and a green screen backdrop for day and night simulated VFX.

“Working with MTV was always a dream of mine. It’s such an iconic production company with a history in creating unique, youth focused, genre pushing content. Additionally, the task of designing and creating an in-studio forest set was super exciting. Designing for a company as iconic and groundbreaking as MTV was a career milestone,” she said.

Mirabelli’s time with Bell Media was filled with exceptional projects. She did the production design for a commercial for CP24, a Canadian news network that reaches more than 3.1 million viewers a week and 3.7 million in all of Ontario. The commercial CP24 Moving at the Speed of Your Morning aired nationally on CP24. It went on to win the 2017 Promax Promotion, Marketing and Design Award.

When working on the commercial, Mirabelli refitted an outdated living room with new furnishings, lighting and small props and set accessories to make the location feel more modern, fresh and bright. She built five custom, faux LED screens that were set in each of the four locations. The LED screens played a pivotal role in the promo as they acted as the transition between scenes, with the camera travelling in and out of each of them. Additionally, her team managed the food styling for forty plus extras.

“The opportunity to create and work on a commercial for CP24’s morning show was really exciting. CP24’s morning programming brings in millions of unique viewers a week, so it was really incredible to work on something knowing that it would be reaching such a large audience,” said Mirabelli.

That same year, Mirabelli also worked with The Space Channel on their holiday programming, creating the commercial Spacemas and highlighting The Doctor Who Christmas Special. To do so, she designed a string of sets that replicated a collection of unique living rooms, fitted with holiday décor. The main set included a 14-foot Christmas tree that sat next to a scaled replica of the Doctor Who Tardis, brought in for the shoot from outside the province. The promo relied heavily on its production design and the ability to design a string of living room sets all captured during a single day of shooting. It went on to receive the 2017 Promax Promotion, Marketing and Design Award: Channel: Holiday or Special Event Spot.

“Space Channel is known for creating content that’s wonderfully lively and ultramodern, an ode to its fantastical programming. Working with props from the BBC’s ‘Doctor Who’ series was a real thrill. Additionally, working with the creative director of The Space Channel was awesome and I’m such a fan of his originality,” Mirabelli described.

Once again in the holiday spirit, Mirabelli worked on Christmas commercials for Gusto, Bell Media’s speciality food channel. The set of commercials launched Gusto and was their first national holiday campaign, an opportunity that excited the production designer. After the commercial series, Gusto was nominated for International Channel of the Year at the 2016 Content Innovation Awards. It aired domestically across Gusto’s sister channels (34 channels total, including The Discovery Channel and TSN).

To create the commercial, Mirabelli built a winter wonderland themed set equipped with half a dozen 8-foot-high white trees, 250 presents, a snow machine, teal lights and custom-made glass ornaments spelling out the names of the program’s hosts, which included Jamie Oliver and Martha Stewart. They were able to design and build two unique, modernized Christmas sets that completely distinguished the promo in an ever-crowded market of holiday programming, which was no easy feat.

“Reimagining the look of a holiday promo into something fresh, modern and cool was fantastic,” Mirabelli said.

Undoubtedly, Mirabelli will continue to be a formidable force in Canada’s film and television industry. Keep an eye out for her work.

 

Written by Annabelle Lee

Go behind-the-scenes of Korean hit ‘The Society Game’ with TV Exec Dan Cazzola

For Dan Cazzola, a career in television was always what intrigued him. He never had a back-up plan, and never needed one. Starting out as a producer, he found his calling, as every day he was doing something different and meeting new people; every day was a learning experience. Overseeing every aspect of a show, from beginning to end, was exciting to this Canadian native, and as a producer, he brought shows to success in both his home country and internationally.

Cazzola has now moved on from producing just one show and is currently the Vice President of International Development for Endemol Shine North America, the world’s largest television production group. Working on the corporate side allows him to lend his talent to a variety of current and upcoming shows. Having previously worked for Shine Group in the United Kingdom, he brings years of experience to his role.

“I worked with Dan over many years at Endemol Shine, and he is one of the hardest working people I have ever met. He continuously strived to make every single project we worked on top-notch, and always managed to succeed. On top of all this, he is an extremely positive force in the workplace, always encouraging everyone to do their best work. He is a leader, and I am happy to also consider him a friend,” said Fotini Paraskakis, Managing Director, Endemol Shine Asia.

One of Cazzola’s largest successes abroad was with his work on The Society Game, a South Korean reality TV series, which he co-created. The format was similar to Big Brother, where contestants are isolated from the outside world, but instead featured two teams competing against each other with the twist that one side had to live as a democracy and the other a dictatorship. It was a social experiment to see which society was more effective and which types of leaders would rise to the top and win the game. The show premiered on TVN in October 2016 as their tenth anniversary special series where it was extremely popular and was picked up for a second season.

When creating the idea for the show, Cazzola tried to think of a format that could take place in Korea but resonate with other countries. While brainstorming, he asked himself, what is something many people associate with Korea? His answer was the North and South divide. This is when inspiration struck to have a reality competition show with one team representing dictatorship and the other democracy to see which was ultimately better.

“My favorite thing about working on this project was that we actually shot it outside Seoul close to the border of North Korea. It was a constant reminder that the show we were filming actually was real life for these two countries. We would see the military helicopters flying over every morning and night and the rugged mountain range that we could see in every aerial shot was the physical barrier between us and the DMZ,” Cazzola described.

TV, as Cazzola says, is a universal language. However, its development greatly varies around the world. The Society Game was Cazzola’s first experience with the Korean market and television production in the country. Not only were there language barriers to overcome, but processes were different than what Cazzola was accustomed to. This provided a pivotal learning experience for Cazzola, who at the time had only worked on television programs in Europe and North America. Cazzola and his team set many strict targets and made sure everyone knew exactly what the plan was. In the end, they developed, filmed, and aired the show all within a mere nine months.

“I loved that I not only got to work on an exciting new reality format idea but that I learned all about Korea and how they make TV there. So much of TV can be inward facing and the best part of my role was that I learned how it all comes together there. I learned new ways of doing things and also saw great creativity from the team there. I had a huge amount of respect for them,” said Cazzola.

The Society Game was a large success for Cazzola, as it was his idea that sparked the hit. Now it is a successful format currently being adapted to sell around the world, and Cazzola’s understanding of various markets are one of his greatest assets when scoping out international formats for American television.

Tips from the experts: Supervising Producer Jonathon Ridgard

My name is Jonathon Ridgard, and for over ten years, I have been working as a successful television producer all around the world, predominantly on prime-time entertainment shows such as The X Factor, American Idol, Got Talent franchises, Undercover Boss and Dancing with the Stars. As a Supervising Producer, I am responsible for leading teams of producers, associate producers and production assistants to create great television shows. I have worked on many leading entertainment formats around the world, in the US, UK and Australia, for networks such as NBC, ABC, FOX, BBC, ITV, Network Ten, and more.

No two jobs are the same; no two days are ever the same. To thrive in this industry and have a successful career, you will need perseverance, commitment, and to be prepared to put in a lot of hard work. It certainly isn’t an industry that nurtures the bewildered – you’ll want confidence to work on your skills, experience and contacts and not be afraid to work from the bottom up – with no ego.

Here are my tips, insight, and advice on what it takes to get into television and become a successful producer:

STARTING OUT – PRODUCTION ASSISTANT

My biggest advice to those starting a career in television is to start at the bottom. Irrespective of whatever degree you got in university – leave the ego at the door and learn your craft from the ground up. As a production assistant, you will get to work in every department on a show, work with equipment, and get a real insight into what life is like as a producer. Don’t be afraid to ask questions or ask for advice. Showing a keen interest and being pro-active with your role will only make you stand out to a producer. But remember, choose the right time to ask those questions! Approach every single task, however big or small, with enthusiasm as if your life depended on it. Do the coffee run, make perfect notes, anticipate the needs of your producer and you will be off to a good start.

WATCH TV / HAVE IDEAS

One of the things that I am always surprised at when speaking to people starting out in television is the amount of time they spend watching TV – or lack of. It is so important to watch TV, films, commercials, music videos, short films – anything that might give you inspiration. Mark Twain once said, “There is no such thing as a new idea”, but what a successful producer can do is look at and take inspiration from what they see around them. I have drawn so much inspiration from the stuff that I have watched, adapted it and created something myself.

Constantly make a list of your ideas, whether it’s for a new type of show, a segment of a particular type of show, an interesting game or a particular shot that you liked. You will never know when that might work.

BE SOCIAL

I can’t stress how important it is to get to know as many people as you can, especially in the first few years of your career. Making connections is the key to success in the television industry. Jobs are rarely, if ever advertised. Most people get jobs through word of mouth, reputation and recommendation. So being a strong, creative worker with a good network is definitely an advantage. I haven’t had a ‘job interview’ in seven years and I have worked consistently. All of my work is through recommendations and network executives or executive producers reaching out and wanting me.

And finally…

ENJOY YOURSELF AND BE NICE

Working in television should be a fun, creative experience – remember that, even when things get stressful. This career has given me the opportunity to work and travel the world, meet some of the most interesting people and have the most amazing, life changing experiences – take a moment to take them in.

Remember, always be nice. It’s very easy to develop an ego in this industry, but the one thing I always remember is while it’s nice to be important, it’s important to be nice.

 

Jonathon Ridgard is currently working on the newest season of American Idol, premiering March 11th on ABC.

Ask an Expert: Executive Producer Ed Egan provides insight and advice

I’m Executive Producer Ed Egan, and for over 15 years I have worked in the television industry, becoming recognized as one of the leading game show producers in the world. As Executive Producer, I am responsible for leading teams who produce great television shows, but I am also tasked with developing new ideas to create formats which have the potential to sell all around the world. I have worked on many leading gameshow formats around the world, in the US, UK and Australia, for networks such as NBC, ABC, BBC, ITV, Network Ten among others.

Gameshow formats are notoriously difficult to crack and small, seemingly insignificant tweaks can have profound repercussions if they are not discovered through intensive gameplay testing. The last thing you want is to discover a flaw whilst filming a show, as there can be millions of dollars at stake. This is why an experienced Executive Producer, who can put together a strong team, is vital in the production of any new format. I have become well known for working on pilots and first seasons for my ability to tweak gameplay and iron out any potential problems that could arise.

I believe the most important role of an Executive Producer is to lead a team in a way that ensures every member provides their best possible work on a production and feels valued in what they are making.

Here are my quick tips to leading a production team to produce the best shows possible:

Choose the right team

It all comes from having a great team. Not only does it make your life as an Exec easier, it also makes the best product. Meet lots of people and spend time interviewing them. Some people give great interviews, and some don’t, but it’s important to make a distinction between those that can talk well and those that can actually do the job! Make sure to always check as many references as possible. Personality is also important though, as the people you are employing are going to be a team and will need to work well together. Finding a good, balanced mix with strong abilities is the key.

Stay in contact with people you’ve worked with.

It’s important to know what the availability is of people you like that you’ve worked with previously so that you can plan for when productions begin. Sometimes it can take weeks to get a full team on board and the more aware you are of who is and isn’t available at all times, the better prepared you will be.

Note down ideas

Keep notes in your phone when you see something you like or that inspires you. A film, another television show or even the design of a restaurant you happen to be in – if there’s something visual you like it may be useful in a show at some point. Commercials are often very useful starting points when trying to explain your vision of a project to people for the first time. Also, keep notes on possible talent that you see, whether this be TV, film or theatre, as you might want to use them in the future.

Enjoy it

We’re very fortunate to work in a creative industry that often affords us the chance to go to exciting places, meet interesting people and we get to be creative. Enjoy it, encourage it in others and aim to inspire those who you are working with. They will be running teams in the not so distant future, so try to set a good example.

Believe in yourself

Like so many other Execs, we question ourselves and our abilities all the time and that’s not a bad thing. But, you are at the level you’re at for a reason, so make those decisions and stick to them. It’s important to remember that at times, especially when the going gets tough.

And finally…

Work hard and be nice to people!

British Actor Pezh Maan captivates in award-winning French series ‘The Bureau’

Pezh Maan in The Bureau (2016)
Pezh Maan as Houtan Vosoughi in The Bureau

Pezh Maan did not choose to become an actor. For the British native, it was instinctual, similar to waking up each day and going to bed every night. There was never anything else he imagined himself doing, and as a child, he never wondered what his future would hold, he knew. He has always listened to his heart and believes that when one lives by such a rule, success will always follow. It definitely has for Maan, who has become a sought-after actor in the United Kingdom’s film and television industry.

Audiences around the world quickly became enamoured with Maan when he played the Chief Analyst and right-hand man to Christoph Waltz’ Blofeld in the 2015 James Bond movie Spectre. He is also recognized for his outstanding work in the television shows Eastenders and Tyrant. His film Unattended Item went on to critical acclaim, and there is a lot of buzz around his upcoming television series, Deep State, starring Kingsmen’s Mark Strong and Game of Thrones’ Joe Dempsie, which premieres on FOX this Spring.

“I think what I do as an actor is interpret the words of the writer and turn them into all the facets of the living breathing human being that I am being asked to play. I get into the skin of the character whilst still being myself with all my own emotional responses. When the character is somewhat at odds with my own experiences, imagination can come to one’s aid in creating a way to relate to the character. Imagination is the lifeblood of actors’ work and interpreting the text is an imaginative endeavour, and an extremely rewarding one for me,” he said.

Maan’s versatility is endless, and as a multilingual actor, his work in other languages has led to success in countries outside of his home of the United Kingdom. In 2016, he starred in the French television series Le Bureau des Legendes, translated to The Bureau in English. The series went on to become a hit with not only audiences, but French critics as well. At the COLCOA French Film Festival, it took home the TV Series Jury Special Prize and the TV Series Audience Award. At the French TV Critics Association Awards (A.C.S.), it won Best Production. It also won Best French Series at Le Parisien, Best French Series at the Globes de Cristal Award, and was in the Top 10 Series at Télérama: Top 10 Series.

“I think knowing that the season was such a success gave everyone confidence that their ideas could only build on the quality that had already been established. I’m very proud of the work that we did, and it is a great feeling to be part of a universally lauded show. Despite what people say, good reviews and accolades are validation of a standard that you hope to achieve, the excellence that your hard work is aiming for. And it is satisfying that audiences and critics alike have responded to the elements that we worked to create for them. As an actor who is always learning, it gave me some very valuable feedback, especially as the performances were singled out for praise. It validated some of the bolder creative choices I made and that the Director had the bravery to include in the final cut,” said Maan.

The show, now in its third season, is a spy thriller directed by Eric Rochant for Studio Canal +. The Bureau is based upon real accounts by former spies and inspired by contemporary events, and centres on the daily life and missions of agents within France’s Directorate-General for External Security, its principal external security service. It focuses on the “Bureau of Legends”, responsible for training and handling deep-cover agents (operating ‘under legend’) on long-term missions in areas with French interests, especially in North Africa and the Middle East. Living under false identities for years, these agents’ missions are to identify and recruit good intelligence sources.

Maan played Houtan Vosoughi, an Intelligence officer charged with investigating and arresting foreign agents who have penetrated Iran. He has a wife and family who were oblivious to the danger and risk he was facing in his everyday role. As such, he was capable of leading multiple lives successfully without disturbing any of the delicate balances of each, all while still maintaining his sanity. He was a man capable of extreme violence, which was kept very deeply hidden behind an impassive exterior and a sense of decorum. He was a skilled communicator and could use words as weapons to disarm his opponents and reveal information without needing to resort to violence. He was also very self-confident in being able to handle people who were not trustworthy but had vital intelligence. Maan’s character was pivotal to the success of the second season of the show. He was the man who put all the pieces of the puzzle together that had been accumulating as the episodes progressed and discovered double agents that had infiltrated security. Through a series of cleverly crafted scenes and after interviewing a number of suspects he was able to make the arrests that lead to the series climax.

The arrest of Sara Giradeau’s character, Marina, was a pivotal moment in the story that created a climate of fear about the severe consequences that awaited her and her colleagues. Houtan’s arrival in the story as a dark horse and sinister figure was timed to escalate the tension that had been mounting and his quiet probing into the activities of the protagonists, aided by a wonderfully nuanced script, served as the catalyst for the exciting climax.

Maan has been a fan of French Cinema for quite a while, and when the opportunity to audition for the show came about, he eager to partake. After reading for multiple roles, Maan was chosen by the producer for the essential role of Houtan Vosoughi. The producers knew of the actor’s work in Spectre and they wanted to imbue the character of Houtan Vosoughi with a similar kind of cutting edge mentality.

“I watched the first season of The Bureau and was very impressed with the economy of style and the cinematic pace that gave the show a very unique atmosphere akin to some of the great cinematic thrillers. It was brilliantly acted, and I wanted this show to be my first French language production,” he said.

To prepare for his role on the series, Maan studied the first season, making sure to pick up on the details and nuances of the atmosphere, characters, and style of the show. From there, Maan created his character off the pages of the script. He decided Houtan’s actions would be expressed through stillness and facial expression as much as possible, keeping in line with the intelligence operatives holding multiple cards close to their chests. Maan also wanted to generate a lot of tension in the investigation and interrogation scenes, with the idea that he was leading the audience closer to the danger and intrigue of the plot. He executed this to perfection.

Maan also studied similar American shows, such as 24, stylizing his character similar to Jack Bauer. By doing this, he noted the subtlety of the acting and Keifer Sutherland’s ability to portray level-headedness in high stakes scenarios. Maan used this as a reference to find the right tone for his character. He also watched a lot of old crime thrillers in the French language and worked with a dialogue coach to bring out the nuances of the language.

One of the highlight of the experience for Maan was shooting in Morocco, where most of the scenes take place. Not only did it feel authentic, he says it is one of the most beautiful locations he has working in throughout his career. The other highlight, of course, was working with such a tremendous team.

“Working with so many experienced and talented artists was an exciting challenge that definitely motivated me to produce better work. It was such a collaborative experience on set with cast and crew which brought out the best in all of us and the atmosphere was a really lovely one to work in. The level of detail that concerned the Director, Camera team and fellow actors brought a high degree of excellence to the ambition of the project and one that was artistically very satisfying to be part of,” said Maan.

Be sure to watch the second season of The Bureau to witness Maan’s stellar performance as Houtan Vosoughi.

Pauler Lam talks dancing on ‘Steady Mobbin’ and pursuing what makes him happy

It doesn’t feel like that long ago for Pauler Lam that he was working a 9-to-5 in the corporate world. He found that each day sitting behind his desk ate away at his soul. He was working for a pay check, but it wasn’t what made him happy. Then, five years ago, he decided to take his hobby of dancing, which he spent 16 years training for, and transform it into his full-time career. Immediately, he felt a shift in his outlook on life. He was happy, doing what he truly loved. This joy he feels from dancing is contagious, and those who watch him perform, whether live or on television, feel it too.

With an impressive career working on television commercials, Buzzfeed videos, live performances, and various television shows, Lam has become a sought-after Breakdance and Hip-Hop dancer. Originally from Australia, he has taken the American dance industry by storm, and recently was the principle dancer in two national commercial campaigns: one for Hotel Indigo, and the other for American Crew. In both instances, his talents as a dancer and performer are enthralling, grabbing audiences’ attention around the country.

“I am a very driven person who only does what I know will ultimately make me happy and allow me to bring others joy and in turn, give back to the universe. This for me is dance,” said Lam.

One of Lam’s first breakout professional dance roles in the United States was on the television show Steady Mobbin. The series highlights diverse groups of dancers performing various flash mob styles in major cities, empowering the audience to bring out their inner dancer. The surprise element of the flash mob serves as a reminder that art, in this case dance, is all around us in everyday life.

“I loved that the show was about dance. The dancers were the star of the show, not just in the background. The producers understood how important and amazing dancers are and wanted to put us in the spotlight,” said Lam.

The production on the show began in September 2015. In that first season, Lam was featured in episodes 3, 4, 5 and 6. Each episode took a week to film, including rehearsals. Steady Mobbin premiered on The Dance Network both in the United States and worldwide in February of 2016.

As well as being a principle dancer, Lam was also given a feature in an episode where he was interviewed. He was able to explain his background in dance and provide his back story to the viewers. He also had a solo dance moment where he was able to showcase his breakdancing skills.

“It feels amazing to know that people everywhere are able to see me do what I love. It is great exposure for myself as a performer and entertainer in the dance industry. I truly feel blessed to be able to be a professional dancer and the fact that I can do it for a living and put my work out there for the whole world to see is indescribable,” he said.

When Lam first went to audition, he made an error that he now considers to be his saving grace. At the time, he had misread the audition details and went to the venue a day early. No one was there. and it made him very feel very inexperienced as he was new to the industry in those days. However, his mistake actually helped with his nerves, and when he returned the next day all of the initial fear he felt the day before had vanished; he had time to settle down and laugh at himself. When he came back the next day and auditioned, he impressed the Director, Aaron Mostow, as well as the well-known dancer/choreographer Suze Q (known for dancing with the celebrated pop group The Black Eyed Peas) who was running the auditions. While performing, Lam displayed his vast skill and versatility. It was only a week later when he was booked for lead role in the show.

Quickly noticed during the audition process for his unique ability to perform hip-hop choreography as well as bust out exceptional breakdance moves, Lam was essential in the creation process of each episode. In order for the choreography pieces to have a dynamic and recognizable moment, he was frequently featured doing a flip or a trick for the episode’s “wow moment”, keeping the audience captivated. Usually a Bboy would not do the choreography and stick simply to breakdancing, but Lam was able to do it all and help create flawless pieces and smooth transitions for the choreography, and ultimately, the show’s success.

“Pauler is one of the most skilled and versatile dancers I’ve ever come across. He can do Hip Hop choreography and breakdance. That’s a very rare thing for a Bboy to be able to do choreography too. So, I knew right away after seeing him at the audition that he would be perfect for my show. We featured him on an episode and he absolutely killed it in his solo with his crazy tricks and flips. He was so easy and fun to work with and I would love to work with him again,” said Director Aaron Mostow.

Because the show focused on dance, and everyone involved had dance experience, Lam was eager to be part of this experience as one of the first major projects of his career. While on set, he made sure to stay focused, adapt easily, and be professional. Despite the challenge of having to learn many pieces of choreography in a short time frame, with cameras pointed at him and producers watching, Lam shone in each number. Working on the show truly exposed him to working under pressure, something that is common in the industry, and he quickly learned how to excel under such conditions.

“I am, and will always be, very grateful for this opportunity. The other dancers on the show were really fun to work with. Everyone was happy to be in rehearsal and on shoot days. I made some of my first proper LA friends from this show and am proud to still be good friends with them today. I was able to showcase my skills and versatility as a dancer for the first time in the Los Angeles dance industry. I’ve come a long way since then and will continue to push and grow further as a performer. And a special shout-out to Suze Q, Aaron Mostow and all the other dancers from Steady Mobbin,” said Lam.

Being able to showcase his skill on television earlier on in his career opened many doors for Lam, and he is extremely humbled by the experience. Since being on the show, he has become an in-demand dancer in America, with no plans on slowing down. His journey reaffirms that pursuing his dreams full-time was the right choice, and he has never looked back.

I know that this is what I am meant to be doing and truly believe that I am in the right place. I will continue to push myself in this industry to achieve all of my dreams and be the best and happiest version of myself that I can be,” he concluded.