As a Producer, Chandra daCosta wears many hats. She is a manager, financial analyst, filmmaker, and storyteller. It is the latter that she most enjoys in her role and combining creativity with business drives her. Development is a large part of the process, which entails finding interesting stories, people, or cultures, as well as coming up with new angles/spins on ideas that are already successful. In production, it’s all about details, logistics and ensuring things run smoothly and everything is taken care of. DaCosta excels at all aspects of producing, and her talent has led her to being a respected producer in Canada’s entertainment industry.
DaCosta finds herself drawn to the “Lifestyle” genre when it comes to her work, working on shows involving real estate, food, dating, and more. Such projects include Oxygen Network’s A Wedding and a Murder, Global TV’s The Stanley Show, and Animal Planet’s Biggest and Baddest.
“Chandra is a pleasure to work with. She is a skilled negotiator and effective producer. She knows the television industry well and is good at leveraging her many contacts within the industry. She is also a remarkable creative producer. She was the driving force behind Cruise Buzz from both a business and creative perspective in addition to being the on camera host,” said Lori Massini, who worked with daCosta on Cruise Buzz. “Chandra is intuitive and knowledgeable. She brings skills as both a business and creative producer to her projects. She has a sense for what works and doesn’t work and has great ideas for content. In addition to being a skilled producer, Chandra is magnetic on camera and makes an excellent host. Cruise Buzz was a terrific show and I have no doubt Chandra will continue to develop and produce top-notch content.”
It was Cruise Buzz that daCosta calls the highlight of her esteemed career. It was her show; she created it, developed it, found a production company to produce it, and put all the teams together. She was in charge of all the creative and business aspects for the show.
“I remember being on the Windstar cruise in the middle of the ocean and realizing that this was all because of my efforts. It was a real sense of accomplishment because it seemed like we were faced with road block and road block, but I just kept ploughing through. Being on the cruise ship, shooting our pilot episode was epic to me,” she said.
Cruise Buzz highlights the world of cruising, from big ships to small river cruises, all over the world.The premise of the series was “there is a cruise out there for everyone.” daCosta truly believes that. There are so many different types of cruises and itineraries to choose from, and daCosta wanted to show viewers their options. From a River Cruise through China, to the Baltic Cruise on a luxury liner, there is something that can win the heart of any traveler. Whether they want to explore the ports of call or visit foreign ports from the comfort of their stateroom deck. It’s a great and safe way to travel.
“This project was one of the best and challenging projects I’ve ever done. The idea of a travel cruise show was the perfect way to combine my love for travel and TV,” she said.
Every day daCosta worked on Cruise Buzz was an exciting and unique experience. She began with working on the pitch documents, episode ideas and brand integrations. Everyone she approached about being involved was excited about the show.
When she was trying to decide where to shoot the pilot, it was important to daCosta that the pilot episode was shot on a cruise ship that wasn’t the massive passenger cruise. She aimed to find a cruise that had an exciting and exotic itinerary and also show another side of cruising. She ultimately chose the Windstar in the Caribbean, a ship for 300 guests rather than the usual 3000 on large cruise lines. The ship had great visual appeal on camera, complete with sails, and an itinerary that visited ports that were familiar to many travelers, and also some hidden gems.
DaCosta spent almost four years of her life working on cruise ships, and she is extremely passionate about travelling. Being about to share this passion with the world was extremely rewarding for the producer.
“Getting the pilot episode made against all odds was a huge accomplishment. It was such a great feeling to know that Windstar was highlighted in such a great way that appealed to so many different travelers,” she said.
As a Cinematographer, Majd Mazin is responsible for the visual side of a film. It is his responsibility to collaborate with filmmakers to achieve his or her vision and bring it to life, using camera, lighting and movement. He recognizes the challenges of his field, with a lot of responsibility and very little limelight, but he truly loves what he does. He builds relationships with those he works with, making sure a director’s vision is satisfied and an actor’s talent is the showcase of a scene. As a camera assistant, he approaches each new project with the same determination. He is truly a master behind the camera.
“Cinematography is an art form and a technical craft, and both aspects should be balanced and worked on respectively,” he said.
Mazin is a celebrated cinematographer and camera assistant. His work extends to films like The Fat One, web series such as The Millionaires, and music videos for hit bands like Fall Out Boy and Red Velvet. With every project, he aims to make a lasting impression to his audience, which to him, is what filmmaking is all about.
This is best exemplified with his film Prodigal Son. The film tells the story of a closeted gay teenager coming out to a conservative Latino family. Mazin believes it is an important story to be told for LGBTQ teens and their relationships with their families. The lead and writer of the film Juan Felipe Restrepo, had deep connection to the script, as it was his brother’s story, and Mazin took on the responsibility of telling it in the best way visually possible.
“The story of the film is significant to any LGBTQ teen trying to come out to their friends and family. I believe that teens are faced with a very hard choice and adversity. This film helps accompany many of these individuals, reassuring themand telling them that they are not alone in this. By bringing these LGBTQ issues to the forefront, as saturated as that field might be, I believe that it helps bolster the prominence of these issues and makes them feel like they are less on the fringes,” said Mazin.
The film premiered at Warner Bros Studios in Burbank earlier this year. It is still making it’s film festival rounds, but has already impressed audiences all over the world. It won Best LGBTQ film at Festigious International Film Festival, Silver Award Best Drama at the LA Shorts Awards, Best LGBTQ Film at the Los Angeles Film Awards, Best LGBTQ Film at the Top Shorts Film Festival, and was recognized at the Actors Awards. Such success could not have been possible without Mazin behind the camera.
“It is very gratifying to me to know that a project that I invested so much in and worked so hard on, something that I was a part of is getting the recognition that it is getting. In proxy it is reassuring that my work means something and I am making films for people to see, not to sit on someone’s hard drive,” said Mazin.
Mazin came on board during pre-production. He knew they had a very short period of time to shoot, edit and color and release the project, and he wanted to make the most of it. The experience was united with the director and he was given a heavy say in the choice of the visual language. He wrote the shot list with the director, scouted the locations, and hired his crew. Overall, the experience was not only meaningful for Mazin, but also very collaborative.
“I very much enjoyed working with Director Amalia Ramirez. I felt that I was working with a very competent and visionary director. She has provided a comfortable and collaborative environment for me and the rest of the cast and crew. I enjoyed my crew as we worked as efficiently as possible while coming up with innovative ways to attack problems that we faced on the day,” he said.
A cinematographer’s work is essential to the success of any film. Without Mazin’s work, the idea that the director and writer are trying to portray cannot be told in a believable and truthful way. It is his job to not only use the visual language and style, but to make an uninterrupted visual experience that keeps the audience engaged and furthermore, expand on the story and plot. Prodigal Son was no different, and Mazin’s emotional connection to the story just made him that much more determined.
So, what’s next for Mazin? He is currentlyworking on a feature film titled The Keeper. Be sure to keep an eye out for it.
NEVER MAKE A DEAL WITH THE DEVIL, NO MATTER HOW SMALL…
PREMIERING OCTOBER 23, 2018
STREAM INSTANTLY ON AMAZON PRIME
How do you get your soul back after you sell it? You steal it.
LOS ANGELES, CA (October 20, 2018)THE LOST SOUL, a mysterious look into the afterlife follows a man grasping at life and narrowly escaping death. Available now to stream on Amazon Prime. Distributed by Sun and Moon Films, the film is created by filmmaker Jeff Caroli (“BALI: BEATS OF PARADISE”).
The Lost Soul is a fantasy mystery film that has been screen all around the world. The premiere was held in New York City, USA. Since, it has been screened both in Europe and Africa. The film was nominated for best cinematography for Jeff Caroli.
Jeff Caroli is an accomplished cinematographer. For the past 11 years Caroli has been a cinematographer and has garnered millions of views on Youtube.His works include “Queen of the Hill” a music video starring Grammy award winner Judith Hill and the upcoming feature films, “Bali: Beats of Paradise” and “Insight”.
ABOUT SUN AND MOON FILMS:
Sun and Moon Films is a US-based production company producing films locally and internationally. The company has produced in the US, China, Indonesia, and Thailand. Sun and Moon Films has had theatrical distribution as well as screenings in various film festivals around the world. The company’s film Bali: Beats of Paradise is premiering at the Academy of Motion Picture Arts and Sciences in Beverly Hills, November 7, 2018. Upcoming projects include Insight, starring Madeline Zima, Tony Todd, Keith David, and Sean Patrick Flannery.
British actor Missy Malek is a remarkably self-possessed artist, one who takes her craft so seriously that even as a teenager she aggressively pursued a life in acting. Becoming a member of the renowned National Youth Theatre of Great Britain, Malek’s dedication and natural skill allowed her to reach an elevated level of creative theatrical expression starting when she was just 14. Adept at manifesting vivid, wholly identifiable characterizations, the multi-faceted Malek is so driven that after completing the script for her award–winning 2017 short Laughing Branches, she felt compelled to personally oversee almost every aspect of the production.
“I didn’t actually intend to write, direct and produce it, but that’s exactly what I ended up doing,” Malek said. “I had a clear image in my head of what I wanted it to be like and didn’t see any reason why I shouldn’t go ahead and direct it myself.”
The offbeat project, starring Tom Hanson, Leo Suter and Malek, is an engaging, philosophical comedy-drama with a fantasy/sci-fi twist, and relates the stories of two struggling actors who contemplate—and live out—alternative futures both together and apart.
“It was obviously really challenging—I had no directing experience whatsoever,” Malek said. “But my cinematographer, David Raedeker, and my co-producer, Oliver Page, really guided me. Tom is also a really amazing actor, so he made the acting side of directing much easier. It was a very collaborative process.”
Malek’s sure-footed ambition and audacity gave Laughing Branches a unique depth, one rooted in a very personal experience.
“I came up with the idea at a time in my life where everything seemed to become a lot more ‘real,’” Malek said. “I was barely out of my teenage years and I, along with all my friends, suddenly realized that the choices we were making were very important and would have an impact on the rest of our lives. As a result, I found myself panicking, questioning every choice I was making and tried to control my future as much as I could by not allowing myself room to make mistakes.”
By the time she completed the script, written at Oxford University where she was studying philosophy, the unusual concept had grown into a thoroughly engrossing premise.
“’Laughing Branches’ is primarily about the anxiety of being young and ambitious, incorporated with a philosophical theory about infinite universes that have always fascinated me,” Malek said. “I’ve always been attracted to mind-game films that have an element of groundlessness and irresolution, yet still maintain a sense of heart and lightness.”
That twist of cosmic fantasy enabled Malek, who divides her time between hometown London and Hollywood, to really challenge herself as an actor.
“Out of all my film work, my character in Laughing Branches probably had the most range,” she said. “The element of parallel universes in the film means she goes through so many vastly different outcomes and we get peaks into the most dramatic and intense moments in those universes, so there was quite a lot to do.”
Malek’s training and experience provided an ideal context for such far reaching perspective, particularly her rich resume of live theater— at the Chelsea Theatre, she played Beatrice in Shakespeare’s ‘Much Ado About Nothing’ followed by Brecht’s ‘Caucasian Chalk Circle,‘ and, at the Burton Taylor Studio, in ‘The Lesson’ and as lead character Myra in ‘Deathtrap,’ along with ‘Cat on a Hot Tin Roof” at The Simpkins Lee Theatre—affording her the skill to craft a persuasive series of tangible personae imbued with the full spectrum of nuance, traits and emotion as her character caroms through disparate scenarios.
“I wanted to convey the message that if you’re an ungrateful person, you’ll always look at what you don’t have and nothing will ever be enough,” Malek said. “If you’re miserable in one universe, there’s a high chance you’ll be miserable in any universe. On top of that, I wanted to show how as much as we may try to control our future and make the right choices, it really isn’t possible to do that. There’s nothing you can say and no way of intellectualizing things that will make you happy. Happiness is a perspective.”
Reaction to the film brought everyone involved a great deal of happiness—it took multiple awards at festivals around the globe, taking the Best Short awards at the Mexico International Film Festival, Lady Filmmakers Film Festival and Key West Film Festival’ best short awards and the IndieFEST Film Awards Award of Excellence for Malek’s performance as leading actress.
“The IndieFest award I got for my acting was a huge honor,” Malek said. “Because, at times you really don’t like my character, she can be really vindictive and has a lot of anger and conflict in her. But despite that, at other times you do empathize with her.
Personally, the most rewarding experience of making the film was the confidence it gave me. To receive such a positive response from people high up in the industry meant so much. It’s a big step forward in an artist’s career to get that reassurance, to have people say ‘you’re good, keep going.’ That was the most rewarding thing.”
Nestled at the very back of a darkened stage, a band’s drummer is probably the most overlooked and least romanticized member in the band, and yet it remains that they are the most integral part of the entire act. Responsible for keeping the beat, a drummer must act as the metronome for the whole band while also generating magnetic charisma and displaying an original and refined technique to excite the audience. World renowned drummer Zhenya Prokopenko does just this – and he makes it all look easy.
Originally from Russia, Zhenya grew up with a deep love for music. As his studies in music became more refined, so did his love for the drums.
He explains, “The first thing you hear when you listen to any modern track is a drum beat. You just can’t miss it. It’s powerful, loud and beautiful to me.”
A student of Belgorod State College of Culture and Arts, Zhenya has studied privately under acclaimed sound producers, but attributes still some of his success to the simple element of rehearsal. “No one can practice instead of you,” Zhenya says. “The most effective training for your growth is daily practice.”
Zhenya playing with his band Drumcast shot by Anna Ulianova
When most people think of Zhenya, they first think of his widespread success in Russia, particularly with his pop-punk band Velvet, which quickly became a household name in 2008 with their unforgettable hit songs ‘Follow You’ and ‘Beat the Drums!’. Velvet gained attention on the airwaves and by the summer of 2009 the band was in frequent rotation on every major radio station. Radioplay soon turned into televised concerts, and the bands popularity grew astronomically.
In fact, since its inception, Velvet has released three chart-topping studio albums, four unforgettable singles, a live concert album, and eight cinematic music videos. Two-time winners of the Golden Gramophone Award, Velvet was also awarded multiple times at the Song of the Year festival, and named as Best Pop Rock Band in Russia at FUZZ Awards in 2008 and again at the RU.TV Awards five years later.
While the success of the band can be deservingly attributed to each member, it is important to look at Zhenya, the backbone of the group, as a critical part of the equation. Not only a session member of the band, he is also is the band’s studio musician and the co-author of the rhythm section of the music. Zhenya brings a fire and energy so radiant that even the most aloof person in the crowd can be caught tapping their foot.
“The drummer should be the anchor of the band, the reliable reference for others, the most experienced member of the band,” Zhenya maintains. “The rest of the musicians have to depend on you for every aspect of the song– tempo, volume, expression, structure, energy. So, a good drummer is a team drummer who knows that. You need to be professional and willing to work hard. You need to leave your ego and selfishness aside, and put the music first.”
In Ukraine Zhenya also served as the drummer for singer and actress Valeria Kozlova’s solo project, Lera Lera. Kozlova put herself on the map drumming for the rock band Ranetki, which gained such popularity it became a TV series of the same name. Soon, she and her bandmates became idols to young girls across Russia, Ukraine and other ex-Soviet republics. In 2008, Kozlova received the People’s Prize of Ukraine, the Telesvezda, in the nomination Opening of the Year. She then went to form her own solo project, where she recruited the talents of Zhenya. With Zhenya on drums, they released their 2010 debut album “Give me a Sign”, which gained such notoriety that it was acknowledged as one of the best albums of the year and took 6th place at the Russian Top Awards and Kozlova was named Singer of the Year by the music TV channel RU.TV. As drummer and rhythm co-writer, Zhenya helped carry the band to remarkable success with his impeccable timing, brilliant technique, and impressive stamina.
Both Velvet and Lera Lera were undoubtedly lucky to have Zhenya backing them on the drums. His signature feel for the music combined with his identifiable groove sets drummer Zhenya aside from the rest. A truly diverse and technically studied professional, Zhenya could surely sit behind any drum set with almost any band of any style and create a memorable, natural and flawless beat.
While Zhenya is an incredibly intelligent and talented musician, his humble heart is quick to remind us that no one can be measured by his or her own talents alone. He offers the kind reminder, “You are not a person, you are part of something bigger, part of the team.”
Jie Meng is consistently fascinated by his craft. The power of visual effects, to use different algorithms and physics theories to recreate something natural, or even create something that does not exist in the real world, is enchanting to the Chinese native. With a creative imagination and a deep understanding of computer science, an FX artist can create anything, turning fantasy into reality.
“With different algorithms and techniques, FX artists can do a lot of research and develop all different kinds of effects. As an FX artist, I also enjoy coming up with my own algorithms and methods to create new effects elements when I am at home. I feel I can create anything in my mind into the CG world, which is super fun to me,” said Meng.
Meng is an internationally sought-after visual effects artist, having contributed to blockbuster films, iconic video games, and prolific commercials. Earlier this year, audiences were enchanted with his work on the record-breaking film Avengers: Infinity War and the successful TV movie Freaky Friday, just as they were previously with Captain America: Civil War and King Arthur: Legend of the Sword. He is also recognized around the world for his work on video games, including Call of Duty: Black Ops III and Quake Champions.
Despite such success, Meng calls the highlight of his career his work on Marvel’s hit Guardians of the Galaxy Vol. 2. He worked on countless shots and different kinds of effects elements in several sequences, designed and final locked over a hundred shots in only a couple of months, and finally, saw recognition for his work from the Academy with an Oscar nomination. The moment he saw his name in the movie credits, he knew that all those late nights have paid off.
“This is a milestone film project for me. It was my first time designing a procedurally generated CG environment in the film production, and it was my first time working so closely with other CG departments. I was inspired by all different artists around me, from their hard work and how they think and solve problems. There were a lot of late nights in this film project, but I was fully charged every morning, and just could not wait one second to keep working with my VFX crew members,” said Meng.
Meng’s vast contributions to Guardians of the Galaxy Vol. 2 helped bring the film to critical acclaim around the world. Not only did it take in over $860 million at the worldwide box office, but it was recognized at prestigious award ceremonies around the world. The highpoint for Meng was when the film was nominated for Best Visual Effects at the Academy Awards.
“When the news of the Oscar nomination had spread out, all the team members that worked on this film cheered into tears. We were so proud of ourselves that we achieved a VFX masterpiece. This film motivates and encourages me to keep on going as a VFX artist and also a filmmaker in the future,” said Meng.
Meng worked on many effects shots in several different sequences in the film. His main focus was the “normal” and “angry” Ego planet sequences. Those two sequences have a huge volume of the shots, which required the artists to design and finish the effects elements in a very short amount of time. Meng was not only building effects elements, but also helping in procedural modeling, shading/look-dev, lighting, procedural layout, and digital assets sharing aspects.
He designed and finished every shot containing Ego’s environment, all thruster effects elements for Quadrant Ship and jetpack in the “angry” Ego planet sequence. This included designing and finishing every shot containing aurora effects elements in the “normal” Ego planet sequence, such as the dust and leaves blowing in the Ego ship landing sequence. He also created taser gun lightning effects in a hero shot when Rocket Racoon shoots Gamora and did some early Rocket Racoon fur tests in the Guardians squat night talk scene.
Overall, Meng contributed over 20 different kinds of effects elements and CG contents in a total of four different sequences for the film. He designed and finished over 100 shots and related to 200 shots. The technical solutions that he came up with saved a great amount of time and made sure the entire team finished every shot before the deadline. His visual effects undoubtedly brought a stronger visual impact to the film and made the film a masterpiece of sci-fi fantasy artwork.
“I had the pleasure of working with Jie on Guardians of the Galaxy Vol. 2. He is absolutely exceptional at what he does and is always striving to better himself and his craft. He is hard working, detail oriented, reliable and goes above and beyond when helping out others. He is always open to collaboration and feedback. I highly think that his skill and expertise would be a great fit for any project he works on. I look forward to working with him again on future projects,” said Dennys Herman, Lighting and Look Development Artist at MPC.
Meng had always been a big Marvel fan, and above all else, creating such a timeless film meant more to him than anything. He was determined to achieve greatness with every effect he created as he knew Guardians of the Galaxy Vol. 2 was more than just a visual spectacle.
“I like the story of this film, as the core it is about family. The plot twists when Starlord (Peter) met his father Ego, and finally found out his father is an evil creature who killed his mother. The family theme is also relevant when Gamora and Nebula fight against Ego together, and Yondu sacrifices himself to save Peter. It’s a comedy sci-fi fantasy movie, but this core is very deep. The film is not some regular comedy where people laughed and forgot about it, but something that will be remembered,” he concluded.
Management Coordinator Daria Khovanova shot by Isabella Behravan
With the music industry undergoing a major transformation over the last two decades, more and more artists and bands have been able to self-produce their albums and still attain a level of success that was previously reserved for those represented by major labels. In the same way that the relationships between major record labels and today’s musical acts have changed, so too have the roles of those working behind the scenes to make sure we hear an artist’s music.
Management coordinator Daria Khovanova of Tiki Rocket, who coordinates for the incredibly popular US band Allah-Las, is a key figure who organizes everything from upcoming shows to social media posts for the bands she coordinates. She not only utilizes her social media skills to ensure that we hear her artist’s music over others, but that their live shows run smoothly, plus a whole lot more of the day to day happenings that as an audience, we don’t get to see.
If you’re not familiar with the management coordinator title, imagine the work of a tour manager, production manager, booker and social media director all rolled into one and you’ll get an idea of what Daria does for Allah-Las and the other groups she works with.
“As an artist’s management coordinator you wear many hats, and that’s what I enjoy the most. There’s never a dull moment. I realized a long time ago that working in music I didn’t just want to be stuck in the office,” Daria explains. “Maintaining personal contact with the artist is of great importance to me, and something I think the artist appreciates also. At least the ones I’m working with. It’s important to be in it together, share adventures and grow a bond.”
Management Coordinator Daria Khovanova at the Huichica East Festival in NY
Since she first came on board as Allah-Las’ management coordinator in 2017, Daria has booked and organized a rather impressive list of shows for the group, including the Marfa Myths Festival in Marfa, TX, their three-night residency at Lodge Room in Highland Park, CA, the Off the 405 show at the Getty Center and the Huichica East festival in New York earlier this year, as well as their performances at the 2017 Desert Daze festival and more. Earlier this month she organized the band’s performance during the Open Arts & Music Festival in Glendale during Glendale Tech Week, a “Spaceland Presents” event that partnered with the Downtown Glendale Association and LA County Arts.
For the Open Arts & Music festival Daria handled all the negotiations with show promoters, coordinated the schedules of the key band members and organized additional musicians, such as Tim Hill who played keys with Allah-Las during the show, and rented all of the specialty backline equipment i.e., the amps, lights and speakers. All of that, plus she organized the merch stand and made sure the band’s performance at the event was announced on all social media channels in order to draw the largest crowd possible. While she generally handles all of these things for the other shows the band plays, those taking place outside of their home state of California, like the Oh So Slow Festival in Bali, Indonesia that they played in May, require her to take on even more.
Daria says, “I step in as a tour manager and production manager when needed… arrange interviews, photoshoots, work on collabs with clothing brands, like Billabong x Reverberation Radio, and develop merch ideas. The list is diverse.”
With Allah-Las headlining many of the shows and festivals they play, there’s the understandable added pressure of putting on a flawless performance. With Daria working from behind the proverbial curtain and handling all of the details, the band can focus their energy on the music and the show, taking comfort in knowing that if any obstacle arises she’ll be there to take care of it.
“Since October of 2017, Daria has elevated our music ensemble with expert negotiation of agreements, effective communication with internal and external partners and organized coordination of domestic and international touring itineraries,” explains the members of Allah-Las. “We know we can count on her to look after all our interests and well-being no matter where our tours may take us. Her outstanding management skills have not only helped us meet our financial and creative goals, but also taught us to work more cohesive as a small business team.”
Allah-Las’ drummer Matt Correia and Daria Khovanova en route to a Show
Though Daria’s job is pretty much non-stop all of the time, she loves what she does. If she didn’t, then being available 24-hours-a-day 7-days-a-week at the drop of a hat would get old quickly. Apart from the seemingly endless list of organizational aspects, a major part of her work as a management coordinator is being personable. Before ever meeting or speaking to the band, she’s often the first one the booking agents, venues and sponsors are in contact with, so making sure she represents the vibe of the band and creates a relationship that makes people want to keep working with them is imperative to their success.
Daria says being a strong management coordinator “[Is all about] being able to juggle a lot of things at once and prioritize, plus assertiveness and the ability to act as a mediator, when needed. A good sense of humor doesn’t go amiss either. It’s all about working with people.”
Aside from going on the road with the band and organizing their bookings, Daria has been hugely responsible for securing endorsement deals. Earlier this year she secured an endorsement for the band with Danish audio equipment manufacturer Ortofon, as well as one from music industry leader, Marshall.
Despite the need to be in constant communication with a large amount of people and the challenges that come along with managing multiple egos while ensuring that everything runs smoothly, Daria’s personal love for music and her relationship with Allah-Las make it all worthwhile at the end of the day.
“I feel grateful to be working with the people I like… [Allah Las] take you in, you become part of a family… there is a certain magic in being on the road with a close-knit group of best friends,” says Daria. “Driving through Texas to get to a festival in Marfa was so fun, and then seeing them live score a surf documentary starring themselves on a vacation in Mexico, ‘Self Discovery for Social Survival,’ was pretty magical.”
Canadian filmmaker Eliza Brownlie has firmly made her mark as a director in Hollywood. A breath of fresh air in the contentious filmmaking landscape, Brownlie has solidified her reputation as a director who tells stories with a unique aesthetic style while exploring social constructs and the human experience of modern life.
Her 2016 surrealist horror film The After Party earned praise from coast to coast in the U.S. garnering a hugely successful festival run with exclusive “invitation-only” screenings at the Sacramento Horror Film Festival in California and the Williamsburg Independent Film Festival in New York.
Directed and written by Brownlie, The After Party follows an aspiring starlet who hopes to break into the Hollywood scene by attending a mysterious, late night party where she quickly discovers a darkness the lurks beneath the glitz and glamour.
With captivating visuals and an intriguing story that leaves audiences wanting more, The After Party is rendered even more interesting thanks to the distinct female lens through which it is filtered.
“I knew I wanted to make something within the horror/thriller genre and set in Hollywood. I had been living there and was interested in the idea of how this beautiful dream world could resemble more of a nightmare when you examine it a little closer,” explains Brownlie.
“I needed a context, so I thought, what more appropriate setting for a surrealist horror film than a private party in the hills. I also needed a protagonist who was naïve to this world and desperate to be a part of it, so, naturally, I decided to make the lead an aspiring starlet. The rest of the story and the characters expanded from there.”
Still of actress Tarryn Lagana in Eliza Brownlie’s film “The After Party”
The film’s star Tarryn Lagana, who’s represented by Luber Roklin Entertainment, the same talent agency that represents Disney superstar Dove Cameron and the late Oscar-nominated actor Burt Reynolds, shines on screen. Lagana was also recently signed to Abrams Artists Agency, which represents Finn Wolfhard from the Netflix series Stranger Things.
“Working with Eliza is an incredibly open experience. She loves to communicate with her actors and give them freedom to explore within the scene. Which was great for ‘The After Party’ because it gave me a chance to create the character Simone and ultimately deliver a strong performance,” says Lagana.
“Eliza is a one of a kind director… She has a very specific voice and vision that makes her stand out as one of the greatest filmmakers of her generation… She is what the industry needs right now.”
Cinematographer Ari Bre Bre (left), Director Eliza Brownlie (center), and producer Jessica Kelley (right) on set of a commercial for Cast + Combed
Well versed in directing projects across various mediums, Brownlie’s resume showcases her impressive flexibility and includes commercial, fashion films, music videos and narrative films, with her collective body of work revealing a highly stylized and dreamy nature that has reinforced her reputation as an auteur. Over the years she has directed numerous captivating and edgy commercials for an impressive list of clients including Dove, Top Expert and Canon.
In the fashion film she directed for Top Expert featuring model Breanna Box, she captures her subject with slow camera movements, creating a sultry, relaxed vibe that makes us want to dress ourselves in all of the company’s luxury basics. Brownlie effortlessly pulls us into the ethereal worlds she paints in many of her fashion films with a unique style that is simply unforgettable.A dynamic director, another powerful aspect of her directorial prowess that has set her apart and led her to become a sought after director for more human-interest style commercial pieces is her talent for eliciting raw and vulnerable emotions from her subjects and revealing them with a rare form of elegance. As the director of the docu-style commercial series ‘Imperfectionists’ for Dove’s Self-Esteem Project, and Canon’s Female Hero series, Brownlie captures the women on screen in a way that is captivating, relatable and empowering.
“I like projects that challenge or engage the viewer in an interesting way. Something in the material needs to resonate with me. There’s nothing more painful than working on something you don’t have any passion for,” says Brownlie.
From the extensive repertoire of work that she has released to date it is clear that Brownlie is passionate about her subjects. She is definitely one contemporary female filmmaker that has made a powerful mark in both Hollywood and on a global scale, and she’s one that we will continue to look towards for inspiration.
For decades, the film industry has been waging an arms race with no end in sight. In the dark of the theater, ever more elaborate spectacles of cinematic magic shine upon the screen like portals to distant worlds and forgotten times. The popularity of cutting-edge effects among moviegoers has fueled the growth of their use, making them absolutely essential to the success of virtually every blockbuster in modern cinema history. As quickly as audiences are thrilled by the latest magnificent visual feat, however, the bar is raised for all films that follow. As technology and expectations grow exponentially, it falls on visual effects artists like Tati Leite to keep up with our hungry demand to not only see magic, but to believe our eyes when we do.
Leite’s story is one of dedication begetting success. For as long as she can remember she’s been enamored with the way movies use special effects to awe, amaze and inspire audiences to believe the unbelievable. That early fascination stayed with Leite during her time as a computer engineer, a field which demanded and sharpened complex technical skills that would prove invaluable to her career as a visual effects artist.
“I have always been passionate about movies and computer graphics, and visual effects is simply the perfect combination of both worlds,” Leite said. “Ever since I was young, I’ve never missed an opportunity to create videos, learn tools to modify them, create effects, and everything that could be done at the time. I paid attention to all the details of every movie I watched, and I’d watch it over and over to see the effects, the animation and all the aspects that had been introduced to the footage.”
Her years of schooling and experience as a computer engineer gave Leite more than just a leg up when she entered the field of visual effects. As a visual effects artist, most of what she does demands an expertise in computer operations and design that few without her computer science background possess.
“I love to use technology in service of a story,” she explained. “Being able to create visuals that take people’s breath away, even if only for a few seconds, is the most exciting thing about being a VFX artist.”
The spectacular effects Leite creates are never anything shy of breathtaking. Her credits to date are as impressive as they are fitting for an artist of her talent. She’s worked her VFX magic on blockbuster films including 2018’s “Mission Impossible: Fallout” starring Tom Cruise, Marvel Studios’ “Ant-Man and The Wasp” starring Paul Rudd, and Disney’s upcoming live action remake of “The Lion King,” starring Donald Glover and coming to theaters in 2019. When it comes to productions like these, with big stars and bigger budgets, studios don’t take chances on unproven talent. Leite is consistently chosen for such high-stakes projects because she’s garnered a reputation for being an effects artist of the highest caliber.
“I think what excites me most about VFX is exactly that race. The challenge of doing something better, faster and differently is something that drives my passion for this industry. It’s not only about art, and not only about technology. It’s this thrilling mix of both that makes me want to become better and push the bar higher and higher,” Leite said, describing the thrill of being on the frontlines of the visual effects arms race. “Working for big budget productions [intensifies] the challenges because not only do we have to do our very best work to get it just right, but we also have to contend with tight deadlines and the pressure to deliver something even better than the last time.”
Grossly oversimplified, Leite’s job is to visualize, design and create the brilliant spectacles which astound ever-more discerning audiences. Her every keystroke is a meticulously calculated marriage between her unrivaled technical abilities and her unbridled imagination.
Her success has been guided every bit as much by her computer engineering experience as it has by her lifelong love of films, comics and games — and the ways they all use visual artistry to immerse their viewers, readers and players.
“My work on the movie ‘Ant-Man and the Wasp’ has special meaning to me because it was my first Marvel movie,” Leite explained excitedly. “As an old fan, I couldn’t be more glad to be a part of it.”
While her skill as a VFX artist has led her to be tapped to work on some of the year’s most highly anticipated films on a global scale, her love for her craft and her passion for film means Leite doesn’t choose her projects based merely on blockbuster status. She recently edited and led the VFX for the upcoming indie feature film “In Transit” from esteemed Brazilian director Julia Camara (“Open Road,” “Occupants”). Starring Oliver Rayon (“Workaholics”), award-winning actress Kim Burns (“Painless”) and Karina Federico (“Piel Salvaje”) “In Transit” tells the inspiring story of Olga and Daniel, two strangers whose chance encounter while waiting at an airport restaurant for flights to their respective countries change one another’s lives forever.
“In Transit” is yet another film where Leite’s finesse in post-production has proven to be crucial to the success of the production. Camara, who’s earned more than 25 awards for her work, including the Silver Telly Award and the Platinum Award from the European Independent Film Awards, needed a talented VFX artist and editor who spoke both English and Brazilian Portuguese for “In Transit,” and she found just the post-production superhero she was looking for in Leite.
“She was instrumental to the completion of the film… Not many others would have signed on to work on an experimental feature film… In an industry saturated with male editors, working with another woman was so refreshing. She brings her unique world view and sensibilities this industry desperately needs,” explains Camara. “The success of the film is largely due to her contribution to the project.”
With its festival run is just getting under way, “In Transit” has already been chosen as an Official Selection by the Glendale International Film Festival and is slated to screen between October 5 to 13 in Glendale, California.
There was a time when films had a monopoly on visual effects. But over the last two decades another multi-billion dollar industry has emerged, one which has fueled an explosion in demand for visual effects artists with talents like Leite’s. The rise of the video gaming industry seems to have no end in sight, and VFX has become as crucial to this growing field as it is to Hollywood. The largest video game development studios have already begun to compete with film production studios for VFX artists and other talent — as illustrated by Leite’s extensive VFX work within the gaming industry. As blockbuster video games continue to generate billions of dollars for the burgeoning industry, game developers increasingly realize the importance of visual effects artists.
In just a few short decades, the industry has evolved from a niche market of serious gamers to a cultural powerhouse with serious market control. Video and computer games today are far more than mindless entertainment, evidenced by their use in a vast array of educational settings. Working with the award-winning development company 7 Generation Games, Leite has helped create games that serve as interactive learning experiences for children.
This tactile approach to learning has come a long way since the days of iconic classroom games like “Oregon Trail.” Through games like “Aztech,” “Fish Lake” and “Making Camp,” Leite is helping to shape and grow the next generation of curious young minds. Her work has also earned 7 Generation Games the distinction of being named one of Homeschool.com’s Top Back to School Resources, a highly influential accolade in the world of education. The group is also the only U.S.-based firm to be a finalist at the Global Entrepreneurship Summit in India.
“It’s fantastic that 7 Generation Games has won so many awards, but for me personally, the best award is when I see the kids playing it without even blinking. 7 Generation Games creates educational games, and it’s kind of hard to keep children as interested in them compared to ‘regular’ games,” said Leite, describing the challenge of creating a product that is both informative and engaging to the young audience. “All the awards we won are very gratifying, but seeing kids playing over and over, even though they include math, social studies and learning, is priceless. It’s one of those moments you think, ‘Hm, I think we made something right.’”
In the field of visual effects, knowing the audience is key. Leite has an innate understanding of what audiences and players want to see; for all her immense technical know-how, she never treats the creative process as a formulaic affair. Just as each production is unique and wholly original, so too is her approach to every new challenge that comes her way. Whether she’s working alongside industry effects giants in the Marvel universe or helping young children discover a lifelong love of mathematics and science, Tati Leite is an unrivaled force within an industry that continues to fascinate and captivate imaginations of all ages.
Actors like Tom Cruise and Jackie Chan are famed worldwide for their talent and their drive. Artists of this ilk are deeply involved in the productions they star in, evident in their performances. Many are referring to Indonesian actor and writer Ken Zheng in a similar manner as the aforementioned celebrities. His work as an action star and as a screenwriter has made him an international sensation in the last few years. Athlete (Zheng was part of the Indonesian National Team for Kickboxing and became the youngest Champion in Indonesia’s history) turned stuntman turned marquee name, this talent from Indonesia seems to revel in the action genre. His roles in US films and those abroad have seen him starring alongside long-established actors, vetting him as a peer and a major force in the international film industry.
2017’s Down by the River stars Zheng as a prison escapee making his way through the wilderness to the Rio Grande river while being hunted by a killer. It’s a classic tale of survival driven by a small cast. No less frightening is the film Hitman in which a woman inadvertently witnesses a drug deal gone wrong and pays the price for doing the right thing. Second Chance pits two hired killers against each other. Zheng is perfectly paired in this tale, starring alongside Trent Moore (of the Coen Brothers multiple Oscar-winning films No Country for Old Men). Concerning his work in these thrilling productions, Ken communicates, “I see the beauty in action and I love bringing thrills to the audience when they watch a movie. The action itself is always supplementary to the story and the visuals help the audience integrate to the world of the movie”
Currently, in post-production, Ken starred in the upcoming feature film he wrote called Insight. The story goes beyond the label “action film” as it is centered on two siblings who possess the gift of clairvoyance. Escaping an abusive home, they are recruited by a counter-terrorism agency. The brothers grow apart as they enter adulthood and this motivates the action of the story. As Qiang, the younger of two siblings, Ken delivers an emotional and visceral performance alongside such celebrated talents as Keith David (multiple Primetime Emmy winner) and John Savage (The Deer Hunter-winner of five Oscars, Hair-winner of two Golden Globes). Zheng concedes, “There’s always room to learn as an actor. Working with John and Keith was an opportunity to learn from their experience and talent. They’ve both been in so many extraordinary films; to see them creating on set like that…it was an incredible learning opportunity. As an actor who is also a writer, it also gave me the chance to see what I could do with the script to help the actors. When I first moved to the United States I tried to bridge the East and West as each has its own unique stories. Moreover, I always try to keep my stories rooted and grounded to real emotion and real relationship between the characters. The movie itself is not always self- contained but the relationship between the characters is always clearly defined in my stories.”
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