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

April 15, 2018 pressva Leave a comment

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.

Chinese Filmmaker, Film, Film Editor, Reviews, Interviews & Features!

‘The Ballerina, The Shoemaker and His Apprentice’ takes audiences back in time with help of Meibei Liu’s editing

April 7, 2018 pressva Leave a comment

As a film editor, Meibei Liu sees herself almost as the conductor of an orchestra. She puts together endless footage and turns it into a piece of art, transforming a script into a true visual masterpiece. In many ways, she is like the doctor of a film; she removes what is unnecessary and replaces what needs work. Editing is putting the final pieces of the director’s puzzle together, and Liu not only understands that, but she also thrives because of it, and that is what makes her a good filmmaker.

Having worked on a variety of projects that have made their way to many prestigious film festivals around the world, Liu has made quite a name for herself as an editor. Such films include Dear Mamá, Headshot, Faith Need Not Change Her Gown, Pumpkin and Fried Noodle, and more. Recently, her film The Ballerina The Shoemaker and His Apprenticereceived nominations at the Oscar-Qualifying Hollyshorts Film Festival and LA Shorts Fest, Maryland International Film Festival, and Ouchy Film Festival in Switzerland, New Port Beach Film Festival where it was nominated for Short Film Award, The Grand Jury Award and Best College Film at The Next Generation Filmmaker Film Festival.

“I’m happy to hear that the film went all over the world for festivals and awards. I was glad that my changes made it into the film and was shown to people who speak different languages. It confirmed that emotions expressed and enhanced by editing can be identified by everyone, which made me believe that I should continue doing what I did for the film. I was glad that Eva asked me to go on board and be part of the project. That gave me a chance to show my attitude towards editing to people,” said Liu.

The film takes place in 1963 Hackney, England, and follows George Arkwright, a young man down on his luck, who must navigate the refined world of ballet pointe shoe making and redeem his value as the apprentice under the shadow of Mr. David Traynor, a talented but stuffy point shoemaker. George’s imagination turns into a reality when he becomes smitten with the Ballerinas the shoes are built for, one named Sylvia particularly, but soon learns this magical and seemingly distant world is not beyond the reach of affliction. Liu came on board half way through editing the film when the Director, Eva Ye, realized she needed expansive editing talent to turn her vision into a reality.

“Working with Meibei was great. She has a strong sensibility for impactful storytelling through an editing perspective. She often provides new perspectives to the story and is invested in trying different ways of getting the emotion across. Sometimes she is more willing to dig deep into the materials just to find something I didn’t even know existed. Her passion and dedication to editing is something I’ve seen rarely. And in many ways, she makes my work better,” said Ye.

Liu is able to address the problems of cuts quickly. When she reviewed the first cut that was made before she was brought on, she realized exactly how to transform the footage into what the director wanted and what audiences would connect with. She took what was a half-finished film and reworked it, making it better. She realized that the scenes were dragging; all of them could end earlier by cutting out some of the lines and actions. She stopped in the middle of the first scene and started the second scene earlier, helping to show the main character’s eagerness. Sometimes, however, she chose to extend a scene and have it linger longer to show the apprentice’s feeling of loss and disappointment. This film has very subtle emotions, and an editor’s vision and eye on digging out the emotions, and enhancing them by editing is vital. Being a very emotional person who is strong at noticing the emotional changes of people, Liu was the ideal candidate to take over as editor.

“It’s a story of dreaming. I believe this is a film that speaks to everyone in spite of when and where it happened. It’s a worldwide emotion that people all over the world can understand. I believe it is important to tell this kind of story, giving the audience a short period of time to experience something they can relate to,” Liu concluded.

The Ballerina, The Shoemaker, and His Apprentice is currently available on Amazon Prime Videos.

Written by Sara Fowler

Reviews, Interviews & Features!

Leading Australian Actor Joel Hogan: Leading On All Platforms

April 4, 2018 andrewbonjack Leave a comment

Award-winning Australian actor Joel Hogan is used to getting attention; he’s played leading roles in huge films that have screened right across the world.

Sitting down with him though, it’s clear that he hasn’t let the attention get to his head. When we meet, Joel is as down-to-earth as his parents described him when he was in school – a true Aussie larrikin who simply was grateful for what he had.

“I like to think my mum and dad raised me right – they’ve always said, no matter how famous or successful I became, that I should remain humble, with a firm grounding within my family and friends with whom I grew up with.”

15156876_10155025393857841_7613617306201381492_o — Amongst the many topics we touch on when talking with Joel is his lead role in Lionsgate’s “Open Water 3: Cage Dive”

Joel is certainly known for being famous and successful these days, and an indie favourite who’s been working with the same roster of impressive production companies in the same way that Oscar-winner Brie Larson and, A-lister Ryan Gosling, have created partnerships with a select list of directors and filmmakers.

“The benefit of working with the same production company multiple times is that we all trust each other – so I feel very grateful that I’ve been given these opportunities.”

One of the production companies with whom Joel has played an immeasurably significant role is Forte Pictures, an American outfit well-known in the incredibly competitive film industry for producing the award-winning “Actor for Hire”, a 2015 comedy-romance distributed by Gravitas Pictures in which Joel played a leading role. The Australian hunk, who’s been compared to James Dean by several top-industry insiders, enjoyed being profiled in The Hollywood Reporter and Deadline Hollywood. “It’s nice to know that the film, production company and my role got attention, but what’s most important to me is whether I’ve played the character authentically.”

The undisputed nature of Joel’s significance to Forte Pictures and the fact he has played a essential role in the success of the company is further confirmed in how he stars as Patrick, the central figure, in the upcoming crime-thriller “Chameleon”. “That film is very different from “Actor for Hire”, but it still feels like a distinctively Forte film because Marcus is involved and the desire to create the most entertaining project was the core value while we were shooting.” The film also notably stars Alicia Leigh Willis, widely known for her roles in the “National Treasure” franchise opposite Oscar-winner Nicholas Cage, and the long-running hit show, “General Hospital”.

In true fashion reminiscent of how Leonardo Dicaprio repeatedly collaborates with Martin Scorcese, and Jennifer Lawrence has with David O. Russell, Joel not only enjoys a collaborative partnership with Marcus but also Gerald Rascionato, Australian auteur filmmaker best known for helming the Lionsgate feature film, “Open Water 3: Cage Dive”. Gerald’s production company, Just One More Productions, is inextricably tied with Joel’s talents as an actor because he is the leading man behind its most impressive productions.

“Gerald is an auteur,” Joel explains, “because he’s focused on the specific moments, second-by-second, with how it looks and how it could make an audience feel, as much as he is by the way a mainstream audience will view it.”

“Open Water 3”, distributed in cinemas around the world by studio powerhouse Lionsgate, was the first of what Gerald says will be many collaborations with Joel Hogan under his production banner. “I already have Joel signed onto my next feature, and we’re full-steam ahead for production in mid-2018. That film revolves around the life of famous aviator and film producer Merian C. Cooper who was the creator and producer of classic films such as King Kong, Mighty Joe Young & The Searchers, starring John Wayne. Joel will fittingly play the lead role of Merian himself.”

OW3 DVD front & back — Joel (left) on the cover for the recently released DVD of “Open Water 3: Cage Dive”, which enjoyed box office success at the cinema last year.

Gerald also claims to like that Joel brings the backing of the Australian film industry, the multi-talented performer – who has also performed in theatre productions like “High School Musical” and on TV shows like “Home and Away” and “Unverified” many times over – is a member of the highly reputable AACTA and MEAA organisations in Australia. “Like production companies, having relationships with organisations like AACTA and MEAA are very important because they ensure I maintain my standing within the industry and keep connected to new material, while also giving me an opportunity to be aware of how I can give back to an industry which has given me so much.”

13669337_10155051306084676_5366553887383995560_o — Joel enjoying a laugh on the red carpet last year – keeping it positive as part of his ultimate plan to give back to an industry that has “given [him] so much.”

Reviews, Interviews & Features!

FROM MERMAIDS TO MENTAL HEALTH, ACTRESS BRIE KRISTIANSEN DOES IT ALL IN TV, FILM, AND NEW MEDIA

March 28, 2018 pressva Leave a comment

Article Written By: Ashley Bower

It’s not always easy to keep up with an industry that is constantly evolving, but when it comes to navigating the busy world of entertainment, working actress Brie Kristiansen is a pro.

“It all started with a musical in Iceland when I was a teenager,” stated Kristiansen, and right from the start, she was propelled into learning how to adapt to the unpredictable curves that life – and the film and television industry – are known for. “The musical was Bugsy Malone and hundreds of people auditioned. In the end, I was cast in the leading role of “Dandy Dan,” which was changed into a female role since they thought I fit very well for the villainous character. Funny story, at the dress rehearsal I fell down and broke my leg and had to do all of the remaining shows in a wheelchair. It actually turned out great in the end, as the wheelchair seemed to add almost another level of authority for this villain.” Ever since this debut, Kristiansen’s career has skyrocketed.

While Kristiansen has numerous projects that span film, television, and new media under her belt, she’s most known for her work on It Takes a Killer, Delirium: What’s Your Worst Fear?, Corrupt Crimes, and her latest role as a series regular on season two of Life as Mermaid.

With over 25 million views and more than 155k subscribers, it’s safe to say that the hit YouTube Series Life as a Mermaid has a passionately committed following. The story follows two mermaid sisters and their journey on land as they work their way around obstacles while adjusting to life with the humans. Kristiansen plays Astrid, a ruthless European villain with an icy demeanor, whose mission is to hunt down the mermaids with the intention of selling them for billions.

“From the start of when season two started airing, we received such fantastic reactions from people all over the world. We started getting asked for autographs and receiving fan mail which has all been an amazing experience. We truly have the best fans, and they are what made all the hard work worth it in the end,” Kristiansen reminisced.

Though Life as a Mermaid airs on YouTube, one of the entertainment industry’s newer media platforms to publish episodic content on, the production process was exactly the same as any other television show. The only difference: the website makes its content accessible to anyone anywhere in the world.

Starring opposite Kristiansen in the series is Marcella Di Pasquale, who is also credited as casting director and one of the producers of the show.

“Brie is the sweetest person, so it is so interesting to see her play such a brilliantly evil villain,” explained Di Pasquale. “To be able to switch into such a strong character within a matter of seconds just really goes to show Brie’s true talents and acting skills. She is also great at stage combat and I loved watching her film her fight scenes on the show. Brie is very charismatic and naturally talented, which makes her a great addition to any set, and us on the Life as a Mermaid team always love having her around.”

In addition to villainous roles, it’s apparent that Kristiansen has a gift for securing and excelling in roles that encompass very serious, emotional qualities, such as the roles she played in It Takes a Killer, Delirium: What’s Your Worst Fear?, and Corrupt Crimes. Elaborating on her love of playing and process of preparing for such kind of a role, Kristiansen explained, “I always think it’s really funny since I’m actually quite a goofy person, but I guess I look very serious. However, I love doing these roles, especially when there’s an added challenge or something I haven’t done before.” An example of such is Kristiansen’s work she did on Delirium: What’s Your Worst Fear?” where she plays the character of Ava, a teenager with schizophrenia.

Prior to being cast as Ava, Kristiansen wasn’t familiar with the mental disorder outside of what she had seen in other film and television shows. Therefore, it was a role that require extensive research – something which was already a very major component of Kristiansen’s character preparation process. “I try to get closer to my character’s mindset and who they are. I’m a total nerd when it comes to this and will dive into research for significant amounts of time until I feel that I have managed a full understanding of the character, and then I go into the next steps of my preparation,” Kristiansen said. “With Ava, I did so much research, probably more than I’d ever done before. I thought it was vital for the authenticity of my character to absolutely dive into research. I went to libraries, read books, and even spoke to people with experience in the field.”

Currently, Delirium: What’s Your Worst Fear? is being screened at multiple film festivals around the world.

Brie Kristiansen as “Ava” in *Delirium: What’s Your Worst Fear?*

Coincidentally, on Kristiansen’s episode of Corrupt Crimes titled Vulture Feeder Fiend, the topic of schizophrenia arose yet again for the actress, though this time the character with the disorder was not her own. Taking place in California in the 1970’s, the storyline of the episode follows a schizophrenic serial killer named Herbert who murders a homeless man while in his altered state of mind. Kristiansen plays a hippie named Mary, who attempts to hitchhike her way to an event only to suffer a similar fate after she’s given a ride by Herbert himself.

Kristiansen not only loves the roles she’s been given the opportunity to play but is also passionate about the impact they make on her viewers, along with the awareness they bring to mental illness in film and television. “I’m a very open and honest person who comes from a very liberal society. The way I was raised is that if there’s a problem, you speak about it, and that you should never judge others for their feelings or behaviors because you don’t know what they’ve been through or are going through. Mental illness is a very serious issue, and the shame and stigma surrounding these issues need to stop. We need to be able to speak about our feelings, experiences, and illnesses openly in order to help or even fix them. There are so many tools one can learn from speaking to a professional, or by simply opening up to a friend. Love conquers all,” she said.

While some roles help to expand the knowledge and understanding of one’s mind, others do the same for the heart. This is the case for one of Kristiansen’s earlier television series: It Takes a Killer. “In my role as Charlotte, I played an emotionally unstable teenager who goes through a horrible tragedy,” Kristiansen discussed, revealing her journey of portraying the sixteen-year-old character left parentless after discovering her father murdered her mother. “Charlotte is extremely vulnerable and has moments where she has emotional breakdowns. For me personally, this role was a great opportunity to showcase my talents with vulnerability and fully diving into the character. It was a great experience, and also helped me become more vulnerable and open as a person.”

There’s no question that Kristiansen’s vast experience and success as an actress has helped her grow not only as an artist within the film and television industry, but also as a person. There’s no doubt that this is something she’ll continue to do throughout her acting career in the years to come. Regarding this idea of both personal and career evolution, Kristiansen stated, “I’m incredibly lucky to be a working actress in different parts of the world, and on a variety of project types portraying completely diverse characters. Each time I take on a new role there’s something new I learn about people from the character I’m portraying. As a people person, this job will never become boring. The challenges, in drama, in comedy – all of it – just makes you really grow as an individual and you learn so much about yourself. I’m all about figuring out your dream and making it happen, and I find it to be one of the perks that I am able to grow both personally and professionally while living mine.”

For more information on Brie Kristiansen, please visit:

www.imdb.me/briekristiansen

https://www.briekristiansen.com/

Actor, Film, Reviews, Interviews & Features!

Ben Prendergast creates dystopian world in ‘Post Apocalyptic Man’

March 18, 2018 pressva Leave a comment

It seems like a long time ago that Ben Prendergast was looking to be a software entrepreneur. The Australian native always had a passion for acting, but the notion of pursuing such a career in Australia is so uncommon, he never felt like it was truly a possibility. Having dreamed of being an actor since he was only a child, it always seemed like just that: a dream. However, when embarking on his technology career, Prendergast decided that he had to pursue his passion, and one day, after landing a role on an NBC television pilot, he decided to turn his dream into a reality. Since that time, he has never looked back, crafting an extraordinary career.

Now, Prendergast is an industry leader in Australia, and seeks to make a difference through his work. With Prendergast as the lead, The Marker aimed to bring awareness to the socio-economic issues in Australia and was funded by the Australian Competition and Consumer Commission. Similarly, his film Punch Drunk shed light on the marginalization of the elderly and mentally unwell. Sometimes, the actor’s love of telling stories is what drives him, which was the case with the feature Predestination. However, no matter what he is working on, his innate talent and dedication to his craft impress audiences, critics, and colleagues alike.

“I’ve worked with Ben on a number of projects. Most recently, we worked on Post Apocalyptic Man. As a writer, usually you’re not working directly with actors, but in the case of this project it became really valuable. Ben’s ability to cold read a scene and bring it to life was a revelation, and something we relied on in the early development right through to final script stage. Ben and I would stay up way too late discussing how we could bring more conflict, more drama, more humanity to this piece and I think it really shows in the final script. But then I was also in the rarified air of watching Ben work on set, and even then, he’s constantly drilling for more in the text, and during shooting I saw him make bolder and more compelling choices. Some of them made it into the final film, some didn’t, but I just remember the feeling on set was electric with every take,” said Daniel Walsh, Screenwriter. “I think Ben just has that thing that you can’t put your finger on. You roll the camera on him and you’re transfixed even before he’s said anything. You think to yourself, “What’s he going to do?” and he always surprises. He’s curious, in a way that most actors are, but he’s curious as the character, which is something else completely. I’m not at all surprised that he’s had the success that he’s had.”

Post Apocalyptic Man tells the story of humanity’s need for survival in a world where they are blind to their own destructive tendencies. The human population is in the grips of decline after genetic modification turns the female population sterile. When it is discovered that a child may carry a gene that is immune to the disease, forces of good and evil converge on a small Australian outback community to find the child and gain control over humanity. Cane Storm, the leader of the evil tyranny, sends his number one henchman Baker, played by Prendergast, to infiltrate the Renegades led by anti-hero Shade. Leathergirl escapes with her brother, who seemingly carries the gene, but is pursued by Baker. Throughout the film, audiences discover that Baker is a genetically engineered mercenary who will show no mercy and is hell bent on finding Shade and the boy who carries the cure.

“This film deals with humanity’s deterioration, something that is on all of our minds, but depicts it with food shortage and the notion of a barren human population. We haven’t been a declining population since World War I, and I think current generations aren’t really aware of that or prepared. This film gave a real sense of a species in decline, and the desperation and hope that springs from that. For me, it’s a fantastic analogy for how we currently look at our food waste, energy production, and government systems,” said Prendergast.

When Walsh and Director Nathan Phillips were looking for a clean-cut super soldier type of actor, they asked Prendergast to audition. Not only was he in incredible shape and fresh off an intensive training program, Prendergast was well-known for his tremendous talent and versatility. After auditioning for the part, he was offered the role immediately.

“From the very beginning it was evident that Ben was a thoughtful and dedicated artist, and he had key elements of his character down at a very early stage. He goes deep within his characters, finding the most truthful elements, but also playing with the duality that most interesting characters possess. We had an absolute blast on and off camera and I now consider him a really close friend. Ben gives over to the madness of filmmaking. He wants to find the gait, the voice, the truth of the human condition as it pertains to his character, but then he goes further than that and wants every other department to function too. He looks after camera department, makeup, wardrobe, etc. As a director, I never have to worry that we’re not going to get the shot,” said Nathan Phillips, Director.

Prendergast was aware, when preparing for the film, that he was not only playing a villain, but also a genetically superior being. Therefore, he wanted to look at the misogynistic and xenophobic nature of historical characters to get into the mindset of Baker. He took particular interest in looking at Nazi-Germany and the horrible beliefs in that time. Physically, he thought he should remain strong, but his vocal quality needed to be gravely and distinctive. Once he had all this figured out, he put on his costume of a trench coat and gloves, and instantly became the character in front of the camera.

“I always believe that even when there are nefarious or even psychopathic characters, they always have righteous reasons for their actions. Baker believes he deserves his place in the future utopia of humanity, and that given his clear genetic advantage he is doing humanity a service by cleansing the world of those beneath him. His narcissism has bred a psychopathic quality, and therefore he can operate in any way that Cane Storm, the leader of empire, needs him to. He’ll take any life and use any means necessary to get what he wants,” said Prendergast. “Strangely, this creates an empathy that an audience can follow, we love our bad guys because they have a mastery over their destiny, they know what they want and how to get it. Don’t we all wish for that?”

Baker was essential to the story of Post Apocalyptic Man, and Prendergast to its success. The film wouldn’t have worked without the conflict that Baker carried. The heroes and antiheroes of the film were struggling for survival in a world without food or the ability to procreate. Baker’s character introduced a final hurdle for the protagonists to take action against the empire, and audiences see that although at first they are terrorized, they eventually find the spark to create the resistance.

“It was such a fulfilling project. We were on a really tight shooting schedule but we made it work, producing something completely unique in the Australian film canon. Now considered a cult film, Post Apocalyptic Man is my favorite punk-film outing ever, and I made a lot of great friends in the process,” said Prendergast.

After premiering at St Kilda Film Festival, Post Apocalyptic Man played at independent theatres in Australia, New Zealand, and the United States. Afterwards, it was distributed digitally and still sees success, eight years after its premiere. If you have the opportunity, be sure to watch the film and see Prendergast terrify and excite audiences.

By Sean Desouza

Film, Film Editor, Reviews, Interviews & Features!

Editor Xiaodan Yang creates visual masterpiece with ‘It’s Not Just About a Film’

March 14, 2018 pressva Leave a comment

Xiaodan Yang knows being a film editor isn’t always the most glamorous job in the industry. When she goes to a film premiere, she will see the cast and crew and feel like she knows them so well after seeing their faces on her screen for the past few months. However, it is often the premiere where they first meet her. Editing isn’t a front-and-centre job, and often involves many isolated hours going through the same five seconds of footage trying to decide how best to use it. That being said, she absolutely loves what she does.

“I enjoy every moment during editing. I’m glad to be a participant and witness of the whole journey. Editing is my tool to communicate with audiences. It is how I put my emotions into the story. When people connect with the film, that’s my favorite moment, and I know I’ve done my job,” she said.

Born and raised in China, Yang has now taken the world by storm. Her work on films such as Witness and Sixteen received international recognition, and audiences can expect the same from her upcoming films Kayla and Summer Orange, which makes its world premiere at the renowned Cannes Film Festival Short Film Corner in May. All those she collaborates with not only appreciate what she is capable of, they admire it.

“Xiaodan is a very talented editor. We know each other because of film Snatching Sword (a.k.a Wang Shan). Snatching Sword is an action film, and over half of the scenes are action scenes. As we all know, editing action scenes is like a big trial for an editor. When Xiaodan delivered her first cut, I saw her talents instantaneously. She is sensitive to the pace of the film and knows how to use sound design to tell a story. I think that’s really important for a film editor. What’s more, she has a very collaborative attitude and the ability of responding promptly, which make her an excellent team player. My other crew members and I all enjoy working with her,” said Rachel Zhou, Director and Writer.

One of Yang’s most impressive works was her film It’s Not Just About a Film. After spending the beginning of 2017 editing the project, it premiered on May 13^th, and then made its way to several film festivals. Yang herself was awarded with Best Editing at the Top Shorts Film Festival and the Award of Merit in Editing at the Accolade Global Film Festival. Needless to say, the film could never have seen the success that it did without her.

“It still feels so exciting, knowing my work was recognized on a global scale. Winning those two awards, it means so much to me. To be honest, this is not that kind of regular ‘Hollywood film’. The way we decided to tell the story breaks the routine. I’m so glad there are people that can understand our intention and like it,” she said.

It’s Not Just About a Film tells the story of Max, an actor. To get the lead of a film, Max seduces and has an affair with Cameron, the lead actress and wife of the film’s investor Fabrizio. However, as the shooting goes on, Max realizes that Fabrizio is a violent person with a gangster background. Max wants to end the affair but finds himself unable to break away from it. It is a pretty stylish story, ironic and funny, but also extremely suspenseful.

“Working on It’s Not Just About a Film was a very creative process. The director and I had reached a consensus that we had to break the rules. It’s a wild story that needs wild ways to edit. That’s actually not an easy thing to do, but I was ready to try. It was like a brand-new experience for me. When I was working in the editing suite with Chen, the Director, he always encouraged me to try whatever felt good. I could forget about any editing rules in my mind, and it made for an amazing experience. I still feel so lucky that I got to be part of it. All the cast and crew were amazing,” said Yang.

Knowing he wanted Yang on board right away, the director sent her the script. At the time, it was not even completed. The first time she read the script, the story impressed the editor a lot. It was completely different from the films she had edited previously, and Yang is always looking for something new and unique challenges to get her creative juices flowing.

The film follows three different timelines all happening at the same time and includes several dream sequences. These three timelines revolve around the leading character in the story, reality, his dream and the film within the film. This makes for entertaining watching, but immensely challenging editing. With so much going on, Yang knew she had to put the scenes together in not just a creative way, but also one that was logical for audiences not to get lost and confused in the different storylines. She spent a good deal of time on the first cut. Almost every scene in the film had a different location, or even different time and space. Therefore, Yang decided to use different aspect ratios to present different timelines. However, after a few cuts, she still had the concern as to whether or not the audience could understand everything. She then tried to simplify the story by losing minor details, which made the film more relaxed and funny. Yang’s understanding of storytelling proved vital.

“Since the structure of this story was so complicated, editing played an even more important role. I kept reminding myself about one thing, “What am I trying to convey to the audience here?”. Once I was sure about the answer, every decision I made should serve this purpose. Otherwise, it’s easy to get off track under this situation. That’s why my work is particularly essential for this project. I had the responsibility to control the direction of the film, and at the same time to make it interesting,” Yang described.

In addition to editor, Yang took on the role of post-production coordinator for the film. As an editor, she cares about the sound and color correction a lot, and she always sticks to the end until everything is done, making her the perfect fit for the position. She also likes to give her input to the sound designer and colorist, knowing what would work best while editing.

Undoubtedly, Yang’s contributions to It’s Not Just About a Film made the film what it is today. Her commitment to the project was evident with every decision she made. However, the awards and accolades are not important to this editor, who remains humble. For Yang, she just focuses on the story she is telling.

“As the director said, “It’s a story about dream and subjective perception of the world.” And there is always a saying that “dream is the reflection of reality”. I don’t know if there’s scientific evidence to prove it, but it makes sense to me. Based on this concept, we developed this wild, dramatic, even absurd story. For me, it’s fantastic. It stimulated my full potential as an editor,” she concluded.

Be sure to check out Yang’s outstanding work in It’s Not Just About a Film.

By Sean Desouza

Canadian Talent, Producer, Reviews, Interviews & Features!

Producer Kegan Sant talks award-winning film ‘The Bear’

March 7, 2018 pressva Leave a comment

Born in Trinidad and Tobago, Kegan Sant moved to Canada at just six months old. Growing up just outside of Toronto, Sant was constantly drawn to filmmaking. He has worked in varying capacities on set since he was only a teenager and enjoys shooting photography to keep the creative juices flowing. While trying out the many roles that a film set offers, there was one that spoke to him, and he ultimately decided there was only one option: he was meant to be a producer.

“As I worked through the different roles on set, I realized that my skill set led more heavily towards the management and overall execution of a project. I’m a big believer in knowing one’s strengths and weaknesses and always playing to your strengths; in this case, it set me down a path of working in production and ultimately producing. Being a professional comes with the job description and something I pride myself in – running sets with integrity and calm amidst the chaos,” said Sant.

Throughout his esteemed career, Sant has worked mostly in the commercial sector primarily dealing with advertising agencies to make commercials for brands. This includes large companies such as WestJet, Woods, the CFL, and TELUS. Each and every commercial he has taken on has received national recognition in some capacity, exemplifying just what makes Sant so formidable. However, his talents are not just limited to commercials, and his track record with films is no different.

In 2015, Sant began working on The Bear. Isolated, exhausted, alone: the dramatic thriller follows three miners in a remote Yukon mining camp in Canada’s far north who swap tall tales that lead to a violent showdown with the camp’s bitter owner. Part story of man in the wilderness, part neo-noir, The Bear takes the audience into the Canadian ‘heart of darkness’.

“I think this was an important Canadian story to tell and describes an environment that not many people think about but is a reality for many miners. I liked it because it was loosely based off someone the director had met working on a documentary many years ago and it allowed for different departments to flex their creative muscles. Being able to cast the characters the director had envisioned made the story come to life that much more for me,” said Sant.

After premiering at the 2015 Fort McMurray International Film Festival, where it won for ‘Best Direction’ and ‘Best Cinematography’, The Bear went on to several other prestigious film festivals around the world. It was also an Official Selection at the Yellowknife International Film Festival, Toronto International Short Film Festival, Edinburgh Short Film Festival, Atlantic Film Festival and Austin Short Film Fest. In 2017, it was then acquired by an online VOD distributor.

“I’m proud to know that the film has been so successful and screened around the world. It means that all the hard work myself and the crew put in, was worth it. It impresses me when I think about how many films are made all over the world and what the competition is like in festival screeners these days,” said Sant.

Sant was the team’s first choice for the producer of their film. Long Format Director, Warren Sonoda, knew Sant’s reputation for being able to assemble great crews and bring a high level of production value to the project. When the Director of the film, Peter Findlay talked with Sant about the project’s merits and goals, he felt at ease that Sant was the one who could make his first narrative project come to life.

Although he works on commercials more frequently, Sant knew he wanted to work on The Bear the moment he read the script. He was happy with the team, and admired Findlay’s commitment to the story. He couldn’t pass up the opportunity to help bring the project to life.

“I had the good fortune to work with Kegan as my producer on my award-winning film The Bear. I found Kegan to be extremely professional, creative, and always working calmly behind the scenes in the best interests of the production. What makes Kegan such an asset is that he has the steely focus it takes to deliver on time and on budget – and he also just flat-out loves telling stories. A great compromise between the art and business of filmmaking,” said Findlay.

When shooting, Sant and his team worked outdoors in a remote location. He extensively prepped, knowing that once out there, it would be difficult to change anything. Sant had to build a miner’s camp set from scratch and work with the Director of Photography to find lenses that worked to help it appear that the film was shot in the Yukon rather than rural Ontario.

On top of this, he also offered the director multiple options and a chance to exercise his creativity. Sant wanted to let Findlay feel like he wasn’t rushed, knowing the importance of allowing a director the freedom and flexibility to feel comfortable with their process. Findlay had no prior experience in the narrative world. He didn’t have the crew contacts or resources to bring the project to life in a way that it needed to be produced. Sant was able to introduce him to the right key crew for the job, specifically the cinematographer and production designer.

“I enjoyed working with an experienced director that came from a different world of storytelling – it was enlightening to see the differences in process and to learn from it as well. I could learn from him and likewise, he could learn from me. It was a great working relationship and I was able to hire the best crew for the job, giving some crew opportunities that they hadn’t had before to help build their reel and portfolio, in addition to creating a short on a cool subject,” said Sant.

The Bear is just one of Sant’s many successful films, and he looks forward to working on more in the near future. He is an extremely versatile producer and is constantly adapting to be successful. Audiences can continue to expect great things from him, and for those looking to follow in his footsteps, he offers insightful advice.

“I would tell aspiring producers that they need to get their hands dirty. Producing is not a glamorous job, but it is fulfilling. Work in a variety of capacities on set and make sure that production is what you want. Production manage before you produce; it will help you understand the crew and different departments and needs versus wants. Know your strengths and weaknesses; it will determine whether producing is for you or not. You have to have a thick skin…you will face much rejection in your life if you choose producing as a career path. You must learn to be empathetic, as you will be the boss of an eclectic group of professionals. They will have their quirks, they will have wildly different personalities and you’ll have to learn how to manage them, understand them and realize what you as a producer are willing and able to handle and what you are not. There are many production companies and crews in the industry – if one or two don’t work out, it doesn’t mean you should give up. Perseverance is key – it is the defining difference between you and everyone else who is not a producer,” he advised.

Pictured left to right: Kegan Sant, Peter Findlay, Rob Comeau on set of “The Bear”, photo by Stephanie Langzik

By Sean Desouza

Film, Film Editor, Reviews, Interviews & Features!

Through the eyes of Èlia Gasull Balada, Editor of ‘Icaros: A Vision’

March 7, 2018 pressva Leave a comment

Elia 2 — Èlia Gasull Balada, photo by Carla Gonzalez

Film editor Èlia Gasull Balada had quite a 2017. Esquire and the The New Yorker included one of her most recent films, Icaros: A Vision, in their lists of the best films of the year. After an extensive festival circuit, Icaros had its theatrical release in the United States that summer and soon afterwards in Canada and England. The film will be released in Mexican and Italian theaters this upcoming spring as well.

With a solid experience in cutting trailers, music videos and commercials for production companies and directors such as Part 2 Pictures and Matthew Newton, Gasull Balada balances her career between feature and documentary films like the Documentary TV Series, This Is Life with Lisa Ling, and the highly anticipated social and political wonder, THE KING. Consistently ranging from documentaries to fiction work, Gasull Balada’s versatility makes her undoubtedly a multi-faceted editor.

Following a period of filming in 2014, Gasull Balada’s talents were recognized when she was recommended to edit the feature film Icaros: A Vision. When meeting with Abou Farman, the producer, as well as with the co-directors, Leonor Caraballo and Matteo Norzi, they clicked and immediately decided to start a collaboration together. Èlia was very attracted by the synergy that existed between Caraballo, Norzi and Farman. Norzi has a background as a conceptual artist and Caraballo was a photographer and a video artist in a duo collaboration with Farman, who is also an anthropologist.

Icaros: A Vision follows the life of Angelina, an American woman who travels to the Amazon in search of a miracle after exhausting all her medical options back home. In her search, she finds a group of foreign individuals seeking transcendence, companionship, and the secrets of life and death. Eventually, her perceptions are altered by the ancient psychedelic plant known as ayahuasca, as well as through her bond with Arturo, a young indigenous shaman who is losing his eyesight. When Gasull Balada embarked on this project, she faced the challenge of editing a long meditation between dreams and reality. One of her primary tasks was finding a way to escape the conventional and create an original universe that could faithfully represent the vision that Leonor and Matteo had. In Gasull Balada’s words, Icaros: A Vision “stays with you and brings you to the Amazon in a way that you don’t expect.”

At the outset of the film’s editing journey, Gasull Balada was working closely with Caraballo; unfortunately, Caraballo passed away before the editing finished. The film is partly based on Caraballo’s life experiences with cancer and her passing opened a big reflection about life and death for Gasull Balada. They had worked very closely till almost the very end and witnessing the departure of a young artist and creative force was a life lesson for her.

“Leonor’s commitment and vision came from the pure essence of being an artist. It is not easy to make films that talk about difficult subjects like death and she gave everything to it. Icaros wants to explore the mystery of something that goes beyond the rational. The challenge lied in bringing the audience to dark and unexplored places and blurring the boundaries between dreams and reality. From there, we tried to find moments of truth that could become moving sensorial experiences and could lead to reflections about what it means to die,” she said.

In the wake of Caraballo’s passing, Gasull Balada, Norzi and Farman kept working together to complete the film. Because of the extraordinary and unfortunate circumstances of the project, the edit of Icaros: A Vision was a long process, providing Gasull Balada a long window of time that allowed her to experiment widely with the footage.

“It’s not common to get enough time to experiment until you exhaust all the possibilities. With this film we really pushed ourselves to try many different things until we got to places we felt very confident about. The vision was slowly constructed and we think that Leonor is very pleased with what we did,” Gasull Balada commented.

“Èlia was a crucial part of our film Icaros: A Vision, which had a successful release in North America with full accolades from the press — The New York Times, Variety, The New Yorker, The Hollywood Reporter, and more. As an editor, she is technically skillful, but that is not what stands out about her. She is someone who finds solutions where none seem to exist because she is both patient and experimental. She can layer images and meanings together. That is what worked for us in our film, that deep layering of meaning and images that make a film transcend the occasion of its shooting. She also has a keen eye for detail, which for an editor means making the right decision about when to cut. Elia’s relationship to cinema is a creator’s relationship. She is committed to an aesthetic and moral vision. She ‘sees’ the film… that is, she sees through the material of the film into its deeper meanings and builds the film from there. This was a difficult film in a difficult circumstance, where the main director was on her deathbed right next to Elia as she was editing – I truly don’t believe any other person would have made it through those conditions, let alone accomplish a masterful edit,” said Farman.

Norzi and Caraballo had in mind a very clear aesthetic that it was partly influenced by the experiences they had had with ayahuasca and the Shipibo Conibo imaginary, but they wanted to bring in other elements like animation and some of the previous video art that Caraballo and Farman had created. Gasull Balada faced the challenge of finding a cohesive language that could interweave the original footage shot for the film with all this other material.

“We played with many different elements in this movie but two of them were essential to me: Nature and the Icaros, which are the songs that the shamans sing during the ayahuasca ceremonies. The jungle embraces the journey of Angelina and Arturo, as well as all the other passengers, and it is also the stage for The Vision and the sequence of hallucinations that compose the story. We experimented a lot with how the forest was going to be present throughout the film and how it would be an essential layer of the whole sensory experience. And we did the same thing with the Icaros. There’s no additional music besides the shamanic songs and those help the audience to vibrate and to navigate through different moods. The harmony of the jungle, and the wisdom of the Shipibo Conibo people come in a full circle that starts and ends with Nature. It’s based on the concept of unity and that was our guide during the editing process. Later on, the work that Tom Paul did with the sound design brought the film to another level and created a full immersive experience,” pointed Gasull Balada.

Icaros: A Vision went on to premiere at the 2016 Tribeca Film Festival in the International Narrative Competition. At the Crested Butte Film Festival, Icaros: A Vision won the Special Jury Award. It went on to be an official selection at the Mill Valley Film Festival, the Warsaw Film Festival, and the Santa Fe Film Festival, and screened at International Film Festivals like La Roche Sur Yon, Guadalajara, Habana, Cleveland and Istanbul, among many others.

By Sean Desouza

Producer, Reviews, Interviews & Features!, Television

Tips from the experts: Supervising Producer Jonathon Ridgard

February 28, 2018 pressva Leave a comment

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 11^th on ABC.

Actor, Film, Reviews, Interviews & Features!

Actor Tony Nash shows off boxing skills in ‘Petrol’

February 24, 2018 pressva Leave a comment

Tony Nash believes that his responsibility as an actor is to find the soul of his character and take on their essence. And for this Canadian actor, he believes that the soul of every character has its seed within his own. The seed of some character’s souls sometimes closely resemble him, and others differ greatly, but the differences are always a result of a difference of choices and environment, not the substance of the soul itself. His soul and every other soul out there are made of the same stuff. This is what makes great acting possible. The potential to take on another’s soul through a character and live and breathe as him is limitless, and for that reason, Nash knew acting was the only path for him.

From the 2015 horror/comedy Secret Santa to the upcoming Audience network series Condor, Nash has shown audiences everywhere that he is not only a talented actor, but extremely versatile as well. Whether he is playing a supportive friend, like in the acclaimed movie Saving Dreams or a complicated, bilingual police officer, which he did in the film Meet the Parents, Nash remains completely committed to his characters. He not only portrays them, he becomes them, and this could not be more evident than with his work on the television show Petrol in 2016.

Petrol is an action/drama series following five reckless drivers who all work for a mysterious Employer. In the show, Nash plays Jason, an ex-military veteran and boxer who is commissioned by a mysterious figure known as The Employer to plan and execute a gold heist. When it goes wrong and his partner is killed, a plan to execute revenge on the all-powerful and elusive Employer is born.

“I was really excited about Petrol because not only would I be able to let loose with my boxing training on set, but also execute a meticulous and brutal gold heist; every actor’s dream. It sounded really exciting to me because I enjoy playing the mysterious bad guy. It comes naturally to me and I knew this would be really fun. I wanted to experience working on a high-paced action project and I knew this would be different than anything else I had done in the past,” said Nash.

The character of Jason was a very skilled boxer who would go on and lead a heist. As an ex-military commander, he knew how to think on his feet and stay composed in any situation. When the heist goes wrong and his friend gets shot in all the action, Nash’s Jason had to compartmentalize his emotions and complete the mission despite losing his comrade. It was a dramatic loss, but he had to push through to the end. He was brave and extremely determined, able to think fast of imminent danger. Nash was ready for the complex role and executed it to perfection.

“I worked with Tony on the television show Petrol, where he performed the critical role of Jason the Boxer. Tony’s character is a trained boxer and there are several long scenes in which Jason was to realistically fight an opponent, which provided something of a challenge to the actor who would portray him. On top of that, Jason is also a complicated character who must display the emotions of one whose friend is killed, leading him to desire revenge. I am proud to say that Tony performed beyond my wildest expectations. As a trained boxer, he portrayed Jason’s technique and savagery in the ring perfectly. Not only that, but he was also a fantastic, nuanced actor, bringing the emotional depth of the character to life. His performance enhanced the quality of the entire show. I was extremely impressed with his work,” said Reza Sholeh, Writer and Director of Petrol.

When Sholeh approached Nash about taking on a role as a boxer, Nash was excited about the opportunity and would not let anything get in the way of his delivering a great performance. He was eager to put to use a whole slew of other skills in addition to acting, to take on this explosive role. This is not common, and Nash says that he feels lucky to be able to play such a character. He immediately began training. He had previous experience in boxing, but to be a realistic professional boxer, he wanted to look completely natural. Having already understood many techniques from his previous boxing training, he quickly became an expert for the part, training at the Toronto Boxing Academy in Toronto. It was challenging, training for hours every day, there was a lot of sweat and exhaustion, but Nash knew the importance of the work. He used the long hours spent in the gym to get into the mood and mindset of his character. In one particular boxing scene, Nash steals the show and truly looks like a professional boxer.

“I love boxing and it is one of my favorite sports that I continue to practice even now, years after filming Petrol. I have many inspirations such as Mohammed Ali and Mike Tyson. I studied their techniques and skill and compared them to many other boxers to understand the secret to their incredible success. The day of the shoot for that particular scene, I came in early to warm up and really get into it and focus not only on the technique, but to give the character his own personality as a boxer. I hope I can once again shine in a role not only through acting, but through my other skills and hobbies as well,” said Nash.

Nash’s work was essential to Petrol and the episodes featuring Jason the Boxer. He was able to bring both his skills as a boxer and talent as an actor to the screen. It is sometimes difficult for actors to be able to do both naturally and simultaneously, but Nash did so flawlessly. He practiced and perfected both boxing and his lines, not forgetting to take the time to understand the character’s mind by finding his soul within him.

“I really liked the fast pace action of this story. I usually opt for deeper and more complex characters, but I loved how my character shared this bond with his friend through boxing and how he was suddenly taken away from him in the heist. I think that is important to portray because it shows both sides of a character. On the outside my character looked tough and intimidating and was willing to put his life at stake in a high-risk situation, but he also had another side of him. That’s important to show because it allows people to understand that there’s more to a tough guy than the way they look on the surface,” he said.

Petrol was released in February 2016 and went on to win several awards including Best Mystery at the Vancouver Webfest and Best Action Adventure at Hollywebfest.

By Sean Desouza