Tag Archives: Producer

Producer, Reviews, Interviews & Features!

Producer Yayun Hsu talks new film ‘Next Door’

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Taiwan’s Yayun Hsu sees her role as a producer similar to that of a magician; she is often required to make things appear out of nowhere, with the end goal of enthralling audiences and providing a temporary escape, and a source of entertainment. With each new project, this revered producer analyzes what she can do with the resources she has, looking to see how to make things happen no matter the budget. Whenever she wraps a project, she reviews what steps were taken to ensure everything is the best it can possibly be. Despite constant success, she always feels a slight sense of surprise and delight by such good results, giving her the positive power to make more movies and tell better stories, and audiences around the world are thankful for such a commitment to her craft.

Throughout her esteemed career, Hsu has worked on many films and various projects that exemplify what she is capable of. This year alone, Hsu worked on a series of successful endeavors. She created a video for the Westfield Century City Mall Grand Opening Event, made a national commercial for the Whisk Wiper, produced the inaugural American Influencer Awards, and worked on several successful films.

“I give myself the rule of ‘practice what you preach.’ For example, if I expect my actors and crew to be to set on time, then I need to be there even earlier; if I hold a vendor responsible for delivering a quality product, then I need to make sure I’m delivering the same quality both in my word and work ethic. I find this strategy pays off for everyone involved,” said Hsu.

This strategy has indeed paid off for Hsu’s most recent film, Next Door. It is a horror film that conveys the message to not always trust what you see. Next Door follows Lily and Earl, who have just moved into a new home and become Morgan’s neighbor. Lily makes Morgan think her father, Earl, is an abuser, but it turns out Lily has dark secrets of her own The script is what caught Hsu’s interest in the film, and she knows the importance of a good story.

“A good storyline and a plot twist will always make a film memorable. Leaving a lasting impression on an audience is of course the ultimate goal of a filmmaker. I prefer thought provoking storylines and I hope that this one inspires change after viewing,” she said. 

The film had its premiere at the Asian World Film Festival at the beginning of November, and impressed both audiences and critics. It is expected to make its way to several other film festivals over the next year.

“It was amazing to see all the footage we made come together into a real film. It feels nice that it is now doing well at festivals. Receiving recognition from the professional filmmakers is a compliment especially from people I admire. We worked hard on this project for almost half a year, so to see it on the big screen was definitely is a pleasure,” said Hsu.

In her role as Unit Production Manager on Next Door, Hsu was involved in casting, location scouting, applying for permits, arranging catering, controlling the budget, and working on set to solve unexpected problems. In one instance, the Director of Photography realized he forgot to rent camera batteries for the shoot. Hsu knew exactly who to contact at the last minute to help the shoot continue without delay. Additionally, before Hsu joined to the team, the director already had completed casting, but he couldn’t get the right actors for the performance. Hsu then was invited to take part in the casting process, and she posted casting information on different platforms, which led to the right actors being cast for the film. There is no doubt that the film would not have achieved what it already has without her extraordinary talents.

“Yayun is very well-rounded and able to help out the team in numerous different roles. As a producer, Yayun has a strong leadership ability to solve problems. As a partner, she is dependable and reliable when I need support. As a worker, she always does her best to find the best solutions in a time efficient manner. These are all very desirable qualities in a team member. Yayun gives every working partner a relaxed and happy environment, while also supervising the filming process. We have worked on many projects, and I foresee Yayun’s support as an advantage for any team she is on in the film industry,” said Mimi Masters, Producer of Next Door and CEO of IMC Production.

Masters specifically sought out Hsu to work as her partner, as she was working on several films at the same time, and she knew she needed someone like Hsu as an on-set producer to make Next Door a success. Hsu’s commitment to every project she works on was invaluable to not only Masters, but everyone she worked with.

Despite working on many acclaimed films, Hsu had never before produced a horror film. She says it was an adventure everyday on set. They planned many things ahead, but the plans could never keep up with the changes, which is where her ability to work under pressure and problem solve proved vital. After a long 12 hour a day on set, the cast and crew’s energy began to dip, and a happy crew is of course a first priority for Hsu. It was 7 p.m., and she knew the next break wasn’t until 1 a.m. Most of the restaurants were closed by then, and she thought, “How am I going to feed my crew?” Putting her strategic thinking abilities to use, Hsu contacted the catering person she worked with earlier that day, and they made a special hot and fresh meal at midnight and delivered it to set.

“A story about food may not seem too exciting, but I learned that as a producer, the key to any projects success begins with resourcefulness and a full stomach,” she said.

Be sure to check out Next Door and keep an eye out for Producer Yayun Hsu’s future work. It is evident with everything she does that she is a “magician” when it comes to filmmaking.

Chinese Filmmaker, Film, Reviews, Interviews & Features!

Lili Huang casts an honest lens on the life of “Xixi” in award-winning documentary

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Alfred Hitchcock once said, “To make a great film, you need three things: a great script, a great script, and a great script.” For award-winning screenwriter and producer, Lili Huang, these words resonate deeply. If her career has taught her anything, in fact, it is that a well-written script is absolutely essential to the success of a film. For this reason, Huang pours her heart and soul into ensuring that when she writes a script, she fine-tunes each and every detail to perfection, regardless of its size. This dedication to scriptwriting, coupled with her business acumen and knowledge of film production, make her a rarity in the entertainment business and an asset to any project she works on.

“For me, screenwriting is about using my writing skills to take a simple idea and turn it into a gripping story for an audience. I enjoy the entire creative process of writing, from developing each character, to building the structure, planting every small or large detail, and ultimately, of course, presenting a final story that people will eventually fall in love with,” told Huang.

When Huang looks back on her career, however, she recognizes that originally, her passion for screenwriting and producing were not as clear cut as most. On the contrary, they have slowly and progressively built over the course of the last decade and as she continues to explore the film industry, her love for the two professions only grows stronger. To date, Huang has written upward of thirty film and web series scripts and makes no plans to stop any time soon. In addition, she has received a number of prestigious awards for her unique set of skills and techniques. For instance, in 2011, Huang tested her abilities as a screenwriter, director, producer, and editor when she created her film, The Flower of the Future, and earned herself a nomination for Best Screenplay at the Golden Panda Awards in China. For another of her films, Mei Mei, Huang won Best Film at the Golden Rooster and Hundred Flowers Film Festival, earned herself an Official Selection at the IndieFest USA International Film Festival, and more.

To little surprise, Huang is used to receiving a substantial amount of praise for her work from her peers and fellow film-lovers. For instance, well-known Chinese director, Xuehua Hu, acted as both a mentor and colleague to Huang over the years, considers her to be an asset in the industry. When asked about what makes Huang so good at her job, Hu had the following to say:

“Lili Huang has a rare professional dedication and passion for filmmaking. Throughout her career, she has gained a comprehensive understanding of the filmmaking industry, especially as it pertains to the differences between filmmaking in China and in other parts of the world. I can say confidently that she is an invaluable, professional filmmaker.”

After years of developing her skills in the genre of drama, Huang felt that she was ready to branch out of her comfort zone and explore the realm of creating a documentary-style film. Given that documentaries interest her greatly, Huang was confident that this was an area of filmmaking through which her talents could prosper. In 2012, she felt compelled to tell the story of Xixi, a girl who was born in China, immigrated to the United States as a child, and moved back to Shanghai, China, as a young adult. Huang spent the next eight months gathering raw footage of Xixi’s daily life, endeavoring to capture every moment of happiness, hardships, romance, friendship, and more. Ultimately, Huang wanted to shed a light on the Xixi’s unique life circumstances and allow audiences to draw their own conclusions about the intricacies of Xixi’s cultural transitions.

“I wanted to show my audience what her daily life is really like. For her, having had just moved back from the United States to China, she was definitely experiencing life in a very different way than local Chinese people were. I wanted to share her point of view on her new life in Shanghai, on how she was adopting new customs, etc. I also wanted to audience to draw their own conclusions after watching the film,” she said.

Once she had concluded her filming process, Huang edited her footage and eventually, in 2013, Xixi premiered at the Golden Panda Film Festival in China. Later, at that same festival, she received a nomination for Best Director of a Documentary Film, and was overwhelmed with pride. Director Haiying Wu, who acted as an advisor for the project, offered a great deal of praise for Huang and had only positive things to say about the film. Xixi, in conjunction with Huang’s other achievements in her field, have proven that there are very few limits to what she can achieve when she sets her mind to it and fortunately, she intends to continue dedicating her efforts to telling meaningful stories and continuing to help contribute the art of film for years to come.

Producer, Television

Brett Morris sheds insight into his journey from Young Magneto to seasoned producer

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Human beings are known to set limits and work within them. With that, we understand and evaluate the world through binary opposites like black versus white, up versus down, in versus out, and so on. Then, sometimes, positive disrupters emerge and they challenge us to read between the lines; to understand the world’s wonders along spectrums rather than within extremes. They empower us to test the limits that we set for ourselves and to determine alternative understandings of our world that we might not have otherwise considered. More often than not, these disrupters are known as artists, innovators, and pioneers. In the case of Brett Morris, however, titles like “cinematographer,” “editor,” “director,” and “producer” come to mind. For the highly sought-after creative, there are no lengths that he will not go to in order to stimulate the minds of his audiences and allow them to wander into worlds that they have never explored before.

“What I love about producing, in particular, is that, when challenged to produce something, you’re only limited by your own resourcefulness. Not your resources. If there is a will, there is a way and I love being able to solve a multitude of problems. My job is to make the day go as smoothly as possible and appear as if there was never a challenge in the first place,” said Morris.

Having kick started his career as a child actor, Morris has built himself from the ground up, experimenting with just about every role involved in the creation and production of a film or television show. As such, he has earned a certain understanding and appreciation of the intricacies of his art form that other artists may never fully experience. At the age of 12, Morris landed himself the role of Young Magneto in the hit film, X-Men, and was inspired by talented actors like Ian McKellen and Hugh Jackman. What he hadn’t anticipated; however, was how fascinated he became by the role of the director. He was determined to become a part of the directing community and today, he can be credited with producing and directing fan-favorites like Big Brother Canada, Hockey Wives, So You Think You Can Dance, and many more. 

In 2016, Insight Productions were looking to re-boot the widely adored series, Top Chef, for a fifth season with an added “all-star” twist. Top Chef Canada is a Canadian reality competition television series airing on Food Network Canada. Each week, chef contestants compete against each other in culinary challenges and are subsequently judged by a panel of professional food and wine gurus. At the end of each week, one or more contestants are eliminated in order to determine who Canada’s “Top Chef” will be.

For Top Chef Canada All-Star, the show’s production team was intent on finding a field producer with the skill and expertise necessary to take it to the next level without sacrificing any of the elements that made their show the success it is today. Essentially, a field producer is responsible for handling all in-field directing, as well as conducting on-camera competitor interviews. The role typically involves juggling technical in-field directing abilities with achieving optimal story beats in order to effectively craft each episode during post-production. Fortunately for Morris, the decision to select a field producer landed in the hands of a former co-worker and member of Top Chef’s production team, Eric Abboud, who knew that Morris was the ideal candidate for the job. Abboud approached Morris about the opportunity to work alongside the show’s story team, including talented writer, Jennifer Pratt, and highly skilled story-editor, Liam Colle. For Morris, joining such a high performing team acted as further motivation to show Food Network lovers everywhere just what he is capable of.

From the outside looking in, it is easy to see how intense and pressure-ridden each Top Chef competition can be for contestants, whether or not you’re watching a regular season or an all-star edition. What is more difficult to imagine, therefore, is the type of demand that places on a production crew to capture each and every moment as authentically as possible. Morris recalls episodes being shot in the span of two days, across multiple locations. When the chefs were cooking, Morris was behind the camera crew, prompting them to speak loudly about their creative process and having to break their heavy focus in order to heighten the drama-filled, entertainment factors of the show. Other times, while chefs were navigating their weekly budget to shop for groceries, Morris was directing crews of six camera operators and three audio engineers in order to effectively capture all of the suspense. Then, for each episode, he was tasked with keeping track of every action-packed second of filming in order to know which content to probe the chefs about during their interview segments afterward. Despite the demanding nature of this role, Morris loved every moment. Particularly, he enjoyed the unique chance he had to interact with all of the chefs up close and personally.

“These chefs are true all-stars, restaurant owners, and at the top of their field. Any time you get to immerse yourself into the world of an expert, it is exciting. From the way they prepared their ingredients, to the meticulousness of cleaning their work stations, everything was like a rehearsed dance to them. It was exhilarating to watch. I found that I became a “foodie” by proximity and I took that learning with me every time I order at a restaurant or prepare a dish at home. It was an unbelievable experience,” recalled Morris.

Ironically, while Morris found himself fascinated by the opportunity to witness these culinary experts in their element, his co-workers, like Colle, were experiencing similar sentiments while watching him at work. According to Colle, working with Morris was a learning experience in itself and he enjoyed the distinct pleasure he had to learn Morris’ approaches and techniques for his own use. When asked what makes him so great at what he does, Colle had the following to say:

“I’ve never come across anyone else with the skill set and talent of Brett Morris. He is whip-smart, with an uncanny ability to tell compelling stories and deliver polished and professional productions. I think a big part of what makes him so good at what he does is that he’s got the perfect mix of creativity and analytics. Whether it’s in the edit suite or on set, his instincts are always on point and the finished product is never less than impressive,” told Colle.

Despite the fact that Top Chef Canada All-Star was breaking the show’s three-year hiatus from Food Network Canada, the result was better than ever. Canadian audiences still felt a deep connection with the show and Morris’ work was extremely well received. In fact, with the help of Morris, the show earned the green light to be renewed for a sixth season which will air in 2018.

“The fact that the audience loved it and it got picked up for another season means that not only did we do our job well, we were successful. It is always satisfying to see your hard work pay off,” he concluded.

 

Top photo by David Leyes

Film, Producer

Producer Annick Jaëgy sheds light on anorexia in award-winning film “Mackenzie”

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A child’s imagination is what makes them so special. The ability to envision all new worlds while in sitting alone in a bedroom is something that tends to dissipate as we age. However, artists still possess such imagination for their entire lives, and filmmakers not only have the capability to imagine new worlds, they create them. Annick Jaëgy knows this well. As a producer, her creativity knows no bounds, and it is because of this that she has quickly become one of Europe’s most sought-after in her field.

Throughout her career, Jaëgy has worked on a variety of high-achieving projects, showing the world what she is capable of. She has worked alongside Oscar winners such as Mahershala Ali in the critically-acclaimed film Gubagude Ko, and her work on the musical That Frank garnered international attention.

Another highlight of the producer’s career came from making the film Mackenzie. The film tells the story of a teenage girl who is dealing with the emotional distress of moving to college and leaving behind her severely anorexic sister. On the day of her departure for college, teenage Alison wants it to be about her for a change and not her sister Mackenzie, who she thinks is extremely self-centered. But, as the day progresses, Alison’s true feelings about her sister come to surface. She worries about how Mackenzie will battle her anorexia without her around. And when the time comes to say goodbye, an honest confrontation between the two could jeopardize the future of their relationship. It’s a teen drama with a lot of heart and also some humor. Such a story required a producer who was not only dedicated to their work, but also the message the film was trying to convey, and Jaëgy was the ideal woman for the job. 

“Because this script was about a woman struggling with anorexia, Annick was very concerned that we go about the task of casting this actress very carefully, making sure we found not only a good performer but one who would not herself become anorexic in order to do the role. ​I was very impressed with how protective Annick was with her director’s process, making sure she was not rushed to make any decisions, making sure I allotted plenty of time for callbacks and work sessions with the actresses. This is very rare in a producer, most want casting to happen as quickly as possible without a thought to the nuances that a director needs to see in order to make a decision. I’ve worked on many AFI films, but Annick stands out as particularly talented at her job. I had such a positive experience doing Mackenzie with Annick that I jumped at the chance to work with her again on her next project.  I hope to continue to work together,” said Lisa Zambetti, Casting Director.

The idea for Mackenzie came from Sofia Åström, the Writer and Director. Initially, Åström had an idea for a feature about two sisters going on a road trip, which eventually transitioned to a film about two sisters separated by anorexia. She wanted to explore anorexia from the point of view of a family member, in this case the younger sister Alison (Jessica Wingenbach). Such a stance is uncommon in films tackling the disease, which are more often than not told from the point of view of the anorexic person.

Åström struggled with anorexia as a teenager, and now having long recovered, she wanted to use her tools available as a Director, educating audiences on the impact of the disease. However, when Jaëgy came on board, she wanted Åström to work with another writer to give Åström some distance to her script and allow her to direct more clearly. The decision, although sometimes challenging to work with multiple writers on one project, proved to be the right one, as the story is told with the protectiveness of Åström’s connection but also her artistry as Director.

“A lot of people wrongfully think anorexia is a vanity thing when it’s actually a deeply psychological struggle,” said Annick.

Åström and Jaëgy had previously worked on the film Soledad Canyon together prior to Mackenzie, a beautiful short about mourning and grieving. The two had a perfect collaboration, calling it “professional love at first sight”. Therefore, when Åström wrote a film that was as dear to heart as Mackenzie, she knew she needed Jaëgy as her producer to bring her idea to life. Åström was always impressed with Jaëgy, and had faith in her as a producer, trusting her taste and the fact that she could rely on the producer for every step of the filmmaking process. Jaëgy is known for her ability to create an environment where the talents of the cast and crew can flourish. In addition, she raised almost 75 per cent of the funds for the project. Each and every one of her decisions was backed by Åström, knowing that the producer’s instincts would prove fruitful and beneficial for her film.

“This is a story where women have a tendency to recognize themselves or at least their relationship with their siblings. Our main team is almost entirely female apart from William, the cinematographer. Sofia wanted an entirely female main crew. I am glad that William stepped as I think it is important to have the balance of the two genders. I am not in favor of an entire female crew to be honest. On set, we had a good balance men and women,” Annick described.

Jaëgy spent almost two years working on Mackenzie, from start to finish. Finding the correct location took some time, as they were in search of a house with a “jack and Jill bathroom”, a bathroom shared between two bedrooms, with doors entering from each room. This was extremely pivotal to the film, as it is where the sisters have most of their issues, such as Alison making fun of Mackenzie, and Mackenzie struggling with her image in the mirror, and also where they reunite. It was essential to find the right home with such a bathroom. After finding a fit, one of the rooms was too small to shoot, but Jaëgy and her team used a green screen to manipulate the footage. Both bedrooms were entirely repainted and redecorated to make it look like two teenage girls’ rooms and show the two different worlds the two girls are evolving; Alison’s being a messy teenage world and a tom boy with Mackenzie very neat, meticulous, and very girly.

The only leading roles in the film were that of Alison (Jessica Wingenbach) and Mackenzie (Reid Cox). Because of the nature of the project, Jaëgy and her crew also had to cast models to be able to replicate magazines covers. These models animated themselves when Alison was facing them and the mirror, a representation of what Mackenzie wants to be. Although these models had a few lines that made them cast, the film is essentially supported by two female leads. Engaging an audience with such a small cast can sometimes be difficult, but everyone’s commitment to the story translates to the screen.

“It was a very long process but the result is there. We have a beautiful film entirely financed through fundraising, that has gained recognition in renowned festivals around the world,” said Annick.

After its premiere, the film was an Official Selection at prestigious festivals like the Cannes Film Festival Short Film Corner, HollyShort Film Fest, Newport Beach Film Festival, Madrid International Film Festival, and Palm Springs International ShortFest – The ShortFest Film Market. It received a Silver Palm Award for Narrative Short at the Mexico International Film Festival, a Platinum Remi Award Winning for Short Subject Film Award/Dramatic Original and a Remi Winner at WorldFest Houston, and it was nominated for Best Short Film at the California International Film Festival and Davis Chinese Film Festival. Mackenzie has also just been selected to the Academy Award-qualifying Bahamas International Film Festival and we are thrilled as it is a very important film festival. It also pleased the investors. Once the film premiered, one of them told Annick that she would invest in her next film, and is now helping finance her next project. As a filmmaker, such validation is invaluable.

“To see months of work unfold in front my eyes when I was looking at the monitor watching the scenes while on set, these short moments made me think that when you are passionate about narrative visual storytelling, never give up. The road is bumpy and sinuous. It’s hard, don’t get me wrong, but there is nothing more magical to see months, years of work to unfold in front of your eyes while you’re on set,” said Jaëgy.

Annick is immensely proud of Mackenzie, not just with what the film accomplished amongst festivals, but how it resonated with audiences. Each and every member of the cast and crew felt what they were trying to convey in the film, and one of the most rewarding moments for Jaëgy was when one of her leads, Reid Cox, sent her a note.

“I am so grateful for the opportunity you gave me to work on such an incredible project with amazing people. Thank you for creating a safe environment for me to go to an extremely vulnerable place within me. You are such a bright light and I can’t wait to work with you again,” the note read.

Cox was one of many that was impressed with Annick Jaëgy.

“Annick is one of the most qualified people I’ve ever worked with. Her job requires a rare personality, involving management and creativity. There are no models to make a good artistic project. The ability to adapt to each unique configuration is therefore required. Economic and artistic understanding, time management, identification and resolution of often unprecedented problems, social skill, knowledge of the different jobs specific to the movie industry, ability to act for the project and not that of the ego, huge work capacity , especially in rush phases, which often exceed expectations, reliability, intelligence, project appropriation, passion and great humor, are all qualities that allow me to consider Annick as the best collaborator that anyone may wish to have to carry out on a film project,” said Marc Chouarain, a celebrated Composer who worked on Mackenzie.

Be sure to keep an eye out for more of Annick’s work in the future.

 

Film, Producer

Producer Sherry Yang scares and educates audiences in new thriller ‘Under the Pieces’

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The moment Sherry Yang steps onto a film set, she falls in love with what she does all over again. She is an extraordinary producer, and her passion for her work translates into each and every film she has done. She loves the feeling of working tirelessly night and day, as it allows her to see the magic of the filmmaking process in its entirety. She loves that as a producer, she nourishes a project from beginning to end; she works with every department; she is the go-to person for any problem that may arise and always has a way of solving it. For Yang, her work is more than satisfying, it is addicting, and that is why she is in demand all over the world.

Yang has produced many high-achieving films, and the success of each comes down to her talent and work ethic. Her versatility is superlative, and whether working on a historical story, such as the award-winning film The Letter, a telling comedy, exemplified by her films Jiaozi and Cash Back, or meaningful dramas like Te Echo de Menos, Yang’s producing is continuously top-notch. She has now also extended her resume to the thriller genre with her work on the new film Under the Pieces, and she has once again showed the world what she is capable of.

“I had always been very interested in the human psyche, which sparked my interest in Under the Pieces. I have been especially fascinated by the notion of dual personalities. This film decided to take a step further and make it multiple personal identities, and that made me excited. It was going to be another challenge to see how a mysterious murder would play out. I wanted to be one of the key elements that help in bringing this story to its successful,” said Yang.

Under the Pieces - Yuki Yoshimatsu, Brittany Fisheli, Sherry Yang - photo by Vera Zhang
Yuki Yoshimatsu, Brittany Fisheli, and Sherry Yang – photo by Vera Zhang

Under the Pieces follows a detective as she tries to put the puzzle pieces together of a horrendous murder that occurs inside a loving couple’s home. Yang was responsible for gathering the team, setting up meetings and rehearsals, and running daily productions. She also had to hire a writer and director. When she found Yuki Yoshimatsu, Yang then was involved in the creative aspect of the film. She would go over each draft and work with her team to ensure they were telling the right story. This made her extremely attached to the script, and she had to make sure she found the right actors for each part. Finding someone who can convincingly portray multiple personalities is not easy, as they had to be someone who could change their entire disposition just from the look in their eyes, but eventually she found just that in Mikael Mattsson. Her work was not done after that; once filming was completed, the team then looked for the ideal editor, one who would display the story in a manner that the audience would understand what happened whilst keeping the mystery of it until the very end, which they found in Monge. Undoubtedly, the film could not have achieved what it did without Yang, and these thoughts are echoed by her team.

“Sherry demonstrated exceptional problem-solving skills and communication abilities within and outside the production crew. In particular, when working with her, I don’t remember having a single problem with other departments or locations. When a producer is talented and particularly adept at their job it often goes unnoticed, because everyone else can tend to their own responsibilities without unexpected distractions. In this respect, Sherry was always an unsung hero on set by solving every ongoing problem that we were unaware of at the time. She is the best kind of producer, one who provides an environment where everyone on the crew can excel up to and beyond their individual abilities to collaboratively make the best possible product. I don’t even know much about her past work and accomplishments because when I’ve worked with her she has always been focused entirely on the job at hand rather than talking about herself. The filmmaking business is often correctly characterized for its narcissism. It is an industry where many people prop themselves up by tearing others down. It is notable that I have never heard a negative comment about Sherry from anyone else or a diminishing remark from her about anyone else. This might seem like a small thing, but it is a significant asset to the film industry because she has the type of work ethic and personality that sets a cultural and social example for an industry that is too often lacking,” said Edwin Beckenbach, a gaffer on Under the Pieces.

After premiering at the Los Angeles Cinema Festival of Hollywood in February where it won Best Student Film, Under the Pieces has had quite the film festival run. It was a selection at the celebrated Cannes Short Film Corner, as well as the L.A. Shorts Awards 2017 where it won Best Short Film Silver Award and the NYC Indie Film Awards 2017, where it took home Best Short Film Platinum Award.

“It is exciting that the film did so well. I am happy that many audiences and festival juries were able to understand the story and enjoy it. It assures us that the film was understandable and that we were able to tell the story correctly. We hope that this film has not only surprised audiences with the ending, but that it allowed them to connect with its message. We wanted the audience to understand that although perhaps not to the extreme of murder, but any individual in a stressful situation can snap with one simple push,” said Yang.

The film started out as Cinematographer Royce Gao’s passion project. Gao approached Yang knowing she was the best producer possible for her cherished film. Yang was not only eager to tell the story, but also to take on a more creative producing role, finding the correct writer and director, and being a part of the writing process. This made communication critical for the project’s success.

“I truly liked how I got to be involved creatively. The fact that I was able to put a few inputs to the story made this project a lot more personal to me. It made me more passionate to make sure the story was told right. I enjoyed being valued not only for my skills as a producer, but also for my creativity,” she said.

Above all else, however, Yang wanted to tell the story not just as a thriller that would excite and terrify audiences, but as a teaching tool. She wanted to educate viewers on multiple personality disorder, and put in a lot of research to make the story as authentic as possible.

Be sure to check out Under the Pieces and get a glimpse into Sherry Yang’s outstanding producing talents.

 

Top photo Victoria Geske, Sherry Yang – by Yuki Yoshimatsu

Film, Producer, Television

Katie Horbury works with Hollywood’s A-listers during BAFTA Awards

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Katie Horbury says it is her job to bring ideas to life. As a producer, she takes in every aspect of the production and ensures it all runs smoothly. Without her, the television shows you know and love may not have made it to the screen. She takes on a lot of responsibility, but she loves what she does.

Originally from Pontefract in the North of England, Horbury broke from the norm. She wanted more than a quiet life in a small town, and became determined to do what she loves most: telling stories. She left for the big city when she could, and immediately started working with some of her country’s most iconic shows, such as The Only Way is Essex, Big Brother and Celebrity Big Brother, Celebs Go Dating, Don’t Tell the Bride, and Come Dine with Me. She has worked with ITV, the second largest network in the UK, as well as Disney Channel. There is no limit to what she can do.

“I like telling stories and creating something that has a reaction in other people. Whether they are laughing, crying, learning something or just entertained in some way, knowing that I created an emotional response in another person is what I love doing. I love the night before a shoot when I can’t sleep because I have that nervous excitement in my stomach. I love waking up at 5 a.m. on filming days and running on adrenaline all day because your creative juices are flowing, and this is me at my best. What I love the most though, is the first few days in the edit, when it all starts coming together and you begin to see your vision come to life,” said Horbury.

While living her dream, Horbury has the opportunity to work alongside Britain’s best. Perhaps this is best represented with her work on the BAFTA Film and BAFTA TV Awards. BAFTA, the British Academy of Film and Television Arts, hosts the two prominent award shows every year, honoring Britain’s film and television stars. Horbury grew up watching the award shows, inspired by the actors, directors, and especially producers that won the awards. When she was given the opportunity to then work on the award shows, she was eager to take part in the new experience.

“Working there was a completely new and different experience to any other show I had ever worked on. This was a hugely prestigious event and it is essential that everything runs smoothly,” said Horbury.

Having worked on the award shows every year since 2011, Horbury has many responsibilities, ensuring the shows go off without a hitch. She assists presenters like Stephen Fry and Graham Norton with full rehearsals. She also manages the event timings to ensure that all chaperones and their A-list citations readers are fully rehearsed, their scripts are finalized and they are backstage promptly on time to present their award, and that they go to press and are interviewed and photographed with the award winner.

Essentially, Horbury ensures that everyone is in the right place at the right time, making her essential for the live awards ceremony. Some of these talents include A-list actors such as Leonardo Dicaprio, Tom Cruise, Brad Pitt, Emma Stone and Meryl Streep. The ceremony also hosted royals Prince and Princess William and Kate.

“Working on this show is insane. The pressure is like nothing else I have ever experienced,” said Horbury. “I decide to go back every year because I love being part of such a celebration of British film and television, and British Culture.”

Horbury is repeatedly asked to come back to the awards shows, as her talents are imperative to the shows’ success. Initially, a fellow producer had recommended Horbury for the role, knowing that someone with a lot of skill and commitment was needed. She now works with the same team every year. In 2011, Horbury made sure one presenter was back stage at the correct time. Since then, she has been promoted and ensures every single presenter is where they need to be. Without her, there would be no one to present the awards, and fellow producer Matthew Edmondson, who worked with Horbury on the BAFTA Awards, was extremely impressed.

“Working with Katie is always a pleasure and a rewarding experience. She’s hard working, easy to work with and she brings high quality production values to the productions she works on. I would love to work with her again.  Katie is an honest, trusted and experienced producer who has very high standards. She is fantastic with people which makes contributors and crew respect her. Katie is extremely well organized, confident and imaginative. She never gets flustered and never and never gives up and I wouldn’t hesitate to recommend her for future jobs no matter how big or small the production is,” said Edmondson.

While Horbury has ample experience in television, the BAFTA Awards are the only award show she has been a part of. The foundations are the same, and she remains cool, calm, collected, and professional during the award shows, as she does with each project she takes on. However, she allows herself a moment to fully appreciate the event each year.

“It is such a beautifully presented event that celebrates the most amazing film and TV productions. While the show day itself is incredibly challenging, I am so proud to be part of something that rewards the most talented people in the world when it come to my greatest passion – story telling. This is the night when you see real emotion, pride and honor in those people who are rewarded for telling exceptionally moving, honest and often heartbreaking stories through Film and TV production,” concluded Horbury.

Canada, Canadian Talent, Producer, Television

Canada’s Cassie Friedman found intriguing stories for Global TV

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Cassie Friedman says being a producer is synonymous with being a storyteller. Sometimes she will become bogged down with logistics – coordinating schedules, booking locations, finding potential characters, etc. But when all those pieces come together, she is telling a story. As a producer, she ensures every part of a production is in order, and at the same time finds the most compelling stories to keep her audience engaged.

Now, Friedman is an internationally sought-after development producer, working with the independent production company Studio Lambert in both London and Los Angeles. Before that, however, she was working with one of Canada’s largest broadcasters, Global Television. Not only did she help produce The Morning Show, The News at Noon, and the station’s ‘Child Safety Awareness Week’, but she also greatly contributed to various other newsroom projects.

“Global is one of the major networks in Canada and I’d been watching Channel 3 my whole life. Global’s reputation was already top tier for me. It was a no-brainer for me to try to start my career there,” said Friedman.

Global Television is a privately-owned, Canadian English-language broadcast television network, now owned by Corus Entertainment. Friedman worked on many projects for the network, like the bi-weekly Making a Difference segment, the Ontario General Election in 2011 and covering Canada’s National Ballet School’s Assemblee Internationale in 2013. Her responsibilities included researching, shot listing, booking stories, and assisting cameramen on shoots.

“The Global Toronto Newsroom was always abuzz and working there always felt like you were right where the action was. I was always driven to do my absolute best, because I was surrounded by the best journalists in one of Canada’s most respected newsrooms. So, I took extra care working on major projects. I used my research skills to tell a great story and ensure there were no errors,” she said.

Friedman’s contributions were essential to the newsroom’s success on a daily basis. During her time there, Global News won the 2013 Edward R. Murrow award for Overall News Excellence in Network Television, and Global Toronto won four RTDNA Edward R. Murrow awards in 2013, including the Bert Cannings Award – Best Newscast. For Friedman, the acclaim was absolutely fantastic.

“I always felt so lucky to be part of such an iconic, respected newsroom and working with a smart, committed team. It was so rewarding to be recognized for all the hard work we all put in day in and day out. I don’t think any of us did it for the recognition, so to be acknowledged, it definitely made me feel more appreciated. And confident that what we were doing was having an impact,” she said.

For a large part of her time at Global news, Friedman worked on anchor Susan Hay’s Making a Difference segment, where Hay would showcase inspiring people in the community who were doing charitable acts and helping others. Hay had been at Global for more than 20 years, and served as an inspiration for a 21-year-old Friedman. Friedman booked shoots, worked in the field and helped with scripts. On one occasion, when Friedman thought she may not find a story in time, she found out about a woman in the community who offered yoga programs for the elderly, and it ended up being one of the show’s best segments.

“What makes Cassie incredible to work with is her positive attitude. That goes a long way in the news industry. She was always full of energy, ideas, and willing to help. Her determination and passion for creativity has placed her where she is today – which is far ahead of many of her peers,” said Susan Hay, TV Host and Journalist.

Working on the show also allowed Friedman to discover new passions. While covering the provincial election, she found she had an affinity for politics. She looked at every riding, who might win, who’d won previously, which ridings swung in the federal election. She ended up choosing two Conservative and two Liberal locations. She also had to choose one for the New Democratic Party, and chose a seemingly random riding north of Toronto because it had swung NDP in the federal election. Her instincts proved fruitful.

“After lots of research, I had a feeling it would swing NDP again. I sent our cameras to the NDP candidate’s event, and low and behold, that candidate won and had a huge celebration with music and dancing. It made for great television and showcased a community that had never really been seen before. It was very exciting and what I took away from it was that digging deep into research pays off,” said Friedman.

There is no doubt that Friedman is an extraordinary producer, with natural instincts and a complete commitment to her craft. She will continue to bring success to whatever she works on, and audiences will enjoy watching her do it.

Interviews & Features!, Producer, Television

Britain’s Rosie Kinane-Adams is not just a producer, but a true storyteller

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Rosie Kinane-Adams

Rosie Kinane-Adams has always been aware of the power of storytelling. She understands the connection one can feel with someone they have never met, simply by hearing their story. She has felt this obsession since she was a child. She wanted to know everything about everyone that ever existed. She became fascinated with television and its ability to share the story of a child her age going through much different circumstances; from her house in London, England, she was able to see far beyond her city, and into the happenings around the world.

It was only natural for Kinane-Adams to want to do her part to tell people’s stories, and the answer was simple. She would be a producer. She would spend her life showing people who overcome all obstacles, whether it be the story of a dancer who overcame a disability to perform on the biggest stage in the world, or a couple trying to overcome their lifestyle differences and fall in love.

“I wanted to be responsible for inspiring people around the world and showing them what’s out there and what people are capable of,” she said.

Kinane-Adams has worked on many successful projects throughout her career. She produced Married at First Sight Australia, which has been nominated for Best Factual Program Silver at the Logie Awards. She also produced two seasons of Simon Cowell’s hit show America’s Got Talent, impressing audiences and colleagues across the globe.

“The simplest way to describe working with Rosie would be like a ‘breath of fresh air.’ That is why she stands out among other producers I worked with. Her approach to the job, her attitude, and her overall presence are something all producers need to strive for. She brings excitement, positivity, and new ideas in every situation she is in. She is the best producer I have ever worked with; and hopefully will again in the near future,” said Chase Marbumrung, Line Producer of America’s Got Talent. “Rosie is so amazing at what she does because she is dynamic. She is full of energy and new ideas; and she adapts to any situation without sacrificing her character. Everyone I know who worked with her can vouch for this. Every production would be lucky to have to her.”

Earlier this year, Kinane-Adams once again put her touch on a popular television show, this time being for the ninth season of Masterchef Australia. The Masterchef franchise is one of the most successful cooking shows in the world, with a presence in 52 countries, and on every continent. The Australian version differs slightly from the original British version. The initial round of the show consists of a large number of hopeful contestants from across Australia individually “auditioning” by presenting a food dish before the three judges in order to gain one of 50 semi-final places. The semi-finalists then compete in several challenges which test their food knowledge and preparation skills. The contestants will then be whittled down through a number of individual and team-based cooking challenges and weekly elimination rounds until a winning MasterChef is crowned. The winner plays for a prize that includes chef training from leading professional chefs, the chance to have their own cookbook published, and $250,000 in cash. Working on the show has been a mission point of Kinane-Adams’ career.

“Masterchef is the most successful cooking show format in the world, and a lot of that comes down to story. People at home love to see home cooks like themselves succeed and achieve their dream. It’s about good people wanting to follow their dream and learn from the best in their business. It’s a feel-good show, and they never go out of style,” said Kinane Adams.

After her success with Married at First Sight, the Endomol Shine Group recruited Kinane-Adams to work on Masterchef. They were looking for the best, and Kinane-Adams’ results from Married at First Sight showed she was just that. Her episodes did incredibly well in the ratings up against tough competition. Her episodes came in at number one in the ratings the night they aired, and were up 98 per cent year on year from the timeslot the year before. She continued a similar pattern on Masterchef.

“Having an internationally renowned producer like Rosie on the team brought an invaluable source of knowledge and creativity to the show. Working with her inspired creativity for myself and the rest of the team. Rosie’s unique approach to storytelling is what makes her one of the best in the business,” said Kelly Maycock, Senior Producer of Masterchef Australia.

Kinane-Adams edit produced two 60-minute episodes of Masterchef Australia. To do this, she took the raw content from the field and crafted it into a clear, concise and compelling episode for the viewers at home. She would watch through over a hundred hours of footage and create a clear timeline and story from the many stories that existed within the episode. From there, she would work with her editor to polish it into an episode that met the high standard that Masterchef has the reputation for. She was vital to the success of her episodes, and the season as a whole.

“Working on such a respected format within my industry, and one that has been around in one form or another since I was born, is an incredible milestone for me. To have such final creative control on such a successful and complex show is a wonderful feeling. With just myself and an editor working on it gives you a real sense of ownership over the episode. The success of that episode is, in a large part, down to storytelling,” Kinane-Adams said. “The show has a lot of integrity. It’s all about encouraging growth for the everyday man, proving that anyone can follow their dreams and achieve them. It has a really positive vibe to it, and that’s a wonderful thing to be a part of.”

Masterchef is known in the industry for being one of the hardest shows to post-produce and edit. It is said if you can do Masterchef, you can do it all in the reality world, and Kinane-Adams can truly do everything in the reality world. She is one of Britain’s best, and there is no doubt that we can continue to expect great work from this storyteller for quite some time.

Film, Human Rights, Interviews & Features!, Producer

Producer Melina Tupa talks upcoming documentary ‘Slaves Among Us’

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Melina Tupa always has always had two passions: film and journalism. Growing up, it never really occurred to her that there was a way to combine both of these things. Then, one fateful day, she had an epiphany that changed her life. She could be a documentary filmmaker. Being a journalist, she believes, gives her an extra responsibility as a film producer to pursue stories that are of public interest and that will help the communities she lives in. Since coming to that realization, Tupa has been committed to making impactful documentary films, and that is why she is so sought-after around the world for what she does.

Over the past few years, Tupa has delivered hard-hitting documentaries that share truths many are unaware of or afraid to talk about. When producing the PBS Frontline film Rape on the Night Shift, audiences everywhere became aware of the horrifying stories of many janitorial workers who have dealt with sexual assault. With her film The Search, she told the story of a grandmother’s search for her long-lost grandchild, which dives into the Argentinean “Dirty War.” All who work alongside Tupa are not only impressed, but also inspired by her commitment to her work.

“I had the honor of being a Consulting Producer with Melina on her documentary The Search. It was a pleasure working with Melina: she’s smart, driven, tenacious, creative, and yet is open to different perspectives and ideas that are not her own, which means that she is also confident. What makes Melina good, but great is a better word, is that she always has a big vision for her work,” said Director and Producer Spencer Nakasako.

Soon, audiences will once again have the chance to see Tupa’s formidable producing abilities in the upcoming Investigative Reporting Program (IRP) film Slaves Among Us. The documentary will expose the many layers of human trafficking, from the recruiter in the home country to the smuggler, trafficker and subcontractor that make it possible for major corporations to profit from forced labor in the United States. The documentary will tell the story of a group of teens from Guatemala who, with the inadvertent aid of the American government, fall into the hands of a criminal enterprise. This investigation will show who makes money off such victims and how the American consumer benefits from their mistreatment.

“I wanted to work on this project because I believed this was a very important story that needed to be widely known by the audience. The fact that in 2017 we still have forced labor is outrageous,” said Tupa.

Tupa was approached to work on Slaves Among Us after her success with the Investigative Reporting Program on the documentary Rape on the Night Shift. The producers of the documentary knew she had a very good reputation and she had an asset that was key to work on the field: she is bilingual in Spanish and most of the characters on this story are Spanish-speaking individuals. As a field producer, this was vital.

“I liked that I had direct contact with the sources of the story. I did old school reporting: just knocking on people’s doors and asking what they have seen or heard about the case. I was able to get to know the community I was reporting on thoroughly. And I was also able to gain the character’s trust. A lot of them are undocumented immigrants and many times they are afraid of telling wrongdoings because they are afraid of the retaliation they might get,” Tupa described.

Working in Ohio, Tupa reported on the trailer park where Guatemalans (adults and minors) trafficked to the United States were living. She was able to conduct interviews with more than thirty individuals there. She was able to secure three interviews (one in shadow, two full face) where the sources confirmed the story about the trafficking scheme she was after. She was also able to establish a connection with a very important source who had worked with the main characters of the story. This led to finding and securing and exclusive interview with one of the victims of labor trafficking.

Back at Investigative Reporting Program office, she worked as a Researcher. She found archival videos, photos and newspapers on the DeCoster Egg Farm violations, unaccompanied children entering the United States across the border, egg industry facilities, and the case of immigrant minors working on an egg farm. This information was pivotal to illustrate the story.

“I believe it is important to tell this story because nobody should be living in slave conditions in 2017. It’s important to let people know this is happening so this could result in a change of policy, for example, in unaccompanied minors entering the United States or for the poultry industry to have highest safety standards for its employees,” said Tupa.

Slaves Among Us is expected to be released in 2019. Based on Tupa’s track record, audiences can expect an outstanding film once again.

 

Photo by Vanessa Arango Garcia

Director, Film, international Talent, Producer, Reviews, Interviews & Features!

Director and Producer Sonia Bajaj has fast success with new film ‘Bekah’

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Sonia Bajaj realized her true calling while in Pune, India. During this period of transition, she was introduced to people from different cultural backgrounds and varied interests. She was in constant touch with daily happenings in the world and she also began to have a better understanding of art forms like music and literature. She was introduced to several films, television series and documentaries from all over the world, thereby exposing her to different styles of filmmaking. She began experimenting, and soon these experiments translated in experiences. She knew she had to be a filmmaker.

Originally from Mumbai, Bajaj has been able to travel the world doing what she loves. She thoroughly enjoys the aspects of making a film. As a producer, she is responsible for overseeing all five stages of filmmaking: development, pre-production, production, post-production and distribution. She creates a business plan, budget, and schedule, handle creative and business affairs, and gather cast and crew. But that is not all she does, she also is a successful director.

“While making multiple short films, I realized how thoroughly I enjoy myself during the entire process of making a film. Being a director is similar to being the captain on a ship. You have your entire team helping you, yet the responsibility of a successful sail lies entirely on your shoulders. When I direct a film, I have the opportunity to take the audiences to the world of my characters through my eyes. That’s what I like about being a director,” she said. “I look forward to narrating stories that touch the heart, that inspire an individual to overcome obstacles and live his dream, stories that educate and entertain.”

As both a director and producer, Bajaj has had a formidable career. She has worked on award-winning films such as Rose, Hari, The Best Photograph, A Broken Egg and Impossible Love. She is also the curator for the women in film series at Downtown Los Angeles Film Festival, where her responsibilities include reviewing and judging films around the globe. She has an esteemed reputation, and is respected by all she works with.

“Sonia is a professional and a pleasure to work with. She has a superb eye for truth when it comes to filmmaking and making an actor feel connected and safe on set. I would work with her again in an instant,” said Tony Ruiz, who worked alongside Bajaj on her film Rose.

With her new film Bekah, Bajaj is impressing both audiences and critics yet again. The film was just completed in May, and was first recognized at LA Shorts Awards where it won an award for Best Drama. Since that time, it has already been an Official Selection at the UK Monthly Film Festival, a Semi Finalist at Hollywood International Moving Pictures Film Festival and Los Angeles Cine Fest and a Finalist at Eurasia International Monthly Film Festival. It won the Award of Merit at Accolade Global Film Competition, the Gold Award at NYC Indie Film Awards, and the Platinum Award at Mindfield Film Festival, with many more film festivals expected for the powerful film.

“With Bekah, I had the opportunity to direct and produce the story of a young African American woman. Our entire cast comprised of African American Actors, and crew from different parts of the world, giving me the opportunity to work in a culturally diverse project. Our goal was to inspire and encourage our viewers through Bekah’s eyes. We’ve been successful in achieving that in a short span of time,” said Bajaj.

Bekah is the story of an idealistic young writer and college dropout who pursues her dream of becoming a full-time writer, motivated by the spirit of her deceased fiancé. She leaves her dysfunctional home and goes it alone facing a world that is less idealistic.

“The story focuses on the struggles of a young writer trying to break into the real world. It’s a tale of overcoming the loss of love, by fulfilling a promise that was made. At the end, it becomes all about how families need to be connected and support each other.  We wanted to tell this story to encourage families to support each other, encourage youngsters to pursue their dreams despite the difficulties that they may face,” Bajaj described.

After looking at Bajaj’s success of her other films, the main lead and co-producer Charlie Cakes, also known as Charlotte Makala, asked her to be a part of the project, knowing her needed someone of her caliber to make the film the success it has already become. Looking at the diverse nature of the film, Bajaj instantly got on board. As they began producing the film, they realized that 80 per cent of the cast and crew were all women.

“This definitely was refreshing experience to produce a film made by women and about women,” said Bajaj. “The very fact that our team was so diverse, it was essential to have a director who wasn’t familiar with the culture of the characters. I had my own take to the production, which helped us to create a fresh outlook to the story we wanted to convey.”

There were many rehearsals, and script revisions, and Bajaj, both the director and producer of the film, experimented with different techniques before filming. This enabled her to create a fast-paced productive environment on set, allowing her to get all the shots she set out for in a skilled and quick manner.

“I enjoyed directing my actors in their accent. The lingos were so different that it was a learning experience to get out of my comfort zone, learn a different style of talking and build emotions out of that. It helped to broaden my horizon and work on building varied layers to the characters,” Bajaj described.

Bekah is just one of many films that Bajaj has put her winning touch on. She is a formidable director and producer, and one that audiences can expect to continue hearing about for years to come.