Producer Mickey Liu went back to high school for ‘Sail the Summer Winds’

STSW on set with postcards and slate
Mickey Liu on set of Sail the Summer Winds, photo by Aijia Che

Mickey Liu knows that every day he steps onto a film set, it will be different than the day before. Every new project brings something new, and every experience is distinctive. Because of this, he always feels like he is learning something new, and no matter how seasoned of a producer he is, he finds that sometimes his experience can mean nothing in the wake of a new challenge. He is consistently exposed to talented individuals and brings teams together to create a masterpiece. For him, that is the best feeling in the world, and he loves what he does.

“Producing is about lots of instant decisions and last-minute situations, which is challenging and exciting. What’s more, I get to read many good stories… and a lot more bad ones,” he joked.

Hailing from Shenzhen, China, Liu has become a renowned producer. His work on films such as An Ill-Fitting Coat, Marie, Nocturne in Black, and Tear of the Peony have made headlines around the world. He knows what it is to tell a good story, and consistently manages to bring his films great success. However, the first time he truly felt this was in 2014, with his feature Sail in the Summer Winds.

Sail in the Summer Winds tells the story of Michael, a 30-year-old white-collar worker, who is always recalling memories with his 6-year desk mate Cammy and best friends Leon, Joyce and James about when they were 17. Back then, these high schoolers were faced with the biggest challenge of their life – the College Entrance Exam. Michael didn’t know what his future held but got an early admission to Cammy’s dream school; Cammy had feelings for Michael but couldn’t say it out loud; Joyce, once a model student at school, failed to live up to expectations at the very moment; Leon wanted to be an artist but was torn between reality and dream; James worked really hard, but things didn’t turn out great for him. Just like every coming-of-age story, they grew up and changed through the best years of their youth.

“I think the story of the film is important because it is a story focusing on friendship in high school. We’ve seen enough saccharine high school dramas on screens and they almost always center on how to get the guy or girl you like. American high school culture is very different from Chinese high school culture. I think the story provides a fresh perspective of Chinese high school life. The story would remind people of their dreams and courage, and maybe they would want to reconnect with friends they haven’t been in touch with for years,” said Liu.

When the Director of Sail the Summer Winds, Lanxin Yu, approached Liu over social media to produce the feature, Liu was immediately intrigued. Yu went to the same high school that Liu attended and wanted to film the movie there. Upon reading the script, Liu knew he wanted to be a part of the film, as the words took him back to his high school days and brought back memories of his younger self. He knew many others would be able to relate, and his partnership with Yu began.

“Working with Mickey is always a pleasure. His great sense of humor makes everyone chilled and relaxed. When it comes to the set, he’s sensitive, responsive, and caring to every crew member and tries his best to make the set an enjoyable working environment that everyone wants to come back to. When we were shooting Sail the Summer Winds, most of the crew members were first-timers, but he was very patient and made our set run like a real Hollywood set. In addition, his charisma held the crew together, not just as an efficient team, but a real family. Mickey is one of the most creative people I’ve ever met. He always has brilliant ideas about the story and has a deep understanding on the structure. Therefore, as a creative producer, he gives clear notes to writers, constructive advice to directors and inspirational directions for promotions. He’s easygoing and reliable, making him the one person on set that everyone trusts,” said Yu.

As the sole producer of the film, Liu’s work was essential for the film’s success. He held the team together and drastically improved their efficiency, while still providing ample amounts of encouragement and boosting morale. He provided critical creative notes at the script development stage, created the shooting scheduling and supervised the pre-production and production. During post-production, he personally designed the merchandise and arranged for the film’s distribution.

Liu also trained the crew and brought professional help to the production, as he was the most seasoned filmmaker on the set. The majority of the crew were young volunteers looking to experience film production, and therefore required a lot of training. Because of him, he had everyone on the crew working extremely well despite their lack of previous experience.

“Although it was challenging, I actually enjoyed training the crew a lot. They were very smart and hard-working ‘students’, so it felt very rewarding seeing them successfully applying the training to their work. The atmosphere was very loving and full of energy. I loved that good vibe on set very much,” Liu described.

In addition to all of this, Liu employed some American methods of film production to this Chinese movie. The Director was pulling herself in every direction, taking on many tasks beyond what she needed to do. On Chinese film sets, this often happens, as they are very director-centric. Liu however, having experience on American film sets, talked to the director and told her how they could make everything more efficient, and she just needed to focus on her main duties as a director. In the end, it worked seamlessly.

“Producing this film was a very unique experience because I think it would be almost impossible to have this selfless of a cast and crew ever again. Everyone gave their one hundred percent for free and they never complained and never lost morale while working long hours in hot summer. It was definitely a labor of love and I was very moved by what they did and shooting at my high school brought back so many happy memories,” said Liu.

Sail the Summer Winds premiered in August 2014 at a theatre in Shenzhen and then went straight to DVD, where it sold well locally. It was covered by local newspapers and television stations in China, where it received very positive reviews. It is now available to stream online.

Liu and his team decided to donate all the proceeds from the film to his local high school, to support the film and television club there. Liu wanted to motivate the next generation of young filmmakers to follow their dreams, and in his footsteps. For those looking to do so, he offered the following advice:

“Find the stories you really love and try to make them happen. Don’t pursue certain types of stories just because they are “hot and trendy”. It takes such a long time to get them made that you may give up if you don’t love them enough. When in doubt, you can always go back to why you wanted to pursue a career in producing. It can actually give you a lot of strength. It’s all about the nuts and bolts, and your instinct is usually right,” he concluded.

 

Top photo: Zihao Qin and Mickey Liu on set of ‘Sail the Summer Winds’, photo by Aijia Che

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Laura Santoyo Dangond’s sets in ‘Lockdown’ transport audiences to high school

Originally from Bogota, Colombia, Laura Santoyo Dangond has always been a fan of movies. Growing up, she watched her favorite films, like Matilda and Jumanji, and would see more than the story. She would ask her parents how the filmmakers were able to create other worlds and dreamlike elements. Although her parents did not have all the answers, they encouraged their young child to make her own hypothesis as to how “movie magic” was achieved, and she never stopped wondering. As she grew, exploring the world and various cultures, her hypothesizing never stopped, and eventually she turned her passion into a career. Now, Santoyo no longer wonders how to achieve the magic of movies, and as a sought-after production designer, she is now the one creating other worlds.

Throughout her career, Santoyo has shown just what an extraordinary production designer she is. Her work on films such as Tim of the Jungle, The Plague and Falling are just a few examples of what this acclaimed production designer is capable of. However, despite such success, Santoyo considers the pointed drama Lockdown as the highlight of her career.

“It is probably the most challenging and rewarding experience I’ve had in this profession. I loved working with that team of people; we all believed in the story we were telling and together we overcame so many difficulties. Particularly for me, it taught me the importance on trusting the people you are working with and to support each other. In the end it all paid off, because it’s been one of my most successful projects,” she said.

Lockdown set

Max Sokolof, Caleb Heller, and Laura Santoyo Dangond on the set of Lockdown, photo by Jane Hollo

Lockdown is about a 17-year-old boy named Julian. He is a misfit struggling through high school when he is taken hostage in the school restroom by Brandon, a classmate with a gun. Their perilous standoff proves that nothing is as it seems. Julian fights to hold onto the hope that he will survive – not just the hostage situation, but his entire high school experience. Throughout the film, audiences learn of both characters’ complicated backstories.

“This story talks about very important issues, such as depression and anxiety in adolescents, bullying in schools, access to guns, police brutality, and more that are affecting our society. It can help to bring these subjects to the table and encourage people who watch the film to have discussions about them,” said Santoyo.

After its premiere in November 2016 at the American Film Institute, Lockdown went on to be an Official Selection at many prestigious international film festivals, including the Orlando Film Festival, Garden State Film Festival, Sedona International Film Festival, Byron Bay International Television Academy Foundation for Best Screenplay and won the Golden Lion Award at the Barcelona International Film Festival. Such success may never have been possible without Santoyo’s outstanding production design.

“It is a great satisfaction to know that all the hard work, time and effort we as a team put into this project doesn’t go unnoticed and that we accomplished the purpose of telling a story that touched so many people,” she said.

Lockdown bathroom set
Laura Santoyo Dangond, Max Sokolof and Caleb Heller on the bathroom set of Lockdown, photo by Jane Hollo

Having worked with Santoyo on his previous film Hotbed, the Director, Max Skolof, reached out to the production designer knowing the caliber of her work. At the time, he did not even have a clear idea of what the story was going to be, but he trusted Santoyo to help turn his vision into a reality. In the beginning, there was no script, and Skolof only had a newspaper article that he wanted to base a film around. Knowing the difficult but pressing issues the film addressed, Santoyo was immediately onboard.

“Working with Laura is a joy. She’s always curious, always soaking up ideas, always creative. She takes disparate things and puts them together in unexpected and revelatory ways. She has the highest standards for herself. Every detail is thought of. It helps me direct and it helps the actors find real depth. And on top of all that, Laura’s the kindest person you’ll ever meet. It’s also rare to come across someone who has such a strong and unique sense of aesthetics. She’s incredibly precise when it comes to expressing the story and the characters visually. Laura is brilliant in that way. She understands the language of cinema and she uses every tool at her disposal to help tell the story. Whether it’s knowing how to make use of space, or how to evoke a certain subtext with just color,” said Skolof.

When she begins every project, Santoyo makes sure to research her characters, and Lockdown was no different. She looked into what neighborhoods these adolescents would live in, the sociological and economic backgrounds and more, just trying to get to know as much information as she could to create a realistic design that would reflect both her leads.

Upon completion of the script, she did a breakdown of all the locations and noted what bits of the story took occurred in each place. When doing this, she noted the most important location in the story was the bathroom. Its design became her priority, and she began looking for a crew that would help bring her ideas to fruition.

“The design of the restroom was the biggest challenge because is where the two boys meet, and their feelings are revealed. We used a very restrained color palette that reflects the psychological state of both of them,” she described.

Rather than using a real location, Santoyo built the entire bathroom set on a soundstage. She went back to her research and looked for paintings and photographs that evoked the same feelings and emotions that she wanted to convey and saw a pattern in the colors. Most of the references she liked used yellows and reds. With that in mind, she did a preliminary design and presented it to the director. After his approval, she ensured all other departments, such as lighting and cinematography, could work with her concept. Once the designed was approved by everyone, the members of the art team, led by Santoyo, began sourcing the materials and painting samples.

The complexity of the two characters had to come across in the visual design and Santoyo achieved such a feat. She worked closely with the director, the director of photography and costume designer to better express the anguish and anger the characters were going through. The sets that she designed allowed the actors to better understand the characters’ backgrounds and helped facilitate the process of getting into character. In one instance, she even wrote offensive graffiti in the bathroom stalls that bullies may have written about their characters.

Such small details may seem trivial to some, by Santoyo knows how important they can be, and that is what makes her such a distinguished production designer. When watching Lockdown, audiences notice and appreciate how authentic the set is and allow themselves to be fully taken away to the high school. Any moviegoer knows, that is what makes a good film, and Santoyo makes that happen.

 

Top photo by Caleb Heller

Executive Producer Ed Egan talks reviving his childhood favorite “Catchphrase”

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Ed Egan

Ed Egan has been a television addict all his life. Ever since he can remember, he has loved watching television, and knew from an early age that he would work in the industry. Now, he is an executive producer working on some of the world’s biggest game shows. He is not only an industry leader in Britain, but internationally as well.

Ever since he began working in the industry, Egan has had ideas for new formats and ways to tweak current ones. Starting from the bottom, he worked his way up to executive producer and showrunner, now being able to create the shows that he has always wanted. His work on ABC’s hit 500 Questions was then recreated in Germany and the United Kingdom after its success in the United States, and he developed the concept for ITV’s 1000 Heartbeats, which went on a very successful run for the network. He started Tipping Point at its inception, which now has hundreds of episodes, and his newest series, Genius Junior starring Neil Patrick Harris, premieres this Spring on NBC.

Despite this success, however, the British native says the highlight of his career came when he revived the classic game show Catchphrase. The original was a childhood favorite and was one of the shows that gave birth to his love of television. Being able to bring it back to air, and film it in his hometown where the show first began, was a special moment for this seasoned executive producer.

“I had been a massive fan of this show when it was on TV when I was young, and so I jumped at the chance to bring it back to our screens so that people could watch it again, or discover it for the first time. The show is perfect. It is the ultimate play-along show, which I love, as people can’t help but try to shout answers out when they are watching. It is a game show that anyone can play and is suitable for the whole family which is quite rare these days. It appeals to people from 8 to 80,” he said.

In the original series, two contestants, one male and one female, would have to identify the familiar phrase represented by a piece of animation accompanied by background music. The show’s mascot, a golden robot called “Mr. Chips”, appears in many of the animations. In the revived version of the show, the same format remains, but there are three contestants and there is no particular attention paid to gender.

Egan’s thorough understanding of the original format was essential to bringing the show back and making it a success. He knew just what was important for the new version to be a hit again. He was able to bring on board some of the best game show producers and production staff in the country, and together they knew the right type of contestants to cast and the right level to set the gameplay at. Not only did he update the format, but he got a younger generation interested in the show, applying to be contestants and also watching each week. The casting producer of the show, Helen Finnimore, was extremely impressed with his talents when they worked together.

“I have known Ed Egan for many years as both a television production professional and a friend. Without doubt, he is one of the most respected executive television producers in the industry. Prior to being head-hunted to relocate and work in the United States, Ed had worked on many internationally recognised programmes here in the United Kingdom and has maintained his position at the forefront of the entertainment business through these incredible accomplishments,” said Finnimore. “I had the pleasure of working closely with Ed on the Catchphrase revival series here in the UK in 2013 and again in 2014. Ed is a rare talent, one of the few executive producers I have met who truly understands the British and American audiences. He’s fantastic to work alongside, maintains a level of professionalism throughout and moreover, has an unparalleled ability to develop and adapt new and exciting formats. This unique flair has become his trademark in the industry both sides of the pond.”

When STV was looking to revive the hit show, they approached Egan knowing of his reputation as a tremendous showrunner. At their first meeting, they offered him the job. Egan wanted to keep as many parts of the original format as possible, but he knew the necessity of updating the show to bring in a newer and more modern audience. The show is very graphics heavy, so he knew that one of his main roles was developing the new look for the animations, as the technology had moved on so much since the original series. Egan wanted to keep up with what people were used to seeing in the modern era of apps. To do all this, he put together a team that not only worked together well but formed a strong bond.

“I loved the fact that the team who I put together all became great friends, and it was a real pleasure to work on. It is a fun format and we had great fun making it. I became good friends with our host Stephen Mulhern, who is the nicest and most professional host a producer could hope to work with,” Egan said.

The relationship Egan forged with his host meant that they were able to be very open and honest with each other, which Egan says is essential to get the best performance from on-screen talent. It also helped calm his nerves about reviving a cherished show for so many people, but once the show aired, his worries immediately evaporated.

“I was nervous about bringing this show back as it had been such as huge show back in the 80s and 90s and I wanted people to like our new, updated and modernised version. I was so pleased that it did so well on its return and I’m very proud that it’s still doing well today,” he said.

The revival began airing in 2013 and Egan produced its first three seasons. The show is now on its sixth season, and since Egan brought it back, it has been the top-rated Saturday night show on ITV. His production and development work with Catchphrase and ITV, as well as such well-known production companies as BBC, Endemol, RDF Television, STV Productions and Warner Horizon in the United States, confirms his reputation as one of the industries go-to executive producers and a highly sought-after talent. He’s achieved a level of prominence rivalled by few in the industry and continues to build upon his achievements.  

Be sure to check out the revival of Catchphrase to see how Egan modernized a classic.

 

Showrunner Séamus Murphy-Mitchell dons Red Nose to raise millions for charity

Séamus Murphy-Mitchell has always loved television. As a child, he would constantly flick through the only two channels his family received, tuning into his favorite shows. Now, he makes his favorite shows. As an executive producer, Murphy-Mitchell is involved in the entire creation process, from beginning to end, and has a say in every aspect of a production; that is what he likes about being a showrunner. He gets to be creative whilst still being collaborative, and work alongside him have the same passion for television that he does.

“When I was a kid, I was once sent to a child psychologist to evaluate my lack of attention in class. Her final analysis was that I shouldn’t continue to watch Aaron Spelling serial dramas late into the night before school the next morning,” he joked.

This Irish-native has made a name for himself internationally, leading not only his country’s industry, but abroad as well. Having led shows such as hit BBC America series Almost Royal and the multi-award-winning BBC talk show Friday Night with Jonathan Ross to great success, Murphy-Mitchell has shown the world what he is capable of. His work on The Adam Buxton Podcast and 50 Ways to Kill Your Mammy show audiences just how versatile this executive producer is, and he is always looking for new challenges. This is exactly what he got when he decided to run the very ambitious, live broadcast of 24 Hour Panel People.

“Working on 24 Hour Panel People was very challenging, but in many ways illustrated all the best bits about working in television. We were working as part of a large team to deadline on a ground-breaking project. I’ve probably never been so sleep deprived as I was when we finally came off air, but we still went out and had fun afterwards to celebrate,” said Murphy-Mitchell.

24 Hour Panel People was a 24-hour, live broadcast to raise money for Comic Relief and run up to the United Kingdom’s famous “Red Nose Day”. Since its launch in 1988, Red Nose Day has become something of a British institution. It’s the day, every two years, when people across the land can get together and do something funny for money at home, school and work. There’s a fantastic night of TV on the BBC, with comedy and entertainment to inspire the nation to give generously. Comic Relief spends the money raised by Red Nose Day to help people living tough lives across the United Kingdom and Africa, tackling issues like poverty, hunger, and mental health.

“Comic Relief is a huge charity that raises an enormous amount of money and does a huge amount of good around the world. 24 Hour Panel People was a great example of how this charity always embraces new ways of engaging with an audience, and for that reason it was a great success,” said Murphy-Mitchell.

Taking on the network’s first 24-hour broadcast was a challenge Murphy-Mitchell was more than up for. Live from BBC Television Centre, from midday March 5th to midday March 6th, 2011, the epic event featured comedian David Walliams front and center alongside a revolving door of eminent comedians, sports stars and actors as he took on the challenge of hosting a mammoth and constant succession of the UK’s greatest panel shows past and present.

Including such beloved panel show institutions as Blankety Blank, QI, The Generation Game, Call My Bluff, Have I Got News For You and Whose Line Is It Anyway, Murphy-Mitchell produced the live show nonstop and seamlessly throughout the night, single handedly running autocue and the floor and ensuring Walliams was mentally alert, focused, funny and robust as he persevered throughout the night. He also brought a considerably younger audience to Comic Relief, ensuring the broadcast would succeed for years to come.

“Once the live broadcast came to its finale, Séamus then edited the entire 24 hours into 5 half hour compilation specials which were broadcast nightly on the BBC over the week of the Red Nose campaign. 24 Hour Panel People went down in charity history as a seminal, ground-breaking occasion which not only raised millions of pounds for Comic Relief but set the bar for future fundraising events across the globe, all with the help of Séamus,” said Suzi Aplin, executive producer of Comic Relief and 24 Hour Panel People.

When Aplin was looking for a showrunner to produce the show, which in the end amounted to 22 different comedy entertainment formats in 24 hours, she knew she needed an experienced executive producer to lead the broadcast to a success. Having worked with Murphy-Mitchell in the past, she knew he not only had the talent, but would be up for the challenge. Once he was approached, Murphy-Mitchell knew he wanted to produce the show. The BBC had never attempted a 24-hour broadcast before, and he knew he could help lead the inaugural broadcast.

“It was a really exciting project from the very beginning. I had worked for Comic Relief in the past and I was very keen to work for the charity again, particularly on a project so unique and unprecedented,” he described.

From the moment pre-production began, Murphy-Mitchell and his team were frantically busy. They had to secure the format rights for the 22 different shows they were going to have on the show, and once they achieved such a feat, they had to then break them down and figure out how to adapt them into a 24-hour time period.

“Securing rights was a big part of the project’s success. I spent a long time convincing Sir David Frost that we wouldn’t destroy his Through the Keyhole format. In the end, he was delighted with its contribution to the success of the night,” he said.

After achieving this, they had to book tickets and fill the chairs for each of the shows. Murphy-Mitchell had three teams assigned to this Herculean task, as hundreds of people were needed to fill all the chairs. Each team looking after an average of five formats, along with three directors to work eight hours each throughout the night.

“Most of us didn’t sleep at all for 40 hours or so as we were all up at the crack of dawn on the morning of the broadcast. David Walliams was completely heroic. The point of the show was that David would appear in all 22 of the formats over 24 hours. At some points he was so tired that he was incoherent, but he still managed to be funny in every single show,” Murphy-Mitchell described.

In 2011, Comic Relief managed to raise a whopping £108,436,277 (over $150 million USD) for Red Nose Day, and Murphy-Mitchell’s 24 Hour Panel People was a large part of that. Not only does this showrunner entertain his audiences, but he also gives back, and that is what makes his work so enjoyable.

Sijia Huang shows the importance of music in animation

When Sijia Huang animates a film, she sees herself almost like a choreographer. She aims to make every movement as seamless and fluid as possible, almost like an infinite tide. This is her priority with every project she takes on. She always ensures she has the perfect balance between tension and looseness, generating the ideal rhythm for all of her films. She does not limit herself to one type of animation, and as long as the audience is moved by her work, she is happy. It is this mantra that makes her one of China’s best animators, and why she is taking the industry by storm.

Huang’s style is evident in every one of her films and is perhaps best displayed in her award-winning film Hear No Evil, Speak No Evil, See No Evil, a film conveying the struggles of humanity. Since then, Huang has seen continued success. Quitting Brave Victory, a film about warrior who begins a journey to find his strongest opponent, has over 2.6 million views online. BoxHome, is a story of a couple who live in a box, went on to win several awards. Breakfast, a fun film about a child’s imagination, made its way to several prestigious international film festivals.

“As an animator, I work for a variety of fields including film, television and commercials. I animate characters based on designs and stories. I would like to say animators are like magicians who bring things to life,” she said.

Huang’s flair for animated choreography is exemplified in the collaborative film for the event Measures & Frames. A partnership between a group of filmmakers and a group of composers, Measures & Frames featured the internationally renowned Pendrecki String Quartet performing five pieces of contemporary classical music paired with original visuals projected against a three-screen display for an unforgettable pairing of image and sound.

Measures & Frames aimed to create a conversation between the pictures and the music. They made something more like a painting: a world that embodies a story-like idea or emotion. It’s an audio-visual experience that gives the audience a new entryway into the music. Suddenly, audiences see structure and form that we couldn’t see before. What seemed impenetrable and unfamiliar can suddenly become inviting and enjoyable, especially with a very conceptual, sophisticated piece like Arcadiana, the film that Huang worked on for the event, which was a main part of the entire production. Music is a large part of Huang’s life, and this project gave her the opportunity to showcase this passion. It was also her first opportunity to animate to the music of a strong quartet.

“I was so happy that I could be the animator for this project. It made me want to make more music related projects. If an opportunity comes up to work on a music video in the future, I will jump all over it,” she said.

When the Director of the project, Michael Patterson, was looking for an animator to bring such a unique film to fruition, he thought of Huang’s work on her film Hear No Evil, Speak No Evil, See No Evil and knew she was just who he needed, knowing she was capable of choreography, which was very important to Arcadiana. He invited her to take part, and she immediately said yes. Patterson is famous his work on the animation for the famous A-ha music video “Take on Me” as well as creating the characters Stray Mob and MC Skat Kat, who appeared in Paula Abdul’s music video “Opposites Attract”.

“Music is abstract and invites the audience in—the visuals have to do this too,” said Patterson when speaking of why Huang’s animation was vital to the project. “The multi-sensory experience invites the audience to understand the form of the music in an expanded way. If you’re depicting the music too literally, you’re limiting the freedom to personally engage.”

Huang designed the main character that was used in the film and did the stop-motion animation. At the beginning of the production, she wanted to shoot the animation using the down shooter with paper cut puppets. When she showed the director her work, he asked me if she could also try to animate another 2D version using After Effect. In order to create a more defined looking for the skeleton puppets, she used the latest character pin and created the dance for two skeletons. With each revision, Huang got closer and closer to their vision, until finally she achieved perfection.

“I had the opportunity to collaborate with Sijia on a project titled Measures & Frames Sijia created the portion of the show that featured two skeletons dancing with one another. This part of the production was crucial to Measures & Frames, and Sijia was the only animator capable of combing choreography and animation to make our vision a reality. Her mastery of a variety of animation techniques made her indispensable to the project. Specifically, her utilization of Adobe After Effects, a digital visual effects, motion graphics, and compositing post-production application, was key to finishing the animation on the project. Sijia’s high skill level in using the latest animation techniques, as well as her remarkable versatility and distinct style, vastly elevated the visual portion of Measures & Frames,” said Michael Patterson, Grammy Award-winning filmmaker and Director, specializing in TV spots and music videos.

Huang stands by famous composer Veronika Krausas, who once said, “For some audiences not familiar with new music and it’s their first time hearing not one but five new works, it’s tough. I think that the added dimension of the video helps smooth that out a bit. This is a way for audiences to actually experience the music more and become more familiar with it. The video helps acclimatize people to the sounds, and then they’re more able to appreciate them.”

Those who attended Measures & Frames on March 28th, 2015, were wildly impressed with both Huang’s animation and the event as a whole. Experiencing music in a visual way was captivating, and Huang thinks it is of great importance.

“If the diverse crowd that delivered a standing ovation at the evening’s conclusion is any indication, this type of visual music experience has opened the doors of classical composition to a newer, younger crowd than the form has seen in quite some time,” Huang concluded.

Filmmaker Shaan Memon celebrates the holidays in commercials for Dickens Fair

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Shaan Memon

As far back as Shaan Memon can remember, his family had a VCR player at their home in Ahmedabad, a city in Gujarat state in India. Every Sunday, he would watch all of his favorite cartoon shows, and his father used to help him record the shows on video cassettes. When his father would travel to Bombay for work, he would return with movies for Shaan and his elder sister. It was then, in his living room in his childhood home, that his love of film was born.

Now, Shaan is an in-demand Screenwriter, Director, and Editor. He first impressed international critics with his work on the horror The Unreal and continued to do so with his films Fitting In and Bullied, as well as the documentary Purpose Driven Study for Dharoi Canal Command Area. He is extremely knowledgeable in every aspect of filmmaking, from pre-production to post-production, and using this knowledge to expand his skillset. At the end of last year, his work on a commercial for the Dickens Christmas Fair showed that in addition to Director and Editor, this versatile filmmaker can even take on the role of Videographer and achieve tremendous results.

“I found Shaan to be reliable, assiduous, hard-working, and intuitively creative – as well as being extremely patient in performing multiple re-cuts of the material. Shaan impressed me so much that I recommended him for other work and hope to engage his services next year on a separate video for the Dickens Fair,” said David Hakim, Producer/Director who worked alongside Shaan on the commercial.

The Great Dickens Christmas Fair is a one-of-a-kind holiday adventure into Victorian London and is an elaborate party with around 800 of costumed players performing and interacting with patrons in over 120,000 square feet of theatrically-lit music halls, pubs, dance floors, and Christmas shops. It’s a twilight evening in Charles Dickens’ London Town – a city of winding lanes filled with colorful characters from both literature and history. Enticing aromas of roasted chestnuts and hearty foods fill the air. Cries of street vendors hawking their wares ring out above the bustling crowd. Dozens of lamplight shops are filled to overflowing with Christmas gifts. The Dickens Christmas Fair is a treasured Bay Area tradition since 1970 and a splendid way to celebrate the holidays. Thousands of people attend this event every year.

“I had never visited the fair before, so the first time when I visited it, I was spellbound. They have created a different world in itself. One can never imagine what would it be inside until they visit it, and that is exactly I wanted to capture. I therefore insisted on not visiting the fair before shooting, as I wanted to feel like a traveler who is experiencing it for the first time and I captured those moments,” said Shaan.

Shaan is a multi-talented filmmaker with an outstanding about of expertise in writing, directing, editing, videography and sound design. Because he has so much experience in such a variety of roles, he is a one-man army who can execute a project as clearly and as nearly to how it was conceived during the consultation. Having thorough knowledge of different fields makes him a force to be reckoned with and proved vital while shooting this commercial.

“Every filmmaker works hard with his/her sweat and blood to make a project the best it can possibly be and make their name in the industry. I had huge responsibility as Diane Baker put trust in me and suggested me to work on this project. I’m happy that I could reach her and David’s expectations,” said Shaan.

When Diane Baker and David Hakim were trying to find someone who could make a captivating commercial for Dicken’s Christmas Fair, they immediately thought of Shaan and approached him to take the lead on the project. Initially, Hakim had planned on creating a competition to decide who would create the commercial, but after seeing Shaan’s work, he knew he no longer needed to find someone to take over.

Working closely together for the entire shoot, Shaan consulted Hakim regarding what kind of shots, pace and feel would be required. After brainstorming, they decided on getting more front faced shots of the visitors, showing how happy they were and enjoying their time. Getting the best shots of artists performing, vendors selling beautiful products, the decorations, the grandness of the fair and much more. Shaan then attended the fair with his assistant to get as many shots as possible. During the editing process, he consulted with Kevin Patterson, Executive Director of Dicken’s Fair. He edited the best possible 30-second commercial. He is now working on the 90-second advertisement after the success of its predecessor.

“This is what I love about filmmaking. I never get bored of being a filmmaker. I enjoy working every time I have to go through this process of starting a new project, working on it and at the end looking at its result. Every project takes me on a whole new journey. In this one I met around hundreds of artists working together at same place. Watching Dickens’s characters alive and performing in front of you was a treat! This project was great to work on and entertaining also. David was very supportive throughout and I’m happy that he trusted my creativity and I could deliver up to his expectations,” Shaan concluded.

Check out Shaan’s work on the commercial on the Dicken’s Fair website.

Actor Yifan Luo channels his teenage years in ‘Talentik’

Yifan Luo knows what it takes to become a sought-after actor. The Chinese native recognizes the importance of patience; success does not come over night, and acting isn’t easy. You have to study and constantly be looking to improve yourself. He knows that even the most renowned actors spent years not hearing back from auditions but never giving up. That is exactly what he did, and now he is a leading actor in China’s film industry and has begun making headlines around the world.

“During some difficult times, you may not get a chance to work for months. Under this circumstance, will you still be sure that you want to be an actor? Can you be patient enough to go for auditions one after another with the best performance you can give although none of them gives you a callback? Will you be as passionate for some work that might give you $200 in total as those big things that you have done before? If the answers are no, then you should not be an actor,” he advised.

Those days are now long gone for Luo, but he constantly remembers them and remains humble despite what he has achieved. Just last year, he was recognized for his portrayal of a schizophrenic psychopath in the thriller SAM, and even received an Honorable Mention for Best Actor at Festigious 2017. He has many exciting projects upcoming, working alongside some of Hollywood’s elite. He also is incredibly versatile, exploring different genres and mediums. Just last year, his film Talentik was released online, allowing audiences to stream the film when they chose.

“Yifan played an important role as one of main characters in our production Talentik. He is such an energetic actor while everyone can see his talent and profession on set. Yifan always spends lots of time on his character and script before shooting, so it’s easily worked with him, saving time and money for our production. Also, his attitude and enthusiasm are often infectious to the other actors and the crew. We are so fortunate to have had Yifan in our production,” said Steven Li, Director.

Talentik 2
The cast and crew of Talentik

The movie is about three Chinese college freshmen who get accepted by a United States Ivy League school. They arrive in the US without anybody helping them and get a text message telling them to look for any possible clues that can lead them to finding the school. While looking for clues, a strong relationship is gradually built among the three characters. One day, one of them gets kidnapped by the villain. The remaining two characters try very hard to find her and save her from the bad guy. Finally, they realize that everything has been set up by the school in order to help them to learn how to work with each other. At the end, they find the school and all get accepted.

“The story tells us the importance of cooperation. Nobody can succeed without the help of other people. Individualistic heroism no longer works for society. We all need to help each other. This movie gives a very good example of how three spoiled kids finally learn how to trust and rely on each other in order to reach the same goal,” Luo said.

The movie tells the story of the three characters on their journey, and Luo plays one of those three characters. Everything happens around the three of them. Luo plays Luke, a college freshman. He initially failed the college entrance exam in China, but happens to be accepted by a college in United States that comes out of nowhere. He comes from a rich family in China. His parents love him so much and they want to control everything in his life. This is why he finally decides to go to the US, so that he can break away from his parents. And interestingly, he is a mind-reader. His favorite thing is to read other people’s mind and make fun of them. The character is quite a few years younger than Luo, who was ready for the challenge of taking on a different generation.

“It was amazing to work with such a professional actor like Yifan who always came prepared and donates himself into the character. The film wouldn’t be such a success without Yifan’s participation. He is a true artist who concentrates on his goal and is in the character with all his heart. It was such an honor that we worked with Yifan in the film and will definitely keep working with him again in the future,” said Olina Wang, Producer.

Wang approached Luo to work on the film, knowing he is an extraordinarily talented actor, and playing comedy without overdoing it and simultaneously having to act 8 years younger than you actually are can be challenging for many actors. Luo was eager to try something different, and immediately accepted the role.

While shooting Talentik, Luo decided to method act, and stayed in character at all times, not only in front of the camera, but also when he was waiting, getting ready for makeup, having lunch, taking a break, etc. He tried to really become the character. He did funny things that he normally would not have. He forced himself to eat twice as much food as he really needed, just like a growing teen. He joked around on the set, making everybody laugh. All these things were to help get himself into character.

“Working on Talentik was awesome. Everyone liked each other. The set was full of laughter. We helped each other with whatever we could. There was no conflict nor any argument during the whole shooting process. I believe that’s the most important thing in a film shoot. Once there is an argument going on, everybody stops and tries to deal with the argument, which delays the process a lot. With good relationships between all the casts and crews, we didn’t have to think about too much and could focus on making the movie good,” he said.

They definitely achieved that. After shooting the film in 2016, the film was released on Sohu Video, one of the largest online distributors in China. It quickly received over 10 million views and is still going strong almost a year later. At the time, Luo was not expecting such a response, as he had so much fun making the film that he considered that enough.

“I have to say that I was deeply surprised. I didn’t know it was getting so many views until one of my friends called me and told me about it. At the beginning, I thought he was lying. I didn’t believe him until I went online and checked it myself. I still feel proud of what I did, what the team did. We brought something to the public and got realization. That’s enough for me. The only thing I ever want is for people to like what I have done and for people watching my work to have fun,” he concluded.

And that’s exactly what viewers feel when watching Talentik. Be sure to watch Luo’s performance in the film on Sohu Video.

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