Renowned film director David Fincher (Gone Girl, The Social Network, Zodiac) said in an article published by Den of Geek,“The best editors are alchemists. They’re equal parts poet and blacksmith. They can forge something – they make pieces go together that should never work. They can take footage that was intended for one thing, and use it to illuminate a whole new idea in a sequence that you maybe never conceived.” We couldn’t agree more.
A film editor is a vital force in bringing the stories audiences see on the screen to life. Not only are they responsible for selecting the right shots and sequences out of hundreds, and sometimes, thousands of hours of footage, but they also decide the timing and pace of the story that unfolds before us.
Continually executing the aforementioned in a way that is seamless and virtually unnoticeable by the audience, the work of Canadian editor Andrew Coutts procures him a place among the world’s best editors. An alchemist in his own right, some of Coutts’ film work as an editor includes Saw V, Saw VI, Saw 3D: The Final Chapter, The Day, Nurse 3D, Altergeist, The Man Who Loved Flowers, Sequence, Anguish, Blood Sucking Bastards, Grizzly, 10:17, and the series Sleepy Hollow, The Line, Hungry, and more.
Andrew Coutts was the editor of the horror film Saw VI, the sixth installment of the seven-part Saw franchise. The film, which grossed an impressive $68,233,629 at the box office internationally, was nominated for two Most Memorable Mutilation Awards at the Scream Awards in 2010 for “The Pound of Flesh Trap” and “The Needle Trap” scenes.
“I had a lot of fun cutting the traps on the saw films, since they tend to be pretty visually intense and you can try some pretty fun techniques in editing as part of the scenes, jump cuts, flash frames, using off-speed camera ramps,” recalled Coutts.
Visually intense is a light description of the traps in Saw VI, they were down right horrifying, but after all that is the point. The way Coutts combines jarring sound effects and swift cuts during the film’s traumatic torture scenes effectively heighten the intensity to the point of making your heart feel like it might just jump out of your chest. The opening pound of flesh scene where Jigsaw’s most recent victims, Simone and Eddie, race the clock to see who will cut of the most flesh in order to survive is so frightening that I actually had to close my eyes at a point, and even then, the fluctuation and rapidity of the sound effects intermixed with the actors’ screams was enough to keep me squirming in my seat.
Coutts, who has been working as an editor for over 15 years, is above all passionate about bringing stories to life and he views editing as a powerful means for evoking reactions in his audience. “Whether it’s a tension filled horror scene where through editing and pacing we’ve built suspense and shock the audience with a scare moment, or putting together poignant performances from the actors that resonates emotionally with the audience, or a heart pounding action scene that is an exciting thrill ride, it’s all of these moments in editing that I love,” said Coutts.
Coutts also served as the lead editor on the final film in the Saw franchise, Saw 3D: The Final Chapter. The film grossed $136,150,434 at the box office internationally and was nominated for another Most Memorable Mutilation Award at the Scream Awards, this time for the “Reverse Bear Trap” scene, as well as an award in the horror movie category at the Teen Choice Awards. Once again Coutts used his exceptional eye as an editor to create a terrifying sequence of shots that was further intensified by the 3D element in the film.
“One of the biggest challenges on this film was finding a way to introduce 3D on both a creative and technical level into the already strongly stylistic Saw world. Shooting and editing a film in 3d brings certain requirements for brighter lighting and slower cutting than the Saw films typically had,” explained Coutts. “Working with the director and cinematographer we had to find a way to push the limits of 3D as far as we could to bring it as close in line as we could with the previous films looks.”
Putting his unparalleled talents as a horror editor on display, there is no doubt about it, Andrew Coutts nailed the mark on both Saw VI and Saw 3D: The Final Chapter, and we can not wait to see what he has in store for us next.
Originally born in Guadalajara, Mexico, actress Ale Fips began her career on some of the most prestigious stages in Mexico at the age of 8. The young Fips was first chosen to work with the International Book Festival known as the FIL, with which she performed for four years putting on a new a play each season for audiences in the hundreds.
Ale Fips got her first big break when she was cast in the starring role of Princess Nadia in the musical theatre production of “El Príncipe Rana,” also known as “The Frog Prince,” when she was barely 16-years-old. The production follows Princess Nadia, a spoiled young girl who loses a golden ball in the water, as she begins to cry a mysterious frog appears and promises to return her prized possession as long as she promises to let him live in the palace from then on. The princess agrees, but quickly forgets her promise until the frog appears at the palace as an honored dinner guest later that night. The moral of the story revolves around honoring one’s promises, as well as not judging others by their outer appearance a point which is furthered by the fact that frog turns into a prince towards the end of the story.
Ale Fips proved her tenacious dedication to her craft as she continually wowed audiences in her portrayal of Princess Nadia over the course of the production’s three season run in Mexico. While “El Príncipe Rana” proved the power of Fips’s magnetic stage presence as an actress, the production also gave her the opportunity to vocalize her impressive range as a singer, an asset to the production that kept audiences coming back over and over again. “El Príncipe Rana” was performed in several theaters in Guadalajara including Foro de Arte y Cultura de Guadalajara, Centro Cultural Jaime Torres Bodet, and Guadalajara Teatro del IMSS.
Some of Ale Fips’s other theater productions include “Monstruos El Musical” where she played the role of Dr. Jekyll’s daughter Belinda, “La Mulata de Cordova” where she played the starring role of La Mulata, “Fondo De Cultura Económica” where she played the role of Maya, as well as many others. While Fips’s dynamic abilities as both an actress and a singer have made her a highly sought after talent for high profile musical theater productions, her abilities have also made her an integral actress on some of the most popular television shows in Mexico.
“I moved to Mexico City when I was 18 because I was cast for the Latin version of High School Musical on TV Azteca. It was an amazing experience; we were on primetime television for five months on Canal 13, TV Azteca’s most popular channel,” recalled Ale Fips. “Then I continued my career in theater until I was called to start working on La Rosa de Guadalupe on Televisa.”
Ale Fips played several leading roles in the hit series La Rosa de Guadalupe, a dramatic anthology series that began in 2008 and continues to bring high viewership ratings today. Fips has starred in eight episodes of the series including “La Luz de la Verdad,” “La Semilla del Bien,” “Perdonar con Amor,” “Vivir en Paz,” “Con pies de Plomo,” “Donde está el Sol,” as well as others.
Now in her early 20s, the actress has advanced her craft with leaps and bounds and has come to be recognized throughout Mexico for her diverse acting skills. Fips is currently working on the production of “Judgment on A Gray Beach” where she will play the starring role of Leni. The production is scheduled to open at New York’s renowned La MaMa theater in 2015.
Originally from Moscow, Russia, film and commercial editor Vladimir Boboshin has taken the film and advertising industries by storm with his unparalleled ability to create captivating stories from raw footage.
“Editing film, regardless of the genre and form, is very much like assembling a jigsaw puzzle, with one major difference: you don’t have a reference picture. You find pieces that match together and then find their neighbors and so on,” explains Vladimir. “I like to see how the story shapes up out of the chaos.”
Vladimir Boboshim is supremely talented; anyone who can make an Ikea commercial touch audiences on an emotional level deserves some serious attention and praise, thankfully the numerous awards his productions have received speak for themselves. In an industry where behind the scenes contributors rarely get the attention they deserve, Vladimir Boboshin has managed to make a name for himself as one of the advertising industry’s most sought after editors.
Some of his editing work in the commercial world includes Coca-Cola’s “Olympics,” “Exam,” “Christmas,” “Open Up for Happiness” and “Rucheyok,” Canon’s “Stolen”, “Handover” and “Breach,” 20 commercials for Ikea, 11 commercials for Nestle, four commercials for Road Safety Russia, one of which entitled “Belt” received the Grand Prix Award at the Meribel Ad Festival and the Gold Award at the Road Safety Film Awards, and many more. Vladimir also worked as the editor of the Russian comedy series Univer, where he edited 99 episodes, and the show Nasha Russia, where he edited 74 episodes. He was also the editor for the promo-trailers for the films Silent Souls, High Security Vacation, and The Practice of Beauty.
While Vladimir has developed an effective style in editing commercials for advertisers whose main goal is to sell their products, he is not pigeonholed in his talents, something proven by the vast spectrum of his work. He has managed to create a portfolio of work that is both impressive and diverse, something he partially attributes to the fact that he is from another country.
“I’m bilingual and I‘ve worked with so many different people from all over the world, so over the course of my career I’ve learned to see and understand different visual styles and work ethics,” says Vladimir. “Many Hollywood editors haven’t been exposed to the same variety of international approaches as I have, because here in the US the work is more channeled. You get pigeonholed into a category – like car editor or comedy editor – and then most of your work only comes from those areas.”
As the post-production supervisor of the multi-award winning film Franz + Polina, Vladimir was in charge of overseeing the work of an entire team of editors, a feat he accomplished with ease. The film received three awards at the Avanca Film Festival, the Gold FIPA Award at Biarritz International Festival of Audiovisual Programming, the Golden Frog at Camerimage, the Magnolia Award at the Shanghai International TV Festival, among others.
The ability to successfully manage an entire team of professional editors comes down to more than just being technically astute in the field, it requires a certain type of personality. Being a talented editor by no means equates to being a people person with strong communication skills, but Vladimir is one editor who does happen to have these traits.
He explains, “The most definitive experience I got from large-scale projects was the importance of communication and soft control. With so many creative egos involved arguments are inevitable and my role oftentimes was to channel the argument into a positive flow so the parties involved come to an agreement and everyone is satisfied in the end.”
One aspect of Vladimir Boboshin’s journey as an editor that is incredibly unique is the fact that he didn’t undergo any formal education in order to break into the industry. However, that is not to say that he hasn’t spent years training himself in the tools of the trade, and when it comes to working as an editor in the film industry one must be a master of these tools.
“I never had any formal training or mentoring before I become an editor. All of my studies were on the job in the heat of the moment and there was no one to help,” admits Vladimir. “As for film language, one can learn as much as he is willing to, I think this sphere of knowledge depends on the person. I believe that the real way to hone one’s craft in the industry happens on the job, bit by bit.”
And that is just how Vladimir did it, bit by bit he managed to learn and master the same tools that took most other editors several years to figure out. Vladimir is proof that when a person’s passion is what fuels them to achieve their goals, obstacles begin to seem less daunting and instead become exciting challenges and a means to improve.
Although Kristin Fieldhouse first obtained a Bachelors and Masters in International Development and Politics at the University of Sussex in England, an area of concentration that led her to spend several years working for the United Nations across Africa and Asia, her love of photography and it’s integral role in filmmaking was something too powerful to ignore. The now highly sought after cinematographer discovered her passion for photography in her youth.
“I lost my dad and my sister at a young age – so photography helped me through that period. It was my salvation in a way, a chance to connect with people through an artist medium and express what I was feeling and going through,” admits Kristin Fieldhouse. “Later on, cinematography offered me a new and exciting challenge. The moving image was fascinating for me and I loved the idea of sequences of images to tell a story.”
After spending several years working for the UN, Fieldhouse moved to Canada where she further honed and perfected her skills behind the camera lens. “I worked and studied as a camera technician for many years working my way up through the Cinematographer’s Guild I.A.T.S.E before starting to shoot my own work,” explains Fieldhouse.
A testament to her unparalleled skill in the field, Kristin Fieldhouse was accepted as one of only 28 cinematographers admitted into the American Film Institute’s competitive conservatory program where she received her MFA. With an impressive list of award-winning projects already under her belt, Fieldhouse’s work undoubtedly speaks for itself. The cinematographer received the Kodak Student Cinematography Award for her work on the film The Man Who Found DB Cooper, as well as the award for Best Cinematography at the Milledgeville Film Festival and the John Kelly Award for Excellence in Cinematography at the Fresno Film Festival for her work on the film Young Americans, and the award for Best Cinematography at the Real Teal Film Festival for her work on the film TESS.
One of Kristin Fieldhouse’s other recent projects, Kepler X-47, has also had an incredibly successful run on the film festival circuit as it was chosen as an Official Selection at The LA Asian Pacific Film Festival, Comikazee Expo, ImagineNative Film & Media Arts Festival, NewFilmmakers Los Angeles Film Festival, The Geekie Awards, Dragon Con Film Festival, and many others. Directed by Erin Li Kepler X-47 is a sci-fi film that follows a woman as she struggles to adjust to her new life as part of a human zoo exhibit on an alien planet 5,000 light years from earth. The film put Fieldhouse’s talents to the test as it required extensive period costumes, futuristic locations and dynamic lighting choices.
Fieldhouse explains, “This project was demanding in terms of budget and I had to come up with cheap lighting solutions that gave a large range of looks from candlelight dinner scenes at tables to large soft sources above actors to give them freedom to move, but would also create an eerie look. Panavision came onboard and helped us by providing great lenses, which I netted to give a softer image and raise the black levels. I remember spending many hours testing out different kinds of stockings from stores around LA.”
Kristin Fieldhouse’s vast knowledge, dedication and substantial creative contributions to Kepler X-47 show through in the film’s end product and are proven by the film’s incredible success.
“I was inspired by the painters such as Caravaggio and wanted to be able to paint with light the way they would paint with oils,” says Fieldhouse. “We used a combination of in-camera effects and glass, with dramatic lighting, and I believe this gave the film an elevated look that took the audience on a beautiful and believable journey.”
Some of Kristin Fieldhouse’s other work as a cinematographer includes the films My Little Eye, Palm Swings, Brown Bag, He’s The Best, Borja, Future Me, Release, The Tent, Life In The Gutter, Hide & Seek and Things Go Wrong, as well as commercials for globally known brands like Nike, Coors Light and Kodak. The cinematographer has also contributed heavily to the camera departments on the films The Echo, Total Recall, The Incredible Hulk, Diary Of The Dead, House At The End of The Street, Resident Evil: Afterlife and A Beginner’s Guide To Endings, as well as the hit television shows Flashpoint, Happy Town, Bloodletting & Miraculous Cures Fairfield Road, Abra Ca Debra, Nikita, Covert Affairs, Warehouse 13, Unrivaled, Latest Buzz, Unnatural History, The Night Before The Night Before Christmas, Alphas, Kenny v. Spenny and many more.
Although they are never seen on screen, film editors select every single shot the audience sees, a role that holds the power to make or break a project. Something of a film wizard, Emeric Le Bars is among the best European editors working in the entertainment industry today.
Originally from France, Emeric Le Bars has been honing his skills as a professional film editor for more than a decade. The talented young editor has continued to expand on his already impressive repertoire of work since moving to the United States a few years ago.
Le Bars is currently working on a feature film entitled Perception of Art, directed by German filmmaker Roana Wullinger (Moonflower, Rain Day, Brown Bag, Second Date?, Soul Bird). Set for release in February 2015, Perception of Art is a dramatic comedy about a spoiled yet struggling Italian painter who receives an opportunity to bring his art into the spotlight, but to his dismay, the opportunity requires him to collaborate with a cleaning lady. In addition to his work as lead editor on Perception of Art, Le Bars is also working as a colorist for the film. Le Bars explains, “In the film two worlds clash together and the entertainment value is impeccable.”
Emeric Le Bars first met director Roana Wullinger at Smile TV, where he is employed as an editor. Two incredibly talented individuals, Le Bars and Wullinger intend to continue collaborating after the release of the film. They have already started the groundwork for their next project, a documentary that focuses on the lives of children in the Middle East, and Le Bars says, “We want to keep working together for as long as we can!”
While working as an editor for Smile TV, Le Bars has lent his creative talents to more than 15 interstitials for PBS SoCal and 2 segments through the series LAaRT, which highlights the Los Angeles art scene and airs on PBS Southern California. Proving his incredible diversity in the industry, Le Bars served as chief editor and director of photography on an episode of LAaRT entitled “Homeless Karaoke.” He describes the episode like this, “After a day of quietly asking for change, this diverse group of people comes in from the street to hear and be heard.” At a venue that enables the homeless population of Skid Row to lift themselves up through music and companionship, Le Bars admits, “The talent will surprise you!”
Over the years Le Bars has displayed his passion and talent for editing in numerous projects, and he continues to give life to the footage he edits on a daily basis. “I love creating a story from nothing, sharing emotion and feeling,” remarks Le Bars. “There are thousands of ways to edit one video and you choose the one you want. You decide how you want to tell the story and what feelings you want to share.”
In this way, Le Bars accurately describes just how important someone in his position is to the production process, and we look forward to seeing what he creates next.
For some, stardom is literally in the stars, but for actor James Preston Rogers it is a reality that seems to have been destined by the very stars most others dream upon.
In the modern fast-paced world we live in today the notion of an actor being “discovered” is often considered something of the past, but it is in fact, the very way that James got his start. Jump forward a decade to today and it seems that the James discovery was one of great value for many as this talented actor has become a highly sought after actor in Hollywood and abroad. With leading roles in the films Outlander, A Beginner’s Guide to Endings, You Might as Well Live, Jesse Stone: Sea Change and Defendor, James has proven time and time again that he has what it takes to succeed in the cut-throat world of today’s entertainment industry.
When he was in high school, James Preston Rogers acted in plays, but never considered “going big” until he got a phone call from an agent one day asking him to star in a nationally syndicated commercial for “Mr. Big” candy bars. Surprised, as he did not have an agent or even a headshot at the time, he agreed to take the role.
Since this serendipitous beginning, James has proven his worth and gone on to excel in far greater roles. His first major role outside of theatre productions and the Mr. Big commercial came in the six-part mini-series Jesse Stone: Sea Change where he acted alongside Golden Globe winner Tom Selleck.
“I played Terry Genest,” said James Preston Rogers, “a hired gun sent to kill Jesse Stone… That day was an emotional day for me on so many levels. Not only was it one of my first acting jobs, being shown across North America on CBS, but I was acting with Tom Selleck, Magnum PI, one of my childhood heroes.”
The show received critical acclaim and was nominated for several awards including a Primetime Emmy, Satellite Award, Canadian Society of Cinematographers Award and an American Society of Cinematographers Award.
There is another, more heartrending side to James Preston Rogers’ career, however. When he was a young adult, James lost his mother. “ I mean, she was so proud of me when I was a skinny zitty teenager with nothing to show for it” he said, speaking of his mother. “Now I am a man in my chosen profession, acting with some of the greats and also her favorites.”
It is astounding to see how many of her favorites James has had the chance to work with, too. Almost astounding enough to make one wonder if James Preston Rogers’ mother might very well know how well her son is doing after all.
“Tom Selleck was one of my mother’s favorite actors,” James explained. And this was just the beginning of James’s work with his mother’s favorites actors. After his first major acting role in the Jesse Stone: Sea Change series alongside Selleck, James snagged a role in the science fiction film Outlander. In this critically acclaimed feature, he played the Viking Bjorn alongside another one of his mother’s favorite actors, Golden Globe winner Ron Perlman.
After Outlander, James played the pivotal role of a slow-witted biker named Bob in the film Defendor, starring two-time Oscar nominated actor Woody Harrelson. “He was another one of my mother’s favorites actors,” Rogers remarked. Defendor received an award at the Whistler Film Festival, the Claude Jutra Award at the Genie Awards and was nominated for a Directors Guild of Canada Award.
One day, after the release of the Jesse Stone: Sea Change series, James and his father were watching an interview with Tom Selleck on the Regis and KellyShow. “[Tom Selleck] decided to use our clip to promote the series and spent a few minutes talking about me, ending with ‘James you owe me’,” recalled Rogers. The actor described the look on his father’s face as “one of the changing of the guards.”
“It was a very humbling moment, one I wish I wish I could have shared with my mother,” explained Rogers.
With the groundbreaking career James Preston Rogers has had thus far, one might be led to believe that his mother may still be cheering him on from somewhere, a guardian angel who is undoubtedly incredibly proud of her son.
Despite her flawless beauty, Gisele Góes is actually the one behind the scenes, or rather screens, computer screens that is. Gisele is an incredibly motivated tech writer and content producer. As one of the lead producers and managers of content for the successful websites TechTudo.com, Globo.com and Socialbakers.com Gisele works tirelessly to bring the online community the most relevant and up-to-date news in the tech industry. She is also one of the creative individuals behind Blogo, an award-winning blogging app for Mac OSX.
Not only is she a talented tech-savvy writer, but Gisele has also begun extending her work as a tech producer into the world of film. To find out more about Gisele’s work in the tech industry, and how she managed to take her skills as a producer from one industry to another, read our interview below!
TTNN: What did you go to school for?
GG: Bachelors in Social Communication, Emphasis in Advertising & Marketing
TTNN: What do you do for TechTudo?
GG: Write articles covering real-time industry news, digital culture, social media, product reviews, ratings (software, hardware), how-to’s, tutorials, featured downloads. Also monitor new sources for topic proposals and make sure to follow the tight deadlines (timing is everything). Without competent and good qualified writers, TechTudo wouldn’t have good and updated content.
TTNN: Why do people use TechTudo/What is the website all about?
GG: TechTudo is the biggest tech website in Brazil and it’s part of Globo (largest media group in Latin America). TechTudo is separated by sessions: News, Articles, Special Articles (interviews, etc), Tutorials & Downloads.
The website covers all news about technology and digital culture making this kind of content accessible to general audience (more than 10 million unique visitors).
TTNN: Have you always wanted to be a writer?
GG: Actually I’ve wanted to be a photographer but writing started to become a good hobby when I created my first blog (Keep Calm and Blog On). After following my work with my blog the staff from TechTudo invited me to write for them and then everything made sense. I found out I could use my passion about photography to pick up cool images or even write about the subject and have fun writing at the same time!
TTNN: What genre or category does your writing fall into?
GG: I love writing about everything but I like online focused content and approaching subjects like new products/services, games, tech culture, pop culture and entertainment. Even though I enjoy long articles I really love the challenge of trying to be straight but giving the right details to touch the audience. This is actually what prompted me to start working on an ebook about how technology is changing our writing habits.
TTNN: Why have you chosen to work and write in this field specifically?
GG: I’ve always been into tech. When I was little I used to spend a lot of time in the computer, my grandparents would call me out for that and tell my parents “this girl spends too much time on the computer”. I love having access to new information but more than that, I love sharing it with people from all over the world. And that wouldn’t be possible without technology. I’ve lived in 10 different cities in 2 different countries, so I’m fascinated about communication and how it changes from culture to culture. I guess what I’m trying to say is that I love talking to all kinds of people from different places about something that I love and exploring good content everyday that deserves to be shared with the world.
TTNN: How did you begin working in app development?
GG: I worked in a Globo.com’s affiliate company that developed apps and tech products. After getting expertise in the process behind the development I started writing for TechTudo about tech related news and studying more about startups and getting more into the field.
I was one of the 18 young talents selected for a summer program in Silicon Valley in 2013 called Startup Dream Team and had workshops about all the steps a startup or entrepreneur needs to follow to start a new business / app / service / product.
TTNN: What is your area of expertise in app development?
GG: Communication, Written production (UX interface), Copyhacking and growth. Everything that involves promoting, increasing the online performance and connecting with an audience and press.
TTNN: What is the Blogo App all about?
GG: Blogo is a desktop blogging app for Macs. It simplifies the blogging workflow by getting rid of everything that is not necessary. All the features were carefully thought, selected and designed to make blogging easier and faster. It’s the easiest way to manage multiple blogs and publish content.
TTNN: How did you come up with the idea for Blogo?
GG: Blogo was not my idea. In fact, Blogo was created in 2008 and gained a lot of attention, described by Mashable as a “bad ass blog editor,” but its development halted after a Mac OS update. Five years later, the original creator (Ivan) gathered with two new partners and got the project back on track. Ivan and I were friends already and he knew I was coming back from Silicon Valley and thought I was the perfect fit to give Blogo a “human touch” and take charge of their communication.
TTNN: As a producer for Socialbakers, what specifically do you do?
GG: Produce and coordinate all the content distribution in Brazil. Pitch Socialbakers to Brazilian media, look for media opportunities and come up with ideas for country specific content, arrange special articles and interviews that increases Socialbakers’ brand performance in Brazilian territory in order to attract more attention from possible clients and public in general.
After reaching an incredible level of success as a writer and producer in the tech industry, Gisele Góes began extending her skills beyond the tech world. Drawing on her unparalleled ability to raise funds and publicity for projects she believes in, Gisele began applying her talents to the film industry. In addition to being an irreplaceable force in the creation of content and the overall management of TechTudo.com, Globo.com, and Socialbakers.com, she is also currently working as a producer for the films “The Umbrella”, “Crystal Crypt” and “Susannah’s Lesson.”
TTNN: How did you transition from working as a producer in the tech world to producing films?
GG: I’ve always wanted to work with film– that was one of my options while I was in college but I ended up focusing on technology. Today I believe that is possible to work with both. Technology is completely changing the film industry because it empowers the community and independent moviemakers to easily spread the word, and get the support and funding needed to make a project happen.
TTNN: What skills from your background as a tech producer do you use as a producer of films? What are the similarities?
GG: Writing and content distribution mainly; but also my expertise interacting and approaching the community and that’s because independent movies use a lot of crowdfunding to help raise enough money to produce their films.
For a crowdfunding campaign to succeed, it is crucial to understand how to promote the right content to a community in order to generate spontaneous communication, etc. Just like in technology, you have to understand your target and make sure you’re delivering the right content, on the right channel with the perfect approach.
TTNN: What are your strengths as a film producer?
GG: As I said before, technology is changing the film industry completely. Movies like Crystal Crypt had so much support from the community and that has everything to do with their success. I believe that my knowledge with online tools to promote content and experience with content distribution, writing and PR is really useful to help in the movie’s production, as well as when it comes time to pitch them to the media in the best way.
TTNN: What do you like about producing films?
GG: I’ve always loved movies. I can’t spend a week without watching at least one movie, and it’s amazing being able to be a part of something like that. There’s a lot behind a movie and it combines everything I love– photography, music, writing. It’s fascinating to see all these amazing factors being worked out together and turned into a “piece of art”.
TTNN: What are your favorite kinds of films to produce?
GG: Independent ones. Mostly because they have a big influence from the online community and they’re directly related with technology. As far as genres go, I like Sci-fi (which is the case of Crystal Crypt) but I don’t have a specific genre that I prefer. I think it’s all about quality.
TTNN: How did you get involved with the upcoming films The Umbrella, Crystal Crypt and Susannah’s Lesson?
GG: Shahab Zargari, the director of the film Crystal Crypt, knew me from my work here in Brazil as a writer and he thought I could add a different approach to these projects, that is how it began. He wanted someone with a different perspective that could add a lot and seek different approaches to promote and produce something unique.
TTNN: What do you hope to achieve over the course of your career as a writer and producer?
GG: Of course I want to get involved with awesome projects, but I also want to be able to promote and create great communities around these projects to guarantee their success. Technology keeps empowering us and today funding or raising money is just a matter of getting the right people involved and working together to make great ideas happen.
UK born composer Alex Redfern is a master of blending music and visuals for film and television. Alex Redfern is known throughout the international entertainment industry for having created emotive scores for the films Happy Face and Tumbleweed: A True Story, as well as for contributing to the music departments of Walt Disney Picture’s upcoming feature Cinderella, which stars two-time Oscar Award winner Cate Blanchett, James Franco’s Holy Land, Penguin Trek, Larson’s Field, and many others.
The young yet highly skilled composer is currently working on Sisterhood of the Red Garter 3D, as well as the film Varanasi, which stars Adil Hussain from Life of Pi. Directed by Richard Connew, the film Sisterhood of the Red Garter 3D is a UK comedy film that is scheduled to be released next year. A feature film about a mysterious cult set in Northern England, the film stars Brian Woodward from Peaky Blinders, Night at the Museum: Secret of the Tomb, The Theory of Everything and Hollows Wood 3D.
Redfern admits, “it’s fun writing for comedy, but you have to be delicate with the timing to make sure it has the right effect.” He adds that the music in the film ”is a cross between light-hearted and dark, and mysterious. It is mostly orchestral, but it has a few surprises thrown in.”
One aspect of Alex Redfern’s career that sets him apart from other composers is his incredible ability to bring diversity to all of his musical creations, something audience will notice in his other upcoming project Varanasi, where he is working as the film’s orchestrator. According to Redfern the film is “a dark thriller set in the holy city of Varanasi in India. It uses orchestral and Indian instruments together.”
Alex Redfern was also a key contributor to the music department on Mark Marchillo’s film The Curse of The Un-kissable Kid. A comedic and whimsical coming of age tale, The Curse of The Un-kissable Kid follows a young boy named Josh, played by William Leon from the hit television shows True Blood, New Girl and Modern Family, who finds himself in a sticky situation after taking a potion from a fortune teller at a local carnival without reading the fine print. After swallowing the potion Josh realizes that the bottle says it will make him disappear if he doesn’t find true love’s kiss within 24 hours. In an effort to keep from dissolving into nothingness, the desperate teen sets up a kissing booth and soon finds himself in a passionate lip-lock with a boy named Clark, played by Christopher Bones from the shows One Life to Live and My Name Is Earl. Redfern used his musical talents to heighten the fantastical elements of the film with his subtle orchestration of instruments.
A truly talented composer, there is no doubt on anyone’s mind that audiences around the world will be seeing, or rather hearing, a whole lot more of Redfern’s musical creations for many years to come. Be sure to check out the video below to see Alex Redfern conducting one of his original compositions “Riding Out West” with a 47-piece orchestra at Eastwood Scoring Stage at Warner Brothers Studio in Los Angeles.
Over that last few years Rebekah Miskin has become a highly sought after actresses in Canada for her incredible ability to tap in to the most challenging and complex characters with ease. Born and raised in Toronto, Canada, the actress began her acting journey in her early teens, but her first introduction to the stage came in the form of dance much earlier.
“I started off as a dancer, taking my first dance class at age three,” said Rebekah Miskin. “At age thirteen, I asked my parents if I could enroll in a summer drama camp and luckily they obliged. From there I was hooked – but I always loved performing from the moment I stepped on a stage as a bumble bee in pre-primary ballet at age three.”
Passionate about the pivotal role acting plays in bringing stories to life, Rebekah has dedicated her life to perfecting her craft, something which has paid off for the young actress as she continues to land starring roles in films and theatrical productions alike.
“Great theatre, film and television, at its core, is about telling great stories that resonate with people. That’s why I love acting so much. It’s the ultimate way of connecting and understanding other people,” explained Rebekah.
Some of Rebekah Miskin’s film roles include Kate in Pooka, Lainie in Reviving Ophelia, Zoe in A Subsequent Life, as well as many others. The actress also plays Alma Parsons in the hit television series Murdoch Mysteries and Anna in Long Story, Short.
Earlier this year Rebekah guest starred as Nicole Williamson on the television show Mayday aka Air Emergency. Mayday, known in Australia, South Africa and Asia as Air Crash Investigation, is a documentary-style program produced by Cineflix, which investigates air crashes, hijackings, bombings and other disasters with a new story each episode. Currently on its 14th season, Mayday has won a Gemini Award, as well as has been nominated for three Canadian Society of Cinematographers Awards.
The star of the episode entitled “First Air”, Rebekah wowed audiences with her incredible performance as Nicole Williamson. A heroic true story, the episode follows Rebekah in the role of Nicole, a 19-year-old passenger whose plane crashes into the side of a mountain in the middle of the Arctic. A formidable and courageous young woman, Nicole breaks both her foot and her pelvis in the crash, but she still manages to rescue the only other surviving passengers, a 6-year-old girl and a 45-year-old man, by carrying them out of the wreckage.
“It was really exciting because I was playing a person who actually exists,” said Rebekah. “The real Nicole Williamson is a true heroine. I guarantee it was much easier playing the TV version of Nicole than being the real Nicole rescuing two people from a burning plane, but it was so enthralling. It was very empowering for me to get to play the hero!”
An incredible actress with a huge career ahead of her, Rebekah Miskin also stars in the upcoming film Records for Maggie where she plays the role of Maggie. The film is set to be released next year.
The diverse work of Italian line producer Nicola (Nick) De Stefani has taken him around the world several times over, and although his work on countless award-winning commercials and documentaries has put him in many perilous situations, his love for his work and dedication to getting the shot has kept him calm and motivated even in the face of life-threatening danger.
While De Stefani has fulfilled the role of producer on several documentaries, his most consistent role over the last 25 years has been that of a line producer, which means he functions as the key manager of daily operations for the majority of projects he takes on.
During his time as co-owner and producer with World Watching Film from 1990 to 1995, De Stefani produced nearly 20 documentaries informing audiences on everything from the indigenous people, native plants and animals, and magnificent, yet equally treacherous mountain ranges, which exist in various parts of the world.
A dedicated producer, Nick De Stefani explains, “it was my production company that was producing and realizing the projects so it was my job to work at my best, even at the cost of being bitten or strangled by a snake, eaten alive by a nearby tiger that no one knew was around, or stomped by an Indian rhino.”
Some of his documentary titles include Tsaatan, Gli Uomini Renna (Tsaatan, The Reindeer Men) and I Nomadi Kazaki Degli Altai (The Kazak nomads of the Altai), which he shot in Mongolia, Il Mondo Perduto – Roraima (The Lost World – Roraima) and La Pianura Infinita – Llanos (The Endless Plain – Llanos), which he shot in Venezuela, Il Destino Del Gigante – Chitwan (The fate of the giant – Chitwan) and Il Parco di Chitwan (The Park of Chitwan), which he shot in Nepal, as well as many others.
“In the forests of southern Nepal, at Chitwan National Park, I had to tackle and handle a 10-foot constrictor snake by the tail, while my working partner was filming it. I did the same thing in Venezuela with a 12 foot injured anaconda, which had an extended mycosis on one side,” admits De Stefani.
In addition to taking on his main role as the producer of these documentaries, De Stefani also fulfilled various other roles while on location including co-director, sound recorder, art director, grip, electrician, and cameramen.
“Making these kind of documentaries means that you alone, or you and your working partner, will do the job an entire crew does while filming a feature film or a commercial,” says De Stefani. “You have to have the knowledge and the skills to cover all the roles.”
After De Stefani and his partner Rolando Menardi closed World Watching Films in 1995, De Stefani switched his focus from documentary filmmaking to the commercial world, an area in which he has found unparalleled success.
While Nick De Stefani’s love for exploration and the wild unknown made him an asset and key developer in the production of documentaries, these same traits have also made him an irreplaceable counterpart as the line producer on multiple award-winning commercials for high profile brands including Fiat, Mercedes-Benz, Nike, Ariston Aqualtis, Tuborg, Ferrero, Vodafone, Volvo and many more. For the last two decades De Stefani has been a go-to line producer for commercials for some of the world’s leading ad agencies like BBDO, Saatchi & Saatchi, Leo Burnett Worldwide, Lowe Pirella, and Grey.
On a commercial for Snam, a division of Italy’s largest gas company, Nick used his knowledge of Alaska and his vast skills as a line producer to make the commercial a success.
“It is not everyday that you have the chance to shoot in the middle of the ice and in my personal experience these, along with the desert, are the most challenging grounds you have to cope with… Nick helped us all, with a perfect blend of a professional and friendly attitude. It is important, especially when you are in a tough ground, to have very focused people around you who can help solve problems, but at the same time capable smiling and keeping the atmosphere light and pleasant, even in the most difficult situations,” explained Simona Ferraro, who is an executive producer at Filmmaster Service based in Rome.
Nick’s ability to think quickly and always find the tools necessary for the director and the rest of the team to create a successful production has been an asset to every project he has worked on.
Check out one of the commercials Nick De Stefani produced for Indesit Company’s Ariston Aqualtis washing machine below! Indesit Company is one of the leading European manufacturers and distributors of major domestic appliances. The commercial was directed by Italy’s three-time Advertising Director of the Year, Dario Piana. Piana has shot over 650 commercials over the course of his career, as well as received countless awards including four Gold, three Silver and four Bronze Lion Awards at the Cannes Lions International Festival of Creativity, and a Clio Grand Prix Award.
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