Category Archives: Filmmakers

Liya Shay tells tragic true story in acclaimed film ‘The 4th Person’

By the time a film is shown on a screen, it has been cut, edited, and perfected over a long, grueling period of time. In fact, oftentimes, films can take anywhere from several months to years in order for every element to come together. What audiences don’t typically see, however, is all of the hard work and dedication that goes into making a film the best that it can possibly be. For an actress like Liya Shay, she understands this all too well. For Shay, the biggest challenge that accompanies her career choice is remembering that her physical and mental health are of utmost importance. Her unwavering commitment to mastering every thought, emotion, and feeling of her characters makes this a difficult reality. After years of acting, however, she has developed various techniques and skills that allow her to separate herself from her characters, while still ensuring that when she is in front of the camera, she is everything her character needs to be and more.

Shay’s skill set is a testament to her dedication to the job that she loves most in this world. Her achievements are widespread and she has acted alongside strong directors, renowned production companies, well-known actors, and more. In 2016, she worked with Rouge Shakespeare Company at the Hollywood Fringe Festival. She has also played lead roles in two hit web series’, Vape Series and Drug. Beyond these roles, she has appeared in various commercials for major companies like Miller Lite and Echosworld Entertainment. One of her greatest achievements is perhaps for her role as “Sister” in the film The 4th Person. Her contributions to the film were absolutely instrumental to its success and it eventually went on to screen at the Pune Shorts Film Festival, Mumbai Shorts International Film Festival, and the Equality Festival Ukraine screenings.

When asked about the highlights of her career, Shay has a few; however, she considers her role as “Sister” in The 4th Person to be one of the most emotionally testing characters she has ever had to play. The 4th Person, which was directed by Indian director, Nonidh Yadav, depicts the true, devastating tale of a human who is forced by his mother to rape his sister in order to overcome his homosexuality. The story depicts his self-destructive journey toward redemption and his search for self-existence. For Shay, the decision to play the “Sister” was simple. She knew how important it is for society to understand that situations like this occur all over the world and it can’t continue. She delved deep into the role, researching about the effects of rape on an individual’s life, especially at a young age. This is nothing out of the ordinary for an actress with talent as unparalleled as Shay’s. She dedicates her entire self to every role she plays, and works tirelessly to ensure that she does her characters the justice that they deserve.

“When we were filming, The 4th Person was the only project I was working on and it was difficult not to get too overwhelmed while I researched the effects of rape and incest on women, especially young girls. Despite the fact that the information was emotional, I believed that the only way to truly understand how my character would’ve felt was to have all of that information and to be fully educated on those topics. I usually conduct extensive research if I think it will help me get into my character. It definitely creates a bigger picture around the given circumstances,” said Shay.

Between her research and her raw acting abilities, Shay delivered a stellar performance for the film. Her depiction of the “Sister” helped instill a sense of realism for the audience. Knowing that she was telling a true story made her all the more inclined to deliver an honest, authentic performance and to bring her audience on the haunting journey that the characters embarked on. As a director, Yadav could not have asked for a better actress to play her crucial, lead role. He credits much of the film’s success to Shay’s natural affinity for playing a dramatic role.

“Liya’s unique way of seeing her characters was the reason why this project came to life. She never judged any of the characters, instead she always wanted to discover and rationalize why someone would be behaving in the way they do. As a person, she is very passionate and caring, which was a key to her character as well. She created a character that was like a glue to the pieces of this story. She is an actress with a beautiful soul that translates into her performances. She is able to create characters that live and breathe through emotions that not every person will experience in their lives. She has a strong will, that doesn’t let her break as a person after filming scenes like the scene of rape between she and her brother,” told Yadav.

Shay’s success in her career is a direct result of her drive, passion, and sheer talent. She is not naïve when it comes to her career choice; she knows that the stakes are high and the competition is tough. She understands the reality that at times, it is not always the most stable source of income and that it is more competitive than most other fields of work. This reality, however, only pushes Shay harder. She loves the job she does and she intends to continue to do so for years to come. Fortunately, her accomplishments thus far in her career have painted her a strong background of work. There is no doubt that with talent as profound as Shay’s and a burning desire to do what she loves, she will continue to bring greatness to the entertainment industry in every role she sets out to do.

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Cinematographer Andre Chesini talks viral music video ‘Oração’

Andre Chesini behind the scenes of Oracao 2
Andre Chesini behind the scenes of the “Oração” music video.

Anyone can move around with a camera to their eye, in fact, many people try. However, Andre Chesini understands what it is to be extraordinary at what he does. Chesini’s unwavering passion for filmmaking extends back as early as his childhood and his perspective derives from years of immersing himself in the arts. He understands that the artistry of cinematography comes from controlling what the audience sees and doesn’t see. As a cinematographer, he doesn’t just strive to make a frame beautiful, he tries to create images that evoke emotions and enhance the storytelling. That is what makes him such a rare talent.

Chesini has adopted a style of cinematography that many of the world’s most recognized strive and fail to achieve. For him, lights are motivated by nature, not only by the actors. He searches for a naturalistic cinematic sense of reality. He worked on several documentaries in the beginning of his career, and is an experienced Steadicam operator. This experience translates into his cinematography.

“Documentaries are based on working with the environment and searching for the natural and available light. That shaped me a strong bond for an alive camera and strong naturalistic sense of reality. Thus, I’m looking for a life-like images. A design that is closer to reality, yet enhancing the cinematic look making the ordinary into extraordinary. Every cinematographer is unique; it is about the inner voice that each of us have. How it echoes with the director and all the people involved in a film,” said Chesini. “Steadicam operation is an amazing skill that makes my senses for motion and blocking of the actors very sensitive. I can feel the energy that the scene requires, capture the emotion of the actors and translate it through the movement of the camera.”

Having worked on several award-winning films, such as Chocolate, Tereza, and A Fabrica, as well as the television show Life on a Leash, Chesini put his work on the world stage, showing audiences everywhere what he is capable of. However, this versatile cinematographer has had limitless success, and his work on three music videos for Banda Mais Bonita da Cidade displays that perfectly.

“Music allows you to have more freedom in style as a cinematographer. It is a great territory to experiment and push your visual limits as a creator. “Oração” was actually the first music video that I shot. I mostly work in narrative. I believe that this narrative background weighs on the decisions and how I could contribute for the impact of the music video,” said Chesini.

Three days after its release, “Oração” already had over three million views on YouTube. It now has over 27 million. Chesini went on to be interviewed by Fantastico, a popular Brazilian Sunday evening program, to comment on the video. Later that year, “Oração” won the Best Web Video for the MTV Video Music Brazil Awards.

“It was an insane reaction, from no recognition to international recognition, being published in Rolling Stone and Washington Post, among others. The Banda Mais Bonita da Cidade became recognized artists and in that year, and have recently released their third album,” said Chesini.

Vinicius Nisi, the creator of the band and the keyboard player, called Chesini to be part of the video. The proposal was to record three music videos in one weekend, the main video being “Oração,” a one-shot video while recording the live audio at the same time. Such a task was enormous, and Chesini was the only one for the job. Chesini’s Steadicam experience once again was vital for the music video, as his knowledge of where to place the camera and follow the talent to have the six-minute film be one shot was fundamental. The two other videos shot were “Boa Pessoa” and “Canção para não voltar.”

“Given the success of “Oração”, our band became full time job, becoming our main source of income. We owe this to the talent and love that Andre has,” said Nisi. “Andre is an easy-going person and very easy to work with. He is always with good-humored and is very communicative. He likes to know all details in order to do a good job. His technical and artistic capabilities are undeniable.”

“What I most like working with him, is that he is secure, calm and aware. He is also really humble, and would listen all my directions and when was necessary he was pro-active in resolving issues that would appear. Andre focuses on making his work pristine. He studies the video, techniques, equipment and always makes his best. Andre knows his immense responsibility as the first viewer of the everybody work. At the same time, he does that gently and with kindness,” Nisi continued.

It took 8 shots for Chesini to get the one-shot film that was needed. This technique was a fundamental factor for the success of the video. It required skills and a sensibility as cinematographer and camera operator that Chesini always displays.

“I’m really proud of that video and its success also gave me strength to continue to pursue my dream of film,” said Chesini. “The challenge of a one-shot film is quite exciting, and being a steadicam operator, I felt compelled to immerse myself in this challenge. The long shot also requires working together with all the musicians, extras and everybody involved and seeing the involvement of everybody was really rewarding to see.”

You can watch Chesini’s work in the “Oração” music video here.

Videographer Maria Aguado takes us back in time with Button Barcelona

Maria Aguado has always known she was meant to be a filmmaker. Since the age of seven, she wrote screenplays and made movies. At the time, just a small child in Barcelona, she filmed her dolls, editing the footage, unaware of what she was really doing. She grew up holding a camera, and to this day, nearly twenty years later, that remains true.

Aguado’s unique eye has greatly contributed to the success of many brands who seek her services. Just last year, the company Button Barcelona reached out to the videographer to make a promotional and informative video about the brand that would be played at a Button Barcelona event, as well as two other videos to be used to promote the brand on social media.

“I really liked the romanticism that creates Button Barcelona and I wanted to be a part of it. They emphasize how everything worked in the old times, enjoying every step with serenity and a slower rhythm. I was happy to express this through audio-visual,” said Aguado.

Button Barcelona is a company inspired by the way people used to live sixty years before the industrial revolution in a small village in Barcelona. They sell all type of products with one thing in common: bringing back the traditional methods of production and elaboration with hand-made products. As a videographer and editor, Aguado had to transmit this idea to the audience. She filmed and edited three videos for Button Barcelona. The first one was a series of interviews explaining the story of Button Barcelona. The second was the “making of” of the photo shoot. For the third video, she edited the previous two videos together, for the Button Barcelona event. All three were posted and used on social media as their marketing campaign.

“The shooting was really fun. We immediately became a good team from the start. The event was also amazing, my video was screened and we were all there, overwhelmed by the story the video shows and the whole experience,” Aguado described.

While shooting, Aguado filmed the models in different parts of the village doing antiquated activities, such as washing clothes in a bucket of water, going to an antique cinema, and sewing clothes. She truly shows really the audience how these people used to live, emphasizing the essence of the company.

“Button Barcelona is everything that defines us, differentiates us and reaffirms our personality. That’s why I decided to select every single piece that showed a narrative in order to create a story inside a fashion video,” said Aguado. “Through the shooting and the editing, I transformed models into characters. This is the nice and tricky thing about editing, with just one look, a movement, a step, you can create a story, a narrative structure. The tricky part is to know when you are cutting a video and why, it all has to end up making sense in order to touch the audience. Also, remembering all the material in order to be fluent and creative. The brand’s idea is the opposite of frenetic; it’s all about taking your time to produce with love. I showed this by carefully selecting pieces of music and mixing them together. The rhythm plays a very important part too, music and video have to dance together.”

The final video is eight minutes long. It begins documentary style, interviewing the various people at Button Barcelona, and explaining the story behind the company. The final five minutes feature the “making of” from the photoshoots. Aguado perfectly blends the shots to the music, editing the cuts to the exact beat of the song. It does not appear to be a promotional video, but instead an artistic music video, where the models are simply people enjoying their life rather than working. The result is outstanding.

“Maria was given full freedom to create both videos and the result was even better than what we had expected. She is a very hard worker with a positive attitude and creative mind! Her creativity and passion for what she does is what makes her so good at it,” said Candelaria Turrens, CEO and Founder of Button Barcelona.

The three videos were crucial in branding Button Barcelona. They explain the company’s idea, and introduce the world to the members of the brands Button distributes. Without Aguado, the event would not have been the success that it was, and the brand itself could not have achieved what it has today. She captured the company’s essence through the lens of her camera.

“It felt like we were teleported to another time; the times Button Barcelona tries to keep in our lives. The story was clearly shown to the audience, they could feel the essence of the brand and really enjoyed it. The video was repeated every half an hour, people kept asking to see it over and over again. It was amazing,” Aguado concluded. “I believe I showed the value of the simple way people used to live, the romanticism of the old times, enjoying every step with happiness, calm and serenity.”

Canadian actor Tim Hildebrand stars in Steampunk sensation ‘Steamwrecked’

TimHildebrand HeadshotTim Hildebrand says he was once taught that “the secret to truthful acting is to love your character, no matter who he is.” This versatile Canadian actor has stepped into many roles, always conveying sincerity with each performance, and this directly relates back to that mantra that has stayed with him throughout his formidable career. He loves every character he plays, and is committed to each and every performance.

“If I really care about the people I portray, I’ll identify with them, and understand why they do the things they do, at the heart level. I’ll care. I’ll want them to succeed, and so I’ll invest in getting them what they want through the methods that make sense to them, because of who they are, what they know, and what they’ve experienced,” he said.

Audiences will once again have the chance to see Hildebrand in the upcoming film Steamwrecked, set to be released later this year. The film, written by Rachel Hemsley, and directed by Christopher Matista, follows a “lightning harvester” zeppelin pilot named August Morlock, in a steampunk/sci-fi world. Crashing in a forbidden zone during an exceptionally bad storm, he and his lone surviving crewmember are forced to traverse a deadly desert, inhabited by wild creatures called “scavengers”, to bring their coveted cargo to safety.

“When I read the script, I was just intrigued. I’d never read anything like it. It was a Steampunk universe, which I wasn’t really into, but the universe Chris and Rachel came up with was so well thought out and plausible it actually grabbed me. The film is about beating the odds and surviving. It’s about unlikely alliances, learning to love someone you don’t think you can, and making sacrifices for one another. Ultimately, it’s about overcoming. It’s inspirational,” said Hildebrand.

Hildebrand plays August Morlock, a widower and a loner. He’s gruff, but a softie deep down. When his ship crashes in a storm, in the worst possible place, he finds himself stuck between his young, stubborn and injured female crewmember, and the local inhabitants tracking them to kill them. August has to try to get the girl and the canisters to safety.

The character of August Morlock is wonderfully layered. A life-and-death urgency underscores Hildebrand’s captivating portrayal, as he and his shipmate avoid their hunters. Hildebrand also utilizes Morlock’s background with wonderful restraint, his caution and world-weariness contrasting the stubbornness and passion of his protégé, Rowe Windsor (portrayed superbly by Sarah North). This, combined with unexpected moments of softness, create an interesting mystery to Morlock that only fully makes sense when revelations come to light late in the film. To carry the truth of that unspoken backstory throughout the film, so consistently and effectively, demonstrates a unique depth and maturity in Hildebrand’s acting.

“Because there was so much going on internally, this was a project where it felt appropriate to stay ‘in mood’, between takes: not exactly staying in character, but staying in the emotional space of the character. I don’t always do that, it’s case by case. But this project was right for that kind of focus,” Hildebrand described.

The actor worked closely with director Christopher Matista to develop the many layers of August and accurately portray his vision for the film. Matista was constantly impressed with Hildebrand, from the moment he auditioned to the last scene they filmed. Being the male lead actor, the film is dependent on Hildebrand, and according to the Director, he did not disappoint.

“Tim is an amazing actor to work with. On camera he is talented, creative and flexible. Between takes he has a great sense of humor to keep the mood light. When filming a stunt scene that involved four other stuntmen, Tim was very careful during rehearsal to communicate his actions, while also paying close attention to the stunt supervisor. During the actual filming, Tim continued this communication, and was able to deliver great results. Tim acting performance stood out even before he was cast, actually. He wasn’t able to make it to our first casting session and elected to instead submit a video audition. In my experience, actors who submit video auditions rarely make it to call backs. However, Tim stood out. In his audition, he used his teeth to tie off an imaginary bandage around his arm. This small action brought real life to his character and to that moment, and got him a spot in callbacks, and eventually the film.”

“He’s very intelligent.  And adaptive. During one rehearsal, he and I discussed his experience with hang-gliding to connect fictional lines of dialogue to the real world. On set, a director should spend a significant amount of time with the actors, discussing the scene and rehearsing. Because of complications, this wasn’t the case on Steamwrecked. I was lucky to have ten minutes to rehearse before filming a scene. Many actors would have shut down or failed to get into character but Tim kept his cool. Because of his prep, and understanding of the character, I could always rely on him to deliver,” said Matista

Steamwrecked is currently starting its festival track in the United States, but may also be headed abroad to countries like China, New Zealand, and Brazil. It not only appeals to Steampunk communities, but also a wider audience, with memorable performances and a heartwarming story.

“We shot in late Fall, and the desert gets cold. Our first twelve hours were a night shoot. The winds got up to about seventy miles per hour and it was absolutely freezing. I’m from Canada, so it was kind of strange to experience air and wind that cold, but not see any snow. I remember PAs were driving to different towns trying to find those little packages for the crew that you put in your shoes and gloves to stay warm. After two days of that, the weather turned sharply and it became blazing hot; like, oven hot. So the back and forth with the temperature had an effect on some of the equipment and on people’s bodies, but when it was all said and done, we knew we had been a part of something special and everyone was on a real high,” Hildebrand concluded.

FILMMAKING WITH TALENT AND HEART: ZHENG HUANG

The role of producer is about money and schedules, correct? In its most simplistic terms, yes but it’s also about much more than that. For Zheng Huang it’s about art, personal connection, and the bonds that tie us to each other. While that might sound overly emotional, one should remember that we are dealing with the artist temperament; they are known to investigate feelings. A producer is the boss of a production. Everyone has experienced a boss who is only concerned with the bottom line as well as the one who is interested in you performing your job with excellence because you are happy to be there. Huang is very much the later. Every producer has a budget, schedules, etc., the nuts and bolts of their job. Approaching their role from an emotionally inspiring place is just as vital as a cinematographer who looks for the moving aesthetic in the frame (rather than one who simply makes sure everything is in focus). This approach is as intuitive as breathing for Zheng, which is likely why he has become such a sought after producer. Often the difference between good and great is how much you care; Zheng Huang cares a great deal.

Upon returning for the Cannes Film Festival, where his film “Lost” had been presented, Huang was interviewed about this by Neo. Neo was not only the host of an interview show but is also a director. Neo was instantly appreciative of Zheng’s passion for film and his unique perspective, so much that he enlisted him to take on the role of producer for his film “Never mind I Remember.”

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The film details the plight of a family who is forced to deal with an all too familiar difficulty in life. When seventy-year-old Lily loses her husband Frank to a heart attack, her son Jackie comes to her aid. He discovers very soon that his mother is dealing with a very acute case of Alzheimer’s. While Lily struggles to deal with her own constant sense of disorientation and unfamiliarity with those around her, Jackie comes to terms that he must now be the caretaker for his mother and realizes (perhaps somewhat selfishly) the impact on his own life. While both deal with the loss of Frank, Lily deals with the confusion of why her husband is not with her. The film is acted with mastery and captured with the same level of excellence. In one of the most tender and heart breaking scenes, mother and son find themselves in the same tent they used to play in decades before as Lily asks her son when Frank will return and he replies, “Let’s wait for him together.”

Zheng was drawn to this intensely emotional story by the script as well as a personal connection. He shares, “My mom’s aunt has had Alzheimer’s disease for many years but her only child never comes back home to see her. Luckily, her husband takes care of her very well. Because of genetic inheritance of Alzheimer’s, my own mother worries that one day she will begin to show signs of this disease. I am her only child and she has fears about my being too busy to take care of her properly. When she told me these fears of hers, I realized that this is a very deep and powerful topic, one which I want to explore. The son in the story is MYSELF but also every single child who has a busy career and big ambitions. Alzheimer patients can be a big burden for their children but there is no option here. Our mothers are our caretakers, our protectors from the moment we first come into this world. I directly relate to the story of this film and I know that there are many other people who do also. I knew that I wanted to be a part of telling this story and it demanded to be told with the proper emotional lens.”

The vast majority of a producer’s work for any project is in coordinating and scheduling, there’s no denying this fact. Obtaining permits, scouting locations, casting, “connecting the dots” is the norm for producers in a wide variety of settings. The secret ingredient of Huang’s approach is his focus on the communication and relationships of those he is involved with on each project. Neo, director of “Never mind I remember” reveals, “I feel extremely fortunate to have had such an excellent producer as Zheng Huang on my film.  As we were preparing for the shoot, I was having some problems with my 1st AD. This person has also directed and was giving a great deal of unsolicited opinions about the shot list. When I approached Zheng about the situation he said, ‘Neo, I will always support you whatever the decision you make in the end. If you tell me you will fire the 1st AD one day before shooting, I will be your 1st AD if you need; whatever you need, I’ll be there. The most important thing is: you have to be happy with what you do. You have to create your film, not your 1st AD’s film, or anyone else’s.’ This stirred something in me and I was able to confidently move forward and resolve the issue with my 1st AD, which meant that the entire production would benefit as well. Instances like this prove how Zheng is so much more than your average producer or someone who schedules events.”

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When discussing his definition of a producer, there are many familiar tasks and terms that Huang uses to describe his day to day. There’s a verbiage that he has in common with his peers and then there is one word which he continually refers to that stands out; empathy. It’s not something that you often hear a producer discuss as part of their skill set and yet Zheng professes that it is an essential part of what makes him successful as a producer. For someone who works with artists every day, it seems an obvious trait; to those who work with this producer, it is obviously Zheng Huang.

Producer Melina Tupa helps change lives stories in Frontline’s ‘Rape on the Night Shift’

Melina Tupa is more than a filmmaker, she takes her role and knows how many people she can affect with her work. She adds the responsibility of being a journalist, telling harsh and real stories that need to be told, and she shares them with the world. Her commitment to her craft is outstanding, and her talent is unparalleled.

With experience in both producing and journalism, Tupa has emerged as a formidable documentary filmmaker. Last year, her film The Search captivated audiences and critics alike, a trend she is well familiar with throughout her established career. Her work with networks like Turner Broadcasting and Nonstop TV have seen similar success. These accolades, however, are not important when she is doing what she loves.

“I wanted to be a producer to be involved in all the aspects of the film. It is the only position where you can connect with all the other team members of a production. I always liked working with diverse groups and being a producer meant I could learn other skills from other production areas fairly easy. It is also a position where you can have a real impact on the final product. The producer is the thread that unifies and solidifies all the pieces of a documentary,” said Tupa.

Bernardo Ruiz, a Director and fellow Producer, worked alongside Tupa on the feature documentary The Gatherers, which has been funded by the Ford Foundation, the MacArthur Foundation, and the Sundance Documentary Institute. Ruiz was astounded by her talent, and is now looking at having her co-produce his upcoming feature documentary about California’s Napa Valley.

“Melina is an experienced and dedicated production staffer and researcher. She has an excellent reputation, having studied with some of the top documentary filmmakers in the business and I have gladly recommended her to other producers seeking top documentary talent. Not only does Melina have top tier formal training in journalism and documentary production, but she is also an experienced independent producer. Her ability to work on multiple fronts is a major asset to a production as are her language abilities, as she speaks, writes and can conduct research in at least three languages: English, Spanish and Portuguese,” said Ruiz.

Tupa’s investigate reporting and producing talent was evident once again with her work on the critically-acclaimed film Rape on the Night Shift. The chilling documentary looks into allegations of sexual abuse of immigrant women working in the janitorial industry and how companies handle the problem.

“These women who worked at the janitorial service to support their families had been raped and the perpetrators had gotten away with it. It was very important that their stories were widely known and that there could be structural changes in the janitorial service so these atrocious acts would never happen again,” said Tupa.

With her trilingual abilities aiding her, Tupa was approached by a producer on the film to come on board the project, knowing that speaking Spanish was key. Most of the main characters and interviewees on this story spoke in Spanish and it was crucial that whoever came on board could understand them. Tupa also assisted in pre-editing interviews, transcribing, and translating interviews, and assisting on overall production tasks. As documentary units are usually small, every person’s contributions are key to the success of a project, and every task is essential. Tupa’s work was no exception.

“I always wanted to work for the Investigative Reporting Program since it’s one of the most important journalism centers in the United States and the world. When I found they were working on this project in particular I knew I wanted to be part of the team,” Tupa described.

Many of the victims were undocumented immigrants, and they thought they had no rights because of this. However, once the documentary aired, the powerful story not only helped changed the lives of the victims that were interviewed, but the lives of thousands, as California law was changed to protect janitors like them from sexual violence and abuse on the job. The bill was inspired by the documentary, and Tupa could not be prouder of the part she played in impacting the lives of so many women.

“This was a very important story to tell. There were a lot of women suffering and these women never had an outlet to tell their stories before. So, I knew this documentary was going to be important and, in fact, after it aired it led to change in policy in the janitorial service,” said Tupa

The film premiered on June 23, 2015. It aired on PBS Frontline. You can also watch Rape on the Night Shift here.

 

Photo by Vanessa Arango Garcia

Producer Xueru Tang faces her fears, literally, in critically-acclaimed horror flick Emily

Xueru Tang’s life is making movies, and she loves every minute of it. Her work captivates international audiences, and her name is recognized all over the world. She is an extraordinary producer, and one of the best to recently come out of China.

While working on several esteemed projects, Tang has become an extremely sought-after producer. She has worked on films such as Locked, and Hot Pot Man. Both of these projects have gone on to do very well at several of the world’s most prestigious film festivals. However, what is perhaps the most decorated film of Tang’s career is the award-winning horror flick Emily.

“When I was asked to join the project, I was really interested. I love horror movies, but I always have trouble watching them because they scare me, so I really wanted to know how a horror movie was shot,” said Tang.

Directed by Jun Xia, the film tells the scary story of a woman named Emily. Emily dies giving birth at home after her husband, John, abandons her. However, she will have her revenge from beyond the grave when she returns as a ghost set on killing her widowed husband.

“I liked the script at first, it was short but it was interesting, and once I started working on the film, I began to really like the way the director told the story. He really caught the point at which everyone is frightened. It really made me scared. He really had his style and his visual for everything,” said Tang.

Tang was approached by co-producer Guannan Li to join the project. Li knew he needed a team of the best producers he could find, and having worked with Tang before, he knew she would be the perfect fit. Another producer on the film, Jingming Zhao, could not have agreed more.

“During development of the film, Xueru included her creative input for the film, and helped to polish the script, showcasing her creative abilities. She was responsible for renting equipment, creating and managing our budget and schedule, and making certain that this highly intensive work was made on our budget. Due to Xueru’s preeminent abilities as a creative thinker and a talented producer, she helped us to lay a foundation for the film, without which we would not have been nearly as successful. Of the many producers I have worked alongside, she is the most stand-out talent I can think of,” said Zhao.

Tang’s decisions for the film were very fruitful, as Emily has been a stand out at film festivals. After its premiere at the Los Angeles International Film Festival in August of 2015, it went on to be praised at the following festivals: Winner Best Horror Short Film – Hollywood Horror Festival 2015, Winner Best Short Film – Mad Town Horror 2015, Winner Best Horror Short – Hollywood Boulevard Film Festival 2016, Winner Best Student Horror Short – Hollywood International Moving Picture Film Festival 2016, Winner Best Student Horror Short – United International Film Festival 2016, Winner Best Director – Chandler International Film Festival 2016, Winner Official Selection Award – Chinese American Film Festival 2016, Official Selection London Digital Film Festival 2015, Official Selection International New York Film Festival 2015, Official Selection Full Bloom Film Festival 2015, Official Selection and Screening Big House Invitation Year One 2015, Official Selection Fort Lauderdale International Film Festival 2015, Official Selection Horror Short Video Contest 2015, Official Selection Los Angeles Short Film Festival 2016, Official Selection and Screening Holly Shorts Film Festival 2016, Official Selection AFMA Film Festival 2016, Official Selection and Screening Hanhai Studio 1st Short Film Festival 2016.

“When we won the first festival, we all super happy, and one by one, after like 10, to be honest, we all started to feel like ‘okay, this is normal,’” said Tang. “When we started winning the big festival, we felt happy of course. I felt like it showed how hard we worked and how good we are. When we work it can be a really hard time and not easy for all of us, but we studied from this production and we grew because of it.”

For a film to do so well over such an extended period of time, continuing to impress audiences and critics over a full year, shows just how good it is, and Tang was a big part of that. She dealt with the crew, worked on the budget, and was responsible for hiring a team that she knew could make the film the success it became. One role in particular that she tirelessly searched for was the cinematographer, as the director Jun Xia wanted someone he could work well with and share his vision. Tang spent months searching and interviewing candidates looking for that special director of photography. This effort led to finding the ideal match, and was vital for the film.

The team worked so well together, that they decided to embark on another horror film Inside Linda Vista Hospital, which production companies were eager to be a part of after Emily’s success. The second film has gone on to achieve similar feats at many film festivals, showing audiences all over the world why Tang is so good at what she does.