Category Archives: Uncategorized

Behind the Scenes, Film, Filmmakers, International Creative Talents, Producer, Uncategorized

FILMMAKING WITH TALENT AND HEART: ZHENG HUANG

July 22, 2017 Lorraine Wilder Leave a comment

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.”

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 1^st 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 1^st 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.”

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.

Art Director, Behind the Scenes, International Creative Talents, Uncategorized

GORKEM CIFTCI: BEHIND “WOMAN WITH NO VOICE”

July 11, 2017 Lorraine Wilder Leave a comment

Gorkem Ciftci is pleased with himself, not in a smug manner but with a sense of satisfaction that he has made a positive impact. As the Art Director of the campaign “Woman with no Voice” Ciftci conceived of and created a campaign (with his team) to dramatically raise awareness of domestic abuse in his homeland of Turkey. While his vocation most often has him working with clients who are promoting everything from interior design/aesthetics to cars to TV programs, Gorkem has also utilized his talents to promote many socially minded ventures that exist in and border on altruism. The role of art director is itself steeped in both the creative mind and the business sense; it perfectly suits someone like Ciftci who thinks of helping others aspire to a better life and possesses the real world skills to enact this. While this may sound like an extremely benevolent view of those involved in the business/advertising realm, one need only consider Gorkem’s work on “Woman with no Voice” to understand it in a real world application. He passionately explains the situation and his motivation to become involved stating, “The real problem about domestic abuse in Turkey is that nobody is brave enough to speak out. The women who suffer from domestic violence are often economically dependent on their husband; this is why they choose to keep silent and not to talk about it. Silence of the oppressed makes this violent epidemic inevitable. Moreover, in rural parts of Turkey, religion and bigoted traditions contribute significantly to the suffering of women. They are often forced to get married in very early years, very few of them have chance to get education, and they are not really counted as human beings but rather the commodities of men. As a proud feminist, I have been seeking any chance to get involved in campaigns to combat patriarchy in Turkey. And I was fortunate to take part of a few over the course of my career. I knew that this one was going to be the boldest one. I knew from the start.”

This campaign was part of a greater movement named ‘’Every Breath, a Voice’’ that was dedicated to combating and ending domestic violence in Turkey. Numerous campaigns were created and events held annually to raise awareness on the issue. This group wanted a bold and provocative campaign that would spark national debate. As art director, Gorkem wanted to find a unique and dramatic way to convey the idea that the plight of these women was not receiving the attention that it deserved. He explains, “After researching and reading the stories from victims of domestic abuse, I had reached to the conclusion that a single major characteristic of victimized women is their silence, hopelessness in other words. With this focal point, we needed to come up with a creative execution that demonstrates the silence of these victimized women in an interesting and creative way; that execution was to associate this oppression with Facebook’s automatically playing mute videos (Facebook plays videos on mute in order to not disturb users while scrolling down on the newsfeed. This feature has been very significant to the Facebook users).

This idea was powerful but also created a major problem for Gorkem. This gravitas of the presentation rested on the idea of silence; if this silence was broken by a voice over it would diminish the power of the visual. The presentation would be decidedly simple. A woman cries out in front of the camera, wearing a plain dark shirt and a wedding ring while standing in front of a dark gray background. The drama is exponentially intensified by Ciftci’s decision to place text in the box to the right of the screen (the voice icon on Facebook video bar) corresponding to the Facebook feature. This communicated the twist that the cries for help from these women are not heard as the viewer attempts to increase the volume of the audio. It cannot be overstated how emotional and heart-wrenching the campaign is (https://vimeo.com/172093012).

Thirty Turkish actresses were viewed to portray this simple yet highly emotive role. The performance of the actress seen in the campaign is haunting, which is appropriate. Far from the glamour and excitement normally associated with being on set, Ciftci relates, “The set suddenly become a dark and depressing place as we began shooting. This was quite surprising for me. Even though we all knew that it was a screenplay, the screams of the actress were something terrible to witness knowing that millions of women suffer domestic abuse and had to face these horrors on daily basis. The original film had no audio, but we had to hear her screams in the studio for the sake of persuasiveness. Witnessing a re-enaction of such horror was upsetting to all on set that day. However, I also knew that this was a powerful cause and could not wait to have the film published so it would start contributing to the positive change.”

A significant difference between the “Woman with no Voice” campaign and those of a similar intention in the past is that the decision to use Facebook and Twitter to share its message resulted in a mass proliferation (via “shares”) and immediately accessible metrics. As opposed to traditional TV or print campaigns in which the public’s reaction is often uncertain, social media allows for immediate responses and feedback, without censorship. As the creators of “Woman with no Voice” had hoped, a national debate was triggered and millions viewed it. One of the most unexpected outcomes of the campaigns viral nature was that men were very eager to talk about the issue and were among the majority of those who “shared” it.

(CRYSTAL APPLE FESTIVAL AWARD CEREMONY 2015, UNIQISTANBUL, ISTANBUL)

“Woman with no Voice” was overwhelmingly accepted and praised by the public. In addition, it received copious accolades that included: 1x Gold, 1x Silver, 1x Bronze at Crystal Apple Festival of Creativity (2015), 1x Gold Mixx Awards Turkey (2016), 1x Bronze Mixx Awards Europe (2016), & 1x Gold, 1x Merit at Kırmızı Advertising Awards (2015). While awards always have a beneficial effect on a professional’s career, Gorkem states, “My involvement with this campaign truly deepened my understanding that I could use my role as an art director to really make a change. I think if we all found ways to use the abilities we have to help others rather than only to support ourselves, the world would be a much better place for everyone. I am humbled that I was able to do even a little bit to help the women of my country and I’ll be looking for opportunities in the future to do more.”

(KIRMIZI AD SHOW 2016, ZORLU PERFORMANCE HALL, ISTANBUL)

Behind the Scenes, Canada, Director, Entertainment, International Creative Talents, Television, Uncategorized

DIRECTOR ALEXANDRA LA ROCHE ON HAVING FUN WITH EUREKA

July 11, 2017 Lorraine Wilder Leave a comment

Science and Tech nerds are the new rockstars. There was a time when the brains behind these types of advancements were kept hidden away while the powers that be put a public face on those they deemed marketable. Carl Sagan, Steve Jobs, and many others completely changed that. Sci-Fi Channel’s “Eureka” presented the idea of an entire community of these brilliant minds. The Emmy nominated and Leo award-winning TV show was a ratings hit during its six year run as one of Sci Fi’s highest rated series. One of the brilliant minds behind the scenes of “Eureka” was director Alexandra La Roche. The writers of the series are self-proclaimed science geeks who structured many of their themes on real or postulated science. This coupled with the show’s heavy oversight by actual science consultants not only informed La Roche but required her to be on her toes. In contrast to the normal greed, sex, and ensuing power struggle, “Eureka” episodes presented conflict of a more cerebral nature. Alexandra concedes that it’s one of the most unusual and fun shows she has ever directed precisely due to this aspect.

“Eureka” is the story of a scientific community, in large part based on the perspective of the town’s sheriff Jack Carter. Carter cooperates with scientific geniuses in the community who work for Global Dynamics. They often find approaches to resolving situations that require more cerebral effort than “stop in the name of the law.” A perfect example of this is “Up in the air.” This episode was based on the opening sequence of the show which depicts the town floating away as the Sheriff watches. The opening had never been explored as a story before. What seemingly starts out as a normal bank robbery quickly became a situation in which the entire bank had been taken, the whole building! An element of the Higgs Bosen (based on real science) has been stored in the bank and somehow is effecting everything in the town. Carter is tasked with having to get the element contained and bring everything back to earth. Unfortunately, the bank is floating 4 miles above the earth and nothing can fly him there. He does make it, but the bank is on a terrible tilt and when he does get the element contained, the bank starts to plummet, listing back and forth and sending him in all directions with amazing physical comedy from Carter, played by Colin Ferguson. The day is saved at the last minute and order is restored. Even though “Up in the air” employed extensive use of VFX and filming trickery to make the scenes believable, Alexandra believes that the performances of the actors are the cornerstone to any production. For this particular episode, the physical comedy performed by Colin Ferguson (starring as sheriff Jack Carter) due to the gravity challenged nature of the situation was a high note (no pun intended). On working with La Roche, Ferguson proclaims, “Alexandra is one of, if not the best, director I have ever worked with. I think it is fair to say that I have a deep understanding and appreciation for Alexandra’s talent. When we worked together, we worked in tandem to improve, correct, defend, and in short, save eighty plus hours of television from lesser hands than hers. She has the rare ability to follow the story, hear the actors, know the technical, and bring it all together in a manner that gets better, quantifiable results, faster than most, and in the form that others only dream they could achieve. This is exceptional. She always helped. She was never wrong. Not once. Our show had the quality that it did because of Alexandra La Roche. When I am asked by someone which episodes to watch to see if they will like I show I always say ‘Up in the Air’ or ‘Smarter Carter’, both of which are Alexandra’s episodes. She is an ally, she is a friend and she is someone I will always look up to.” Perhaps the reason that Alexandra is so respected and appreciated by the actors she works with is due to her honesty with them. She stipulates, “I had an excellent rapport with all the actors on ‘Eureka.’ Our deal was simple; I did not lie. If Colin wanted an honest opinion, he knew he would get it from me. Actors are so used to smoke being blown up their asses, they were really quite happy for me to say what I really thought. Of course, I never approach any situation with a negative. If I see a problem, I only mention it if I have a solution or proposal on how to solve it. This is what I know endeared me to the entire cast, with a particularly close working relationship with Colin as he trusted me implicitly.”

One of La Roche’s favorite experiences directing for Eureka was the episode “Smarter Carter.” It combined many of the elements that were so endearing about the series: science, VFX, and comedic performances. A confrontation between sheriff Carter and two disembodied legs in the town square was a scene which Alexandra had conceived of herself. Kevin Blake (played by Trevor Jackson) and the sheriff square off with the legs in an attempt to capture them. The director describes, “It was written as a simple chase through the town square ending in a crash into the café patio. Parkour was just getting really popular so I expanded the scene and created a sequence where the legs jump, leap, and hang all over the town square ending up with Carter pinned in a head lock. This was a massive sequence and I had to call out to the actors every beat and every move because the legs were all CGI. I had no voice left by lunch!! We had to use green screen elements as well. It took 7 hours to shoot, but it was a great scene, very funny and well worth it.” These situations give evidence that La Roche had a deep understanding of the personality the producers wanted “Eureka” to project. While executing these scenes can be taxing and stressful, the final result was well worth it.

While “Eureka” left a lasting impression on its fans and science nerds everywhere, the road is two-way. Alexandra admits that to this day that she gravitates towards science magazines on plane rides and whenever she has free time. The experience working on “Eureka” led not only to many more professional opportunities (La Roche has directed CW’s “Flash”, USA network’s “Dead Zone”, and many others) but left her with a lifelong interest in science. Sometimes the conduit for learning resides in unobvious means.

Model, Uncategorized

Featured Model: UK Bombshell Alice Phillips

July 6, 2017 Lorraine Wilder Leave a comment

Hailing from Hertfordshire, England blonde bombshell Alice Phillips began her modeling career a little over three years ago when she was scouted by Anne Tilby, a UK-based artist who was collaborating with a London designer, and was immediately attracted to Alice’s look and asked her to model for their project.

In the years since that fated encounter, Alice’s presence as a model has grown exponentially; and with her flawless fair skin, mesmerizing blue eyes, pouty lips and perfect blonde hair, it’s no wonder why. The girl is a knock out!

She has a unique way of exuding the type of appeal that says girl-next-door and sexy vixen all at the same time, and it wouldn’t be at all surprising if she get’s tapped to become a Victoria’s Secret angel in the very near future.

Model Alice Phillips featured in the Sept. 2015 edition of Hello! magazine

Early in her career Alice was featured in the September 2015 issue of Hello! Magazine, one of the UK’s most popular magazines specializing in celebrity news. Alice, who was featured in a prominent beauty editorial for the magazine, shot with internationally known photographer Bjoern Kommerell, who’s known globally for his shots of celebrity icons such as Elton John, Danny Trejo, Ashton Kutcher and many more household names. Wearing very little make-up, Alice looks natural, calm and graceful, creating a striking yet relatable look that easily caught the attention of the magazine’s readers.

Since she got her start in the industry Alice has made a name for herself as a uniquely versatile model. Over the years she’s been the center focus for a plethora of ads and magazines back home, but her appeal has definitely extended beyond the borders of the UK.

Brands across the world have continued to seek her out to be their featured face in a long list of campaigns, editorials and billboards, including those for companies in the U.S. such as New Yorker’s Apparel. Being chosen to model for New Yorker’s Apparel– arguably the largest women’s wear wholesaler in the U.S., Alice appeared on several billboards and print ads distributed across Los Angeles, New York and Las Vegas earlier this year. Alice’s slim figure and dynamic look made her the perfect model to wear a variety of styles for New Yorker’s Apparel including everything from upscale evening dresses to sleek and fitted casual wear; and not surprising in the least to anyone who’s seen her work, she looked stunning in them all.

Alice Phillips in a print ad for New Yorker’s Apparel

Earlier on in her career that same versatility that landed Alice a coveted position as New Yorker’s Apparel’s featured model caught the attention of Goals Boutique, a popular UK clothing store. In 2015 Alice shot a series of photos for Goals Boutique that were featured on the company’s website and were integral to driving sales. For Goals Boutique Alice exhibited more of a sexy sultry look, one where her ability to take on different poses without looking ‘forced’ was essential to making each outfit look hot, which was the key vibe the company was going for.

Though Alice’s physique and natural talent for adapting her look to fit whatever attitude the client is trying to achieve has made her a sought after model for a range of clothing, over the years she has also be tapped to model for several make-up companies.

Model Alice Phillips for Jessica White Cosmetics

Her strong cheekbones, voluminous pouty lips, and perfect nose caught the attention of Sports Illustrated supermodel Jessica White earlier this year who cast Alice to model her new line of lipsticks in Paris for her company Jessica White Cosmetics. At 22-years-old, UK-based model Alice Phillips is in hot demand; and with a naturally youthful look, she definitely has a long and fruitful career ahead of her.

fashion, Producer, Social Media, Uncategorized

SOCIAL MEDIA PRODUCER EZGI EREN: MAKING DREAM COME TRUE

July 3, 2017 Lorraine Wilder Leave a comment

Social Media; it’s intimidating and sometimes confusing to older generations and the thought of being without is unthinkable to younger generations. Your interpretation of it and its prevalence in your life is somewhat delineating and defining of your generation en masse. Social Media producer/manager Ezgi Eren is right in the sweet spot of Social Media (SM) and the idea of online interaction. Forgive the pun but she seems to be hardwired to achieve in the industry. She grew up in Izmir on the west coast of Turkey and used Myspace to connect with others worldwide about her interest in music, fashion, and creativity. A self-described shy young girl, being online empowered her with an ease of sharing thoughts and ideas. These days you’ll find Eren shuffling back and forth between her two modern day home cities of New York and Los Angeles conducting her work with clients and growing their brands with her SM skills. Her early interest and embrace of SM and its ability to connect with others for a variety of ends has served both Eren and those she works with quite well.

Dreaming has always been a part of Ezgi’s formula for life. While attending university she had thought she would be pursuing a role in music management, working with famous musicians from around the world. Her intuitive nature working with SM would lead to a redirecting opportunity. She recalls, “I was 20 when I started an internship at Opening Ceremony Web. I applied when I was still in Turkey. At that point going to New York was still a pipe dream but I ended up having a few Skype interviews and got the job; they even waited over a month for me to get my visa. My official title was Online Marketing and Social Media Intern. I worked directly with the Social Media manager and I learned a lot from her. I started out with compiling FB albums with the brand’s press mentions and later got to help with insights and analytics to figure out which posts work best on all social channels. I learned a lot about insights during this internship. I tracked all stats on google analytics and presented these to the whole team once a month. It was terrifying as an intern but I’m so grateful I got to do it as it made me so much better at public speaking.” Once again, SM helped a somewhat shy Ezgi break out of her shell.

Eren’s skills became so adept that she was recognized and hired to work as a social media manager to celebrity hairstylist Jen Atkin, whose social media presence is almost as well-known as her famous hair styles! Atkin was chosen Creative Influencer of the Year in 2016 by WWD. “Jen Atkin has always been one of my professional inspirations. I think she was one of the first people who was relatable on social media without even trying. She just makes her followers feel like they’re on her journey with her and I think that’s a powerful connection to establish. It’s such an honor to work as a social media manager to one of my ultimate social media she-roes!” notes Eren.

Ezgi is also most recently working on a new segment for Whitney Casey’s company Finery. Finer is a highly interactive web based system for organizing, styling, and management of one’s wardrobe. It’s yet another indicator how people are using online methods to cultivate organization and style. Ezgi was brought on as Finery’s social media producer/manager shortly after the company’s conception in 2016. Casey (CEO & Founder of Finery) states, “It was important for us to have a social media manager from the beginning of our company to make sure we have a strong visual brand identity from the get-go. Ezgi worked closely with us from the beginning to achieve that and knows a lot about who we are as a brand and who exactly our customers are. “ Finery recently launched an exciting new segment on the site called “Featured Wardrobes”. Casey states “Our initial idea was to launch a blog for Finery to dip our toe in content and spotlight our friends and people we admire in the fashion industry but then we started receiving more and more comments from our users asking for styling advice, inspiration, etc. People don’t just want to see their clothes; they want you to help them put them together in different ways. We had various wardrobes we were curating for different reasons, mostly to continuously test out the site and its new features. Ezgi started helping me put one together and I loved all the items she curated, I even bought a few!! Most importantly it was great to see a wardrobe in front of you that was curated for a specific style. This combined with the comments from our users had us thinking, why not feature different influencers every month and give their fans a chance to go through their wardrobe digitally, instead of going with the same old blog content? Ezgi has been a key player in Finery in this process of rolling out a whole new way of presenting content. She knows the brand so well and cares about developing real relationships with our audience, which is part of what makes her so great at what she does.”

Seeing this professional woman who shuttles back and forth between NYC & LA, working in an exciting new industry…it’s hard to imagine that shy young girl from Izmir who only gained the courage to truly open up when she was typing to someone on a computer. In such a short amount of time both Eren and the way the world uses SM has evolved a great deal. Learning to find your passion and embrace change has worked well for Ezgi and it’s a good lesson for all of us. When considering change she states, “I think about this a lot because there’s no way of predicting what shape SM will be in in 20 years or more, but I think a big part of working in SM is collaborating with people from many adjacent industries: photography, videography, design, tech, styling, & others. I try to acquire as many new skills as possible from them along the way and just be more prepared for whatever SM managing turns into in the future.”

actor profile, Actors, Actress, Uncategorized

From the Stage to Screen, Actress Gaia Passaler Dazzles Audiences

July 1, 2017 Lorraine Wilder Leave a comment

Actress Gaia Passaler

Hailing from Milan, Italy, actress Gaia Passaler has proven her unique gift for embodying strong and dynamic female characters on both the stage and screen through a plethora of highly watched productions. From her riveting performances in plays such as “MARILYN!” and “Inversion” to the award-winning Bashford brother’s films “2 Minutes to Live,” “Unspoken” and “Memoirs,” Passaler has left an indelible mark in the minds of viewers.

When asked about what drives her to perform, Passaler explained, “[It’s] the unique feeling of happiness, liberation and power that being on stage or in front of the camera gives me. And the feeling I had the first time I saw in a friend’s eyes that he had been somehow touched by what I had done on stage. Experiencing what it means to be human by putting myself into someone else’s shoes is an act of sublime compassion, that to me is the true meaning of existence.”

Earlier this year Passaler gave a dazzling performance in the modern play “Inversion,” which premiered at the Sacred Fools Theatre Company in June as part of the Hollywood Fringe Festival. Performing to sold-out audiences each night, Passaler took to the stage in the starring role of Natalia, a beautiful and confident Russian girl, and the love interest of the main protagonist Adam, who is played by Aditya Putcha.

Written and directed by Aditya Putcha, “Inversion” centers on Adam, an awkward mathematician who can’t seem to find the love he so desperately desires. With advice from his friend Brendan, played by Adam Daniel (“Inside Room 334,” “Murder Book,” “Betrayed”), the kind of guy who is always surrounded by women, Adam decides to lower his standards and take a chance on dating Rhonda, played by Shayna Spielman (“GodComplx”) an older woman with low self-esteem. But when Adam encounters Passaler’s character Natalia, Rhonda’s roommate, he becomes hopelessly enthralled by her, which causes understandable turmoil between the two women.

Cast and crew of the play “Inversion” (left to right) Shayna Spielman, Gaia Passaler, Aditya Putcha, and Lena Zhani, director and producer Elise Hodge (front center), Adam Daniel (front right)

“I think [Natalia] expresses a very common kind of frustration in the difficult world of modern dating. That’s definitely my favorite part of the play,” explains Passaler. “I brought in all my negative dating experiences, they became alive again in my memory for a moment every time I was on stage fighting with Rhonda and gave me that anger and the stakes necessary that made the scene come alive, together with the desire to shake my friend from her lethargy and the desire to defend myself from the accusations.”

While Passaler has proven her inimitable talent on stage through a wide range of productions, her skill on screen has been equally as important to her overall success as an actress. Last year Passaler played a critical role in Jinh Yi Shao’s (“Lee’s Market,” “Intervention”) film “Toenail” where she acts alongside Kevin Ashworth from the Golden Globe Award nominated series “Scandal” and Dante Swain, who is known for his roles on the series “NCIS” and the two-time Golden Globe nominated series “Silicon Valley.” The film, which took home the Third Place Award from the HBO Visionaries Competition and is currently available through HBO GO and HBO NOW, gave Passaler the opportunity to prove her dramatic skill on screen where her magnetic presence came across with ease.

The actress admits, “I love characters with a lot of contradictions because they are the most interesting and the most challenging ones. And I love great, epic stories. Picking one role over another will always be based to me on how much of a complex journey the character had in the past and is going to have in the story, and how much of the human condition I am able to portray to the audience through that role.”

With an impressive repertoire of work already under her belt, it’s not at all surprising that actress Gaia Passaler has been tapped to star in several upcoming film and television productions. Up next for Passaler is the film “Cocktails & Brothers,” award-winning director Catherine C. Pirotta’s (“Dreamkiller”) thriller film “The Mystery of Casa Matusita” with Golden Globe Award nominee Malcolm McDowell (“Fantasy Island”), as well as the series “Emergency L.A.” and “Mysteries of the Unexplained.”

Uncategorized

Dreamstreet Entertainment Dives Into The Deep End with “Harbor Charlie.”

June 29, 2017 Nicole Sim Leave a comment

“Harbor Charlie,” a big-budget procedural series, will begin production in the coming months. But unlike other iconic cop shows like “Law & Order” or “NYPD Blue,” Dreamstreet Entertainment will ensure that this new show showcases an aspect of the police force that hasn’t been seen on television before.

While most details about the show have to stay under wraps, what is known is that the series will chronicle “NYPD’s oldest division, patrolling NYC waters since 1850…the elite scuba patrol team.”

The gripping program will blend action and drama, and sources suggest that the cast are nearly finalised and due to represent an impressive line up of high-profile talent from Hollywood and around the world. The latter part was key, it seems, to reflect the melting pot of culture steeped deep within the history of New York City. On a lighter note, our publishers were also informed by sources that show presents a scuba team who “[pick] up where the harbor police leave off – under some of the yuckiest water in the world.”

781f654db8202eab53ab64c94462eceb — A photo of the actual elite NYPD scuba team.

Adding to the pedigree “Harbor Charlie”’s instant status as a prominent show because of Dreamstreet Entertainment being behind it, is the dynamic producing duo overseeing the production. Gloria Morrison, who will executive produce, and Tony Eldridge, who will serve as a producer, are two of the most eminent professionals working behind the scenes in Hollywood today.

With other new series vulnerable to cancellation and low-viewing figures in a trepidatious market, Dreamstreet Entertainment brings employment certainty to a creative team and excitement to audiences eager for innovative storytelling. The Los Angeles-based production company is responsible for such projects as “So This is Love” and “Hearts of Fire” from writer Lehel Reeves . “Harbor” will indubitably represent another successful project because of the company’s clear reputation as a Hollywood mainstay.

Gloria Morrison’s attachment to the project as producer, along with Dreamstreet’s, will undoubtedly ensure “Harbor Charlie’s” success for many seasons because of her long and successful career in the industry. Prior to working with Dreamstreet, Morrison produced “What Happened to Bobby Earl?” with “Charlie’s Angel’s” star Kate Jackson, and “Contagion” with Golden-Globe nominee and “Bionic Woman” star Lindsay Wagner. Further to that, Morrison’s past experience as a director, such as on the series “So This Is Love” with “J.Edgar” and “Four Holidays” actor Jack Donner, and “Hollywoodland” actress Jody Jaress, means she brings a diverse set of skills to a unique spin on the cop-show formula.

The assignment of Eldridge as producer on “Harbor Charlie” continues Tony’s long-standing association with Dreamstreet Entertainment, having also worked on “Golden Arrows” in the past. He is currently attached to Dreamstreet’s upcoming “Bad Kitty”. Eldridge, one of the most versatile producers and creatives working in Hollywood today, is also producing the sequel to the Denzel Washington starrer “The Equaliser”, aptly titled “The Equaliser 2”. He originally worked as a producer on the first film in what could go on to be a lucrative film franchise for Columbia Pictures. Oscar-winner Denzel Washington, who attracted rave reviews for the Academy-Award winning “Fences,” will reprise his leading role. In addition to his work with Dreamstreet Entertainment, Eldridge notably directed and produced “The Naked Truth,” the hugely successful and multi-million dollar budgeted mockumentary starring Emmy-nominated icon Leslie Nielsen.

While the release date and distributor for “Harbor Charlie” is yet to be confirmed, sources suggest that competition for screening rights will be fierce given the talent involved and interest in the company’s other projects. Be prepared to dive deep into the series when it premieres though; as we’ve come to expect from other Dreamstreet projects, they’ll be offering audiences a layered story with entertainment, heart and intrigue.

Director, Uncategorized

The Story Behind Alon Juwal’s Riveting Films

June 28, 2017 Scott Prewitt Leave a comment

Every story ever told, whether carved in stone or projected on a screen, contains within it another, much more subtle narrative — the story inside the story. Just as a trained eye can distinguish and analyze the meaning behind each individual brushstroke on a canvas, so too can observant readers and listeners and viewers catch an intimate glimpse into the mind and heart of a storyteller.

Today, Israeli producer and director Alon Juwal is known and envied throughout the industry for his uncanny gift for weaving together the visual and the cerebral elements of storytelling into his films. But it was when he was just a boy that he first fell in love with cinema, and long before taking his first steps into filmmaking, Juwal could almost always be found seated in the dark rows of his neighborhood’s movie theater. Growing up in Tel Aviv, Juwal saw movies as being like magic portals facing outward from reality; life at home had been challenging from an early age, and his lifelong love affair with cinema began as just an escape.

“My parents got divorced when I was just four years old, and I spent most of my time with my mother growing up,” Juwal said, recounting what may well be the most formative chapter of his life — both as a filmmaker and as a man. “Even though I saw my father quite often we were always pretty distant with one another.”

All he needed to do was buy a ticket and grab a seat, and he’d find himself transported to the far-off places and times projected on the big screen. But it wasn’t long before he realized that films offered him more than an escape; through filmmaking, Juwal gained the ability to deconstruct and illuminate the complex mix of emotions he’d long held within him.

“Ever since I was a child I always found film to be magical. I used to skip school just to get a chance to watch a movie one more time,” Juwal said with a note of nostalgia. “But it wasn’t until I was in my late teens that I felt like I wanted to make movies as well. Being moved by a film was always satisfying to me; but watching people being moved by my own film was a whole other level of experience.”

“The first thing they teach you in film school is to write about what you know, so I always tried to channel these experiences to my work. My latest film, ‘Visitors,’ is about a family struggling through an alien invasion,” said Juwal who, while otherwise known for being soft-spoken and modest, could nonetheless barely mask how proud he felt. “But at its core, it’s really the story of a father and son trying to rebuild their broken relationship.”

Thanks in large part to the raw narrative and emotional power of “Visitors” – which is set against the intense and captivating backdrop of a humanity faced with almost-certain extinction – Juwal was honored at the world-renowned New York City International Film Festival with the prestigious award for Best Director of a Sci-Fi Short.

“When I wrote the film, I tried to channel as much of my personal experience into it as I could. I knew almost nothing about aliens, but I knew a lot about growing up with an absent father,” said Juwal, opening a brief window into the film’s deeper symbolic meaning. “One of the film’s main themes is forgiveness, so when I watch it on the big screen with other viewers I hope that they’ll be thinking about their families, and I hope that they’ll re-evaluate the importance of family.”

Juwal was lauded by critics and audiences for his exceptional work as not only the director of “Visitors,” but as the film’s writer and producer as well. The added advantage of having near-unilateral control over the production allowed Juwal to create exactly the film he’d envisioned — a gamble which could have easily backfired and devastated his reputation, had he been a less talented filmmaker.

Instead, “Visitors” has been praised by critics from Madrid to New York as one of the year’s most innovative science fiction films. And as the film continues to take the international festival circuit by storm, more and more moviegoers are watching Juwal closely with a sense of eager anticipation.

“Only after I finished my military service in Israel I found the will and the discipline to take my film career seriously.”

As the producer of “Visitors,” as well as other award-winning films, like “Castor,” Alon Juwal stands out in the film industry thanks to his unique set of skills. As a producer and director whose talent offers a powerful combination of the business side of making films happen and the creative artistry that makes them worth watching, Juwal is definitely one filmmaker we will be seeing a whole lot more of for years to come.

Behind the Scenes, Canada, Entertainment, Film, International Creative Talents, Short Film, Uncategorized

CINEMATOGRAPHER SHOWS BOTH SIDES AT THE SAME TIME IN PARENT, TEACHER

June 27, 2017 Lorraine Wilder Leave a comment

Chris Lew is someone who enjoys learning. Though he has served on numerous productions as Cinematographer, he is adamant that being creative is not about being comfortable. Anyone who pursues growth comes to the realization that growth only comes about through tension, stress, and (hopefully) release. He accepted the DP position on the film “Parent, Teacher” with the understanding that it would be difficult in a number of ways for him. What he had not expected was that this would be his closest foray into actually becoming a passive actor in a film. It’s an interesting and unusual experience that began when the film’s writer/director Roman Tchjen approached Chris to be the DP for this tense film.

“Parent, Teacher” tells a story that is not completely unheard of. What it does so ingeniously is to communicate the emotional temperature of a room during a stressful situation. In “Parent, Teacher”, a father meets with his son’s teacher after school when his son is accused of attacking a classmate. Who is right and wrong in the situation becomes increasingly harder to define as the father and teacher argue their beliefs.

Roman Tchjen has a long history of collaborating with Lew, creating a high level of trust and understanding between them. When Tchjen wanted to present a story in a very non-traditional manner, he was firm about the need for Chris’s involvement. While most films display the commonly used and accepted approach: shooting coverage, having a protagonist with a clear goal, a clear villain whom the hero must overcome etc., Roman wanted to create something that was more honest and lacked a clear answer because in real life these types of issues aren’t black and white. Going into the film, Lew and Roman made the commitment to have as few cuts as possible. The entire film was to be split it into two takes, foregoing any coverage, any establishing shots, or cut aways. This is the cinematography equivalent of riding a bull at the rodeo while being handcuffed from behind. All of the “go to” tropes of a DP were stripped away leaving Lew to formulate an approach that would still stimulate and entice the viewer. Chris communicates, “We focused solely on the performance and the conflict between these two people. This goes back to taking risks. After reading the script I knew it wasn’t written to be the most visually stimulating film so rather than making the visuals flashy, which Roman really didn’t want, I instead thought of ways to make it immersive and use that to make the film engaging and interesting. It was this approach that contributed to the decision to shoot extremely long takes. It took a lot of work for Roman and even more so for the actors. There were many sessions leading up the shoot where everyone practiced their lines. Once they were feeling comfortable, I came in for my own rehearsal to see how we could block the camera. I needed to know at what point I was going to be on each character and if we were going to see some lines spoken on camera or off screen. Making sure I was on the right actor for an expression was key too. It was a lot like a dance that the actors and I were doing together!”

A reason for which Roman was so insistent concerning Lew coming aboard as DP was due to his style. Just as director’s have a signature which leads many to hire them, Lew has been recognized for his ability to enable the audience to have an intimate experience via his choices and camera work. It appears effortless for Chris to make the camera unnoticed in any way and at the same time pick up every nuance in the actors faces. The question of how does the action on screen affect how much the camera moves really comes down to the content. Film is art and art is subjective. For Lew it comes down to the content of the scene and the emotion the he and the director want to convey.

“Parent, Teacher” required extensive preproduction for Chris which is very atypical for a DP. The story and the unique approach necessitated Lew being there for rehearsals. Because the camera essentially appears as a mute third party witness, Lew needed to almost “perform” as another participant in the scene. Every project prior to this one had this DP engaging in the typical method of planning the scenes out based on the locations with the director as they reviewed photos. By contrast, in this production the camera was very much a character in itself, with blocking and queues that needed to be timed down to lines. If Lew and Tchjen wanted the film to feel completely out of the norm they were going to have to start with this beginning stage. Long takes helped with this. When the father first walks into the classroom at the beginning of “Parent, Teacher”, the camera follows him in but then hangs back as he walks over to the teacher to shake her hand and sit down. This was the wide establishing two shot to set the scene. As the teacher starts to explain what had happened, the camera begins to slowly creep in. Lew’s advance is so slow and subtle that you don’t even notice as he moves in to a close up. Chris describes, “Eventually we’re out of the two shot and just on the father when he starts to explain that he doesn’t see anything wrong with his son’s actions. I wanted to isolate him in the frame at this point to represent that he is in his own world. He’s clearly an immigrant and not used to Western ways of handling situations of violence. The teacher becomes increasingly frustrated as the two cannot agree on what is right and wrong, all the while the camera is slowly getting closer and closer. I tried to hide the walk in with the camera panning back and forth between each character. Just before the climax of the argument, the father has given up and is lashing out at the teacher, feeling targeted and attacked for his beliefs. Here, the front of the lens is inches away from the actor’s face. You see every detail of his expression and all the frustration in his eyes before he jumps up away from camera breaking the tension. Essentially I wanted the entire conversation to be one slow, imperceptible push in that brings the audience closer as the tension rises.”

Chris felt the camera needed to be handheld to create this immersive feeling, to make the audience feel like another person in the scene. It was a decision that Chris would have regreted if not fully committed to achieving the goals he had set for this film. The challenge was the length of the takes and the physically demanding nature of the equipment he chose. “Parent, Teacher” was shot using the Alexa XT which is a large, heavy camera. Hand holding it, trying to keep the frame steady for such long takes is extremely difficult.

Producer Kegan Sant admits to being overwhelmed upon seeing the final product. He declares, “When you are in preproduction of a film you have a vision in your mind of what you hope it will look like. I can honestly say that the idea I had for ‘Parent, Teacher’ pales in comparison to what you see when viewing it. Christopher was essential to the way in which the story was presented to our audiences. His incredibly striking camera work and expert understanding of shadow and lighting allowed for the film to reach impressive narrative heights. The way in which he reflects the overall despair and confusion of our main character throughout the frames is what makes Christopher such a valuable asset to any production that seeks out his talent. His efforts throughout the film solidified the film’s high standing and reception. We would not have received the same overwhelmingly positive reaction without his talent as cinematographer.”

Chris Lew admits that his work on set left him consistently soaked in sweat from long takes wielding a heavy camera. However, he also admits that taking a risk and trying to create a film which stands apart from the norm is something that he will hold onto much longer than an aching back or sore arms.

Uncategorized

From the Theatre to the Silver Screen: Erika Garces is a Knockout

June 17, 2017 Scott Prewitt Leave a comment

The famous quote from three-time Tony Award nominee Terrence Mann– “Movies will make you famous; Television will make you rich; But theatre will make you good,” says a lot about the skills of many of the most recognized actors in the spotlight today.

Ecuadorian actress Erika Garces is one performer whose skill on both the stage and screen have ushered her into a prominent position in the international entertainment industry. While her name was already known throughout South America, Garces has been making waves in the U.S. film and television industry since she moved stateside a few years ago. In May, national audiences saw her take on a featured role as U.S. Press Secretary Sean Spicer’s escort on ABC’s hit three-time Primetime Emmy Award winning late nite TV series Jimmy Kimmel Live!.

Garces, has created a dazzling reputation for herself as a diversely talented on-screen actress, but she went through years of classical theatre training before making her way onto the silver screen. In Los Angeles alone Garces has starred in numerous sold-out theatre productions at the Adler Theater, such as “Largo Desolato” directed by Academy Award winner Milton Justice, “The Resistible Rise of Arturo Ui” directed by Susan Bonito, “Agnes of God” directed by Tim Mcneal, whose film “Anything” premiered earlier this month and was produced by three-time Oscar Award nominee Mark Ruffalo (Hulk from The Avengers), giving the Adler Theater a greater reputation.

Garces starring role as Agnes in “Agnes of God,” which ran for two months at the Adler Theatre in Los Angeles in 2015, is marked proof of just how dynamically talented Erika Garces is when it comes to taking on challenging characters. Centering on Garces’ character Agnes, “Agnes of God” tells the story of a novice nun who was sexually abused in her youth and struggles to decipher reality from personal delusions. While in the convent Agnes gives birth, which she claims to be the result of immaculate conception, something that causes an uproar among the other nuns and brings much of Agnes’ past abuse to the forefront.

Although Garces has taken on a number of layered and emotionally complex characters in both film and television, she marks her role as Agnes as having been one of her most challenging to date. Garces recalls, “This character, no doubt, expanded my emotional abilities as an actress tremendously. There was definitely no chance, for a second, to lie on stage. It had to be as pure and as powerful as possible. And it was so gratifying to hear the emotional response from the audience.”

She also stood out in 2014 and 2016 with her live performances at the Orpheus Awards from the Los Angeles Greek Film Festival. The first year she beautifully portrayed the young lover Juliet in “Romeo and Juliet” staged at the iconic Egyptian Theatre and directed by Yorgos Karamihos (The Durrells in Corfu, NCIS), a play Garces also performed in front of Jim Gianopulos and J.K. Simmons. During Erika’s second time performing at the Orpheus Awards where she took the room’s breath away with her portrayal of a 1920s seductress.

Her undeniable skill in the theatre has definitely carried over to her work in film and television with her giving one knock-out performance after another. Some of her film and TV credits to date include the films Accidental Muse where she acts alongside David Aranovich (Mission: Impossible- Ghost Protocol), One Day of Freedom, the California Film Award-winning family comedy Social Norm, the dramatic series Sangre Negra starring Oscar nominee Eric Roberts (Inherent Vice) and award-winning actor Danny Arroyo (Richard III, Saints & Sinners), and many more.

Earlier this year she also earned the Women’s Film Challenge Award from the Audience Awards in Los Angeles for her work as the lead actress and co-producer of the film City of Dreams. This popular and successful film produced by Freedom Way Films first premiered at the Action on Film Festival in September 2016. About working on the film, Garces says, “It was such an interesting experience for me to play this part because at one time or another, we all get a feeling of being trapped in a situation, at a job or in a relationship and you start thinking to yourself, what if I just left?”

Garces spot-on performance has been integral to the impressive reception City of Dreams has received to date, which includes being chosen as an Official Selection of the Nova Film Festival, Action on Film Festival and BAFICI in Buenos Aires, Argentina.

Before that, Freedom Way Films had hired Erika to be the lead in a romantic thriller titled The Perfect Plan. This fast-growing production company has been gaining popularity in the recent years. In fact, we’ve heard rumours around town that the actress and the team at FWF have created such a tight collaborative and artistic communication (such as the one with director David O’Russell and actors Bradley Cooper, Robert DeNiro and Jennifer Lawrence), where Munalula, the CEO at Freedom Way Films has hired Garces once again for their upcoming motion picture set to be released in 2019.

As a highly skilled actress whose body of work stretches across every platform, it comes as no surprise that Erika Garces has been invited to judge the work of other actors. Earlier this year she was invited to judge the prestigious English Speaking Union’s annual Shakespeare competition, where she helped determine the six finalists who would go on to compete at the ESU National finals at New York’s Lincoln Center. In the past Garces was also chosen to judge the Premios Colibri competition, which is held in Ecuador.

One of the things that has made Erika Garces such a unique and successful actress is the diversity of her work. In addition to being in countless high-profile theatre productions, award-winning films and hit television shows, she’s also been tapped for several commercials over the years, such as those for leading hair brand Wella and the car sharing app Maven, which have led her to become an even more recognizable talent in the industry.

Last year Garces starred in a commercial for the Dos Equis beer, which you can check out below. Her fun loving attitude and facial expressions throughout the ad are definite highlights, and the judges at the 2016 MOFILM competition thought so too, as the commercial took home the 3rd Place Award out of thousands of submissions.

Garces early theatre training has been tantamount to the actress developing the dynamic skill she has become known for today; and thanks to her relentless drive to keep growing as a performer, we know that she will continue to impress fans around the world with her flawless performances on both the stage and screen. Up next for Erika Garces is the dramatic film The Change of Heart from director Ronnie Ashury, which is slated to wrap production this summer, the premiere of The Hudson Case and the filming of two features: Dozen Roses and Look Ahead.