Category Archives: Uncategorized

Canada, Canadian Star, Celebrity, Dancers, Entertainment, Music, Uncategorized

Prolific Dancer Brings all the right moves to A World Fit for Kids!

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Latoya Webley has for more than a decade been one of the world’s premier dancers. She has performed with star music artists including Rihanna, Drake and Shakira, and brings her expertise to noted organizations such as A World Fit for Kids!

BY JEREMY CURTIS

 

Toronto-born dancer Latoya Webley has graced many of the world’s biggest stages and performed with superstars Rihanna, Drake, Shakira, the Black Eyed Peas and more over the last 16 years. She’s dispatched her outstanding concoction of dancehall, African, Soca, hip-hop and street jazz dance styles internationally, on tour and for music industry leading events including the Grammy Awards, BET Awards and Much Music Video Awards, to name a few. Webley’s dance career has been characterized by persisting success that’s spanned from North America to Asia, propelling her to a coveted position at the pinnacle of the industry in which many strive for and few achieve.

Webley’s indelible, sought after talent keeps her name rolling off the lips of artists, choreographers, decision makers and audiences aplenty. But there’s a lesser known chapter of her story that’s of essential importance to her career and journey as a dancer. Webley dedicates a segment of her craft in giving back through teaching, guiding, mentoring, inspiring and empowering youth through dance. She has the rare ability to make her moves move others.

The trend can be traced back to her own origins when Webley first began dancing and teaching at community centers around Toronto, including the East Scarborough Boys and Girls Club. And since 2013, she’s engaged the same for A World Fit for Kids! (WFIT), an afterschool expanded learning program based in Los Angeles.

For the community based non-profit, Webley teaches a dance program for Virgil Middle School students that’s complete with educating in fitness, health and nutrition.

WFIT program director Ian Keiller said, “We’re a community-based non-profit in the afterschool world. With the resources we have, to have that top notch talent, it’s very difficult. We felt honored to have someone of her caliber working with her our kids.”

Webley said, “These are all life skills. It’s not all just dance. It’s a fitness package. It’s a life package.”

Founded after the 1992 Los Angeles Riots, WFIT provides award-winning, daily programs at Title I schools in the Los Angeles Unified School District, where 84 percent of students come from economically disadvantaged homes, according to WFIT’s website. Programs are for students of every grade level in elementary, middle and high schools. Parents get in on the action too. Programs feature core areas of physical activity, nutrition, academics and mentoring.

The goal is to promote physical, mental and emotional wellness, and the goals have been met. WFIT received the Governor’s Council on Physical Fitness and Sports Gold Medal award and a National Community Leadership Award from the President’s Council on Fitness, Sports and Nutrition.

CEO Normandie Nigh explains on WFIT’s website that WFIT has brought more than $46 million to underserved LA communities, served more than 300,000 children and young people, trained over 10,000 teachers and staff and employed more than 2,900 local community residents. WFIT has also trained more than 1,500 Nike employees as physical activity volunteer leaders and Community Ambassadors, as well as others in the U.K., Australia, Canada, France and South Korea.

“What I really like about World Fit is throughout the year we do various training that tackles different aspects of health and wellness,” said Webley, who more recently is participating with the program’s Nike training extension. “As much as people may think I know, I’m always a student and learning. They always have ongoing programs that inform us on what’s new and healthy, and what we should be doing. It’s not only for us to teach the kids, it’s also for our self-awareness.”

Webley developed the dance program that serves Virgil Middle School, located north of Koreatown. Her students undergo a training program to begin and rotate different activities for different days ranging from health, fitness and nutrition that each supplement dance instruction.

“We strive to improve kids’ grades, get them to build friendships, physically release energy and sharpen problem solving skills,” she said. “We demand that from them and they have to maintain grades to participate.”

The program, which runs throughout school years, draws student dancers of all skill levels from beginners to those experienced. Some go on to compete at dance events such as Beyond the Bell and Sharp International at Knott’s Berry Farm.

“There is an array of all skill levels, so we have to create a program that has balance,” said Webley. “We start off by assessing where the kids are at. We teach routines to them. The bulk of the routines are usually hip hop, but we incorporate other styles like dancehall, breaking, African, jazz and ballet. Aside from dancing, there’s also running and strength training. We incorporate elements of stretching, flexibility and acrobatics, and we encourage kids to participate in the dance teams at their schools.”

The WFIT dance team from Virgil Middle School is this year’s Beyond the Bell reigning champion.

“She’s got a great presence and rapport with kids,” Keiller said of Webley. “She was the right temperament for middle school. It’s a tough age group to reach.”

Webley has been serving in similar roles for years. She currently choreographs for the Los Angeles SparKids, the official kids dance team of the WNBA’s Los Angeles Sparks, along with dancer Brandee Evans. She has taught dance at the Osaka School of Music in Japan and conducted dance workshops at Osaka’s Myster Dance Studio, AX Dance studio, Alley Opp Dance Studio and the Unity Dance Studio in Hiroshima.

Webley’s music video debut came in Sean Paul’s “Temperature/Breakout” video in 2005. She danced in Rihanna’s first video, “Pon de Replay,” in Drake’s first video, “Replacement Girl” and in the Diddy, Lenny Kravitz, Pharrell Williams video, “Show Me Your Soul.”

Webley danced in many recurring performances with the internationally famed singer, Shakira, including her “She Wolf” promo tour, NBA All-Star Weekend performance, Yahoo and Clear Channel shows, on George Lopez Tonight, Good Morning America, The Late Show with David Letterman, So You Think You Can Dance (USA) and at the 2009 American Music Awards.

She has danced and toured with Kardinal Offishall, who opened in part of the 2005 50 Cent and G-Unit tour. Webley has also toured with Sean Paul, JoJo and Jamie Foxx in America, and with Destra Garcia in Trinidad and Tobago. While working in Japan, she danced at the 2009 Japan MTV Music Video Awards with the Black Eyed Peas.

This year, Webley danced in Rihanna’s smash hit video, “Work” featuring Drake, and she’s featured in a forthcoming Drake video that recently filmed. Last year, Webley danced in Will Smith and Bomba Estereo’s “Fiesta (remix)” video and at the Latin Grammy Awards with Fifth Harmony and Maluma.

Keiller credited Webley’s credentials as an asset to her work with WFIT and said the students “respond to people who really know what they’re talking about.”

It’s all collectively made for a positive experience that Webley helps cultivate.

“Her teams were always top notch, very organized and not only good performers, but a good group of kids,” said Keiller. “That stems from the leadership and the example she demonstrated. She was able to give them something to strive for to give them focus, keep them committed and set goals for themselves to strive to do their best.”

Behind the Scenes, Canada, Cinematographer, Uncategorized

Moving With the Times: Canadian DP Colin Akoon

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Cinematographer Colin Akoon (center) tests the lighting on set

 

Following the progression of cinematography from 16mm to digital over dozens of years, the devoted award-winning cinematographer Colin Akoon not only keeps up with the art, he evolves with it. Originally from the suburbs of Toronto, Canada, Akoon’s love for movie making began at an early age, and the footage he has captured throughout his career has graced our screens with unforgettable, moving, and compelling images alike.

With a resume that is as diverse as it is extensive, Akoon has lent his talents to feature films, commercials, music videos and documentaries. His body of work includes the more poetic and eerie film “Incident(s) at Paradise Bay,” the hilarious Power Rangers’ spin-off “Space Riders: Division Earth,” the ever powerful and gripping “Together Alone.” He is even the eye behind international rap star Booba’s music video “Validee” featuring Benash, which takes viewers through Barrio Pablo Escobar, home of Colombia’s most violent and notorious drug lord, and much, much more.

Thinking back to the beginning of his career, Akoon recalls, “When I started in the camera department, there was no digital… Film cameras are simple; they’re just motors. They are highly precise motors, but they are motors nonetheless. There was only one factor that dictated the look of your image – what film stock you chose.”

In a world gone digital, Akoon realizes that the image is not dictated simply by lens and film selection, but frankly “a million electronic factors.” But this does not stop him; rather, it inspires him to use groundbreaking, top-of-the-line cameras to the absolute best of their abilities.

“I use the RED Epic [camera] often,” Akoon explains. “Not primarily for its inherent image quality, but more for its form factor and work flow design. It’s small and contained-no tethering to another recording device is necessary-  yet I can build it to suit on-the-shoulder hand held work. It easily rigs to any movement device…and it shoots RAW, digital cinematography’s answer to a ‘film negative’ like work flow.”

Akoon also brings up a fascinating point about on-set viewing of the images he captures: “When shooting film, no one on set has any idea what the image will look like but the cinematographer. The cinematographer had a lot of control in making sure the lab and daily colorist followed their instruction to achieve the desired look. But with digital, everyone from the producer to hair and makeup can see what the image actually looks like on set, so it’s important that the quality of the image they see is what you intended.”

Akoon understands the weighted value of live viewing image quality, and uses the technology built into the RED Epic to show the director and others on set what, in the past, would have just been up to him to process later on with negatives. Where he used to instruct very specific manipulations of negatives like underexposure with the intention to print up, pushing to create contrast and pulling to lower it, he now can use his artistically trained eye at point of impact and create a look similar to what he envisions in post production, while not affecting the RAW file itself. This often overlooked touch, while small, is critical to the success of the film, and because of Akoon’s understanding of cinema from the film days, he possesses a deeply rare and invaluable talent.

It is because of his on-set grace and this ability to translate images instantly that directors work with Akoon time after time again. In fact, after working with director Mateo Guez on on a music video entitled “Smokin’ Lounge” for acclaimed jazz performer Molly Johnson (which you can check out below), Guez approached Akoon again to work on another project- this time, a feature film called “Together Alone.”

 

 

This film, inspired by Shakespeare’s sonnets, did not strictly adhere to any one script or blueprint, but rather it evolved through improvisation and experimentation, and, as a result, the filmmaking process was an intimately creative experience. With a limited crew and no camera assistant, Akoon valiantly undertook the project.

He recalls, “The process of making this film was very organic. Almost nothing was preconceived. Not a frame of this film was storyboarded. Every creative decision was made on set, in the moment.” A cinematographer without Akoon’s highly refined skill set would never have been able to capture the essence of this film.

Aside from being able to think quickly and creatively on his feet,  it is also where he places the camera itself that separates Akoon from the pack. He even admits, “As much as I enjoy lighting, and sculpting the image in shadow, camera placement is the most important aspect of my cinematography. Where you place the camera is literally where you put the audience for that moment in the story.”

He demonstrates his uniquely stylistic camera placement beautifully in the thriller “The Body Tree”, which has also been among his most challenging projects. The film follows a group of American youths to an isolated estate in Siberia, where they plan to honor their recently murdered friend, until they discover that the murderer may, in fact, be one of them.  While the story is not overly original, Akoon tells the story cinematically in such a way where viewers have truly witnessed the revolution of the cabin in the woods horror cliche into a tactfully maneuvered character piece.

Good work, of course, doesn’t come without its own set of challenges, but Akoon excels in problem solving, and often his solution to problems that arise with a shot leave audiences with images more stunning than if everything had gone as planned.

Thinking back upon the challenged faced while filming “The Body Tree,” Akoon recalls, “We lost quite a few key locations, both during pre-production and throughout production. The schedule was very tight and more than half of our script was night exteriors. On top of that, we had a cast of almost a dozen actors, that’s a lot of coverage to accomplish in a short number of days.”

Akoon met this challenge with great victory, leaning into the character development aspect of the film, giving the director a final project sure to impress and captivate audiences for years.

To this end, the relationship that Akoon builds with each director is individualized and tailored in a way not all cinematographers in the industry can offer. Truly staying in the mindset that nurturing the relationship with the director is where a cinematographer should spend most of their time has paid off for Akoon, as he typically works multiple times for directors who are impressed with his modesty.  

FDirector Chris Macari, for example, has worked with Akoon on three music videos for international rap star Booba; “Validee,” the first video shot of the three, has over 11 million hits on YouTube.  While on location in Columbia, Akoon noticed many locals hanging around the location and watching the shoot.  A good cinematographer will find a way to use use what the location gives naturally to boost and enhance the credibility of the project, and that is just what Colin Akoon did. “Chris ended up using a lot of that footage in the cut,” he recalls, “and it gives the sequence this authenticity, realism and danger that sets the stage for the rest of the video.” Any other cinematographer may have simply overlooked the value of these potential shots, and the outcome of the final product would have been left craving something more.

Akoon believes that a cinematographer must learn how they fit into a director’s process and adaptation and that over time, the synergy makes him a better cinematographer. “As a result,” he admits, “the cinematographer is only as good as the directors they are working with.” Likening the director’s job to weaving a complex and detailed quilt, Akoon explains that “ I believe that nurturing the relationship with the director is where a cinematographer should spend most of their time. It’s important as a cinematographer to be aware of where you best fit into that fabric.”

Perhaps these views have helped to opened creative doors for Akoon, as he has been able to work with friends professionally on many projects. One particular project, “The Incident(s) at Paradise Bay,” grips audiences with linguistic and visual storytelling alike. Captivating from the very first moment, the film, which is loosely based on the controversy surrounding disciplinary academies like Tranquility Bay in Jamaica, explores the ethics of their practices and intrinsically begs the moral question: were the procedures adopted by these type of institutions successful, or were they simply just abusive?

While the story itself is an interesting one, it truly is the remarkable camerawork that makes this piece so memorable. Raw and yet elegantly framed, Akoon puts viewers barefoot in a cage on a shore with the captives; with beautifully balanced handheld shots, he makes us forget we are watching a film, and with sparingly used zoom techniques, he bookends the film in an unpredictably foreshadowing twist of cinematic genius.

All in all, Akoon’s collaborative mindset and his seemingly limitless technical and creative skill combined with his understanding of the industry has made him the highly sought after cinematographer he is today.

“I love the energy you receive working with other people,” says Akoon. “You feed off of the other’s creative energies. I love that our creativity is about building upon other’s creations. A film is a living animal, listen to it. It will tell you what it really wants when you least expect it.”

Advertising, Australian Talents, Commercials, Director, Uncategorized

From the Australian surfing scene to the Pinnacle of Filmmaking, Australian director Luke Farquhar Shares his Story

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Luke Farquhar has directed standout spots for Fox Sports, Channel [V] and many more. 

For Australian director Luke Farquhar, it all started with a dream to become a pro surfer. He grew up on Australia’s beautiful Gold Coast, south of Brisbane, with inspiration to make his mark in the subtropical region that’s home to some of the most popular surf breaks and beaches in the world.

“I wanted to be a pro surfer,” he said. “I was super competitive and tried my hand at Air Shows, but I just could never perform when I needed to I guess. I got sponsored and was able to free-surf instead, which I enjoyed more because it allowed me to make videos with my friends and take pictures and be creative. The Gold Coast is the best place in the world to learn your surfing craft. There is so many good surfers there so it pushes you to surf good…or else you just get pushed to the side!”

Parlaying his wave riding experiences, Farquhar gained momentum and the sense of his foremost passion – filmmaking. At the age of 19, he began making surf films. “They began getting some traction and I was asked to make them properly,” Farquhar said. “I decided to focus on my love of film and have never done anything else since.”

The career decision resoundingly turned out to be the correct one.

Farquhar, known for his stylized, unparalleled and imaginative execution, has directed his way to a coveted position at the pinnacle of filmmaking. He’s directed commercials, spots, promos and outstanding branded videos for Fox Sports, Land Rover, Channel [V]’s hit music video show “The Riff,” Billabong, Schweppes, Insight51, and the Brit Music Awards, to name a few. Talent Farquhar has directed includes surfing icons Kelly Slater and Mick Fanning, Australian football star Callan Ward and MMA legend Ronda Rousey. (Check out Farquhar’s work here: http://www.vimeo.com/lukefarquhar)

Farquhar’s metamorphosis into a directorial auteur was a journey that saw him attend the Gold Coasts’ Bond University, a period during which he directed short films and TV commercials for a year and a half.

Leaving academia behind prior to graduation, Farquhar went on to direct for Oyster Magazine, a leading quarterly Australian publication that covers pop culture, music, fashion and beauty. His freelance appointment with Oyster was fruitful as Farquhar was nominated for the Harpers Bizarre/Peroni Creative of the Year Award for his 8mm short fashion film.

Riding the success, Farquhar assimilated into directing for FashionTV, a fashion and lifestyle broadcasting channel that airs to global audiences spanning North and South America, Europe, Asia, Africa and Australia. Farquhar engaged his talents for the network for two years and directed a bevy of content including televised and esteemed fashion week events.

His services were then sought after and acquired by Channel [V], an Australian MTV equivalent for music enthusiasts with a nationwide cable audience. Farquhar directed the rebrand for Channel [V], which spearheaded the repositioning and marketing strategy for the channel. His animated spot – “For the Love of Music” –artistically shows a story that begins in the depths of hell and scrolls up vertically to the heavens, intermixed with live action placement of music figures such as Marilyn Manson, Daft Punk, 2pac, Notorious B.I.G., Kanye West, and others, finally ending with the Channel [V] logo.

“This was one of the most stressful jobs I have ever been a part of,” Farquhar said. “Overseeing an army of talented designers can be incredibly tough, but in the end, we did a lot of great things in capturing the spirit of Channel [V].”

It was during Farquhar’s four and a half-year tenure with Channel [V] that he met his girlfriend, Carissa Walford, who hosted for Channel [V]’s “The Riff.” The pair would collaborate on promo spots for the show with Farquhar directing and Walford lead acting. Farquhar exercised his profound creativity and demonstrated an uninhibited, sublime directing approach within his spots for “The Riff.” The director dispatched in the spots an array of sensory components including narration, bold imagery, grainy cinematography, dark undertones and striking messages that resonate with viewers.

“Luke’s directing is characterized with a grandiose, epic sensibility,” Walford said. “It’s a bold style that pushes the boundary, while also being representative and effective. His messages are original and memorable, and drove viewers to our tune into our show.”

Farquhar thereafter directed for a period for Television New Zealand, a 36-year government-owned national broadcaster, and later advanced to directing for Fox Sports Australia, including the network’s expansive “I AM” rebranding. Fox Sports is the foremost sports broadcaster in Australia featuring six sports channels and a dedicated news network.

Keeping true to his surfing roots, Farquhar directed the Fox Sports “I AM Surfing” promo, along with other inspiring personal narrative tales from Fanning, Ward, Rousey and boxer Jeff Hornet, as well as “I AM UFC” and “I AM a Fanatic” spots. The “I AM” campaign was recently selected into the Promax Awards in June in New York City.

“The ‘I AM’ spots were a tremendous opportunity to champion the Fox Sports rebrand,” Farquhar said. “My goal for directing and working with our featured talent subjects was to present their personal stories of triumph, in their own words. The campaign collected multiple awards and we achieved our goal for the extreme sports banner.”

Most recently, Farquhar has directed spots for Necro Surf and is currently working with DD8, a creative international company that designs, produces, directs and shoots incredible branded content. Farquhar and DD8 co-founder Jean-Christophe Danoy are planning forthcoming expansion of the firm with a Los Angeles based branch.

Actors, Comedy, Entertainment, Film, International Actor, Television, Uncategorized

‘Zero Button’ Holds Back Nothing in Delivering Absurd Impromptu Comedy

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Actors Stephan Bosch (left) and David Mihalka bring comedic genius to the YouTube series, “Zero Button.”

 

The idea behind the hilariously uninhibited YouTube series, “Zero Button,” is actually a hidden message conceptualized by actors David Mihalka and Stephan Bosch.

“On the TV remote, when you enter the zero button, there is nothing. The message is: the best program is the imagination,” Mihalka said. “That’s what we do! We take our wildest imagination – inspired through real situations – and the result is “Zero Button.”

The sketch comedy series is a riot. Mihalka and Bosch, who co-created the series, star as an assortment of larger than life characters who encounter zany scenarios and predicaments. “It’s like a contract from a lawyer,” Mihalka said. “There are the obvious jokes, but also the fine print, where you have to pay attention to the words and subtle things happening.”

Mihalka often plays gangsters and fools in “Zero Button.” “The challenge lies in not playing a clown,” Mihalka said, “but rather to be serious in the scenes and still funny. That’s the art.”

Bosch described the characters as, “real and imaginary characters under real and imaginary situations. We have no rules at all, and we are not planning on having them.”

The parody series is directed, written and produced by Mihalka and Bosch. It features a load of improv and overall comedic genius.

As to developing ideas for sketches, Mihalka said, “We don’t come up with anything. They come to us! There are so many situations in daily life that are funny. You just exaggerate and let your imagination flow, and you have scene!”

The latest episode – “The Typical Driver” – released Sunday and features Mihalka playing a driver with road rage who gets the favor returned by an angry pedestrian at the end.

Saturday saw the release of “LangWhich,” an episode where Mihalka converses with a passerby at a park who asks Mihalka if he speaks English. “No, I don’t speak English,” Mihalka says in perfect English. “I used to, but no, I don’t like it.” The paradox continues in Spanish, French, German and Sign Language – all of which Mihalka’s character can speak – and ends when the passerby suggests in sign that they have sex, prompting Mihalka to give the guy the middle finger.

There’s episodes where Mihalka plays robbers, thieves, bad guys, a therapist, philosopher and other ambiguous, side-splitting roles.

There are How To episodes such as “How to Solve ALL your Problems” (by drinking a glass of alcohol) and “How to Stop Smoking” that shows Mihalka lighting up a mouthful of cigarettes, then taking a bucket of water to the face.

One episode features an intellectual conversation regarding two percent milk. Another parody is titled “Citizen Pain.” Another shows a Rubik’s cube conundrum called “YouCube?” and there are cultural parodies such as the amusing “Bank of Armenia” episode.

“Our most views and likes are the scenes together with Stephan,” Mihalka said. “We have the same frequency, a good connection. It just works. I can’t explain it.”

The dynamic duo shine on the sketches “Hairdresser,” “Monk,” “Bench,” “Change is Good,” “American Impress,” “How To Solve All Your Problems” and “Pool.”

“If I think about it, David plays a lot of bad guys, which is the opposite of what David really is,” said Bosch, whose other acting credits include “Juventud” and “7 Days” from directors George Blumetti and Maurice Kelly. “He knows what he is good at. His life, plus acting experience, can easily be seen through his performances.”

Mihalka enjoys both current and classic comedy styles including the work of legends such as Steve Martin, Roberto Benigni, Peter Sellers and Jacques Tati.

“What makes something funny is the perception of things,” he said. “For example, recently I have been to a fancy restaurant to make a reservation for a special day. While making a reservation, I noticed behind me many cops with a dog entering the restaurant. They told the dog: ‘Search, Search!’ When I left the restaurant, I told my mum, ‘I know what happened! A guest had a cake with icing sugar, which left traces of sugar under his nose and they thought it was cocaine and called the police!’ A new scene is born.”

No stranger to film and TV, Mihalka, from Germany, has shined on screen in his numerous roles including in the John A. Mati feature Swiss comedies, “Monsieur Brucco” and “Monsieur Brucco 2.” He acted in writer-director Stan Harrington’s “Lost Angels,” which won four awards at the Indie Fest USA International Film Festival, and in Harrington’s four-time-award-winning feature mystery, “Perception.”

Mihalka’s other film and TV roles include in Mickella Simone’s “The WorkPlace,” Alex Lewis’ “Driverless,” director Emilio Ferrari’s “All I Want for Christmas” and “Difficult People” from director Jonathan Moy de Vitry. Theatrically, Mihalka acted in the Stella Adler Los Angeles production of “Margaret,” an original play directed by actor-writer-producer Tim McNeil (“Contact,” “Forrest Gump”).

Mihalka also doubles as a photographer with a premier aesthetic and captivating imagery. Check out his behind the camera work here: www.davidbehindthecamera.com

Keep up with the latest and greatest from “Zero Button” by subscribing to its YouTube channel: www.youtube.com/user/ZeroButtonFILMS

Says Mihalka: “Hit subscribe! A small step for man, but a giant leap for your laughing muscles. Hit it! What are you still doing here?”

For more information, visit: www.davidmihalka.com

fashion, International Creative Talents, Uncategorized

Q & A With Seasoned Stylist Patricia Lagmay

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Styled by: Patricia Lagmay. Photo by: Ian Lanterman.

 

Currently based out of Vancouver, Canada, Patricia Lagmay is a fashion stylist known for styling leading fashion editorials and esteemed lookbooks and campaigns. Her work with brands spans professional labels such as Priory, Samsung, Wings + Horns, and Aritzia, and her editorial spreads have been published by Hearst Media.

Lagmay spent time both abroad in Canada and locally in Los Angeles, where she was initially drawn to pursue a career in styling. Once just a place of work for Lagmay at the age of nineteen, the renowned stylist was represented by THEY Representation by the time she was twenty-one, and remained with the agency until 2012, when she began working exclusively with Aritzia.

While at Aritzia, she refined her talents and made a significant impact on the brand’s growth and development , with her role becoming more senior as time progressed. Lagmay contributed her innate skills to the retailer until 2015 as a lead stylist on their seasonal lookbooks, campaigns, and eCommerce catalogue. Most recently, for the past year and a half, she’s worked with the clothing line Priory, styling and art directing their Fall ’15, Spring ’16 and Fall ’16 collections.

Throughout her profession and on many occasions, she has established herself as an invaluable asset to the fashion industry. We recently had the chance to sit down with Lagmay and discuss a few of her crowning career highlights, which we’ve outlined in our exclusive, one-on-one interview below.

Where are you from originally?

I was born in the Philippines and lived there until I was 10. My family moved to LA and lived there for six years, and then relocated to Vancouver, where I’ve now lived for the past 11 years.

What inspired you to purse a career in styling?

This is going to sound like a cliché, but I don’t think I had a choice. I’ve been drawn to it since even before I realized it was a career.

 What types of platforms does your work span?

My work spans print and digital. I work on editorial stories for varying publications, alongside styling campaigns, lookbooks, and eCommerce for established and emerging brands.

Does your approach to styling differ from one platform to the next?

Print has a longer lead-time whereas digital is more or less immediate. This dictates what season the clothes I choose have to come from so that when the story hits, the clothes are available.

 Who are some of the top clients you’ve worked with?

I worked with Aritzia extensively for the last three years. I’ve also worked with Priory, Wings + Horns, Sitka, and Samsung, among others.

 In your opinion, what are some of the most important characteristics a stylist can possess?

You really have to love it. The decisions you make as you style won’t make any sense otherwise, since a lot of it is instinctual. You also have to be extremely organized. There are a lot of moving parts to a shoot and it takes a healthy dose of OCD to get everything done.

 How do you try to incorporate those qualities into your own styling?

I make sure to listen to my instincts. There can be a lot of cooks in the kitchen at times, and paired with the number of trends that arise every season, it’s easy to get caught up in styling to please the whole team. But as the stylist on set, you’ve been hired for your taste and opinion, so it’s important to know when to stick to your guns. As for being organized, I’m definitely a bit OCD so that part comes naturally!

Your journey with THEY Representation is a fascinating one. What was your first role with them?

I started out as an intern when I was 19 and eventually became the Head Booker and Marketing Manager, handling all bookings for the artists, dealing with production, and managing the agency’s brand. After a couple of years I was ready to move on from my role. Since I’d already been styling my own shoots, THEY’s owner and agent suggested that I jump over to the artist side instead and become a represented stylist on their roster.

 What about your time working with Aritzia? You were a stylist there for over three years. What were your main roles? Did your roles change as time went on?

The areas of the business that I worked on more or less remained the same, but my involvement with each of them progressed as the years went on. I worked on the brand’s seasonal lookbooks and campaigns, alongside styling (and often art directing) their extensive eCommerce catalogue.

 With Priory, how do your roles as a stylist and as an art director differ from one another? Similarly, how do they complement one another?

Technically speaking, a stylist is someone who deals primarily with the clothing—choosing which pieces to use, putting the looks together, and ensuring they look good on the model. An art director is someone who deals with all the creative facets of a shoot—from the photography, to the styling, to the hair and makeup, to the casting, all the way down to the posing. I find it difficult to not have an opinion on all of those different areas since each of them greatly impacts the final images. I can bring the best clothes in, but if what I have doesn’t work with what the hair stylist has chosen, or vice versa, it really doesn’t matter. In that sense, styling and art directing are very intertwined.

 Tell us a little bit about the Samsung commercial you worked on. Who did you collaborate with? What brands were incorporated into the shoot?

Samsung was looking to change their creative tonality and this commercial was their first step in that direction. We had an amazing international crew—the director and producers had flown in from Copenhagen, the clients from Seoul, the talent from the U.S. and Europe. My goal, along with everyone else’s, was to bring a sense of authenticity to the characters. To do this, I pulled from a variety of sources—from vintage stores to more contemporary brands such as Reigning Champ.

 What has been your most challenging project thus far, and how did successfully completing it help you grow as a stylist?

Each project’s been challenging in it’s own way so it’s hard to choose. Some have been a challenge from a creative perspective, some from a budget perspective. They’ve all worked out regardless, so I try to keep that in mind whenever I’m faced with another hiccup.

 What is one thing that people on the outside of the fashion industry would never suspect about being a stylist?

There are just as many unglamorous parts to the job as there are glamorous ones, if not more. From taping shoes, to dealing with customs, to trying anything to get a stain off of a garment – the list goes on.

 Why is having a stylist so important?

When it comes to shooting a brand’s lookbook or campaign, a stylist brings an important level of objectivity to the set. That outsider’s perspective combined with the designer’s vision is what brings the collection to life. A stylist also knows how to make the clothes look their best for the camera—which requires more trickery than you’d think.

Can you elaborate on a favorite project or two that you’ve worked on?

My favorite part is the mix of it all so I definitely can’t choose just one. Working on varying projects is what keeps the next one as interesting as the last.

 From where do you draw your inspiration?

It can come from anywhere—runway, the old lady walking down the street, a recent film, old editorials.

 What are your personal hobbies and interests outside of styling?

Eating. Good meals with good friends and I am a happy camper.

How would you describe your own sense of style and fashion when it comes to your own wardrobe?

I definitely have a uniform. Lots of nude, black, and navy, and not a whole lot of anything else.

What brands do you aspire to one day work with?

The Row, Celine, and Protagonist.

 What brand or client is up next on your agenda that you’ll be styling?

I don’t like to count my eggs before they hatch, so we’ll just have to wait and see.

Actress, Canadian Star, Entertainment, Film, Television, Theater, Uncategorized

For the multitalented Zoe Cleland, acting ‘never seemed like a choice’

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Actress Zoe Cleland has shined in her roles in “How to Plan an Orgy in a Small Town,” “Murdoch Mysteries,” “Reign” and more.

 

 

For Canadian actress Zoe Cleland, the journey began on the stage, advanced to the screen and has featured her becoming many memorable characters across comedy, drama, mystery and more.

“I think every time I do a new project, I grow as an actor and as a human being,” she said. “One of the things I love about acting is that it’s not static. Every job requires me to expand myself and my vision of the world.”

Her own story is one characterized by ambition, talent and success. She began performing for theatrical productions as a child and made her TV debut on “Murdoch Mysteries” at the age of 15. By the age of 17, Cleland was among a dozen actors – and the youngest ever – to be chosen for the National Theatre School of Canada, a milestone selection into her home country’s top conservatory training program.

“I literally knew I wanted to be an actress when I was about 5,” Cleland said. “It never seemed like a choice to me. It was always just part of who I was. For about a year, when I was really little, I used to watch “The Wizard of Oz” every day and told everyone at my school that my name was Dorothy! My parents took me to a lot of theatre as a kid. They would take me to the Stratford Festival every year and I remember that being the first time I started thinking of acting as a profession beyond playing dress-up at home. I remember being about 4 years old and seeing a production of “A Midsummer Night’s Dream” that seemed like the most magical thing on earth.”

Cleland, a Toronto-born talent, is classically trained and among her performing arsenal, she’s studied dramatic combat and is well versed in singing, dialects and accents including British, Irish, Scottish and American.

While attending the National Theatre School, Cleland starred in eight productions at the conservatory including her own self-written solo show, “Drawing White,” and in a production of Anton Chekhov’s “Three Sisters,” in the role of Irina, one of the sisters.

“I also played the Fool in “King Lear,” which was a lot of fun. Sometimes just doing scene work in a lot of detail was most rewarding,” said Cleland. “The great thing about theatre school is that they give you so much time to just totally dive into things and pick everything apart as much as you want, so sometimes just doing scene study was great because you got the chance to look at something from every possible angle.”

The training and experience helped groom Cleland, 24, into a dynamic, well-rounded and brilliant actress with a world of authenticity and performing charisma.

“I think in all honesty going to theatre school taught me more about how I am as a person than any one thing about acting,” she said. “I went when I was really young, 17-19, so I was really still just trying to figure out who I was. The whole thing was such an intense experience and it changed me so much. I think overall it taught me to trust my own internal guidance system and let that lead me in my work, rather than looking to the outside for someone to tell me what I should do.”

Cleland later went on to star in the theatre productions of “Wishes of This & the Other Thing” directed by Rose Plotek and “The Chimes” directed by Nancy Palk. In 2013, Cleland received the Theatre Centre Emerging Artist Award at the Summerworks Festival for her starring role in “Girls! Girls! Girls!” directed by Donna Marie Baratta and Jessica Carmichael. The play is about a group of 14-year-olds who one night decide to attack one of their peers.

“It is written in a poetic, playful style that makes it kind of otherworldly,” Cleland said. “I played Jam, who is a follower just trying to fit in and be liked. She ends up getting in way over her head in the violence that her friends are perpetrating. She struggles with her integrity when she realizes that they have gone too far.”

Parlaying her strong theatre background into TV recognition, Cleland went on to land recurring roles on the CW’s fantasy drama series, “Reign,” starring Adelaide Kane and Megan Follows, and Bite TV’s comedy series, “Guidance” starring Rob Baker.

Millie Tom has worked in the casting of more than 50 films and 19 different TV titles including “A History of Violence,” “The Incredible Hulk” and “Scott Pilgrim vs. the World.” She said, “I have known Zoe since she was 15 years old, when she first started auditioning. I believe she has a unique, magnetic quality that lends itself perfectly to film and television. I cast her in two projects since she graduated the National Theatre School, one being “Guidance,” a comedy series about three inept guidance counselors working in a high school.”

In five episodes of “Guidance,” Cleland played Morgan, a student who approaches the counselors for help.

“She was so good as Morgan, a precocious teenager who was being bullied,” Tom said. “She nailed her role as the ‘straight man’ to Rob Baker, who played opposite her, while at the same time pulling off the comedic timing that made the show a success.”

Cleland kept the momentum going and booked roles on the History Channel’s “Brainwashed,” Craig Macnaughton’s comedy webseries, “Pay Up” and in the hit supernatural medical drama, “Saving Hope” starring Erica Durance.

Most recently, Cleland returned for a guest starring role in “Murdoch Mysteries,” for the episode – “Raised on Robbery” – that aired in January on the CBC. She also made her feature film debut in writer-director Jeremy LaLonde’s comedy, “How to Plan an Orgy in a Small Town,” that’s been screening on the independent film circuit and won Best Feature and Best Ensemble awards at the 2016 Canadian Filmmakers’ Festival. The film stars Jewel Staite, Lauren Lee Smith and Lauren Holly.

“I loved the sense that we were all collaborating and making something together, and that everyone’s thoughts were valued and taken into consideration,” Cleland said.

We’re excited to see Zoe Cleland in many future roles to come. Check out Zoe’s work on Vimeo: https://vimeo.com/zoecleland and follow her on Twitter: https://twitter.com/ZoeCleland

 

 

 

Actors, Actress, Canada, Entertainment, Film, Filmmakers, International Creative Talents, Producer, Screenwriter, Uncategorized

Female lead is ‘lovable, but hopeless with guys’ in Katie Micay’s Romantic Comedy ‘Flirt’

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Kelsey Impicciche (middle), Lexi Giovagnoli (left) and Tyler Mauro star in writer-producer Katie Micay’s “Flirt.”

 

The short romantic comedy film, “Flirt” from Canadian writer-producer Katie Micay has all the ingredients of a champion paradigm of filmmaking. Micay wrote the high concept script featuring an endearing protagonist who faces a relatable obstacle and features a strong character arc. There’s a torrent of comedy stemming from firsthand source material, strong supporting characters with palpable chemistry and on-location shooting captured with refined cinematography.

The story follows Taylor (Kelsey Impicciche), a quirky college senior who lacks in the oft-tricky art of flirting and is on a quest to land the hottest guy in school as her date to her final sorority formal.

“Flirt” is a romantic comedy about a girl who is very lovable, but hopeless with guys,” Micay said. “Ultimately, she is focused on things that aren’t important and needs to learn to find someone who appreciates her for who she is.”

Impicciche, who has acted in the films, “Suicide Note,” “The Toy Soldiers” and “The Mastery,” said, “I loved the idea of the project and of this character who can’t flirt and ended up in many awkward situations. I loved the idea that this character really needed a date to a dance. I’ve honestly had this problem many times.”

The film co-stars Lexi Giovagnoli as Jenna, Taylor’s sorority sister and best friend. Playing Taylor’s love interests are Tyler Mauro as Liam and Shane R. Kennedy as Brad. “Flirt” was filmed on location at Loyola Marymount University (LMU) in Los Angeles and went on to be an Official Selection at the Reality Bytes Film Festival in 2013.

Micay is known for her writing and producing of “Limited Engagement,” a comedy short that won an Award of Merit at the Women’s Independent Film Festival and was an Official Selection at the Los Angeles Women’s International Film Festival.

“Flirt” came on the heels of Micay’s “My So Called Family,” a darker, quirky dramedy she wrote and produced in 2013. “I was ready to just make something different,” she said. “I got to use a lot of wit and dry humor and I hadn’t done that before. My friends and I are hopeless at flirting and it was something we always joked about! After seeing “Easy A,” I was inspired to try writing “Flirt.”

The premise was one where art imitated life. Micay is a member of LMU’s Tri Delta Sorority. Her inception into sorority life was an unexpected one and an experience that would later lay the framework for filmmaking inspiration.

“I came into college with a very sour idea of Greek life,” Micay said. “But when my friend convinced me to try it, it turned out to be the best decision of my college life. I still live with my sorority twin!”

In the case of sorority formals, it’s the girls who find dates and ask out guys. “It was definitely stressful for my friends and I,” Micay said.

The fabric of the leading character, Taylor, was also derivative, on a certain level. “I’m not as expressive or over-the-top as Taylor can be, but she stemmed from me. When we auditioned Kelsey, she really took to the character right away. Through rehearsals, we built the character up to be what you see on the screen.”

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Katie Micay (middle) unifies the vision behind the romantic comedy, “Flirt.”

Said Impicciche, “Katie had a solid grip on what she wanted, and was very helpful with guiding me towards her vision, while still allowing me a lot of creative freedom. There was a lot of physical comedy she wrote for the character, which was incredibly fun to do.”

The relationship between characters Taylor and Jenna was based on one of Micay’s friendships, “one where you are essentially sisters,” she noted.

“For me, the characters made the story,” Impicciche said. “As soon as I describe them, other girls immediately can identify people in their own lives that relate to these characters. They’re very real.”

From a producer’s standpoint, Micay was charged the task of navigating the project among its multiple on-campus locations including a dormitory and a working lab classroom that required a filming permit with the needed safety protocol.

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Actor Shane R. Kennedy plays Brad, the elusive love interest  of Taylor, played by Kelsey Impicciche in “Flirt.”

 

“When shooting on a college campus, you have to go by their rules so when they will let you shoot really dictates a lot. We also shot outside with a dolly track during school hours so that completely killed our audio,” said Micay. “We went back and used ADR in post. During the shoot, I relied heavily on Alyssa Brocato, my cinematographer. We planned as much as possible ahead of time because we knew timing would be tough. On the day it was about getting everything we needed.”

Micay’s diligent producing paid dividends and led to the film becoming a success. “Katie ran a really professional and fun set. Everything ran very smoothly,” Impicciche said. “I was really impressed with how she organized everyone and how she kept everyone on track and doing their best work. She was a joy to work with.”

Most recently, Micay wrote and produced “The Firefly Girls” that starred the award-winning Savannah Paige Rae of “Parenthood” and “Date Night” fame. “The Firefly Girls” screened this year at the Sonoma International Film Festival and the Equinox Women’s Film Festival.

For more information, visit: http://www.imdb.com/name/nm5084812/?ref_=fn_al_nm_1

Watch “Flirt” here: https://vimeo.com/81416130

Follow Katie on Vimeo: https://vimeo.com/katiemicay

Artist, Asian, Entertainment, International Creative Talents, Interview, Producer, Tech Industry, Uncategorized

Multitalented game designer and producer Zi Li effectively changes the game

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Zi Li combined her passions – art and science – into a thriving game design career.

 

The innovative game designer and game producer Zi Li has spent years studying various forms of media and entertainment. Originally from Guangdong, China, the experienced creator has demonstrated a proficiency of filmmaking and animation in addition to her expertise in the world of gaming.

With four years of game designing under her belt and two years of game producing, Li is known for her work with companies such as Firefly Games Inc., Floor 84 Game Studio, and Ericsson Communications Company. As a designer, producer and artist, Li has contributed to top, award winning games of various genres, including “Dissonance,” “Leviathan,” “Dungeon Crash,” “Epic Knights,” “Paralect,” and “MiraLab.”

As a game designer, Li’s role is similar to that of a film director’s, where as a game producer is in charge of overseeing the development of a video game, acting as a liaison between everyone involved with the project.

At an early age, Li developed a passion for science and art. “Unlike a lot of game developers, I didn’t fall in love with games first,” Li stated. “I spent more than six years studying paintings. I always thought I could become a part-time artist. Later, I dabbled in animation, however, neither satisfied my needs of expressing my engineering mindset. Eventually, I understood that in the gaming industry, science intersects art. For me, games are a media that allow both areas to collapse together.”

Li first got her start in the industry as a graduate game design student at the University of Southern California (USC). Through her extensive work on various independent projects, Li was able to gradually figure out her strengths, ultimately learning what it takes to become an effective inventor aside from the expected creative and technical aspects. “One of my main strengths is execution,” said Li. “As a game designer and programmer, I can execute myself very well. As a game producer, I can push other people to execute ideas well and understand every aspect of the game.”

Steve Cha, producer and fellow Collaborator on “Dissonance,” raved about Li’s talents. “Zi is not only about coming up with ideas, but also completing them with efficient ways. Dissonance is a game with relatively new gameplay and needed time to implement. Since everything in the game has two shadows, the team needed to make a system that casted two shadows for one object. Some talked about recalculating the vertices and some suggested using black 3D objects to make the shadows. Zi came up with the idea of using two cameras and casting images from these cameras to the walls. Her ideas efficiently solved the issue without slowing down the computing process. Zi can always find efficient ways to solve problems and keep everything running forward simultaneously.”

There are several required characteristics a game designer must have in order to be successful in their career. Every game has a target audience, and as a designer, it is his or her job to be aware of said audience. “Game designers communicate with the players through their games. A game designer should love his or her players and aim to work their design around their audience in order to provide a complete gaming experience,” said Li.

When it comes to her games in particular, Li works hard to engage these qualities that will ensure audience fulfillment as well as personal success in her own designing approach. Commenting on the matter, Li said, “I love being able to see into other people’s minds through their work, and I try to provide my players with a glimpse into my own through mine. My passion is communicating with people through the game as a form of art rather than just being passionate about making a game with no meanings.”

As a designer, it is Li’s responsibility to apply design and aesthetics to a game for its players to enjoy. More often than not, this type of work expresses the theme of the game. “For example,” Li explained, “I came up with the mechanics that translate the idea of psychological concept related to dualism in “Dissonance.” The two shadows involved in the came are casted from different lighting and visualize the abstract concept of dualism. One shadow represents logic and actions, while the other represents intuition and feelings. This approach I’ve created is unique and has never been done before. The game communicates the psychological concept through gameplay and people can see the idea even if they don’t speak the language – one of the main reasons why I believe “Dissonance” gets recognition from so many countries.”

“Dissonance,” an award winning, video game developed by Team Dissonance, is a puzzle-adventure game. After six months of development, what started out as Li’s personal thesis project, expanded to a team of over ten people. The developers transmitted the psychological concept about dualism into the core mechanics of the game to make it more than just a puzzle.

Since it’s initiation, “Dissonance” has received awards such as Most Innovative Game in Indie Prize and Experimental Game Finalist in Out of Index Festival, as well as appreciation from several different countries and organizations.

“I draw inspiration from all sorts of things,” Li answered, when asked from where she draws her ideas. “I often find myself motivated by other media, biology, psychology, and life experiences.” “Orbanism,” a game Li created with her friend Anisha, is inspired by the biology concept of mutualism and interspecific competition. Regarding how the game works, Li said, “It’s a two player game in which players are competing against one another and working as a team to overcome obstacles.”

Similarly, Li’s game called “Greek to Me,” is a game in which each player hears multiple different languages and has to distinguish which is English in order to reach their goal. “The game shows how hard it is for a foreigner to achieve things in a strange country,” said Li, detailing its purpose.

Li’s years of experience in designing and producing video games have allowed her to explore various diverse genres, ultimately rounding out her impressive framework of success. Her projects range from the puzzle genre to games that fall into the category of RPGs, ultimately proving a type of versatility that not every game designer carries.

“Through working on various projects, I can easily understand different aspects of a game and, overall, the image of each project. Though they all vary from one another, every step of the process teaches me new skills and perspectives of game development. These experiences contribute to me becoming a better designer who can be creative and resourceful. Thanks to my past experiences, I have learned how to be a better leader and am very confident approach to game designing and producing,” said Li.

“Dungeon Crash” and “Epic Knights” are two of Li’s mainstream mobile RPG games. With over 1 million download, “Dungeon Crash” was featured at both Android and Apple Stores, and was rated as a top-grossing Android game. With 50,000 downloads from over 100 countries, Li’s “Epic Knights” was rated the same.

Observing Li’s leadership abilities, Annie Chan, associate producer of “Dungeon Crash,” affirmed, “The developers of all games always want to put every fun element into their game, which not only slows down the development, but often creates a lot of bugs. Zi quickly spots this tendency and puts a stop to it. She directs the team to focus on improving the current version of the game and providing users with a user-friendly experience. Since Zi has stepped in and corrected the direction of “Dungeon Crash,” the overall performance of the game as well as its player reviews has gone up.”

Aside from Li’s sought after designing and producing abilities, her work as an art director has also reached a massive number of audience members. As the art director of “Leviathan,” Li is accountable for the overall look and feel of the Leviathan-world, as ensures the quality and style of the world as it is built.

The game itself is a bold and daring mix of virtual reality, augmented reality, cinema, and the novel based on the celebrated steampunk series by Scott Westerfield.

For her role, Li was required to conduct research in order to offer various ideas for the creation of an assortment of creatures for the game. “Zi came up with creatures that carried the story plot and were consistent with the rest of the world,” explained the creative director of “Leviathan,” Sunil Kalwani. “In the ship of “Leviathan,” the main characters need a communication tool. Zi designed Messenger Lizard, which is similar to a mobile phone, which offers an incredible user experience. Messenger Lizard’s skin color can change based on the emotion of the person on the other side. In this way, users can see the visualized emotion of the messages and choose if they would like access to whatever type of emotion or person. Zi’s creativity brings vivid life and a friendly, visualized experience to the Leviathan-world.”

“Leviathan” won the award for New Frontier Project at the Sundance Film Festival and has been featured on The Creators Project, a joint celebrity blog of art and technology by VICE, as well as at the internationally renowned Consumer Electronics Show.

In an industry that is still dominated by males, Li takes pride in being a successful, Asian female game designer. “Every time I’ve attended a game festival, I’ve noticed that the majority of the developers are male,” Li recalled. “As an Asian, female game designer and producer, I realize that my background is definitely different from most of the game developers I know.”

As a child, Li was fascinated with the Asian culture, art pieces that speak universal languages, and struggled with being both logical and sentimental. Now, she’s discovered her voice in the industry, and doesn’t hesitate to own her perspectives, thoughts or feelings. “I like to express my progressive, Feminist views through my work. I am proud to be a woman working in a field that used to be entirely dominated by men. I hope I can bring more of my unique viewpoints to the table and push the game industry to be more progressive with my knowledge and skills,” said Li.

Continuing that thought, Li added, “Contrary to popular belief and stigmatism, games aren’t always products used to simulate violent actions in the virtual world. Games can be used for educational, medical or experimental purposes. For me, I would like people to have fun and also find satisfaction within the spiritual communication through the gameplay when they play my games. That is what I aim to achieve.”

For more information, please visit: http://liizii.com/

 

Celebrity, Editor, Entertainment, Entertainment Reporter, Journalist, Uncategorized, Writer

British Journalist’s mandate is ‘percolating and sifting the information of the world’

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BritWeek
Journalist Richard Bence specializes in travel narratives and is a fixture among world-class publications.

 

British-born journalist Richard Bence has an elegant, energetic and always expressive professional style. His capable navigation of the oft challenging post-print landscape has earned Bence a solid reputation as a versatile writer with a comprehensive grasp of subject and clarity of presentation. These gifts have taken him from a solid decade-plus stint as a travel writer to the loftiest pinnacles of specialized prestige periodicals and web presences, serving both as a contributor and editor.

Bence, who is equally at ease creating in-depth magazine features and effective public relations campaigns, realized his calling at an early age, thanks to none other than Superman and his “mild-mannered newspaper reporter” alter ego, Clark Kent. “I distinctly remember watching “The New Adventures of Superman” with Dean Cain and Teri Hatcher in the mid ’90s and knew that is what I wanted to do,” Bence said. “It seemed incredibly glamorous and exciting, like having a kind of diplomatic immunity which gave you access to another world. Back then magazines held the keys to what was cool, they were the gatekeepers, the opinion-formers, the style makers. I wanted to be one of those people, percolating and sifting the information of the world.”

Bence wasted no time pursuing his vocation.

“I was fortunate to know someone at the Express Newspaper where I gained my first valuable work experience and never looked back. Every summer I would contact a magazine, GQ, Attitude, and get more experience, all the while becoming more and more certain that this was the career for me. It was my manifest destiny, and seemed like the ultimate rock and roll profession. It is ridiculously tough to make a go of it as a writer, but fortunately I have always been blessed with staff jobs.”

Gifted with two critical qualities—talent and instinct—Bence has distinguished himself at some very high profile outlets, as a contributor to the prestigious London Sunday Times Style, Condé Nast’s Tatler and as managing editor of Barclays Bank’s elite, invitation-only Little Book of Wonders website, among many others.

“I was a travel journalist for 12 years and that type of journalism will forever be part of my DNA, but things really took off in 2011 when I made the digital leap to become editor in chief of CoutureLab, a luxury e-commerce site for global nomads,” Bence said. “I was the conduit for Carmen Busquets, the high priestess of couture. That was interesting because I wasn’t so much telling my story but that of the chairman, a Venezuelan entrepreneur who entrusted me with communicating her message to the CoutureLab customer.”

From that auspicious assignment, Bence went on to become managing editor of Little Book of Wonders, where he specialized in developing inventive ways to help brands connect with Barclays’s ultra-high net-worth customers.

“This was a shift for me and allowed me to see the commercial power of content,” Bence said. “I had been helping places tell their stories for airlines as an inflight magazine editor. It was a natural progression to use those skills I learnt at the coalface of travel journalism to help enhance experiences for the global elite.”

He excelled in this new capacity, as Creative Director Laura Rule, whose clients have included Victoria Beckham and Mario Testino +, described:

“When Richard was at Couturelab, a leader in the field of online luxury, I commissioned him to consult on two luxury brand projects for Mario Testino +. Richard provided in depth and knowledgeable marketing research and inspired creative ideas, which in turn informed the brands vision on the projects,” Rule said. “Richard has achieved an incredible amount in a short space of time. Needless to say, I am always beyond excited by the results of our work together. Even as a consultant I consider him to be an excellent and highly valued part of my team.”

With a solid international reputation that’s made him a familiar, recognizable force at the highest altitudes of journalism, editing, promotion and marketing, when Bence relocated to Los Angeles he promptly began to expand his professional palette, adding broadcasting—for Monocle 24, a 24-hour online radio station with 400,000 listeners per month—to his already formidable resume.

“Since moving to the U.S. in 2014, I am fulfilling my ambition to become an expert on all things California and have found a special niche celebrating British creativity and innovation in Los Angeles,” Bence said. “As a print journalist, I focus mainly on travel, design and style, but more recently, I have gravitated towards the arts and on air journalism as the West Coast correspondent for Monocle 24. I get to talk about art, architecture, TV and film, which is a dream really. Radio is definitely having a ‘moment’ and I am glad to be part of its renaissance.”

The high flying Bence’s ambitions are matched only by his capabilities and his sterling roster of achievement is uniformly celebrated by professional associates.

“Richard has been an essential asset as a publicist and editor. His ability to establish connections and contribute to all aspects of editorial and creative direction at a high level has been fundamental to the success of our award-winning publications.” said Juliet Nilsson, Creative Director at Vind & Våg Publishing House. “I have no doubt moving forward that whatever journalistic role he will play his professional manner and highly skilled approach will be of significant benefits to future projects.”

international musician, Music, Uncategorized

KidCrusher Puts Horrorcore on the Map in Australia

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Nexus Effected (left), KidCrusher and Xibalba Bunny (right) shot by Rom Anthonis

When one thinks of Australia’s music scene, death metal hip-hop, more commonly known to fans as horrorcore, doesn’t necessarily come to mind. However, this style of music, which is considered a subgenre of hip-hop with a strong horror-theme influence, cryptic lyrical content, and brutal imagery, has garnered quite the worldwide following due in large part to an electrifying artist by the name of KidCrusher.

Initially stimulated by hardcore hip-hop, “I started my first rap group at the age of 12 and released 2 albums on cassette tape (around 1996), when I reached high school I was introduced to metal music and assembled my own cover band, ” says KidCrusher as he recalls his early love for the music genre.  

The Adelaide, South Australia native exploded onto the music scene back in 2005 when he released his first single “A Dirty Fuckin Murder,” and the accompanying music video, which instantly went viral. With over 280,000 plus views online, the popularity of the video skyrocketed and became a sensation among fans, the irony of this is the fact that the musician filmed the video by himself in his own backyard! What is even more impressive, and something that has lent to the major traction KidCrusher gained in the public eye back in the early stages of his career is that fact that it was included an episode of the hit TV show Law & Order. KidCrusher gained a huge cult following online and around the world, and the talented musician came to the fated realization that a career in music was his true calling.  

Check out the music video below:

After that there was no turning back for the KidCrusher. He began churning out albums  like there was no tomorrow; and, the worldwide praise he has received in exchange is monumental.  The unconventional, multi-talented musician (who also plays guitar, bass, programmed drums, piano, and also produces most of his own beats) released 12 studio albums over the past decade. In addition to this prolific pace, his live shows have definitely been a major cornerstone of the artist’s success, Over the years he has been featured on the bill with other popular global artists such as Insane Clown Posse, Xzibit, Tech N9ne, Hed(pe), Mushroomhead, Hopsin, and many more.

The musician’s most recent album “Metal Murder 3D” is perhaps his most universally acclaimed production to date with the album going on to win the Faygoluvers Metal Album of the Year Award in 2015. The award winning album also features a track entitled “Alice in Zombieland,” and with the support of Strongman Productions, a film-driven music video for the hit song was created and released in theatres throughout Australia during Monster Fest Trasharama.

“Music has always been like my best friend forever, I connect so well with it that to me, music is my life, career, past present and future of me. Every time I finish an album I say to myself ‘I’ll take a mini break and relax for a bit’ and it never happens, it pulls me back in, I feel so separated without it. I don’t know if its boredom or the drive for that amazing feeling of creating a masterpiece,” says KidCrusher.

And there doesn’t appear to be any slowing down as far as KidCrusher’s passion for making music and movies go. He recently released “Back to the KidCrusher” a video that celebrates his ten year anniversary of making music which also happens to coincide with “Back to the Future Day” on October 21, 2015. After the music video ends, there is a 30 minute documentary that highlights KidCrusher’s ten year career entitled “Ten Years of KidCrusher.” 

You can see the music video and documentary below:

Regardless of what medium is used, KidCrusher’s drive to make music and movie magic is nearly unmatched by any other performer in the Australian scene.