Captivating Producer and Director Federico Torrado Tobón on Filmmaking

Radiator Behind The Scenes by David Liu
Producer and Director Federico Torrado Tobón shot by David Liu

Fresh off premiering his latest film “The Plague” at the Oscar-qualifying LA Shorts Fest, visionary filmmaker Federico Torrado Tobón is one filmmaker in Hollywood we should all take note of. Now in its 22nd year, LA Shorts is the first and longest running short film festival in Los Angeles. The festival attracts Hollywood industry professionals, and is one of many eminent groups shining a light on Federico’s critically acclaimed work. The multi-hyphenate, who has experience as a writer, director and producer, speaks about his work with the grounded authority of someone who’s gained a great deal of knowledge since beginning his work in the industry nearly a decade ago.

Federico’s unique style is distinguished from other filmmakers by way of his innovative incorporation of surreal and fantastic elements into conventional narratives, an exceptionally difficult task that he continues to explore with finesse through an array of complex film projects.

“I’m a big fan of magical realism,” Federico explains. “I love stories that are grounded in reality but that have one element that doesn’t belong to this world.”

The Colombian native, who has been featured in his country’s most circulated newspaper, El Tiempo, for his achievements as a filmmaker, is clear on his artistic intentions for his career.

“I hope to create strong emotions in the viewers and produce unique feelings and atmospheres, like when you look at a painting and you don’t know exactly what’s going on yet it still manages to creates a very specific feeling.”

These intentions are clearly apparent in all of his work, and they are especially obvious when looking at his films “The Plague” and “Wytches.”


Federico, who also directed the compelling and award-winning music video for the popular band Spaceface’s song ‘Radiator,’ which has been featured on the popular site Lost at E Minor and the prolific IndieWire, talks in earnest when asked about visuals.

He explains, “When directing a project I start with the visuals. I start pulling images and sounds, atmospheres of how I want the project to look and feel. After having that clear, I start to find the colleagues that I think are going to elevate the project…to me everything lies on the cast and crew that you bring in as a director and producer.”

Indeed, Federico has had the opportunity to direct and produce applauded projects with incredibly talented individuals in the industry today. Spaceface member Jake Ingalls is also a member of the three-time Grammy Award winning band, The Flaming Lips. When the music video Federico directed for “Radiator” won Best Music Video at New York’s Lower East Side Film Festival, the judging panel included “Sin City” and “Men in Black II” star Rosario Dawson and “Lady Bird” cinematographer, Sam Levy. Adding to this long list of endorsements for the project itself was its selection to screen at the recent 2018 LA Music Video Awards, the 2018 Bellingham Music Film Festival, which is considered to be one of the Top 50 Music Video Festivals by Radar Music Creatives, and HollyShorts, an Oscar-qualifying event that showcases only the best and brightest films from around the globe.

The instrumental role Federico plays in his projects as a director and producer shows through his capacity to assemble a top-tier cast and crew, another aspect that is apparent when looking at “The Plague.” In the film, which screened all over the world at festivals such as the LA Shorts Fest, L’Étrange Festival in Paris, and the 2017 Aesthetic Short Film Festival in York, England, Federico had the pleasure of working with some A-list talent. Dylan Riley Snyder of AMC’s “Better Call Saul” and Disney fame played the leading role of Julian, while ABC’s “The Middle” actor Casey Burke played the leading role of Julie.

Federico Torrado Tobón
Still of Casey Burke as Julie in “The Plague”

“Federico brought a unique perspective to my experience on the set and to the project itself. Both writer and director, Federico managed to create and explore a world outside just a ‘horror’ or ‘dystopian disaster’ genre,” says actress Casey Burke. “From an extensive rehearsal period to valuable personal moments with each actor on set to ensure unbreakable connections in the portrayal of complicated characters in a unfortunate world, Fed’s passion for storytelling was obvious from the beginning until the end.”

Federico is humble but proud when asked about his team. The reassuring aspect of Federico’s attitude is that he is clearly invested in his career because he loves the craft, and the joys of being on set and collaborating with the talented creatives it affords him. In the case of “The Plague” and its numerous prestigious festival selections, Federico’s project bypassed some stringent criteria but he still emphasizes the experiences of shooting and collaborating with a great crew as its highlight.

“What made the project special to me was the people that worked on it. I had the chance to collaborate with a great cast and crew that made the whole experience amazing.”

Federico Torrado Tobón’
Still of Dylan Riley Snyder (left) and Casey Burke (right) in “The Plague”

When asked about the story, which concerns teenage siblings who take refuge in a secluded forest cabin to avoid becoming infected by a mysterious and deadly plague, Federico’s answer points to the mysterious and remarkable way by which a gifted filmmaker like himself formulates an idea.

“The story came about from an image I saw of a set of female twins looking into the camera wearing the same outfit,” Federico excitedly explains.

“That desire of telling something dual and aesthetically parallel and balanced is what motivated me to make the plague. Usually when I write something the idea comes from just a picture or a photo. That image is what fuels the rest of the script.”

While Federico might stress his enjoyment in the creative process, it’s nevertheless worth emphasizing the significance of his achievements in having his films selected and screened by such esteemed organizations like the NewFilmmakers Los Angeles (NFMLA). NFLMA is cost-hosted in partnership with The Academy of Motion Picture Arts and Sciences and will screen Federico’s work at The Academy’s Samuel Goldwyn Theater in Beverly Hills this September.

The Plague
Poster for “The Plague”

“I’m very happy that The Plague is doing well in its festival circuit,” Federico adds. “Winning best short film and having the opportunity to screen with in The New Filmmaker’s LA In Focus Latinx at Hispanic cinema exhibit at the Academy Goldwyn theater means a lot to me.”

The heightened level that Federico’s career has reached is not simply a consequence of his skills as a director. As mentioned at the beginning of this article, Federico is most definitely a multi-hyphenate, a creative who enjoys working across many fields, especially the combination of directing and producing.

“My work as a producer came from the necessity to make the stories I wanted to direct,” he attests. “When I started there was no chance of having a big team so I had to be thinking about producing it as well. Since that moment I started to produce everything I was directing.”

Elaborating with conviction Federico says, “To me a perfect production is one where the producer is fully synced with the director…What makes me capable of handling these two different roles is that I think about both simultaneously.”

Federico also exercised his diversity as a filmmaker in terms of genre with the film “Wytches,” a horror about a woman learning about her mysterious powers while staying at a strange hotel with her aunt.

“Wytches was my first attempt at making horror. The goal was to explore the genre and… find a way to tell a story by collaborating with two other directors…Three minds creating one piece.”

For Federico, the experience was both humbling and gratifying. “I learned a lot from their skills and their storytelling,” he claims. “And we all learned from each other.”

The experience has paid off, as the film was selected for competition at the Calgary Horror Con, one of the world’s best horror film festivals, as well as the first and largest convention in Canada dedicated to Horror, not to mention one that is notorious for its tough competition in terms of the films it accepts. In other exciting news, it also screened at the Midnight series at the celebrated Dances with Films festival, which was described by IndieWire as being “widely recognized as the premiere showcase of innovative cinema in the U.S.” and considered LA’s best indie film festival by the Huffington post.

While Federico’s bustling schedule keeps him quite busy as he continues to balance his work as a producer and director, his passion and motivation to share his work audiences is one of the reasons we got lucky enough to nail him down for an interview and we couldn’t be more thrilled. He’s definitely inspired us, and we hope his story will do the same for you.

  

Top tips for becoming a judge at film festivals

Photo by Adam Sheridan-Taylor
Xiao Sun, photo by Adam Sheridan-Taylor

Film Festivals are outstanding opportunities for filmmakers around the world to share their work and network. Getting your film into a festival is an honour and winning an award and being recognized for your work is the height of prestige for anyone in the industry.

 

However, what many overlook when it comes to festivals is actually judging them. Being a panelist on a festival is an ideal opportunity to meet other professionals in the industry and learn what they are doing, and maybe you will be inspired by what you see.

That being said, how does one become a panelist at a film festival? I sat down with Xiao Sun, an industry Chinese Canadian actress hailing from Montreal, who has starred in films alongside Charlize Theron, Jennifer Lawrence, and Seth Rogan, to name a few. Xiao was recently a jury member at the Toronto Korean Film Festival, which ran from July 11-15 in Toronto. Here are her tips at not only becoming a panelist, but also on what to do while judging the films.

Tips on getting into festivals

  1. Stay in the know

Get to know as many film festivals as possible and stay updated on entertainment news. Toronto, for example has this great website to always be up-to-date on festivals in the area

  1. Attend festivals

Once you find out when and where the festivals are, attend them yourself and submit your work to them. Get to know their programmers when they have mixers. For my local Toronto people, TIFF is an amazing place to be. Start to prepare early, get an early bird priced badge, go to as many network events as you can find, and get your account on Cinando – you’ll see which company and which person is coming to a festival and their contact information. Get access on IMDB pro, educate yourself with top production companies, agencies and filmmakers in the industry and keep updated on their recent work.

  1. Network

Get info about the festivals from your friends whose work has entered/won awards at the festivals before, get involved with your local Industry community, get connected on festivals’ Facebook group. Also, remember to consult your local ACTRA representative for on-camera and behind-the-scenes workshops.

Tips on Judging at festivals

  1. Don’t research

Watch every film thoroughly as if you know nothing about it. I prefer not to read the synopsis, or the director/actors work before watching, so I don’t prejudge the work.

  1. Take Breaks

Take a breather and get some fresh air between watching each film, even if they’re short films, as you would cleanse your palette before tasting a new dish.

  1. Follow your heart

Let the film touch you, don’t use it to judge or to pick on their imperfections, and see which story/performance tugs at your heartstrings.

Romaine Waite takes audiences back in time in ‘Frankie Drake Mysteries’

Exploration and research. Those are the two words that come to mind when Canada’s Romaine Waite is asked to describe what he does as an actor. He is required to research humanity and explore every character he plays. As an actor, he wears many different hats depending on the subject of a project. At the surface it is entertainment, but in a way, for Waite, it is therapy.

“I believe as an actor I’m an interpreter of words and ideas manifested through physicality and emotion. We’re also guides into unknown worlds and situations. At the highest level, we are responsible for bringing people together to experience a common idea or emotion,” he said.

Audiences around the world would recognize Waite immediately from his recurring role in the iconic television series Star Trek: Discovery. He has also starred in many successful projects, such as The Mist, and Antisocial. Earlier this year, Canadian viewers also got to see him on the small screen in the hit show Frankie Drake Mysteries.

Frankie Drake Mysteries is a hit television series on the Canadian network CBC. It premiered last November and is currently filming its second season. The show follows Toronto’s only female private detective in the 1920s as she takes on the cases the police don’t want or can’t handle. Along with her partner Trudy, Frankie and the Drake Detective Agency take on cases of all shapes and sizes. From airplanes and booze running to American G-men, Communists and union busters, Frankie’s fearless sense of adventure gets her into all kinds of trouble, but she always manages to find her way out.

“I like that the story is centered around women of the ‘20s. I don’t think many people are aware of the accomplishments and contributions women have made in that time period. It’s amazing to showcase the impact that women have had, but also showing women in a strong positive light, not just for inclusion in the history books but to hopefully inspire young women that watch the show. I think representation is of the utmost importance in media,” said Waite.

In the show, Waite plays Bill Peters. Bill is a genuine man, and his intentions are as pure as they come. He has a simple job, goes to church and tries his best to help with investigations when asked by Trudy Clarke.

From the first season, the groundwork was laid for a potential romance to blossom between Trudy and Bill in addition to providing crucial information for investigations in the show. Waite played the part perfectly, establishing the relationship between the two characters. Through this relationship, audiences get to see a well-rounded character in Trudy.

“The production company for this series, has an amazing reputation of putting together great shows, but more importantly it was the premise of the show. Centred around two amazing women, I wanted to be a part of the narrative that showcases women in a positive manner. I think this show can be empowering for young women,” said Waite.

After working with the director on a previous show, Murdoch Mysteries, Waite was selected for the role of Bill without an audition as they knew he was ideal for the part. The character has now become pivotal for the series and will be featured once again in the shows second season.

Working on the show has been a wonderful experience for Waite. The actor has had a lot of freedom to explore the character and how he interacts in the world. Although viewers don’t know too much about Bill Peters yet, they can see a bit of who he is by the way he treats Trudy. He’s compassionate, devoted, honest, and even at times naive. Playing such a role was natural for Waite, as he found himself to be very similar to Bill in many aspects.

Once Waite researched about the time period, he found it easy to embody the character. This was made easier by the outstanding production design, with the set looking very much like 1920’s Toronto. The costumes fit right in with the time period, as did the props, and Waite describes the experience as being like a “mini history lesson.” Walking around the sets, seeing the detailed work, he found it easy to be inspired.

“I’m always proud of great Canadian content. There is sometimes this notion that good shows only come from the other side of the border, but it’s certainly not the case with this one. From the creators to the leading cast, I think the show is successful on so many levels. But the most relevant to conversations society is having now, is portrayal of independent, forward-thinking women. I think this show contributes to that narrative in a fresh way. I am happy that I can be included in telling this story. My hope is that a young girl watching this show will feel inspired to be who she wants to be in any capacity,” Waite concluded.

Be sure to check out Waite’s next endeavours, Netflix’s new holiday feature The Christmas Calendar and the upcoming indie film Salvage.

Sabrina Yu combines artistry and storytelling for ‘The Good Memory’

As a storyboard artist, Sabrina Yu is one of the first people responsible for taking the words of a script and turning them into a motion picture; she is the connection between the writer and the director, helping to visualize the story. She can always find the most suitable shooting angle, accurately grasping the emotional changes of the characters’, and designs the scenes to most effectively tell the story. Such a role requires her to understand every aspect of film production, every role and process from beginning to end, and as an avid film lover, that is just why she loves what she does.

Hailing from China, Yu has taken the film industry in both her native country and abroad by storm. She has worked on several award-winning films, such as Cello and Inside Linda Vista Hospital, and has no plans on slowing down. She is an extremely in demand storyboard artist, and her distinctive style enhances every project she takes on.

“I like to use the changes in black and white to show the development of the story, and then grab a little main draw, with a strong contrast. Focus on one point, like a main background or an actor’s emotional facial expressions, and blur the rest,” she said.

One of Yu’s most decorated projects to date is the 2016 film The Good Memory. Not only was the flick nominated for Best Short Film at The Chinese American Film Festival, Glendale International Film Festival, and the International New York Film Festival, but it also took home the top prize at several other prestigious international film festivals, such as the California International Shorts Festival, Hollywood Boulevard Film Festival, Hollywood International Moving Pictures Film Festival, and more.

“I like that in this film I did new things.The style of the film has a set of times,” said Yu.

The heartbreaking drama follows Eric, a husband and father who is celebrating his birthday. He meets his wife and daughter in a café for a brunch, but it is revealed to be a memory of that same day the previous year, ultimately leading to tragic consequences.

“This is a story about reminiscence, and at the end of the film, you will find everything showed in the film are just memories, which makes me feel that the story is very special and memorable,” said Yu.

The moment Yu first read the script, she was touched by the story and knew just how to illustrate it. She could picture every scene in her mind vividly and began drawing. Her storyboards created the background of the film and helped set up the story. They helped the production team see how the time change could be achieved through film, as some scenes are flashbacks.

After discussing the script with the scriptwriter, Yu first drew out the main scenes, showing them to the Director to adjust and decide the main atmosphere of the film. She suggested that the director join the light and shadow changes to reflect the warm feeling, drawing this in the storyboards to show how effective this technique could be. Her suggestion proved very fruitful.

Undoubtedly, Yu’s talents as a storyteller and filmmaker translate directly into her storyboarding. She encourages illustrators to go into the trade, as it is often overlooked but an extremely vital part of filmmaking.

“Read more, watch more movies and draw more. The creative inspiration accumulated from it has paved the way for work. Communication is very important, work with your team closely, patiently listen to other people’s opinions, but also insist on your own ideas and dare to say it,” she advised.

So, what’s next for this talented storyboard artist? She is currently expanding her talents to a children’s storybook. Keep an eye out for it as well as her future films, you definitely won’t want to miss them.

Working at Both Ends of the Spectrum: Acclaimed Music Producer Dragi Ivanov

Deondre Jones (ShotsbyDre)
Producer and engineer Dragi Ivanov shot by Deondre Jones

Dragi Ivanov has long been known as a producer aware of how to tailor his skills to a musician’s needs, while bringing his own sense of practical artistry to any track he produces.

As the producer of Terrell Hines’ hit song ‘$3.99 (model1)’ Ivanov’s seasoned skill as a recording engineer proved imperative to capturing the song’s crisp sound quality. His ability to expertly wear many hats was reflected in how he wrote, produced, recorded and mixed the song for one of music’s most promising artists today.

Hines, who is also in the hugely popular band Wake Child, attested to the critical role Ivanov played in shaping the song’s sound from its inception and how they both wanted to create something that was compelling from the get-go.

Hines says, “As creatives we were pushing the envelope, so we started gathering our ideas and organizing them and Dragi produced, mixed and mastered…3.99.”

Hines further points to the collaborative nature of the song-making process, and the respect Ivanov grants the artists he works with and to the listeners of their music.

“We both love music and are intrigued by sound so we wanted to see if we could get music out in a way not normal to the ears but relatable to the ears spreading positive informative messages to society.”

Ivanov echoes Hines’ assertion that each of the cognoscenti wished to make a song that was edgy and create a new standard of music.

“Both of us always wanted to push the envelope and just create something that is crazy and innovative,” Ivanov explains. “We just wanted to make something that we hadn’t done before and that was exciting for us, we didn’t set out to do anything specific we just wanted to see what we can do and how well we can do it.”

It’s clear that Ivanov achieved his goal of producing a song that was edgy and compelling in a really subversive way, a rarity in a crowded market where every other producer is trying to push musicians to make a statement.

With Ivanov though, he’s the real deal. Combined with Hines’ writing, with it’s biblical references that are simultaneously respectful of spirituality but not condescendingly preachy to a listener, the producer and artist break new ground. The result is an edgy and compelling rap track that offers an incisive social commentary on the way unbridled greed has compromised the moral fabric of humanity, detailing the extreme lengths people go to for things worth $3.99. Listening to the song itself on an instinctual level leaves a listener conscious of a darkness, an effect countered with hip beats that get the body moving in a manner reminiscent of Childish Gambino’s ‘This is America’ but with an even more potent punch.    

Elaborating on the uniqueness of Ivanov’s approach, highlighting how the man is as interested in the process of making the music as the end result, Hines says, “Working with Dragi is therapeutic,” Hines astutely claims. “He can form any color and structure through music. When it comes to music and just sound in general he definitely has his own unique aesthetic.”

Adding his crucial creative input and mastery as a producer into the mix, Ivanov played a key role in the song’s composition, of course bouncing the ideas back and forth with Hines while producing, recording and mixing the song. He explains, “Everything you hear from the drums and bass, to the synths and the pads as well as the guitar parts and the way the whole song sounds is what I did. I created all the interesting sound design elements such as the clicky percussion parts, 808 bass, the menacing synthesizers, sound effects and vocal effects and treatment is what I did as part of the production process.”

The uniqueness of Ivanov’s skills as a music producer are reflected in the imaginative ways Hines describes Ivanov’s approach, pointing to a certain ‘je ne sais quoi’ that effectively highlights the Macedonian native’s creative magic.

For instance, the song invokes Black church and gospel music style through the use of organs and tambourines, grounding it in a sense of history that is both culturally specific, and universally resonant.

In a more obvious reflection of Ivanov’s significant success within his field, it also helps to understand that the musicians Ivanov works with always enjoy a loyal and fervent fan base, ensuring that his songs reaches huge numbers of ardent listeners around the world. That, and his producing skills have equally come to be known within the industry as a secret weapon which can make an artist’s career.

Hines additionally points to the adaptability of Ivanov’s specialized skill-set as a producer who can jump between genres while also maintaining the artist’s sensibility and integrity.

“Dragi understands music from many different perspectives. He also knows what he is doing on the production side whether it is production or mastering, which I could trust him to execute every time creatively and professionally.”  

The most obvious manifestation of Ivanov’s versatility is in the work he’s done with the band Wake Child. The incredibly popular Californian group, frequently known for invoking psychedelic 60s sounds with their own unique millennial bent, clearly owe some of their success to the producing prowess of Ivanov.  

For the track ‘Hangup Blues,’ Ivanov talks about how he and the band “wanted to make a seemingly Lo-Fi sounding record but also have it be epic.”

The product is a filmic and moving track which has received over 60,000 streams on online and been promoted by multiple blogs and Spotify playlists. It’s clear that fans of Wake Child and Ivanov recognize how the song manages to expertly use vocals and guitars in a symbiotic manner that builds towards a rough and tumble crescendo that grabs a listener by the collar and pulls them into a collective, and at once, individual experience.

In essence, it proves how Ivanov – who produced, recorded and mixed the song for Wake Child – tells a story with music in a way that only the most celebrated and iconic music producers are able.

He speaks with authority with the how the song is constructed, indicative of how Ivanov is deeply connected to helping produce music that tells a story and effects emotional change within a listener.

“The song starts very small with only a Rhodes piano and vocals it eventually builds up to the first chorus which is very interesting because the relationships between the instruments change in a way that the chorus feels a lot bigger than the actual verse.”

The humble manner with which Ivanov explains how his personable nature lends him an advantage when dealing with different musicians is equally interesting and endearing.

“Another thing is [because I’m an] introvert I don’t necessarily talk too much and I am very sensitive to situations that I know how to stay away or step in when I need to and that way I am able to meet people feel comfortable in the studio and give their best performance.”

“Hangup Blues” consequently manages to be romantic and solemn at the same, echoing a deeply felt sense of love that is truly poetic. When the song hits a beat change half-way through, it shifts a listener into an aural experience that really affecting.

Producing the song itself represented a significant challenge, which Ivanov embraced with gusto

“This project was different because it was the first project where I had to produce a full band,” Ivanov clarifies.

“[I] usually work with only an artist and my job is to create the music behind the artist, whereas with this project I had to learn how to step away from being a the musician and focus on more technical and managerial side of things.”

In closing remarks, Ivanov adeptly sums up the authentic approach to his work that highlights his genuine and specialized creative spirit.

“For me I would say is that I want the music to be exciting and feel effortless.”

 

Australia’s Young Leading Man: Cooper van Grootel

Australian actor Cooper van Grootel has long been regarded as a leader of his generation. A working child actor for the past decade, who has recently wrapped filming a lead role in See Pictures’ feature film Go Karts, there’s no doubt that this young lad is reminiscent of the Australian men who paved the way before him: think Hollywood hunks Chris and Liam Hemsworth, and Avatar star Sam Worthington.

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Cooper van Grootel as photographed by Deanna Whyte

What sets Cooper apart however is not just his machismo, but also his access to an old soul that is more reminiscent of Emmy-winner Ben Mendehlson, who didn’t hit it big until his late 40s. The difference with Cooper however, and what sets him apart from all of these actors, is that he’s still only a teenager, but he’s already made it.

The award-winning teen, who was honoured by Media Super for Outstanding Commitment and Achievement in the industry, has carved out a niche as a true-blue Aussie with roles in prestige mini-series Mystery Road, audience favourite Jasper Jones, and films like Red Dirt and Absent that both challenge and explore the Australian identity. One exciting project in particular is the feature film, Go Karts.  

For that film, Cooper was up against thousands of other actors, so it’s safe to say his hard work is paying off.

Go Karts hails from the same producers as Golden-Globe winner Simon Baker’s Breath, Netflix film OtherLife and Kylie Minogue and Guy Pearce hit, Swinging Safari. In the film, Cooper was blessed with a starring role of Dean, the film’s antagonist. In the character, Cooper relished playing the bad guy – a force to be reckoned with on and off the race track.

“Many directors and producers have remarked on Cooper’s professionalism and high standard of work ethic,” says his agent, Hallie McKeig from Film Bites in Perth.

There’s nothing arrogant about this surfer though, as many are quick to attest to Cooper’s affable nature. “They’ve also said how easy Cooper is to get along with, and how down-to-earth he is,” Hallie elaborates.

Qualities like these are infrequently found in the industry. Cooper’s American manager Karli Doumanis, of KDM, substantiates this view.

“It is really rare to find young male actors like Cooper who have a high level of confidence, self-awareness and charisma – he’s also really highly accomplished because of the number of projects he’s worked on and who he’s worked with – the American industry has already fallen in love with him.”

One of Cooper’s earlier roles was in the film project, Red Dirt, in which he played the lead role of Benny.

Cooper smiles when recalling the filming process.

“Waking up very early and watching the sun rise over the vast landscape of outback Western Australia, that was a highlight.”

Red Dirt gave Cooper the opportunity to literally play the leader of the pack. As Benny, Cooper was the alpha male to a group of boys in a small town that an older man encounters after his car breaks down.

“Myself and the other boy actors searched for gold with metal detectors,” Cooper elaborates. “That was great fun.”

reddirt film premiere
Cooper, second from left, on the red carpet for the premiere of his film, Red Dirt with Neighbours actor Troy Coward.

Cooper also showed his chops as an actor of true range in Absent, a film from celebrated director Iain Appleyard. In that compelling film, Cooper played a mental handicapped boy at the centre of the film’s drama about a father who abandons his daughter after he accidentally kills Cooper’s character. Cooper brought the role to life with conviction, receiving praise from industry professionals in the process for his deep commitment to performing the role authentically and with respect to people with disabilities.

“Working with Cooper and watching him bring his character to life was…a highlight…for me,” Iain told our publication. “He repeatedly impressed everyone with his professionalism in a difficult role showing dedication well beyond his years.”

He articulates further. “I am proud not only of the work that I have done, but also of the skills I have acquired.”

It’s this focus on his craft and skills that is clearly keeping the screen star grounded, even while he might be sharing the screen with Golden-Globe nominated actors and household names.

“Richard Roxburgh is a man with a great sense of humour and uses that skill and applies it to improvising bits here and there during scenes,” Cooper says when asks about his fellow famous co-stars. “That was cool to watch.”

Up next for this acclaimed actor – who, like any other teenage boy also loves Aussie rules football and skateboarding – is a second season of the Funny or Die hit, Unverified where he’ll resume his leading role of Jackson.

“I really just love jumping between roles – I’m really grateful that I’ve got my family and agents and a manager who have supported my journey.”

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Cooper van Grootel is “grateful” for his acting success. Photographed by Deanna Whyte. 

 

Award-winning ‘Horizon’ actor Alistair Cooke on character work

“The stories I have been able to tell are the reason I’m an actor. Being able to give audiences the insight into the lives of other people, the experiences those characters have, is the most rewarding part of the job.”

And so begins our in-depth phone interview with Alistair Cooke, an award winning Australian actor who has built a reputation for crafting characters that layer both deep intensity and a boyish innocence.   

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Alistair Cooke, photographed by Johnny Nicolaidis.

When speaking with the young Australian, it’s apparent that he’s genuinely motivated by craft and possesses a rare capacity to simultaneously transform himself to serve a character and text, but also retain his unique, one-of-a-kind personality. An extrovert and an introvert, an artist and businessman, Alistair is full of contradictions in the way that only the most deep and provocative artists are.   

He elaborated on his chameleon like nature when we asked about it in our chat.

“My ability to take on any accent, mimic body language and have an understanding of human nature… allows me to transform into any character. The key is believing…once you’ve mastered the technicalities of people from voice, body and of course their mental state… you can’t fail.”

Perhaps best known for his award-winning performance in the acclaimed online series, “The Horizon,” Alistair is perceived as a star but has the reputation of a craftsman in the entertainment industry with an extensive repertoire of diverse challenging characters.

In that series, Alistair played the leading role of Jake, the series’ protagonist in this fish-out of water tale about an innocent small-town boy moving to the big city to embrace a progressive community.

“This character had the challenges that many people in the LGBTQI community face and being able to share this with an audience outside that community truly felt like an important part of the job.”

“The Horizon” had the benefit of not only enjoying audience numbers that exceed 63,000,000 but also claims the title of the most successful online series ever produced in Australia. Alistair has taken the success in his stride though, as the associated fame has not meant he has rested on his laurels.

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Alistair on the red carpet. While he may enjoy a high-profile as an actor, he’s not resting on his laurels.

“Sharing the experiences of ‘Jake’ in the series ‘The Horizon’ is something I am most proud of.  This character had challenges that many people in the LGBTQI community face and being able to share this with an audience outside that community truly felt like an important part of the job.”

The Perth-native also had the privilege of working with prolific and acclaimed writer Boaz Stark on “The Horizon”, himself known for producing the highest rating episode of Australian television ever for the award-winning series, “Always Greener” (Seven Network).

And the best distinction of Alistair’s role in the critical and audience favourite? Alistair was awarded “Most Outstanding Actor’ for his role in “The Horizon” from the Los Angeles Web Festival, described by Filmmaker Magazine as the “granddaddy of all webfests.”

“That was definitely the icing on the cake,” Alistair offered with a humble smile.  

When pressed for further details, Alistair was reticent but eventually forthcoming.

“It was a shock that’s for sure! I was overseas on a shoot when I received the news and didn’t believe it at first. The Los Angeles Web Festival is one of the best in the world and it was such an honour to even be nominated! But to win, was incredible! It’s a warming feeling to know that this character and my interpretation of the role was so well received, it means I did my job, and that’s’ all I could ask for.”

“The Horizon” was also bolstered by the prominent role played by Daniel Nemes, well known for his work on SyFy hit “The Magicians” and “Unusual Suspect.”

Alistair recalled sharing the screen with the former “Home and Away” star, Nemes.

“Daniel is an absolute star…he and I had actually worked together previously, on a film “Twice Shy”…He is so easy to work with, he is open and supportive to all cast and crew.”

While Alistair might sound like his expectations for his career are fairly simple, the body of work he has built says otherwise.

The young leading man has also been prominently featured in sci-fi flick “Crawlspace” co-starring “CSI: Miami” actor Amber Clayton and “The Originals” star Peta Sergeant and action feature “John Doe: Vigilante,” in which he shared the screen with award-winning “Battlestar Galactica” actor Jamie Bamber. Cooke has won the lead in many films including ‘Memories’ alongside Mia Challis as well as Richies Shift, where he plays ‘Richie’.

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Alistair in character mode for one of his many film projects.

In addition, Cooke has carved out an impressive track record on stage, ensuring his craft has a solid foundation, having ‘treaded the boards’ (as insiders call it) for many years. Indeed, Alistair received critical acclaim for his leading stage performances in “Ladders by the Sea,” a role performed under the direction of Ron Hadeley.

“I ultimately need to be able to serve any character on a whim – it’s a hard job, but I love it.”

Rupa Rathod takes audiences to dystopian future with tremendous graphics for Bastille’s global tour

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Rupa Rathod

Nothing is more exciting for a music fan than getting tickets to see your favorite artist live in concert. The feeling of your body vibrating to the bass of a beloved song in a giant arena is simply euphoric. However, when enjoying the experience, it is easy to forget how many people it took to make the concert so incredible. Not only is there the talent, dancers, and band that one can see, there are also many that have worked tirelessly behind-the-scenes. Rupa Rathod is one of those people. As an industry leading motion graphics designer, the intricate visuals displayed on the giant screens of the show are her masterpieces.

Having worked with several iconic musicians, such as Shania Twain and Kylie Minogue, Rathod’s work has been seen and appreciated on a global scale. She loves what she does, not only working alongside some of the world’s biggest stars, but also being able to merge her passions for music and design.

“Everything catches my eye; shapes, colors, photography, art and perspective, they’re all influences. I’m constantly working out how to turn anything I see into something graphical, abstract and moving. I’m very practical and hands on so my interest in design and art have always been very much a part of who I am,” said Rathod.

Two years ago, Rathod saw great success with her work on the “Wild, Wild World Tour” for the popular band Bastille. The global tour allowed the motion graphics artist to work closely with award-winning Creative Director, Rob Sinclair, band management, and the band themselves to create and produce the screen content with LA based production company and studio, Blink.

“I developed a good working relationship with the band. It’s the notion that you understand their world and so you have their trust on something so important to them. It’s what grounds me the most during these projects and what I aspire to always have with artists and bands,” Rathod described.

Loosely set in a slightly playful dystopian world, the vision for the tour visuals was very specific but also required a lot of collaborative development. The brief for this tour was the notion that big brother was watching and controlling you, set in a future where the whole world was ruled by a fictional corporation, World Wide Communications. Rathod’s understanding of Sinclair and the band’s vision was trusted by the entire design team instantly.

“It’s unusual for a tour, especially with an indie band to have such a strong narrative, so I was sold from the moment I read the concept. In my mind, there was no end to the amount of scenarios that could be created in this dystopian world. I was completely submerged in this environment and pitching my designs, having them approved and then being able to develop all the ideas into real working visuals was hugely rewarding,” said Rathod.

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Shot from Bastille “Wild, Wild World Tour” stage

On a tour such as Bastille’s, the set design is always the beginning of the process. Rathod and her team began producing strong concepts and inspirational references. Once the setlist was completed, Rathod got to work.

As Producer, her role was to develop the initial brief, and oversee and direct the team of animators and visual artists. This involved digging a bit deeper into the references and going back with an initial design. Once her approach was approved, she collaborated Blink’s team of motion graphics artists to bring the visuals to life.

As she is so hands on when it comes to the visual aspect of the production, Rathod is ideally placed to see the project through the final stages of rehearsals. For her, it all comes together when she gets into a production rehearsal with the full band, lighting and all departments working together. As a creator of visual content, her job isn’t just to make great visuals, it’s to create content that’s cohesive with a huge live concert spectacle. Some of the best video moments in the show were not conceived until this rehearsal block, so a big part of Rathod’s job was turning ideas around sometimes overnight to test them on screen the next day. This also allowed her to form a good relationship with the band.

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Rupa Rathod and Kyle J Simmons, keyboard player of Bastille

“I worked with Rupa on the “Wild World” world tour across 2016 and 2017, where she was in charge of creating all the video content for our live show. Her creative abilities are second to none and to be able to interact with her on an artistic level was a hugely fulfilling experience. We hope to use her again and again during the next touring cycles. She is without doubt one of the best in the industry at what she does, quite apart from being one of the nicest,” said Dan Smith, the lead singer of Bastille.

Rathod stayed on this tour for the first few shows, which allowed two weeks to tweak and change content prior to the band’s first big night at the O2 in London. Seeing the fans’ responses from her work made the entire experience even more worth it.

“The reaction from fans as well as reviews acknowledged the visuals I produced and was a welcome recognition of how important the visuals are to the overall concert experience. It’s a completely multi-sensory experience and seeing it through from start to finish is always the most rewarding part. It’s always such a priceless moment when you see it go live, a feeling that I don’t think will ever leave me,” she concluded.

To stay up-to-date with Rathod’s work at Blink Inc., check out their website.

 

Top Photo: Rupa Rathod, Tom Colbourne and Steve Price working on Bastille Tour

Millie Samuels: Film and TV and Everything in Between

Millie Samuels is the first to admit that she’s busy, constantly criss-crossing between different projects and characters. Indeed, what’s perhaps most notable about this young Australian is that she has built an excellent standing for being able to work as an actor across film, television, stage and online content.

“Acting is acting whether for theatre or the screen! The process is the same it is simply understanding how close your audience is. These days people are watching content so closely on their lap tops and are demanding utter truth and transparency which is really exciting to explore as an actor.”

We’re chatting over the phone, and she continues rapid fire. “I’ve been quite lucky that creatives and companies seem to want to work with me again and again. We Aussie’s are a loyal bunch” the blonde actress adds with a touch of Australian wit.

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Millie Samuels, as shot by Imogen Grist.

One example of a successful creative partnership is the inextricable role she has played with Peter Andrikidis’ company Zenmost. Andrikidis’, possibly Australia’s most prolific and successful screen directors, cast Millie in the critical role of Mary in Catching Milat, and then again offered her the role of Clare in critically acclaimed feature film Alex and Eve. Peter’s belief in Millie’s ability to deliver an outstanding performance for the latter was so great that he offered her the role without even having to audition her.

“I’ve said this before: I’m really blessed,” Millie reiterates.

In Alex and Eve, Millie shared the screen with fellow Australian actors Andrea Demetriades and Richard Brancatisano – who, like Millie, are well-known as Australians who have reached the top of their profession by playing leading roles in American series. In their case, CBS drama Murder and ABC Family show Chasing Life, respectively. Filming with Peter Andrikidis on a second occasion was only one part in a series of highlights in her journey as a cast member in the fan-favourite feature. The romantic comedy, which currently screens on Foxtel Movies, was one of the most popular films at the Santa Barbara Film Festival in the US in 2016 and also screened at the Cannes Film Festival Cannes Cinéphiles.

A source advised us, “It was a sell out having to turn away more than a hundred patrons!”

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Millie in “Alex and Eve,” where she played Claire.

Millie explains why she thinks Peter has forged this creative partnership. “Peter appreciated my versality as an actor and recognised that I had strengths in drama and well as comedy. I have also been asked to help facilitate his Masterclasses with Australian Film Television and Radio School which was also an honour.”

Multiple-award-winning actor Simon Elrahi, who played the role of Bassam in Alex and Eve, offered nothing but praise when asked about Millie’s role in the film and why her command of her craft leaves her constantly in demand for acting projects.

“After working with Millie on Alex and Eve I knew I had to cast her in my own (award winning) short film Flow. She is a brave actor with incredible intuitions,” Simon adeptly explains. “I needed Millie’s vivacious energy as part of the cast; the story is very dark and full of tension and Millie was able to bring such great light and ease to balance the dynamics of the film. It was an absolute privilege to work with her.”

Aside from the enjoyable challenge that comes from being able to work with top-tier television talent, Millie relished the commercial and critical acclaim that came with being a part of Andrikidis’ Catching Milat as it enjoyed the highest ratings for free-to-air Australian TV in 2015. It’s no surprise given that the mini-series covered the life of one of Australia’s most notorious serial killers Ivan Milat, with Millie playing the critical role of one of Milat’s first victims, Mary.

“Mary and her friend Therese were the only victims of Milat’s who were able to get away from their kidnapper. My performance was used for the promotion of the series and played an integral part in drawing in a large audience and eventually lead to over 1.4 million views in Australia.” This writer acknowledges that such numbers are unheard of in the Australia market, as the land down-under only has a population of 24 million.

Network Seven no doubt loved the numbers that came from the show, as it helped them take up nearly 28 per cent of all Australian audiences.

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Millie had a prominent role in Channel Seven’s ‘Catching Milat’ and was featured across all of the television marketing.

While it’s clear though that Millie’s role at Andrikidis’ company will continue to be a lucrative one, her relationship with MetroScreen is a testament to her commitment to her artistry and willingness to challenge herself in grittier independent projects.

MetroScreen, a company that was instrumental in developing community access to video and television production through training, productions and capital investment in equipment and facilities, cast the two-time Heath Ledger Scholarship finalist in two esteemed films: The Passenger and Three Heart. 

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Millie at the Heath Ledger Scholarship Awards, for which she has been twice nominated.

When asked about the development process, Millie confidently sheds light on the topic. “The films were green lit as a result of my involvement due to my professional credentials. The films required a lead actor with enough credits and experience to be able to push it into film festivals.”

Her casting clearly paid off for the MetroScreen and the producers, as Three Hearts was nominated for an award at the highly-regarded Dances With Films festival and enjoyed a world premiere at the Chinese Theatres in Hollywood, while The Passenger premiered on the ABC network in 2014. The latter added to the strong connection Millie also boasts with the ABC network.

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Millie’s acting has led to a very strong relationship with Australia’s ABC network.

In her closing remarks, Millie is articulate and thoughtful. “As an actor regardless of the medium or the genre I know there is importance in the work we do. As the world becomes increasingly disembodied and dehumanised by fear and greed it is through our work that can bring change. I am able to remind the world of our humanity through the many characters and stories I am so grateful to be apart of.”

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Imogen Grist Photography

An Interview with Indie Rock Band Migrant Motel & Producer Peder Etholm-Idsoee

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David Stewart Jr. (left) & Chava (right) of Migrant Motel shot by Ernesto Stewart

We recently had a chance to catch up with Norwegian music producer Peder Etholm-Idsoee, and rock and roll power duo David Stewart Jr (vocals, bass, guitar) and Chava (drums, live loops) of the band Migrant Motel, for an interview on their collaboration and upcoming releases.

As a producer Peder draws upon a wide range of skills to help shape and co-create projects with the bands and artists he produces. A highly trained multi-instrumentalist and brilliant songwriter who’s known for his work on a lengthy repertoire of hits, such as Nico Farias’ single ‘Que Los Mares No Se Enteren,’ which took home the Song of the Year Award from the 2015 Latin Billboard Awards, Peder’s passion for experimentation and innovation has been key in the success of many artists.

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Producer Peder Etholm-Idsoee shot by Alex Winters

As much as Peder brings a diverse range of influences into his work as a producer, so do the guys of Migrant Motel. With David Stewart Jr. coming from Peru, and Chava hailing from Mexico, they’re collaboration emits a heavy rock and roll sound that is made even more intriguing by the modern synths, musical arrangement and various cultural influences.

Released last year, Migrant Motel’s album “Volume One,” which Peder produced, offers everything from hard-hitting power ballads and wailing guitar solos through songs such as ‘Snapshot’ to more jazz and blues driven songs like ‘Bottleman.’ Likened to a modern version of Lenny Kravitz’s ‘Are You Gonna Go My Way,’ their powerful single ‘New Religion’ appears on top Spotify rock playlists, such as Dirty Rock and New Noise. A strong and compelling first album that brings in elements of the old and the new, “Volume One” showcases the band’s musical range and magnetic energy, not to mention their potent lyrics.

While some artists can strike it big on their own, most artists who ‘make it,’ whether they’re in the art or music industry, having a visionary backing them like producer Peder Etholm-Idsoe. Someone who sees the bigger picture and acts as a force to ground, inspire and fuel the creative collaboration, makes a world of difference in an artist’s career, and that’s exactly what we see through this collaboration.

Thanks for joining us guys!

First, Peder can you tell us what you feel makes a great producer?

PE: The ability to be as versatile as possible. Always be open to new genres and experiment as much as possible outside of your own comfort zone of genres.  It is easy to make the decisions that you are used to and you know come easy for you, which works of course for a while, but at one point you will plateau your own development and that’s a huge point with music for me, it is always developing.

When did you guys first start working together?

PE: We started or collaboration a little over two years ago now. I saw them play at a club back in Boston, Massachusetts and decided to approach them after their set to word my enthusiasm about the band, and that I would love to collab with them.

How did you know you were the right fit for one another as artist and producer?

MM: After working on one song, “Blue,” we realized the chemistry and final product was unlike anything we’d ever done before. We immediately signed him on for a full album and dove into work.

PE: I truly enjoyed the experience after the first song we did together. Working with raw talent like these guys is always a pleasure for a producer.

Would you say Peder had a pretty strong role in shaping the direction of ‘Volume One’?

MM: Absolutely! Without his help, I don’t think we would have the success that we’re having right now. He was quintessential in the development of our sound, look and vibe.

When did you guys sign with InGrooves and how did that come about?

MM: Our manager Marya Meyer knew of InGrooves for a while and when it was time to choose a distribution method, they seemed like an obvious choice. We met a few times and really enjoyed their energy and enthusiasm for our work, so we signed off on a 3 year deal with them. It’s been a great add to the team.

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Migrant Motel shot by Ernesto Stewart

I hear you have some music videos coming out for two songs off the debut album ‘Volume One’– can you tell us about those?

MM: We have re-releases planned for “Bourbon” and “Physical,” a couple very fun videos for each. There’s still a lot of life in this album that we wanna make sure to explore before moving on to new material.

What other projects do you have planned for the coming months?

MM: We have 3 brand new singles already plotted out with Peder, all of which we are extremely excited about. We can’t wait to share and give more details in the coming months.

As their producer, what was the collaboration like on the new songs?

PE: One word. Fun! Since we are so used to too working together it makes the creative process really fluid. And we trust each other when someone wants to “take a risk” with a musical decision, because 99% of the time it really works out.

Can you guys tell us a little bit about the music videos you have coming out for these songs?

MM: It’ll be a wide range since the 3 songs are vastly different. One may or may not include some very RuPaul inspired themes however! We are working with Christian Klein, a cinematographer based in LA, and his team, and are in the midst of pre-production now.

When are they expected drop?

MM: Sometime mid winter

Peder, how do you fit into the mix when it comes to ideas and the process of creating the music videos for Migrant Motel?

PE: The guys usually bounces ideas during our sessions about music video ideas which makes the whole product really well thought out. It makes the whole project really coherent.

How has working with Peder changed the game for you guys as a band since you first began working together?

MM: Thanks to Peder’s contributions in a technical and artist aspect, we’ve reached almost half a million streams on Spotify, opened for bands like Journey and Cafe Tacuba, and are preparing to tour internationally this year. Working with Peder has ABSOLUTELY changed the game for us.

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Migrant Motel shot by Ernesto Stewart

Why do you enjoy working together?

MM: Peder’s ability to be creative and artistic within his production is something I haven’t seen from anyone else. His fluidity on a technical level is astounding but, above all, the care and passion he brings to each second of every song is what we look for in a great producer.

PE: The natural talent and passion the guys are bringing to the table is a really amazing motivator to “bring your best” to every session, which makes the whole process really fun every time.  Also that David and Chava are some of the nicest and caring people you will meet doesn’t hurt either.

Make sure to checkout Migrant Motel’s social media page to stay up to date with their new releases:

http://www.migrantmotel.com
https://www.facebook.com/migrantmotel/

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