Andrew Searles is seriously funny in upcoming film Cereal Killer

While growing up in Montreal, Andrew Searles always knew he wanted to perform. As a child, he would watch Star Trek: The Next Generation and be captivated not only by the special effects and storyline that made the show what it was, but the performances of the actors. He watched every episode he could, studying how the show was made, fascinating him even more. When was watching other movies and shows, recognizing actors but seeing them play different characters, he was enchanted. He knew that he had to follow in the same footsteps. And he has, Searles is an incredibly versatile actor, just like those whom he idolized as a child.

While also being an established stand-up comedian, Searles is of course capable to deliver a comedic scene. He understands improvisation, and exactly how to deliver a joke that will leave the audience in stiches. However, it is his more serious side of acting that leaves audiences bewitched. He really can do it all.

“I like the aspect of portraying somebody else who isn’t me,” said Searles. “Taking on a new persona, a new identity, embodying their traits and creating an entirely new person, or taking on the personality of whomever I’m supposed to be portraying.”

Searles flexibility as an actor is exemplified further in the upcoming film Cereal Killer, written and directed by Fabrice Barthelemy. Cereal Killer is a comedy that follows Jimmy, a young man who loves eating his cereal. However, things take a turn for the worst when someone in his neighborhood keeps breaking into his apartment and eating his cereal. Jimmy, along with his best friend, Sean, team up to begin an investigation of who keeps eating Jimmy’s cereal. Searles plays Gus, the antagonist in the film. Gus is a very mild mannered, quiet, reserved, caretaker of an apartment building. He often says inappropriate things without realizing he said them. When Jimmy is searching for whomever has been breaking into his apartment and eating his cereal, it eventually turns out Gus was the culprit the whole time.

“Portraying a character like Gus allowed me to ‘get my hands dirty’. I wanted Gus to be a very dark, twisted, soulless type of character. I wanted to use this opportunity to break away from being a ‘comedic’ actor in a sense, and shine as someone playing a character who is disturbed. Even though Gus’s lines would still be comedic in nature, I figured his lines would come off even funnier if they were delivered in a dark, morbid tone, rather than from a goofy, comedic character,” said Searles.

Gus was not originally intended to be a dark character, but it was Searles’ intuition that brought the character to life, and the twist added even more humor to the film.

“I created his personality and traits and integrated them into the film. I also learned how to embody a very serious, dark character, darker than I’ve ever played on camera. I learned how to keep the balance of playing a very serious somber character while playing with the comedic lines and aspects of the film. I wanted to be dark enough so the darkness of his character shined through, and the audience felt that, but not too much where the comedy aspect of the film is off balance,” he explained.

And does his technique ever work. In a pivotal scene in the film, when Gus is being confronted for being the cereal thief, he is extremely serious, as if confessing to an actual murder. He even puts his hands up to be handcuffed after his confession, as if he committed a large crime, but he is just being told he is fired.

“Fabrice originally intended the role to be a fun, goofy, type of character, but wanting to play something different than just a type casted comedic role, I played it my way at the table read and Fabrice lost his mind and hollered at how much he loved my angle on Gus. He was so ecstatic and in awe because he never envisioned his character to be that dark, and it’s his dark humor and awkwardness that made Gus even better on screen. I figured that if funny lines from a funny character are expected and normal, then funny lines from an unfunny and dark character would be even funnier, because it’s not what the audience would be expecting,” said Searles.

Although Searles went in to read for the character of Gus, he was actually approached and asked to play the part without an audition. The Assistant Director and Assistant Writer of the film, Sara Sommers, knew that Searles possessed extraordinary acting capabilities that would make the film even better.

“Andrew is an extremely driven and talented individual. During filming, he displayed his incredible acting and comedic talents. There is no doubt in my mind that he was the correct person for the role. No one else could bring this character to life the way Andrew did. His portrayal was done magnificently and effortlessly and I am sure that he will bring these attributes to all his future roles. Andrew is the type of talent that we do not meet on a day to day basis. He is unique, one of a kind and truly remarkable. He is the type of actor that not only would directors and producers love to work with, but also will be loved by audience members as they will be struck by his presence. I would work with Andrew on a future project in a heartbeat. He truly is a talent to look out for,” said Sommers.

Cereal Killer is expected to be released later this year.

ASHLEY-GIANNA HALLETT: CREATIVELY USING TECHNOLOGY IN THE FASHION WORLD

The way in which we conduct business, just as with our social lives’, has changed dramatically in the past decade. In fact, less than a decade. Cyber Monday is a term that everyone understands. While there are many examples of how technology can be cumbersome, the consumer experience is one which has become much less difficult. Online marketing and shopping was in its early stages in 2009 when Ashley-Gianna Hallett was working at Burberry in London during their entrée into the online world. As a lead force in Burberry’s approach to their website and virtual shopping, Hallett was an important part of enabling fans of this iconic British luxury fashion house with access to ready to wear items while still retaining the signature style for which it has become known. Much of the world approached online shopping with trepidation in these early days but Ashley dove in headfirst with a confidence that resonated with the company and the variety of professionals she worked with, resulting in the successful online shopping presence Burberry has to this day. As during her time with Elite Model Management London (as Talent Manager and Women’s Model Booker), Hallett has always proven that her forward thinking and love of fashion are a union which serves to make each half better.

It’s always a good idea to treat others well because you never know what the future will bring. Ashley has become a force in the London fashion world these days but just a decade ago she was still studying at university. She was just a girl from a big family in South East London who loved the Arts and Fashion. At twenty-one, while finishing up her studies, she began working as a temp Assistant in the showroom of Burberry HQ. She was quickly recognized and would soon join Burberry as a member of the Digital Commerce team. This was a fairly new venture at the time, one which differs greatly from means of the past. Comparing print media and ecommerce, Ashley relates, “E-commerce and print media are different. Print tends to be advertising/advertorial whereas e-commerce is the selling of individual products with detail shots to follow- the customer can directly purchase a product. E-commerce can fit into website advertising via a landing page. A landing page on a website is also like a small scale campaign that focuses on a feel, a look, a story, a collaboration of models wearing several looks from that particular collection. It all depends on the context of the image that is used and where it sits on the website. On most occasions, imagery used for print media will also be used for the site but would can also have a ‘clickable’ feature to purchase individual pieces. These shots would have the same feel although there would be a focal point on each product which is important for the customer. One of the problematic but exciting factors of this avenue is that the aim would be to shoot the collection reflecting the styling of the initial shoot (i.e. Runway show/Advertising campaign). The challenges we faced were reflecting the initial styling whilst also being able to show the customer the product for exactly what it is. An issue that is apparent with all commerce styling from my knowledge and experience of working with several other online brands.”

In creating an online Look book for Burberry, Ashley needed to understand the needs and perspectives of all involved parties from the company through to the production teams and eventually the consumers. This required laying out all aspects and logistics on a granular basis.

The needs and desires of all these groups required a massive amount of preparation, communication, and anticipation. Hallett would meet with the Marketing and Production Design teams to identify the entire collection, breaking down the product lists into Ready-To-Wear and accessories. The collections being shot would be coordinated with the desired models and their schedules. Ashley worked on successful projects/collections such as Prorsum Look Book (2012), ‘Burberry Nude (2011), ‘April Showers(2011), ‘Winter Storm (2010) during her time at Burberry. Coordinating and planning shoots with the studio teams (photographers, stylists, retouchers) while ensuring that the availability of the product, model, and creative teams were all in sync, necessitated that Hallett and her 6-member team were always on top of things and held the Burberry image as paramount. The online shopping presence which Ashley was so instrumental in facilitating during her time at Burberry is the standard of the industry in fashion these days, even though it came into being less than a decade ago. Hallett recalls, “So much has changed in such a short amount of time. When I began at Burberry within the Digital team, some of our processes for shooting were manual. It was a way of being meticulous with the many products housed in the showroom. It was an exciting time as we could develop our own ways of working influenced by the structure and needs of the business. I had a template which was working fine although, as time moved forward and the Digital aspect of the business was rapidly growing, it was only natural for us to refresh our ways of working. I think it was surprising to everyone in the industry how fast things moved. Working closely with styling teams to determine how to shoot from a creative vs e-commerce perspective, model choices for collections, styling guidelines, ensuring we had a faster turnaround of delivering the finished imagery to the website teams…all variables for the normal presentation of products had to evolve quickly. We were growing with the needs of the department and business. Speaking to all teams to ensure we were all aligned with how to produce a slick and seamless structure of shooting key products meant that communication was key and going with a gut decision was most often a necessity.” One of the results that Ashley was proudest of was her oversight of quality control during the re-shoot process. This is often one of the areas which can lead the process to a standstill. Over a two-year period, Ashley was able to minimize the re-shoots by forty percent. Currently considering the further evolution of her career in the Fashion industry, Ashley reveals, “To have a key role in the strategy and brainstorming of creative concepts, to develop an idea and turn a thought and vision into something real and substantial alongside a client, to have creative input into all aspects of a project from the strategy, idea, location, talent, stylist, photographer, budget, retouchers, contractors, set designs…that is a deeper involvement and a lofty goal but I’ve always believed in myself and believed that I could work with other talented and hard working professionals who are committed to greatness as well. Pursuing a career that is creative and in which I am surrounded by creatives, that’s the way I want to look back and see my life.”

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German TV Writer-Producer Kirsten Ittershagen Runs Her Shows with Passion, Precision

Driven, versatile and passionate, German television writer-producer Kirsten Ittershagen, who works as a Showrunner for German and international TV series, has ascended to the top of her field thanks to a powerful combination of raw talent and creative vision. In a decade’s time she went from an entry level aspirant to become the creator, writer and producer on one of the nation’s top series, Alibi Agency, a program that deftly combines comedy and drama into a singular, intriguing format.

The road which led her from a career in advertising to television and Alibi Agency was one marked by fate and determination, an odyssey that began when Ittershagen was a child and came to fruition, years later, after a dramatic leap of faith. “I’ve been a TV fan since childhood,” Ittershagen said. “It all started with Love Boat, Magnum, P.I. and Beverly Hills 90210. My mom was always concerned that I didn’t read as much as my sister did—I came home from school and enjoyed the afternoon by watching German and American TV shows.”

“It became my passion,” she said. “Even during my studies of Sociology, Cultural Studies and Psychology at the University of Hamburg, I still watched TV in the afternoon or evenings. After I graduated, I began working in advertising but still dreamed of a career in the TV Industry. I had to follow my passion in order to be happy and very spontaneously, I quit my job, moved to Berlin and decided to be a writer. It was a big risk, but luckily it worked out.”

Against some steep odds, Ittershagen’s determination and skill began to pay off. Starting as an intern at GrundyUFA (an independent TV subsidiary of the fabled UFA film studio), Ittershagen soon graduated to working out plots as “storyliner” moved on to story editing and before long found herself the head writer on popular, long-running dramas Unter Uns (Among Us), Gute Zeiten, Schlechte Zeiten (Good Times, Bad Times”) and the writer-producer of Verbotene Liebe (Forbidden Love)

“My biggest dream came true,” Ittershagen said. “I got job writing for the company which produced my favorite TV series that I’d watched for years.”

A story teller second to none, her ability to imprint a unique twist on a familiar scenario has served her well, and Ittershagen managed it in a particularly demanding sector of the industry—the high pressure world of TV series. This is an arena of inescapable deadlines, where a writer must not only meet an almost impossibly tight schedule but also maintain consistent quality and narrative poise.

And she did it with impressive skill. “Kirsten combines exceptional creative talent with the management strength necessary to run a room of writers, each of whom has their own character,” said Jan Diepers, Gute Zeiten, Schlechte Zeiten executive producer. ”I remember several occasions where it seemed impossible to continue with a storyline; whether due to budgeting reasons or an unforeseeable incident, but Kirsten never lost focus or her positive, creative attitude. She would usually return from the writer’s room with an even better idea and solution.”

 

Ittershagen’s extraordinary talent isn’t just known in Germany. As a passionate traveler Ittershagen loves to work internationally and for different cultures. For the international company FremantleMedia, Ittershagen worked in Croatia on the show Ruza Vjetrova (Rose of the Wind) for Croation broadcaster RTL, heading up their international writers room. Typically for Ittershagen, the show become one of the most successful in that country. She also developed a TV series called The Mall for the same company, set in Dubai and marketed to air in the Middle East.

 

Following this international success she also became the first German writer-producer invited to join the faculty at Serial Eyes Program, the groundbreaking European postgraduate high-level TV series writing and producing program in Berlin, where she mentors up and coming European scriptwriters and producers.

Her creation and subsequent success of Alibi Agency was almost inevitable. “Ten years ago I had the idea about a guy who helps people to cheat on their spouses” Ittershagen said. “I started research and found an actual alibi agency which offered all the professional lies, fake worlds and realities you need, hiding an affair, two families or even a disease like cancer or HIV from bosses or a job in porn or escort from families.”. I’m a very honest person and I was fascinated and disgusted in the same time. But I realized, in creating these stories, how important is to discuss the value of truth and, also, the easy way out with lies. It resonates with audiences and they reflect on their own lives—‘Would I do the same? Who I can trust?’  And now, on top of that, ten years later, we live in a world full of lies, in the news, the internet, all around us. Whistleblowers coming out with some truths we never wanted to hear, or did we? That’s why Alibi Agency mirrors the contemporary feeling of society.”

 

Her precision, vigor and ability to consistently turn out world class scripts earned her a formidable reputation among her peers—her daily drama shows average 4 million viewers each, and earned her the prestigious German Soap Award in 2012 for “responsible social and humanitarian storytelling” for her teenage HIV-themed story of  the show Unter Uns (Among Us).

Her background in sociology and psychology lend canny depth to her scripts and Ittershagen’s crisp, articulate dialog, sense of pacing and sheer reach of storyline benefit every project to which she contributes. For Ittershagen, with an already significant level or professional achievements, the sky is the limit; as Jan Diepers points out, “Kirsten has an extraordinary ability to spin ideas further than most writers I know.”

And the multi-faceted Ittershagen—writer, producer, series creator, showrunner—wouldn’t have it any other way. “It is an astonishing feeling when you see your ideas, characters and stories come alive on the screen,” she said. “Television is a mass medium that has major impact on society and I want to use it for greater good. I see my purpose as a writer in sending important, uplifting messages to my audience. There is enough fear, pain, violence, hate and terror out there—I think the world needs hope, love, light and laughter. And as a TV writer I have the chance to make the world a better place, at least a little.”

Actress Valeria Gonzalez stars in upcoming film Jaloguin

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Valeria Gonzalez, photo by Victor Crespo

Although Valeria Gonzalez studied Media and Communications in university, she was born to be an actress. Watching movies as a child with her family, she would see actors on the screen and aspire to one day do the same. Even throughout her schooling, she took acting classes, knowing what her true passion was. She moved all over the world, picking up habits and languages from people of all cultures, and with this diversity she can play almost any role. It was when she was studying her masters when Gonzalez decided to leave school to truly pursue acting, and has never looked back.

Gonzalez is a celebrated actress, recognized internationally for her talents. She has starred in many award-winning films, such as Sexy Jalapenos and Isola, as well as the web series Okupados.

“It is privilege to enjoy the whole process of creating a character and playing it, as challenging as it may seem at times, and working as a team with creative and professional people,” said Gonzalez.  

Now, Gonzalez is starring in the upcoming, anticipated film Jaloguin. The film follows Maria, the mother of a 9-year-old who is 8 months pregnant with her second child. While living in Tijuana, she decides to go to San Diego with her son to see her husband on the day of Halloween, and their journey ends up being quite an adventure.

“Maria is a loving and caring young mother, and a strong young woman who finds herself raising her son by herself, because her husband works and lives in another country. But when she finds out that her son is being bullied by other kids, and that she won’t get support from the parents of those kids, she decides to go her husband,” said Gonzalez. “I find that is very common nowadays for families to be separated due to work all around the world, and the reality of dealing with that struggle is something I was very interested in portraying, especially in such a beautiful story.”

Jaloguin is directed by Enrique Unzueta, who Gonzalez describes as being very interested in portraying the city of Tijuana as he knows it, so the locations where they filmed are very unique, adding an extra artistic element to the film.

“Valeria’s ability to connect in the most basic human level to the reality of the character is just one of her many assets. Her hard work and commitment go beyond her performance, she truly is part of the team. Valeria understands that besides an actor, she is a storyteller,” said Unzueta.

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Valeria Gonzalez in Jaloguin

Unzueta is not the only person that recognizes Gonzalez’s extraordinary abilities as an actress, as she was previously nominated for Best Female Actor in the YoungCuts Film Festival in Montreal, in 2013, when she played the role of Nicole in the film Dolce Fantasia. Nicole, an introverted day dreamer, struggles to complete a screenplay based on La Dolce Vita. She is passionate about Italian films and especially films from director Federico Fellini, her favorite movie is La Dolce Vita. Through casual glimpses of her crush, Marc, Nicole subconsciously enters Fellini-esque fantasies channeling her alluring alter ego, Nicoletta, who represents the person she would love to be, an elegant and confident Italian woman. Embodying this confident Italian muse, she captures Marc’s attention and finds the inspiration to complete her script. The film is directed by Jessica Angiuoni, and Marc is played by actor Jacob Frank.

“I felt really honored to be considered for this award. I absolutely loved the story. I related to how Nicole’s daydreams being so far from reality brought her great deception, but at the same time served to create something artistic and to learn and grow by putting herself out there with all her heart,” said Gonzalez. “I loved playing these two characters in one film, her in real life and her ideal woman in her fantasies. Working on how each of them presents herself to the world, one lacking confidence and a voice and the other one being elegant, sexy, confident and smart.”

Despite her successes, Gonzalez acknowledges that there are still challenges to her chosen career that even a skilled actress like herself has to overcome with each new role. She describes the biggest challenge as there being no right way of preparing for a character and playing it on stage or on a set. Gonzalez would tell new actors that they have to be open and ready to fail, ready to try something different, which is what helped her.

“I have learned that there are many ways I can start working and preparing, and I always feel tempted to do so in a way I haven’t tried before. Once the curtain is up or the camera is rolling, unexpected things happen, and in a way, I hope they do, since they make the performance new and real, and it makes me present,” she concluded.

Along with Jaloguin, audiences have the pleasure to see Gonzalez in two new feature films that she will be filming shortly. One of the films is about vampires, an old story adapted to modern LA, and the other is about the relationship between two sisters. Jaloguin is currently in post-production, but is expected to make its way to film festivals later this year.

Art Director Diego Coutinho tackles award-winning film War on Drugo with perfect execution

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Part of the crew of War on Drugo

They say when you do what you love, you never work a day in your life. Diego “Couts” Coutinho knows this to be true. The art director and motion graphics designer spends every day living his dream, and enjoys everything he does. But what makes his job even more enjoyable is working on projects that he truly believes in. When a film sends an important message and he is part of creating it, there is a sense of purpose that goes far beyond loving what you do.

This is exactly what happened when Coutinho worked on the Brazilian film War on Drugo. Although the film was recognized internationally and received many awards, it was working on something he believed in that was truly special.

“I can honestly say that this movie wouldn’t have been possible without Diego as Art Director/Production Designer. He was my right hand throughout the whole production, responsible for directing the Concept Art Crew while also working as Lead Concept Artist; overseeing the production of puppets and settings to make sure the original visual concept wouldn’t get lost,” said director Gabriel Nóbrega.

Commissioned by the Global Commission on Drug Policy, developed by Almap/BBDO agency and produced by Vetor Zero/Lobo studio, the film was to created to motivate a reflection on the consequences of 40 years of “war on drugs”, and to foster a broader discussion of drug policy reform. War on Drugo is set in a fairytale setting. The movie explains the disastrous war against drugs by telling the story of a dragon banished from an ancient kingdom, and how people who spent time with the dragon were thrown into jail. The visually appealing metaphor uses a simple narrative that is designed to help overcome these barriers and break taboos when it comes to discussing the issue with the public.

“The good work in this project was to create a tool to raise people’s awareness, so they can better understand the issue of drug abuse in the contemporary world,” said Coutinho.

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Artwork in War on Drugo

Coutinho took on multiple roles to ensure the film’s success. As production designer of the project, he was responsible for pre-production during the beginning stages. He followed storyboarding, creating and developing characters and scenarios. At the same time, he was the lead artist of the team, so beyond the creation of scenarios, characters and special effects, he was required to pay attention to the development of the project, ensuring other artists were consistent with the conceptual proposal of the film.

After the pre-production was finished, he followed the production and preparation of the pieces so that they were faithful to the concepts. In the sequence, he went to work in the post-production, assuming part of the coordination in the final moment. He also worked as a composer, being responsible for the main special effects of the film.

“It is normal not to have the answer to everything, but you must to be prepared to change what is necessary and correct process failures as soon as possible. So, the sooner we make a mistake, the sooner we correct the problem,” said Coutinho.

Despite War on Drugo being an extremely important project, it became Coutinho’s most-awarded project to date. Besides a lot of print and online press coverage, it was acclaimed by many of the most important awards in the field, and went on to win gold at the London International Advertising Awards for Motion Graphics Design, gold in animation at the Cannes Lions 2015, Gold at the IF Design Awards 2015 in Short Animation, and 16 other awards worldwide.

“Couts isn’t just one of the most talented Art Directors I have worked with, he also has integrity in the way he treats the project and the people,” said the animation director of the film, Lee Peffer.

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Set from War on Drugo

After the success of their previous project, the credits for the Brazilian film Brincante, Coutinho, Nóbrega, and Peffer decided to embark on this project. They knew they worked well together, and therefore used a similar style of artwork for War on Drugo. They used one of the oldest types of animation techniques: stop-motion, using hinged cardboard puppets and miniature sets. Most of the artwork was printed and glued onto pieces of laser-cut MDF, while some settings were hand-painted or created with mixed materials. Coutinho’s team took over 30,000 photographs, and built a total of 13 scenarios and over 300 characters, of which around 80 were animated, meaning they had a structure of articulated joints.

“It was a great time because it was almost like a family, where everyone stopped to talk,” said Coutinho. “We developed the proposal to mix both temporal moments in the film. We can see the logic being applied throughout the film. Early at the beginning of the movie, we see the shot of the king, he’s showed in an American capitol that has a mixed architecture with a castle. The logic also applies to the design of the clothes. In the first scene, you can see two women in medieval clothes walking with shopping bags, as if they were returning from shopping at the mall. The result is a visual of a story of fairytales, but has obvious and direct relationships with today, which helps in having a public identification with the subject, and so we get the opening to about drugs dialogue.”

You can watch the powerful film here.

Dancer Jackson Williams has conquered the United Kingdom

 

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Jackson Williams as a barber during the Take That 3 Tour.

Jackson Williams has already had an extraordinary career. He has toured the world doing what he loves, performed on national television, and worked with those that inspire him. He truly is one of the best dancers in the United Kingdom.

After performing on Simon Cowell’s The X Factor television show, Williams went on tour with the artists around the UK. He journeyed around Europe dancing for Whitney Houston, and went around the Eastern Hemisphere with Kylie Minogue and her Aphrodite Tour. Last year, he travelled all around, performing alongside Ellie Goulding’s Delirium World Tour. But what he says may be the most fun he ever has had on tour was for the celebrated boy band’s Take That 3 Tour.

“They were my favorite boy band growing up. I had posters. I had cassettes. I was young, and I would watch TV and they were in a boxing ring doing break dancing. I remember Take That. They hit the world by storm. They were like The Beatles 2.0. They still pack out stadiums for eight nights,” said Williams. “It was one of the most successful tours that have ever come into the UK. You are on stage with the best, and you can’t complain.”

The stadium tour was entirely indoors, and very theatrical. It allowed Williams to not just be a dancer, but a true performer as well. He went from a sea urchin, to a ninja, and then a barber. They incorporated a variety of styles when dancing, including contemporary, break dancing, puppetry, and even judo.

“There is so much to do when you do a show like this. The stage moves in a circle, the B stage goes up and down, it has ramps, the screens are some of the biggest screens you can get. The manpower is like 250 techies. It is the most creative virtual experience. It doesn’t matter if you are a kid or an adult, it is pleasing to the eye. My dad hates stuff like this, but he went and watched the Take That tour and said that was one of the best things he’d ever seen,” said Williams.

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The Take That 3 Tour Stage.

The 3 Tour was Williams’ third time touring with the band. The experience for him is particularly enjoyable because it is always the same people touring. Some of the people on the tour have been with the band for over fifteen years. The creative director and choreographer of the tour, Kim Gavin, has worked with Take That for the last 20 years  and Williams says he has learned more from Gavin than he has with any other choreographer he has worked with.

“Some of the things Kim asks you to do you think is impossible and he wants it to happen, and it does, you adapt. He always pushes you to the limit. He is just a genius. When he tells you stuff, you think it will never happen, and then it comes alive and you are like how did that happen?” said Williams.

Gavin likes pushing Williams to his limits, and describes him as one of the most renowned dancers in the U.K., always in high demand, and says Williams was a critical factor of the success of the tour.

“Jackson backed the group up with extraordinarily skilled and distinct dance moves and incredibly energetic flow that gave the shows explosive energy. He completely stood out among the rest of the dancers as a leader in every routine, and helped the group captivate the masses with an unforgettable concert experience,” said Gavin. “Jackson was always able to pick up on choreography very quickly and was even able to recreate every dancer’s routine in the shows, and would consequentially step in as the replacement of any dancers who were absent and would perfectly execute these routines due to his diverse vocabulary of styles and ability to handle high pressure. He has an incredible audience connection and has shown a unique ability of bringing his own personality to the stage, and this has made Jackson invaluable to the reputation of the shows that keeps fans coming back for more.”

The audience connection is one of Williams’ favorite parts of touring with Take That. The screaming fans that have loved the band for decades create a high when dancing on stage that is contagious, and dancing alongside the same people that he has been for years is like being with a second family.

“I was dancing for the biggest boy band in the country that everyone loves and knows. If there is any tour I would want to do again, it would be with Take That. It is like putting the Piri Piri sauce on. It’s exciting. There is something about it. You never have a dull day. It always feels different,” said Williams. “Sometimes I wish I wasn’t in it; I wish I was out there watching it.”

One of the most unique and exhilarating nights of the tour involved doing a world exclusive in the cinema. There was a night doing a show at the O2 that streamed a live feed to cinemas all over the world.

“You aren’t just doing it for the people in theatre. You are doing it for 30 million people watching at the theatre,” said Williams. “There are cameras everywhere and people running around. You think about the safety of yourself and the band. We have birds flying around the sky with puppets, and we are dodging cables but the audience doesn’t see that, they see these beautiful birds. It was mental. It was hard work, but it was the best.”

Working side by side with his idols since childhood was a surreal experience for Williams. He was part of the choreography, and the band members would ask his opinion on how things should be in the show. Not many get to have their idols turn to them for advice.

“I know all their songs. I couldn’t help but sing along when I was dancing,” he said.

Williams has conquered the dance field in the United Kingdom. There is not much more he can do in his country that he has not already done, which is why he is heading to Vegas to dance in Channing Tatum’s Magic Mike Live after turning down the opportunity to tour once again with Take That’s tour this year. In his words, he is “ticking off the boxes” to a career of perfection.

MAYER BRINGS A BEAUTIFUL SIDE TO “SHUN”

So much of life is about perspective. The way which we view the situation we find ourselves in, the circumstances that surround us, even the interpretation of this by others…all of these things factor into how happy or fulfilled we are at any point in our lives. The 2015 film Shun depicts these factors in the story of two chefs who happen to be father and son. As cinematographer for Shun, Avner Mayer is in charge of so many points of perspective that it’s practically dizzying. Mayer helps the audience (that’s perspective #1) to see things the way that the son (perspective #2) and father (that’s #3) do, by using his (#4) exemplary skills to communicate director/writer Shiyun (Lavi) Hu’s (#5) story. While many might see the cinematographer’s role as sitting at the camera and making sure the action is in focus, they fail to understand the depth of planning and all-seeing overlook of professionals like Mayer. Great cinematographers not only capture the action during filming but they become the eyes of both the production and the audience, coloring the emotional content to heighten what every other aspect of film creation has done, breathing life into the corporal vessel that is film. If that sounds hyperbolic to you, you don’t have experience in the film industry. A smart director understands that a cinematographer will lift a film to new heights or send it all crashing down in spite of its other redeeming qualities. Shun’s director has worked with Avner successfully on two films (the films Beyond and On The River) and it was due to his ability to cultivate depth in a film that she contacted him to be the DP for this production.

Shun is a very emotional movie for a number of reasons. It deals with a conflict between family, work, and self. Kazuki is a fifty-year-old Sushi sous chef and the right hand of his father (Yoshi) in the high-end grip sushi restaurant “Hasimoto”. Kazuki has worked under his father for the past 30 years but they have very different ideologies regarding food and life. Yoshi runs his restaurant with a strict, traditional, and almost sterile approach. He treats his food like a piece of art and believes others should do the same. For Kazuki food is a way to a man’s heart and soul, a tool to connect to people’s emotions. When Yoshi falls ill, he decides to pass the control of the restaurant to his son. Kazuki finds himself trapped between the need to continue his father’s heritage and in his own wishes. The deceptively simple storyline introduces many difficult emotional ideas. Dealing with the ailments and aging of one’s parents, the desire to find your own path in life and career while also desiring the approval of your parents; these are difficulties that many of us can relate to regardless of our country of origin or vocation. The universality of the theme allows everyone to access the filmmaker’s frame of reference but it was Mayer’s role to make it interesting for the audience. It’s obvious that this goal was well attained with Shun as it was an official film selection for such festivals as: Salento international Film festival (2016, Italy), Montreal World Film Festival (2016, Canada), the Toronto Reel Asian international film festival (2016, Canada), and as a finalist in the “Vizio” and “Dolby Vision” Filmmakers Challenge – Cinematography awards – 2016.

The differences between father and son in Shun establish the conflict that Kazuki (and we suspect Yoshi as well) must deal with throughout the film. Kazuki and Yoshi have drastically different approaches and opinions towards food and the process of creating it. Yoshi has an almost surgical, scientific approach to food making. He runs his kitchen like a Swiss clock factory. The work must be done in a precise predetermined order. Improvisation is not allowed. Yoshi’s connection to food is different. Preparing food is instinctual to him, full of flavor and improvisation. For Yoshi, food is a process of connecting with other human beings rather than a planned and organized ritual. To highlight this, Avner explains, “In order to show the differences between the father and son, we used our lights to create different energy. The lighting is clear, blue and bright when Yoshi runs the kitchen. It has an almost ambient/office feeling.  When Kazuki is in charge, the lighting changes to a dimmed yellow-red environment. This creates a much more comfortable and inviting atmosphere; like being at home.”

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Mayer also customized the lighting for the lighting for the restaurant location in Shun. The choice to create the restaurant on set rather than a preexisting location gave the production the availability to take the time and movement needed for their shots. Avner chose to use ambient studio lighting from above to again capitalize on the freedom of movement during filming. He notes, “The general approach to the lighting was high key and natural. We didn’t want the movie to feel lit but we still wanted to establish a high key ambience. In order to create this effect, we rigged big top light sources to create a soft, natural light. We aimed for a natural Japanese look and I feel we were very successful in achieving the proper look and feel. Camera wise, we wanted to be patient and static. We decided to tell the story mostly using the blocking and editing (different camera positions) and to keep it as simple as possible. This is the way the characters in Shun see the world so we adopted this approach in telling their story.”

While you can see a great deal of Mayer’s talent and skill as a cinematographer when viewing Shun, you won’t see the largest part of it. Director Shiyun (Lavi) Hu declares, “Avner is very precise in his planning. This was a great benefit to Shun since we shot almost everything in a studio, which limited our shots selection.  Avner’s preparation work with our Production Designer allowed us to maximize the space to our need’s, using lighting built into the design and creating moveable set walls for extra flexibility. I had the pleasure to collaborate with Avner as my cinematographer on previous projects. At this point we have a blind understanding of each other, which makes the filmmaking process fast and efficient.” Shun’s producer, Cedric Gamelin, states, “Usually when you shoot a movie, you have surprises in every step. In this project the process was the smoothest I have ever encountered, I must say that Avner and the team’s preparation work made it seem easy. Avner did all of that without jeopardizing the images, which were magnificent! I’m very proud to be a part of the team who created Shun.” Avner Mayer is happy to be a cinematographer that is appreciated and respected among his peers in the film industry, whether it be for his work on set or the planning of it. He relates, “Since I discovered in my early twenties that I wanted to be a part of filmmaking, to arouse that same excitement that I felt sitting in a theater…I’ve always been excited about all the parts of the process. I feel that the key for a successful project usually lays in the preparation work. It requires a lot of communication between all the key groups involved in order to be synched on one vision. When everybody is synched like that, the set can be a big celebration…and who doesn’t want to be a part of a big celebration!”

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From the Stage to the Screen Australian Actress Natalie Page is a Knock Out!

Actress Natalie Page
Australian Actress Natalie Page shot by Andrew Rouse

 

Hailing from Sydney, Australia actress Natalie Page has created a dazzling reputation for herself as a uniquely talented performer whose dynamic character portrayals continually leave audiences wanting more. Over the past three decades Page has amassed an impressive repertoire of work that spans both the stage and screen, with each character she takes on shedding light on the multi-faceted nature of her craft.

In the world of network television fans will immediately recognize Page from her critical roles in the Awgie, Logie and AFI Award winning crime drama “Water Rats,” the long-running series “Deadly Women,” “Australia’s Most Wanted,” “White Collar Blue” and more.  

Page discovered her passion for performing early on in life. Driven to take her craft to the next level she began studying at Sydney’s renowned Genesian Theatre Company in her youth, where she immersed herself in Chekhov’s vast repertoire of work.

“I can bring all of myself to acting as it involves mind, body, energy, voice and a precision that requires my focus and dedication. A craft that I can bring all of myself to is both stimulating and enormously satisfying,” admits Page.

Early on in her career Page put her flare for the art of seduction on display in the critical role of a sultry mistress in the hit romantic drama “Home and Away,” which has earned a whopping 26 Logie Awards and six Awgie Awards to date.

In the series “Water Rats” Page struck a chord with audiences with her performance as a hostage fearing for her life. Sharing the screen with Astra and Logie Award winning actress Catherine McClements (“Tangle,” “Rush”) and Film Critics Circle of Australia Award winner Colin Friels (“Tom White,” “Ground Zero,” “Malcolm”), Page held her own acting alongside Australia’s best without ever missing a beat.

Her ability to tap in and embody the fear one feels when trapped in a situation where the question of whether she will live or die lays in the hands of a desperate criminal landed her another critical role as a hostage in “Australia’s Most Wanted,” which aired on Australia’s Nine Network, one of the two highest rated networks in the country.

Page’s incredible range has allowed her to portray the victim as believably as the villain, something she proved when she took on the starring role of Marie Noe in the popular series “Deadly Women” episode “Murder of Innocence” narrated by Lynnanne Zager (“Hotel Transylvania 2,” “Transcendence,” “Kung Fu Panda 3”).

A Philadelphia housewife who gave birth to 10 children, with two of them dying at birth and the other eight dying under suspicious circumstances, which turn out to be caused by her own hands, as she admits to strangling them nearly 30 years after the fact.

The way Page taps into this sinister, real life character, mastering Marie Noe’s Philadelphia accent and embodying the character’s mannerisms on screen not only makes the story that much more believable, but one that undoubtedly sends a shiver up the spine of all who watch the episode.

The actress admits, “I like a project that will present a challenge and one in which I can bring something unique to the role.”

While Natalie Page has left an indelible mark in the minds of audiences through her on-screen roles, she’s made just as powerful of an impact through her performances on stage. In 2014 she took on the starring role of Millicent in Brett Garland’s revival of “Estranged” staged at Sydney’s Tap Gallery theatre, which debuted in Australia during the Mardi Gras Festival.

Written by renowned playwright Jason Charles, “Estranged” brings to life the story of a dysfunctional family who comes together for the wedding of one of the sons while exploring themes of sexuality, societal acceptance and the way judgement can divide us from those we love. The mother of the son to be wed, Page’s character Millicent is the divisive force who causes the original rift in the family decades prior when she passes harsh judgements on her sister and subsequently banishes her and her son from their lives. As the drama and tension plays out over the course of the nuptials, we see Millicent and her sister engage in malicious attacks against one another, with Millicent going as far as to slap her sister in the face in front of everyone, a challenging move that Page pulls of with precision.

 

Natalie Page
Natalie Page (left) & Lena Sandberg (right) in “Estranged” shot by Brett Garland

 

Page explains, The reason I liked this role is because my struggle to accept such a mean spirited person was vast– I had to overcome this and be prepared to allow people to see me in a very ugly light, even slapping my sister across the face… When I completely surrendered to the role my work flourished.”

It comes as no surprise that the production received rave reviews across Australia as Page gave a phenomenal performance as the mean spirited Millicent in a portrayal that made her character one who is easily loathed by audiences.

While Page’s acting skill and commanding presence on the stage and screen have made her an easy fan favorite, these qualities have also been a huge draw factor for high-profile companies across the globe who have cast her as their lead actress. In 2014 she starred in a commercial for the popular Australian noodle company Maggi, and most recently she landed the lead role in a commercial for Australian Seniors Funeral Insurance, which is currently airing nationally across Australia.

UK Actor Anthony Warren Nails it Again with the Film “Hard Time Bus

Anthony Warren
Anthony Warren shot by Will Tudor

With lead roles in several highly rated BAFTA Award winning series and now the award winning feature film “Hard Time Bus” produced by 2HotFilms, Anthony Warren has enjoyed a tremendously successful acting career. The fact that he has now appeared in so many celebrated projects, and the addition of his most recent performance in “Hard Time Bus,” have made it clear that Warren’s success is a testament to his sensational skill, hard work and magnetism on screen.

If there’s one trend in Warren’s long list of characters, it’s his inimitable ability to convincingly slip into the world of crime. Warren’s feature films include the crime drama “The Contract” where he acts opposite Golden Globe nominee John Cusack (“Serendipity,” “Maps to the Stars”), as well as the Golden Reel Award nominated crime thriller “Control” starring Ray Liotta (“Goodfellas”) and two-time Oscar nominee Willem Dafoe (“Spider-Man”).

In the world of television Warren’s taken on recurring key roles on several hit crime dramas such as the two-time BAFTA Award winning series “The Bill” where he acts alongside Simon Rouse (“The Practice”), “Eastenders” starring Patsy Palmer (“Do or Die”) and “Murphy’s Law” where he shares the screen with Golden Globe nominee James Nesbitt (“The Hobbit: An Unexpected Journey”).

With such an impressive resume, Warren has certainly forged a distinguished and unique reputation for himself in the entertainment industry on an international level.

Warren, of course, did not wake up a success overnight. “I got into acting over twenty years ago,” Warren remarks. “Initially starting as a hobby, however, [it grew] into a passion and eventually a career choice.”

It’s clear that Warren has taken his craft seriously. After graduating from one of the UK’s leading drama schools and performing with the Ovalhouse Theatre Company, Warren has gone on to act in numerous film projects in the UK and Europe. He has worked alongside twice Academy-Award nominated director Bruce Beresford, Morgan Freeman, Michelle Rodriguez and many more household names.

 

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Poster for “Hard Time Bus”

 

Now, with “Hard Time Bus” having screened internationally and recently winning the Jury Prize at the Hollywood Black Film Festival, Warren has yet another impressive credit to his resume. Directed by Dean Charles, also known for “Birthday Treat” starring “Casualty” star Neil Reidman, “Hard Time Bus” is a multi-faceted drama that examines the complexities of modern relationships and deceptive friendships. Warren brilliantly explores the latter in the lead role of Langas, a Jamaican-Patois speaking character who has no problem with bullying or cheating money from others.

 

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Still of Anthony Warren as Longas in “Hard Time Bus”

 

In a reflection of how he skillfully portrays people far different from himself, Anthony speaks of Langas like he would an old college friend. “He is so horrible to people around him but lovable to the audience in the way he is horrible – if he was one of your friends you’d keep a distance or want to punch him in the mouth.”

The film’s iconic pool hall scene, where the characters fight after Langas trash talks the girlfriend of one of the pool players, was a particular highlight for Anthony. “The scene had actors that I had worked with before and [am] still good friends with.” 

 

Michael Ellis Anthony Warren
Still of Michael Ellis (left) and Anthony Warren (right) in “Hard Time Bus”

 

It’s no surprise that Anthony’s maintained friendships with his fellow actors – those in the entertainment world are fully aware of his commitment and significant contributions to the industry. Besides his work of course, he has mentored numerous young actors and actresses and developed a reputation for being a friendly collaborator with everyone on set.

He admits, “It is a really different dynamic when you work with your friends. I feel a lot more at ease due to the experience and history we have together.”

With a cast that includes Aren Devlin (from Brad Pitt’s “World War Z”), Roger Griffiths (“Holby City,” “Doctors,” “Doctor Who”) and Naomi Ryan (“Guardians of the Galaxy,” “Mr Selfridge”), “Hard Time Bus” puts Warren in a position to call some illustrious company his friends.

The added benefit of being everyone’s favorite guy on set? People want to work with you even more, so it will come as no surprise that Anthony is slated to be involved in future productions produced with the production company 2HotFilms.

ARCIONI’S ECLECTIC TALENTS PAVE A NEW PATH FOR TODAY’S EDITORS

There is no questioning the fact that the way the world disseminates and receives information and entertainment is forever changed. “Appointment TV”, a staple of the home viewing industry only ten short years ago, is almost nonexistent thanks to the DVR. You can watch a film that was released in the theater within almost three month’s time on a plane. Digital Downloads now result in more viewers watching on their computer or smartphone than any of the traditional means previously commanded. News and entertainment go everywhere on the planet and they get there quicker than ever before. While this has caused previous models to take a financial hit, it has also produced an industry that has more creative professionals involved in production that at any point in history. The belief is that that not everyone succeeds but, as the saying goes “the cream rises to the top.” Ana Arcioni is among this new breed of professionals. A highly in demand editor with a widely diverse resume, Arcioni has the ability to work with productions around the globe who seek out her consummate abilities. Empowered with a wider sphere of influence than that afforded to previous professionals means that editors like Ana are offered a host of diverse opportunities, something which is a part of Arcioni’s list of desirable qualities. Productions like the animated film Reality Takes Place, EATV (Educational Access Television), and Premiere Pictures International Inc. are just a short list of the employers who have enlisted this talented editor to make their creations even greater than before.

When Ron Merk, owner/president of San Francisco based Premiere Pictures International Inc. approached Ana about working on the company’s new S.E.Q.U.E.N.C.E. project (as a film/video Editor and Artistic Supervisor for Trailers, Promos, Teasers, and interviews), it seemed to her like an opportunity to be really creative and on the ground floor of something new to the industry. It also gave credence to the company’s belief that Arcioni could display their technology and approach to the best and brightest of the industry. The owner and president of Premiere Pictures International Inc. declares, “Ana’s work with S.E.Q.U.E.N.C.E. proves to the world that It does exactly what I had in mind; it gets the viewer intrigued and want to ask ‘what is this and when can we see it?’ Editing has its own rhythm and pace, and the project itself is going to tell you when to stop. I love that Ana can read my director’s mind and put together a video like if she was? reading my mindWe’re in the business of giving great editors great tools, look no further than Ana Arcioni as proof of this.” In addition, Ana participated in the projects Outrageous, Repeace, and Harvest during her time at Premiere Pictures International Inc..

Ana’s work with EATV is yet another example of the difference in content that she edits. Ana utilized a variety of skills at EATV; doing promos, intros and station ID’s. Some of her editing work with EATV has been viewed at the Festival of Moving Image 2016 (Roxie Theater in San Francisco) and the animation film festival at the Niles Essany Film Museum. Working with producer Jody Yvette Wirt, directed by Maya Prickett, and starring Maya K Chenille, Shoebox Circus was one of the most popular productions at EATV. Shoebox Circus’s content is meant to appeal to a mainly young audience, something that Ana sees as inconsequential to her role as editor. She states, “The fact that the programs are dedicated to children or adults is only a subtle difference, as in the case of a program of urbanism or any other nature. Politics, art, geography, travel, cooking, science, new discoveries, astronomy, there’s an infinity of things. I love them all as long as there is variety. What I love most is the absence of routine. One of the most appealing factors in my line of work is diversity. For Shoebox Circus, Jody raises the idea and gives the tone of the idea. I work with that idea with After Effects editing to have a product which matches that idea. I’m happy to be working with Jody because she has a unique voice and that makes it interesting for me.”

Proving that her work bridges the gap between child and adult is the animated production Reality Takes Place. This inspirational drama discusses friendship, positive perspective and thinking, as well as death vs. life. The topics can be light and then switch quickly to having substantial gravitas. Reality Takes Place was selected and screened at: City Shorts Film Festival at Diego Rivera, Artist Television Access, Festival of the Moving Image, and the Bernal Heights Outdoor Cinema. Ana felt that her work on this production revealed things to her about editing as well as the role of all filmmakers. She explains, “Reality Takes Place is drawn and animated by myself using the Adobe Flash program. The voices are recorded in a small studio through Pro Tools, as well as the Foley effects. The first-line editing was made with AVID. The tweaks, and retouches (including sound design) were made with Final Cut Pro. On and off it was a total one-year project. In my opinion (and I know that not everyone will agree) every independent filmmaking process starts from the editor’s point of view. The more you get to edit and the more you gain experience at it, the more expert you become in shooting and in directing because you know what you want, you know the type of shots that you need. If an editor has a say in the production, or has a good relationship with a director who listens to him/her then the film benefits. I think the editor is the one who understands the most because they have the film in their head and know what shots are needed in order to make the finished piece look good. The editor can advise the director with insight like “don’t do that because it will be impossible to fix in post” or the opposite, “don’t worry about that because I can fix it in post. Being a part of any production is about teamwork. Of course I see the importance of my role as an editor. I also understand that my greatest asset is my ability to make everyone else’s work look even better, that’s why I enjoy editing so much.”

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