The New Face of Entertainment: Adam Pedicini

Adam Pedicini
                                                           Adam Pedicini shot by Andrew Raszevski

Australian entertainer Adam Pedicini has displayed a rare talent — the ability to seamlessly take on the roles of television host, model, dancer, and actor in a multitude of genres from drama to horror to his personal favorite, comedy. Pedicini’s strikingly good looks also put him among the ranks of such Aussie heartthrobs as Hugh Jackman and Russell Crowe.

Pedicini has been an avid fan of the theatre his entire life, and when he began acting on stage as a teenager he immediately proved to be a natural. His first performance was in a play called Patrick’s Hat Trick, which was aimed at a young audience. His role as a struggling magician was so popular it earned the play tour dates across much of New South Wales and Victoria in south Australia.

His theatre experience is impressive, and his prolific dedication to the stage stems from his love of the art form. In addition to Patrick’s Hat Trick, he’s played the famous role of Puck in the Australian Shakespeare Company’s production of the classic A Midsummer Night’s Dream, a prestigious role in itself. In his roles in the double-billed productions of writer Mark Dunn’s Judy Garland Slept Here and Full Frontal Male Nudity, he showcased his comedic talent, while also shining a spotlight on issues facing the LGBT community.

“The first play dealt with the homophobic issues of a small country town in Southern America,” said Pedicini. “The second looked at the body image of gay men. Although both were rather funny plays, they also had a strong message about gay rights and issues.”

With his incredibly outgoing personality, and being an avid supporter of LGBT rights, Pedicini also had the privilege of hosting the televised Sydney Mardi Gras parade. The parade was organized in part by Academy Award nominated actress and comedienne Lily Tomlin, and earned more than $30 million for the state of New South Wales, making it the second-largest event in the state in terms of its economic impact.

An entertainer with no boundaries to his medium, Pedicini is incredibly proud of his work in film. His feature film projects include True Face and Cold Feet. In True Face, he actually plays two characters with vastly different personalities, and it isn’t until late in the film that the viewer discovers the characters are actually the same person. Cold Feet is a comedy-horror film about a bachelor party, where Pedicini’s character Barry is playing the “bad influence” on his betrothed friend Freddie.

The director of True Face, Lauren Batschowanow, spoke highly of Pedicini’s devotion to his craft, and of his chemistry with his co-stars.

“Adam’s charisma and confidence made it easy for his co-stars to be natural in the scene,” said Batschowanow, “and it certainly created electricity on screen, which is what every director dreams of!”

Passionate about traveling the world, Pedicini has done a great deal of jet-setting. At the beginning of his career as a dancer, he performed on cruise ships as a way to see the world; within a few years his immense talent earned him a place dancing onstage across Europe with Cascada, the gold- and platinum-certified German dance-pop trio.

“There’s a special bond that a performer has with a crowd, and I really feed off that,” said Pedicini. In addition to his tour with Cascada, Pedicini has also performed in the Britain’s Got Talent, UK X Factor, and Australia’s Got Talent.

With such a multi-faceted and rare set of talents, Adam Pedicini is certain to become the new face of entertainment.

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Dean McCarthy: Australia’s Hollywood Insider


Dean McCarthy
Dean McCarthy (left) interviewing Niall (left from center), Louis (center) & Liam (right) of One Direction.

Dean McCarthy is the Hollywood correspondent for leading Australian entertainment news program, Scoopla. He interviews celebrities, attends red carpets and delivers the latest entertainment news to TV and radio programs all over down under.

At first glance you would think he actually walks the red carpet. His movie star looks are topped off with blonde locks and the perfect Hollywood smile. That’s not where the charm finishes though. Out of nowhere comes the thickest Australian accent you’ve ever heard. It’s polished, but undoubtedly Aussie.

He is the fresh new face of the Hollywood hosting world and quickly becoming a connected and well-respected member of LA press circles. He has covered every major award show and attends most of the major red carpet premieres too.

What’s even more interesting is how he ended up in Hollywood. The self confessed “boy from the bush” actually grew up in the middle of Australia, on a farm as the youngest of four boys. His first ever job was hosting his own radio program at the local station, 2TEN FM.

He attended boarding school in Queensland, where he excelled in speech and drama and was featured in various local and national TV commercials. After school he was accepted into the prestigious Queensland University of Technology’s Business School and had a part time role hosting “Cinema”, a TV program that aired on Briz 31.

It was when the producer of The Labrat, Camilla & Stav show offered Dean a gig as the movie reviewer on their morning radio program that things took off. “It was such an exciting time for me. I would wake up early and go into the station to review movie’s live on air.” Dean said.

Soon after, a friend submitted Dean for a unique modeling assignment, to be the face of a theme park in Australia called Dreamworld. His face was digitally created to look half wet and half dry, to promote the launch of a new water-park. Dean confesses that the reach of the campaign was overwhelming. “It was everywhere. They had me on busses, billboards, life size cutouts in malls, I even saw my face on a pizza box”.

Dreamworld
   Dean McCarthy on a billboard for Dreamworld in Australia (Photo courtesy of Dreamworld)

Dean then put his media career on the back burner and progressed with Austereo as one of their top advertising executives, eventually landing a promotion and transfer to their Sydney office, but his real dream of TV and radio never ever died. After months of auditioning, Dean was selected as a back-up reporter for The Dirt TV, an online program at the time. “The Dirt TV was fantastic. It was all about entertainment news, and I am fascinated by all things Hollywood and celebrity”.

In 2012 Dean was cast as a “fake” housemate on Big Brother Australia, a stunt by producers to drive ratings and controversy with the original 12 housemates. Shortly afterwards Dean moved to LA and his dream of reporting from the USA became a reality. His first assignment was to cover the red carpet of the Nickelodeon Kids Choice Awards. “I was terrified. They placed me on the red carpet next to E! News’s correspondent, Khloe Kardashian. There I was, standing next to Khloe, interviewing A-List celebrities in Hollywood. It was the dream coming true in front of my eyes”.

The success of The Dirt TV continued and the online program became telecast during prime time nationally on Channel 11, ONE and Southern Cross TEN. The name then changed to Scoopla and Dean became the regular and key Hollywood correspondent.

Red carpets are now a breeze for this talented Aussie, having covered dozens of them and interviewed countless A-List celebrities. He confesses that his days of getting intimidated are long gone. “I don’t bat an eyelid anymore about who I’m interviewing. I interviewed One Direction in front of thousands of screaming girls, Tom Hanks in front of hundreds of paparazzi and I’ve sat down with Oscar winner Jennifer Lawrence. They are all just people, exactly like you or I. The only difference is that everyone in the world knows who they are.”

Dean now also reports for Scoopla online, and often crosses during the national radio program, syndicated on the Today Network. He recently became the Hollywood correspondent for Hot FM and Star FM too. In September 2014, Dean joined the Beverly Hills Lifestyle Magazine team. “I interview celebrities and review luxury cars, houses, hotels, anything that our readers adore, really. I absolutely love it.”

His role with the prestigious magazine has opened up connections and contacts that Dean had never imagined possible, and even landed him cameo appearances on the popular TV show The Real Housewives Of Beverly Hills, which airs weekly on Bravo.

With an intensely busy schedule, the determined reporter still manages to squeeze in his favorite past time, the gym. The results certainly show. “Second to my career, my greatest passion is health and fitness. I am obsessed with it. I train almost every day and I am very very dedicated. I have become even more focused on it since moving to LA and hanging out in Hollywood”.

At 30 years old, Dean has carved out his dream life and even his dream address in the exclusive Hollywood Hills. So what’s next and where does one go from here? “I want to build my career further in America. I am still very rooted in Australia, I’m in the process of building a home back in Aus as we speak, but while I’m here, I want to make the most of this incredible country and this exciting city”.

Sofar so good: Estefania Sequeira on the best-kept secret music movement

Ever wonder what it’s like to be one of the behind-the-scenes people in one of the most behind-the-scenes movements happening today?

Estefania Sequeira happens to be one of those very cool people. For the past few years now, Sequeira, an editor for film and music videos, has helped shape Sofar Sounds, an underground music event that’s spreading at the speed of, well, sound.

Sofar Sounds
      Estefania Sequeira capture the magic of a Sofar Sounds’ event

The movement’s formula is basic, but brilliant. Sofar Sounds brings together a group of people in a small space, for example someone’s backyard, living room or even a desolate barn out in the sticks, where attendees share the similar desire to listen to really, really good live music.

Whether it’s the result of social media and its lack of human contact, the quick and cheap downloadable tracks of our time that leave people craving real raw sound, or all those packed festivals that went on for days and days and days— for music lovers, Sofar Sounds is a grassroots breath of fresh air that offers the close-knit community experience that has been so hard to find in the modern age.

For those who have missed the global phenomenon to date, this isn’t your catchy Groupon gimmick. The story of how Sofar Sounds started is repeated just about every time the name is mentioned. This lends even more to its lore, which goes like this:

Sofar Sounds began in London in 2009, when three friends—Rafe Offer, Rocky Start and Dave Alexander—went to a pub to hear Friendly Fires, a band whose debut album the year before had cast them into success. But when these three music-loving friends got the chance to hear the amazing band—it was in front of an awful crowd.

Recalling that night, Sofar Sounds founder Rafe Offer, who is actually a Chicago native, tells the Wall Street Journal, “Rocky, Dave and I all could not believe that this superb band was playing their hearts out and yet half the room was busy talking about other things, fondling phones or clanging drinks.”

Of the guys, Dave Alexander was, himself, a musician, who invited a few friends over to his London flat to try out some of his new songs. The atmosphere at that event was so markedly different, and better, than the night at the pub that these guys decided to host another one just like it.

It didn’t take long for their idea to take off—and land overseas. One of the first major cities to latch on was San Francisco, where film editor Estefania Sequeira, a life-long music lover who earned her BFA in Motion Pictures and Television, helped firmly implement Sofar Sounds in the US.

Already making music videos, Estefania’s editing skills and knowledge of the area’s music culture made her the perfect person to translate the founders’ idea—which, remember, is meant to introduce good music beautifully.

In a way Estefania Sequeira jumpstarted Sofar Sounds SF using her background in editing to shoot and cut videos of the group’s events, among other things. “I’ve worn many different hats, as I’ve been very involved from the beginning stages,” Sequeira explains. “I was there in San Francisco when it was first starting out. I was the video production supervisor, as well as a videographer and editor. In Vancouver I took more of a leading role and managed the whole event while also being very involved in the video production.”

In addition to the San Francisco and Vancouver, Canada branches, she has also participated in some events in Costa Rica. Definitely a labor of love, Sofar Sounds requires a lot of amazing people to make these secret music events happen. Money has never been a big issue as the events are financed by attendee donations, which pay the production staff, including great talents like Estefania Sequeira, and also covers the cost of the beer, wine, and refreshments served.

Using cell phones and other recording devices is usually discouraged during the gigs, so having someone like Sequeira, a trained videographer and editor, there to record the acts and putting out excellent quality videos of Sofar concerts is incredible. Those videos will be the only chance most people ever get to see these gigs, since the number invited to attend is so low.

However, even though Sofar Sounds’ attendees are hand picked, it’s worth the effort and so much fun to try and gain acceptance. First go onto the Sofar Sounds website and sign up for the newsletter. Pick a city (again, with the popularity there’s bound to be one nearby) and fill out a brief survey. Yes, survey—to determine if you’ll be selected to attend.

The locations are kept secret until hours before. Even the performers’ names are not usually disclosed. For those invited to attend, they arrive and are guaranteed an unforgettable music experience. For those performing, it’s a chance to gain new fans as well as make contacts with other musicians. Sofar is about really cool people, like Estefania Sequeira, who love good music and want to hear it, rather than watch a mass of phone screens float in the darkness of a crowded club.

Sofar Sounds
                                       One of Sofar Sounds’ events in San Francisco shot by Estefania Sequeira

Half-Korean and half-Costa Rican, Estefania describes how the movement is universal at its core. She says, “I think people love how global it is. How you can experience the same event in different parts of the world. Also, both the musicians and the guests relate to the respect for music that Sofar Sounds represents.”

So what once was known as “Songs from a Room” has morphed into Sofar Sounds. And what once was a room in a London flat has grown into a worldwide movement.

Sequeira, who continues to also work full-time on her documentary films and music video projects as well as with the movement, says Sofar should never lose its essence, the closeness to the music and to others.

“People love Sofar Sounds because of how intimate it is and because of the music you’re able to discover through it,” she says. “It will always hold a special place in my heart. It’s a truly special community to be a part of.”

Spotlight: Captivating Dutch Model Eva Rutten

Originally from the Netherlands, model Eva Rutten has made her name known throughout the international fashion industry with her mesmerizing beauty and vast repertoire of work. Rutten, who is currently signed with Susan B Talent & Management NYC, and Network Model Agency in Antwerp, Belgium, won a huge make-up campaign at the age of 19 making her the face of Teeez Cosmetics for five years.

With an Indonesian mother, a Dutch father and an Italian grandmother, Rutten’s unique ethnic background has given her an inherently exotic look that is versatile and highly sought after across continents. Rutten says, “I’m a chameleon, I can do all kinds of looks. I can look Asian, Caucasian, Spanish and African American. I also speak several languages including English, German, French and Dutch.”

Eva Rutten
Eva Rutten shot by Edwin Van Wier

Since she first got her start in the industry at the age of 12, Eva Rutten has not only won an impressive list of international modeling competitions and had incredible success as a print, commercial and editorial model, but she has also created an astonishing repertoire of work as a runway model.

One of Rutten’s most notable accomplishments as a runway model came when she was chosen to walk the runway at a Diane Von Furstenberg event in New York City. Diane Von Furstenberg, formally known as Princess Diane of Furstenberg, is best known for her clinging jersey wrap dress, which she introduced in the early 70s. Since its first introduction the DVF wrap dress has continued to be an iconic staple of contemporary women’s fashion; and, due to the heavy influence it has had on the fashion world and the modern working woman, not only are several of DVF’s wrap dresses included in the Costume Institute’s collection at the Metropolitan Museum of Art, but the Los Angeles Contemporary Museum of Art dedicated an entire exhibition entitled ‘Journey of a Dress’ that showcased the designer’s dress in a myriad of prints and patterns last year.

To be chosen to walk in an event for a designer of this caliber puts Eva Rutten in league with supermodels like Naomi Campbell and Lindsay Ellingson, who have both walked for the designer as well. Rutten has also gained worldwide attention with her participation in several well-known international modeling competitions. In 2011, she became Miss World Bikini Model Netherlands, as well as Miss European Tourism of the Netherlands. These winning titles put her in the running for the Miss World title for which she went to China to compete against the best models the world has to offer, where she placed in the top 20.

Eva Rutten
2011 Miss World Bikini Model Netherlands Eva Rutten

In addition to her outer beauty, Rutten lets her inner beauty radiate outward through her work as a model; and, she is intent on breaking the stereotypical stick-figure body type that has become the standard for models across the industry while also helping other women follow their dreams.

Several years ago Eva Rutten began using her notoriety to put the spotlight on the Women Empowerment Foundation, a non-profit organization through which she has dedicated herself to helping women and children who are victims of trauma. Rutten is also passionate about fitness, something she has used along with her recognizable name as a model to help children in Indonesia. Through a collaboration with Child Support Indonesia, Rutten organized a kickboxing event called “Eva’s Boot Camp,” as well as a model workshop, donating the proceeds from her events to the organization.

Eva Rutten
Eva Rutten on the flyer from Eva’s Boot Camp

Rutten says, “I love to help children because I strongly believe they are the future. I want to be able to inspire them to become whatever they want, because there are ways to make things happen even if they weren’t born into the best circumstances, if they want something bad enough there is always a way to achieve it.”

With beauty, brains and talent, Eva Rutten is undoubtedly the whole package. In the past she has starred in several national commercials including ones for Samsung’s Galaxy S2 and S3 commercials and she looks forward to becoming the face of many more brands once she solidifies her place in the American fashion industry.

 

 

Producer Meric Aydin Unveils His Highly Anticipated Upcoming Projects

Meric Aydin
Producer Meric Aydin

Visionary producer Meric Aydin has displayed a keen eye and untiring work ethic through his work on projects such as the critically acclaimed Zayiat. While Zayiat did incredibly well on the international film festival circuit being chosen as an Official Selection of the 2013 SXSW Film Festival, the International Film Festival of Colombo in Sri Lanka, and the !f Istanbul International Independent Film Festival, Aydin’s upcoming projects are set to be his most ambitious yet.

As a producer, Aydin is heavily involved in every aspect of a production, giving him a great deal of responsibility for and influence on every production to which he lends his name.

“The producer is the person who’s with the project from the beginning to the very end, doing whatever it takes to achieve production and release,” Aydin explained about his work. “I genuinely enjoy every stage.”

Working from behind the scenes, Aydin’s mastery of the filmmaking process ensures his projects run like a Swiss clock. This year will mark the release of two highly anticipated feature films from Eclectic Pictures, both bearing Aydin’s distinct touch. The first, Septembers of Shiraz, is a thriller with a backdrop of political turmoil. The film centers on a Jewish family in Tehran after the Iranian Revolution, and their lives following the fall of the Shah. Septembers of Shiraz will feature an all-star cast, including Salma Hayek (Frida, Once Upon a Time in Mexico) and Adrien Brody who received an Academy Award for Best Actor for his performance in The Pianist.

Also set for release later this year is Frankenstein, a project in which Aydin played a critical role in getting off the ground, and one that is sure to terrify audiences. A contemporary metamorphosis of Mary Shelley’s classic novel led by director Bernard Rose (Candyman), whose work has been known to give millions of people nightmares, for fans of the horror genre the new Frankenstein will undoubtedly be on the top of list of films to see this year.

As for lovers of films riddled with suspense, Meric Aydin recently began the first phases of production on The Census Taker, a film destined to keep audiences on the edge of their seats. Inspired by the classic style of Alfred Hitchcock, this enthralling mystery follows a wealthy New York couple who find the body of a real estate developer in their apartment. When a census taker arrives at the house and witnesses the scene, a police investigation ensues, but the plot begins to thicken when the census taker disappears. The Census Taker is being produced by Eclectic Pictures.

With his experience touring the festival circuit, it’s fitting that one of Aydin’s most ambitious productions yet is set in Cannes. Du Cap follows a former paparazzo as she is called back for one final job covering the famed Cannes Film Festival. Staying in the glitzy Hotel Du Cap and reporting undercover, she becomes wrapped up in a series of events, which culminate in the murder of a star. Aydin will be working with producer Heidi Jo Markel (Olympus Has Fallen, As I Lay Dying) on Du Cap, which is being produced by Eclectic Pictures as well.

As he has climbed the ladder to the top of the film industry Meric Aydin has proven that he is the kind of producer that makes successful films, but beyond success Aydin is dedicated to making pictures that bare a deeper meaning.

“I’d like to achieve the creative power to tell thought provoking stories that bring up issues of misrepresented people, topics that are controversial to deal with and causes that we all care about; environment, animal welfare and poverty alleviation. I also wish to add to these exciting and engaging storytelling,” said Aydin.

Aydin’s interest in political, philosophical and humanitarian issues is apparent in both his work, as well as his personal life. In his native Turkey, Aydin volunteered with the philanthropic organization UNIRC where he taught children about cinematography and helped to cultivate the next generation of filmmakers.

Aside from Aydin’s upcoming film projects, he is also working on an hour-long television drama called Reminiscence. Proof that his talents extend beyond producing; Aydin was honored by the renowned Final Draft Big Break Competition where he was selected as a quarterfinalist for Reminiscence, which he wrote and plans to produce next year.

Reminiscence tells the story of a dystopian society where memory implantation and extraction have become so widespread that people no longer know what version of the past is true. The story follows a dissenting faction of the futuristic society that is dedicated to discovering and exposing the lost truth. Through the narrative Aydin explores the motif of censorship. “The general debate is a philosophical one: should you tell the truth no matter what, or should you restrain it,” said Aydin in a recent interview.

As for the future, Aydin said, “My plan is to raise the bar for filmmaking; as innovations occur, I am constantly learning new ways of doing our business. I’m open to improvements and I’d like to see opportunities in what some call cable cutting. The Internet came and started converging with how we are living in every way, and this has inescapably reflected upon our industry. Now if a film can’t find a place in movie theatres for one reason or the other, they can always go to VODs. And this doesn’t mean the traditional is going to decay forever. It is all about content; great stories will always be great stories. The main point is who tells those stories. Successful creators and content makers will define that by who they go to. And I would like to be that person that they go to.”

Talented Cinematographer Brings the Film “Dirty Laundry” To Life

Cinematographer Guy Pooles
             Cinematographer Guy Pooles shot by Michel Copeland Toft

A common theme among many Los Angeles transplants is a desire to make it big in one aspect or another of the film industry. Whether it is because they were a big fish in a small pond who have been told since they were young that they belong on camera, or they have worked their whole life to be accepted as a filmmaker in Hollywood, there is so much more to film than just being talented in one’s creative field; film is a collaboration between countless departments who must individually put their egos aside in favor of the story they are creating for the audience.

For internationally respected cinematographer Guy Pooles, this foundational aspect of filmmaking is basic knowledge; and, the process as a whole is something that allows for a level of fulfillment that far surpasses anything that stems from ego-driven motives.

According to Pooles, “Cinema is a fusion of many different art forms, from writing, to music, to costume design and so on. Good cinema is brought into being by every one of those crafts working in harmony to achieve a collective vision.”

An incredible asset to every production to which he lends his name, and believe me, there have been many as he has worked non-stop over the last five years in both the UK and the United States, Pooles is the kind of cinematographer who is not only able to bring stories to life in an extraordinary manner, but he is also heavily conscious of how is work will blend with the work of each and every other department in the final product, the mark of a true collaborative genius. He explains this necessary attitude toward filmmaking by saying, “If I’m too preoccupied with how I’m lighting a scene to notice how it destroys the subtlety of a set design, or how it distracts from an actor’s performance, then a couple of audience members might leave the cinema saying “I liked the lighting” but no one will be saying “I liked the film”.”

Originally from England, Guy Pooles reached international acclaim after working as the cinematographer on the film Dirty Laundry, which was released in 2013. Directed by Aaron Martinez (Substrata), Dirty Laundry received incredible praise, as well as an impressive list of awards last year at film festivals around the world. To name a few, Dirty Laundry garnered an award from the Directors Guild of America for Outstanding Directorial Achievement, a Golden Starfish Award at the Hampton’s International Film Festival, as well as was an Official Selection at the BUSTER Children’s Film Festival Copenhagen, LA Shorts Fest and the DC Shorts Film Festival, and a Special Mention Award at the Oberhausen International Short Film Festival. Pooles was also honored on an individual level for his cinematography work on the film with the Linwood Dunn Heritage Award from the American Society of Cinematographers.

A beautifully shot film, Dirty Laundry follows a young boy named Sam (Zander Faden) as he traverses his beyond heartbreaking childhood full of real life bullies and those of which only he can see like that of the laundry monster. After Sam’s father abandons his family, and Sam’s mother falls into a dark and paralyzing depression, the young boy is forced to fend for himself on every level from the unrelenting bullies at school to the monster inside the ever piling dirty laundry within the basement. The level of collaboration and creativity that went into Dirty Laundry all the way down to the way the team managed to bring the laundry monster to life is staggering. Using miscellaneous clothing pieces, all of which were chosen by color and texture in order to fit the film’s palette, and a hand & rod puppet that required three performers to operate, they miraculously brought the laundry monster to life in a way that was not only believable, but frighteningly beautiful as well.

Shamim Seifzadeh, the production designer on Dirty Laundry, says, “I removed the common purpose from each piece of clothing, only to re-assign them to the monsters body parts. In the end, pants became the head; back pockets became his eyes; a zipper became his mouth; and socks became his fingers…. The final design concept became a giant, hunch-backed creature. His weight would not allow him to run fast but his sheer size made him intimidating. It is important to note that the Laundry Monster isn’t evil, but rather, misunderstood.”

Pooles used his expertise as the film’s cinematographer to create a dark and eerie atmosphere within the film that fully supports Sam’s mother’s debilitating depression and the cold world Sam lives in by using little, if any, artificial light. The film is shot solely from Sam’s point of view, a choice that posed challenges, but ultimately made Dirty Laundry a riveting masterpiece that allowed the audience to feel Sam’s struggle and experience his reality with little effort.

In reference to the technical cinematographic decisions that went into the film Pooles recalls, “Our first rule was that the camera would always be at the exact eye- height of Sam… This meant that when the other characters of the film towered over Sam in height, they were towering over the camera, and thus, the audience too. Another tool we utilized was to maintain the relative distance of objects and other characters. So if Sam sees something that’s on the other side of the room from him, the camera will then observe it from the other side of the room.”

While these elements combined to create the film’s general perspective as it unfolds before the audience, there was another more philosophical approach that went into providing the film with its capacity to touch the audience emotionally.

“The strongest tool we utilized was the notion of Pathetic Fallacy, where we render the world surrounding Sam, not how it would realistically appear, but rather how it feels to Sam. Examples of us doing this were: lighting each scene to feel de-saturated and overcast, helping the audience to feel the lack of warmth and colour in Sam’s life,” explains Pooles. “We would also often place Sam in a frame so that he was very small in relation to his empty environment, allowing the audience to understand the extent of the isolation that he feels.”

An even greater testament to this talented young Englishman’s auteur is the fact that Pooles wrote the film in addition to working as its cinematographer, no small feat, but one he seamlessly accomplished as proven by the shear number of awards the film received. Aside from Pooles’ work on Dirty Laundry, he has worked as the cinematographer on the films Happenstance, Martha, Jobe, What Must Be Done. What The Monkey Saw, Wake, Chronophobia, as well as the music video for Bryarly’s hit song ‘In The Bright Daylight’ and the documentary Best of The Pacific Northwest.

Guy Pooles is undoubtedly a cinematographer whose creative vision, backed by his highly specialized technical skills, will continue to impress for decades to come; and frankly, we can’t wait to see what he comes up with next!

 

Spotlight on Canadian Actor & Model Steven Van Nguyen

Canadian Actor and Model Steven Van Nguyen
Canadian Actor and Model Steven Van Nguyen photo by Marc Shultz and styling by Paul Langill

Originally from Waterloo, a small town in Ontario, Canada, Steven Van Nguyen rose to the top of the Canadian entertainment industry as an actor and a model several years ago. As an actor Steven has starred in the films The White Samurai, Deception, Checkmate, Add To Cart, M.E.G.O., Cheese The Musical and others, as well as an impressive list of commercials for companies including Canadian multinational coffee and doughnut restaurant chain Tim Hortons, Voxx Sports, Emerald City Condos, Mani Wonders, mobile game developer Emoteplay, OCMT College, and Clipter, a collaborative video stories app for Apple operating systems.

Steven played the starring role of Ryan in the dramatic Web series UNDERside, which was nominated for an Upper Year Script Award at the 56th Annual TARA Awards last year. Produced by V.O.P. Media, UNDERside centers on youths from different socioeconomic classes and seeks to reveal how the financial class one grew up in affects their overall outlook on life. Through Steven’s character Ryan audiences see how growing up wealthy without ever having to work can lead to ignorance and hinder one’s ability to create authentic relationships. Steven gave a stellar performance in the show where he starred alongside Lisa Lau (Covert Affairs, Purple Squirrels, Her Shadow, Poker Night, Broken Earth). 

Over the course of his career it has become clear that Steven has a look casting directors are dying to cast for a variety of roles, but more importantly he has shown through his work that he is a great actor with incredible versatility. Collectively, his projects span virtually every genre imaginable. While his uniquely handsome appearance is what helped Steven first break into the industry after he signed with Geoffrey Chapman Model & Talent Agency, which has received 24 consecutive Reader’s Choice Awards including the Award for Best Model & Talent Agency for the past three years, the young actor’s dedication to his craft is what has made him truly successful. Nguyen is also signed to Talent INK and MoonStar Management.

In 2013, Steven Van Nguyen took on the role of the Demon in the horror noir film The White Samurai. Produced by Gorgeous Horror Entertainment and D.B. Films, The White Samurai is a film about a man who must break his oaths and reclaim his former identity as the White Samurai after his daughter is taken from her bed in the middle of the night. While the White Samurai will stop at nothing to rescue his beloved daughter, evil natured villains like the Demon, played by Steven Van Nguyen, challenge his tumultuous journey at every corner.

Steven admits, “My favorite role so far was playing the Demon in ‘The White Samurai’ because the role was solely based on my acting abilities and not on my looks. I was able to express freely without any restrictions from the director on how I thought my character should be portrayed from how he sounded to his little ticks.”

Not only did the role allow him to showcase his acting prowess without the limitations posed by the audience’s perception of his physical features, as he underwent 10 hours of prosthetic make-up before each shoot in an effort to make him look as evil as possible, but the role offered him the challenge he was looking for. He says, “I’m not a sadistic person so I had to really dig deep and find a memory in the past that made it possible to be an evil, sadistic character.”

In addition to his growing Canadian fan base, Steven Van Nguyen is in negotiations with Plaza 7 Talent and several other agencies for representation in the U.S., a move which guarantees audiences across the United States will be seeing a whole lot more of this talented young star.

Juno Nominated Film Composer Headed for Greener Pastures

Film Composer Rob Teehan
                                             Film Composer Rob Teehan

Rob Teehan has decided to head south to thaw out from the Canadian winter in the warm California sun.   When we got wind that one of Canada’s top film composers was coming Stateside, we decided to catch up with him to talk about his eminent migration.

Rob Teehan started his career as a performer, playing the guitar, flute, and tuba, before moving into classical choral and orchestral composition, which led him to his forever-home of film composition. He has gone on to score more than a dozen films, including the award winning films Tulip, Texas and Us, and The Sugar Bowl. In addition to film scoring, Teehan is perhaps best known for his work with the acclaimed Lemon Bucket Orkestra, with whom he has toured Canada and Europe, as well as being a member of the European Saida Baba Talibah jazz band, and, currently, the Heavyweights Brass Band, whose music is regularly played on jazz radio stations across Canada.

Virtually every major music award from coast to coast in Canada has recognized Teehan’s extraordinary work. Since 2010, he has been nominated for an impressive list of awards, which includes three Juno Awards, the first of which marked him as the youngest person to be nominated for a Juno in the Classical Composition category. He has also been nominated for a staggering seven Canadian Folk Music Awards, four of which were for his work with the Lemon Bucket Orkestra, one for his work with The Boxcar Boys, and two for his work as the engineer and producer of the Ventanas’ self-titled album. He also earned a nomination for Best World Group of the Year at the Sirius Radio Indie Awards in 2014 for his work with the Lemon Bucket Orkestra. Other accolades include a Toronto Independent Music Award nomination, a 2nd place finish at the SoCan Foundation Awards, as well as numerous top finishes at choral competitions across Canada as well as internationally.

When asked about some of his most memorable film projects, he singles out a few of the films that stand out to him. The first film he mentions is Hogtown, which was directed by Canadian actor turned director Nick Latimer, and features among its cast WWF wrestling legend Jake “the Snake” Roberts. Teehan describes the film as “avant garde” and the experience as one he “can never forget.” Hogtown is the name of the city where the film is set, a futuristic version of Toronto, which has slid into poverty and debauchery. The protagonist, Boris (aka Baxi) is Hogtown’s only pig-mask wearing insomniac “baxi” driver, which means that in lieu of shuttling people around in a taxi, he spends his evenings transporting his fares from Point A to Point B on his back. When the dirt, grime, and depravity of his surroundings become too much for him to take, Baxi takes it upon himself to clean up the streets in a gory wave of vigilante justice. The film screened at the Shaved II Film Festival, as well as enjoyed several underground screenings, which sparked the major cult following the film has today.

Despite the independent vibe of the film, it drew the attention of Mississauga Life mag, as well as the famous Toronto culture site Blog TO and Zee Big Bang, who covered the film’s making and release. Rob Teehan’s work with the Heavyweight Brass Band on the film’s score was a big selling point for the film.

The next film he cites as a favorite is Tulip, Texas, and Us, a charming love story uniquely set to Balkan brass music, scored by Teehan. One of the things that stand out about this film is its international reach and appeal. Tulip, Texas and Us was the winner of the Grand Prix at the Zubroffka International Film Festival in Poland, and was also selected for the Kustendorf International Film and Music Festival (Serbia) and the Timishort Film Festival (Romania). Teehan was interviewed on CBC Radio 3 about his work on the film, which he describes as “quirky”.

The other film that immediately stood out to Teehan was the film simply titled Joe, a documentary chronicling the true story of musician Joe Garisto, a musical genius whose career is threatened by a debilitating anxiety disorder and an addiction to the medication used to treat it. The intense film, directed by Patrick Collins and Scott Williamson, was released on DVD as well as on iTunes.

Taking on such varied musical themes as mental illness, young Eastern European love, or futuristic dystopia is no small feat, and shows the breadth of Rob Teehan’s great talents.

Teehan insists that the themes and music in his next films are so varied that they will continue to defy categorization in any particular musical genre. They include the Italian animated short film Life is a Coin, about the exciting travels of a 2-Euro coin named Dante who travels across Europe, followed closely by the release of the documentary feature The Babushkas of Chernobyl, a film about the old women of Chernobyl who chose to sneak back into the contaminated zone after the nuclear meltdown in Chernobyl, Ukraine in the 1980’s to live out their last days in their hometown, rather than suffer through a relocation to a new uncontaminated city, as well as the Venezuelan documentary film Flor de la Mar about a well-hidden archeological treasure found on the Venezuelan island of Cubagua, and the feature documentary The Unsinkable Captain John about a historic Toronto ship facing and fighting eviction after generations in the Toronto harbor.

After many successful years in his native Canada, Rob Teehan is heading to Hollywood, not only for the warm sun but to bring his music to more Hollywood films. We wish him good luck, fame, and fortune, and can’t wait to see this top talent hit Tinseltown!

Untitled excerpt from Life as a Coin composed by Rob Teehan

“Caracas” composed by Rob Teehan for the upcoming documentary film Flor de la Mar

Director Jacob Lundgaard Andersen Continues to Amaze

Jacob Lundgaard Andersen
Director Jacob Lundgaard Andersen

Originally from Jutland, the main peninsula of Denmark, Jacob Lundgaard Andersen is a director whose talent knows no bounds. After obtaining his undergraduate degree from the European Film College in Denmark, Andersen went on to be one of 28 directors invited each year to attend the American Film Institute Conservatory program where he received his master’s degree.

Earlier on in his career, Andersen worked with multi-award winning directors Thomas Vinterberg (Submarino, The Hunt, Metallica: The Day That Never Comes), and Nikolaj Arcel (Royal Affair, King’s Game, Truth About Men). While working as Vinterberg’s 2nd AD on the film Submarino, Andersen says, “Through intimate moments driving to and from set and as a collaborator directing his background [Thomas] taught me many valuable things, always wrapped in an anecdote. But what I learned most from just shadowing him was observing how he navigated the obstacles of the production in ways that were least compromising to his vision.”

Submarino, which received 8 awards and has been nominated for 19 others at film festivals around the world, reveals the dark subject matter of a dysfunctional family plagued by loss and substance abuse. The film puts Vinterberg’s fearless approach to cinema on display, a characteristic we also see in Andersen’s films. Andersen also worked alongside Nikolaj Arcel on the historical drama film A Royal Affair, which was nominated for an Oscar for Best Foreign Language Film as well as an Academy Award and several others.

Jacob Lundgaard Andersen first gained international exposure after embarking on the “This is War” World Tour with 30 Seconds to Mars, a rock band fronted by Oscar Award winning actor and multi-talented musician Jared Leto. While on tour with the band, which has received a Billboard Music Award as well as 84 other awards, Andersen worked as a videographer, shooting and editing tour footage of 30 Seconds to Mars while also helping to create several music videos and documentaries.

Jared Leto
Jared Leto on tour with his band 30 Seconds to Mars shot by Jacob Lundgaard Andersen

His successful work on the tour led him to begin working with Grammy Award winning musician Raphael Saadiq on Saadiq’s “Stone Rollin” Tour.

About his work with Saadiq, Andersen says, “I worked as a one-man-production and even though the scope was smaller, the creative responsibility was much greater and ended with me directing two tour-music videos for him. I am still collaborating with Raphael today.”

All of these projects marked the very beginning of Andersen’s career, an incredible feat considering the high profile of the artists with which he collaborated, but not all that surprising when looking at the extraordinary talent Andersen has shown through his work. In 2013 Andersen wrote, directed and produced the music video “As Long As You Watch My Heart” for Danish musician Penny Police. Andersen’s video went into heavy rotation on MTV U, which reaches an audience of 9 million, when Penny Police was chosen as one of several artists to compete for the Freshman Award, an award voted on by viewers that they won. The video was also an Official Selection at the Rahway Film Festival, and garnered Andersen the award for Best Music Video at the 2014 HollyShorts Film Festival in Los Angeles. A stop motion video, “As Long As You Watch My Heart” follows a ball of yarn traveling through nature and space. Andersen created the visually captivating video using animation, miniature models and puppetry.

Jacob Lundgaard Andersen is extremely gifted. Not only is he an incredible director with a unique vision, but he is passionate about learning every aspect of what goes into the creation of a film as well.

He says, “I love movies and every element that goes into making them and as a director you get to be involved with each of the specialized departments and learn everything from technical camera, VFX and sound things to very emotional and human experiences that comes from working with writers, actors and people management in general.”

The great lengths Andersen has gone to in order to become knowledgeable about every technical aspect of filmmaking in addition to the creative side, has put him leagues ahead of most directors and adds to his ability to bring his vision to life with each project. A perfect example of Andersen’s vast skillset, the films’ Be Here Now and Dustland showcase his creativity as a director, writer, and producer. If you’d like to find out more about Jacob Lundgaard Anderson’s work you can check out his website http://jacoblandersen.com/ and watch his video for Penny Police below!

Editing Alchemist Andrew Coutts

 Renowned film director David Fincher (Gone Girl, The Social Network, Zodiac) said in an article published by Den of Geek,“The best editors are alchemists. They’re equal parts poet and blacksmith. They can forge something – they make pieces go together that should never work. They can take footage that was intended for one thing, and use it to illuminate a whole new idea in a sequence that you maybe never conceived.” We couldn’t agree more.

Andrew Coutts
Editor Andrew Coutts

A film editor is a vital force in bringing the stories audiences see on the screen to life. Not only are they responsible for selecting the right shots and sequences out of hundreds, and sometimes, thousands of hours of footage, but they also decide the timing and pace of the story that unfolds before us.

Continually executing the aforementioned in a way that is seamless and virtually unnoticeable by the audience, the work of Canadian editor Andrew Coutts procures him a place among the world’s best editors. An alchemist in his own right, some of Coutts’ film work as an editor includes Saw V, Saw VI, Saw 3D: The Final Chapter, The Day, Nurse 3D, Altergeist, The Man Who Loved Flowers, Sequence, Anguish, Blood Sucking Bastards, Grizzly, 10:17, and the series Sleepy Hollow, The Line, Hungry, and more.

Andrew Coutts was the editor of the horror film Saw VI, the sixth installment of the seven-part Saw franchise. The film, which grossed an impressive $68,233,629 at the box office internationally, was nominated for two Most Memorable Mutilation Awards at the Scream Awards in 2010 for “The Pound of Flesh Trap” and “The Needle Trap” scenes.

“I had a lot of fun cutting the traps on the saw films, since they tend to be pretty visually intense and you can try some pretty fun techniques in editing as part of the scenes, jump cuts, flash frames, using off-speed camera ramps,” recalled Coutts.

Visually intense is a light description of the traps in Saw VI, they were down right horrifying, but after all that is the point. The way Coutts combines jarring sound effects and swift cuts during the film’s traumatic torture scenes effectively heighten the intensity to the point of making your heart feel like it might just jump out of your chest. The opening pound of flesh scene where Jigsaw’s most recent victims, Simone and Eddie, race the clock to see who will cut of the most flesh in order to survive is so frightening that I actually had to close my eyes at a point, and even then, the fluctuation and rapidity of the sound effects intermixed with the actors’ screams was enough to keep me squirming in my seat.

Coutts, who has been working as an editor for over 15 years, is above all passionate about bringing stories to life and he views editing as a powerful means for evoking reactions in his audience. “Whether it’s a tension filled horror scene where through editing and pacing we’ve built suspense and shock the audience with a scare moment, or putting together poignant performances from the actors that resonates emotionally with the audience, or a heart pounding action scene that is an exciting thrill ride, it’s all of these moments in editing that I love,” said Coutts.

Coutts also served as the lead editor on the final film in the Saw franchise, Saw 3D: The Final Chapter. The film grossed $136,150,434 at the box office internationally and was nominated for another Most Memorable Mutilation Award at the Scream Awards, this time for the “Reverse Bear Trap” scene, as well as an award in the horror movie category at the Teen Choice Awards. Once again Coutts used his exceptional eye as an editor to create a terrifying sequence of shots that was further intensified by the 3D element in the film.

“One of the biggest challenges on this film was finding a way to introduce 3D on both a creative and technical level into the already strongly stylistic Saw world. Shooting and editing a film in 3d brings certain requirements for brighter lighting and slower cutting than the Saw films typically had,” explained Coutts. “Working with the director and cinematographer we had to find a way to push the limits of 3D as far as we could to bring it as close in line as we could with the previous films looks.”

Putting his unparalleled talents as a horror editor on display, there is no doubt about it, Andrew Coutts nailed the mark on both Saw VI and Saw 3D: The Final Chapter, and we can not wait to see what he has in store for us next.

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