It’s more often than not a stunt actor’s job to not get any attention, which is why award-winning stunt performing veteran Casey Wright was somewhat resistant to being interviewed for this feature.

“I tend to stay on the sidelines, I don’t like the limelight too much – probably a big part of why I do what I do and I’m not a TV or film actor,” Casey adds with a chuckle.  

Casey’s recent bursts of success however have meant it was difficult for our editors to keep themselves from profiling this down-to-earth home-grown talent who, in an era of crowded filmmaking and TV production, has truly made a name for himself as one of the few likeable guys working in the industry today.

“The best advice I was ever given was ‘Don’t get a big head’. You realise pretty quickly how lucky you are to be in the industry, and there’s no room for egos. The performers I look up to, the ones with the most successful careers – there’s no ego there. So I try to model myself on that” Casey adds

Since his win at the illustrious SAG-awards for Best Stunts in Mel Gibson’s Oscar-winning “Hacksaw Ridge”, Casey’s career has continued to go from strength-to-strength.

Only just last year, he worked as a stunt double to Dan Fogler in the acclaimed feature film, In Like Flynn, a sweeping biopic of the swashbuckling Australian screen legend Errol Flynn.

Instead of regaling tales of celebrity that others may have spilled in relation to the filming process, true to Casey’s nature, he offers a tidbit about his role in offering crucial safety guidance during the shoot.

“Dan…had tweaked his ankle during a scene where he was being chased by headhunters. I was called in to double Dan. This meant that I had to perform the actions required in character, which involved sprinting through the bush, swimming across running rivers, and more. My work meant that Dan was able to rest and heal up, and filming wasn’t disrupted.”

The humble way in which Casey reflects on this experience is a testament to his practical nature, and clear aspirations to only offer meaningful contributions to the project as a whole rather than use it for his own entertainment leverage.

The other project that has benefited from Casey’s hard-working nature is the acclaimed TBS comedy series, Wrecked.

Working on 2 seasons of Wrecked, Casey had to not only perform the requisite stunt and safety actions also do them in character as Brian Sacca’s persona, Danny. This meant taking cues from Brian’s body language and immersing himself in how Brian holds himself in a scene, and so on.

Casey’s remarkable success in doing this role effortlessly meant viewers are never taken out of the scenes while watching the comedy favourite. As a corollary to this, Casey’s actions had to match the comedic tone of the show that meant he stretched his performing wheelhouse.

“Most of my work has been on big action films,” Casey goes to explain. “Explosions, runaway horses, all that kind of stuff. Working on a comedy like Wrecked was a whole different beast. At one point a crew member came up to me and said ‘Just remember – it doesn’t matter if you stuff up. Sometimes that can be even funnier than what’s planned.”

Casey adds to that last thought.

“Coming from a world where everything was marked to a tee, that took all the pressure off me. I still had to be safe, but I didn’t have to be perfect. It was a very different experience, but it was one of the best of my career.”

Casey is equally complimentary of the TBS team and Brian too, when asked about his experience.

“I had a great time. Everyone was warm and welcoming, and made me feel right at home. When I came back for Season 3, I was greeted with a big hug from Brian – I found out later that he had actually gone up to the stunt coordinator for the new season and requested me back personally.”

No doubt Casey’s vital contributions to the show’s success were reason for him being brought back, and the personal request of his return to the set is valuable proof in demonstrating how he offered indispensable contributions to the show’s success.

“I’m very lucky to do different things – and am looking forward to doing more of it in the US.”

There’s no doubt Casey would be embraced by the American community, as he already proved on the Fiji set of the American produced series

“I was told by the [“Wrecked”] stunt coordinator that I may have been the most accurate stunt double he has ever hired. During breaks in filming, I had producers, the director and others come up to me to to discuss upcoming scenes. Once they heard my Australian accent, they jumped back, as they had no idea it wasn’t actually the actor they were speaking to. Everyone loved it, and it made me really feel at home with the crew.”

Karlisha Hurley arrives to our interview fresh from a pre-release screening of her latest film, Wrapped, directed by Calen Coates. In it, she plays the lead role, Abby, who overcomes her insecurities and learns to stand up for herself by stealing back a birthday present from a drug dealer who has robbed her. The unopened present was from her mother who had recently been killed in a car accident. Abby’s journey is just like life itself; it’s both comedic and tragic.

A particularly captivating scene in Wrapped is during the kidnapping of the two lead characters, Karlisha and Sawyer, played by actor Danny Irizarry. The scene is an emotionally difficult one because of the detail Karlisha has to go within the character to honestly portray the actions and depth of the overall situation. The diversity of Karlisha’s skills are superbly conveyed here as she speaks to Sawyer. Not only is she frightened and angry about the situation she finds them in but she begins to openly grieve about her mother’s passing and exposes her own guilt and self-destruction as she blames herself. Karlisha’s natural reaction combined with masterful technique captures the audience’s sympathy and draws them into her character so deeply they are mesmerised into willing her to succeed.

The role marks a continuation of a trend in Karlisha’s career – that of appearing in compelling film projects, while also staying in the public consciousness through a successful run of commercially driven projects befitting any young Hollywood star.

“It’s not necessarily planned – I just gravitate towards what roles I’m interested in and they are often gritty, challenging and highly emotional roles. As it happens, those types of roles and projects – I guess, the more ‘indie’ ones – are what attracts more commercial opportunities.”

It’s a common pattern: big-budget producers generally want to borrow from the street cred of artistically driven actors like Karlisha. Oscar-winner Casey Affleck has built a career on it, much like Oscar-nominee Chloé Sevigny or Michelle Williams.

While Karlisha has jumped from edgy film projects like Red Wire (directed by Gary O’Toole), Hello Tom Sullivan (directed by David Raynor) and Hostages: Don’t Take Another Step (from Kristine May), shot all over the world, she’s most recently garnered the attention of audiences in her role in O.A.R.’s music video – Miss You All the Time – which attracted nearly 4 million views.

Indeed, it would be entirely untruthful to say that Karlisha turns her back on the mainstream parts of the industry. For one, the industry has embraced her with awards from the Hollywood International Moving Pictures Film Festival, the same year that Constance Ejuma of Black Panther and Robert Clohessy of The Avengers, The Wolf of Wall Street and The Place Beyond the Pines, with Ryan Gosling and Bradley Cooper, won acting awards. Adding to that triumph, Karlisha maintains a tie to her home country by playing a major role at Australians in Film (AIF), the esteemed organisation that has solidified Australian A-listers’ places in the film and TV worlds of Los Angeles.

“AIF is so supportive, I’m really lucky to be an Industry Member there.”

Karlisha’s ‘industry membership’, reserved only for VIPs in the same vein of the Academy of Motion Pictures Arts and Sciences, is one such watershed in the career of the young Miss Hurley, who in the past several years has had work screen at a number of international and American film festivals.

Among these were the San Francisco Film Awards and LA Independent Film Festival for projects like Hello Tom Sullivan and Karlisha and Morgan, directed By David Raynor. Industry insiders acclaimed Karlisha’s work, which in the performance of Karlisha and Morgan – playing two roles in the same film – demonstrated a nuanced sense of her craft few other young performers are able to showcase.

One example was the scene in which she plays ‘Morgan’, the spirit of a dead teenager who has suicided after being bullied at school; she is angry and wants the world to stop ‘sweeping under the carpet’ student suicides and do something about addressing their cause. The intensity of Karlisha’s anger balanced with her empathy for the victims and shown through the deep control of her revealing stare, her emotional facial expression and reactive body movement are all captivating and disturbing, demonstrating an award winning performance of a quality well beyond her years.

The Other Project, Hello Tom Sullivan – in which Karlisha rescues a disadvantaged teenage boy, Tom Sullivan, from bullying – called for Karlisha to deliver an immense level of strength and sympathy for the role of Cynthia. When Cynthia and Tom meet for the first time, you can see a genuine evolving spark between the two characters, showing a high level of skill and technique delivered naturally by Karlisha. When introducing a character to an audience, it can be difficult for an actor to portray exactly the emotions and qualities of the character as envisioned by a director, but Karlisha depicts the essence of the character beautifully. As Cynthia walks Tom home after rescuing him, Karlisha’s body movement and emotion when talking to him gives the audience a perfect idea of what her character is like; her quirkiness and innocence, rising beneath her need for affirmation and acceptance.     

Producer/Director Lucinda Bruce (The Faceless Man, 350 Days and FSM) says: “Karlisha has an amazing presence about her. Her acting is beautifully structured and I can’t wait to see all the projects she has in the making.”

Editor of Sharknado William Boodell, who directed Karlisha in Sister Mercy, says: “Karlisha is truly a remarkable performer able to work under high pressure on difficult material with great finesse.”

Performances such as these have not gone unnoticed by mainstream media, as Karlisha has been featured prominently in publications like the Northern Territory News, Surfcoast Times, Leader newspapers and Cinema Australia.

“I’m so grateful for the amount of interest and support I get from the media. Honestly I’m just happy they love hearing about my latest films and enjoy my contributions to the Hollywood film industry as much as I do.”

On the heels of the Golden-Globe nominated and box-office sensation Crazy Rich Asians, there’s no doubt that Hollywood has started to embrace a more diverse casting strategy when it comes to filling out the roster of its biggest films.

Japanese actress Yoshie Morino, well-known for her turns in Sharknado with Tara Reid and The Cat Diaries TV series, is one such beneficiary.

“I’m really excited to be a part of this new wave of talent, and to bring much needed diversity to the American filmmaking and acting landscape.”

Morino has recently joined the cast of Team 4, cementing her place within the company of celebrated filmmaker Len Davies, known for directing Emergency: LA. Indeed, Morino is currently working on two projects with Davies, who’s also been acclaimed for his work producing Bomber Command and World Association of Wrestling.

“I’m very lucky to be working with Len on multiple projects – it’s validating as an actress to be a part of a production family. It means I can make meaningful economic and creative contributions to my industry, and to America more generally.”

In Team 4, Morino plays the leading role of Kumiko Kobayashi, a controller and leader in the mission preparation laboratory.

The series, which is about agents enhanced with nanotechnology who risk all to protect their world from evil forces, will showcase the character of Kumiko as having to shoulder the responsibility of programming the very nanotechnology inside each of the team members.

The role has therefore required Morino to access her strong sense of power and authority that, in real life she says, doesn’t come very easily.

“I’m very shy in real life, but that’s why I love acting – I get to play a part and do things that I would feel like I have to apologize for in my everyday world.”

The series also relied on Morino’s ability to effortlessly demonstrate her grasp of scientific terminology, as her character was an assistant on the original project that created the nanotechnology system and has the highest level security clearance from the NSA.

It’s not all serious business for Morino, though, as she enjoys some lighthearted scenes with another character who is a student to whom Kumiko imparts her knowledge. This allows the procedure to be carried on in the form of a legacy, as Morino’s character is the only person who understands the procedure and is therefore vitally important to the progression of the series’ hero journeys.

“My character Kumiko is totally unique in her field,” Morino adds proudly.

Aside from the character’s role in the plot, the role has also called on Morino’s unique screen talents and heritage to bring some authenticity to the project. Her gripping and powerful presence on camera brings out the best in the character of Kumiko Kobayashi, as well as revealing a vulnerability that engages viewers in a really effective (suggested: visceral ) way. Ultimately, as the director Len Davies and Morino both attest, Morino’s Japanese heritage grounds the series with an authentic representation of Asian culture that helps the series connect with audiences all over the world.

 

The other project Morino will be working on with Len Davies and his company is the feature film Astral Princess.

Don’t think though that Morino is intimidated at all by the change in medium, as it simply represents another opportunity to give service to a character and story.

Morino’s role is similarly demanding in Astral Princess, as she plays Ami Sato, an FBI field agent working with the lead agent Joel Finn.

“Joel,” Morino tells us, “is assigned to work on Suzannah Foster’s unique situation and as the pilot story develops, they become more involved in her abilities and the saving of Ricky Santos from the kidnappers. As the series progresses Ami becomes the liaison between the FBI and Suzannah.”

It’s clear that Morino’s multi-cultural heritage gives her the added ability to transcend cultures in order to deliver a compelling performance that relates to viewers of different backgrounds, a skillset that marks her as an actress at the top of her game.

“I think actors have a responsibility to relate to as many humans as possible, as we’re supposed to give life to the human experience and make people think and feel things they don’t otherwise get to experience in real life.”

Morino’s position as an Asian actress carving out a place at the top of Hollywood has been recently cemented with her contributions to the Glendale International Film Festival.

“The President of the Glendale International Film Festival even requested me to present the closing awards,” Yoshie tells us with a big smile.

“It was an amazing experience to present the awards to fellow filmmakers.”

Overall, the experience of being a judge also allowed her to use her own experiences to help others.

“I am grateful to be a part of these prestigious, well-known film festivals and to have been able to contribute my own acting experience.”

Aside from this integral perspective on her artistry, Yoshie’s successful career and relationships with illustrious companies have also brought her a degree of commercial success that would make any other actor envious. Perhaps a role in Crazy Rich Asians sequel is on the cards?

“I can’t quite say,” Yoshie says with a coy smile.

She adds, “I don’t think about the numbers, or money, I just think about the art.”

Ayeshah Rose is the embodiment of an international storyteller. Now more than ever, artists whose talents and skills traverse the globe and transcend cultural barriers are in demand, and Ayeshah’s career shows no signs of slowing down.

When asked about her success, Ayeshah is humble and points to her craft.

“Being trained but not strictly offers me more flexibility in my work. I am able to sense moments for a character quicker and deeper. I can indulge in a character’s identity which allows me to respond to the other actors that helps them stay empathetic.”

When looking at her body of work however, it’s clear that her consistency in building relationships with award-winning filmmakers and production companies in different facets of the industry have equally contributed to her current place atop the heap of Australian filmmakers making waves overseas. Indeed, she has recently been cast in the American film project “Vendetta”, to be shot in the US in the coming months.

“This project excites me…because of the technology involved…I’ll be working with weapons and using green screens and using skills that I’ve learnt over the years…it requires a lot of commitment and discipline.”

Ayeshah is blessed with a leading role, playing Elena, best friend to the protagonist Sofia.

“[The characters] went to school together for most of their lives. Elena recently changed schools after going down the wrong path and getting involved with a member of the mafia’s son. She’s terrified of being involved again, especially as she is the only one who knows their next target.”

In a reflection of Ayeshah’s impressive ability to connect and collaborate with highly revered filmmakers and companies, she’ll be working with Ryde Studios.

“With Ryde Studio’s reputation I am so excited to join a team that is making its mark significantly in the film industry as well as the resources I will get to experience while working on Vendetta. I am really excited to work in a professional environment which such a high calibre team that I know of so far. It’s the first big step I will have to the trajectory I hoped for. This is an opportunity to learn whilst performing which is so stimulating for me.”

Our interview soon turns to one of Ayeshah’s recent projects. In the feature film “Angel of Mine”, Ayeshah worked with Sundance award-winning filmmaker Kim Farrant (who directed Oscar-winner Nicole Kidman in the drama/thriller “Strangerland” alongside Hugo Weaving). “Angel of Mine” also boasts a top cast in “Girl with the Dragon Tattoo” star Noomi Rapace (also known for her role in the “Alien” prequel, “Prometheus”) and “Fast and Furious” actor Luke Evans .   

“My character is a regular client at the hairdressing business of Noomi’s character,” Ayeshah astutely explains.

“She has a constant dialogue with Noomi’s character and serves as a confidante.”

When one understands that the film is about a woman grieving the loss of her daughter, only then to lose her grip on reality after she thinks her daughter may still be alive, it’s clear that any person considered a confidante to Noomi’s character is vitally important to story and the protagonist’s development. Ayeshah’s significance in the film therefore does not go unnoticed.

When asked about the shooting process, Ayeshah is quick to praise her co-stars while also touching on the demanding work schedule.

“Yvonne Stravoski and Noomi Rapace are both revered and honoured actresses – and rightfully so. They’re really fantastic. Being onset with both of them was exactly what I had imagined working with actors you can bounce off. Seeing their professionalism and focus was what I wanted within a professional team. I am so happy I got this moment in time where I felt I was of the same calibre.”

Filming, Ayeshah elaborates, “required a lot of patience. My role was a crucial cross-over between Noomi’s character being confronted by Yvonne’s character about a murder.”

Not all elements of filming though were arduous, as Ayeshah is quick to reference a comical moment she shared with Noomi on set.

“In between [takes], I complimented Noomi’s nose (which I thought was very striking) and she informed me that Orlando Bloom broke it onset the film “ Unlocked” giving her that lovely nose of hers.” Ayeshah adds with a small laugh.

An ability to be flexible on set has in part been informed with Ayeshah’s other roles, including the leading character of Jane in film “My Day Job.”

“I had the ability to adlib when the other actors changed their lines by mistake and the focus was necessary for an intimate and dramatic scene. I had to also learn a Latina accent very last minute.”

Skills such as these are impressive, but ultimately, what motivates Ayeshah is not being good at something to impress a stranger, but to work in service of story and character.

“I am excited to merge into the US industry because I feel my look will be celebrated with the variety of roles I’ll be able to play, accessing all the colours and content that will allow my multi-skilled artistry to thrive and therefore I’ll be able to add value to the industry”.

In an industry that claims to be constantly innovating and chasing the latest trend, it’s always refreshing to encounter actors and creatives who maintain a solid grounding that renders them eternally appealing no matter what age or what the marketplace is like. Australian actor Daniel Berini has built a firm footing in his niche as a profoundly heartfelt actor who transcends time and place. Indeed, there’s a recurring trend in Daniel’s recent work of him being cast in projects set in the mid-20th century, the most obvious of which is the feature film “Promised”, co-starring “Strictly Ballroom” legend Paul Mercurio and famed-performer Tina Arena.

“Promised” concerns two young Italians in 1970s Australia dealing with the terms of their arranged marriage as negotiated by their fathers when they were born. Set against the backdrop of an Australia that was becoming increasingly liberal alongside fading traditions, “Promised” hails from “Hippocratic Oath” filmmaker Nathan Primmer and writer/director Nick Conidi.

A celebrated and impressive roster of filmmakers might make one expect there were clashing egos on set, but Daniel attests to how the production became something of a family during shooting.

As Daniel explains, “[a]s an Italian myself, I was able to appreciate and understand the world of Promised, which made the whole experience so very rewarding. Rocking up on set everyday felt like rocking up to Christmas lunch at my Nonna’s house, surrounded by cousins that you didn’t realise you had, and enough good food to feed an army. There was a sense of family around the production; family being the central tenet of the story.”

The story, which quite literally revolves around Robert, is a heartfelt one that resonates with audiences around the world despite the specificity of its time and place setting.

As Daniel explains, “[i]t was quite refreshing to read a script that celebrated Italian culture in Australia but didn’t make fun of it. This is a story that follows two people from two Italian families in Melbourne, but it doesn’t feature Italian cliches that are so often presented in film. There are no ‘lounge suites wrapped in plastic’, ‘concrete backyards’, or colourful depictions of ‘sauce day’ and stuff like that.”

Put more distinctly, Daniel highlights why he thinks viewers relate to the story and therefore why the film is an acclaimed one. “Promised is a story about relationships, that comments on Italian culture and the changing times, but ultimately it’s about Robert and Angela. This is a love story,…audiences…relish in its ornate simplicity.”

Daniel, who’s also known for his roles in TV in shows like “The Secret Daughter” and “Black Comedy”, has been affiliated with period pieces before. Notably, he appeared in the 1970s set Logie-award winning show “Love Child” in a key role as a part of the most recent season.

“Love Child is one of Australia’s most-loved television shows, and joining the final season was a real privilege,” Daniel beams.

Daniel’s experience on family-oriented shoots like “Promised” probably serves him well in an industry that can oftentimes be intimidating. With an acclaimed career like Daniel’s however, it’s unsurprising that he’s an actor who can not only ingratiate himself into a period TV show effortlessly, but also the cast and crew that makes it happen.

“I must admit, it was a bit intimidating arriving on set amidst a show at the tail end of its run,” Daniel concedes.

“You feel like you’re intruding on a family affair in a way, everybody there has been working together for years now and are all very comfortable. However, the cast and crew of Love Child could not have been more accommodating towards me and very quickly made me feel like I was also apart of the family.”

Daniel served critical moments in the emotional arc of “Love Child”s story. His truly honest portrayal of a young man nervous about the birth of his first child was both memorable and refreshingly authentic. Daniel’s unique look, incredibly befitting of the show’s 1970s setting, proved him irreplaceable within a production that prides itself on portraying the period as authentically as possible – an element that no doubt has led to “Love Child’s” numerous award-wins. This, coupled with the fact that he shared screen-time with AACTA-nominee Andrew Ryan and “Doctor Doctor” star Chloe Bayliss as his wife, both Australian household names, firmly cements Daniel as an actor working at the top level of his field.

This aside, Daniel’s clearly committed to character and serving the story, a testament to his dedication to authenticity and artistic integrity.

“It can be really good fun diving into a ‘period piece’ as an actor. There’s a weight to your choices, as you’re not only representing a person, but you are also representing the views of a time period, and you want that to come across as genuine as possible. It goes far deeper than tone and costume. It’s about finding the truth of your world, and then allowing it to influence your motivations as that character. I feel very privileged that I’ve had this opportunity on numerous occasions.”