Tag Archives: Entertainment

Colorist Cynthia Chen shows emotion behind Sichuan Opera masks in award-winning film

When Cynthia Chen was a little girl growing up in China, she was always inspired by her mother. She was an art teacher, and a young Chen therefore began painting from a young age. She was always sensitive about the different colors she used and playing around with color always amused her. As she grew, this fascination only intensified, and she found it impacting her hobbies. She began to have an interest in photography just to play around with the photos while editing, changing the colors and enhancing them to create a captivating piece of art. When she began filmmaking, she realized how impactful color is to every shot in a piece, conveying emotions and acting as another way to tell a story. It can impact film styles, she realized, and when she already had an interest in editing films, she realized that being a colorist would allow her to explore this interest she had from childhood and turn it into a fruitful career.

Chen is both a highly successful editor and colorist. Her passion for what she does is unwavering, her talent unparalleled. Every project she has been a part of, including I Don’t Want to Sleep Alone, OffsprungSlingshot Prince, and The Last Page, have gone on to critical acclaim at many of the world’s most prestigious film festivals thanks to Chen’s efforts.

“Just like editing has a rhythm to tell a story, the color, as another method to express the emotions, also can have a “rhythm” when it comes to contributing to create a film. I believe a film masterpiece must be treated and polished as a great art piece. Color grading enhances the texture of a film picture which makes it become a completed art piece. Every time I finish the color grading works, the group of filmmakers I am working with are always shocked after seeing the before and after pictures. That is my proudest moment. The whole color grading process makes me believe that my talent brings this film into a higher level,” she said.

One of Chen’s greatest successes as a colorist was the film Mask. The animated drama looks into masks in Sichuan opera that are traditionally used to reveal the changes of inner feelings and emotions of the characters participating in the drama. The masks turn abstract emotions and mental states into visible and sensible concrete images, and reveal the feelings of the characters inside the story. By raising the hand, swinging a sleeve or tossing the head, an actor uses different masks to show different emotions, expressing invisible and intangible feelings through visible and tangible masks. Mask, is inspired by Sichuan Opera Face changing. It is a story behind a mysterious mask, which shows different patterns as different lights go through.

The three characters in the film are heroes from different traditional Chinese historical contents. Qingshi Huang, represents as the breadth of vision, is the first king in Qing Dynasty.  Monkey King, one of the most famous and classical characters in Chinese fairy story, the guardians of his master, as the leader protected his group on the West Road, through eighty-one trials and finally reached the goal. Zhuge Liang, the smartest military advisors from three kingdoms era, served for Bei Liu, represents wisdom and loyalty. Those characters are also three heroes in Chen’s heart. For the Chinese native, it was an honor to work on this film that has a deep Chinese culture background.

According to those three different characters, Chen decided basic color tunes for each one. The king Qingshi Huang has a yellow and green color tune because in Ancient China, yellow means power in social classes. Zhuge Liang, who represents wisdom and loyalty, uses a blue color tune as the main color base. In the color theory, blue connects to calmness and cool emotions. Chen set golden and orange color tune for the brave Monkey King as those colors stand for positive minds, passion and braveness. Therefore, the scenes where those three characters appear, and the weapons on their hands, have the unite color tunes.

As the entire film was CGI, the renders had a strong contrast in colors, which Chen thought looked very digital. To solve this problem, she decreased the contrast of the entire picture, adding some yellow color tune and film grains. She then adjusted each scene for each character, and finally finished the color grading work. She helped to bring the whole picture to a new stylized level.

“This short film had a very large creative space for me to try on the different color palettes and stylize the picture, which made this piece very interesting and fun to work with. The CGI images contain more color information than the images shot by cameras, so there was a lot of space for me to adjust the color for this film,” said Chen.

Mask had a tremendous film festival run with the help of Chen. It was an Official Selection at the New Media Film Festival and the Asian Film Festival of Dallas 2018. It also went on to win the Award of Excellence at both the Best Shorts Competition 2018 and the One-Reeler Short Film Competition 2017. Chen could not be happier about the film’s many accolades.

“It was such an honor to work on this project that explores such an important part of Chinese culture. This is a milestone project in that it was a brand-new experience for me. The success of this film encouraged me to do more color grading work in the future which has more culture background,” she said.

The new works Chen has contributed to, feature film Indivisible and documentary Fantastic Fungi, are expected to be released later this year. Be sure to check them out to witness this colorist’s talent first hand.

Advertisements

Maja Lakomy goes on ‘Vacay’ in new film

Poland’s Maja Lakomy is a true storyteller. As an actress, she tells someone’s story in her own interpretation, having respect towards the character and the narrative at the same time. Her goal is to be a part of as many spectacular stories that are written or told by great minds as possible. She aims to both entertain and move as many people as possible, whether they laugh, cry, think, or simply feel. That is what she finds satisfying.

“There are so many beautiful, thrilling, terrifying and touching stories in the world and the more people they reach, the better, in my opinion. Actors are in some sense tools that are needed for these stories to reach people. Through movies and theatre people can experience new things and educate themselves, which I think is so important,” said Lakomy.

Lakomy is known for her work in films such as Star House and Diminuendo, receiving great praise for her acting abilities at many international film festivals. This year, she has lots going on, including a music video for Italian singing sensation Andrea Bocelli. On top of this, she has several upcoming films, including Straying from You, Moral Inequity, What’s with the Doll, and the artistic flick Vacay.

Vacay offers up a unique challenge for Lakomy, as it is a creative, cinematic film with no dialogue. The film is meant to entertain of course, but also make the audience think and feel shocked, which is why Lakomy was interested in the project. Before she auditioned, she read the description of her character and knew exactly how to play her. Upon reading the script, she found the story unique and incredible.

In the film, Lakomy plays Veronica, the “mysterious messenger” in the story. Nobody knows exactly what the history is between her and the main man, played by Juan Blasquez, but one can suspect that something deep and unresolved occurred between those two. She goes through many different phases of emotion, adding necessary and intense drama to her scenes. She is a tough woman on the facade, who leads an independent and successful life. Once audiences see a little more of her, we find out that underneath, she carries some trauma from the past that sometimes she isn’t able to cover. She is like a ticking bomb of emotions that if she doesn’t manage to contain, might explode.

“I like that the story is light and entertaining for the most part but gets intense and shocking in some moments. I also like the style of it, that it’s told without any dialogue, which makes it universal and even more powerful. I think the story is important because it touches upon some relevant and controversial matter, but at the same time entertains the audience, leaving them with a lot to think about after watching it, maybe even with an unsettling feeling,” said Lakomy.

vacay

Lakomy was asked to audition for the part of Veronica by the director of the film. He had previously seen the actress’s work and was greatly impressed. Upon meeting her, he slightly altered the part to make it a principle role, knowing Lakomy could make a difference to his film. Such a reaction was incredibly touching for Lakomy.

Vacay began filming at the end of last month. Currently, Lakomy focuses on getting into the mindset of her character. A very important part of the process is connecting with one of the lead actors who her character has a strong history with. They are working on building the relationship so that when they act together, they can make the story between them as believable as possible, even without any words.

“I love that the whole film has no dialogue, so the story is told through the actors’ actions, facial expressions and the scenery. I like working on this specific aspect of acting, where drastic transitioning between different emotions is required. I enjoy challenges like that. I really appreciate working with great actors and an incredibly passionate director. I like that everybody who’s involved in this project fully engages with it and gives a hundred percent of their energy into it,” said Lakomy.

Vacay will be finished and submitted to film festivals later this year. There is little doubt that it will impress, and that Lakomy’s performance will be incredibly captivating. After its film festival run, it will be made available on various digital on demand platforms. Be sure to check it out.

Needless to say, Lakomy is a dynamic and in demand actress. She never gave up on her dream of acting, despite various roadblocks that came up on her journey. She encourages all those with the same dream to keep pushing, because eventually it will be worth it.

“As actors and artists in general it’s hard to be satisfied with yourself. There’s never a perfect answer or way to do something when it comes to acting. This profession is very subjective and it’s important to remember that we can’t always make everybody happy. My advice would be stay determined and work on yourself instead of comparing yourself to other people’s successes and failures. And even when you hear “no” way more than you hear “yes”, as long as acting brings you joy, don’t ever quit,” she advised.

Cinematographer Yang Shao talks ‘The Great Guys’ and philosophical filmmaking

Yang Shao always knew he wanted to be a filmmaker. He loved the idea of sharing his views with the world, and filmmaking is the ultimate way to do so. Born and raised in the Eastern part of China, he wants to share his passion and viewpoints with the world and bring heartfelt stories to the cinema.

“Modern cinema being predominantly shaped by the western culture is in my opinion missing some jigs of the puzzle which I think eastern culture can offer. Films can be entertaining without having one guy kill everybody around him. Life is so much more than just guns and murders. Beauty and soul of the world – that’s what I want to share with the world through my cinematography,” he said.

It is such a philosophy that has made Shao an internationally sought-after cinematographer. His contributions to films such as A Better World, Under, and Once More have asked audiences some of life’s biggest questions while captivating them with their stories, and the comedy horror television series Life is Horrible has brought joy and tears of laughter to viewers all over the world.

In Shao’s most recent film, The Great Guys, he explores a magical world through the lens of his camera. The film follows a fairy who comes to earth to look for the greatest kid to keep in her home, which is in a fairytale world. She meets eight kids and hears eight different stories. At the end of the story, she decides to bring all those eight kids back to her home together. The story reminded Shao of his childhood.

“To be honest with you, as a kid I always believed in magic. I was a naïve kid when I was growing up and I think that helped me become and achieve those results in the film industry. I try to always stay curious and allow things to surprise me. I think that’s what drew me to this story. I wanted to share this magical world with the young generation, including my own kids who are growing up in a completely different world today,” said Shao.

The Great Guys premiered at the San Francisco International Film Festival where it received the Best Director Award. The movie then was distributed in theaters across China. After a successful run, The Great Guys was sold to one of the biggest streaming platforms in China iQiyi. The Director, Jin Zhang, thanks Shao for the success the film received.

“An artist friend of mine recommended Yang as a highly professional and aesthetically exceptional cinematographer. Talented artists have their own vision of things, of ideas and scripts. We managed to find the midpoint where our visions met. To create an outstanding product, you need an extraordinary talent. I’m lucky to have had Yang on my movie,” said Jin Zhang.

Shao did indeed find ways to make each scene visually shine. He aims to light up every scene in a way that drives the story forward. There are different ways to do that, but specifically for this project, he decided to experiment with using only soft filling light of warm colors. He wanted to put more emphasis on the characters. The light therefore is what draws audiences’ attention to various parts of the scene, highlighting what to focus on. In this story, it also shows the difference between the protagonist and the antagonist.

Shao also used a hand-held camera to film, having long takes between cuts. With a magical story, he wanted that feeling to be conveyed at all times. Lots of colored filling light helped to achieve bright and colorful picture that played well with the story and highlighted the emphatic world saturated with magic.

“One thing that I particularly like is the dedication of the crew and the entire team to the craft. I really enjoy working with people who are not only professionals but who also are passionate about what they do. Passion is really what shapes the work and how you see yourself dealing with those people. Nine out of ten times when I’ve seen people had some issues on the set is when they were not driven by their passion. Passionate-driven people on set come from a very different place and in my opinion the final outcome is different in this case. More intimate and personal,” said Shao.

Shao’s favorite part of making the film, however, is the interest he received from his daughter. At the time he was reviewing the screenplay, she was only five years old. He was unsure if he had the time to take on the project, so he read the script many times trying to make a decision. When his daughter asked what he was doing, he began to explain the technical aspects of filmmaking. He realized, that rather that talk to a young child about these things, he’d explain the fairy tale script instead. Immediately, his daughter was enthralled.

“At that moment I thought that with this movie maybe I can get her closer to the magic and not let her think that our life depends only on technological progress. And I did. With that movie my daughter and I started talking about more fun and kid stuff,” he said.

So, what’s next for this industry leading cinematographer? Keep an eye out for Shao’s three upcoming features, NeedIn the Middle of the Night, and Excel on the Highway.

Yun Huang talks editing powerful new film ‘Stardust’

Editing is about emotion, and Yun Huang knows this well. In order to be successful in her field, she knows that understanding every detail in a script is a necessity. She does not simply put footage together, she tells a story, and she has to know the best way to captivate an audience.

“Being an editor provides me with a chance to tell the story to the audience in my way. I can alter a script if necessary and trust my emotional instincts. I connect with people. This job provides me with a great sense of accomplishment,” she said.

No matter what project she takes on, Huang is sure to keep the story at the forefront of her mind while editing. This is evident in all she does, from the powerful commercial “Choice” encouraging girls to follow their hearts, to the informative and telling docuseries Unveil China Outside China, educating its viewers all over the world on the country’s social and political happenings.

The challenge of any new project is that I have to figure out how I can attract the audience best; for example, how to make an audience laugh at the point that we set up. I always go to the cinema or some film festivals to watch with audiences to see their reactions based on the editing. I should know their thoughts and therefore know how to make my work resonate with the audience,” said Huang.

Huang’s most recent film exemplified just how she connects with viewers. Stardust tells the story ofa male Chinese agent who, loyal to the country, finds out that his most trusted partner, a female Chinese agent, betrays their country. However, as the story progresses, he begins to question his beliefs and the truth.

“I like the story. I’m touched by the soldier’s loyalty to the country and their missions. I believe that showing this kind of emotion is what film is all about,” said Huang.

After premiering earlier this year, Stardust has gone on to several prestigious international film festivals. It was an Official Selection at both the Austin Spotlight Film Festival and Direct Monthly Online Film Festival, an Award Winner at Accolade Global Film Competition, and the winner of Best Action Short Film at Five Continents International Film Festival. With all this, Huang herself was awarded Best Editing at Festigious International Film Festival.

“I was so excited that it got so many awards, and I got an editing award. It just goes to show that hard work and determination will pay off,” she said.

Huang was both the video editor and colorist of this short film, and it was her first time working on a film in the action genre. Initially, she was unsure if she wanted to work on the project, normally leaning towards relevant dramas and documentaries. Before deciding to take part in the film, she talked with the director, Shihang Qu, several times. He told her that he really loved Wing Chun and other kinds of Kung Fu since he was a child, and he always dreamed of directing an action film. She was moved by his efforts, so she decided to take on the project and help the director achieve his dream.

“Shihang is very nice, and he listened to me and considered my suggestions. He accepted all my recommended changes. I really like being respected,” said Huang.

It took over six months to generate a final cut of Stardust. With every day they were shooting, Huang would then look at the footage. This is not a common process, and normally the editor receives all the footage at once in post-production. However, by adopting this style, Huang not only got a better understanding of the story, but also an idea of what the director envisioned. This also allowed her to make suggestions that were instantly implemented. For example, there is a shot of the main character in a scene when they were fighting with bad guys. The director had initially planned for it to be put in the middle of the film as it showed in the script, but Huang thought it would be better if it was moved forward in the story, as the opening scene. It instantly captivated audiences and allowed for the story to be told as a memory, slowing the pace of the beginning and speeding up at the end.

In the end, Huang changed the structure of the story which made the short film more attractive and meaningful. Her instincts as both an editor and storyteller are always fruitful, and she will no doubt continue to have an impressive career. Keep an eye out for her future work.

Mariana Mendez seizes adventure project ‘Viviendo Van’

Ever since she was a child, esteemed film producer, Mariana Mendez, has had a knack for organization. Regardless of the activity she was taking part in, be it a school project or planning a birthday party, she always seemed to naturally advance into a leadership role and handle all decision-making responsibilities with ease. It is almost as if these qualities were ingrained in her DNA and as she grew up, she found an expert way to couple her love of organization and leadership with her passion for the art of filmmaking. She’d catch herself renting movies just to watch “the making of” the film in its bonus features. Seeing how scenes were shot and hearing how actors would talk about their experiences on set made her feel alive in a way she couldn’t put into words. Instead, she put those emotions into an unwavering determination to rise as a producer in the film industry and she has since established a reputation as one of the most invaluable professionals on any project she lends her talents to.

“When I realized that I could pursue a career in film, I looked at all of the roles and crew member descriptions to decide which interested me most. After reading the description of a producer, I just knew that it was the perfect fit for me. I wanted to be the one lifting an entire project from the ground and making sure it runs smoothly until completion. I wanted to be the one organizing, overseeing, and problem solving. These qualities come very naturally to me so it just felt like a no brainer,” told Mendez.

When it comes to growing a project from the ground up, Mendez is a natural. She has seemingly effortlessly been the mastermind behind a number of reputable films such as Viva El Rey. Despite her prowess in the art of film production, however, she is also well versed in the world of producing for reality television. Early on in her career, Mendez was approached with an idea for a reality sports television show that she and her filmmaking partner, Rodrigo Courtney, could produce via the production company that they had started together, Mindsoup Entertainment. After listening to the pitch for the show’s premise, Mendez felt compelled to give it her personal touch and help ensure that it made it to local Mexican audiences in a big way.

Viviendo Van is an extreme sports reality show that follows former kite surfing world champion, Sean Farley, along his adventures around Mexico. The vision for the show was to cast Farley’s life in an exciting, adventurous fashion and the result, for Mendez, was the successful execution of an enjoyable passion project. To her, it felt more akin to a vacation followed by cameras than it did “work.” Once she had sorted all of the show’s permits and logistical details, she was able to experience the excitement and unpredictability of Farley’s love of extreme sports.

Mendez learned quickly that there was a place for planning on this project; however, there was an even more prominent place for improvisation. She knew that as a crew, they would have to accept the reality that certain scenes would require them to merely “go with the flow” and adapt to whatever situations unfolded. It was both thrilling and relaxing, all in one, and Mendez considers herself fortunate to have even been a part of it.

While Mendez was busy taking in all of the joy and excitement associated with the project, her co-creatives were learning of the level of competence she possesses as a producer. She provided them with a platform that they wouldn’t otherwise have had to showcase their skills and to produce something that audiences wouldn’t be able to get enough of. She also managed to raise all of the funds necessary to allow their budget to appear as though it was an afterthought and to seize every opportunity available along the way.

The show was shot in Cuixmala, a beach town along the Pacific Coast of Mexico. Its importance in society was twofold: it contributed to Mexico’s tourism industry by showcasing some of the beautiful locations and landscapes that Mexico has to offer, as well as reminding audiences that there is a large place in life for taking risks and chasing adventures. It is easy to become complacent in today’s society and Mendez, along with other cast and crew members, were determined to remind audiences that they should always find time to actually live in life. As soon as the final product was released on YouTube and Vimeo, Viviendo Van was purchased by OnceTV and renewed for several subsequent seasons. It is no secret that it would not have seen such success if it hadn’t been for Mendez.

Since Viviendo Van’s release in 2012, Mendez has gone on to work on a number of other award-winning projects such as Zero Hour and OverAgain. She is currently working on a project that holds very dear to her heart called Inzomnia.Keep an eye out for its release in 2020 and see for yourself exactly what makes Mendez such a desirable asset in the industry she loves so much.

Experience Chen Xu’s 5-channel surround sound method in hit Chinese film ‘The Wasted Times’

When Chen Xu thinks back to his childhood, he fondly recalls the way in which his admiration for sound shaped his youth and ultimately, his career in sound mixing and sound design. For the highly sought-after sound designer, it is difficult to recall a time where sound design wasn’t his main passion. At the age of 17, Xu watched Forrest Gump and notes the experience as being the first time he ever truly fell in love with a film. It inspired him to focus on a career in sound design and gave him the confidence boost he needed to take the film industry by storm. The now 36-year old, award-winning creative is just as enthused about his art form today as he was back then. His life is enriched by the opportunity to do what he loves day in and day out and he has no desire to stop any time soon.

A typical day as a sound mixer and sound designer requires the skill and expertise to be able to record sound and mix it creatively. Although this may sound relatively straightforward, it is no small feat to achieve on a daily basis. For instance, when Xu works on set, he is required to carefully position microphones in such a way that will capture sound as clearly and concisely as possible. In addition, he must learn a film’s storyline inside and out in order to thoroughly understand the types of sounds that will complement the characters’ conquests. In addition, during the post-production process, Xu must awaken his creative tendencies and use them to apply sounds in the most unique, yet appropriate manner possible. Where Xu truly shines, however, is when he is tasked with location sound mixing for a film’s script. Knowing how to effectively capture sound in a complex location is what Xu does best. He is a master of extracting compelling sounds from a loud, busy location and ensuring that there is nothing compromising the sound in order to enhance an audience’s viewing pleasure.

“When I’m sound mixing, my work is more focused on creativity. I need to design some unique sound effects according to the images and the storyline before me. Then, I need to edit and record some foley and sound effects before I can arrange each sound element to fit perfectly into each moment within the film. All of these steps allow me to help develop and compliment the storyline” noted Xu.

IMG_4117

In 2015, Xu was given a script for a film titled The Wasted Times, by well-known Chinese director, Er Cheng, who was confident that Xu possessed the skills necessary to take his script to the next level. Having already secured a $23.6 million budget and two of Asia’s most accomplished and award-winning stars, Ge You and Zhang Ziyi, Cheng was determined to make this film his most successful yet. In addition, he was intent on making the sound design in The Wasted Times unlike anything his audiences had ever heard before. With that, beyond dialogue alone, he wanted to use as many location sounds as possible and to make best use of live recorded sound effects and foley. Given the film’s budget, cast, and unique content, he needed someone with both the experience and creative edge required to rise to the challenge. Fortunately for Cheng, Xu was compelled by the script and eager to take part.

The Wasted Times depicts the life of a legendary mafia boss in modern Chinese history. Through the use of a biographical narrative, the film follows a violent and betrayal-ridden deal between the Japanese army and criminals in Shanghai. For Xu, working on The Wasted Time presented a number of challenges he hadn’t previously encountered in his career. For instance, due to the fact that several of the film’s scenes were shot inside state- and city-level protected historic buildings, he had to master the ability to capture vocal exchanges in historical settings, as opposed to the more modern buildings he was used to working in. In order to do so, Xu led his team in adopting a pioneering approach whereby he recorded a 5-channel surround sound effect during production sound mixing. In addition, he made use of two additional stereo microphones in order to account for any and all reverberation, echoes, and delay of sounds in real time. This led to Xu having recorded and mixed approximately 80% of the film’s final dialogues and about 50 per cent of the sound effects using his location sound. It therefore goes without saying that Xu proved himself to be instrumental throughout the entire process, being able to provide carefully thought-out solutions to each potential problem the crew encountered. He is undoubtedly a strong contributor to The Wasted Times’widespread success and feels honored knowing that the film went on to receive four award wins and ten nominations from some of the industry’s most acclaimed organizations and festivals, including the Asian Film Awards, China Film Director’s Guild Awards, and the prestigious Macau International Movie Festival.

IMG_4383

For Xu, however, the true highlight of working on The Wasted Times was embedded within the reality that for him, this film was far more than just a sound production process. Being able to film at authentic locations such as the residence of Pu Yi, China’s last empire, as well as in a 1920s car loaned from an antique car museum helped Xu acquaint himself with the type of lifestyle of the individuals depicted in the film. He credits the experience of working on this film as helping build his understanding of people’s lives in that era and helping make it feel familiar to him. It was both a cultural and career-building opportunity and Xu couldn’t be more pleased with the outcome.

Liam Casey Sullivan on honor of continuing the conversation about addiction

Most successful actors will tell you that they do not act for the fame or for the fortune, they act for the thrill. They act because their job lets them connect with dozens of strangers, allowing them to contemplate the various aspects of the human condition together. They act because it is their creative outlet and their chance to take an audience along journeys they may never otherwise experience. They act because it keeps them alive. It doesn’t matter if an actor is young or old, new to the screen or a household name, actors act because unlike other professions, theirs allows them to escape reality and explore their souls before the eyes of the world. For these reasons and many more, Liam Casey Sullivan acts and with his rare combination of passion, talent, and perseverance, he is likely to live before a camera for decades to come.

“As an actor, I am required to delve into the bank of my personal experiences and surface the same feelings or emotions that my character is experiencing at any given time. Through respective research and seeking sympathy for the person I’m playing — however challenging that may be — I aim to grasp a complete understanding of their point of view so that I may be able to adopt it. Once I do this, I then embark on understanding their relationship with others by sourcing parallels from people I know in my life and from other stories. Although I may not have shared the same experiences and relationships as my character, I can revert to alternate moments I’ve lived in order to render even the slightest bit of those same reactions and capitalize upon them so I may appear as though I have lived them,” tells Sullivan.

Sullivan’s remarkable ability to ease in and out of character is arguably his greatest asset, and something he has done successfully for a number of different on and off screen productions, such as for the hit teen drama Degrassi: Next Class and The Girlfriend Experience. What tends to differentiate Sullivan from his competition, however, is his ability to adopt and portray traits that are entirely different from his own personality. Not only does he do so exceptionally, he thoroughly enjoys playing characters entirely unlike him. In fact, he considers playing Dougie in the Canadian film, Mary Goes Round, to be the highlight of his film career solely because he had the opportunity to play a conceited, selfish character.

Mary Goes Round follows the life of Mary, a substance abuse counsellor with a drinking problem. After being arrested for drunk driving and losing her job, Mary returns to her hometown where she learns that her estranged father is dying of cancer and wants to form a bond with Mary and her teenage half-sister that she has never met. In the film, Sullivan’s character Dougie conceals his own insecurities through a mask of obnoxiousness and arrogance. His lack of true friendships and general loneliness cause him to fiend attention and subsequently irritate those around him.

Ultimately, Sullivan’s character proved instrumental to Mary Goes Round’s great success and his performance on screen, in conjunction with his input behind the camera, highlights just how valuable he can be on any given project. After premiering at the Toronto International Film Festival in 2017, Mary Goes Round was featured in several other festivals across North America. In addition, it won three prestigious awards, including Best Narrative Feature at the Annapolis Film Festival in 2018 and The Panavision Spirit Award for Independent Cinema at the Santa Barbara Film Festival in 2018.

What Sullivan enjoyed most about playing Dougie was the fact that he was able to explore and portray a personality type that he hadn’t ever depicted before. In addition, the film’s director, Molly McGlynn, was open to experimenting with the script and offering her cast an opportunity to rework and modify their scenes as they saw fit. Under these circumstances, Sullivan was able to allow his creative nature and unique style to flourish and he quickly proved himself invaluable to the production. Ultimately, however, Sullivan was honored to have taken part in shining a light on an extremely prevalent and relatable topic. Knowing that he was able to take part in a broader conversation about addiction left Sullivan feeling fulfilled and hopeful that audiences would be able to look at this social crisis from the unfamiliar, but interesting angle he helped create.

“In all, I liked that this story rings true to how much of an ongoing struggle battling addiction can be. A drinking problem has the power to haunt you for your entire life and this story is unforgiving when it comes to highlighting the truth and the daunting reality of addiction. This story not only spreads an awareness to the public but also gives a healthy sense of hope to those who may be facing similar problems as Mary and it felt great to have played a part in that,” Sullivan concludes.

 

Top photo by Helen Tansey

Canada’s Dan Cazzola living his dream with Endemol Shine Group

When Dan Cazzola first stepped onto a studio, he felt a rush like no other. It was at that moment when he fell in love with television production, seeing what a vast world it truly is. He finds it energetic and exciting, his passion for what he does translates directly to his work. As the Vice President of International Development for Endemol Shine North America, he is living the dream he’s had since he was only a child and has had a career that many aspire towards.

Originally from the small suburb of Ancaster, Ontario, Cazzola has travelled the world doing what he loves. Working with Endemol Shine, one of the world’s largest production companies, for the past six years, he has had a vast array of experiences working on internationally successful television shows, such as MasterChef, Big Brother,Minute To Win It and Deal Or No Deal.

“Working with Dan is always a pleasure. Not only does he ensure a healthy working relationship with all of his employees and colleagues, but he is extremely creative. Such a combination creates extremely high morale on every team he is a part of, despite the stresses that come along with such a fast-paced industry. Dan is everything you would want as a leader, and the tremendous results of his work are direct reflections of this,” said Rebecca De Young, Creative Director, Endemol Shine China.

One of the many highlights of Cazzola’s esteemed career came when he first started working with Endemol Shine, back at Shine Group in London. Shine Group was an immense company, with operations in over 10 countries and a large footprint in the United Kingdom. In every territory, each production company had started from scratch and they were doing everything they could to get to number one above all competitors. To do this, each region needed to be on the same path, working at the same speed, achieving the same goals. As the Global Development Executive of Shine Group at the time, Cazzola was the link between all these companies. He made sure to keep all priorities in line and made every connection happen with incredible speed. He brought new ideas and strategies into Shine and helped to map out the integration of the creative business into the newly formed Endemol Shine Group when Endemol and Shine Group merged.

“At Shine Group, I was working with the best creatives in the business. Shine had grown from nothing to one of the UK’s largest production companies in just over five years. It was a huge company but felt small and nimble and everyone in the company felt like they were responsible for its growth and success. The company had an amazing culture and to this day I haven’t found a more talented group of people in one place,” Cazzola described. “I was learning new things and new territories and new markets every day. At any moment we could sell a show to Thailand, or Brazil or Norway and we’d have to make sure that the show fit that market. I learned about all the broadcasters, the key talent in each territory and what makes everyone tick.”

Cazzola first started with Shine Group when he produced MasterChef. Having worked on the show, he knew a fair amount of the executives that worked on the corporate and international side at Shine Group. When the opportunity arose to transition from content producing to a corporate look, he felt he had what it took to make the transition, and he was right.

Cazzola became the creative face of the company during his years at Shine Group. He consistently found the best way to make all of the production companies work together harmoniously. He worked to instill trust, both in him and the company as a whole. From there, he would find the strongest areas to focus the company’s efforts. He made decisions based on both fact and instincts, which with his innate talent and years of experience proved to almost always be fruitful. He always trusted his gut when it came to picking out the next big thing, talking about ten shows in a day but instantly deciding what would become the next global hit. It was this rush that drove Cazzola, and why he looks back at his time at Shine Group so fondly.

“The Shine Group years were the glory years.  I am very proud to have been a part of Shine Group and what was achieved.  The company did in five years what other TV companies couldn’t do in 10 or 20. I can see the results of my work on screen in countries all over the world. And when I see that one of our shows has sold to another territory or won an award I always feel proud,” he concluded.

Go behind-the-scenes of ‘Pumpkin and Fried Noodle’ with Editor Meibei Liu

From the time Meibei Liu was a child, growing up in Shanghai, China, she loved watching movies. They would make her laugh, they would make her cry, and spending two hours enjoying a film became her favorite pastime. But being so young she would only take in the entire production, not appreciating the many roles scrolling past in the credits that it took to achieve the movie that just entertained her. However, this all changed when she was a teenager and decided to try making a movie of her own for fun. Despite enjoying films all her life, she knew nothing when it came to actually making one. It was a much harder process than she could have ever imagined, but she found herself constantly playing, pausing, rewinding, and cutting down parts of the film that she had made. She was a natural editor, and it was then when she fell in love with the art of editing. Now, years later, she has never looked back.

“Although the story was as naïve as it could be, the fun of making and editing the film just aroused my huge interest in filmmaking and also changed my life,” she said.

This past year, Liu has seen a lot of success worldwide. Her work on The Ballerina, The Shoemaker, and His Apprentice,Headshot, Dear Mamá, and Faith Need Not Change Her Gown have been celebrated at many international film festivals. Her first taste of such success, however, came back in 2013 when she worked on the documentary Pumpkin and Fried Noodle.

Pumpkin and Fried Noodleis a short documentary shot in Taiwan. It tells the stories of how two different families make their living as an outsider in a small village. Though tough, they still find their ways for inner peace and happiness. The film was selected for the Golden Sugarcane Film Festival, Taiwan’s first film festival where the filmmakers have to shoot and edit on site.

“I really liked that the documentary showed the culture of the village, and documented that beautiful, peaceful and friendly place, which was very different to the culture I was in growing up. It tells stories of outsiders in the villages and shows how they fight to live a better life and struggle to be part of the society over there. It’s also a story about women empowerment, telling how they managed to support the whole family without any help. Making a documentary about them was important because their way of living life and being in a difficult situation needed to be seen by others,” said Liu.

Because of the circumstances of the Golden Sugarcane Film Festival, only a pitch was submitted in hopes of qualifying as one of the ten slots. Once Liu and the rest of her team were selected, they were invited to Taiwan to make the film. During the week, Liu was with other filmmakers finding the subject to shoot and finding structure and stories. This allowed for faster editing, as she was able to spot what would work while filming. Then she finished each day with the editing. On top of this, she conducted interviews each day.

“Going there to make the documentary without knowing whether it will work or not; finding the story during shooting was like an adventure that needed a great sense of filmmaking, which I liked and wanted to be part of,” Liu recalled.

The film exemplifies how important editing is. Liu and the other nine filmmakers on the crew conducted several interviews with over ten different people, but in the editing room, Liu cut that down drastically, only showing two of the subjects that were interviewed. The film focused on their lives in detail, showing their philosophy of living rather than small aspects of many lives. Liu also made the decision of blending the two stories rather than showing one after the other, which helped lead to the warm and touching climax at the end.

“Meibei is very hard working. She edited our entire film within three days. She was very easy to work with, always there in the pre-production, making sure everything was right and very insightful about the story and production. In the post-production, she sacrificed her own personal time, which made the impossible schedule work in the end. Meibei is an editor who is very insightful and creative about creating story structure. She is amazing in terms of editing skills and at the same time, also very sensitive of capturing emotions of characters,” said Song Huang, Director.

Because of the competition, time was limited when making Pumpkin and Fried Noodle, requiring a fast, hardworking and passionate editor like Liu. On top of this, she was able to connect with the two women’s stories in a way that audiences can instantly see when watching the film, making it a true masterpiece.

 

Editor Xiaodan Yang refines artistic story in upcoming film “Summer Orange”

Xiaodan “Christy” Yang was a teenager when she realized she was meant to be a filmmaker. At the time, she and her friends at their high school in China were just having fun with a video camera. They were so excited and curious about the tool and would pretend to interview students during lunch breaks. Quickly, this transformed to casting classmates in small productions, and Yang was the leader.

“The most classic one was a Titanic parody where I picked two leading characters to play Jack and Rose from the “audition”. Then we shot the “I’m flying” scene. Their acting was so hilarious and the whole process was a lot of fun. I really enjoyed it and that’s the first time I started thinking that maybe I could be a real filmmaker someday. I wanted to bring larger audiences to tears of laughter and allow them to experience all sorts of emotions through my work,” said Yang.

Despite being in charge of her high school short films, Yang found her way to a more behind-the-scenes role in editing. Now, she is an award-winning editor and is recognized far beyond China for her talent. Through her work on dramatic films such as Kayla, Witness, Sixteen and It’s Not Just About a Film, Yang’s contributions as an editor shape these important stories into pieces of art, and all those who work with her know what an asset she is.

“I worked with Xiaodan on my film, Ashram, as well as a short film called The Review. I directed the films and she was my editor for both of them. To work with Xiaodan is to have a very smart, skilled and sensitive creative partner. She is very thoughtful about her editing decisions, and a very even-keeled and well-balanced guiding creative force for the project. She’s very competent and efficient, but also artistic and intuitive. She has strong communication and learning skills, which make us work efficiently,” said Matt Marlin, Writer and Director. “Xiaodan is a strong creative presence and also very flexible with working with different types of personalities. She often juggled multiple projects when working with me, and still made me feel like my project was at least an equal priority with the other things she was working on. She can roll with any notes I throw her way, and also push back when she believes in a creative decision strongly. She has a great intuition for how to best bring out the story from the footage provided.”

When working on the upcoming film Summer Orange, an artistic story, Yang knew it would be defined by the editing. When she first read the script, she was immediately captured by the characters and could feel the desolation they felt in every word. She instantly said yes to the project.

Summer Orange is about a filmmaker dealing with his real life and the film he’s shooting. As a filmmaker myself, I felt close to him. As I was editing the film, the film also affected me in many ways. I was thinking deeply while working on this one,” said Yang.

The film follows Da, a film student in Los Angeles. During the time shooting his thesis film, his old friend, Lu, comes to visit him. It has been a few years since the two have seen each other, and they both have changed. At the same time, the relationship between Da and Xintong, the leading actress of his film, becomes ambiguous. With so many things going on, Da feels confused about film and reality.

“This is a very personal story for the director. Some plots and details come from his actual life experience. If other films are considered novels, this one is more like a prose. The story is sincere, but also abstract. Although nothing dramatic happens, the tone of the story is attractive. Sometimes life is just overwhelming, and people can’t do anything about it. The best part of this story is the dynamic between the characters. That was also my emphasis during editing,” said Yang.

Summer Orange is directed by Chen Xu, who also wrote the film. He had previously worked with Yang on Witness and It’s Not Just About a Film and knew her extraordinary editing talents would help captivate audiences to his subtle story. As the editor, Yang understood the director’s intentions of this story precisely. When going through the footage, every decision Xu made while shooting made sense to her and she knew just how to approach the editing. She could transform and breakdown the script without disrupting the artistic conception. As it was a calm story, the director chose to shoot the film in an objective way, meaning most of the shots were long takes. When Yang was editing, she watched each shot over and over to make sure she was choosing to highlight the best performances from each actor. After doing this, she still made sure not to cut the long takes, therefore ensuring the dynamic between each character was as close as possible to how it was originally shot, refining every take. She also slowed down her pace while editing and instead of simply thinking about what would be useful, she cared more about what felt right for the atmosphere.

Undoubtedly, Summer Orange will be a tremendous film and showcase what a formidable editor Yang is. It will premiere this May at none other than the prestigious Cannes Film Festival Short Film Corner and will expectedly make its way to several more festivals in the coming year.

“I feel so excited about the Cannes Film Festival, since it’s one of the best film festivals in the world. I believe this is just a good beginning, and more and more will come,” Yang concluded.