Tag Archives: Film

Sound designer Randolph Zaini says film “Mosquito: The Bite of Passage” is highlight of his esteemed career

Randolph Performing Foley Footsteps
Randolph Zaini working on “Mosquito: The Bite of Passage”

Randolph Zaini is more than a sound designer. He is an artist; the video is his canvas and audio clips are his paint. He is a storyteller, and sound is both the setting and the characters. He sees sound as one of the most important aspects of a film, and those that have seen his work can hear this immediately. There is no doubt as to why he is so sought-after in his industry.

Of all the films he has worked on, with many esteemed awards and praise, the highlight of Zaini’s career he says is working on the film Mosquito: The Bite of Passage, which was just shortlisted for the British Academy of Film and Television Arts (BAFTA). The film tells the story of a young mosquito brought out by her mother on her first hunt for blood. The issue, however, is that she doesn’t like blood, and but fears disappointing her mother. Though the main story is simple and clear, there is a complex message underneath. It has much to do with being accepted for who you are. It exemplifies the best form of storytelling, where it can both entertain and illuminate.

“It was a great screenplay filled with heartwarming and funny moments,” said Zaini.

Since the story deals with opposing perspectives, it is imperative to give the appropriate sound design treatment on each subject matter. The mother has set her eyes on a single human: a slob who lives alone in his dingy apartment. When there is a switch back and forth between the perspectives of said human and the mosquitoes, audiences should hear the differences in ambiance. Everything feels gigantic in the perspective of the mosquitoes, even the air feels heavier; they are in the land of giant beings. Although Mosquito: The Bite of Passage is a hybrid live-action/animation, there was no production sound provided to Zaini, even on the live-action part of the film. This meant on top of creating every bit of audio clips for the mosquitoes, he also had to recreate the sounds of the human character, played by a live actor, from scratch as well.

“Every bit of sound that the animated character made, from the mosquitoes’ helmets, suits, boots and blood-bag was created by me in the foley recording studios. As for the human character, I also performed all his movement sounds, which then got a frequency manipulation treatment to make him feel gigantic when seen through the eyes of the mosquitoes,” Zaini described.

The film ended up becoming a large success after premiering at the prestigious Telly Awards, where it won Best Animated Short. In addition to BAFTA, it was an Official Selection at the Chinese International New Media Short Film Festival, Edmonton International Film Festival, New Orleans Film Festival, Haryana International Film Festival, African International Film Festival, 9th CMS International Children’s Film Festival, Newport Beach Film Festival, New Voices in Black Cinema, and more. It has gained offers for representation by CAA, WME, Paradigm and Verve. None of this could have been possible without Zaini’s work as sound designer, and he was recognized for it with the Outstanding Sound Award nomination at the 2017 First Look Film Festival.

“It was incredible. We make these movies to connect with audiences, to tell a story worth telling, with a hidden message worth sharing. Winning awards is always secondary. But I’d be lying if I say winning Telly Award for the second time did not give any affirmation that I was doing something right, that my passion was not misguided, and that people do appreciate the result of hard work and the vast amount of passion being put into it,” said Zaini.

Randolph Performing Foley
Randolph Zaini recording foley for “Mosquito: The Bite of Passage”

The detail Zaini put in to each and every sound in the film is outstanding. To create the sound of the mosquito wings, he used a combination of hummingbird wings flapping, plastic cards being run through bicycle spokes, and small airplane engines flying in the air, among other sounds that helped sell the integrity of the wings that carry these mosquitoes. Every single sound file was designed with the storytelling effectiveness in mind.

“Randolph is the best sound editor, ADR editor, foley artist, and re-recording mixer I have encountered. To cite a specific example, for Mosquito: The Bite of Passage, Randolph created the sound of the entire film from scratch. There was no production sound going in. He was notably innovative in his approach to creating a new world of sound for the macro world of the mosquitos in the film. Using devices like leather jackets, his own voice for various flight sounds, and other unique concepts, he made a deeply immersive experience. This film relied heavily on the sound design given its heavy science fiction component. I was very happy with the results,” said Brian Rhodes, the director of the film. “Randolph is extremely hard working, dependable, diligent and a wonderful human being to be around. I greatly look forward to working with Randolph the rest of my career. He pushes the boundaries of what is possible and is a visionary.”

Rhodes, who previously worked with Zaini on the award-winning film Harold’s Fish Sticks, refused to have another sound designer work with him on the project. He even pushed back the timeline to work with the sound designer, knowing he needed the best. Although it was a long process from start to finish, there was not a moment of it that Zaini did not like.

“It was work that I enjoyed wholeheartedly. Mosquito: The Bite of Passage is an action-filled movie, which means there are a lot of high-paced sequences that were fun to design. I had a blast planning, recording, and editing the sounds I created,” said Zaini.

With every project he takes part in, no matter how successful, Zaini is living his dream. As a child, he told stories, always putting in captivating sound effects. He may not have known at the time it would be his future, but he always knew what his passion was.

“Like most children, I grew up watching animations. Though I wasn’t always aware of the sound design aspects of those cartoons, it had always sold the believability of these drawn and sculpted worlds and characters, being brought to live with sound. To think that what I do now is breathing life into these lovable characters, it is like having an important role behind a magician’s performance,” he said.

Working on Mosquito: The Bite of Passage was just another chance for Zaini to live out his dream.

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Writer Sarah Stunt tells inspiring and impactful story in award-winning film ‘Girl Unbound’

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Actress/writer Sarah Stunt, photos by Alexis Dickey

Growing up, Sarah Stunt always loved stories. The Toronto native was always a big reader, reading her first novel, Little Women, at just nine years old. She loved the history and romantic setting, drawing her to the visual, and she was immediately taken by the characters, seeing herself in the passionate and independent writer Jo March. At the time, the only way she could describe the feelings the book gave her was on paper. It was something that changed her life. Now, her talent communicating through the written word, and that passion that started at just nine-years-old, has propelled Stunt’s career, and she is recognized around the world as an outstanding writer.

 

Stunt’s work has impressed international audiences for many years, but it was writing the impactful documentary Girl Unbound that she considers the highlight of her career. The film is about an exceptionally brave girl living in Waziristan, Pakistan, “one of the most dangerous places on earth.” Maria Toorpakai defies the Taliban, disguising herself as a boy, so she can play sports freely, something the Taliban strictly prohibits girls from doing. However, when she becomes a rising squash star, her true identity is revealed.

“I love working on documentaries as a writer. It’s always a long-term, nurturing relationship that changes and grows as time goes on. The lives of the characters are real. You don’t have to envision the conflicts, the inciting incidents or arcs, they evolve naturally on their own. Being able to capture it on the page is where the magic before the magic takes place, because in a matter of pages, your essence of the film presents itself and sets the stage moving forward. Being able to create some sort of affect, as the subject matter is usually from a human-interest point-of-view, is always the greatest outcome. You learn to champion your characters and unlike fiction, their stories continue to evolve after production is complete. It has a long-lasting affect,” said Stunt.

As the film’s writer, Sarah worked closely with the Producer, Cassandra Sanford-Rosenthal, to develop the film’s basic concept, and from those initial ideas, she wrote the film’s script. Rosenthal says without Stunt, the film could never have been possible.

“Sarah is an exquisite writer whose skill and talent for her craft is obvious. Girl Unbound could not have been made without her guidance and her amazing abilities. The fantastic record of success the film had could not have been achieved if not for Sarah’s prodigious talents,” said Sanford-Rosenthal.

After being asked to premiere at the world-renowned Toronto International Film Festival last year, Girl Unbound received rave reviews from such top industry publications as The Hollywood Reporter and screened at more major international film festivals such as the DOC NYC (where the film was nominated for the festival’s Grand Jury Prize), Cleveland International Film Festival (where the film was nominated for Best Documentary), Athena Film Festival, and the Human Rights Watch Film Festival.

“I am so proud that the film has done so well. So much work, dedication and time went into the making of this film. With all the ups and down, everything from capturing the characters and their lives to the struggles of filmmaking in general, the final film is beautiful and powerful and executed in a way that will continue to generate a conversation after the film has been screened. This, in my opinion, is the true purpose of documentary film,” said Stunt.

With experience in writing for documentary, which for obvious reasons does not have scripted lines but requires a strict outline, Stunt was asked to join the film. The filmmakers knew they needed an experienced and skilled writer to properly tell such an important and captivating story. Originally, Stunt came to work on the film for a short time, but ended up as the lead writer, watching over the process from start to finish.

“The messaging is inspiring. The themes are varied with a focus on human rights, girls in sport, the right to education, and identity, but the courage of this one girl and the support of her family to use their platforms to inspire and make change is why it’s so important. Our main subject Maria is a force to be reckoned with, and if she can win and continue to do so, then it spreads the message of hope for others to do the same,” said Stunt. “The story was so strong and ever evolving. It took a lot of risk, courage and strength for all involved to actualize the final product and it inspired me to do my part as a writer, even though I wasn’t on the ‘frontlines’ of it all.”

In a world with a growing stereotype towards the Middle East, the story of Girl Unbound is of increasing importance. For Stunt, working on the film was not about the many awards and recognition both she and the film received, but about educating the viewers and inspiring audiences through Maria’s story.

“I loved working on this project. It took on many lives but the story that is out is the one that needs to be told. It has so much heart and invites viewers into a world that is both complicated and beautiful. It expels Western notions of Pakistan, sheds light on the lives of many but especially women and children and challenges old world notions that this generation of youths are trying to identify with and evolve from,” she concluded.

Actress Shauna Bonaduce takes audiences back in time in “Embrasse-moi comme tu m’aimes”

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Canadian actress Shauna Bonaduce, photo by Andréanne Gauthier.

Acting has always been a part of Shauna Bonaduce’s life. As a child growing up around Montreal, performing was a favorite past time, and the stage was a second home. As a teen, she was shy and thought maybe she should consider a different field, but acting kept coming back to her, as true loves do, and audiences both in Canada and around the world are thankful, as she is a truly unique actress.

Bonaduce’s versatility in her craft is evident with every role she takes. Whether it be comedic in the hit teen show Comment devenir une legende, or serious in the popular Quebec series 30 vies, Bonaduce knows how to captivate audiences. Her work last year in the period drama Embrasse-moi comme tu m’aimes did just that.

“Era movies are great. I love getting to explore an era that I would otherwise never have the chance to get acquainted with. I love researching and having the chance to travel back in time, and getting to explore how the women of these different periods lived.  And love the dresses and hairstyles of these periods. What a chance to be able to play dress up and be paid for it,” Bonaduce joked. “Also, the cast and crews of that movie as well as the director himself were just perfect. I consider this project as one of my most memorable ones.”

The story follows twenty-two year old Pierre Sauvageau , in the year 1940. Pierre wants to join the army, but he must take care of his twin sister Berthe who is paraplegic from birth. This closeness awakens Berthe’s sensuality, who then tries to seduce her brother. Pierre rejects her advances, but when he falls in love, he is haunted by the fantasy of his sister. He would like to get rid of it, but the fantasy of Berthe is very persistent.

“The movie takes place in the 1940’s, Second World War, so research on that time was mandatory for the process. In my creative processes though, mostly when the rest has settled down (learning the lines, researches, reading the script, etc.), the costume also has some importance in helping find the character. It really helps me become the person I’m portraying. How she walks, moves, talks, holds herself, her hair, it’s very stimulating. Is she the ‘good girl’ type or more frivolous? Trendy or conservative? Feminine or more one of the boys? The costume chosen by the production always influences my performances and I’m always exited when it’s fitting day to discover what they will bring along,” said Bonaduce.

Bonaduce plays Madeleine, a pivotal character to the story, as she is Pierre’s first serious date in a long time. He takes her out to dance that night at Café Bleu. When he gets in the car with her to drive her back home, the attraction is palpable and they start kissing. But as always, his sister is there to haunt him and, confused, he decides to pretend Madeleine has bad breath and that he will just take her back home.

“Shauna truly brought the role to life, with simplicity and genuineness while still keeping it firmly rooted in the period in which the film took place. This is a valuable feat, and not one that I have seen many actors attempt successfully. Shauna’s authentic portrayal brought us back to that time. She was engaging yet had the more reserved, prim decorum that women of that time so often had. She kept enough of her personal, modern flair to remain relatable to contemporary audiences, while still offering them a genuine, organic glimpse into their nation’s past. Without a doubt, we were delighted to have Shauna amongst our actors and she definitely contributed to the success of the film, which was greatly appreciated by the audience and rewarded by two awards at the Montreal International Film Festival last September. I would work with her again anytime,” said the director Andre Forcier.

In fact, he was so impressed with Bonaduce’s portrayal of Madeleine that another collaboration between the two is already being worked on for his next feature film, though the project remains secret at this time and can’t be elaborated on. He thinks Bonaduce was able to bring the perfect balance that Madeleine needed, the poetic and theatrical yet realistic and authentic approach that characterises most of the director’s work. Bonaduce is very eager to collaborate with Forcier again.

“Andre is a great director and quite unique too. There’s only one like him and I had the chance to work on what lots of us consider like one of his bests movies. I feel extremely privileged” said Bonaduce.

Going back in time and portraying characters from other eras is one of Bonaduce’s favorite things to do as an actress. In the film La passion d’Augustine, she had to play a trendy young woman in Catholic Quebec during the 1960s.

“I definitely did some research about that era and how things where done in that time; the role of women, the convent, the importance of religion in people’s lives at that time, etc,” said Bonaduce.

In the film, Mother Augustine provides a musical education to young women no matter their socio-economic background in a small convent school in rural Quebec. She helps Alice, a young music prodigy; realize her aspirations. However, with the looming changes brought by Vatican II and Quebec’s Quiet Revolution, the school’s future is at peril. Bonaduce plays Françoise, a trendy young woman who believes in modernity and evolution. She finds this convent completely passé and is quite happy that it is under serious threat of being shot down. When leaving the Church where a meeting was organized by the nuns in a desperate attempt to save the convent, she is requested by two students of the convent to sign their petition to save it. Françoise refuses immediately, since she is very much against that idea. 

“Historical movies are my favorites and I had the chance to take part in this great movie, with a very talented director. There are too little female directors in our industry. Lea Pool in one of our great ones and she truly inspires me. She is bold, outspoken and determined. There were also lots of great Quebec actresses on the cast, from whom I admire the work a lot, Celine Bonnier is one of them, and just felt blessed to be able to see them work and learn from them. It was just such a great experience,” she concluded.

Producer Filippo Nesci Brings Captivating Stories to the Screen

Producer Filippo Nesci shot by Steve Dabal
                                                                       Producer Filippo Nesci shot by Steve Dabal

Italian producer Filippo Nesci has established a career in the international entertainment industry that is as varied as it is impressive. With several multi-award winning films, documentaries, high-profile commercials and hit music videos already under his belt, Nesci has proven that his unparalleled talent as a producer make him a highly sought after leader in the industry.

In recent years, Nesci has produced the films The Carnival is on Fire, Lineman, Snippets of Wally Watkins, and Wrecks and Violins, as well as the music videos for Meg Myers’ “Monster” and KOAN Sound’s “80s Fitness.” He also produced the Clio Award winning commercial series for Lagavulin last year.

Directed by H.R. McDonald (Happy Birthday, Thomas), The Carnival is on Fire follows a young woman through the woods as she is stalked by a lustful but timid boy who disguises himself behind the trees that line their path whenever she turns around to face him. With beautiful imagery and a melancholic score, viewers witness the girl’s transition from childhood to adolescence through flashbacks as she reflects on the innocence she’s lost over the years.

The lighting included in the flashbacks of the film is magnificent; and, although a producer rarely has anything to do with lighting, in the case of The Carnival is on Fire, Filippo Nesci was an integral contributor to the unique lighting used in the film.

“I was aware that most of the art of the director had to do with his unique use of light. So, I thought that a professional I knew, who personally invents and builds equipment for cameras might invent a new equipment with lights that could be used specifically in this film,” recalls Nesci.

“Thanks to my very good and friendly relationship with this builder, I convinced him to do it having in mind two tasks, at the same time: a) make a tool that was able to generate a vortex of lights, b) make it nice, so that it could be filmed rather than go unnoticed, as usually happens to all camera equipment.”

Nesci’s ability to not only understand the needs and vision of his director, but also seek out the perfect people to make those ideas happen made The Carnival is on Fire a huge success, and the film went on to be chosen as an Official Selection of the Little Rock Film Festival in 2012.

Something that separates Nesci from the majority of other producers in the industry is that fact that he is passionate about changing the world through stories that touch audiences on an emotional level.

“All the projects for which I have been working as producer are very different indeed… However, they always have two factors in common: a) something intriguing from a psychodynamic point of view, b) something affective that really touches me at an emotional level,” explains Nesci.

“Be it a movie, a documentary, a music video, or even a commercial, I take the job only if there is a “narrative” quality in the project since I love stories: to tell stories, as well as to “view” and “listen” to stories.”

For him, a project’s emotional elements and its ability to tap into the viewers subconscious and cause them to contemplate ideas that extend beyond what is unfolding visually is a deciding factor in whether he will produce a project or not. What is even more astonishing however, is the fact that these characteristics are evident in the commercials he’s produced as well. Compared to the way the majority of commercials on television can be seen as shameless advertising, Nesci commercial projects to date shine brilliantly through the mediocre as nothing less than art.

As the producer behind the “Running Motivation” for Orange Mud, a California-based company that makes innovative athletic equipment, Nesci helped create a beautiful commercial for the company’s HydraQuiver hydration pack. The commercial follows a few different runners as they individually traverse some of the most captivating landscapes on the planet; and, no matter how far they travel, their no bounce hydration pack is always there to keep them hydrated.

You can check out the commercial Nesci did for Orange Mud below!

Composer Vincent L. Pratte Uses Music to Communicate Abstract Emotions

Vincent L. Pratte
      Composer Vincent L. Pratte shot by Marie-Ève Labadie

Canadian born film composer Vincent L. Pratte creates dynamic and thematically rich film scores that will enthrall any audience with their musical diversity and depth.

A musician who began scoring orchestra pieces in high school, Pratte is a composer who doesn’t mind going outside his comfort zones and trying new and unique methodologies. In college Pratte came to the conclusion that, “music and especially composition was not monolithic, and that there was room to do whatever he could imagine”.

Pratte believes that in films, the music is there to add emotional, dramatic or narrative layers to a scene, but not to overwhelm it. It is through this meticulous and complex process that Vincent L. Pratte is able to stand apart from other film composers as someone whose music is truly original and highly sought after.

Pratte says, “I do try to pay attention to things beyond the narrative, like editing choices, camera angles, and lighting… In the end, I think that those elements will have an impact on my musical choices as well.”

Demon Gate, a horror film revolving around demonic possession, beautifully demonstrates Pratte’s style of composition. The film’s score showcases an open ended musical structure that features a wide array of musical styles to achieve a deeply dramatic tone. Pratte is a composer who feels a film’s score can make the viewer feel visceral in ways that the visual medium cannot– a point that is driven home by the haunting score found in Demon Gate.

The film Eleanora: The Forgotten Princess, which is a cross between a musical, a period piece and a fantasy film, features a riveting score by Pratte that serves as an exploration of the character’s inner motivations. This super natural tale of revenge and jealousy sports a composition that embodies the weight of a much larger thematic piece without overwhelming the narrative.

“Although we often tend to think of film music in terms of dramatic end epic themes, so much of the work of a film composer is actually about how to subtly complement a scene,” admits Pratte.

Pratte’s score for Foos Your Daddy, a coming of age comedy, creates a brilliant texture reminiscent of large-scale gladiator-style films, which perfectly accompanies the film’s “absurdist touch,” as Pratte puts it. In the film, which was directed by Luke Patton, a father and son indulge in one last foosball game before the son heads off to college. Pratte’s score is a testament to his brilliance as a composer who fully understands how to create music that sets the tone for each scene.

As the film progresses the intensity of the score expands exponentially. Whereas the film starts out with a “coming-of-age… indie rock vibe,” as the foosball match unfolds the composer uses music to create an air of high stakes, big action, and emotional transitions.

Pratte has composed for a lengthy list of films across virtually every genre, but he admits that his favorite medium to compose for is animation because of the freedom and intensity it allows.

His poetically melodic score for Eloise, Little Dreamer gave the tale of a young girl, who is separated from her sister in the big city, a multi-layered emotional resonance. The film was most recently awarded the Best International Animated Film at the New York International Film Festival.

John Doe, the animated story of a detective lost in a case he is unable to solve, features another strong score by Pratte, with the film’s lack of dialog making the score integral to providing the narrative for the twisted tale.

Although Vincent Pratte still enjoys composing orchestra pieces, his passion for blending the abstract nature of music with the more concrete artistic medium of film, is by all accounts his true calling. A film composer who, like a magician, has many tricks up his sleeve, Pratte is a dynamic musical talent whose compositions augment any project to which they are attached.

Canadian Actress Lisa Jai Stars in the Upcoming Film “Runaway Dream”

Lisa Jai as Birdie in "What of the Night?" at the Vagrancy in Los Angeles
   Lisa Jai as Birdie in “What of the Night?” at the Vagrancy in Los Angeles

Audiences across the world know the work of internationally acclaimed actress Lisa Jai. With an impressive career that has spanned more than two decades, viewers old and young have had a lot of opportunities to see Jai’s diverse talents on the screen in everything from the hit television shows Barbar, Rupert and The Magic School Bus, to the films Balance of Power, Creed and Lost Angels.

Jai recently finished filming Runaway Dream, a film about two Hollywood transplants who get a whole lot more than they bargained for when they make the move to tinsel town with stars in their eyes.

Directed by award-winning cinematographer Daniel Abreu, Runaway Dream stars Jai in the role of Linn, and Vivian Ahn (Sisters, Inside Carly, Trail Mix, Lost Angels, Henry Danger) as Jess.

Jai says, “It is a story of the length’s people could go to when in need of more money than they are earning and what happens to someone when they have lost sight of their dream.”

A sad tale with an unpredictable twist, Runaway Dream follows Jai’s character Linn, a down and out aspiring actress who works as a maid to make ends meet. When things don’t pan out as Linn hoped, desperation leads her to hatch a plan to rob the home of an ex-boss who she believes is out of town—a move that leaves her in circumstances that are far more dire than those she faced before.

The film is currently in post-production and is scheduled for release later this year. Originally from Sweden, director Daniel Abreu received the Best Cinematographer Award for his film James & Quinn from the Sherry Theater’s 120Hour film fest, a prestigious festival run by Scott Haze (Star of Child of God directed by James Franco) and Jim Parrick (True Blood).

“Lisa is a dream to work with, she’s captivating onscreen – a gifted talent,” says Abreu. “She’s improved me as a filmmaker, truly.”

It is not surprising that Abreu says Jai’s contributions to the film improved him as a filmmaker considering the actress’s longstanding position in the industry as both a performer and a producer.

When she first rose to fame as an actress she was barely 4-years-old– an age where it is difficult for a person to be unequivocally dedicated to one thing. For the following decade Jai continued to land starring roles in a long list of international television shows and blockbuster films, as well as innumerable commercials for brands including Hasbro, Ocean Spray, Hallmark cards, Charmin, Ivory soap, Tang, Kentucky Fried Chicken, McDonalds and more.

While many children dream of becoming stars on the screen, the spotlight wasn’t always an easy thing to handle.

Jai recalls, “I was being teased at school and bullied for being on television. I was accused of being a show off and also keeping up with schoolwork caused a lot of tension with teachers.”

Despite the difficulties, the foundation Jai laid for herself as a performer in the entertainment industry in her early childhood definitely helped make her the incredible actress she is today.

“I worked a lot for the Canadian Broadcast Company. I was a guest regular on the children show Mr. Dressup where I had to sing and worked alongside puppeteers,” explains Jai. “We would tape live so that truly taught me how to think on my feet as an actress; plus having dialogue with puppets and making that ‘relationship’ believable to the audience only bettered my craft — like, there I was, staring into a pair of man made paper-mache eyes having a conversation: can you imagine?”

Naturally, as Jai transitioned into adulthood, it took a few years for her to affirm her individuality as a person outside of the spotlight, and really discover what it was that she wanted to do with the rest of her life.

She says “Even after trying to quit and go to University so I could get a ‘real job,’ I missed acting so much, even at its roughest points… That’s how I know it’s my true passion and chosen profession. I love it too much.”

After returning to show biz a few years later, Jai realized that her love for performing extended beyond the film and television industry alone. She was immediately recognized for talents on stage going on to land starring role after starring role.

When it comes to acting in comedies in the theater, Jai says, “I love hearing peoples laughter; there’s a joy in bringing smiles to the faces of others.”

She adds, “On stage you’re not limited by being out of frame if you move too much…. as long as the true feeling is there, you can justify every move – use up the whole stage.”

Last year she gave a riveting performance in the leading roles of Birdie and Wang in the Pulitzer-Prize Nominated play “What of the Night?” written by Cuban-American playwright Maria Irene Fornes. The play, which was staged at the Vagrancy Theatre in Los Angeles and directed by Caitlin Hart, was just another opportunity for Jai to showcase her unparalleled talents on stage. The production was so well received that it garnered a prestigious Ovation Recommendation from LA Stage Alliance in 2014.

In addition to “What of the Night?,” the actress has also led several other productions to success with her unforgettable performances as Fiona in “99 Ways to F*ck a Swan,” Masha in Anton Chekhov’s “Three Sisters” at the Irene Gilbert Theater, Ruth in Timothy McNeil’s “Dead Pussy,” Mrs. Banks in Neil Simon’s “Barefoot in the Park,” Titus in “Titus Andronicus,” Kate Keller in “All My Sons” and many more.

Out of all of the characters she has played on the stage, Jai notes her role as Isela Sanchez from Lynn Manning’s play “The Unrequited: A Tale Between Two Worlds,” which was directed by Shishir Kurup and staged at the Cornerstone Theater in 2011, as her favorite to date.

The production followed Jai’s character Isela, a young woman living in a wheelchair due to Polio during the 40’s in LA, as she prepares to marry a man she doesn’t love; and the mysterious events that arise to keep her from betraying the soul of the man to whom her heart is truly devoted.

Today Jai has established a a glowing reputation for her ability to touch audiences emotionally through her portrayal of characters across genres on both the screen and stage; and with several upcoming projects in the works, and the release of Runaway Dream slated for later this year, there is literally no stopping her.

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!

 

French Film Wizard Emeric Le Bars!

Emeric Le Bars
Editor Emeric Le Bars

Although they are never seen on screen, film editors select every single shot the audience sees, a role that holds the power to make or break a project. Something of a film wizard, Emeric Le Bars is among the best European editors working in the entertainment industry today.

Originally from France, Emeric Le Bars has been honing his skills as a professional film editor for more than a decade. The talented young editor has continued to expand on his already impressive repertoire of work since moving to the United States a few years ago.

Le Bars is currently working on a feature film entitled Perception of Art, directed by German filmmaker Roana Wullinger (Moonflower, Rain Day, Brown Bag, Second Date?, Soul Bird). Set for release in February 2015, Perception of Art is a dramatic comedy about a spoiled yet struggling Italian painter who receives an opportunity to bring his art into the spotlight, but to his dismay, the opportunity requires him to collaborate with a cleaning lady. In addition to his work as lead editor on Perception of Art, Le Bars is also working as a colorist for the filmLe Bars explains, “In the film two worlds clash together and the entertainment value is impeccable.”

Emeric Le Bars first met director Roana Wullinger at Smile TV, where he is employed as an editor. Two incredibly talented individuals, Le Bars and Wullinger intend to continue collaborating after the release of the film. They have already started the groundwork for their next project, a documentary that focuses on the lives of children in the Middle East, and Le Bars says, “We want to keep working together for as long as we can!”

While working as an editor for Smile TV, Le Bars has lent his creative talents to more than 15 interstitials for PBS SoCal and 2 segments through the series LAaRT, which highlights the Los Angeles art scene and airs on PBS Southern California. Proving his incredible diversity in the industry, Le Bars served as chief editor and director of photography on an episode of LAaRT entitled “Homeless Karaoke.” He describes the episode like this, “After a day of quietly asking for change, this diverse group of people comes in from the street to hear and be heard.” At a venue that enables the homeless population of Skid Row to lift themselves up through music and companionship, Le Bars admits, “The talent will surprise you!”

Over the years Le Bars has displayed his passion and talent for editing in numerous projects, and he continues to give life to the footage he edits on a daily basis. “I love creating a story from nothing, sharing emotion and feeling,” remarks Le Bars. “There are thousands of ways to edit one video and you choose the one you want. You decide how you want to tell the story and what feelings you want to share.”

In this way, Le Bars accurately describes just how important someone in his position is to the production process, and we look forward to seeing what he creates next.

Composer Spotlight: Alex Redfern!

Composer Alex Redfern
Composer Alex Redfern

UK born composer Alex Redfern is a master of blending music and visuals for film and television. Alex Redfern is known throughout the international entertainment industry for having created emotive scores for the films Happy Face and Tumbleweed: A True Story, as well as for contributing to the music departments of Walt Disney Picture’s upcoming feature Cinderella, which stars two-time Oscar Award winner Cate Blanchett, James Franco’s Holy Land, Penguin Trek, Larson’s Field, and many others.

The young yet highly skilled composer is currently working on Sisterhood of the Red Garter 3D, as well as the film Varanasi, which stars Adil Hussain from Life of Pi.  Directed by Richard Connew, the film Sisterhood of the Red Garter 3D is a UK comedy film that is scheduled to be released next year. A feature film about a mysterious cult set in Northern England, the film stars Brian Woodward from Peaky Blinders, Night at the Museum: Secret of the Tomb, The Theory of Everything and Hollows Wood 3D.

Redfern admits, “it’s fun writing for comedy, but you have to be delicate with the timing to make sure it has the right effect.” He adds that the music in the film ”is a cross between light-hearted and dark, and mysterious. It is mostly orchestral, but it has a few surprises thrown in.”

One aspect of Alex Redfern’s career that sets him apart from other composers is his incredible ability to bring diversity to all of his musical creations, something audience will notice in his other upcoming project Varanasi, where he is working as the film’s orchestrator. According to Redfern the film is “a dark thriller set in the holy city of Varanasi in India. It uses orchestral and Indian instruments together.”

Alex Redfern was also a key contributor to the music department on Mark Marchillo’s film The Curse of The Un-kissable Kid. A comedic and whimsical coming of age tale, The Curse of The Un-kissable Kid follows a young boy named Josh, played by William Leon from the hit television shows True Blood, New Girl and Modern Family, who finds himself in a sticky situation after taking a potion from a fortune teller at a local carnival without reading the fine print. After swallowing the potion Josh realizes that the bottle says it will make him disappear if he doesn’t find true love’s kiss within 24 hours. In an effort to keep from dissolving into nothingness, the desperate teen sets up a kissing booth and soon finds himself in a passionate lip-lock with a boy named Clark, played by Christopher Bones from the shows One Life to Live and My Name Is Earl. Redfern used his musical talents to heighten the fantastical elements of the film with his subtle orchestration of instruments.

A truly talented composer, there is no doubt on anyone’s mind that audiences around the world will be seeing, or rather hearing, a whole lot more of Redfern’s musical creations for many years to come. Be sure to check out the video below to see Alex Redfern conducting one of his original compositions “Riding Out West” with a 47-piece orchestra at Eastwood Scoring Stage at Warner Brothers Studio in Los Angeles.

From the Stage to the Screen, Actress Maria Bosque Wows Audiences!

Maria Bosque in "The Seagull"
                                                                           Maria Bosque in “The Seagull”

Originally from Mexico City, Mexico, Maria Bosque is an actress whose extraordinary range and versatile look has put her front and center as a go-to talent for film and theater productions in both Latin America and the United States.

Over the course of her career Maria has landed starring roles in the films Ellas, Solo Yo, Final Test, Oh Jesus and many more. In her most recent film, Oh Jesus, Maria Bosque touches the hearts of international audiences in the role of Violet, a young woman who is made to feel shame over her homosexuality. Riddled with theological and sci-fi influences, Oh Jesus follows Violet on a journey spearheaded by a chance encounter with Jesus who leads her back in time in order to decipher and repair the ill-fated event that brought about her homosexuality. However during her journey with Jesus, Violet discovers something much more valuable than the anecdote for her homosexuality– self-love and acceptance. After realizing that she cannot spend her entire life running away from herself and her problems, Violet comes out of the closet with confidence professing her true feelings for the girl she is in love with.

A film with a powerful message for audiences across the world regardless of their individual sexuality, Maria Bosque brought Violet’s struggle to life in a way that is honest, relatable and downright beautiful. She explained, “I love playing strong female roles, and I love doing things that have an important message, especially for those girls that are going through a similar thing in their one lives.”

In addition to her work as an actress on film, Maria Bosque is renowned for her talents on stage as well. She got her first taste of the theater in the production of The Wizard of Oz in Victoria, Canada, and has since gone on to star in countless productions including Titus Andronicus, The Marriage of Bette and Boo, and The Seagull, as well as the plays Six Degrees of Separation, Waiting For Godot and Middleton, which were directed by Oscar winner Milton Justice.

“I like to choose characters that are very different from me, ones that I haven’t done before,” said Bosque.

In the production of Anton Checkov’s The Seagull, Maria played the starring role of Masha, an affluent young woman who repeatedly refuses the affections of Medvedenko in an effort to hold out for Konstantin the man with whom she is in love. A sad melodrama about unrequited love, Masha eventually gives in and marries Medvedenko and has his child, a choice that dooms her to live a depressed and unfulfilled life as she continues to harbor feelings for Konstantin.

“There is something very sad and beautiful about her. I guess I like the darker side of things because I am always very drawn to these types of characters,” admitted Bosque.

Audiences will have the opportunity to see Maria Bosque on stage in New York in March 2015 at the La MaMa Theater in the production of The Beach of Joseph K. Directed by multi-award winning director Elia Schneider, The Beach of Joseph K is an experimental work derived from the writings of Franz Kafka.