Tag Archives: Television

Art Director Phenix Miao creates stunning sets for Lepow Commercials

P9Phenix Miao was eight years old when he began drawing. He believes art is part of his blood. His great grandfather owned a famous antique house in Shanghai, and that passion for design passed through generations. Growing up, his house was always full of antiquated artifacts, and even at a young age, Miao became fascinated by them. As he grew, his love for art and design only intensified and he became interested in decorating, arranging, and building a scene. There was only one path for him that made sense, and it was becoming an art director. Now, he is celebrated in both China and abroad for his art direction, and he has no plans of slowing down.

Whether it be with film, television, or commercials, Miao constantly shows viewers just how much talent he possesses. In the 2016 movie Shanghai Sojourner, Miao helped transport audiences to Japanese-controlled Shanghai during World War II. In the acclaimed film Lottery, Miao created a fairytale like world to show the euphoria of a starving, young orphan getting his hands on a winning lottery ticket. Using his commercial senses, Miao also helped raise hundreds of thousands of dollars with his work on a crowdfunding campaign for Itron Battery. He is extremely versatile with a love for what he does.

“Art direction and production design is a large part of telling a story, so I insist on harmonious and mindful designing. When I’m creating a scene, I make sure to consider the person that will be in it and whether the scene corresponds with the one who lives/uses it. Sets are like extensions of the characters,” he said.

Miao once again achieved this with his work on several commercials for Lepow. The technology company manufactures mobile accessories such as the portable power bank, external battery, and the smart bag. Starting in 2015, Miao took on the role as art director for the premiere commercial for Lepow’s TV Show Box. From there, they made a follow up commercial showcasing the product, and a year later, another long commercial showcasing the brand as a whole.

On the set, Miao was responsible for the entire visual experience. He aimed to make everything the director imagined into the scene a reality. He designed the color and artistic style, selected the best and most suitable materials, maximized every detail, and designed the design space. As the leader of the creative team, he aimed to take the big picture and divide it into small, tangible tasks that would be easy to complete within the timeframe they were working in.

Working closely with the director, Miao discussed every shot individually, wanting to understand the exact feeling the client was looking for. Every aspect was important to create an entire world in the set, from colors to the smell, even though viewers would not experience that. Miao shows such commitment to every detail of a project, that it makes everyone he works with greatly appreciate his talent.

“Phenix is a great leader of the art department and ensures everything goes smoothly. He is essential as an advisor, balancing out my ideas and feelings of the clients through his work. He is a comprehensive creator with a deep understanding of filmmaking, more so than any art director I have worked with. He is constantly curious and always eager to learn new things. In terms of production design, Phenix has an ability to take even the largest set and make everything extremely detailed. Even when I can’t describe exactly what I want, he finds a way to not only make it, but he produces work even better than I imagined,” said Peter “Zhen” Pan, Director.

Miao and Pan have worked together multiple times in the past, and Miao is always the director’s go-to art director. Their personal relationship has transformed to a friendship over many years of collaboration, and Miao knows how to transform Pan’s vision into a reality. Miao appreciates Pan’s different taste and feeling about color and the “rhythm” of the set and props compared to other directors. He understands Pan’s “language” and this connection ensures productivity and efficiency on set, as they communicate seamlessly.

“We work like a family and talk to each other directly no matter what the opinion or issue is. On set, everyone makes sure to do their best work possible. The Lepow commercials were no different. It was a great time and wonderful teamwork. All the guys try to help one another. Working on a series of commercials has allowed us to become familiar with each other, and it is a very relaxed working environment,” he said.

The campaign has been a great success both for Miao and Lepow. Despite this, Miao doesn’t think about what he has achieved when he sets his sight on a new commercial. When he sets out to make something, he expects success because otherwise he would not live up to what he knows he can do. That is what makes him such a formidable art director and production designer.

“We put so much wisdom and effort into these commercials because we had a goal, which was to make Lepow feel satisfied and see sales growth from our work. When that happens, I don’t celebrate, I just know that for the next one we should do even better. The series turned out beautiful for sure, and that is our work. That I can feel proud of,” he concluded.

 

 

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Executive Producer Ed Egan talks reviving his childhood favorite “Catchphrase”

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Ed Egan

Ed Egan has been a television addict all his life. Ever since he can remember, he has loved watching television, and knew from an early age that he would work in the industry. Now, he is an executive producer working on some of the world’s biggest game shows. He is not only an industry leader in Britain, but internationally as well.

Ever since he began working in the industry, Egan has had ideas for new formats and ways to tweak current ones. Starting from the bottom, he worked his way up to executive producer and showrunner, now being able to create the shows that he has always wanted. His work on ABC’s hit 500 Questions was then recreated in Germany and the United Kingdom after its success in the United States, and he developed the concept for ITV’s 1000 Heartbeats, which went on a very successful run for the network. He started Tipping Point at its inception, which now has hundreds of episodes, and his newest series, Genius Junior starring Neil Patrick Harris, premieres this Spring on NBC.

Despite this success, however, the British native says the highlight of his career came when he revived the classic game show Catchphrase. The original was a childhood favorite and was one of the shows that gave birth to his love of television. Being able to bring it back to air, and film it in his hometown where the show first began, was a special moment for this seasoned executive producer.

“I had been a massive fan of this show when it was on TV when I was young, and so I jumped at the chance to bring it back to our screens so that people could watch it again, or discover it for the first time. The show is perfect. It is the ultimate play-along show, which I love, as people can’t help but try to shout answers out when they are watching. It is a game show that anyone can play and is suitable for the whole family which is quite rare these days. It appeals to people from 8 to 80,” he said.

In the original series, two contestants, one male and one female, would have to identify the familiar phrase represented by a piece of animation accompanied by background music. The show’s mascot, a golden robot called “Mr. Chips”, appears in many of the animations. In the revived version of the show, the same format remains, but there are three contestants and there is no particular attention paid to gender.

Egan’s thorough understanding of the original format was essential to bringing the show back and making it a success. He knew just what was important for the new version to be a hit again. He was able to bring on board some of the best game show producers and production staff in the country, and together they knew the right type of contestants to cast and the right level to set the gameplay at. Not only did he update the format, but he got a younger generation interested in the show, applying to be contestants and also watching each week. The casting producer of the show, Helen Finnimore, was extremely impressed with his talents when they worked together.

“I have known Ed Egan for many years as both a television production professional and a friend. Without doubt, he is one of the most respected executive television producers in the industry. Prior to being head-hunted to relocate and work in the United States, Ed had worked on many internationally recognised programmes here in the United Kingdom and has maintained his position at the forefront of the entertainment business through these incredible accomplishments,” said Finnimore. “I had the pleasure of working closely with Ed on the Catchphrase revival series here in the UK in 2013 and again in 2014. Ed is a rare talent, one of the few executive producers I have met who truly understands the British and American audiences. He’s fantastic to work alongside, maintains a level of professionalism throughout and moreover, has an unparalleled ability to develop and adapt new and exciting formats. This unique flair has become his trademark in the industry both sides of the pond.”

When STV was looking to revive the hit show, they approached Egan knowing of his reputation as a tremendous showrunner. At their first meeting, they offered him the job. Egan wanted to keep as many parts of the original format as possible, but he knew the necessity of updating the show to bring in a newer and more modern audience. The show is very graphics heavy, so he knew that one of his main roles was developing the new look for the animations, as the technology had moved on so much since the original series. Egan wanted to keep up with what people were used to seeing in the modern era of apps. To do all this, he put together a team that not only worked together well but formed a strong bond.

“I loved the fact that the team who I put together all became great friends, and it was a real pleasure to work on. It is a fun format and we had great fun making it. I became good friends with our host Stephen Mulhern, who is the nicest and most professional host a producer could hope to work with,” Egan said.

The relationship Egan forged with his host meant that they were able to be very open and honest with each other, which Egan says is essential to get the best performance from on-screen talent. It also helped calm his nerves about reviving a cherished show for so many people, but once the show aired, his worries immediately evaporated.

“I was nervous about bringing this show back as it had been such as huge show back in the 80s and 90s and I wanted people to like our new, updated and modernised version. I was so pleased that it did so well on its return and I’m very proud that it’s still doing well today,” he said.

The revival began airing in 2013 and Egan produced its first three seasons. The show is now on its sixth season, and since Egan brought it back, it has been the top-rated Saturday night show on ITV. His production and development work with Catchphrase and ITV, as well as such well-known production companies as BBC, Endemol, RDF Television, STV Productions and Warner Horizon in the United States, confirms his reputation as one of the industries go-to executive producers and a highly sought-after talent. He’s achieved a level of prominence rivalled by few in the industry and continues to build upon his achievements.  

Be sure to check out the revival of Catchphrase to see how Egan modernized a classic.

 

Showrunner Séamus Murphy-Mitchell dons Red Nose to raise millions for charity

Séamus Murphy-Mitchell has always loved television. As a child, he would constantly flick through the only two channels his family received, tuning into his favorite shows. Now, he makes his favorite shows. As an executive producer, Murphy-Mitchell is involved in the entire creation process, from beginning to end, and has a say in every aspect of a production; that is what he likes about being a showrunner. He gets to be creative whilst still being collaborative, and work alongside him have the same passion for television that he does.

“When I was a kid, I was once sent to a child psychologist to evaluate my lack of attention in class. Her final analysis was that I shouldn’t continue to watch Aaron Spelling serial dramas late into the night before school the next morning,” he joked.

This Irish-native has made a name for himself internationally, leading not only his country’s industry, but abroad as well. Having led shows such as hit BBC America series Almost Royal and the multi-award-winning BBC talk show Friday Night with Jonathan Ross to great success, Murphy-Mitchell has shown the world what he is capable of. His work on The Adam Buxton Podcast and 50 Ways to Kill Your Mammy show audiences just how versatile this executive producer is, and he is always looking for new challenges. This is exactly what he got when he decided to run the very ambitious, live broadcast of 24 Hour Panel People.

“Working on 24 Hour Panel People was very challenging, but in many ways illustrated all the best bits about working in television. We were working as part of a large team to deadline on a ground-breaking project. I’ve probably never been so sleep deprived as I was when we finally came off air, but we still went out and had fun afterwards to celebrate,” said Murphy-Mitchell.

24 Hour Panel People was a 24-hour, live broadcast to raise money for Comic Relief and run up to the United Kingdom’s famous “Red Nose Day”. Since its launch in 1988, Red Nose Day has become something of a British institution. It’s the day, every two years, when people across the land can get together and do something funny for money at home, school and work. There’s a fantastic night of TV on the BBC, with comedy and entertainment to inspire the nation to give generously. Comic Relief spends the money raised by Red Nose Day to help people living tough lives across the United Kingdom and Africa, tackling issues like poverty, hunger, and mental health.

“Comic Relief is a huge charity that raises an enormous amount of money and does a huge amount of good around the world. 24 Hour Panel People was a great example of how this charity always embraces new ways of engaging with an audience, and for that reason it was a great success,” said Murphy-Mitchell.

Taking on the network’s first 24-hour broadcast was a challenge Murphy-Mitchell was more than up for. Live from BBC Television Centre, from midday March 5th to midday March 6th, 2011, the epic event featured comedian David Walliams front and center alongside a revolving door of eminent comedians, sports stars and actors as he took on the challenge of hosting a mammoth and constant succession of the UK’s greatest panel shows past and present.

Including such beloved panel show institutions as Blankety Blank, QI, The Generation Game, Call My Bluff, Have I Got News For You and Whose Line Is It Anyway, Murphy-Mitchell produced the live show nonstop and seamlessly throughout the night, single handedly running autocue and the floor and ensuring Walliams was mentally alert, focused, funny and robust as he persevered throughout the night. He also brought a considerably younger audience to Comic Relief, ensuring the broadcast would succeed for years to come.

“Once the live broadcast came to its finale, Séamus then edited the entire 24 hours into 5 half hour compilation specials which were broadcast nightly on the BBC over the week of the Red Nose campaign. 24 Hour Panel People went down in charity history as a seminal, ground-breaking occasion which not only raised millions of pounds for Comic Relief but set the bar for future fundraising events across the globe, all with the help of Séamus,” said Suzi Aplin, executive producer of Comic Relief and 24 Hour Panel People.

When Aplin was looking for a showrunner to produce the show, which in the end amounted to 22 different comedy entertainment formats in 24 hours, she knew she needed an experienced executive producer to lead the broadcast to a success. Having worked with Murphy-Mitchell in the past, she knew he not only had the talent, but would be up for the challenge. Once he was approached, Murphy-Mitchell knew he wanted to produce the show. The BBC had never attempted a 24-hour broadcast before, and he knew he could help lead the inaugural broadcast.

“It was a really exciting project from the very beginning. I had worked for Comic Relief in the past and I was very keen to work for the charity again, particularly on a project so unique and unprecedented,” he described.

From the moment pre-production began, Murphy-Mitchell and his team were frantically busy. They had to secure the format rights for the 22 different shows they were going to have on the show, and once they achieved such a feat, they had to then break them down and figure out how to adapt them into a 24-hour time period.

“Securing rights was a big part of the project’s success. I spent a long time convincing Sir David Frost that we wouldn’t destroy his Through the Keyhole format. In the end, he was delighted with its contribution to the success of the night,” he said.

After achieving this, they had to book tickets and fill the chairs for each of the shows. Murphy-Mitchell had three teams assigned to this Herculean task, as hundreds of people were needed to fill all the chairs. Each team looking after an average of five formats, along with three directors to work eight hours each throughout the night.

“Most of us didn’t sleep at all for 40 hours or so as we were all up at the crack of dawn on the morning of the broadcast. David Walliams was completely heroic. The point of the show was that David would appear in all 22 of the formats over 24 hours. At some points he was so tired that he was incoherent, but he still managed to be funny in every single show,” Murphy-Mitchell described.

In 2011, Comic Relief managed to raise a whopping £108,436,277 (over $150 million USD) for Red Nose Day, and Murphy-Mitchell’s 24 Hour Panel People was a large part of that. Not only does this showrunner entertain his audiences, but he also gives back, and that is what makes his work so enjoyable.

Q&A with leading British actor Pezh Maan

Throughout his career, Britain’s Pezh Maan has shown audiences he is a force to be reckoned with as an actor. His work as a villain in the James Bond blockbuster Spectre was an international success, and the actor quickly became recognized around the world. Since then, he has starred in television shows like BBC’s Eastenders, the award-winning French series The Bureau, and the immensely popular FX series Tyrant.

We had a chance to sit down with this dynamic actor and find out about the beginnings of his career and get some advice for those looking to follow in his footsteps. He also gives a brief preview to his upcoming American television show Deep State, which premieres on FOX in over 50 countries later this year.

Check out this interview!

Pezh Maan Promotional 2 (2017)

EWG: Where are you from?

PM: I was born in Plymouth, United Kingdom, a naval town on the south-west Coast bridging the counties of Devon and Cornwall. I spent most of my childhood and youth there before moving away at 18. Since then, I’ve lived in Cambridge in the UK, spent most of the past 20 years making London my home, except for several lengthy stints traveling the globe, once circumnavigating from the UK eastwards and arriving back via Brazil a year later, and several months in different cities in India and the Far East. My star sign is Leo born in the year of the Chinese Wood Tiger.

EWG: In your own words, how would you describe what you do as an actor?

PM: I think what I do is to interpret the words of the writer and turn them into all the facets of the living breathing human being that I am being asked to play. I get into the skin of the character whilst still being myself with all my own emotional responses. When the character is somewhat at odds with my own experiences then imagination can come to one’s aid in creating a way to relate to the character. Imagination is the lifeblood of an actor’s work and interpreting the text is an imaginative endeavor and an extremely rewarding one for me.

EWG: What initially sparked your interest in acting?

PM: Like a lot of kids, I was involved in school productions and I remember just enjoying being on the stage and being in a position to influence the audience with humor or different emotions. I developed a love for performing over the years that was nurtured as I moved through high school and began reading more about plays and watching films and I had some great teachers who inspired in us a love of drama and life, which was invaluable for us. Acting was part and parcel of understanding life it seemed to me and felt like a natural place for me to express myself.

EWG: Why did you want to be a professional actor?

PM: For several years I was involved in amateur productions in London on stage as well as on camera in low-budget short films. After a while it became clear that I needed to be doing it full-time and so it became a natural progression to take the steps of a professional actor. I began the actor’s journey of auditions, castings, knock backs and small successes. None of the joys would have been possible for me if I hadn’t taken the plunge and signed up to be full committed to the activity that was my passion since childhood. And I sort of fell into small successes that led to further work and I’ve been lucky enough to see my career grow.

EWG: What do you like about being an actor?

PM: It’s now such an integral part of my life I can’t see myself doing anything else. I like the work, and the people who are drawn to this particular way of telling stories. One thing we all have in common is the need to tell stories and actors are charged with bringing stories to audiences in a collaborative endeavor that can move people. It’s also a lot of fun. I feel in acting we are given free rein to experience the whole gamut of emotions that in everyday life we don’t get to experience that often (and rightly so!). It’s a very invigorating activity and I find it hugely inspiring.

EWG: What are the challenges to being an actor and how do you overcome them?

PM: The work you need to do as an actor on your mind body and probably soul to be best equipped to be able to produce performances that move people, that are specific and bring characters to life in that believable way that keeps audiences attentions. That entails a lot of preparation and study, especially learning lines and cues of when to make actions necessary for the story and so forth. Then there are the challenges of how to make a life and a living from a profession that has been described as the most competitive one out there. Being rejected is something that you accept as an actor and an experience you become accustomed to and probably the major part of any working actor’s success is having the resilience to keep working despite fallow periods of little or no success. It’s a real test of one’s self-belief as actors. Actors need to be in tune with their sensitivity as humans to be good actors and so it can be quite a challenge to maintain that equanimity and take the challenges in your stride.

EWG: What would you consider the highlight of your career?

PM: That is an interesting question because initially the early successes made a huge impact and it felt as if I was moving from highlight to highlight. Now that my career has a steady momentum I feel as if the highlight of my career is having a career. I’m very grateful to have had the honor of working with some great actors and directors on film and television and being cast in the Bond film Spectre will always be an experience I will remember. I’d like to think that the highlight has yet to happen and wait to see what the future will bring. That attitude keeps me fresh and not complacent which I think is detrimental for any artist.

EWG: How would you describe your style of acting?

PM: I think that is something that critics are better placed to comment on this. Words such as naturalistic and minimalistic are ideas that resonate with me when thinking of performances on camera. I’m excited by seeing performances with those qualities and I like to think that I do my best to try and achieve that on camera. Acting for the camera is an art in itself as the camera picks up on everything you are doing, and so minimalism is amplified and goes a long way. Apart from that I would say that having no style works best for the camera, trying to be as truthful to the moment as possible without embellishing unnecessarily and being economical with gestures and actions can really enhance the portrayal you achieve on screen.

EWG: What advice would you give to those looking to pursue a career in acting?

PM: That’s an interesting question. I’ve read other actor’s responses in the past to that question which fall into the “Do/Don’t do it and Keep going you’ll get there in the end” categories. I would say that either you know you want to do it or you don’t and that you should listen to your gut and heart because then you can never go wrong and in the end if you followed your heart you will be a success whatever happens. And to avoid becoming negative or cynical because life is bigger than all of us and to keep a perspective on it is to have cracked the secret to a successful life. One I’m still trying to achieve myself.

EWG: What are your plans for the future?

I have a really interesting role in a brilliant new thriller series Deep State in Spring 2018, which was great fun to shoot and I can’t wait to see the final cut. I also have another film project that I can’t talk too much about now and a television project to shoot this year. 2018 promises to be an exciting one and we have only just begun.

Yayun Hsu talks pressure of producing first-ever American Influencer Awards

For award-winning film producer Yayun Hsu, being one step ahead of her work has always served her well in her field. Hsu understands better than most just how unpredictable a film set can be and learned the value of proactivity very early on in her career. She has since developed a style of producing whereby she strives to eliminate her proverbial “to-do” list on any and every set she works on. This is not to suggest that she wishes to kick up her feet and relax at work; however, it motivates her to meticulously plan each film shoot to such an extent that it could hypothetically run itself. By anticipating and accounting for any possible setbacks on set, she is always on her toes and ready to react when an issue arises. Her instinctive ability to problem solve, coupled with her desire to be an invaluable asset to any film project, makes her a force to be reckoned with in the entertainment industry, and she is taking her field by storm.

“I’m a problem solver at heart and I enjoy being a leader. In a book I read years back called Producer to Producer, the author noted that his students would often approach him to tell him that they could not afford a producer. To this he would reply, “You cannot afford not to have one.” This idea spoke to me and it became my goal to become invaluable as a producer in this industry. I like the idea of the crew needing me and I want to be that one producer that comes to mind whenever someone is looking to start a new project and to make it great,” told Hsu.

Throughout her career, Hsu has produced a number of highly acclaimed films, such as Because I Love You, and Caged Bird. In fact, after writing, directing, and producing the film Eli, she went on to receive prestigious awards such as Best Woman Filmmaker at the Los Angeles Independent Film Festival Awards in March 2017 and an Award of Distinction at the Canadian International Short Film Fest. Given that Eli was Hsu’s first major project for which she both directed and produced, she classifies it as a large accomplishment in her repertoire. It is one of the greatest highlights of her career thus far, and helped encourage her to continue pursuing filmmaking and producing for a living. In addition to Eli, Hsu considers producing the American Influencer Awards in November of this year as being another of her major career highlights to date.

“The American Influencer Awards were a unique accomplishment in my career. It represented my first “live” work, which came with its own new set of challenges. There were so many different responsibilities involved, from working with celebrities to coordinating with corporate sponsors, and more. I really learned a lot from the experience,” reflected Hsu.

The American Influencer Awards is an awards show for the online beauty influencer community. For the show, award-nominee video packages were played at the ceremony, and a live stream of the awards show was broadcasted on YouTube for fans of these wildly popular beauty influencers. With that, Hsu was responsible for conducting background research as it pertained to the nominees’ video packages, cutting demo video footage, securing an event location, a contact cast and crew, handling catering services, preparing props, and several other essential roles. In addition, during post-production, she helped edit and color-grade all of the event footage.

Interestingly, this was the first ever American Influencer Awards show and for that reason, Hsu was intrigued by the idea that she would be able to sculpt and shape something that would hopefully be such a success that its sponsors would like it to be replicated for years to come. Most importantly, however, she was both excited and nervous about the idea that she would be producing live content for the show. Her quest for perfection in her work grew with the understanding that there were no opportunities for re-dos. All of the content she was working with would be taken at face value, the first time and therefore, she exercised her best use of her skillset to ensure that her audiences could reap the benefits. She researched the show’s content, guests, and the style of live production heavily before she began planning, and after she gathered all of her ideas for nominee award packages, she and her team were able to narrow their ideas down to fifteen of the best packages for storyboarding. Her expertise was crucial in making sure that the entire production moved at a favorable pace and that the show’s events were shot with fluency. The show’s Executive Producer, Jay James, was blown away by Hsu’s contributions to the success of the show and hopes to be able to call on her again next year to make the show’s second annual awards ceremony as great as the first.

“Yayun demonstrated that she can listen well and perform under pressure. Her innate ability to multitask makes her a clear standout in my eyes. It also helped that many people that were in attendance at the event commented on how Yayun had helped them or made arrangements for them in advance, which totally gave the show an extra professional touch. We will definitely be calling her for our next American Influencer Awards show,” told James.

After months and months of tireless preparation, countless long hours, and ample effort, Hsu was relieved and grateful to hear the thanks and praise of her boss and clients. She felt proud and accomplished to know that she was responsible for the show’s success and she hopes to be able to continue that trend for future American Influencer Awards shows in years to come.

A new take on what it means to be a triple threat with Yana GoodDay

There is an unspoken understanding within the modeling community that confidence will carry you a greater distance than looks ever will; however, a healthy dose of both will help to build a strong career. Unlike most other professions, models are required to sell themselves within the promotion of a product. They strive to attract the focus and attention of consumers in order to increase awareness of particular brands, companies, products, and more. From fashion to glamor, to fitness and swimsuits, models are featured in a variety of media formats that surround us each and every day and they are an integral element of Western culture. With that, the modeling industry has gained a substantial amount of interest and following throughout history, with the number of working models growing and the amount of available jobs shrinking. It can, therefore, be argued that in today’s society, it is more difficult than ever to stand out in the modeling world and thrive amongst the industry’s top contenders. For Russian model, Yana GoodDay, on the other hand, rising to the top of her field has been a lifelong journey and today, she is taking her profession by storm.

Ever since she can remember, GoodDay has found herself energized by the idea of showcasing her unique allure before the world. As a young girl, she often caught herself daydreaming about the idea of seeing her face on magazine covers and walking down fashion runways in beautiful outfits. As she began turning her daydreams into a reality, she realized that not only were her talents rare in the modeling community, but they were transferable to other related professions. She decided to test her hand at acting for films such as Kids in the Cage and The Waiting, as well as television hosting. With time, she learned to balance the three job types in order to build a more well-rounded career. She has since landed herself a number of notable jobs as a model, actress, and television hostess. For instance, when the 2014 Olympic Games were hosted in Sochi, Russia, GoodDay earned herself a job as the hostess of the Games’ official welcoming ceremony.

Earlier that year, Dynamic Project Group Agency were selected to help with the preparation and coordination of the 2014 Sochi Olympic and Paralympic Games. For their official welcoming ceremony, which gathered nearly 3000 athletes from all 88 participating countries, Alena Kremer, of Dynamic Project Group Agency, was looking for a hostess who would provide a familiar face for Russian audiences, as well as one who would represent Russia flawlessly before the eyes of other audiences around the globe. Having formerly served as a reporter for Pro-TV, participated in countless runway fashion shows, posed for covers of well-known magazine companies, hosted national television programs, and more, Kremer was certain that GoodDay was the ideal candidate for the event.

“When we auditioned Yana to host the Olympic Games Welcoming Ceremony, she naturally and effortlessly drew the attention of everyone in the room from the moment she walked in. Her outstanding acting skills and outer beauty is only surpassed by her kind, sweet, down-to-earth nature and her astute intelligence. She is a lovely woman who just happens to be extraordinarily beautiful and talented. She was uniquely dedicated and highly qualified to work in this particularly demanding capacity. Fluent in both English and Russian, she possessed the ability to effortlessly switch languages according to the needs of the audience. Reliable, talented, and hardworking, Yana played a critical role in making this welcoming ceremony the successful event that it was,” raved Kremer, Managing Partner.

Beyond her work as an actress and a television hostess, GoodDay strives to stay true to her modeling roots whenever the opportunity arises. In fact, she honored this effort when she earned herself a role as a lead cover and promotional model for a number of VJ Dunraven Productions’ novels. VJ Dunraven Productions is a highly reputable production company, having released a number of renowned novels written by VJ Dunraven, such as The Promise, and The Captive Shifter. As a lead cover model, GoodDay has established a profound reputation for being able to adapt herself and her looks to suit any genre she is tasked with posing for.

“For the Captive Shifter, Yana posed in an effortlessly angelic stance as she gazed over her shoulder with a sense of purity that was, at once, innocent and mysterious in the most beautiful way,” told Maria Chronis, Founder, Executive Producer, and Director of VJ Dunraven Productions.

Regardless of the novel’s plot line or character basis, GoodDay has a natural affinity for attracting a reader’s attention. Her modeling compliments the contents of each novel and is undoubtedly the reason that so many readers feel compelled to find out what lies beneath her engaging covers. For GoodDay, it is a dream come true to be able to see herself on the cover of each novel and it reminds her of when she would gaze at books and magazines in stores as a child, wondering what it would be like to see her face on them one day. In fact, in the span of two years, she found her face on over 35 different novel covers published by VJ Dunraven Productions.

Being able to live out her childhood dreams is an indescribable feeling, and she considers herself extremely fortunate to be able to truly love what she does for a living. Between acting in films, hosting television shows, and modeling, she has established a remarkable career and she looks forward to building it day by day, and job by job in the future. For those aspiring to develop a reputation like GoodDay’s and to build the type of confidence necessary to accomplish what she has, GoodDay had the following to say:

“Whatever you choose to do, study that subject and its history. Dedicate yourself to it and be brave, but refrain from letting that bravery become arrogance or shamelessness. Work on yourself to be the best version of you that you can be. Finally, don’t forget to get some rest from time to time.”

Director Brett Morris showcases the drama in ‘The Real Housewives of Toronto’

Filmmaking started out as a hobby for a young Brett Morris. He was a child actor, and became exposed to movies in a different way than most other kids. The Toronto-native began making films with his sister, and it became his favorite past time. This same passion continues in his work today, and Morris is an in-demand director and producer.

Having worked on several large productions, Morris has taken the Canadian television industry by storm. Shows such as Big Brother Canada, Top Chef Canada, Hockey Wives, and So You Think You Can Dance Canada may not have achieved the success they did without him as the mastermind behind the scenes. He constantly aims to make the best product possible, and ensures all he works with do the same.

“I like to make the on-set experience an ‘idea meritocracy’ where the best idea wins.  Structuring your set this way makes for the experience to be enjoyable for everyone, and always delivers the best content. I don’t care if you’re responsible for catering, if you have an idea that will make our final product better, I’m all ears. You never know where the best idea will come from, and you have to be open and secure enough in role to listen,” he said.

Morris carried this mentality with him during his work on ten episodes of The Real Housewives of Toronto, a show that follows six of the city’s most privileged, powerful and glamorous women as they navigate the elite social scene of Canada’s largest city. This first season introduces Kara Alloway, Roxy Earle, Gregoriane (Grego) Minot, Ann Kaplan Mulholland, Joan Kelley Walker and Jana Webb. Toronto is their playground and they have the real estate, cars, and the diamonds to prove it. The show is part of the widely popular Real Housewives franchise, and when the opportunity came up for Morris to pioneer the Toronto series, he was all for it.

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Ann Kaplan and Brett Morris on the set of Real Housewives

“Working on The Real Housewives is really like working on a soap opera in the 21st century,” Morris described. “What I love about The Real Housewives is that everything is heightened.  Heightened reality television. The hair is bigger, the money is bigger, the personalities are bigger, the fights are bigger. It’s a show that seems so fabricated it has to be real, because the characters are always so magnificent.”

When the showrunner, Grant Greschuk, was looking for a director to make the Toronto version of Real Housewives a success, he reached out to producer Lara Shaw for a recommendation. Shaw instantly thought of Morris, as the two had worked together on Big Brother Canada. Once the two had a chance to talk, they instantly hit it off, and knew working together would be a triumph.

The role of director for Morris demanded a swift technical directorial eye, with a keen sense of how to arc the story to engage audiences. He led a field team of a director of photography, one assistant director, a camera operator, and a production assistant. Each one of them were extremely impressed with Morris’ directorial and leadership skills.

“Brett brought a level of camaraderie to our team that I haven’t experienced in my 14 years in the industry, and I can say I have never had such a good experience working on a show, as I did on the time spent working on Brett’s team. He had a way of raising team moral, bringing a level of levity and enjoyment to each shooting day, while working with the team to get results that brought constant positive feedback from the production management. Brett creates an extremely collaborative environment, instills confidence with his leadership and raises the confidence in his team members by constant feedback and encouragement. Brett is the kind of leader that makes you want to do your absolute best work for him. I would jump at any opportunity to work with Brett in the future as much and often as possible,” said Chris Sherry, the Director of Photography on Real Housewives of Toronto.

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Kara Alloway (Left), Ann Kaplan (Right) with Brett Morris on the set of Real Housewives

Each day, Morris and his crew would arrive two hours before the cast. They would spend this time figuring out how they would film each scene, and he says these were often his most creative hours of the day. Once the cast arrived, filming would begin. The ladies, Morris says, did not require any coaching on his part, as they were very professional, giving him more time to focus on making the best possible product.

As the director of the show, Morris’ first priority was storytelling. At the beginning of each day, he was given just the location and the cast members that would appear in the scenes. At any given time, each character had five different plots to follow, because they all have relationships with different characters. Those relationships would change on any given day and Morris always made sure to keep his head around the story despite such a challenge.

“The best part of working on The Real Housewives of Toronto was how we got to spend the summer. Sometimes in film and TV, the shooting locations and conditions aren’t the most glamorous. I’ve worked in freezing cold ice rinks, on dairy farms, dirty basements – not the most desirable of conditions.  The best part of Real Housewives was that we lived like the cast for three months. We dined at the best restaurants in the city, traveled on yachts, filmed on golf courses, even took the whole shooting crew to Barcelona for a week. The show definitely had its perks,” said Morris.

Morris is immensely proud of the work he did on the first season of The Real Housewives of Toronto. It was a small team, and with him as the leader the show championed as the number one show on the W Network where it premiered. He credits his previous work in reality television to help him bring a fresh perspective to the Real Housewives franchise. He always makes the cleanest and most efficient show he can; he aims to have the locations look as glamorous as possible; he makes sure to photograph the cast in flattering ways. Lastly, he beautifully showed his home city of “The 6” to the rest of the world.

“One of the best part of working in this industry is being able to talk with people who have seen your work. It’s the best ice-breaker to say, ‘I worked on The Real Housewives of Toronto’ because it instantaneously gets a reaction out of someone. They’ll always have an opinion about it, and always want to learn more. It doesn’t matter if you’re talking to a big jock, or an actual housewife – everyone has seen the show and everyone wants to know what it’s really like behind the scenes…. of course, though, I’ll never tell,” Morris concluded.

Dewshane Williams on exploring his love of science fiction in The Expanse

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Bobbie Draper (Frankie Adams) and Sa’id (Dewshane Williams) prepare for a Martian battle in The Expanse

What audiences tend to love most about science fiction is the fact that the realm of possibilities is endless. Science fiction is known for carrying fans into unfamiliar worlds, unexplored dimensions, and uncharted territory. Both characters and storylines defy the norms of the world we know and live in; however, social dilemmas, emotions, and personality traits often stay the same. As an actor, science fiction remains one of the most unique, interesting genres to explore. For Dewshane Williams, this is because it is a genre that allows us to determine what human beings are capable of, be that within the constraints of modern life as we know it, or beyond.

Besides science fiction, Williams has familiarized himself with a number of different genres and storylines throughout his career. For instance, Williams mastered the art of drama through his stellar performance of Frank in the film Dog Pound, which portrays the life of three juvenile delinquents who are sentenced to a correctional facility where they encounter gang violence, death, and harassment from staff and other inmates. Contrastingly, Williams immersed himself into the wonderful world of comedy in 2012 for the film The Story of Luke about a young man with autism who is thrust into a world that doesn’t expect much from him. Beyond that, Williams has tried his hand at action films, thrillers, mysteries, horror stories, and much more. There are few limits to what he can achieve when he puts his mind and his skill set to work.

In 2015, Williams earned himself a role in Universal SYFY Networks’s hit series, The Expanse as Corporal Sa’id. The show follows the lives of a police detective a spaceship crew who discover a conspiracy, the first officer of an interplanetary ice freighter, and an earth-bound United Nations executive director, who slowly discover a conspiracy threatening the Earth’s rebellious colony on the asteroid belt. Between Williams’ fascination with space travel and Sa’id’s passion for serving others, Williams became enthralled with the project. In the series, Sa’id serves as part of an elite Marine Firing Squad; however, what Williams respected most about his character was embedded within Sa’id’s devotion to his planet. His willingness to save his planet inspired Williams and motivated him to adopt every trait and mannerism that accompanied that level of selflessness. Fortunately, one of Williams’ greatest attributes is his ability to transform himself into the character at hand. For some actors, identifying with a specific style of acting comes naturally; however, for professionals like Williams, it is impossible to categorize himself. He does not act according to a specific set of styles or rules. On the contrary, his versatility allows him to adapt himself to a variety of different emotions and character traits.

“The story of this show is so important because we live in an age of Space X and interplanetary travel. I think it is important to embrace the possibilities that our future holds. The concept of space travel and exploration is very real. We’re doing it now, which is incredible. This show, in a way, sheds light on what we may go through as an evolving species. It shows what we may be capable of doing; both positive and negative. Not to mention, most of the concepts in the show are scientifically possible. For all of the future space explorers out there, this might be the inspiration they need to take us where no one has gone before,” gushed Williams.

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Dewshane Williams recording voiceover work for The Expanse virtual reality Game Battle For Mars.

As an avid science fiction fan, Williams loved getting into character and immersing himself in the costumes and props on set. When he was being fitted for his costume, Williams noticed something familiar about the design and upon inquiring about their origin, he learned that they were made by the same company who produce Iron Man’s iconic suit. His enthusiasm about the project grew with each day on set and the more he explored the script, the more he realized the potential that the storyline held. In fact, the show’s VFX Supervisor, Bob Munroe, took notice of Williams’ devotion to the project and solicited his help to act as the lead for a virtual reality video game based on the show’s premise. Williams was extremely humbled about the possibility of expanding The Expanse’s presence in the world of science fiction and eagerly accepted the offer to work on the video game, The Battle on Mars. It comes as little surprise, therefore, that Munroe was equally as thrilled to have Williams on board.

“The moment I met Dewshane, I knew he was a rare talent. I had such a great experience working with him that I later enlisted him to star in our virtual reality game. Considering how much VFX was required while shooting our opening scene on mars, Dewshane had to exercise a lot of patience. Not to mention, he had to wear a 40-pound suit on a hot day. It would’ve been very easy to complain but he never did. Instead, his generosity and attitude made him a standout. When I had the opportunity to create a video game for the TV show, he was the first person I called. His enthusiasm is so contagious,” said Munroe.

Now finished its second season, The Expanse has established a strong following, as well as a large amount of recognition in the industry. It has garnered a number of award nominations, as well as a win for Best Dramatic Presentation at the Hugo Awards in 2017. If you are curious to see Williams in action, as well as to see what the show’s hype is all about, start watching The Expanse now and stay tuned for the premiere of Season 3 in 2018.

 

Top photo: Dewshane Williams in the Virtual Reality Game “The Expanse: Battle on Mars”.

Ana Lossada perfectly honors ‘That’s so Raven’ with awesome opening to ‘Raven’s Home’

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Ana Lossada

Ana Lossada, a leading motion graphics designer, loves what she does. She doesn’t wake up with that feeling most know all too well on Monday mornings. She doesn’t feel her week is a monotonous blur until Friday night. She is eager to go into work every day. For her, every day is different, and she has the ability to share her gift with the entire world.

Lossada’s work has impressed international audiences. When working with The Walking Dead, Lossada worked on The Journey So Far, a two-hour special summarizing the first six seaons of the show, as well as the virtual reality experience, a 360 teaser for their upcoming season. She captured the feelings of the main character of Netflix’s Atypical, a teenager with Asperger’s syndrome, with her work on the opening for the show. Working with Disney Jr on the spots Be Inspired with The Lion Guard and Be Your Best with Miles, she worked to encourage young kids to live healthy, active, lifestyles. Her career has been formidable, and nd now, her most recent work on the opening sequence Disney’s new series Raven’s Home, based off the old classic That’s So Raven, has generated quite a lot of attention.

“Disney Channel wanted the main title for their new upcoming show to be as catchy as the old one. As a fan of the old show, I could not say no,” said Lossada.

Raven’s Home is Disney Channel’s new spinoff from their major hit TV series in 2003. Lossada was in charge of creating the live action set that was used for the main title. She had to plan how the talent could interact with the set as well as how they could place the talent next to their names as they appear in the opening credits. She created several different mock-ups for the set using 3D software (Cinema 4D and Octane Render) as well as Adobe After Effects. The selected set had a LED wall that displays animated graphics that Lossada designed and animated herself. During post-production, she oversaw the selection of typography and animation by the interns, as well as adding visual effects to certain shots that needed it.

“Ana’s graphics and visual effects knowledge made her an instant asset to our design team and clientele. Her willingness to constantly go above and beyond her normal call of duty has shown through all of the projects that she’s worked on throughout her tenure with us. Not only has she been a key member of our post-production process, but has now been working with our live-action productions team, lending her talents to assist in shoots and constantly growing in all areas of television and film production. You just know that if she’s involved you don’t have to worry about her giving 110 per cent and whatever is assigned will be done thoroughly and to the best of her ability. You simply can’t ask for much more than that with any employee and we are so thrilled she’s a part of our team,” Mike Greggs, who worked alongside Lossada on the project.

The main title was released in July of this year, and has already reached over 1.2 million views on YouTube alone, as well as being shared through social media and various websites. It has been featured in Buzzfeed, E! Online, and TV Guide, to name a few, with articles praising the opening for its creativity and the way it honors the original content.

As a motion graphics designer, it is not often that Lossada actually gets to go to a set, despite being a vital part of the filmmaking process. More often, she works behind the screen of a computer. However, with the Raven’s Home opening, she worked on the pre-production and production side. Everyone she worked with had the opportunity to see what she was capable of, and just how well-rounded she is for any task. All of her skills were put to use, including designing, illustrating, animating, and even producing. She put everything she had into this project to ensure it resulted in perfection, and it did.

“I rarely get to go to sets, because I usually can’t due to work, but they needed extra help. While on set, I was able to aid with live-animation for the LED wall, and also helped out on the production to ensure it ran smoothly,” she said.

Lossada’s design and visual effects knowledge made her an instant asset to the design team and clientele. Her willingness to constantly go above and beyond her normal call of duty has shown through all of the projects that she has worked on. Not only is she a key member of Big Machine’s post-production process, but she has now been working with their live-action production team, lending her talents to assist in shoots and constantly growing in all areas of television and film production.

“I’d suggest to students entering the creative industry, they should open their expertise not only to design, but conceptual thinking and execution skills. Especially today, where there is always something new (interactive for example), they need to be able to adapt fairly quickly to the evolving technology and software updates, and be able to execute an idea based on the rising technology,” said Lossada.

Watch Lossada’s outstanding work in the Raven’s Home opener here, and watch Raven’s Home on the Disney channel to see it on a regular basis.

Actress Michelle Howarth to share important world issues in TV show ‘Hummingbird’

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Michelle Howarth

Growing up in South Africa, Michelle Howarth started acting as a way to express herself. The country has eleven official languages, and communication barriers often arise. Being on stage, she found she was able to transcend this obstacle and connect with her audience no matter what language they spoke. The arts, she found, can relate to any person. Film and television are enjoyed around the world, in every culture. This reality got her hooked, and her natural talent and creative instincts are what allowed her to rise to the top of her field, making her one of the best actresses to recently come out of South Africa.

“I wanted to be a professional actor because I knew I was obsessed with the craft and wanted to mold it into my career. I wanted to specialize and fine tune my acting and creativity to the point that I am able to create films and performances that resonate globally. I was big into physical theatre growing up, and that medium especially is able to communicate across transnational borders and cultures. I wanted to be able to do this on a global scale through film and television and tell stories that would otherwise go unheard. I wanted to be a professional actor to be a part of an artistic process that initiates conversation, understanding, empathy and insight across the globe,” said Howarth.

The twenty-five-year-old actress has done just that. Through her work in several successful projects, she has captivated audiences around the globe. She has had a leading role in films and television series such as Just Animals, Parenthood, Talk Stew, Shameless, King Krule, and Jackson and Randall, as well as stage roles in Angel Academy, Chicago, Ivy, and Hanamichi. Howarth consistently impresses not only audiences, but her colleagues as well. Sonja Smit, the director of the touring play Villian in which Howarth was the star, says the actress’ performance greatly contributed to the success of the play.

“Michelle has the rare ability to truly inhabit a character, always merging naturally into the character’s personality without losing any of her inherent “star power”, an ability that was on full display in her extraordinary lead performance in Villain. It is this exceptional quality that has allowed her to become one of the most exciting new faces in theatre and independent cinema over the past several years, and there is no doubt in my mind that her career will only go from strength to strength,” said Smit.

Despite such success, the highlight of Howarth’s career comes from her work in the highly-anticipated new television series Hummingbird. The series tells the story of a group of American teenagers that go missing in the United States. Detectives look into the disappearance of these teenagers and see that, although they disappeared independently of one another, there are similarities between the cases. After further investigation, one detective in particular notices a thread between each case. Each one seemed to be very active online and in each case met a member of an extremist group in Syria, and went over to Syria to do their Jihad and join ISIS. The show reveals the psyche of each individual and the process of their decision to now be a part of ISIS.

The story is incredibly timely, given the war against ISIS and terrorism that is taking place around the world, with such divisiveness on how to handle people that make these decisions. Not only is the show based on true events, it will be shot in a realistic way, and each actor knows the responsibility they carry with their portrayal of their characters. Howarth wanted to do her part to enlighten audiences on such an important issue.

“It is an important story that needs to be told, and I am proud to be a part of a show that is didactic as well as entertaining. I believe the show will shed light on socio-religious and economic issues and help initiate conversation and critical thinking around said issues,” she said. “I believe it can create a basis for conversation and debate around the subject matter on a global platform. I also believe it will give insight to a world far removed from most people and hopefully offer understanding of that culture and religious practice.”

In Hummingbird, Howarth plays the pivotal role of Cassandra, one of the American teenage girls who goes missing. It is later discovered that she met an older man online and after falling in love with him, was flown over to Syria to do her Jihad and join an extremist group. She is one of the girls who they are able to find. However, unlike the other girls, Cassandra refuses to come back to her family and the United States. Cassandra is strong willed and happy in her decision to convert to this new religion and live this extremist life.

Howarth’s portrayal of Cassandra will allow the audience to witness such a journey and possibly understand the reasoning behind it. Cassandra reveals the extremities and consequences of social media and online interactions. She shows the journey through the psyche of a young teenage girl who goes to extreme lengths for the man she loves. Through her portrayal of Cassandra, Howarth will allow viewers to witness the practices of the Jihad and life in Syria, as well as what it would be like for a female member of an extremist group such as ISIS. The role of Cassandra is vital to helping reveal why these girls made the decisions they did and how their lives ended up.

The show is expected to be an instant hit, and Howarth’s portrayal of Cassandra is a large part of that. The story is something viewers around the world want to know more about, and Howarth will help audiences gain insight into such troubled mindsets.

“In today’s world, there is much turmoil regarding this subject matter, and this series dives into these issues. The story is important because it may help one experience and understand a world we are removed from and its practices and realms,” she concluded.

Audiences have a lot to look forward to from the South African native. Beyond Hummingbird, be sure to check out Howarth in the upcoming film Madness Descending, which will be released next year.