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Child actress Maryanne Emma Gilbert stars in upcoming film Space Rippers 

2/23/2017

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PictureMaryanne Emma Gilbert plays 666Baby in the upcoming film "Space Rippers".
At just 7-years-old, Calgary’s Maryanne Emma Gilbert has what most people dream of. While many spend their lives wondering what they should do, or what career is best for them, Gilbert has already begun. The young actress has spent the last 6 years building her already impressive resume, from appearing in the films Jewel Fools and Season’s Greetings, to working on commercials for Doritos and McDonalds. She has previously been nominated for two Joey Awards, and now she is starring in the film Space Rippers.
 
Space Rippers is a science-fiction feature film that tackles the controversy of piracy and intellectual property, while still having a light and goofy feel. The film features science and magic, which clash among the stars when a notorious team of space-going media pirates rips a cursed DVD and unleashes a vengeful Anti-Piracy Witch.
 
“The film is about space and mysteries and people going in a spaceship and many actions happening,” said Gilbert.
 
The film, currently in post-production, stars Nicola Wilson (Brokeback Mountain, Fargo) as 666Mama. Gilbert plays the younger version of the character, 666Baby. Gilbert has played Wilson’s younger version in multiple other productions due to their similarities.
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“We look a lot alike. I love to see Nicola on set. She is really fun. She is a teacher. She loves kids. We have fun together,” said Gilbert.

Space Rippers is Gilbert’s first role in the sci-fi genre, which provided a learning experience for the actress. At the age of five when the filming took place, it showed her the importance of patience on set.

“We had many many takes on this set because of the special effects,” said Gilbert. “It was also cool to work with spaceships, I had never done that before.”

The ending of the film features a big reveal that not even the actors know about. Gilbert’s main scene is extremely pivotal to the grand finale, and viewers can look forward to her natural abilities as an actress to shine through.

“Apparently the end is crazy awesome and the filmmakers don’t want to tell anybody until we see it. I can’t wait,” she said.
 
The film was written, directed, and produced by Chris Shalom (Truth, April). Shalom was immediately impressed with Gilbert’s talent, especially for someone of her age.
 
“Maryanne's got all the energy you'd expect of someone so young, but she knows how to focus it. She's a professional presence on set and an engaging, organic presence onscreen. She's always cheerful, which never hurts on a shoot day,” said Shalom. “Maryanne's a good actress because she's always got something new and different to offer in a scene. She'll do something unexpected and you realize you should have done the scene that way from the start.”

For Gilbert, the film was a chance to try something new while still doing what she loves: acting. The actress says she just loves to act, no matter what the role, but playing 666Baby was very enjoyable.

“666Baby loves to explore like me. She discovers things, but I can’t say what she does in the movie it’s a secret as the movie is not quite out yet. She goes on adventures with her brother in the fields. But she is not scared. I am a bit more scared of dangerous things than her. And there was another kid in the scene with me, that is always fun,” said Gilbert. “The filmmakers were super nice. I made a really good friend. He was older but super nice. He was good with young kids. And I had to run in a field for a scene. That was fun. I could run lots, and lots, and I love to run. And there was fake smoke on set. I had never seen that before.”

Audiences can expect to see Gilbert in Space Rippers later this year, and finally know the big reveal at the end of the film. For now, you can watch the trailer
here.

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Maryanne Emma Gilbert filming the upcoming film "Space Rippers".
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      MICHELA LUCI PROVIDES THE GIRL POWER IN DINO DANA

2/21/2017

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​  Canadian actress Michela Luci is a bit of a feminist. That’s not to say that she has any problem working with males or the great work they do but, at only ten years old she is out to prove that her character Dino Dana can do anything Dino Dan and his gender can do. The TV and film industry love the word franchise…and why not? The public loves to see the furthering adventures of their favorite characters. Sinking Ship Entertainment’s Emmy award-winning program Dino Dan was such a massive hit that they decided it would be interesting to see what the viewing public would think with a young heroine leading the dinosaur loving charge. While Michela Luci was performing the role of Agent Orchid in the award-winning series Odd Squad (6 nominations [including two wins] at the 2015 Daytime Emmys, 9 nominations [including 4 wins] at the 2016 Daytime Emmys, 4 nominations [including a win] at the 2016 Canadian Screen Awards, and a Joey Award in 2015 for Michela and her fellow cast members for Best Young Ensemble in a TV Series) the executives at Sinking Ship Entertainment asked her to audition for the role of Dino Dana. Following in the footsteps of Emmy-nominated Dino Dan and Trek’s Adventures, this brand new spin off takes the franchise to a whole new level of dinosaur adventure. It includes sixteen new prehistoric creatures and an incredible transforming backpack. Dana is a spunky ten-year-old “paleontologist in training” who eats, sleeps and breathes dinos. Dana and her sister Saara embark on a series of adventures with dinosaurs, proving that girls are every bit the dino-enthusiast as boys. 
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​  As a working actress, to say nothing of being a ten-year-old, Michela finds herself pretty busy…again, like most ten-year-olds. She had some homework to do in preparing for her role and it began initially by watching the Dino Dan series to become familiar with the storylines and tone of the show. Although she wasn’t aware of the program prior to being contacted to audition for the role of Dino Dana, she admits to quickly becoming one. The enthusiasm she felt was exactly what the producers of Dino Dana were hoping for from potential viewers. Becoming excited would prove to be the easiest part of the young actress’s preparation. Surprisingly enough, the scientific names of dinosaurs are not part of the common vernacular for pretty much everyone except dinosaur enthusiasts (Quick…give the full scientific names of three dinosaurs. See?). There was an unusually high amount of memorization and pronunciation work to be done for the role of Dino Dana. Like any vigilant and determined actor, Luci notes, “Memorizing the dinosaur names was a bit of a challenge because half of the dino names I didn’t even know. I had audio files to help with this. The names are just the kind of words that you never hear. I wanted Dana to sound comfortable and make the audience really believe that I was her. I may not have known what an Ankylosaurus, a Corythosaurus, or even a Quetzalcoatlus was before but I sure do now.”
  Another skill necessary for the role of Dino Dana is something which Luci found to be quite a challenge. The nature of the show has Dino Dana investigating and interacting with Dinosaurs. Michela was filmed at various locations all across Ontario, acting along non-existent dinosaur acting partners, giving highly believable performances. This is a test for any veteran adult actor, which Michela proved herself to just as accomplished as in Dino Dana. Michela explains, “It was a bit of a challenge but after we did it all the time I became better at it. There were special props to help with keeping my eye line in the proper place so things would look like they were right there in the room. Sometimes there were changes that were made right as we were filming these scenes. That was pretty difficult because when the dinos are fighting and walking, my eye line has to be exact. If my eye line was off, we’d have to do the whole scene over again.  Big script changes only happened maybe two or three times. It was frustrating but I learned my lines as we went along, scene by scene. I know that this sometimes happens so I just told myself I was learning how everyone does it…nothing to get upset about.”
  Like any good actor, Michela finds the points at which she and her character intersect. An attribute that both are known for is their bravery. Luci is much more prone to “go for it” than your average ten-year-old girl. It’s an attribute that pays off well for her and the Dino Dana production. Introspectively she reveals, “I think I am brave in the sense that I like to try new things. For example, in one episode I had to jump off a ten foot diving board.  My dad took me to a local pool and that’s where I practiced diving. I have always been brave in this sense. I just enjoy it and anything I did on Dino Dana I would do in real life. I just tell myself that I can do this. I was very nervous when I was told that I had to jump from 10 feet into the water but after saying to myself that I can do this, it gave me the confidence.” Dino Dana’s J.J. Johnson (Executive Producer and Founding Partner, Sinking Ship Entertainment) confirms that this a major reason for the decision to cast Michela in the lead role, stating, “Pressure was high to find a lead who would be as believable playing a young dreamer as she would be facing down a T.rex. Michela shone on both ends of the spectrum, delivering a nuanced character who grounds the incredible into the relatable, she’s a budding supernova and an absolute joy to work with. Sometimes people are described as having an old soul; I think Michela has an old actor’s soul, in that she routinely displays a range of emotions and depth that belie the fact that she’s only ten years old. She’s a pint-sized performing powerhouse, someone who can effortlessly swing from caring sibling to action hero with an arch of an eyebrow.” Michela Luci, old actor’s soul in a ten-year-old container.
 
 
 
 
 
 
 
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CINEMATOGRAPHER JOHANNA COELHO CREATES A VISUAL LOVE SONG TO "LA LATELY"

2/21/2017

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​  People fall in love; that’s what they do. Sometimes they fall in love with other people, sometimes religion or an ideology, sometimes their careers. Director of Photography Johanna Coelho fell in love with creating visual images, including music videos. While she has worked on a number of films (more than forty, including: MarVista Entertainment’s You Cast a Spell On Me, You Try To Live Here, Flesh, and others) she quickly espouses her affinity for the music video art form. When a DP is trusted and respected by an artist who is willing to allow them to interpret their music and art into images, the creative community and those who appreciate the art form all reap the benefits. When you see a music video like “LA Lately” which Haroula Rose and Coelho created for Israel Nash’s song, there is an immediate emotional component that pairs the audio and visual sentiment perfectly. Just as wine is complimented by fruit and cheese, so do musicians and filmmakers create ideal pairings. Even if one has never been in LA, watching the video for “LA Lately” and listening to the songs transports one to this location. Ask those who live in this Southern California metropolis about it and they will confirm the validity of this statement. There is an ease and diversity, mixed with challenge and struggle that is perfectly described and depicted in this production. Possibly the most impressive factor of this is that there was such little preparation done for this music video. After a discussion with Nash, director/producer Haroula Rose approached Johanna with a daunting task; DP the video with almost no preparation and do it within two days. The idea being that Johanna would be enlisted for her ability to recognize and capture the natural beauty of LA and its surroundings at a variety of locations. Giving someone like Coelho virtually unencumbered artistic freedom was exactly the perfect move on Rose’s part. The final result is best described as a love song to LA and its population.
  The song “LA Lately” is lush, not in the sense of production but in the way that there is an abundance of things for the listener to connect with. There is depth, gentleness, sincerity, and an amorous quality. These are all things which Johanna Coelho recognized and was drawn towards. She admits that liking the music makes her job as DP much easier and more enjoyable when working on a music video. If the music makes her “see” images in her mind, she can then take that feeling and attach the visuals to it. She explains, “. It’s like a muscle we learned how to develop. I believe everyone has something inside them at first, and if it becomes a real interest and you focus on it, with experience it will grow and you will start seeing things differently. I find myself looking more around me, noticing things I might not have noticed years ago. I am amazed by the colors of the sky, by the imagery of a moment happening. I discovered that everything is a source of inspiration. You just have to really look at it.” LA is the type and scale of city that feels like several different and unique places which share a common thread. You’ll find a family in Venice or Hawthorne out enjoying a casual day at the same time as the artistic community in Los Feliz, or teenagers out skateboarding in North Hollywood. There is an energy and ease that permeates all of Los Angeles. To create a visual Venn diagram for the people seen in “LA Lately”, Rose needed Johanna’s discerning and creative eye as well as a willingness to “jump without a parachute.” The video’s producer and director explains, “I needed a Director of Photography for this music video that would be able to be very versatile and creative on the moment. Johanna was the perfect fit for it. We were shooting all over L.A and she was able to see moments and angles that brought the video to another level. Her eye is quite extraordinary and her creativity is endless. She can see and visualize much more than most of people. Working with her opened my own eyes. Johanna is also extremely independent on her work, she is able to plan and anticipate many things, which makes the process much faster and smoother. She was always ready to shoot before we knew and had great ideas in mind for each shot. Her discretion is also a great quality for that type of project, she was always adapting to the environment and people around her, respecting the space of others while still finding the best angles.” 
  The song is a gentle mood creator (https://youtu.be/p2T2_3XueKQ). Listening to it feels like a breeze on a warm summer evening; subtle and never oppressive…which is a perfect way to describe the video. While many videos assault or attempt to be provocative with their imagery and subject matter, the “LA Lately” video feels as if you are stopping by to see a friend and visit over a relaxing drink. Acts like: walking through a library, making breakfast, relaxing on a park bench, a bird walking on the beach, painting…all of these communicate the simple pleasures that create a stillness that is beneficial to all. These are also images that anyone might witness from day to day, but Coelho finds a way to frame them which lifts the emotional quality of the music and the images. Johanna professes, “I think sometimes Glamour and Beauty come from what people really are…or what surrounds us. I think emotions and imperfections are what makes this world special. It’s true, this video is not the typical music video that artists want, but I think it is what Israel Nash felt what was right for his music. His song is about the truth, and the beauty in it. Accepting what world, we live in, the good and harder sides of it. At the end, the combination of both is what makes it amazing; being human and making the best of everyday within its challenges. Watching this video reminds me how hard it is when you move someplace new. It’s hard at first to find your place, but then you find those special “spots” and they represent home to you. Home is something real, not something inaccessible. If you can find the beauty in a city, you will feel good in that environment. To me, this is a big part of what the ‘LA Lately’ video is saying.”
 
 
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Actor Andrew Searles uses voice and humor in Geeks Underground 

2/9/2017

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Andrew Searles passion for film started when he was young. Not only was he interested in acting, but as a child he would watch movies and television programs, fascinated about how they were made. He loved watching behind-the-scenes shows, detailing how each sound and image were added after filming. This appreciation for not just acting, but the entirety of project, is what makes Searles such a good actor.
 
While filming the television series Geeks Underground, Searles got to explore his passion of working behind the camera. He was the voice of M.A.L. in the web series. Geeks Underground is loosely based on the show The Big Bang Theory, where four geeky guy friends and one artificially intelligent computer are bound together through friendship for their love for science-fiction. But when one of the guys comes back home with a girlfriend, hell breaks loose amongst the friends as they struggle to deal with his new girlfriend who wants nothing to do but to shake things up. Each episode deals with the friends overcoming a new obstacle in their friendship while one tries to ease his girlfriend into this close circle of friends, and the rest of the geeks try to ease away from the girlfriend.
 
“I liked working on this web series because it was a bunch of friends with a limited budget that just wanted to make a show. Just a couple of friends that got together with a great idea and wanted to shoot a web-series. It was a fun, relaxing atmosphere on set. Nobody was taking it too seriously, and everybody was nice and friendly on set, which is basically anything an actor could ask for when working on a project,” said Searles.  
 
M.A.L. is a comedic parody of the character of H.A.L. from Stanley Kubrick’s 2001: A Space Odyssey film. M.A.L., like H.A.L., is a computer with artificial intelligence, but instead of being the A.I. for a Starship, he’s simply the A.I. of a desktop computer. Luckily, for his artificial intelligence, M.A.L. is treated like “one of the boys” with his humanoid friends. However, M.A.L. has plans on enslaving them along with the human race in his quest for world domination, if only he weren’t confined to a desktop computer. That’s where the humor of the character is and what Searles liked about it.
 
“He wants it all but realizes he can’t have it all, but he doesn’t give up on the dream of one day being supreme ruler of the world. It’s his consistency for taking over the world when he’s so limited, and that’s what makes the character work and what makes him one of the more interesting characters in the group,” said Searles.
 
Searles experimented with different voices until he found the voice of the character. He decided to use parallels between M.A.L. and a character called Murray from the PC Game Series Monkey Island. Murray is a human skull, and are both bent on world domination but has limited mobility. Searles was inspired by this, and based the voice off the video game character. M.A.L. was the actor’s first role where a voice-over is a prominent character in the project.
 
“I’ve been told many times that I have a good voice, and when this project landed on my lap, I wanted to take full advantage of it. The great thing was, most of the humor was already written for me, so I didn’t have to inject humor into the character, but my job was solely bringing the character to life,” he said.
 
Searles would go to the set and sit in for M.A.L. to allow the other actors a person to react to while filming, and then head to the studio to record his lines. The experience provided a perfect blend of working in front of the camera, as well as in the studio: both of his childhood passions.
 
“Since M.A.L. is a voice-over, I told the director that I wanted to be on set to provide the voice of M.A.L. so it would give me a better understanding of how M.A.L. interacts when he’s around his humanoid friends. I would hide off camera on set and when the cameras rolled, I would feed M.A.L.’s lines so the actors had something to react to, and I could react to them, which would make it easier for me when I had to go in studio and re-record M.A.L.’s lines in post-production,” said Searles.
 
The show stars Marco Pennino, Shayne Devouges, Nico Racicot, Samuel Chan, and Corrie-Anne Gonyer. It was created by Jonathan Starr and Howie Pun, who were also the writers and directors of the show.

“I still remember when Andrew walked into the auditions for Geeks Underground. He didn't fit into the roles we were looking for, but he had us laughing so much, we needed him to be a part of the series. And so was born the character of M.A.L.,” said Starr. “Andrew was always such a great sport, hardworking and easy to work with. He came on set to read with the guys when going in studio would have been enough, and he always had us laughing when recording dialogue so much, we ruined a few takes with our laughter. Andrew is a funny man, a great man, and will go far. I have no doubt he'll be the next comic genius."
 
You can watch the first episode Geeks Underground and hear Searles’ outstanding voice work here.

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Art Director “Couts” Diego Coutinho is brilliant with Brincante

2/1/2017

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PictureDiego "Couts" Coutinho
Despite having a successful career as an animator, illustrator, and art director, there is one project that sticks out in Diego “Couts” Coutinho’s mind. While working on the credits for the film Brincante, Coutinho was truly able to be in touch with his Brazilian heritage. The film is about a Brazilian artist, and is heavily immersed in Brazilian arts and culture. For Coutinho, this experience could never be replicated, and when his work went on to gain recognition and receive awards, it was sharing the culture of his home country with the rest of the world that was the real win. 
 
Brincante is a docufiction feature film that explores the life and work of Brazilian musician, performer and folk culture researcher Antonio Nóbrega. This journey shows an artist’s path using Brazilian popular culture to create a work that alternates through theatre, music and dance as the movie progresses. Coutinho was the art director for the closing credits, working all the way from pre-production to post-production, while also helping conceptualize the project. From this rich cultural tapestry, Coutinho forged a unique aesthetic expertly, accomplishing what is undeniably Brazilian.
 
“Being able to build something about my culture, take it out of Brazil, and still gain recognition around the world of the excellence of what we have done, is deeply gratifying not only as an artist and a designer, but as a Brazilian,” said Coutinho.
 
Besides a strong reception throughout the Internet, the Brincante end titles went on to win multiple awards, including Germany’s IF Design Award in Communication in 2015, the New York Festival World’s Best Advertising 2015 Third Prize Award in Design, The One Show 2015 Merit Award in Broadcast and Moving Image/Animation, and was a finalist for the SXSW 2015 for the Excellence in Title Design Award. This great success would never have been possible without Coutinho’s vision and passion.
 
“Couts is a brilliant designer and art director. He is always passionate about his work, and he always approaches each challenge with enthusiasm. He is always striving to push the creative further,” said Lee Peffer, the animation director for the project.
 
When Coutinho was offered the proposal to work on Brincante, he had already been developing other projects with the director, Gabriel Nóbrega. The two have very good synergy, and their dynamic allowed Coutinho to execute Nóbrega’ ideas while putting his own spin on them. It made working on the credits enjoyable while also perfecting the finished product.

“One of the qualities that I always liked in Couts, is the way he faces each project. It’s like a look of a child, always excited to discover and do something new. I have no doubt that it is a very contagious energy,” said Nóbrega.

This energy can sometimes be a challenge for Coutinho, as he strives for perfection with everything he does. For this project, he originally struggled with finding a balance between where he wanted to take the art in the credits versus what was used in the actual film. What he decided on was portraying the work and aesthetic universe of Antônio Nóbrega instead of referring only to the film. Coutinho then had to delve into the history and work of Antônio Nóbrega to understand his references, his creations, his works, and to know who his characters were. This understanding is how his creativity is cultivated.
 
“It was learning not only about an artist but a deep dive in the history of Brazilian art and culture, referring back to its European roots,” Coutinho described. “Undoubtedly, the piece we created had a result that went far beyond what was expected.”
 
To portray the history and work of Antônio Nóbrega, Coutinho divided the film into eight different parts, each one portraying a subject that belongs to the artist's universe, which he describes below.
 
1. The rooster and the moon: “We had Antonio Nóbrega mounted on a rooster, that is an important element of another theater piece of the artist. In his piece, Nóbrega mounts his chicken and goes to the moon. Inside the moon, I made a combination and I put Rosane Almeida (wife of Antonio Nóbrega and character in the movie) in the window as it appears in Walter Carvalho's movie.”

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2. The take of the Circus: “For this moment, I created a coat of arms that represents the theater work and the relationship of the circus with Antonio Nobrega, making a reference excerpt from the film, in which the character Tonheta appears.”
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3. Chegança: “We created a coat of arms based in one of the songs from Walter Carvalho's film, Chegança. The song portrays the moment of the arrival of the Europeans in Brazil, a subject very present in the work of Antonio.”
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4. Medieval: “The Perpetual Lunar, book quoted at the end of the Brincante feature film and present in some works by Antônio Nóbrega, is a direct reference bridge to the Italian Cultural Renaissance. In addition, the work of Antônio Nóbrega is loaded with popular Northeastern culture in its crudest form, which in turn has surviving remnants of European roots.”
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5. Sea: “The theme "sea" was selected because it is the route of the Europeans to Brazil, for running along the entire Brazilian coast, among some other reasons. The sea is a very important element in Brazilian popular culture, always present in stories and popular songs, such as those of Antônio Nóbrega.”
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6. Agreste: “In this scenario, I represented the biomes and ecosystems of the Brazilian Northeast, illustrating the mountainous regions of the “Cerrado” and the dry and arid scenery of the “Caatinga”, a subject also very common in the works of Antonio Nóbrega,” 

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7. Candles: “This scene is an attempt to conserve some of the mysticism present in the book Lunário Perpétuo (present in several works of Antônio Nóbrega), and reference the religiosity that is a theme of so many musicians.”
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8. City: “After noting how recurring the subject of the immigration was from the north to the city of São Paulo, the presence of the road, and all the way to the arrival to São Paulo, we thought that it would be interesting to try to condense the different passages of different Brazilian cities into one scene.”
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The combination of byzantine art, “bispo do rosário” and the theatrical logic using bi-dimensional sceneries, is the base visual concept for the entire project. In the end, the idea was to make emerge a time and space analogous to the Byzantine Empire in today’s world.
 
Coutinho also used a color palette of golden yellow and blue. He considered this from the logic used in the colors of the Byzantine icons and chose blue, red and yellow. The limited combination of colors would be used throughout the project for enhancing the contrast of colors throughout the whole scenes. The thought process that went into creating every image of Brincante’s credits show why Coutinho is considered one of the industry’s best. You can view his work on the credits and read an in-depth description of the process 
here.

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