​   In spite of what you have been told your entire life, you can have your cake and eat it too. Producer and Director John Albanis is proving this with his career. His involvement with well-known and highly successful films such as Hot Tub Time Machine, Hector and the Pursuit of Happiness, and many others has proven his ability to deliver films that are not only successful in their theatrical release but also on streaming services and DVD/digital sales. One of the inherent traits of the productions he is a part of is the intimate and heartfelt tone of the stories; it’s a vein that runs through all of his work. Perhaps the reason John’s major feature film productions are so successful is due to the fact that he has always taken the time to also create and present smaller indie films which delve into his deeply artistic sentiments. What these films lack in mass marketability they more than make up for in creativity. Albanis possesses the perfectly balanced artistic diet for a current day producer and director, at least when it comes to his films.
  Some of the most successful artistic endeavors are produced when talented members of different mediums cooperate. Albanis approached dancer and choreographer Kimberly Cooper about creating a piece that would capture and present her work on film. The two decided on a five-minute section from Cooper’s “Velvet” which became titled “Distemper.” Created in conjunction with Decidedly Jazz Danceworks (one of Canada’s premier dance troupes), and based on the larger idea of nightmares, “Distemper” explores the notion of suffocation. While the theme is purposely frightening, the action and images are transfixing and beautiful. “Distemper” was a major critical success, earning recognitions from the UK Constellation Change Dance Festival, LA Dance Camera West, Toronto Moving Pictures Festival, and the Calgary High Performance Rodeo. Bravo! (Television Network) was so impressed with “Distemper” that it awarded Albanis grants to create more films of this type. The film also garnered him a nomination at the prestigious AMPIA Awards for Best Drama Under 60 Minutes. John describes the film commenting, “The film explores the ongoing struggle between feminine and masculine forces. Specifically, the feminine spirit breaking away from the masculine will. That struggle is eternal and ever changing. It is violent. It is poetic. The majority of the film has a sharp, kinetic energy that focuses on the dark, edgier tones of this relationship. It conveys a feeling that the masculine force is having its way with the feminine. While also conveying, albeit subtly, that the feminine spirits will overcome the masculine force. They’ve been luring him the whole time. Men think they’re in control, but they’re not.”  
  Following the overwhelming reception to “Distemper”, Albanis again teamed up with Cooper to create the film “Methuselah.” Based on a character Kimberly had come up with, the two worked with choreographer Jason Stroh to bring the idea to life. In an experience that can most accurately be described as hallucinatory, “Methuselah” is a unique and uncomfortable story. The film and story is an examination of a woman who appears to inhabit and co-exist within parallel lives. One life exists because of her body, the other in a primitive body created by another (a machine fashioned as a doll, whose expiration date is determined by its mechanical parts). The opposite life begins to unfold when a soul from another time inhabits the doll-like form. The soul, originating from what appears to be from courtesan time has transcended eras, possibly jumping from host body to host body. The aesthetics of “Methuselah” were carefully crafted and designed. John notes, “The set and scenery were definitely minimal by design. I wanted it to feel primitive and raw, whilst having traces of earlier life. The final result is both interesting and creepy.”
  Albanis went a completely different direction with his film “Nova.” Part Science-Fiction and part social commentary, “Nova” is the type of film which likely requires a few viewings to properly understand the action on screen. The main character goes through several transformations and then seems to experience a rebirth which starts his journey all over again. A mysterious stranger and some type of drug/supplement appears throughout the storyline, which takes places in a futuristic (though somewhat dilapidated) city. John reveals, “The colors of the cityscapes were infused with tones of blue, which were heavily de-saturated. We wanted to keep the main character’s environment cold and muted but also consistent. We didn’t want the environments to detract from the color choices we were making to the character himself. Throughout the film, the main character (Aaron) goes through the metaphysical stages of a dying sun. As the film progresses and the character grows dramatically in size, his skin tones start to change as the burns spread across his body, disfiguring him. He goes from flesh, to pink, to charcoaled red, to molten orange, and finally to pristine, shiny white (a white dwarf star).” The film had over 40 VFX shots, all of which were incredibly complex. Initially, John had partnered with a VFX Company to co-produce the project with him but, shortly after filming was completed, that company disbanded. Rejecting possible defeat, John began completing the VFX shots…one-by-one. Calling in favors from industry experts/friends and his own determination resulted in the film’s completion. Michael Levine (known for his association with Sony, Universal, and a number of major networks) proclaims, “Nova was an incredible success, earning the title of Official Selection at the London Sci-Fi Festival, Palm Springs International Shortfest, and recognized as a finalist for Best Visual Effects at the Hollywood Short Film Festival. John’s achievement of forty visual effect shots in an independent film is a massive task in itself. The social commentary presented is greatly enhanced by the incredible artistic vision he has presented in Nova.” Just as intimidating and vital to this film was the casting of the main character Aaron. Due to the drastic physical transformations of this character, four different actors were employed to portray him. An expertly talented Make Up artist would work on the actors for 3-5 hours each day.
  John Albanis and the team of artists he works on with each of these productions professes to the industry and the viewing public that being an artist is a calling. Those who pursue this life do it because they are driven to create. Sometimes this results in major profits and red carpets littered with paparazzi; and sometimes it means eating from the Taco Truck and working through the whole night. In the end, it always results in art…we just have to open our eyes to recognize it.
 

​  If you had met Briar Nolet just a few years ago, in her hometown of Oakville (a small city outside Toronto, Ontario); living with her family and dog Lucy, you’d likely not have predicted the massive success that awaited her. She was an extremely talented and energetic young girl, that’s certain; but the fact that she would so quickly transition to stardom with international tours, several seasons as a cast member on a ratings busting TV show, and magazine covers…that’s more than success, it’s every entertainer's dream scenario. While Nolet possesses all of the aesthetics that make her marketable, don’t be fooled, she is a determined and driven risk taker. Her staunch work ethic towards acting and dance have been the paramount factors driving her to such notoriety. The little girl how first appeared on Canada’s “The Next Step” is now a talented woman. While we’ve seen this template before in show business, Briar seems to handle it with exceptional poise.
  This Canadian talent is known as an actor and a dancer but she concedes that it was dance that was the beginning for her and continues to be her driving passion. She recalls, “I remember first seeing a dance class when I was 7 years old. When I went into the dance studio for the first time and saw these amazing dancers, I was immediately inspired and knew that was what I wanted to do. I got involved in a dance program called JUMP around age eleven. It had a positive impact on everything that had to do with my dancing: my technical ability, movement ability, picking up choreography, improv, and how to best execute every dance style. The community involved with JUMP was very competitive and the teachers were always very supportive. It created the foundation that I built my dance abilities on.”
  It didn’t take long for Briar to get noticed for her abilities. Renowned dance instructor Teddy Forance professes, “Briar has always shocked me with her talent, focus, & dedication! What makes her so unique is her intensity as a strong female dancer & the passion for the craft that explodes every time she performs. To have the ballet technique, fluidity, & the phenomenal tricks she has in her back pocket is going to bring her very far in her career. I have seen her fan base build very fast once she got on The Next Step TV show & the tours she has been on in the last few years.”
  “The Next Step” is a Temple Street Production distributed by BBC Worldwide which depicts the lives of “A-Troupe”, a group of exceptional young dancers and their personal lives. A scripted production, “The Next Step” requires both acting and dance skills of its cast members. With four seasons done and a fifth on its way, “The Next Step” has made Nolet and her fellow cast members celebrities in Canada and numerous other countries. Briar has become a particular fan favorite. Signed on as the youngest cast member, Briar resonated profoundly with a young female fan base who related to her character’s (Richelle) struggles as a young lady.
  One of the benefits of being a multi-talent is that you can experience a connection with your fans through a number of ways. When “The Next Step” became an international hit, the show’s creators decided to take Briar and the show’s ensemble to the fans on an international tour. While they had already toured Canada as part of Family Channel’s Big Ticker Summer Concert, this tour would be as headliners. “The Next Step Wild Rhythm Tour/Live on Stage” took Nolet to the UK, Europe, Australia, New Zealand…interesting and captivating locations that were new to her. Being able to dance for and meet her fans was a thrilling experience for this actress/dancer who states, “Meeting all of these people was such a great time for me. They lead different lives, some of them speak different languages, yet they all love our show so much. I’m very passionate about dancing and acting; to get that immediate feedback and see that people are excited by what I do…it was very rewarding. Most of the time I am on set so I don’t get to see the enjoyment firsthand and so immediately. The tour was particularly affirming for me because it’s when I saw for myself the effect that what we are doing has on people.”
  Part of being a celebrity is finding your face on the cover of magazines. While that’s not a comfortable situation for everyone, Nolet has been quite pleased with her coverage. Receiving exposure such as being the cover model of Dance Spirit Magazine (October 2016) and voted Runner Up  as America’s Best Dancer celebmix.com (2016) are further indicators of the spread of Briar’s accolades and achievements. It’s also an indicator of the aspirations Nolet has. She communicates, “I feel like the US is the best situation for someone like myself who wants to pursue acting at its highest level. There are so many great artists who live there and influence each other. The Next Step is about a community like that, where people challenge each other to be better. I want to experience more of that in my career.”

​  When most of us think about what an editor does, we have an idea of someone who takes away the parts that don’t belong or are superfluous. In a general sense, this is an accurate (yet highly over simplified) assumption. Like a sculptor who carves on stone to reveal the smooth figure inside, an editor helps the audience to see what the writer and director have envisioned in their minds. But every great once in a while, an editor gets to add rather than subtract from the cinematic equation. Vishnu Perumal has worked as an editor on numerous projects; film, TV, web, etc. One of his favorite experiences was when, as the editor on “Sexcapades” (no, not pornography), he was able to create moments that were not originally there. It all sounds confusing and counterintuitive; which is why Perumal has received such high praise for his work on this web series. Elevating the role of editor with much creativity, Perumal proved just how much he brings to every production on which he works by utilizing some very unique approaches for “Sexcapades.”
  An editor is not simply someone who sits in a dark room by themselves and is void of personal communication skills. Just as a cinematographer or director possesses a style and sensibility, an editor is often chosen for what they can contribute. Consider the fact that Thelma Schoonmaker has worked with Martin Scorsese on his films for over four decades as one of his most trusted colleagues. Director/writer Stephen Thomas knew Perumal’s work as well as his affinity for both comedy and horror (a unique cocktail). For this quirky and edgy series, Thomas needed someone who inherently brought a biting wit and outlook. The director notes, “I’m a fan of comedy and horror films. When I discovered that Vishnu enjoyed the same types of movies I did, I knew instantly that he would be a great person to work with. He is an awesome comedic editor. What makes him so effective in this is his love for all things comedy. He loves writing comedy, watching comedy films, shows, etc. and you can really see this in his edits. He was a great asset on Sexcapades, helping to elevate the comedy further through his edits and selective use of footage. We were initially having problems with the first few episodes, because when cut to script, the pacing and the comedic lines didn't really pay off. When Vishnu was brought in, he suggested trimming moments and certain dialogues in order to make the scene and the jokes flow better. He also picked out certain actions and moments that were seemingly mundane and repeated them throughout the sequence, creating a comedic bit that wasn't in the script in the first place. “
  Everything about the storyline seems “wrong” but everything about the way it is told and presented is exceedingly right. At its worst, “Sexcapades’ may make you wince while at its best you’ll find yourself laughing embarrassingly loud. It is obvious but, “Sexcapades” is a prime example of the type of production that goes too far for network safety hours but proves that there is exceptional merit in web-based productions (many of which often find a home on platforms such as Hulu, Netflix, etc.). To illustrate, Vishun gives a summary of the first two episodes; the ones which made it clear that his editing was having a profound effect.
 
Episode 1: The first episode opens with James and Julia returning from a function, both voraciously passionate about the prospect of having sex with one another. They begin to engage in sexual intercourse, but are disrupted and distracted several times throughout the night due to James’ supposed “performance issues.” James tries to defend himself and the two begin to bicker about each other others sexual prowess. Dejected, James leaves Julia’s room, but not before revealing that their parents would be marrying one another in a few months and that they would soon become brother and sister. The next morning, they start a bet, challenging which one of them can get laid the most before their parents wedding, thus starting the series.
 
Episode 2: The second episode follows James and Julia’s first foray into the online dating scene. Julia is invited to a blind date by a handsome gentleman at his house, while James plans on conducting his date in their apartment. Julia’s date goes swimmingly at first until her date reveals to her his fetish…to have her wear a furry dog costume while they run around pretending to be animals. Julia becomes uncomfortable by the prospect but goes through with it anyways. Meanwhile James’ date starts off poorly with little to no connection being established between him and his date. Both are shown equally bored of one another. The date makes an even darker turn when out of the blue, James is attacked by his date’s boyfriend and robbed. Julia and James end their first attempt in online dating somewhat unremarkably, but with Julia ahead by a point.
 
  These first two episodes are indicative of the humorous and dark attitude found throughout the series. This tone is precisely what the show’s creators wanted. It could easily sway towards overly pessimistic or cheesy if not surgically crafted. Validating the choosing of Perumal as the proper professional for this project, he approached the creators about combining what was originally the first two episodes into a single one. Stating his case that the emotional and comic vibe would be more congruent with other episodes if this approach were taken, and preparing a cut to exhibit this, the cornerstone of “Sexcapades” was accurately presented in this first episode. Rather than a stroke of genius, Vishnu considers this second nature. He comments, “Comedy is all about timing and knowing when to deliver the punchline. I learned that the same sort of principle can be employed through editing. It’s easy to know if a scene isn’t well edited if the jokes don’t land. When editing comedy, it is important to build up to the punchline and not make the edits too distracting. When the punchline is delivered, a beat in the edit should happen, in order to let everyone register the punchline, followed by the reaction shots. In shows like “Louie” and “The Office”, sometimes the reactions in themselves are the punchline and milking that awkwardness is key in generating the comedy in the moment. I also learned a lot about rhythm in comedy. when the pace of a scene seems down, unless intentional, the comedy will also suffer. Every comedic moment needs to be delivered with as much attention to the timing as possible in order to make it all come together.”
   Perumal had a significant role in crafting “Sexcapades” into what became an award-winning series (Outstanding Achievement Award at LA Web Fest 2015 as well as three nominations). The close working relationship he shared with Stephen Thomas was an incredibly mutually creative opportunity for both. Vishnu relates, “I like to milk comedic moments from awkward silence and reactions. It’s a great tool for a comedy editor because reactions aren’t usually written in the script and will easily fit in any moment without putting much strain on the continuity of the story. Because the director trusted me in my ability to create comedy, he allowed me to add comedy wherever I saw fit. In the first episode I saw a great opportunity to employ this during the sex scene where little pockets of silence adds to the awkwardness and comedy of the scene. Brevity also adds to the comedy. If a delivery of a joke seems too wordy, taking out a few words usually helps.” The filming fortuitously gave Vishnu many different angles to work with which helped him to create a style that became part of the pacing of “Sexcapades.” It’s ironic that the desire to work together with a shared vision is what enabled Vishnu and Thomas to create this series which portrays a couple’s darker need to drive a wedge between their bond. 

​  Those who work in the medium of film have a wide range of opportunities with which to create and express. Those 70’s Coke commercials (“I’d like to teach the world to sing”) are just as memorable and iconic as classics like Rosemary’s Baby. To achieve this type of impact takes talented and creative individuals. Writers, producers, actors, and of course directors. Many people consider film, TV, commercials, and other moving pictures productions to be a director’s medium. A director is able to fashion and cultivate the final product regardless of the format. Australian director Ken Karpel is still young but has been proving this template to be true for years now. As a member of the generation that grew up with social media, Ken has a modern and youthful approach that resonates with a younger demographic. Music videos, major commercial advertising campaigns, and any production that entertains (& informs) is a part of Karpel’s resume. He’s become a highly sought after director in his homeland and throughout many different parts of the world. As the in house director of Don’t Look Back Pictures, Karpel has been at the helm of a number of successful productions. Learning from the masters but applying their generation’s sensibilities and perspective, Don’t Look Back productions and this director are melding cinema and modern day/” social media interaction perspectives” to their work. This director and Don’t Look Back is known for their exciting and youthful productions for diverse companies, causes, and artists including: MS Australia, Universal (EMI), Record Kicks (The Liberators), and Park and Fly, and others.
   Karpel is proud of his work which gives a springboard to artists with lauded and recognized music videos, the commercials which result in greatly increased visibility and brand awareness for advertisers, but one of the things he is proudest of is his work on the “Kiss Goodbye To MS” campaign. MS Australia approach Don’t Look Back Pictures to create a national campaign for Multiple Sclerosis awareness day. This day saw people wearing lipstick to raise money to find a cure for the disease. Ken fashioned a new, youthful concept for the initiative in its first and second year. Karpel recognized the intense emotional impact and sincerity required for viewers to connect to the message. He explains, “This campaign was also about emotional resonance. Rather than casting actors, I wanted to use real people that had been effected by MS in some way. This would allow the audience to have a visceral emotional reaction to the characters in the commercial. In terms of shooting these non-actors, I took on a documentary approach following them around in environments they were comfortable with. Each character would also have a portrait moment where they turn and look into camera.  To get a natural performance here I used the rapport we had already built throughout the day and operated the camera myself for those shots, making it feel like I was just taking a photo of them.” The spot aired on national TV and was also screened at several live sporting events at the SCG (one of Sydney’s largest sporting arenas holding 46,000 people). The campaign was a huge success resulting in  MS Australia raising almost 1 million dollars for research towards a cure for Multiple Sclerosis. In fact, MS Australia returned to Don’t Look Back Pictures the following year to create both a new commercial and an online campaign, with Ken directing. The initiative continues to be a success and is run annually to this day. Norelle Feehan, founder and principal consultant of Feehan PR, lauds Karpel and his work stating, “Ken’s personality and drive captured the imagination of all those who were involved, many of whom volunteered their time. He produced two creative gems. At a critical time in its development, Ken’s work gave the MS Research Australia team a lift into new levels of sophistication and branding.” 
 
 
  Music videos have been a staple of countless directors since the early 1980’s. While many are “glamour shot” pieces designed to make the artist look extremely attractive, others are designed as pieces of art unto themselves. Ken is known for the latter of these. Universal (EMI) approached Don’t Look Back Pictures to create a music video for their artist Pluto Jonze. Ken employed a variety of special effects to create a journey through the lead singers mind. Literally depicting the elements of the music and song, Karpel utilized wind and rain machines and a giant fake floor for the different verses of the song. Describing one of the more unusual effects he used for “Plastic Bag in a Hurricane” Ken notes, “To reflect the emotional state of the character in the song, I wanted it to rain in reverse. To achieve this, I asked Pluto to learn to sing the song backwards, and his backing band to learn how to also play their instrument in reverse. Then in post-production, I reversed the footage. Pluto and the band play/sing in sync, but it’s raining backwards creating a surreal feeling and unique visual for the piece. The only digital effect was transitioning through the TVs and the band playing upside down on a roof above Pluto.”
   The Pluto Jonze video “Plastic Bag in a Hurricane” won Channel [V]’s ‘Ripe Clip of The Week’ award and was instrumental to it charting in the Top 20 charts for several weeks. Additionally, it plays on the ABC TV network and featured in various online music publications such as NME, Shazam, iTunes, Stop Start, The AU Review, Music Feeds and others.
  The video which Ken directed for Record Kicks artist The Liberators (Australian Afro Funk band) is such an impressive production that it crossed over to an eclectic audience across the planet. “Rags To Riches” was screened at the: LA Comedy Short Film Festival, Over The Fence Festival, Actors Anonymous Short Film Festival, The Dungog Film festival, and nominated for an Inside Film award for Best Music Video. It was featured in countless online blogs, one of which was Noise Vox, who awarded it ‘Music Video of the Week’. The seven-minute short film/ music video pays homage to 70’s Blaxploitation films. Shot over 9 days, it feels like more of a feature than a music video. Adding to the “inside humor” of the video is the fact that Roy Ayers jr. (son of Roy Ayres, the funk/ soul artist dubbed ‘The Godfather of Soul’, whose music has been featured in films such as ‘Coffy’ and Tarantino’s ‘Jackie Brown’) featured in “Rags To Riches” …and delivers and impressive performance.
  The cinematic video took massive planning and effort on the part of Karpel. He confirms, “This music video had boat chases, car chases, Kung Fu fights, shoot outs, and explosions. Having never shot this kind of action, I had to teach myself the cinematic language of each one of these giant visual set-pieces by watching every movie I could find with one of these tropes. To pull off the video within the budget, we had to forgo a VFX supervisor so I simultaneously had to teach myself how to perform this role. I storyboarded every single shot, edit and transition before shooting to make sure we weren’t wasting our budget on superfluous material. The bigger set-pieces were rehearsed and shot on my iPhone with the producer and production assistant filling in for the leads. Due to all this planning I did not shoot any masters, every single thing we shot was used in the edit and this is how we made between 70-90 set-ups per day for nine days.”. The pre-planning paid off and Don’t Look Back got an explosive debut music video.
  Don’t Look Back Pictures executive producer Andrew King states it succinctly, “Ken’s talent and ability as a director is clear to everyone who works with him.  His strengths lie in his ability to elicit realistic performances from both actors and non-actors, coupled with his unique authentic visual style. His energy and passion are infectious.”