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SARAH WALTON REVEALS THAT GETTING WHAT YOU WANT MAY NOT BE A GOOD THING

5/26/2017

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  Comedy is relevant because it allows us to deal with fear and anxiety. It’s at it greatest potency when it does this. We can’t control our lives, only the attitude we take in dealing with it. Even in the most enjoyable aspects of our lives, we deal with fear and discomfort. In romantic endeavors, you can choose to laugh or cry; or in Sarah Walton’s Stage 3 Clinger you can choose to be afraid. It’s not that much of an exaggeration. As an accomplished writer in Hollywood of numerous romantic comedy films (Jump!, The Dating Ring, and others) Walton’s screenplays focus on the male/female dynamic of modern life, including those who become overly attached. Sarah had long joked about wanting to meet a guy so taken with her that he became her stalker and finally decided to manifest the idea on paper. Using her comedic writing talents to take the wind out of this potentially frightening scenario, Walton penned a story in which the protagonist gets the adoration of a seemingly perfect guy, until it becomes a cumbersome adoration. Her main character [Maggie] realizes that you can definitely have too much of a good thing and it serves as a reminder to both men and women in today’s dating pool that you should be careful what you ask for. 
 Sarah’s protagonist in Stage 3 Clinger performs a parallel role to Walton herself. As a relationship expert turned motivational speaker, Maggie helps those who have experienced particularly difficult relationship up and downs to cope and deal. Just like a therapist, a writer can take you on a journey that culminates in a catharsis. In Maggie’s case, this means using all of the negative experiences that both she and her clients have been through to come up with an “Indepen-dance.” Maggie is swept off her feet by a playboy turned SNAG (sensitive new aged guy) but he is quickly revealed to be more charming codependent than prince charming. Maggie has found herself in that unsatisfying place of receiving what she thought she wanted and realizing that it isn’t as simple as she expected.
  Delivered with laughs and intelligence, Stage 3 Clinger is not man hating or even sincere femininity. What’s so approachable about this story is that it could be applicable to anyone. Sure, it’s told through the lens of a woman who is a successful professional in her thirties but the brilliance of this story is that it speaks more about discovering one’s own desires and satisfaction rather than looking outwardly for it. Mike (the Clinger) is simply a metaphor for all of the things that society has told us will bring contentment. Walton reveals this lie with wit but poignantly turn the finger back on her main character to force her to unearth what happiness and sense of identity means to her, as well as finding the source.
  Stage 3 Clinger could have been stereotypical if not for the subtle shading that Walton used in tone. The story delivers awkwardness which is the result of very real pain; something like a combination of "There's Something About Mary" meets "How to Lose a Guy in 10 Days.” Displaying these moments of emotional torment makes the comedy that much more of a relief. Sarah remarks, “I think there are a lot of dark romantic comedies out there in terms of cynical views of love. Although the stalker theme can be viewed as dark, I’ve balanced it with compassion and a positive view of love to encourage people to laugh at their pain and darkness and see that regardless of how traumatic it may be, it helps put it into perspective when we’re able to laugh at it. Essentially all comedy is dark, as comedy is a beautiful combination of truth and pain. Laughing at my pain has always gotten me through tough times. I definitely don’t want to encourage stalking but I am interested in exploring desperate love, insecurity, and how that pushes people to behave in ridiculous ways…combined with the message that loving ourselves fully will allow us to find true love.”
  Walton knows of what she writes. As a successful Hollywood writer (but a native Australian) in her 30’s, she has focused on writing screenplays that examine modern relationships in several films such as: The Dating Ring, JUMP!, Em Pathetic, and a number of others. As a single woman in LA, there’s a well full of experiences to fuel her ideas. She admits, “My personal life has lead me into some ‘interesting’ situations in dating and love, giving me plenty of material!  I'm incredibly curious about love; it's my life's work to discover the algorithm for a healthy, happy relationship, and unconditional love. This is reflected in my writing along with the hilarity and anguish of modern dating. I've had my fair share of love and dating disasters and I exchange funny stories with my friends. Together we have a library of material.  Laughing at our pain makes both our lives and my writing so much more fun!”
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Anja Ellam shows comedic flair in viral video with DangMattSmith

5/24/2017

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PictureWriter, Actress, and Influencer Anja Ellam
Anja Ellam is used to making people laugh. Whether it be with a fun tweet, an Instagram post, or with her writing and acting work, she is quite the entertainer. Ellam knows the importance of social media in today’s world, and knows how to truly relate to her audiences. It is no doubt why she is such a sought-after influencer, writer, and actress.
 
With almost twenty thousand followers on Instagram alone, Ellam’s reach expands all over the world. She has worked on several extremely successful projects, including working as a writer, host and influencer for AwesomenessTV, Verizon’s Go90 app, and ArsenicTV’s Snapchat stoy. She also single-handedly wrote the award-winning film The Woods.
 
“I think I’m a good writer because I know how to make things relatable to other people,” said Ellam.
 
When YouTube sensation Matt Smith of the channel DangMattSmith saw what she was capable of, both as an influencer and a writer, he reached out to Ellam over Instagram to write different videos for his channel. The result of their first collaboration was a hysterical video that went viral with over 1.4 million views.
 
“It’s kind of crazy to me. On a screen 1.4 million doesn’t really look like anything, but I get daily comments and messages about the video and my friendship with Matt, which makes it feel more real,” said Ellam.
 
The premiere video, which Ellam also showed off her acting talents in, is about girls commuting. DangMattSmith is acting as an Uber driver, and Ellam and her friend Rio Sage show off different funny things girls do in cars.
 
“It was honestly inspired from a conversation we had about me and Rio taking Ubers all the time. We were just brainstorming ideas and it just all came from that one off track conversation,” said Ellam. “I love working with my friends, and working just with each other instead of a big crew can be fun because you get to make your own time and get to experiment more with different ideas. Matt really comes alive on camera and has hilarious ideas about what to do. I like that he likes to make videos outside and likes to take the audience on an adventure.”
 
As both a writer and influencer for the video, Ellam’s work was vital to its success. It was so successful, that Smith invited her to work on another video, and now wants to develop an entire series.
 
“When Anja and I work together, it doesn't feel like work. We work really well together. I would love to work more with her in the future. She is bright, intelligent and has super creative ways of thinking for new ideas," said Smith.
 
After the two wanted to collaborate on a project for a while, they finally met to brainstorm and quickly came up with the idea while talking about commuting. They decided to add Sage to the video because she would add another comedic element. They then wrote the different types of characters and planned how they would portray them.
 
“Having us be in the video would make our followers more likely to view the video when we promoted it,” Ellam explained. “We promote the video on all of our social media platforms to let all our followers know to go and watch. A lot of my followers always ask when I'm doing more videos with him and we've gotten great response and growth in followers from making these videos. Instagram is a tool influencers use to grow their brand and connect with more people which is what I use it for.”
 
Smith and Ellam are now looking to launch a reality style vlog series on the channel, with a new video once a month. The second video they worked on together adopted this style, and it was a massive success. The video features Smith going to visit Sage and Ellam at their apartment, and then taking a dog for a walk. It is a different type of humor from their initial video, but just as comedic.
 
“They’re very different because reality style vlogs allow you to make things up in the moment that show your personality more, whereas scripted videos are all very carefully written so you don’t want to be improvising in the moment,” said Ellam.
 
To watch Ellam’s hilarious work in that first viral video with DangMattSmith titled What Girls Do in Cars, click here. 

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NOTHING DESCRIBES DIRECTOR/PRODUCER JOHN ALBANIS BETTER THAN BRAVO!

5/22/2017

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​   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.
 
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CANADIAN BRIAR NOLET HAS DANCED HER WAY INTO CELEBRITY

5/21/2017

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​  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.”
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EDITOR VISHNU PERUMAL USES HIS TALENT TO CREATE UNEXPECTED COMEDY IN "SEXCAPADES"

5/21/2017

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​  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. 
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Sound Designer Randolph Zaini takes audiences back in time in “The Ballerina, Her Shoemaker & His Apprentice”

5/19/2017

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PictureRandolph Zaini on set of "The Ballernia, Her Shoemaker, & His Apprentice"
It seems funny to Randolph Zaini that there was once a time when he feared sound design. The filmmaker would avoid sound at all costs, calling it his “Achilles heel.” The fact that he is now a successful sound designer is not lost on him. When he decided to go into the field, it was to face his fears. Little did he know he would find his true passion.
 
Originally from Jakarta, Indonesia, Zaini has won both audiences and critics over around the world with his innate talent and inherent skill in sound. Last year, he took audiences back in time with his work on the film The Ballerina, Her Shoemaker & His Apprentice. After premiering at the SHORT to the Point Film Festival in Romania where it won the award for Best Young Director, it then received nominations at LA Shorts Fest, Maryland International Film Festival, Newport Beach Film Festival, and Ouchy Film Festival in Switzerland, winning The Grand Jury Award and Best College Film at The Next Generation Filmmaker Film Festival. It is to be shown at even more film festivals later this year. 
 
“Very few things can be as satisfying as knowing that the work you’ve fully committed to gets so much affirming praise. I felt fortunate to be a part of this project,” said Zaini.
 
None of this would have been possible without Zaini, as he was responsible for both production and post-production sound aspects, meaning he not only recorded the sound on set, but also did the sound design, transporting audiences to another time and place. The film tells the story of George Arkwright in Hackney, England during 1936. George is a young man down on his luck, who must navigate the refined world of ballet pointe shoe making and redeem his value as the apprentice under the shadow of Mr. David Traynor, a talented but stuffy pointe shoemaker. George's imagination turns into a reality when he becomes smitten with the Ballerinas the shoes are built for, one named Sylvia particularly, and soon learns this magical and distant world is not beyond the reach of affliction.
 
“A lot of the design has to do with the humdrum life he originated from to this magical world of ballet. This means creating the contrasts between the enticing, glamorous world and the harsh reality behind that world. In addition to that, the story takes place in 1936 Hackney, England. During production process, I had to make sure to avoid any sounds that were not period appropriate, such as modern-day traffic, airplanes, and other environmental audio sources,” Zaini described.
 
According to Zaini, capturing the nuances of the ballerina was also crucial to get accurate representation and feel of professional ballet dancing. During the post-production stage, he focused largely on dialogue editing and foley. These two aspects constructed the feel of the character being from a period long ago. The texture of the costumes and props they used needed to feel authentic, and he recreated them in the recording studio.  Adding those layers of audio cues helped sell the story’s believability that it took place in 1930s England.
 
“The story itself is unique. Instead of focusing on the ballet dancing, this movie delves into the mostly unknown world of pointe-shoemaking. How often do you see stories revolving around that? There is a certain undeniable charm and intrigue in this subject. A pointe-shoemaker is a true artist in his/her own right, overseeing the customizing of the pointe shoe to very detailed specifics according to the anatomy of each individual ballerina’s feet. Be it the shank or the vamp, they all matter in determining the effectiveness of the design for a seemingly effortless dance performance. I wanted to learn about this secret,” said Zaini.
 
The entire process felt very immersive for Zaini, and it was therefore very enjoyable. Getting to do the sound for both the production and post-production allowed him to make vital decisions throughout the entire process, capturing sound that he would later edit. This created a familiarity that allowed for him to achieve a flawless sound.
 
“Randolph is an extremely detail-oriented person. He is fast and can guarantee high quality of sound work, both on set and in post-production. His professionalism and talent really put me at ease as a director. He is extremely talented and intuitive when it comes to using sound effects and design to help tell a good story,” said Director Eva Ye. “Randolph was sensitive to sound at an early age. He likes to understand the world with his ear, and I happen to that know he usually listens to radio or music at a very low level to protect his hearing. Such great habits and instinct enable him to know more about how the world sounds than regular people.”
 
Zaini’s commitment to his craft is evident in everything he does. There was a time on the set of the film’s shooting location near the main street when cars were coming by every few minutes, which would have affected the recording of the dialogue. Zaini not only made smart and quick decisions on set to minimize such impact, but also methodically planned the dialogue and sound effects that could be picked up during the post-production process to save time. He also managed to finish the entire post sound editing and mixing process within a week, which is usually impossible for a production of this scale, as sound editing alone can take months. He single-handedly put together a small team to ensure everything was done in a timely manner with the highest quality guaranteed.
 
“Our film was received extremely well on premiere day and many occasions afterwards, and to say that Randolph’s work brought the audience to a 1930s London, where the story is set, is highly fitting. Randolph’s work has brought life to the meticulously choreographed shots of ballet shoemaking. The edited sound effects of hammering, sewing, gluing, etc. have given life to this prestigious process, which is the core of this film. Audiences can immerse themselves in this unfamiliar yet intriguing world of art and craftsmanship. He is professional, strong and a great collaborator. His work is precise and of very high quality,” Ye continued.
 
Ye approached Zaini to be a part of her film, knowing his talent through his other works, such as the films Paper Tiger and Mosquito: The Bite of Passage. She wanted the best for The Ballerina, Her Shoemaker & His Apprentice, and with Zaini, the best is what she got.
 
“Aside from the exciting learning process dealing with a period piece, it was a blast working with the incredibly talented team. Though the schedule could be grueling, with some overnight shoots, the atmosphere surrounding the production was always enjoyable and drama-free. It was a fun learning experience that lead to excellent results in sound,” Zaini concluded.

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Celebrated production designer Andrea Leigh went from working with mannequins to celebrities

5/18/2017

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PictureProduction Designer Andrea Leigh
When Andrea Leigh was working for a retail store, thinking of how to take designing small sets in front of windows into something bigger, the answer was clear: production design. Now, she has never looked back, and has worked on some of the country’s most recognizable commercials, music videos, and award-winning series and films. Working with store mannequins seems like a long time ago now that she is working with the stars.
 
Leigh’s work has been appreciated by millions of people around her native country of Canada and the rest of the world. She has been a part of several viral commercials, including the 2015 Teleflora Mother’s Day commercial, which was named the 6th Most Watched Ad on YouTube in April by AdWeek, as well as the E.L.F. Play Beautifully commercial that has over 2 million hits on YouTube alone. Leigh has worked on several commercials, including Is It Enough for SportChek, Welcome to the Great Indoors for Casino Rama Resort, several PSA/commercials including work for Salvation Army titled Open House and for OneDrop.org titled #MoreFirsts, to name a few. She also worked on the celebrated Downtown music video for The Sheepdogs. Director John Cullen says that Leigh in invaluable for each and every project she is a part of.

“Few production designers and art directors have the same level of effect on the overall success of a production in the same way that Andrea does, as she was key in the viral success of each commercial and the company’s success as a whole,” said Cullen. “In her novel approach to production design, Andrea displays an exceptional gift for turning the vision of a director such as myself into tangible environments that enhance the work and create realistic worlds for the narrative to inhabit, which in turn has translated into a wide variety of achievements for Andrea throughout her career.”
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Leigh’s production design talents are evident with everything she does. When working on set decorating for the popular web series Whatever Linda, her work helped take audiences back to the year 1978 where the story takes place.
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“The era was definitely the initial draw. Late seventies are a bad ass time to set decorate for. It makes the job more fun and a heck of a lot easier when you love all the pieces you are seeking out to use on the sets. The script was also what drew me into this project. It was well written, clever, thoughtful. It painted the picture perfectly for the design team. We knew exactly what we wanted it to look like,” said Leigh.
 
Whatever Linda is about a woman who takes control of her dire situation. She takes on Wall Street, develops a Ponzi scheme and makes herself millions before getting caught. It is a dramedy inspired by the real-life events of the Bernie Madoff Scandal.
 
“The cast and crew were amazing. A lot of us are still friends and work together often. We also got to film in a location that I had never shot in an amazing old building at the end of a street in Liberty Village in Toronto. Sets from past shows had been left behind and it’s interesting to see what was built there before and see how you can transform and incorporate it into whatever you are working on there,” she said.
 
The production design on the series was recognized by international audiences, and was nominated for “Best Production Design” at the British Independent Series Awards.
 
“You learn a lot when working on a period piece. Staying true to the era requires a lot of research and development. And that for me is the fun part. Doing the research, the learning curve of designing for an era. By the end of the project you feel you've mastered designing for that decade, that exact year even. It’s also interesting to see how it changed my own personal tastes and preference. Naturally I gravitate towards anything from the late 70’s and early 80’s now when it comes to design,” said Leigh.
 
Whether it be taking audiences back in time, or helping to immerse them in that perfect moment, there is no doubt as to why Leigh is considered one of Canada’s best production designers.



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Q&A with Actress Sarah Wessendorf about the Upcoming film “Berlin in You”

5/17/2017

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Actress Sarah Wessendorf shot by Lars Gehrlein
Every once in a while an actress comes along that really strikes a chord with audiences. We may not be able to put our finger on it, but there seems to be something mysterious and magnetically appealing about them, and that is the case with German actress Sarah Wessendorf. Everytime Wessendorf takes to the screen it is impossible to take our eyes off of her. She has a unique way of pulling us into the life of her character and wrapping us up in the unfolding story. 

Wessendorf, who began acting on stages at home in Germany in her youth, has since carved out a prominent position for herself as an international actress through her multiple leading roles in films such as “Gone,” aka “Verschollen,” where she worked alongside award-winning producer Judith Schöll (“Crooks LTD.,” “Killing all the Flies”), and “CPH” from director Eitan Sarid (“A Trip to Jaffa”), which was chosen as an Official Selection of the Jerusalem International Film Festival. 

Though Wessendorf grew up in Hamburg, Germany where she first began her career on stage, she has since performed all over the world, including on the stages of Paris, France and Tel Aviv, Israel. 

Maybe it’s her experience working as an actress in various countries that has endowed her with an unusual multi-cultural appeal, or perhaps it is just something she was born with-- regardless of the reason behind it, there is definitely something special about Wessendorf. 

Up next for Sarah Wessendorf is the film “Berlin in You” where she plays the starring role of Greta, a small town girl who’s life gets turned upside down by the big city. We were lucky enough to catch up with Wessendorf for an interview where she gave us some inside information on the story and her role in the upcoming film, which is slated to release later this year. Enjoy!

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Actress Sarah Wessendorf shot by Lars Gehrlein
ELA: Hi Sarah, Thanks for taking time out of your schedule to join us for an interview. We’re really excited to hear about your new film “Berlin in You.”  Can you start off by telling us a little bit about the film? 

SW: “Berlin in You” follows my character Greta and her experience moving from a small German town to the German capital, Berlin. Greta plans to finish her master studies in linguistics and philosophy at the University in Berlin. She is very much focused on her career development and building a strong education for herself, however, when she moves to Berlin her focus starts to shift. 

She is introduced by a fellow student to Berlin’s pulsing nightlife and she is immediately enchanted. People are so free, so rebellious, so in their own core. From that moment on this becomes Greta’s new priority. She wants to feel as alive as the people she sees out enjoying Berlin’s nightlife. Step by step she loses contact with the former vision of how she thought her life should play out, and she begins creating a new one. She used to plan months ahead, now she lives day by day. For the first time she feels alive and in her body, but it takes her a week to recover from those long nights out, and slowly her life takes an unhealthy turn. She can’t pay her rent because she spent her parents’ money on partying, and she begins lying to her parents and to herself, but she continues to tell herself that she has found the true meaning of life. Although the film makes a point of never becoming judgemental or trying to tell the audience what to think, it becomes apparent that Greta will have to make changes if she does not want to drown in Berlin’s excessiveness.

ELA: Can you tell us about Tim, Greta’s love interest in the film?

SW: One night out she meets Tim, who becomes her boyfriend. Now Tim in the film is not portrayed as the hero who saves Greta’s life, this would be too simplistic. Rather Tim becomes a wake up call, a symbol of the importance of balance, of getting in touch with self love and the awareness of how to live life well.

Slowly Greta understands that it is the middle way that will make her feel happy and fulfilled. She will eventually find herself, but every experience is important for that. Everything around her can become a tool to dive deeper into who she wants to be. At the end she will have to decide that for herself and for that she has to become close and intimate with herself.

ELA: Like Greta, you also lived in Berlin for a time. Was your experience there similar to your character’s? 


SW: Living in Berlin changes you forever. This city has a way of making you question everything you have believed to be true and right. The things that give you security, whether they are right or not. In a way Berlin throws you into a bit of a whirlwind, one where you have to understand that the only compass you need is yourself and your inner voice. This, as with Greta’s story, I can very much relate to. Berlin’s nightlife is happening every night and you sense that every night could be an important one, one that makes you feel vibrant, bigger than yourself and alive. I very much understand the temptation of focusing too much on this aspect of the city and the influence it has on your being. I think most people that move to Berlin are going through a phase of this.

ELA: How was you experience different from Greta’s? 

         
SW: In my life I have always made a point of staying focused on my goals. I knew very early what I wanted to be and what I wanted that to look like. Other than Greta, my mother is from Berlin so you could say I am a half Berliner and was never all that blinded by the big city. Also I am from Hamburg, which is a bigger city in and of itself as well. 

Berlin always felt like a necessary step, but not one that I wanted to stay on. I always wanted to have a life outside of this city and that is why I never got too attached with any specific way of living here. I understood the club culture and I saw how some people very much identified themselves with it. That was never me. I was observing it, I was participating at times, but I always knew when to change it up, because I have other influences in my life too. I found this to be a much healthier approach to this city. 

ELA: What kind of trouble, specifically, does Greta end up getting into? 


SW: Greta just gets too deeply connected to people who need to party to feel alive. The life outside of the club just begins to seem too boring, too mundane, too conservative. She loses touch with the beauty that is life in any other shape and form. The beauty of being in nature or laughing with friends, the beauty of being alone.

Greta is in a way gets trapped identifying with the club culture and aside from that, she finds her life worthless. The friends she has are not heart to heart connections, rather they are people who share the value of celebrating as the key to life’s happiness. When she cannot pay her rent and starts to lie to her parents it becomes clear that she is selling herself an idea. The idea of being more real and authentic when in fact it is a mask, a fun one, but one that hides insecurities, loneliness and the inability to find self love.

ELA: Was the film shot in Berlin? 


SW: Yes the entire film was shot in Berlin. This city offers so many amazing locations, of course we were not able to shoot in any of the real clubs here. There is a very strict no filming, no pictures policy which is rooted in the effort to protect the identities and privacy of its guests. But other than that, everything was shot in actual places in Berlin. 

ELA: Tell me a little more about Berlin. What is your favorite thing to do or place to go in the city? 


SW: For me personally I like to find my happy place in nature. There is a big park next to where I live and I love to just take walks, jog or be there. Especially in summer, this place is amazing because it includes an open air cinema where you can watch films surrounded by trees. It almost feels like an amphitheater. It is beautiful! 

I don’t really go out anymore. Those times are pretty much over, but I do enjoy going dancing from time to time, to feel free and to just soak in the moment. This is something that is very special to Berlin, to have the freedom to feel free of judgement or expectations of who you should be or become. But I strongly feel that it is time for me to move on from that.

ELA: Is there any other story or part of your experience in “Berlin in You” you’d like to share?


SW: Shooting in Berlin was a very fun experience. People here are said to have very big opinions that they are not afraid to hold back. And this was how it felt. I remembered a lot of stories my mother told me about Berlin, about her growing up there and her experiences. How she would get ready for school putting on make-up in a department store, the same one we would later be shooting a scene in. It felt very full circle. 

Also my mother told me that my grandmother who flew to Berlin with her mother from Prussia would complain that Berlin’s streets are ruining high heels. I usually do not wear heels but for the role of Greta I did and it reminded me of this. In a way it was a journey down the road my family had in Berlin. At least my mother’s side. It felt quite nostalgic and somehow sentimental.


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Moving North: South American beauty Tatiana Romao Makes Her Mark in Horror

5/16/2017

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Brazilian Actress Tatiana Romao shot by Adrian Aguinaga
Brazilian Actress Tatiana Romao shot by Adrian AguinagaGone are the days when female actors were relegated to either romantic comedies or horror films. The dynamic Tatiana Romao represents a new era of the actress - one who is taking over Hollywood with her groundbreaking performances in high-profile films and TV series that transcend stereotype.
Romao’s resume includes a long list of diverse projects from different genres curated by a who’s-who of distinguished directing and producing talent. The film “Valentine DayZ,” which is due out later this year, represents just one in a series of ventures this Brazilian superstar has lent her extraordinary talent to while playing a leading character.

In the key role of Diana, Tatiana Romao personifies a heroine and action star reminiscent of Angelina Jolie in “Tomb Raider” and Jennifer Lawrence in “The Hunger Games.” Romao tells us how her character Diana, alongside Max, played by Dallas Valdez from the mega-hit film “The Fiance” starring “Star Trek’s” Douglas Tait, has to “defend the world and everything they hold dear” in response to a zombie outbreak. Such a responsibility - both as character and actress - would undoubtedly cause fear within a lesser thespian. For Romao however, she found “the energy on set...just so light...we had so much fun, we were always trying to scare each other and would burst into laughter right after.”

The actress’ unique capacity to handle the pressure of performing in a lead role in a major film was further bolstered by working opposite other A-list talent. In “Valentine DayZ,” Romao worked with Vh1 superstar Carrie Keagan, who co-hosted coverage for the Oscars, Emmys and Golden Globe Awards and famously participated in “The New Celebrity Apprentice” with Arnold Schwarzenegger earlier this year.

Another factor that informed Romao’s incredible ability to successfully take on a leading role in a film that features other Hollywood stars? Her diverse experience as an actor extends to a horror film before working on “Valentine DayZ,” the hugely successful “Red House” with “Gossip Girl” and “One Tree Hill” actress Kate French and “Agents of S-H-I-E-L-D” star Brendan Wayne. In that feature, Romao plays a mysterious customer who precipitates a series of horrific events at a vacation house. Romao was required to use the greatest depth of her acting skills to access the fear and mystery necessary to advance the key plot of the film.

While such credits might leave one wondering whether she’s in it simply for the fame, Romao talks earnestly about an authentic relationship with her craft. She explains, “Acting is a need in my life, it’s not an option whether or not I will do that, it is what I have to do, it’s what I do and a great part of who am. Acting has shaped all my life. The feeling, the emotion, hearing from the audience how you moved them, how you touched them, it is indescribable.”

More specifically, an actor wouldn’t be a true thespian if they did not demonstrate a love for treading the boards. In the field of theatre, Romao has demonstrated tremendous success in her native Brazil as a leading stage actress. She performed in the key role of The Guide in “The Exception and The Rule” by renowned German playwright Bertlot Brecht. That production tells the story of a rich merchant who must cross the fictional Yahi Desert to close an oil deal and is guided by a woman played by Romao. Were it not for her riveting performance, the play undoubtedly would have no action.

In another stage show, “Rosita Letters and Poems” by Federico Garcia Llorca and produced by the renowned Foca Theatre Company, Romao played a maid intimately involved with the central character’s predicament of falling in love with a man who has to leave for overseas, only to find out that he has later married someone else. Such roles and projects prove Tatiana Romao’s ability to transcend medium and typecasting to inhabit lead and key roles that advance a story’s plot and and central theme.
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With both a strong background behind her and a future in front of her, Tatiana undoubtedly holds her place as an incredible force amongst not only female actors, but the entertainment world as a whole.
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AUSTRALIAN KEN KARPEL IS A DIRECTOR BRINGING CHANGE

5/13/2017

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​  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.”
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