Kino Society with Owen Shapiro: Recent Episodes
Owen Shapiro
Join Owen Shapiro in this journey of discovering, dissecting and analyzing pop culture through his unique and sharp, adolescent point of view. There are so many shows out there that focus on analyzing and criticizing the entertainment industry, and we will do that too, but we will also want to understand why and how film, music and games are made. What makes people fall in love with them or hate them. For Owen, movies are his life as well as the process of making movies, he is all about understanding them.
Shooting a scene underwater is not the same as shooting it on set. The directors have to consider variables such as the light, the camera’s weight, how to manage it in the water, and other factors to pull off an extraordinary sequence. Ian Seabrook, an Underwater Director of Photography in the Motion Picture and Television Industry, explains the difficulties of filming under these conditions and accomplishing amazing results and an unbelievable scene. He tells how they handle these sequences with the rest of the production team and how they prepare the actors for this kind of shooting. He worked on productions such as Batman v Superman, Deadpool 2, and Jungle Cruise. He also contributed his underwater skills to high-profile documentary films, television, commercial, music videos, and Imax productions and was awarded Double Gold Medals for Cinematography at the 2019 Telly Awards.
Here's what you'll learn:
- The journey of Ian Seabrook, from diver to a professional underwater director of photography.
- Some tactics he used in different movies to achieve the right shots in challenging takes underwater. He tells his experience working on Batman v. Superman, iRobot, Jungle Cruise, and so much more.
- The skills needed for the job.
- The difference between working underwater and onset.
- How they prepare for an underwater take.
- Advice for anyone who aspires to become a filmmaker.
If you want to learn more about Ian´s work, visit his Dorsalfin Productions Underwater Cinema website or his social media.
Instagram: @dorsalfinprod
LinkedIn: Ian Seabrook
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Polyglots are great at communication, and it would seem that this talent also translates to the big screen! Sebastian Thaler is an Austrian cinematographer who shoots with a lucid immediacy that makes him a talent to watch, showcased when he lensed the feature film 7500 starring Joseph Gordon-Levitt. Thaler is based in Vienna, Austria, where he completed his Master in Cinematography at the Film Academy of Vienna in 2017 under the guidance of Walter Kindler and Michael Haneke. Thaler’s post-academy work includes the documentary Glory To the Queen, a tribute to the Georgian queens of chess set against the backdrop of the Cold War. It tells the story of four legendary female chess players from Georgia who revolutionized women's chess across the globe and became Soviet icons of female emancipation. Thaler is next set to commence production on director Juri Rechinsky’s latest arthouse feature, Utopia, in Ukraine, in fall 2021.
Highlights:
- Sebastian says he grew up with filmmaker parents who sparked his interest in movies from a young age.
- European films usually have lower budgets, but they try to reach big-budget movie results through creativity.
- The main goal of a cinematographer is to be a good observer and get into the inner circle of the characters, making them feel comfortable.
- Sebastian says he likes stories whose characters face problems that ordinary people face.
- How in 7500 he could move freely and create the images he wanted.
- Cinematography in 7500; long scenes without interruptions that created a realistic feel.
- Sebastian loves Tarkovsky movies because he was a director who used to build the film very slowly to get you into the characters.
To learn more about Sebastian, visit his website, and follow him on Instagram.
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There's a formula for how Johnny Carson, David Letterman, and Oprah became great TV Hosts! Michael Burger is an American comedian, speaker, author, and television host with all the charisma of a classic host. He began his career performing live comedy on cruise ships, where he built the momentum and confidence to embark on TV. Michael’s lightning-fast wit attracted a plethora of television producers, which led to him hosting shows like ABC's Mike & Maty, Iron Chef USA, and the iconic game show Match Game. All the while, Michael managed to launch a career as a successful real estate entrepreneur and author—writing three business books in the process. Michael also provides conference attendees with helpful tools to become better communicators, remain relevant, and succeed in an ever-changing business world.
Here's what you'll learn:
- Michael says that he’s loved the sound of laughter since he was a child, which is why he became known as the class clown.
- The difference between being an actor and being a TV host; when you act, what will happen is already written, and when you are a host, you have to talk and let the conversation carry the flow.
- Every great comedy is built on a structure so that one can improvise within that structure.
- To be a great host, you have to show interest in someone else.
- When they filmed Match Game, they did 135 episodes in a couple of months!
- In most talk shows, Michael says that the guest is usually interviewed in advance to perfect that eight-minute interview.
- Michael says his influences are Johnny Carson, Don Rickles, and Jonathan Winters.
To learn more about Michael, visit his website, and follow him on Facebook.
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If you were wondering why the effects of movies like Jurassic Park or Terminator 2 are still so real, it’s because they were made by a team that knew their limits. Daniel Martin is an award-winning VFX designer and model maker. He has developed his incredible talents in films such as Possessor, Host, Color Out of Space, Lords of Chaos, and many more. Since he was a child, Dan has been fascinated with special effects as a form of magic; a hoax in the service of a narrative for an audience eager to suspend disbelief. As such, it approaches each effect as a unique challenge, not just as an isolated product, but as an event integral to the world of history. With an ever-growing list of award-winning film and television series credits, Dan has developed quality work that meets the unique creative and budgeting requirements of each film.
Here is what you’ll learn:
- Daniel tells how he became interested in magic as a child and then, watching movies, learned about special effects, and felt that it was like magic but with a greater end.
- The importance of experience to know how to establish your limits within the industry and not burnout.
- With a mixture of planning and experience, you can make a cheap effect look good, as long as you know what you're doing.
- Why Daniel likes working with directors who know what they want, but listens to ideas that come from his subordinates.
- Daniel’s happiness for being part of Possessor, a fantastic movie where there are no digital effects, and everything is in camera.
- Movies like Jurassic Park and Terminator 2, have visual effects thatstood the test of time, because they had a very experienced team that knew the limits of the medium they were working with.
To learn more about Daniel visit his website, and follow him on Instagram.
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Not everyone is willing to do the same shot 80 times. But when the director is David Fincher, you know he does it to make the end result unique. Monika Gossmann is a Kazakh actress, known for Iron Sky, Maximum Impact, and Mank, David Fincher's latest film. After high school she trained for three years as a singer, dancer, and musical performer at the Hamburg School of Contemporary Dance. In 2007, she graduated from the famous Moscow Stanislavsky Art Theater School. She is a member of the Moscow Theater CDR, where she had successful appearances before moving to Los Angeles to train in the Meisner method of acting. In 2016, she founded her own theater company, Teamonfire Productions and wrote several plays. Most recently, she starred in David Fincher's latest film Mank with Gary Oldman, and is currently working on Staircase, an HBO series.
Here is what you’ll learn:
- Monika's goal since she was young to have a voice in the arts.
- How she prepares her characters, and her need to have a few weeks to get into it.
- The doors that started to open after working with David Fincher.
- The mix of talent and work that an actor must have.
- How David Fincher has pushed her limits, because it can take over 60 takes to make a perfect scene.
- The experience of working with Gary Oldman, one of her favorite actors.
- How good works of art, be it theater, movies, or literature, continue to live because they stand for something.
To learn more about Monika visit her website, and follow her on Instagram.
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Is it possible to write the script for a movie that both children and adults love? Without a doubt, Shrek is the irrefutable proof that with a great story anything is possible. Roger S. H. Schulman is an American television and film writer and producer. He co-wrote the animated feature Shrek, for which he won a British Academy Award (BAFTA) and was nominated for an Oscar for Best Adapted Screenplay. He earned a master's degree in journalism from the Columbia University School of Journalism and was a journalist for several years until he began writing for television. Among other projects, he wrote the animated feature Balto for executive producer Steven Spielberg, Mulan II, and The Jungle Book II for Disney. When he's not writing, Roger teaches television and feature film writing at schools like the University of Southern California, The New School in New York City, and on his website: TheWriterCoach.com.
Here is what you’ll learn:
- Roger explains how he started his writing career after Steve Martin offered him a job as a comedy writer, when he was only a journalist.
- The two ways Roger’s writing evolved: It has become better and more personal.
- The importance of writing is expressing your inner voice, but considering what audience you are trying to communicate with.
- Roger says that writing for children is extremely difficult, because children don't have a filter and if they don't like something they won't see it anymore.
- His writing process was more aware and structural, and as time went by, he learned that most of his best ideas came when he was not thinking about them.
- How Roger feels about Shrek meme culture.
- The experience of writing a show like Alf, where not much was expected and was incredibly successful.
- Roger believes that the great gift of writing is that you can always do it because you don't need anything, except maybe a pencil and a napkin.
To learn more about Roger visit his website.
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Have 3D movies taken advantage of technological advancements or is 2D even better? Julius Horsthuis knows the answer better than anyone. He is a digital artist, specialist in VFX and fractal art, and worked on the Oscar-winning movie Manchester By The Sea, and on several Dutch films such as Nova Zembla. From the age of 12 he was already in love with movies and tried to recreate his favorites with an old VHS camcorder. After high school, Julius worked on various movie sets as a sound recorder, clapper loader, and focus puller. Once he had enough experience, he assumed the creative supervision of the film with the most visual effects in the Netherlands: Koning van Katoren. In 2013 he began experimenting with fractal environments, creating his film Fractal Time, a unique combination of abstract and cinematic animation, which was recognized by Forbes as one of the 35 Best XR Experiences of 2019.
Here is what you’ll learn:
- Starting when he was 12 years old Julius recreated his favorite movies with a VHS and knew that he wanted to dedicate himself to the cinema and create spectacular visuals.
- How do you create a dragon without a budget for Game of Thrones? At Koning van Katoren they had to do 850 visual effects shots to get it done.
- The two main branches of visual effects; one who tries to do everything possible in front of the camera and the other who uses the latest digital effects.
- The importance of technical knowledge, but also creativity to achieve great visual effects.
- 2D vs 3D. Which is better?
- Why it’s important to use visual effects to do something new and not try to replicate something that has already been done.
To learn more about Julius, follow him on Instagram, or visit his website.
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The best cinematography is the one that most faithfully reflects what the director seeks to convey. Andrew Wehde is a cinematographer, known for his work on Bo Burnham's Movie, Eighth Grade, and for the Netflix series, Grand Army. He entered the Digital Cinema Program in DePaul University, one of the most important digital schools. In that place, he began to have access to all the equipment and took advantage of them to work with models and made short films. That's where he developed his expertise in naturalistic lighting, his understanding of lenses, and photography. All that work from a very young age made him realize that he wanted to work more with a group of people than alone, and he focused on making cinematography. He is currently working on an Amazon original series called Lightyears and was part of Queenpins, an action drama film with Vince Vaughn and Kristen Bell.
Here is what you’ll learn:
- What made Andrew Wehde want to pursue a career in the film industry.
- How Andrew likes the execution and the satisfaction of seeing something finished made from scratch.
- The importance of trusting the people around you to elevate the work you do.
- Roles you need to have while working; technical side, creative side, managerial side and a political side to play the game and understand your role.
- Andrew is focused on making sure he can execute what the director envisions.
- His next project; Queenpins, a beautiful film which he thinks has incredible visual execution.
- Why Andrew doesn't like cinematography that stands out, but one that tells the story well.
To learn more about Andrew, follow him on Instagram, or visit his website.
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Never before was the phrase "art imitates life" so precise. Denise Grayson began working as a lawyer but soon turned to being an actress and producer. She has a broad career in theater, television, and a prominent appearance as a lawyer on The Social Network, from David Fincher. Founder of Denise Grayson Productions, her films in development include the novel Killing Johnny Fry by Walter Mosley and Blood And The Rye by Rajiv Shah. Her most recent production effort is the Oscar 2021 submission, The Crossing, a short documentary directed by Juliana Penaranda-Loftus, about the escalating humanitarian crisis in Venezuela. Although Denise is steeped in her acting and producing career, she also trains actors, comedians, individuals, groups, and politicians with their acting, voice, and presentation skills.
Here is what you’ll learn:
- What made Denise Grayson want to work in the film industry when she was a practicing lawyer.
- How her business experience helped her become a producer and actress in show business.
- The non-existent difference between smaller productions and larger productions as an actor because you need to have the same preparation and professionalism.
- The importance of working on the lines and knowing why you say what you say, to whom you say it, and always being prepared.
- What Denise looks for in her work as an actress; telling the truth and being credible.
- Her experience in The Social Network; a movie with a big budget that felt very intimate.
- The concept that time is money so how, as a producer, she avoids conflicts and always tries to mediate.
To learn more about Denise, follow her on Instagram, or visit her website.
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Great movies can change the world? This is what today’s guest, Erica Chan, believes. She is an Asian-American writer and director who started editing in high school because she was fascinated with the idea of taking pieces and putting them together to create strong stories. During her time at UNLV she was recognized for her work and was awarded the Emerging Filmmaker Award. Currently, she joined IATSE Local 600 as 1st Assistant Camera, and has several projects on the horizon as a cinematographer.
Here is what you’ll learn:
- How Erica’s desire to create powerful stories got her interested in film.
- Her writing process as a writer and director.
- Why is Erica so passionate about writing and directing & the ability to choose what you can do with your vision.
- The reasons why Princess Mononoke is her favorite movie.
- Working with other colleagues and allowing them to grow as a director.
- Her love of science fiction and how she copes with the difference between imagination and budget.
- The most interesting aspect of film for her.
- How movies can influence the way we think in ways that we don’t even understand.
- Her experience learning visual effects in The Endless.
To learn more about Erica, follow her on Instagram, or visit her website.
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Docuseries are gaining more popularity due to the initiative of some filmmakers to use the storytelling format. Alan Jacobsen is a cinematographer who works on narrative and documentary projects with an authentic, natural eye and sensitive curiosity. His camera work is masterful, intuitive and intimate, capturing the sensory story in each powerful frame. He studied film at New York University and minored in architecture and urban studies, which gives him a full spectrum of how to think of a frame in a scene. After school, he worked for several years as a technician in the electrical department until he found documentary cinematography as a place to develop his full potential. Alan gained recognition in 2018 for Strong Island, which was nominated for the 2018 Academy Award for Best Documentary and won the 2018 Emmy Award for Outstanding Merit in Documentary Film.
Here is what you’ll learn:
- What made Alan Jacobsen want to break into the film industry.
- A summer camp where he did TV production and fell in love with cameras and photography.
- His pivot towards documentary cinematography after working for several years as a technician in electrical departments.
- How his knowledge of architecture helps him appreciate forms, shapes, balances and symmetry.
- Differences between lighting in documentaries and narrative films.
- Marshall Curry’s technique of thinking of a documentary scene as if it were a narrative scene.
- Alan's favorite movies; Nashville by Robert Altman, Medium Cool by Haskell Wexler, and Koyaanisqatsi by Godfrey Reggio.
- Why working with your idols is not the best idea.
- Alan's preference for movies that trust audiences enough to give them a role in storytelling, where they not only receive, but contribute.
To learn more about Alan, follow him on Instagram, or visit his website.
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With the right score, a good movie can become an iconic movie. Gavin Brivik is a diverse hybrid composer best known for his work on the 90th Oscar-nominated film My Nephew Emmett; the Emmy-nominated series produced by Selena Gomez, Living Undocumented; and the Netflix original film Cam. Gavin is not linked to any genre since he is interested in experimenting with each project and constantly entering new experiences. He studied contemporary classical and electronic music composition at the University of Missouri-Kansas City, and later received his Masters in Music Composition for Film and Multimedia at New York University. Currently, he is wrapping up his debut solo album, Realms and Forms, and recently finished composing the feature film Wild Indian, which premiered at the US Narrative Competition at Sundance 2021.
Here is what you’ll learn:
- Why at first Gavin wanted to be a touring guitarist and ended up choosing composition.
- How does a composer create music for a movie?
- How the movie Cam pushed him to start experimenting more with electronic music.
- His belief that the best filmmakers are those who think about the music at the same time that they write the story of the movie.
- He says the best collaborations are those of filmmakers who are very open to new ideas and open to something they did not expect.
- His admiration for Jonny Greenwood, Radiohead’s guitarist, who did the composition for Phantom Thread, There Will Be Blood, and You Were Never Really Here.
- Gavin’s love for the movie Good Time; great directing work, and an amazing electro-acoustic electronic music.
- The importance of knowing modern technology, and having an open mind to experiment with different genres and styles.
To learn more about Gavin, follow him on Instagram, or visit his website.
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When you understand the purpose of the shot, you will know how to get the perfect shot. Today's guest is Jayson Crothers, a talented cinematographer who has developed successfully in film and television, working on movies like Coldwater and shows like Chicago Fire. As a child in the early 80’s he became very interested in the mechanics of cinema because his father ran a single-screen movie theater. Determined to pursue the profession he wanted to follow, in the 1990s he earned his BA from Columbia College Chicago and his MFA from the American Film Institute. Loving what he does, Crothers feels fortunate to collaborate with people who share his talents and passions, so in his spare time he teaches filmmaking classes that have taken him around the world. His latest work, Cruel Summer, a new series produced by Jessica Biel for Hulu and Amazon, premiered at the SXSW 2021 festival.
Here is what you'll learn:
- Jayson tells us how he first became interested in film as a child at the theater where his father worked.
- He believes that Cruel Summer is definitely the highlight of his career thus far.
- Jayson states that in the process of doing something creative, you are also learning and growing. So when you're done, you might want to do it a little differently.
- Jayson says a good thing about COVID is keeping days shorter, which requires productions to focus on being more efficient.
- What makes a good shot?
- How the movie Seven aroused interest in him for dedicating himself to cinematography and for being interested in photography.
- Movies or TV? Jayson chooses TV because usually you have a lot of time to really explore stories and characters.
To learn more about Jayson, follow him on Instagram, or visit his website.
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Being a good editor, it's understanding the emotion of a scene and knowing how to be someone people want to edit with. Today's guest is Ryan Liebert, a film editor who brings a dynamic and efficient approach to editing with a specific focus on emotion, pacing, and audience engagement. Over the past decade, Ryan has made his way into the world of independent film as an editor. Although his path has been unconventional, he has learned that the best way to continue working as an editor is by building strong, professional, and trusting relationships with directors. Every movie is an opportunity to grow and Ryan makes the most of it with a lot of hard work and passion in every project he's on. On top of that, he uses rhythm, dynamic visual movements, and a keen sense of time to heighten the emotion of a scene. Ryan's most recent film, Willy's Wonderland, starring Nicolas Cage, and directed by Kevin Lewis, stands as one of this year's great movies.
Here is what you’ll learn:
- Ryan's experience and what attracted him to editing above all other jobs in the industry.
- How he came to work in Willy's Wonderland.
- He explains how he looks for strong relationships when working with directors.
- How Willy's Wonderland it's a great movie because it doesn't take itself too seriously without neglecting the seriousness of the quality.
- His experience working with Nicolas Cage and how he is a strange guy who has evolved and improved the movies he chooses.
- Willy's Wonderland comparison with Five Nights at Freddy’s.
- His love for the thrill of working in such varied genres.
- The importance of being a passionate filmmaker and teaming up with other passionate filmmakers.
To learn more about Ryan, follow him on Instagram, or visit his website.
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How is it possible to distinguish yourself as a critic when every day there are more people talking about movies? Today's guest is Clarisse Loughrey, an incredible chief film critic at The Independent, and a regular stand-in for Mark Kermode on BBC Radio 5 Live's "Kermode and Mayo." She always knew that she wanted to do something with film, because that is what she always loved since she was a child. While studying Ancient History in college, she started writing movie reviews for the college newspaper and found that she really enjoyed it and found a fascinating path in that profession without studying specifically for it. Although more and more people are talking about movies on the internet everyday, she believes that what is really important is simply having a unique point of view and having something to say. We can say Clarisse certainly has it.
Here is what you’ll learn:
- Clarisse tells us about her experience and what attracted her to film criticism.
- She says the most important thing in film criticism is being honest about your emotions and connecting with your audience.
- How people's views on criticism have changed due to the democratization of content creation.
- Clarisse explains that what she likes most about movies is the escapism aspect; leaving the body and leaving existence to go somewhere else for two hours.
- She believes that the opinion of movies always depends on the mental space you are in.
- Her desire to make a book about Taika Waititi’s underrated greatness.
To learn more about Clarisse, follow her on Twitter.
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Why are movie awards important? Today’s guest, Axel Kuschevatzky, will answer this controversial question. Axel is an Argentine film journalist, screenwriter, and producer. He was a producer on the film The Secret in Their Eyes, which won the Academy Award for Best Foreign Language Film at the 82nd Academy Awards. He grew up in Argentina, and fell in love with cinema as a child. Since then, he has dreamed of being a filmmaker, but life led him to studying advertising writing and working on television; at first, as a television reporter specialized in film, and later as part of the production of a channel's programming. A few years ago he was also hired by TNT, which handles the Oscars for Latin America, and his life took an unexpected turn when he received a call from Juan José Campanella to work as a producer for The Secret in Their Eyes. One could say that he had beginner's luck, but you can see that through watching and talking about movies, he also learned how to make them.
Highlights
- Axel tells us what attracted him to film and why he started working on television instead of working on movies.
- He explains what it was like to go from talking about movies to making them.
- Differences between producing in Argentina and Europe; inflation rates that affect budgets.
- What makes him interested in betting on a project; having a clear motivation to commit.
- Axel explains why awards are important.
- He tells us what he thinks of the term Oscar Bait.
- The difference between the Golden Globes and the Oscars and why the Golden Globes do not represent what the industry thinks of itself.
To learn more about Axel, follow him on Instagram, and follow him on Twitter.
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For there to be verisimilitude in movies, there has to be someone who creates a fictional world around the protagonists! Today's guest Sam Lisenco, an incredible production designer who has worked on several of the biggest movies in recent years like: Uncut gems, Good Time, Frances Ha, and Judas and the Black Messiah which was nominated for Best Picture at the Oscars 2021. Sam always knew he wanted to be a filmmaker, but he didn't know that his thing was production design until he started making short films with friends and realized that what he liked was the creative and aesthetic appearance of the movie. He went to Boston University, where he met Josh Safdie, they quickly became friends and began working together. His passion and effort is developed in all the projects he is involved in, which are almost always recognized by the public and festivals.
Highlights
- Sam recounts how he realized he wanted to be a production designer by making short films with friends.
- How he met Josh Safdie in college, became friends, and started working together.
- He tells what a normal work day is like for him; researching, deciding as a team how the movie should look, and creating it.
- Sam explains that the projects he enjoys the most are the ones where he is in tune with the director and the team.
- His favorite part of the job; staying alone, trying to digest the world of the movie, and executing it before the film crew shows up.
- Why he prefers buddy cop movies to distract himself and not be thinking about his job all the time.
To learn more about Sam, visit his IMDb profile.
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The best edit in a movie is the one we don't notice! Today's guest is Matt Villa, an Australian film editor, best known for editing The Great Gatsby and Predestination with which he won the AACTA Awards for Best Editing. As a child growing up in the 70s and 80s, Star Wars impacted him in such a way that from then on, he always wanted to be involved in movies. With over 30 years of experience, Matt's passion and commitment to the filmmaking process has given him the opportunity to collaborate on some of the best international film productions. He argues that to participate in editing, one must have a sense of rhythm and understand how to keep the audience engaged without overwhelming them, but also without boring them. He is currently working on the Elvis biopic, with Baz Luhrmann as director, and starring Tom Hanks.
Highlights
- Matt tells us how watching Star Wars as a kid made him fall in love with movies forever.
- The sense of rhythm that you need to have to be an editor, to be able to entertain the public without tiring or boring them.
- What he likes best about being an editor; exploring a scene and refining it until he feels he is telling the story in the best possible way.
- Matt’s favorite movies; Back to the Future, Stand By Me and Shawshank Redemption.
- Why the best edit is the one you can't see.
- The challenge of editing Predestination, a movie with many twists and turns in time.
- The type of editing he doesn't like; movies like Transformers, where you're exhausted and don't know what's going on.
To learn more about Matt, visit his website.
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Does the objective opinion exist in something as emotional as cinema? Today's guest is Alexander Robinson, a film critic who has always loved movies and who reviews movies on YouTube, like the real Mr. Robinson, where he has over 4,000 followers. Having two parents who work in the film industry, from a young age he came into contact with the seventh art. His first loves were Star Wars, the films of Steven Spielberg, Alfred Hitchcock and other classic Hollywood films. He attended the University of California, Santa Cruz, where he majored in Critical Film Studies. It was at UCSC, while he was taking summer courses in 2012, that he officially began reviewing movies on YouTube. In 2013, he began pursuing film criticism and entertainment as more than a passion when he created the YouTube channel, "The Real Mr. Robinson."
Highlights
- Alexander tells us what attracted him to film criticism.
- Why Back to the Future is a perfect movie.
- His personal taste; interested in good movies, over all science fiction.
- Alexander tells us how his vlogging has changed since he started.
- Is there an objective film criticism?
- Movies in which his opinion has completely changed over time.
- Why doesn’t he like the Joker; how they treat mental illness.
- His advice for an aspiring film critic.
To learn more about Alexander, follow him on Instagram, or subscribe to his YouTube channel.
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There are people who have talent and others who have the talent to find those who have it. Today's guest is Hayley Littman, president of the Littman Talent Group, a talent agency that finds talent and represents actors. Actors seek to find something that stands out in themselves to differentiate from others. Therefore, Hayley's talent is helping the client build their casting image so that when they enter the CD office there is no doubt that this is the boy or girl they are looking for. Hayley is different from the competitors because she takes the time to speak and connect with each of her clients on a deeper level. She is constantly requested in her business because she treats actors like humans, something that is often forgotten in the entertainment industry.
Highlights
- Hayley tells the importance of being yourself and bringing out that "something" that is unique to you, and how she helps her clients find that.
- She says what’s the most repeated advice she gives to inexperienced actors; training to connect with the material.
- The ideal actor-agent relationship; trust, care and consideration.
- New scenarios that arise due to COVID.
- Hayley explains how she’s trying to tear down the misunderstanding that all agents are bloodsuckers.
- Clients that she is particularly proud of.
- Her recommendation for someone who is starting acting and going to a casting.
To learn more about Hayley, follow her on Instagram, or visit her website,
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Did you know that there is a story behind the wardrobe of each character? Today's guest is Amy Stofsky, the industry's most sought-after costume designer, whose work has been featured in movies like Mulholland Drive and Lone Survivor. She began her career in the fashion industry and then transitioned to costume work when she moved to Los Angeles, falling in love with the opportunity to have a place for creativity. Her ability to perfectly embody a character's personal style without making clothing a central or distracting feature brought her work on hit shows like Weeds, Pretty Little Liars, and Medium. Amy’s experience in costume design, script interpretation, use of color, and distinctive assets make her ideal for any project, and she is currently working on The Chair, an Amanda Peet production.
Highlights
- Amy tells how she went from the fashion industry to costume design, and why she loves working in entertainment.
- Her typical day as a costume designer.
- Why it is important to know the background of each character to put together a costume that suits their story and personality.
- How much of her own creativity influences the costumes she makes, and how much influence the director and actors themselves have.
- Her experience in Lone Survivor and getting 38 different uniforms for the character of Mark Whalberg.
- Her admiration for David Lynch and how enjoyable it is to work with him.
- How is costume design for a television series different from design for movies?
To learn more about Amy, visit her website.
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The plausibility of a film is not only achieved by the actors. Today’s guest is Donald Mowat, one of the most sought-after makeup artists in the film industry. With a career spanning over 30 years, Donald is a true expert in this field. He served as head of the makeup department and designer on films such as The Fighter, 8 Mile, Sicario, Blade Runner 2049, and many more. His incredible work has earned him numerous awards and accolades, including the most recent BAFTA, SATURN and MUAHS Award nominations for his work in Denis Villeneuve's Blade Runner 2049. With his own style, but knowing how to adapt with skill and professionalism in each genre of film and television, from period dramas to science fiction, Donald built a career that many in the film industry dream of.
Highlights
- Donald tells how he realized that makeup was his passion.
- What a makeup artist actually does on set.
- He tells how he likes working with directors and his experience working with Denis Villenueve.
- The difference between a makeup designer and a makeup artist.
- Donald says what type of makeup he likes to do the most.
- How does he respond to an actor or director who doesn't like your work.
- Why he is not interested in working in commercials at this time.
To learn more about Donald, follow him on Instagram, or visit his website.
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Wonder no more how stop motion movies are made! Today's guest is Joe Passarelli, a Cinematographer and Director of Photography, who was part of Anomalisa, the amazing film that won the Grand Jury Prize at the 72nd International Film Festival from Venice. It quickly earned praise for its stunning visuals and Passarelli's ability to make an animated film feel like a narrative feature. Born and raised in a small town in the Midwest, Passarelli graduated from Columbia College Chicago, and continued his film studies at the American Film Institute in Los Angeles. Once settled in L.A., he met a lot of people from the film industry, and got into the stop motion world. He made an artistic bond with the supervisor of his thesis, Duke Johnson, who called him a few years later to do Anomalisa with him. Currently, he works as a lighting technician on TV shows and shoots quite a few live-action movies. His passion and talent for stop motion are more alive than ever, with projects developing and many others to come.
Highlights
- Joe recounts how his journey in the movie industry began.
- He tells how he works with stop motion.
- He comments what he believes makes his work different from others.
- The filming process of Anomalisa: from crowdfunding to investors coming on board.
- Joe differentiates between filming animated movies and filming in real life, and why animation requires much more advanced planning.
- He gives advice for people who want to succeed in the film industry; the importance of working as much as you can.
- Joe tells what's next for him and what upcoming projects are on the way.
To learn more about Joe, visit his website.
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We found one of the Lost Boys! Today's guest is Jamison Newlander, actor, writer, and director, best known for playing Alan Frog, one of the two vampire-hunting brothers, in The Lost Boys (1987), alongside Corey Feldman. He began his career as a teenager participating in commercials and theater plays. In 1987 he starred in The Lost Boys, a teenage black comedy horror film directed by Joel Schumacher. After that success, he worked on different projects, but stopped his film career to study at NYU where he obtained a BFA. In 2003 he made Rooster, his first film as a director, writer, and actor. Since then, he has played small roles in various films including Bone Tomahawk, alongside Kurt Russel. Now, he writes for a living and works on his project The virtual adventures of Riff-Cat Polito.
Highlights
- Jamison says how he got involved in acting as a teenager, and without any experience playing the character of Alan Frog.
- The advantages and disadvantages of acting when you are still a child and the balance between being a professional and remaining a teenager.
- He tells his feelings of having done the second and third Lost Boys movies, and the difference in the production compared to the first one.
- Jamison explains why he went from acting to directing and writing.
- The movies he’s loved since a child; Jaws, Casablanca and many more!
- Upcoming projects; a possible Frog Brothers spin-off and The Virtual Adventures of Riff-Cat Polito.
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All the elements that appear in movies and series scenes are carefully thought out for an artistic reason. Today’s guest is Jourdan Henderson, a production designer who began her career in Austin, Texas working her way up on films such as Spy Kids 2 & 3, Man of the House, and There Will Be Blood. Jourdan has produced and art designed indie films, big budget films and commercials since 2000. Since a kid, she used to love the behind the scenes of movies and TV shows. She studied Film Production in Texas A&M University-Corpus Christi and soon got a job in a production office, and trying to figure out what she wanted to do, she made her way to the art department. Her work paid off and was recognized as she was nominated for an Art Director’s Guild award for her work on Manchester by the Sea.
Highlights
- Jourdan tells what made her want to join the film industry.
- She explains how she starts a project from scratch.
- She says how her art design view fits in with her production designer side.
- Jourdan explains the difference between low and high movie budgets and why she prefers movies with smaller budgets.
- Jourdan chooses what kind of movies she likes and inspires her.
- How the industry and movie sets work in COVID times.
To learn more about Jourdan, visit her website.
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Have you ever fallen in love with music or a movie soundtrack? This is because there is a lot of work behind the scenes, where composers come up with the perfect melodies for a movie. Today's guest, Lesley Barber, is here to tell us a little more about this. Lesley is a film composer who writes music marked by intelligence and emotional depth. She has created wonderful compositions for film, theater, chamber and orchestral ensembles and is also a conductor, pianist, producer and multi-instrumentalist. With several young female composer awards to her credit, she graduated with a master's degree in music composition from the University of Toronto in 1988, studying with electro-acoustic music pioneer, composer Gustav Ciamaga, and composer Lothar Klein. Her distinguished list of credits include Kenneth Lonergan’s Oscar-winning You Can Count On Me, Jerry Rothwell’s award-winning documentary How To Change The World, Kenneth Lonergan’s multi-award-winning and Oscar-nominated film, Manchester by the Sea, and many more.
Highlights
- Lesley tells how she ended up in the movie industry and why she loves collaborating with filmmakers.
- She states at what point in the filming process she prefers to get involved.
- Her experience working on Manchester by the Sea and why she chose an acoustic sound for the film's music.
- Lesley describes a typical day as a composer and how she develops an idea.
- She explains the difference between composing for movies, television series, and documentaries.
- Lesley tells the challenges she faces every day as a film composer.
- Lesley gives advice to people who want to succeed in the film industry.
To learn more about Lesley, visit her website, or follow her on Twitter.
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Visual landscapes and the general set decoration in movies are crucial to understand and immerse into the story narrated. Today’s guest, Laurel Bergman, knows everything there is to know about this field: she is a Production Designer and Artist who comes from a strong Art Director background. What’s more, Laurel has contributed to many of the most successful feature films of the last decade (2012, Godzilla, 50 Shades of Grey, Mission Impossible IV) and has worked with the industry’s leading actors, producers, and acclaimed directors. Laurel’s contributions have been recognized by the Academy Awards, the BAFTA Award for best picture, and the Art Directors Guild Award.
Highlights
- Laurel recounts her journey and how she ended up working in the film industry.
- The difference between art direction and production design, and a typical day for each.
- She confesses some problems that she experienced on a set.
- Her experience working on The Revenant and 50 Shades of Grey.
- She says she loves new technology as long as it doesn't distract from the main story.
- Laurel insists that the key is to have an open mind and do a good job building a reputation.
To learn more about Laurel, visit her website.
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Today, we talk with the person in charge of making television and movie scenes look so real! Suzuki Ingerslev is an art director and production designer who creates TV and movie sets that are praised for being super realistic. She graduated with an architecture degree and practiced for 6 years until she realized that the job was not as glamorous as she imagined. She was presented with the opportunity to start as a draftsperson in the soap opera - Days of Our Lives, where she began using her architectural skills in the entertainment industry. Suzuki's experience and attention to detail positioned her as one of the best in the business. Her best-known design credits include Six Feet Under, Here and Now, and True Blood. Her list of accomplishments includes 3 ADG nominations and 13 Emmy nominations.
Highlights
- Suzuki talks about the importance of her architectural skills when she started in the film industry.
- States differences between working on television and movies; budgets, times, etc.
- She emphasizes that she does not prefer any genre. She cares about being in tune with her team and having great communication.
- Suzuki explains how she thinks and creates the sets.
- She says dealing with personalities and egos is the hardest part of her job.
- Talks about True Blood's set design and how she achieved such incredible scenarios.
To learn more about Suzuki, you can visit her website.
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Writing and producing a film on your own might sound like a distant dream. However, people like today’s guest will make you realize this is totally possible! Darren Coyle is an independent writer, director, and producer who has worked in all aspects of television and film production in New York City, Washington, D.C., and Los Angeles for the last 16 years, mostly concentrating in producing true crime television and other unscripted content. Most recently, Darren wrote and produced his own feature film called "Chasing Sunshine," which was featured in various film festivals. Now that’s an indie inspiration!
Highlights:
- Darren’s talks about his journey from entering the TV reality industry as an intern to successfully directing and producing his own independent film
- What has really helped Darren to write his own films and get his ideas across pretty well was double majoring in English and theatre. Knowing how to express yourself clearly in the movie and TV industry is key.
- Darren explains the main differences between working for reality TV vs. scripted movies and TV shows.
- Short films and regular films are also very different from one another, from the length of its duration to the way it’s produced.
- Shooting “Chasing Sunshine” was a rollercoaster of emotions: Darren walks us through how he managed to write, direct, and produce his first short film.
- Finding jobs or projects to work for inside the TV and film industry is quite easy when you have friends and colleagues who know how you work and want you to be part of their creative process.
- Darren details some of the common mistakes he used to make as an amateur and he advises on how to avoid them.
To learn more about Darren, visit his website.
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Doing FX makeup professionally and pursuing a career in indie films sounds challenging. However, today’s guest managed to do exactly that. Rob Fitz is an award-winning director who started his journey of 25 years in the film industry as a makeup and FX artist. Rob has participated as a makeup artist in various well-known movies such as “Jumanji,” “Manchester by the Sea,” “Surrogates,” and many more. Also, after 10 years of hard work, Rob released an action/horror film called “God of Vampires” which he directed himself. The film got into a number of film festivals and won a few awards, then got international distribution garnering some critical praise and a small cult following.
Highlights:
- Rob explains how he has always loved FX makeup, even as a little kid––that’s why he decided to go to film school in New York and then developed a love for directing as well.
- Even though Rob could not finish his studies, makeup was still his passion; he unexpectedly got his first job as a FX makeup artist when working as a Production Assistant at a low-budget movie.
- After this lucky strike, Rob then got called to work for high-budget movies and his career took off from there.
- Rob explains how he managed to write and direct his own movie called “God of Vampires,” a true insight into an indie production film with a really low budget which had its own challenges.
- Makeup as an art form: Rob describes how he conceives makeup and how a typical makeup session procedure takes place in the film industry. Each makeup procedure also depends on the director’s insights; some are more hands-off while others make sure to set up guidelines for the makeup artist to follow.
To learn more about Rob, visit his website!
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