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THE ACTORS, MODELS, FILMMAKER & PHOTOGRAPHER’S MAGAZINE
iMP
INTERNATIONAL ACTORS, MODEL, FILMMAKER, & PHOTOGRAPHER MAGAZINE
August 2013 VOL: 001 ISS: 003
58
EXCLUSIVE
INTERVIEW WITH FILMMAKER silvio pollio
05 SHADOWS BY DASHA featured photographer 10 CAREER TIPS FOR ASPIRING MODELS a must read for new & exsiting model 18 COVER MODEL INTERVIEW jenn marshall 41 TAKING BETTER ACTION PHOTOS tips & methods 52 LOCATION, LOCATION, LOCATION for film & photography
PLUS MUCH VOL: 001 AUGUST 2013 ISS 003
MORE iNSiDE!
beyerdynamic.com
iMP 05
INSIDE iss: 003
DASHA CHOVANCOVA featured photographer
FROM THE PUBLISHER
TIPS FOR ASPIRING 10 CAREER MODELS
Issue 3 already upon us & as our readership grows beyond 2 Million readers we think it is important to know & understand what YOU the reader really wants to see & read about. As we progress to issue 4 we would love to hear from you, our readers & hear your thoughts.
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Please feel free to email us at whitelionpublishing@ hotmail.com
a must read for the new & existing model
TFP & CONTRACTS FYI the basics
MAGAZINE
18 AN INTERVIEW WITH jenn marshall
28
COVER
LEARNING TRICK PHOTOGRAPHY
PHOTOGRAPHER: CHRIS CLAYTON Photographers: CHRIS CLAYTON TIM SEARLES
some useful techniques to help refine your skills
34 THE ART OF HISTORY the 35 mm underdog
41 TAKING BETTER ACTION PHOTOS tips & methods
44 AN INTERVIEW WITH brittany lindgren
52 LOCATION, LOCATION, LOCATION for film & photography
INTERVIEW 58 EXCLUSIVE WITH FILMMAKER silvio pollio
Be sure to check out our website and services at: © 2013 all rights reserved. IMP Opinions and perspectives expressed in this magazine are those of the contributing editors and do not necessarily represent the views of the management and ownership. All models are 18+ Reproduction in part or whole of this publication, without the publisher’s consent, is strictly prohibited.
ISSN 1920-955X Vol. 01 - Iss: 03 August, 2013
President/CEO CHRIS CLAYTON Publishers CHRIS CLAYTON / TIMOTHY SEARLES Managing Editor DONNA BRAYSHAW Creative Director TIMOTHY SEARLES Sales Director Send Us Your CV :)
Article Photographers: Dustin Thompson, Chris Clayton, Tim Searles, John Morrison HMUA: Shelly Isfeld Model: Brittany Lindgren Jordan Summach Writers: Chris Clayton, Donna Brayshaw Autumn Lockwood Jordan Summach
CONTRIBUTING People & Resources: Graphics: Tim Searles Executive Assistant: Send Us Your CV :) Sales Manager: Brittni M. Schneider: em; whitelionpublishing_ salesmanager@live.com Sales People: Saskatchewan: Hague; Brenda Cook; bcookwhitelionpublishing@ hotmail.com Amanda Jurista; North Saskatoon; Email- Amanda. whitelionpublishing@live. com Candace Skinner Saskatoon; Email- Candace_ whitelionpublishing_sales@ live.ca Nadine Hiltz Jurista; South Saskatoon; Email- Nadine. whitelionpublishing@live. com Alberta: Edmonton; Amanda Jones; bcookwhitelionpublishing@ hotmail.com British Columbia: Kelowna; James Schneider; Email- Amanda. whitelionpublishing@live. com
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darkroom techniques are
lost in a
digital age
FEATURED
p h o t o g ra p h e r
dasha
C H O VA N CO VA
I grew up in a very nice and decent family, in a world that was rapidly changing in unknown directions. Since a very young age I was intrigued by mysterious figures of art - - photography in particular. During my high school years (and in my Gothic phase), I sought out as many photo shoot opportunities as possible, and posed for other photographers. Although most of the photos I took were easy snapshots, I always tried to infuse an artistic flair. As a young adult, I became serious and increasingly interested in the creative aspects of photography. At Wishon Institute in Moscow, I studied the human form and movement in fashion. Included in my studies were dark room techniques which, I believe, are lost in this digital age. In addition, I received the opportunity to go to Cyprus and attend a course specializing in street photography (where I now live permanently and have worked in the hospitality industry for the last eight years). While working closely with my talented teacher, I realized how the importance of timing was the key element to a successful photograph; the critical moment, lasting only a fraction of a second, is never repeated. I try to combine both form and timing in my photography. Next PP
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Preferring BW photography, I enjoy playing with concepts and forms rather than absolute detail. I adore shadows, and in everything I photograph shadows are a must. Film photography suits me fine, however, I can find it rather cumbersome at times, so I usually shoot with a Nikon D90 digital camera and a Canon EOS 5 film camera. I will never quit using film! I believe that although good equipment is essential for good photos, it is not the sole factor. The artist’s input is of the utmost importance. Sally Mann is one of my favorite photographers, whose style I find to be immaculate. She uses simplicity, yet is succinct. She goes straight for the face without extra beautification... it is in this style which I photograph most, even when I shoot fashion.
she goes
straight for the
face
My education has allowed me to develop a discipline more pertinent to film photography rather than the fast, and innumerable shoots of the modern digital age. On the other hand, being the modern girl I am, I often use my I-Phone to try to do the same things as my proper cameras do! In several occasions I pose as a model too for some select photographers and I did some semi- professional concept shootings as well. I really enjoy posing in tasteful settings to people I trust their professionalism. My plans for the future is to have a further course in photography and two exhibitions that are planned by the photography group I belong, for this year, in October and for early next year. One is a group exhibition whereas the other will be with another fellow photographer with whom I believe we share similar but not identical styles. Meanwhile I will start doing a year long project, a Cyprus village throughout the four seasons, along a friend of mine. Our aim is to produce an exhibition Con’t PP 08 internationalmodelandphotographer.com
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shadows
haunt us
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quality black and white portfolio for an exhibition and why not, a photo book for sale. I love darkroom techniques and given the right opportunities I will pursue some activity in that field too. I always try to learn from my peers and I am open to new things but keeping with my personal style which I selfishly love! And this is my only flaw that friends always tell me! I love what I am doing! My favorite subjects are friends and people I associated with while trying to keep neutral but in reality I am always part of the photo in a sense. I am glad to get an invitation to International Model & Photographer Magazine and I hope I will meet your expectations. The photos I have chosen represent my constant chase of shadows. Shadows that follow us throughout our life, shadows we pursue throughout our lives. Shadows lit thus disappearing but still there to haunt us. Shadows we have to live together!
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Career Tips for Aspiring Models New York Fashion Photographer Tom Hawkins specializes in Fashion, beauty and Commercial Photographer serving NY and international clients.
Dealing with rejections: Many would-be models dream of having a magical fairytale entrance into the modeling world with an incredibly fast rise to stardom and the high life. When you get rejected for your first time it might feel crushing and hopeless. My advice to you is to not give up. Talk to successful models and ask them how many times they have had the agency door shut in their face. I have personally witnessed models that were passed over by their small hometown agency to go on to become successes and are now represented by a top New York agency. Keep knocking on doors and eventually one will open for you. If rejected the first time it’s a good idea to hit even the same agencies up again after a few months. It’s about timing. You never know, your first rejection could be just because the agent was having a bad day or possibly they already had someone who fit your style already at that time. Things change in 3 -6 month so it will pay off to have persistence and a positive attitude.
Photographer: Chris Clayton
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Professionalism: To be a professional model one must act accordingly, in many photo shoot situations you will have to deal with cold or uncomfortable weather conditions, squeeze into ridiculously tight fitting outfits, or balance on sky high heels. Try your best to suck it up for the shoot. Of course don’t put yourself in any physical danger or harsh discomfort but most professional models can get though any photo shoot without complaining. Once you attain the supermodel status then feel free to throw a childish fit or act like a super start. Until you can honestly say you are super model, keep a professional attitude, it will pay off in the long run.
A
M agical
Fairytale Entrance
?
Never take anything personally at a photo shoot. If you get a strange attitude from someone at the shoot it is probably because they are stressed or not confident in their own skills. Not to say to put up with crap from people, just save it until the shoot is over and let your agent or the photographer know. You won’t gain anything from blowing up on set.
Health: Eat Healthy foods and drink plenty of water to keep your skin hydrated. Doing cardio exercises will give you photo shoot stamina so you can stay fresh for longer. Don’t get the tattoo, just don’t do it, you will regret it or lose jobs because of it, sure there is Photoshop but people will still see it as a detriment. If you are sick or hung over avoid at all costs staggering onto a set looking tired a dreary for a terrible first impression. If you do happen to be hung over or slightly sick on your Con’t PP 12
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shoot day, pull yourself together just before entering the studio or location and burst onto the scene with energy, fake it for about 3 min while you meet everyone then escape to the makeup chair where you can relax for a while, sip a latte and get into character (and get make up to cover up your sins from the previous evening).
Attitude and perspective: One thing to remember when considering your career as a model is remember your role as a model is such: a commodity whose sole purpose is to aid in selling a product, mood or image. People pay you (your agent) money because they want to make money so try to see it from the client’s perspective. Make sure you know what the art director or photographer is going for and do your best to deliver. Good news travels fast (so does bad news). Market yourself as an outgoing model who loves to pose and work the camera. Word will spread in the fashion and photography circles.
GOOD news t ra ve l s fast
Keep Shooting: Always keep in practice and continue to grow as a model. Find out what angles work for you and which are weaker. Build your relationship with the camera until you can master any mood or convey any feeling though your posture and expression. Read the top fashion magazines and learn from the poses (especially the ones in the advertisements in first 20 pages of the magazine) Keep shooting with different photographers to get to know different shooting styles. Get out there and be a part of the fashion and photography scene, you never know who you will meet at an industry party. Ok have fun and good luck!!!
(
so does BAD news ...
)
Photographer: Chris Clayton
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TFP & Contracts FYI – The basics TFP - means "Time For Print" or “Trade for Print”. In photography it is a way for models to start building their portfolio and for beginner and semiprofessional photographers to gain experience in dealing with clients and models. Some would assume no contract or Model Release is requiredit All photographers and models should use a written working agreement of some form so that the terms of BOTH parties are fully understood. Time and time again clients engaging in TFP projects without a simple working agreement prior to shooting get into conflicts because nothing was laid out on paper. Simple advice, you will have nothing but problems if one party doesn't agree on something once the shoot and editing are concluded - potentially destroying a relationship and/or worse, leading to court. (Areas of conflict include: the specific photos to be published, how the photo is potentially used/marketed, the overall finish quality, distribution of revenue generated off the image, etc etc). It doesn't have to be a lawyer drafted contract. Even just a simple hand written agreement outlining each others terms and signed by both parties is sufficient. Common sense states to use it in the first stages to determine if you even SHOULD be working with the other party.
w w w. d tp ca ra u d i o. co m
14 Sharden St., Tblisi, Georgia: Tel: +995 597 775486 facebook.com/RococoCaffeine internationalmodelandphotographer.com
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Book Us
Now
For Your
Event!
monimusic1@hotmail.com
Q: Hi Jenn we’re happy to be able to have an interview for our magazine. What made you get into Modeling?
FEATURED MODEL
AN INTERVIEW WITH: JENN MARSHALL
A: From a very young age I had an interest in modeling. I started with dance but then modeling became more of an interest. Q: How old were you when you first thought about a carreer in modeling? A: I started modeling classes when I was 15 but didn’t really know I wanted to make it my career until I got more into lingerie/bikini modeling when I was 22 and it was more fun. Q: What was your first photo shoot like? A: Well my first shoot was when I was 15 in my modeling class but I’d have to say my first official shoot was my first paid shoot and that was for a Campion boats magazine ad when I was 20 and it was so much fun but scary since it was in the middle of the lake and I basically had to teach myself how to swim! Q: What was your best experience when you were first starting out and what was the highlights? A: My best experience was definitely going traveling and meeting different people from everywhere. When I started to get photos back and saw what I could do behind the camera, that’s when it really hit me and I knew that I wasn’t stopping anytime soon.
Photographer: Chris Clayton
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Q: What was one of your worst experience in modeling to date? A: I don’t know if I’ve had a really bad experience but I have came across some pretty shady photographers and people that try to take advantage of you but in this industry, that kind of thing is everywhere. You have to know how to stand your ground! Q: Where were you born? What made you move to Kelowna ? Name some of the emotional highlights of the move and decision to turn professional. A: I was born in Red Deer, Alberta but moved to the small town of Beaverdell when I was 2 then to Kelowna when I was 15. The move to Kelowna was much needed and changed my life. Growing up in a small town half my life and a city the other half has really made me who I am today though and I’ll always be 50/50. Q: Where do you see yourself in 10 years? A: Well considering I’ll be 36 in 10 years I see myself owning my own house, married with another child (hopefully a boy) and running my business as a holistic practitioner out of my house or at least have a facility here in town. I’d like to still be doing some acting since I don’t know how much modeling I’ll be doing at that age. Q: How supportive were friends and family? A: My friends and family are the most supportive people I know. Since day one! I went to Taiwan for a shoot by myself at 23 and my parents weren’t happy about it but they still supported my decision and they continue to do so every day, I’m very blessed! Con’t PP 20
“stand your
ground
”
Photographer: Chris Clayton
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Q: Your thoughts on Nude work? A: Well I do some nude work myself so I personally love it but it’s not for everyone. My first nude feature for Playboy Mexico will be put soon and I consider it a huge accomplishment as I’ve wanted to be in Playboy since I can remember! Q: What is your secret for staying healthy? A: I’m huge on working out. I have a personal trainer 5 days a week and try to eat as healthy as I can. I’m studying to be a holistic practitioner so I can help people heal their mind, body and soul naturally. I strongly believe in healthy living and thinking! Q: What are your thoughts on agency representation for Actors and Models? Some people feel strongly that agencies are a waste of time and it’s just as easy to get work by representing yourself… what are your thoughts on this?
A: I’ve been independently modeling until a month ago and I think I’ve accomplished a lot. It really depends on the person. Some people don’t want to put in the work it takes. That goes for the model and the agency. I say do your research and then make a decision. Q: What would your advice be to a 14 year old with ambitions of becoming a model or actor? A: Stand up for yourself! If something doesn’t feel right don’t do it. Always research the photographer and bring someone to a shoot if its the first time meeting the person. Get some good shots and start sending them out. You are your biggest weakness and critic so don’t be so hard on yourself. I think a lot of young girls have a specific image in their head as to what’s pretty but nobody has your look. You are the only you and there’s always going to people who love YOUR look! :) internationalmodelandphotographer.com
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“
healthy
thinking
”
Jenn thank you for taking the time to talk with International Model and Photographer Magazine. Any last thoughts, advice or comments you would like our readers to know about you? A: here’s my links so you can get to know me more: www.facebook.com/jennmarshall87 www.twitter.com/jennmarshall87 www.instagram.com/jennmarshall87 Thanks for the awesome feature! xoxoxo “Jenna Marshall is represented by Okanagan Talent & Crew - to book her for your event please email info@okanagantalent.com”
Photographer: Chris Clayton
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kodak.com
Learning Trick Photography: Some Useful Techniques to Help Refine Your Skills Many of those who enjoy practicing photography often look for techniques and methods that can easily help them achieve some special effects. Here you can find some of the simplest, but also some of the most intriguing trick photography techniques you can use that rarely require any special tools. You will only need a simple digital camera - almost any type will do, but a DLSR one would be your best choice. Also, if you want to work with your camera during the night, you might require a tripod, so you can keep it in place while creating long exposure photographs, for instance. As you refine your skills with these techniques, you can gradually start moving up to more complex methods, while also trying some more advanced technology and software. For now, you will simply need a basic photoediting program, which is usually available for free.
Achieving Fun Effects with Forced Perspective Photography: Forced perspective photography is one of the simplest techniques you can use for achieving quality trick photos. It basically involves an optical illusion that makes it seem like the person in the picture is interacting with a larger object in an unusual way. If you’ve seen photos of people seeming to hold another person or a large object in their hands, or leaning against a building smaller than their height, then you’ve already witnessed some of the most basic examples of forced perspective photography. The effect is not too difficult to achieve. You just have to position yourself closer to the camera, so that, from the standpoint of the photograph’s viewers, you will appear to be larger than an object or a person that appears in the background. Next, you’ll have to hold your hands a certain way, so they seem to interact with the subject in question. If you work creatively, you can achieve numerous effects with this technique. You can, for example, hold the moon or the sun in your hands above your head, or make it seem like you’re holding a person in the palm of your hand.
Intricate Long Exposure Pictures:
Long exposure photos are a little trickier to achieve. The technique is usually used at night, and it involves setting the shutter speed of a camera to a much longer duration. This has the effect of making static objects seem clearer and brighter, while objects in movement appear to be blurred and almost formless. The effect is beautiful, as it almost seems like speeding up time, however, if you want the clearest pictures, you will need to use a good, stable tripod. There are a lot of ways to express your creative potential with this method. For instance, you can take night time photos of a serpentine road, where the cars seem to turn into blurry strings of light, or you can photograph the stars as they spin around on the night’s sky, leaving trails of light behind them. Also, you can create your own light patterns by painting an image in the air using a bright light source. You can seem like you’re shooting magical energy beams from your hands or standing next to a ghost like in a fantasy film.
Tilt Shift Photography Techniques: This is another fun and interesting technique used by trick photographers. It is mostly geared to alter real life images, and make them seemingly change their size, so that the objects in the picture almost appear to be miniature toys. To make this work, you will need to achieve a selective focus with the help of some special lens that can be tilted and shifted. A few parts of the image may appear to be blurred as a result, while one specific section will be crystal clear. Con’t PP 30 internationalmodelandphotographer.com
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selective focus Photograph: Tim Searles .25� Piece of coal with amber
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have a little more
“Selective Focus” turns a white background grey; a technique used when using the focus to control background color.
fun Photograph: Chris Clayton
The good news is that there are also programs and even mobile applications that can modify a regular picture so it seems to have been taken using the tilt shift photography technique, which means you don’t necessarily have to buy special lens.
Fun and Creative Experimenting: If you want to avoid taking photos that seem to just provide a basic outlook of an event during your vacation, you may want to spice up your trips using some of these techniques. It’s always a great idea to have a little more fun and experiment with your photography skills, for instance, by mixing some of these techniques, instead of just clinging to the “regular way” of taking pictures. ABOUT THE AUTHOR: Ivan Tokic I’m an amateur photographer and hobbyist. I was very impressed by the techniques and tricks found in Trick Photography e-book. Read more about it at Trick Photography & Special Effects review page.
Photograph: Chris Clayton
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Retro Ad Image from this great site: mediahistoryproject.org/blog
THE ART OF HISTORY & THE 35mm UNDERDOG Remember the striking 80’s B-Movie image of a decaying arm ripping up through the earth towards a thunderbolt sky? That’s a strong metaphor really for what Film has become (lesser known as celluloid), which has been at the bottom of a digital dog-pile, an underdog buried since the turn of the millennia. It may have been laid to rest, but it never died. I come from a photography background that started when I was seven with a Polaroid. When I was seventeen something happened to me and I realized filmmaking existed, so naturally thirty-five millimetre’s fight for survival is something that had my full attention when I was fresh out of high school and just trying to fit into my new staff T-shirt that was one size too big at a soonto-be-extinct BlockBuster Video. I remember then the debate between digital versus film was white hot. It was palpable. There was this new thing called ‘digital’ which everyone was saying would replace film forever. I remember I was trying to help a frustrated customer demanding a full refund after renting “The Passion of the Christ” which is a movie entirely spoken in Biblical Aramaic with English subtitles, however the man explained that he and his wife were both illiterate. Out of words for how
to mend his predicament, he left and it was time to cash in on an employee bonus of ten free rentals per week. I immediately forgot about what just happened and rounded up ten of the most unrelated movies I could find, clocked out and sped home for the weekend. It was during some of these movies that I began to feel a little bit of that mans alienation, only in the world of Art. I didn’t understand digital, I couldn’t interpret it as well as I could relate to thirty-five and yet I had to admit it looked pretty good. To be frank, I was pissed. For the next eight years I fought it like I was defending some sort of old religion that had quickly lost all its followers. Today you find yourself amidst a world of photography and even filmmaking that has found a dedicated cult following. Some call the following ‘Purists’ while others call them ‘dinosaurs’. I prefer the term old school but to be frank I don’t worry anymore about the debate between which medium is supposedly superior, digital or film, because if art isn’t changing it isn’t growing and if art isn’t growing then what does that reflect back to us about our own generation? Lets face an even bigger truth, art is a manifestation of our development as a species. Art is the most candid, unbiased form of history that we have. Change is good, but not always superior. Sometimes I think that my generation has changed so much so fast that a bit of an identity crisis looms. It seems today’s youth is becoming less progressive in its style and glimmers of a more retroactive light are becoming common. Old styles of fashion clothing are being revamped by young people, I'm seeing more classic cars out on the road driven by young people, hairstyles reminiscent of as far back as the forties. I am even discovering new bands that seem like they must have come from another era. I almost bought a vinyl Radiohead record yesterday, but I need first to find a record player. And I will. But wait a minute! Who on earth would want to listen to a crackly old vinyl record when we’ve Con’t PP 36
an identity crisis
looms
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Photograph: Jordan Summach
Photograph: Jordan Summach
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I don’t get the same joy out of shooting digital
Photograph: Jordan Summach
made such breakthroughs in digital sound? I’m sure there was a time when people bickered that vinyl was dead when the reality was it went down the same path that film is enduring right now and its going to become a very respected niche market which will begin to work its way back into relevance over time because its an incredible product with soul and a craftsmanship that ones and zero’s can never truly match. I can only imagine how painters felt when the first camera’s were being developed. Look at how they are doing today. I am definitely not saying don’t buy a digital camera. I own a digital camera of my own and I use it quite frequently. The CCD-chip world has allowed me to find my place in the high-speed circuit of major newspapers, upcoming magazines, corporate photography and whatever else is thrown my way. As much as I love the marriage between the science of using
celluloid with the artistry of exposing it to light, mixed with the anticipation of wondering just what you’ll wind up with and finally to the satisfaction of seeing photographs that bring me back to exactly what I saw with my own two eyes, I also know the undeniably truth. Time really is money on our planet and there is no better way to satisfy that relentlessly ambitious energy surrounding both you and I that film processing and development wasn’t designed for. I don’t get the same joy out of shooting digital and for better or worse whenever I nail a shot digitally I catch myself wondering how it could have turned out on my Nikon F-6. The good news is that I do not feel alienated any longer by using film because I know in some capacity it will always be there. When I mention to someone that I still shoot on film primarily, I get a lot of raised eyebrows and interestingly enough there’s a sense of pleasant surprise – much like elation – accompanying their intrigue. With Film I have always thought its power was mistaken for an apparent ‘weakness’ – I'll explain. Digitally, the bragging rights have always been in its superior resolution and relatively low costs over film. True. However with film its actual strength is embedded in its image softness. This isn’t to say film isn’t clear, it has the unmatched ability to absorb skin tones, true colors and internationalmodelandphotographer.com
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Photograph: Jordan Summach
depths of field that breathes life into its images that maybe only paintings have done before. Forget the discussion over time-lapses. Ultimately, neither one so great the other should be eliminated. Does old music die? Have classic cars become irrelevant? Are paperback novels fading away? Does the expression ‘out with the old and in with the new’ still ring true or is its very meaning ironically calling for its own extinction? By: Jordan Summach
Photograph: Jordan Summach
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Taking
Better
Action Photos Photograph: Tim Searles Band: Tupelo Honey
When it comes to taking great action photos, one of the most important digital photography basics is understanding shutter lag Also called “processor lag” this is the time that it takes between the time you press the shutter release and the time the camera actually takes the shot. Press the shutter too early and you’’ll end up with a picture that’’s completely different than what you were expecting. Despite all of their advantages, compact digital cameras are slower than traditional film cameras. This article provides some tips for dealing with this lag, as well as tips for how to take more exciting and memorable action pictures. Con’t PP 42 internationalmodelandphotographer.com
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1
Be Ready to Shoot! While you can’t know if your child is going to make that soccer goal, try to anticipate when things are most apt to happen. Even professional sports photographers with speed-of-lightning cameras try to anticipate the action, just so they can be in the right spot and point the camera in the right direction. By having a better understanding of what you’re photographing, youll be better able to anticipate the actions and get better shots. So, if you plan to take pictures of your child’s soccer match, learn the rules of the game so you’ll know what to expect. If your child is performing in the Nutcracker, watch a rehearsal or two.
2
Shop Around before purchasing a new compact digital. Unfortunately, there isn’t just one camera spec that will tell you how fast the camera will capture the picture from the time you press the button. Others things like the quality of the sensor and the ISO setting (if in dim light) can also slow down the processing time. So investigate what other people are saying in photography forums and read all of the manufacturer’s specs online.
3
Spring for a DSLR (Digital Single-LensReflex). They’re more expensive than compacts, but they’re FAST. DSLRs don’t have shutter lag problems, so if you’re taking photos outside, you can increase the ISO without your photos having digital noise like you would with a compact camera. Digital Photography Basics to Use with any Type of Camera. Whether you have a compact, DSLR, point-andshoot film camera or camera phone, try these professional tricks.
Photograph: Tim Searles Band: Tupelo Honey
Zoom in on Faces! Don’t always focus on the internationalmodelandphotographer.com
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action. Capture those expressions of determination, triumph and even defeat (especially if it’’s an opponent!).
Photograph: Tim Searles Band: Tupelo Honey
Tell a Story! Look for shots that tell a story of the event. For example, begin with a shot of the team’s huddle or your fellow paddlers launching their rafts. Freeze! To freeze the action, set your camera to sports mode or set your Shutter Speed Priority to a high setting. As an example of different settings, freezing action in a soccer tournament requires a shutter speed between 1/250 to 1/500 while taking photos of your pet sitting still requires 1/125. Blur the Background! Take a cue from the sports photographers, and blur the background by decreasing the camera’s depth of field. If you’re using a camera with Aperture Priority, you can do this simply by decreasing the F Stop number. The lower the F Stop number, the more blurry your background. Pan - This is a good alternative for digital compact users where dim light underexposes photos taken with sports mode/fast shutter speed. Panning works with automatic focus, but it only works when the action is moving in a fairly straight line. Here is how to pan the camera: Set your Camera to Auto focus. With feet planted firmly on the ground, move the upper half of your body while following the subject with your camera. Just before you think the action will occur, start pressing the shutter release button half way down and continue following the subject until you’ve pressed the button completely down to get the shot. Is the auto focus on your camera too slow? Focus on an area of contrast, such as the number on a uniform. Auto focus works faster with contrast. Play around with panning and see what kinds of different effects you can get. You might want to show some blur in the action to
emphasize the speed of movement, such as with a race car. Whether you are shooting a sporting event or taking photos of your dog playing frisbee, action photos are really a lot of fun once you get the hang of it. And once you understand the digital photography basics like shutter lag, you’ll take better pictures and have even more fun. Autumn Lockwood is a writer for Your Picture Frames. Your Picture Frames offers a large selection of quality picture frames like our panorama’’s and fun and decorative pewter frames. Visit our website with 1000’s of frames or call 1-800-780-0699. By Autumn Lockwood internationalmodelandphotographer.com
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AN INTERVIEW WITH: BRITTANY LINDGREN Photographer: John Morrison
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Q: Hi Brittany. Were happy to be able to have an interview for our magazine, our first question is, What made you get into Modeling? A: Initially I helped a friend of mine who is a Photographer by volunteering to Model in a couple of photo shoots to help build her portfolio and it turned out I really loved the Modeling. Q: How old were you when you first thought about a career in modeling? A: I’m 25 right now and it is only as of a couple months ago that I decided that I really wanted to try to pursue modeling as a possible career. Q: What was your first photo shoot like? A: It was a fun, goofy time with a photographer friend of mine. I was in Prince George, BC and it was in the middle of winter 2008. It was freezing out and we were in the mid-dle of a field with hay bales. Part of the fun was modeling in a way to make it look like I wasn’t cold at all! Q: What was your best experience when you were first starting out and what were the highlights? A: My first really fun photo shoot was the 2nd shoot I volunteered to model for building a photographer’s portfolio. I wasn’t quite on the page of pursuing modeling as a career yet but we did a Trash Wedding Photo Shoot in Pitt Meadows, BC. We started at the break of day and found so many cool spots all around Pitt Meadows to shoot including a fire hall, a graveyard, a stack of tires, some railway tracks, and a collectors rusty old truck. I just couldn’t believe how many different settings you could shoot in a day. This photo shoot was what really started to inspire me later to pursue Modeling more seriously. The highlights were definitely when we came across other Con’t PP 47
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Photographer: John Morrison
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Photographer: John Morrison
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businesses or people who were so supportive of the photo shoot that we were doing that they would willingly offer some great opportunities for us to use a unique setting right on the spot. Q: What was one of your worst experience in modeling to date? A: I haven’t really had any bad experiences yet. Though when setting up all my modeling accounts with sites such as Model Mayhem and the like, I quickly learned that you really need to research the photographers that contact you about work. There are a fair number out there that seem to be quite creepy and not on there for the right reasons. Like anything it’s always better to research and use your intuition. Q: Where were you born? What made you move to the Lower Mainland? Name some of the emotional highlights of the move and decision to turn professional. A: I was born in Surrey, BC however I was raised from the day after I was born in Revelstoke, BC primarily for 17 years. I was married early at 18 years and was living married in Rimbey, Alberta. When the marriage failed I found myself needing to quickly be able to find a good paying job to support myself. The winds blew me to the Lower Mainland where my Mom was living at the time. Growing up I wasn’t a big city girl but living here gave me the opportunity to grow and support my self with a stable well paying job. A major highlight of living here in the Vancouver area is that now while I pursue odeling, (also currently dabbling in acting/ singing), there are so many more opportunities for me to grow as a model! Currently my main career is being a Police Dispatcher. I love dispatching and I have been doing it for a few years now. However the nature of being a dispatcher is very stressful at times and of course there is the long hours of shift work involved. When I decided to push myself in the field of modeling it created such a positive outlet for me to just put myself in a place far away from my high stress work world, into an entirely different set-ting where I could create Art! Modeling I find is quite therapeutic for me. My passion for Modeling is ever growing.
Q: Where do you see yourself in 10 years? A: In 10 years I will be 35. Ideally I will be an established internationally known Actress/Singer/Model. I will have secured a large indie label/major label record deal, have had participated in a modeling campaign on the cover for national brands, and have had multiple leading roles in prominent films and TV shows. I will have also become a major philanthropist that gives back to help society. I will be earning enough money for my family and I to live comfortably and travel multiple times a year to places around the world. My career will be my passion. Q How supportive were friends and family? A: My spouse is very supportive of me right now pursuing my passion as well as my sis-ter who I’m very close with. My mom is also very supportive. As for the rest of my family I’m not sure yet how supportive they will be as I am just starting to get serious with the modeling. I don’t talk a lot about the acting and singing with them yet because I am still exploring it myself. I want to feel fully confident with acting and singing before I really open that world to them. My friends are all very supportive of me as well. Con’t PP 50
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THE ACTORS, MODELS, FILMMAKER & PHOTOGRAPHER’S MAGAZINE
iMP
INTERNATIONAL ACTORS, MODEL, FILMMAKER, & PHOTOGRAPHER MAGAZINE
September 2013 VOL: 001 ISS: 004
WIM WENDERS
50 GOLDEN RULES OF MOVIEMAKING MODEL SCAMS be aware CAREER TIPS FOR ASPIRING MODELS safety for beginners COVER MODEL INTERVIEW albany kelf MODEL INTERVIEW crystal young DIRECTOR JUSTIN DONNELLY tips & methods FILMMAKING EQUIPMENT suppliers, cost, availability
PLUS MUCH
VOL: 001 AUGUST 2013 ISS 003
MORE iNSiDE!
Coming Next Month! Order Your Issue Today!
Q: Your thoughts on Nude work? A: I personally am not doing nude work at this time. For myself I wouldn’t want to jeopardize my current career or some of the relationships I have. I also am not sure how com-fortable I would even be if I did do nude work. I don’t judge anyone who does do it at all because I have seen some very beautiful work and it really can be an amazing work of Art. Also the money you can make is supposed to be quite a bit more than the Models that don’t do nude work.
I’m not signed with any agency at this time
Q: What your secret for staying healthy? A: Eat healthy!!! Exercising and going to the gym is obviously a great thing, but if you aren’t eating healthy then I feel it defeats the purpose of going to the gym. I try to maintain healthy eating habits and stay active. To me eating healthy is especially knowing to eat in moderation the things that I like, which is hard because I am such a foodie. The other thing I have been working on is drinking lots of water. Q: What are your thoughts on agency representation for Actors and Models ? Some people feel strongly that agencies are a waste of time and it’s just as easy to get work by representing yourself… what are your thoughts on this? A: I’m not signed with any agency at this time and I haven’t been, but I also don’t know the exact area of Modeling I want to gear myself towards. I think that once you have a specific goal of the genre of Modeling you want to go into then an Agency would be a beneficial option. Q: What would your advice be to a 14 year old with ambitions of becoming a model or actor?
A: My advice to a 14 year old with those ambitions, GO FOR IT!! I wish that I had more opportunities of being exposed to the modeling world at that age. I wish that I could have started at the earliest opportunity to work towards modeling. Brittany Thank you for taking the time to talk with International Model and Photographer Magazine….any last thoughts, advice or comments you would like our readers to know about you? A: With the pace things are moving now I can’t even imagine the heights I will be at in a year. I look forward to the years to come with much anticipation. Thank you so much for having me, Cheers! Britz internationalmodelandphotographer.com
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LOCATION, LOCATION, LOCATION... FOR FILM AND PHOTOGRAPHY. Photographer: Chris Clayton
In film and photography the location is just as important as the subjects in front or behind the camera. It is the canvas the picture is painted on and in many, if not all cases, that canvas can make or break the film or photograph. FILM. In film it all begins with the screenplay. The writer portrays the canvas of which the picture is painted in 2 ways. At the top of each scene is a basic description of the scene to be played out. It comes in the form of the Scene header and looks something like this: EXT. FARM – DRIVEWAY – NIGHT. Pretty self explanatory except, it’s a very basic description. It is always followed up at least once in the script with a more blended description of the location as it plays out in the scene. The
When choosing a location, it is best to first come up with a theme fo your photoshoot. In the above image, we wanted something urban and yet uncluttered. When choosing buildings and structures it is important to not have them overpower the models look or image you are trying to get across. - Model: Brittany Desjarlais
description of the scene following the header may look something like this: A WHITE CAR pulls into the dimly lit driveway. Golden fields of wheat line both sides of the driveway as dust billows from the rapidly moving car as it swerves towards a house. One of the first people to see a script when it gets the ‘Green Light’ are the Film Commission located in the district or city that is destined to be the home for the film production. The Film Commissioner, with the help of local Location Managers, will go through the script and break it down into a list of various locations and location scouting will start. When scouting for locations the Location Scout or Location Manager will look at several locations that suit the look of the film and ultimately the DIRECTOR internationalmodelandphotographer.com
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Photographer: Chris Clayton
will decide, sometimes with the help of the One of the best places to park all of the Production Vehicles (Reffered to as “The Circus” PRODUCTION DESIGNER, which one will be used in is on a lightly used road or street. Sometimes this means shuttling actors and crew to the set. Photo - 2012 Production “Sister’s Nightmare”, Filmed in Kelowna BC Canada. the final production. LOCATION MANAGER (LM). The Location Manager will make an offer on the rental of the property according to what is in the films BUDGET. If accepted he arranges through Cheque Request, a deposit and final payment for the use of the property (The average for the use of a house can be anywhere from $500 to Several Thousand dollars per day). On the day of production the Location Manager will have his ASSISTANT LOCATION MANAGER (ALM) arrange for Production Trucks and crew parking and have an area picked out for the crew to eat. The ALM will have his or her PRODUCTION ASSISTANTS (PA’s) place garbage cans and ‘Butt Buckets” around the location and assist with such things as laying down cable mats and advise on where to place them. (cable mats are large plastic mats that protect cables when strung across sidewalks, roadways and areas of heavy traffic).
At the end of the shooting day (Called “Wrap”) the PA’S will gather up the garbage, remove crew tents and oversee the moving of Unit Vehicles to make sure no damage is done and the location is left as it was found. PHOTOGRAPHY: In photography the location is less important simply because, at least in the case of model portfolios and advertising photography, the subject in the picture is the prime point of focus. Only in Landscape and real-estate photography is the location the center of attraction BUT, the location is still important as it gives the ‘feel’ to the image. In most cases the location can add drama to the image as in the case of vintage style shoots or what is referred to a COSPLAY (Costume Play) in which a certain era or time period is portrayed in the photograph. For example, over the last 40 years, in Europe, ancient castles and Con’t PP 54 internationalmodelandphotographer.com
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Photographer: Chris Clayton
structures have become very popular locations for era THe Location Manager (LM) is responsible for scouting and securing the locations used in Film Production. He also helps negotiate payment for the use of private property. Under related photo shoots and music video production. his command is the Assistant Locations Manager (ALM) and often several Production LIGHTING:
Assistants (PA”s). Okanagan Lke Westbank BC Canada.
The location can be tricky to decide depending on one main factor…LIGHTING. In the big city where tall buildings often interfere with natural lighting one of the considerations may be what light is reflected at certain times of the day by large, glass covered buildings. In some cases artificial lighting such as strobes and static lighting can be added to provide false lighting sources such as the sun, moon or reflections from water. There is an endless list of light source equipment. In areas such as open beaches, reflectors are often used to simply enhance natural lighting to make the subject stand out but the location can be decided by placement of trees, buildings and other sources of shadows. In photography for advertising, locations for photography rely very little on the use of crew simply because there isn’t the infrastructure required Con’t PP 55
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therefore permits etc are rarely required. FINAL LOCATION Whatever you are shooting, a movie or individual shot the important things to keep in mind are: Cost. It always comes down to affordability. Whether it is just a house or the city you are going to shoot in. Some areas offer cost effective incentives to shoot there. Some realtors can be your best friend finding your blank canvas. If the location is empty it is cheaper for set to decorate. Accessibility. Your crew has to transport often heavy equipment. This is not only difficult, but time consuming and therefore expensive. Along with this is how close it is to your other sets. Moving the circus again is also expensive and time consuming.
Photographer: Chris Clayton
Time of day. Look at it in the light you are going to shoot. It may not have the same look or you may be able to use a different sight that is not only more accessible but cheaper and easy to set up with some lighting touches. Ultimately it comes down to the vision of director or the photographer. If you are the one finding the ideal location, be clear what that vision is so you are not wasting your time looking at inappropriate locations. If you are the director or photographer be cognizant that you may have to compromise. Photographer: Chris Clayton
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EXCLUSIVE
INTERVIEW WITH FILMMAKER
silvio pollio Silvio, First we would like to thank you for conducting this interview for International Model and Photographer Magazine for the August Issue.
Q: What was the title of your first successful movie?
Thank you, I’m happy to be here.
A: The first successful movie I wrote, produced, directed, starred in, financed and still own to this day was ‘HOW IT ALL WENT DOWN’ (2005) I would make that at 26 years old and win some important festivals with it. It made a lot of money on VHS and with that I was able to make my second movie, ‘SHUT UP AND SHOOT’ (2009) and ‘GUIDO SUPERSTAR’ (2011)
Q: How old were you when you decided to dedicate your life to filmmaking?
Q: Tell us about some of the funnier moments in the making of the film:
A: I was actually quite young when I started acting in the business, 17 years old. At that time I thought I was old getting started at 17, looking back now, 24 years later, I actually started quite young. I was cast into the movie ‘ALIVE’ at 19 years old and immediately after being on that set for 2 months, I knew I wanted to write, producer, direct and star in motion pictures. I enrolled in film school, got the education I needed and wrote my first screenplay at 22 years old.
A: ‘HOW IT ALL WENT DOWN’ was such a gritty, raw film that involved a whole lot of the drug-dealing world. Where there’s the drug-dealing world, there’s a whole lot of paranoia. It was cheaper for me to source where the real Marijuana grow ops were, through friends than going out and building one myself to film in. So one friend agreed to let me film in his location, however my crew had to be covered in hoods and picked up in a van with no windows. My crew agreed to it, so they all piled into a van and were driven for a half an hour to the secret location and came out in a garage. Stories like that were all over ‘HOW IT ALL WENT DOWN’ when I filmed in the Con’t PP 60 internationalmodelandphotographer.com
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crack neighborhoods I had to pay the people down there with Crack Cocaine or $20 here and there, when I needed guns, I made a phone call, when I needed a million dollars in fake money and a gallon of fake blood, I called Chris Clayton who was handy and had prop money and fake blood just kicking around from being on major sets. One night we needed pizza and Chris went to get it, he ended up accidentally buying $100 worth of pizza with a fake $100 bill, if I remember the story correctly.
film making at all as now everything is digital. However I’m blessed that I’ve been doing this long enough to experience how films were made for 100 years and see the transformation into this new age. What cost me about 200k to do back then now I can get done for 20k… Also remember, 200k back then is about 275k today. Q: Where were you born and how did you end up in Vancouver/ Los Angeles? A: I was born and raised in East Vancouver and grew up with quite the colorful bunch. Majority of guys I grew up with became drug dealers and my neighbor was the local kingpin, who watched Scarface 6 times a day for about a year until he became Scarface himself. It was through this guy, when I was 16 years (1988) that I was Con’t PP 62
Q: What were some of the challenges you had to overcome to get the film made and what was the shooting budget? A. What challenge DIDN’T I overcome? First of all back in 1999 movies were still shot on film, I only had $30,000 to get that film shot, processed and transferred to betacam. Half of that budget went to that. To shoot the film and get in the can to that stage wasn’t difficult, since I did about 15 other jobs myself with a small crew of 6 doing multiple other things. My DP (director of photography) on that film David Bercovici was extremely helpful in multiple areas and for about 75% of the shoot at times it was only me, my DP one assistant and my sound girl and cast. Locations I got for free, cars, extras, etc. Post Production was a real challenge. I’d shoot the film in one month, but it would be 3 years until I finally completed that film on a total budget of 250k. The negative cutting on that film was the most tedious and arduous task of all and cost a lot of money. That process of film making no longer exists and back then just one glitch would mess up the whole movie. Well, we had multiple glitches constantly until we finally got it all figured out, frame by frame. I don’t miss that process of internationalmodelandphotographer.com
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exposed to my first Kilogram of Cocaine straight from Colombia. The first thing he said to me was ‘Don’t ever try this stuff, just take it and make a million dollars with it” I asked how? He showed me and soon enough I was running around,
but that was short lived because it wasn’t for me. Shortly after I got into the movie business and he saw this and saw my talent young and he encouraged me to stick with my dreams and he would support me in any way he could. He was only 4 years older than me, and at that time it was a big age gap to be an older brother. So I stuck to my vision, made money working 3 jobs and shortly after graduating high school, I landed the role in the movie ‘ALIVE’ and would make enough money from that to support 3 years of university. I’d keep in touch with my neighbor and see him as one of Canada’s biggest drug dealers making millions every month. I digress, but there’s a story to this, years later after I graduated university and film school and was out of money, he gave me the idea to go to LA and chase my dreams and helped me out financially, but not without working for a him a bit more along the way. I landed in LA in 1996 and sold my first screenplay at 22 years old and landed a job at Warner Bros as a script reader and wrote coverage for many a script. When it came time to make my first movie, I had already, at the age of 25, experienced so many challenges in my journey with ups and downs in the good business with bouts of many experiences in the ‘other business’ I came up with the concept of Con’t PP 64 internationalmodelandphotographer.com
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‘HOW IT ALL WENT DOWN’ (Filmmaker turned drug dealer) when I lived in LA. I wrote a movie that combined my story, his story and the story of one other friend. I financed that film from the remaining money’s of my script sale. Rather than go and take the route of becoming a successful screenwriter or actor, which I had available to me, I chose to once again take the high road and make movies on my own. Q: Describe the journey from Actor to Director and some of the challenges in the adjustment? A: I had started acting at the age of 16 and by the time I started directing at age 26, I had already worked with some amazing directors. I was immediately an actors director from the get go, focusing on the performance and bringing out the best of my actors. I also had an extensive knowledge of lenses, and all the technical stuff to be able to create my moods along with whatever performances I’m pulling from my cast. Therefore the journey was seamless and not difficult not to mention I had years of screenwriting under my belt. The more you write, the better an actor and director you will become. You write with visions and voices in your head, you play it out steady, you start thinking of ways how you can put this thing together and make it. I’ve always been that guy who learned how to do everything. When I worked at McDonalds at the age of 15, I learned and mastered every department, when I worked at the supermarkets I could float from cashier to produce to stock. It’s what I do and what I enjoy, constant learning and educating myself. That developed into my career where now I can physically write, produce, direct, star, structure financing deals, distribution contracts, etc. everything from concept to screen and everything in between. I prefer not to work that hard anymore because it is
an extreme challenge and overwhelming, which is why I only made one film every 3 or 4 years. Q: What would you consider your first successful film with regards to sales ? A: HOW IT ALL WENT DOWN was a real moneymaker. More so for the distributors who sold it for me on VHS. Back then the VHS market was massive and even if a film never saw the light of day in Cinema, they were still making millions on VHS worldwide. The money made from movies back then will never be seen again, thanks to the Internet. I made a lot of money on that movie but I was green in how the distribution worked, as I had to learn the hard way and get ripped off. If I only made a million on that world wide, I can only internationalmodelandphotographer.com
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imagine how much everyone else made. However, I own my titles and my copyrights and re-issue licenses to this day world wide, but the money isn’t what it once was in this business due to the saturation. Now the only way to do it is to become a star. That’s my only choice now is to become that household name and I’m confident I’m on my way to do that, thanks to the success of my 3RD and latest film, GUIDO SUPERTAR: THE RISE OF GUIDO Q: Give us some of the titles of films you have made and where we can see them.. A 1) HOW IT ALL WENT DOWN 2) SHUT UP AND SHOOT 3) GUIDO SUPERSTAR: THE RISE OF GUIDO My first two are available on DVD and downloads on YouTube and Itunes and Guido Superstar is coming available soon on those platforms. Guido already played for 18 months in Canada on Super Channel and will be on broadcast soon. I’m currently working on securing a US PPV and Broadcast deal as we speak. Guido will also be released in Europe later this year. Q; What is your current project your working on, where would you like to see it filmed ? Currently I am working on my western, MY NAME IS COCA a film about the first cocaine trade in America during the wild west. Nobody knows this and I researched this for 6 months prior to sitting down and writing a screenplay that will blow you away. I know everything about that drug since it was invented in Germany in 1859. Twice in American history it was legal and banned. In MY NAME IS COCA, I pretty well depicted the first modern day street drug dealer, a screenplay that reads like ‘Scarface’ meets ‘Tombstone’ and set in Tombstone, Arizona in 1884. The film is based on 100% historical facts and I was
able to write a screenplay that will not only entertain you, but also educate you about things you never knew. I would like to film that in Arizona or New Mexico but will also take Southern Alberta or in The Okanagan in British Columbia. I am also developing the sequel to GUIDO SUPERSTAR and also have 22 screenplays of my own written and ready to go, let alone all the other stuff I’m developing. Q: Describe your favorite location to make movies... A: I have only filmed in Vancouver and Los Angeles. I filmed my first movie and third movie in Vancouver, 13 years apart, so will see Vancouver when it was a small city in 1999’s Con’t PP 66 internationalmodelandphotographer.com
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HOW IT ALL WENT DOWN with few high rises and then a major city with so much development year later, in GUIDO SUPERSTAR. I’m tired of filming in Vancouver and battling weather issues, etc. and would much rather prefer to film in The Okanagan such as in Kelowna, Osoyoos, Penticton, etc. I also benefit from a greater tax credit out that way too. Filming in Los Angeles is very wonderful and picturesque and full of appeal, especially if I need to book movie stars for quick roles in and out. I love filming there and will do again anytime. Q: If you could recreate any film made by another director during the last century, which would it be and why ? A: I would re-create ‘The Godfather’ and turn into a modern day setting and add another family in, an Indian family. Two major families in one major city set in the organized crime world. I’d add a twist of romance in along the lines of ‘Westside Story’ and heavy drug dealing along the lines of ‘Traffic’ I would call the film ‘Once Upon A Night’ and I wrote this movie already 10 years ago. This film is on the list. Q: Who was your favorite actor/ actress to work with so far ? A: I enjoyed working with Joe Cortese. A legendary American Actor, not super famous, but a respected actor. I wrote SHUT UP AND SHOOT for a certain Gay character in mind and when I approached him, he didn’t see it. He only played heavy thugs and mobsters, etc. but never did anything like this. I convinced him
he could do and would do it and to trust me, his director. He nailed it and also brought so much to the table. Joe went above and beyond and that is why he won awards for his work on SHUT UP AND SHOOT. I also enjoyed working with James Russo, Tom Sizemore, Gary Busey and the list goes on. When you direct these stars, you need to be firm with them at times and give them a bit of tough love and prove to them you have it under control and to trust your vision as a director. They need to know that you got it and that you can’t be stepped on. Once their respect for you is gained, it’s smooth sailings and, knock on wood, it’s been all good. I look forward to now working with Tom Cruise, Leo DiCaprio, Robert DeNiro, Al Pacino, etc. internationalmodelandphotographer.com
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Q: Do you have any recent films you have made that are just being Q/S: Thank you for doing this brief interview with I.M.P. released ? Magazine and we wish you A: GUIDO SUPERSTAR: THE RISE OF GUIDO is the latest and is being much success in the future. released slowly world wide and soon on DVD and PPV in the US. A: Thank you, it’s been a pleasure! Q: Where do you see yourself in 10 years from now? A: Within the next 5 years I will have won an Oscar for MY NAME IS COCA. I will be a house hold name in 3 years and become super famous as GUIDO SUPERSTAR. I am not currently famous however I am more importantly respected as a great filmmaker. An accomplished filmmaker who gets it done. Now it’s time to step it up and become extremely popular world wide. If anybody can do it, it’s me. I have all the ingredients for success, the mindset for fame and what to with it once I have that. I will help others succeed, give back to my community and donate generously where I can. I need that now, it’s time for a new level and 20 years of heart ache, ups and downs have established a deep foundation for me where nothing is no longer taken personal and I finally get it. Ten years from now I will also have successful film school where I will generate more great talent and guide them to not make the mistakes I made. Ten years from now I will still be making movies, just on a much greater scale. I earned it and worked hard for it, but approach everything with a great deal of humility and humbleness. The confidence is just confidence, but there’s something backing it up. internationalmodelandphotographer.com
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