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MEET THE INDIE TALENT BEHIND Courtenay Taylor takes us into the world of one of the most iconic female voices in video game history.
EQUITYFUNDING Hollywood Roosevelt Reinvention
The iconic hotel takes shape in the new age, and we take you inside.
14TH ANNUAL CHRYSALIS BUTTERFLY BALL
SHANNON KOOK
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WHY EQUITY-BASED CROWDFUNDING IS BETTER FOR HOLLYWOOD
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8 DAYS IN NOVEMBER san ta monica
AMERICAN FILM MARKET & CONFERENCES
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INDIEbySOURCE MAGAZINE AUGUST 2015 3 The American Film Market is produced the Independent Film & Television Alliance I www.ifta-online.org 速
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ism. Executive Editor Christopher Parker Managing Editor Denise Smith Copy Editor Andrea Pedersen Art Director Tasha Myke Photography Earl Kincade Art & LayOut Thomas Walker Copy Writer Jerome Crowell S.I. Hall VP of Business Development Autumn Bailey-Ford Office 8306 Wilshire Blvd. Suite 1904 Beverly Hills, CA 90211 United States Phone 323-400-6622 Fax 323-400-6655 info@indiesourcemag.com www.indiesourcemag.com @indiesourcemag
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HELLO!
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et me welcome you to the new indie source magazine. We are back from a yearlong break to target the Indie world again. Our staff is dedicated but voluntary, we all believe in the world of Indie and wants to bring all of our reader’s quality interviews, articles, images and video. Naturally we are still committed to bringing you all these things for free. In a world where everything is capitalism, we want to give back and our way of doing this is free. Our dedicated volunteer staff has created a first in class mobile app (iPhone/Android & Windows soon) that is free in the app store. This app allows you to view our content on your cell, making it easier to consume the indie world. We have revamped our site to make it easier to find the content you want to consume. Additionally we have opened our world up to all things indie. You will see more music, fashion, technology, etc. content from our website, mobile apps and magazine. Lastly we have increased our magazine to six times a year, up from four. As the Executive Editor, I would personally like to thank my staff for believing in a dream of delivering free content based on the world of indie. The nights we all stay up late to create the apps, web sites and content to deliver. The many days we spend doing this when we could be spending it with our families or chasing other dreams. Thank you all and to our readers, thank you for making us the most popular indie magazine on the planet. Our numbers continue to grow and we couldn’t have done it without you.
EDITOR'S LETTER
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NOT IN A BOX! ShannonKook
“Trying to fit into the box that the industry still sees ethnic Asian males as – a box that is too small. “ This dazzling young actor is making waves in the Indie world. He is amassing an impressive feature and television resume that includes the huge 2013 hit “The Conjuring” and the recent “Dark Places”. Mr. Kook let Indie Source into his world, and what a world it is... ISM: When did you know you wanted to be an actor? SK: Acting was always something I did as a hobby in school, and even though I was quite acknowledged and celebrated for roles in plays, I never thought I was capable of becoming one until I was studying Accounting in university and I noticed many people 8
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@SHANNONKOOK
saying they just assumed I would be an actor, which surprised me. The more I realized I didn’t want to be an accountant, the more I realized I had to do something that spoke to me. The only thing that hit me that way was acting. ISM: What struggles have you faced gaining a foothold in the highly competitive actor/audition scene? SK: Trying to fit into the box that the industry still sees ethnic Asian males as – a box that is too small. There is a heavy lack of Asian male representation in media, and thus, a heavy misrepresentation in turn. We can be leading men too.
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ISM: Do you believe being Canadian has helped or hurt you in Hollywood? SK: I am South African. I was born and raised there, but I’m also Canadian. They have both made me who and where I am today. Hurt no…formed yes. The one setback though would be getting a Visa and working status for U.S. projects, and the massive dent in one’s wallet to apply for a Visa, or stay in L.A. and rent cars, etc. for pilot season. ISM: How did you hear about Dark Places, and what was your audition process like? SK: The regular way – an email from my lovely agent in L.A. I sent in a tape from Toronto; I have my own studio there where I shoot and coach actors’ auditions. There was interest, and I met with the Director on Skype afterwards. I also read the novel of Dark Places in two days. After that, there was a gauntlet of approvals from various producers for me to get through. I remember waiting for the phone to ring and holding my breath for around six weeks. It certainly had me on edge. ISM: How was it working with the dynamic Charlize Theron? SK: Her character was eight years old during my timeline, and we shot the movie in two separate timelines, so I missed her and all of the modern day cast by a couple of days. It meant a great, great deal to be in a movie with such an idol of mine. She and Arnold Vosloo (The Mummy) were the only two South Africans I looked to in school as sources of inspiration that South Africans could become actors on the big screen.
ISM: The film has a great supporting cast, any interesting stories from the set? SK: The cast got along great. No drama or anything, but there was one scene where Chloe had to slap Tye Sheridan’s character, and there was a particular take when everyone felt it and we were all like “Ohhhhhh!” but trying to be quiet during the take. It was exciting. She gave it then they asked her to go easy on him. We’ll see which take they use… ISM: What is your Dark Places’ character’s, “Young Trey”, motivation and purpose? SK: Trey is a mixed youth in a rural town in Kansas in the 80’s. To me, Trey wanted to gain respect and establish himself, or as “Pinky and the Brain” would say “Tryyy to take over the wooorld”. He has a large effect on the teenager, Charlize Theron’s older brother, who is convicted of murdering his family in The Satan Sacrifice of Kinnakee. Trey is also a suspect, and in the book, people also question if Chloe’s baby is mine. ISM: What type of characters are you hoping to play in future movies and television series? SK: I’d love to play in some romantic comedies, action, and definitely get into the Super Hero Universe! As for characters, I’m interested in them all, just less inclined to the Asian male stereotypes. ISM: What is Shannon Kook’s future? SK: I have no idea… but let’s say bright…
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BY CHRISPARKER @indiesourcemag @indiecrowdfunde @indianapapi
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enerally, when given the chance to speak about our new crowdfunding ecosystem and film finance model, we are met with optimism by independent content creators, but equally met with examination. Since the beginning of Hollywood, the access to needed funds to create high quality content is an art in itself. It’s no secret that only one percent of Hollywood actually has the power to green light a production. Top studio personnel command the majority of that one percent rounded out by the likes of billionaire children and internet moguls. With so few individuals writing checks, it’s no wonder independent content creators have found it very difficult to create truly independent and unique content. Within the past five years, studios have focused on creating films based on rehashed ideas. With billions of dollars going to a small number of films the industry has become stagnate and predictable, while indie
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content creators continue to find it impossible to diversify the narrative. In comes crowdfunding to the rescue. Crowdfunding, especially equity-based crowdfunding, for the film industry has been a ray of hope for Hollywood professionals who want to bring content to the masses that may not fit within the four quadrant thinking used by studio executives. With the help of platforms such as IndieCrowdFunder.com, a professional can offer ownership to the masses, which have historically been shut out of investing in Hollywood. The question most often asked is “How does equi-
ty-based crowdfunding differ from reward-based crowdfunding.” The most obvious difference is ownership. A person purchasing equity has tangible ownership and a vested interest in the success of the project, not just a t-shirt or Twitter shout out. While rewards have a great “cool factor”, no one will turn down the possibility to make money over a t-shirt. Both equity-based and reward-based crowdfunding will connect directly to fans and turn them into marketing machines, but an equity campaign takes it further. I believe when someone has a financial stake in your product they will make sure they tell everyone they know. They will shout from the mountain top encouraging others to purchase the product when it’s released. Your success is their success, completely. This leads us into our next benefit, no box office cannibalism, which may lead to the investors paying twice. Let me explain. Reward campaigns often offer a copy of the film as a reward, which is equivalent to film pre-sells, this practice is the
standard now, but in my view a flawed crowdfunding approach for the entertainment industry. Within the Veronica Mars kickstarter campaign, many of their fans pre-purchased the film as a reward, helping them reach a funding amount of $5.7 million dollars. Yet, according to BoxOfficeMojo.com, the Veronica Mars film worldwide theatrical revenue is only $3.4 million dollars. We can clearly see there was no need for anyone to go to the theater to see the film when they already had the DVD or digital download. They don’t have a financial stake in the film; so why would they tell their friends to go see it, especially when they can have a viewing party at home? So, for each person that actually bought the film reward (pre-sell), this could have potentially cost the distributor additional theatrical ticket sales. No one will ever know the true impact of this reward, but I think it is very safe to say giving the content upfront is bad business for the entertainment industry. Lastly, equity offers the ability for entertainment professionals to give their fans exactly what they want in the way they want to give it to them. A majority of Hollywood has resisted crowdfunding because of the perception of rich people begging for money. While the majority of Hollywood works project to project just as the majority of Americans work paycheck to paycheck, the perception in Middle America is far different. With equity, that perception fades away as you ask the public to be a part of the creative experience and reap the fruits of the collective harvest. Equity crowdfunding will change our industry from a one percent green light ability to around thirty percent within three years. Offering original focused content, starring their favorite actors, created by their favorite creators, is what the audience wants, and crowdfunding will help deliver.
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7000 HOLLYWOOD BLVD LOS ANGELES, CA 90028 323.856.1970 http://www. thehollywoodroosevelt.com/
HOLLYWOOD ROOSEVELT
REINVENTION
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he Hollywood Roosevelt Hotel, located at 7000 Hollywood Boulevard, first opened its doors in May of 1927. Since hosting the First Academy Awards in 1929, The Hollywood Roosevelt has become both a landmark attraction and a popular destination for locals and tourists from
around the world. The hotel, which was named after the 26th President of the United States, Theodore Roosevelt, was conceived in the Spanish Colonial Revival style. In its early years, the Hollywood Roosevelt played host to countless icons: Marilyn Monroe, Charlie Chaplin, Clark Gable and Carole
Lombard among others. The hotel’s history and fame has lent itself to a legendary reputation, which has inspired movie-makers and film directors to set their movies within the hotel’s storybook backdrop.
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BY CHRISPARKER
IMAGES BY: MYLESPETTENGILL WWW.MYLESPETTENGILL.COM PHOTOGRAPHER: GILLESTOUCAS STYLIST: FRANZYSTAEDTER GROOMING: HELENROBERTSON
THE GAME OF VOICES THIS INDIE DYNAMO IS THE VOICE OF SOME THE VIDEO GAME INDUSTRIES MOST ICONIC GAMES INCLUDING THE NEW FALLOUT 4
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am proud to admit, I am a fan boy. What comes with being a fan boy is liking comics, robots, movies and video games. I was so excited to sit down with Courtenay Taylor. If you don’t recognize her face, you surely will recognize her voice. She has voiced some of the biggest video games in history including the voice of “Jack” in one of my favorite game series of all time “Mass Effect”. ISM: How did you get your start in the business? CT: From a very young age I really enjoyed reading aloud. I would read books to my mom in the car when we were stuck in traffic, and I really liked making up voices and personalities for the different characters. I also loved acting out TV commercials, and I would recite the lines along with the actors,
so much so that my sister nicknamed me “The Commercial Lady”. A name I hated, but now laugh about it. I always had a textured voice, but just out of college I was a teaching several fitness classes at a gym and they didn’t have a reliable microphone system, so I ended up with vocal cord nodes, and A LOT more texture! I was taking acting classes and auditioned for a school in New York, after I finished my classical monologue in the audition room the school’s rep very nastily said he wouldn’t even consider my application unless I went to a speech therapist, because I obviously had nodes. “You will never play Juliet with that voice”, he said. I was like, “Uh, I don’t WANNA play Juliet”, but I was pretty devastated that my voice was the deal breaker. I went
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ISM: What was your first video game voiceover? CT: Star Trek: Starfleet Command 3; I played… ahem, wait for it…”Additional Voices”. I had been trying so hard to land a video game, and when I finally booked it I was so eager and nervous that I couldn’t find the correct building! Right around that time I also played a certain female judge on the American Idol video game. ISM: Are you a gamer? Do you ever play any of the games you voice? CT: We have an XBOX 360 and an XBOX One, but I spend more time being “gamer adjacent”, because I’m so terrible when I play that the controller usually gets taken away from me pretty quickly. ISM: What is your favorite character you have voiced, and why? CT: I freaking love working on video games! I’ve had the opportunity to voice some pretty cool ancillary characters, as well as bigger roles, and I have enjoyed different things about each one. Voicing a Nancy Grace type news journalist or a human devouring spider can be just as fun as playing a psychotic biotic or a mysterious spy. I have a role in a game coming out this year that I got to do the performance capture for, which I absolutely loved! Running around the volume in high heels while fighting bad guys – that was the most fun! ISM: You have appeared on shows such as Criminal Minds and Person of Interest. Do you like interacting with other actors on set, or do you prefer isolation voiceover work? CT: I enjoy both. It’s a lot of fun to get to work with other actors, and work off of what they give you on a set, however in the booth my imagination supplies me with a lot of material too. I’m usually working with some damn fine VO directors, so I do get to play 16
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off of other people. I’m happy to work in either medium, but the booth definitely feels like home. ISM: What is the most challenging aspect of voicing some of video games’ most iconic characters? CT: “Iconic Characters” – WOW – Thank you! Different challenges come with different roles, but a common one is working at a fast clip without a lot of context. I rarely get scripts or even pages in advance, so things like character arcs, or who I’m talking to, etc. might not be readily apparent like it is when working in TV or film. A good VO director is going to help fill in different areas where possible, but making strong and fast choices in the booth definitely helps get that party started, and somewhat conversely, emotionally complex storylines are delicious, but it can be a challenge to get out of that headspace when the day is done. ISM: Do you have a method or technique you use to get into character? CT: It depends on the character and particulars of the session. I use everything I have learned in acting classes, from substitution of my own life experiences and the people I love to something as simple as pretending to swoosh an imaginary skirt while I talk. Finding a key phrase is very helpful to drop me in if it’s been awhile since my last session of voicing that character. My boxing and dance training has proven to be invaluable to me in the booth as well, believe it or not. ISM: Are you often featured at tech tradeshows, and if so, how do you connect with your fans? CT: Three years ago I attended my first Comic-Con for Bioware and LOVED IT! Now, I’m repped by TalentForCons.com, and they book me at different sized Cons all over the world. I attend as many as I can. I absolutely love going to different cities and getting
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to meet new friends. I’m a pretty heavy Twitter user (@CourtenayTaylor) as well. Meeting people in person who I have already been talking to on Twitter just reinforces how connected we all are, and it’s pretty cool! ISM: Tell us about your role in Fallout 4? CT: Ha! I’m the female protagonist. I really want people to get to enjoy the game exactly as Bethesda intended, without any spoilers, so I don’t want to say too much about it until it drops. I will say that it has been one of the most amazing experiences of my life, and the team has put a ton of brain matter, muscle, and heart into this bad boy! The more I see of it, the more I am blown away. I really hope the fans are too! ISM: Many of our staff members are huge Mass Effect fans, and of your work as Jack. Will you be in the new Mass Effect 4? CT: I feel incredibly fortunate to have played Jack, so please extend my hearty appreciation to them. While I haven’t worked on Mass Effect 4, I am confident that Bioware will deliver an addictive new adventure like they always do, and I can’t wait to check it out! ISM: Do you have any other exciting projects coming up that you can tell us about? CT: After two years of work on Fallout 4, I’m very excited for it to come out in November, but at the same time I’m really going to miss working with the incredible team at Bethesda. I think I’m gonna camp out in the lobby at the office in Maryland and bring them coffee every morning!
I’m also working on the Firefly Online game as the “Female Player”, and put in a couple of sessions amusing the hell out of a particularly patient Mandarin language coach. The game has a phenomenal crew—I’m doing a panel at SDCC next week with the incredibly talented director Andrea Romano, Wil Wheaton (Male Player voice), Firefly Online EP Andy Gore, and composer David Joseph Wesley. I’m really
looking forward to that one, and getting to connect with some Browncoats IRL! There are other games dropping this year that were absolutely bananas to work on, both because of the popularity of the franchises, and the roles I got to play. [Insert boring NDA disclaimer here.] Yup, yup, yup—the second half of 2015 is definitely going to be awesome, but as Forrest Gump says, “That’s all I have to say about that.”
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Article/Photo By LeahWarshawski @bigsoniamovie
ONE OF OUR OWN: Making a Doc About a Family Member
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hen we started filming BIG SONIA in 2011 we were excited to make a 39-minute short film about a quirky 89-year old woman who drives herself to work every day at a giant dead mall. But when Sonia got an unexpected eviction notice last summer (July 2014) our story arc expanded and we were suddenly embroiled in drama – and trauma – that we never saw coming. As I write this, we’re logging 100+ hours of footage, aiming for a 75-90 minute feature. This is likely a story you’ve heard, or experienced, a number of times in your own process. And with all good documentaries the story usually does change and evolve as you film because it takes so many years (in most cases) just to finish a film. Life happens. Always. But Sonia also happens to be my grandmother, which adds a whole different level of
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“crazy” to our project. Combine that with the fact that this is the most time I’ve ever spent with Sonia and it’s a producer’s dream and worst nightmare at the same time. For anyone who’s made a film about (or involving) their family I’m sure we share similar dilemas and I hope by sharing some of what I’ve learned so far it sparks a discussion that is useful for us all. Surprises Grandmothers Know Crafty What’s better than a home-cooked meal every day on set?! Save time sending your PA out for sandwiches and sodas, and let your grandmother make the best tuna salad and compote you’ve ever had on a film set. I fought this for 2 years and finally gave in. Everyone is happier, including Sonia, who now feels like she is contributing to the project. Genetics Don’t Lie For better or for worse, you might be surprised at how similar you are to your family in the film. I never spent a lot of time with extended family growing up, but the more time I spend the harder it is to separate myself from some of the more complex traits that we all possess. You can’t escape genetics. Find a way to settle in and be grateful for the knowledge so you can make your own path with more awareness of the things you can’t change. It’s Not About Me BIG SONIA is about Sonia and her impact in the world – so I didn’t anticipate that everyone expects me to be in the movie. The first thing people ask when they find out Sonia is my grandmother is “Are you going to be in the film?” We have learned how to defend this is in a tactful way, but expect that if you’re making a movie about your family that includes YOU to some degree. Because we’re all a composite of our families somehow.
people don’t realize she’s my grandmother – when we lead with the story versus the access. Sonia’s story is incredible, but we’re not telling her story because it’s incredible – we’re telling it because it’s relatable, and more timely now than ever. Even if she is my grandmother. Half-Days If you have a big Jewish family you probably know how important food is. And how offended people get if you don’t eat. This means building 3 meals a day into your production calendar and taking breaks to eat challah on Fridays (because that’s when the Hen House carries it) and big family dinners way before a normal produc-
tion day would end. Forget about a normal work day and count on half-days with lots of time for eating and napping.
You Can’t Do It All… So Stop Trying. As if a normal production schedule wasn’t hard enough, when you make a film about your family, suddenly everyone wants to be in the movie or at least spend time with you while you’re in town. We love our relatives, but when you have 4 days to film it’s hard to make time to visit every cousin, aunt, uncle, and new pet in the family. Stop feeling guilty for not transformPitfalls ing into a super-human-do-it-all-producer and have Lead With The Story confidence that you’re doing all you can in every minLet’s face it – the phrase “family doc” gets a bad rap un- ute of daylight available. Your family will (eventually) less you’re exposing deep dark secrets that the will rip understand. your family apart like a bad reality show. I try to avoid telling anyone “I’m making a film about my grandmother” at all costs because the pitch is stronger when INDIE SOURCE MAGAZINE AUGUST 2015 MAGAZINE TEMPLATE APRIL 2015 19
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ringing sophistication to the movie going experience in Broward County, Silverspot Cinema recently opened an eleven screen theater at the Promenade at Coconut Creek, 4441 Lyons Road. In addition to mainstream Hollywood fare, Silverspot Cinema will showcase alternative programming with independent films, award-winning foreign films and exclusive screenings of operas, ballets, concerts and theater. And, in addition to being a supporter of local film festivals, Silverspot will host their own “mini” genre-centric fests such as a Shakespeare event this fall.
http://www.silverspot.net equipped with the latest sound & projection technology, reserved stadium seating, 1,457 extra-large hand stitched leather seats specially made for Silverspot. Silverspot Cinema has tapped innovative restaurant company, David Burke Group, to bring its whimsical flair to the venue’s culinary concessions. In their new role, the group will develop an original concept and consult on the theatre’ food and beverage offerings.
Theater Green
Taking Viewing To New Level
Silverspot Cinema offers a stylish design and atmosphere, creating a truly one of a kind “boutique” destination theater. The theater is 20
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IN CASE YOU MISSED IT Alex Winter Begins Production On Definitive Frank Zappa Documentary Hot on the heels of his critically acclaimed Silk Road doc DEEP WEB, feature and documentary director Alex Winter now turns his attention to the life of iconoclastic musician and thinker, Frank Zappa. Winter will write and direct the film and will produce alongside Glen Zipper, with whom Winter worked on DEEP WEB. heshelman@platformgrp.com
14th Annual Chrysalis Butterfly Ball
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INDIE IS OUR PASSION Web www.indiesourcemag.com iTunes Store https://itunes.apple.com/ us/app/the-indie-source/ id955677586
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