Oz Magazine June/July 2014 by Oz Publishing, Inc

film & tv • print • new media • lifestyle june/july 2014

HAVE YOUR PEOPLE CALL OUR PEOPLE* *please The Georgia Film & Television Sourcebook is filled with highly skilled entertainment industry personnel and scores of local vendors, so for cryinâ&#x20AC;&#x2122; out loud, at least give them a call.** **thanks

Recognizing Excellence The National Academy of Television Arts and Sciences (NATAS) Southeast is a professional organization comprised of professionals actively engaged in television–executives, producers, performers, announcers, newscasters, writers, craftspeople, cameramen and women, directors, artists, designers, photographers, editors, academics, entertainment attorneys and others. Our members work in broadcast stations, cable and satellite companies, independent television production, marketing, new media and performing arts and creative crafts. The Academy provides a forum for the exchange of ideas and discussion of industry problems and concerns. It affords opportunities to meet colleagues both professionally and socially. It promotes professional development in the industry and the community.

Join Us! Services and Activities include: EMMY® Awards: Awarded for excellence and outstanding achievement in television–locally, nationally and internationally. Education: the National Student Television Award of Excellence, presented by the Foundation of the National Academy of Television Arts and Sciences. Networking: Interact with colleagues in the full range of television disciplines at formal and informal gatherings. Seminars: Informative seminars are presented on a wide spectrum of topics, including cutting-edge technologies. Events such as Student Mentor Connect offer an opportunity for professionals to pass along their knowledge to students and peers. Gold & Silver Circle: Honors television pioneers whose careers have spanned a halfcentury or quarter of a century or more. Cinema Club: Members have an opportunity to see feature films prior to their release. Invitations to Events include Industry discussion, technical presentations, private screenings, and professional development workshops. To become a member, please visit

southeastemmy.com

MAGAZINE

STAFF Publishers: Tia Powell (Group Publisher) Gary Powell

Project Manager: Latisha “Tish” Simmons

Editorial: Gary Powell Marilyn Ford (Research)

Sales: Monique McGlockton Kris Thimmesch Martha Ronske

Contributors: Brenna Conley Allen Rabinowitz Andrew Duncan Melissa Randle David Aaron Moore

Creative Director: Kelvin Lee

Production and Design: Sarah Medina Randy Davis Lisa Bell-Davis Ted Fabella (Oz Logo Design)

Cover Design: Chris Neuenschwander film & tv • print • new media • lifestyle june/july 2014

www.ozmagazine.com www.facebook.com/ozpublishing www.twitter.com/ozpublishing (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road #302, Suite 104 Atlanta, GA 30345 Copyright © 2014 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.

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CONTRIBUTORS BRENNA CONLEY A freelance writer with an HBA in Creative Writing from Berry College. In 2013, her novella, Protection, was short-listed for the international Paris Literary Prize. She is currently working on more creative fiction and non-fiction pieces, including a children’s book. She gains her inspiration from landscapes, characters she’s met, and mythology. (A Fine Pairing, p.32) ALLEN RABINOWITZ A contributor to Oz since 1993, covering advertising, cinematography, graphic design and photography. One of the first chroniclers of the Punk Rock scene in his native New York, Allen’s work has appeared in local, national and international media including Communication Arts, How, Photo District News, Shoot, Folio, Agence France-Presse and Georgia Trend. During a stint in public relations, he penned numerous articles on visual communications for a Fortune 100 client. (Union Rules, p. 22) CHRIS NEUENSCHWANDER An Atlanta area printmaker, he received his BFA from Kennesaw State University in 2011 in drawing, painting and printmaking. Chris is the artist behind Noosh Studios where he thoughtfully stains various surfaces with whimsical and humorous designs. He considers himself a visual entertainer, he just wants you to smile. (Cover Design. www.nooshstudios.com) ANDREW DUNCAN He is known in the motion picture industry as “Drewprops”, has been writing about the craft of filmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. (Behind the Camera with Drewprops, p.40 www.drewprops.com) MELISSA RANDLE A professional freelance script supervisor and producer/associate producer. She’s an advisor & past president of WIFTA, and involved with planning several local film festivals. In addition to her involvement with local festivals, she regularly attends the Toronto International Film Festival, Sundance, Slamdance, ABFF & Busan International Film Festival in South Korea. (Voices, p.21) DAVID AARON MOORE David Aaron Moore is the author of “Charlotte: Murder, Mystery and Mayhem” (History Press). His writings have appeared in Creative Loafing, The Atlanta Journal Constitution and numerous other publications in the U.S. and Canada. Also a former Atlanta-based filmmaker, he created and directed the full-length feature and cult camp classic “Have You Seen Krystle Lite?” in 1991. (Propper Emergencies, p.28 www.davidaaronmoore.com) RANDY DAVIS He has been called Creative Director, Design Director, Art Director, Designer and Pop over his long career creating memorable campaigns for cause-based organizations. In addition to his studio duties, Randy is a member of Auburn University’s Department of Industrial and Graphic Design, National Advisory Council. ( Propper Emergencies feature story design, www.RandyDesigns.net) LISA BELL- DAVIS Lisa Bell-Davis, has been a graphic designer in the Atlanta area for more years that she’d like to admit. As owner and principle of Score design+promotion, Lisa has worked with clients in diverse industries, managing corporate branding and designing all manner of logos and print materials, presentation boards, building signage, vehicle graphics, and even a few websites. Currently, she and her husband are involved in a joint venture – wrangling two dogs at home while their two youngest sons are away in college. (Union Rules cover story design, www.coroflot.com/scoredesign)

Film and television

production in Georgia has

hit new heights with the

2008 implementation of

the Georgia Entertainment

Industry Investment Act

The film tax incentive has

lured productions to the

Peach State and has meant

a growth of jobs in the

industry. Benefitting from

this growth have been

the unions representing

the people behind and

in front of the camera

who make the variety of

productions possible

continued on next page

The dame on the stand was a real looker – big green eyes and lips so pouty you’d have thought that they were cross-examining Daisy Duck. Man, but them lips was ever so big… crazy big… heck, I was gonna need to use an eraser on this broad. Seriously, like a rubber eraser. Her lips were nearly the size of a banana and that’s entirely my fault, you see, because I was drawing them. My name is Gilbert Tucker and I’m a courtroom illustrator by day, a gumshoe detective by night, and may entirely be a figment of the imagination of your old pal Drew...

Beth Morris, the propmaster for the show Drop Dead Diva, called me up to see if I could take a turn as their courtroom sketch artist. The show’s creative team employs various bits of courtroom procedure to transition into what would otherwise be fairly routine looking courtroom scenes and from time to time one of those procedures has been a person drawing the events of the court. After a bit of initial hesitation, I decided to take Beth up on her offer because it sounded like fun! Now, one of the things a lot of people outside of the industry don’t know is that there’s a caste system on movie sets. The big movie stars and the executive producers are way up near the top and the folks on the shooting crew

If the entertainment industry was a single company, it would rank as one of the Peach State’s top three employers.

are way down near the bottom. Fortunately for us, there’s a lower rung still: the extras.

I’m going to take some heat for this article because my circle of friends now include people who enjoy being movie extras and they’re not going to like this next bit, but it has to be said: movie and television extras are CRAZY PEOPLE.

To be fair not all of the extras are crazy, but there are enough of the nutty people for it to be a “known thing” amongst the crew. Of course the crew is just as crazy, but they’re not intent on being seen on camera like some of the extras I’ve encountered through the years. If you ever talk with an assistant director, ask them to tell you a few stories

CONTENTS 06 OZCETERA

21 VOICES 22 COVER STORY: UNION RULES MAKING YOUR WAY INTO IATSE, SAG, AND TEAMSTER

28 FEATURES: PROPPER EMERGENCIES THE HORROR AND COMEDY OF THE ART DEPARTMENT

32 FEATURES: A FINE PAIRING

THE ATLANTA FILM INDUSTRY AIDS LOCAL NON PROFITS

38 HOW I GOT INTO THE BUSINESS 40 BEHIND THE CAMERA WITH DREWPROPS 42 OZ SCENE 46 DISTRIBUTION PARTNERS 48 LET ME GIVE YOU MY CARD 50 AD AGENCY CAMPAIGNS

JUNE/JULY 2014

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DEMAND

AN AMERICAN MADE MOVIE!

Virgil Films has acquired distribution rights for “American Made Movie.” irgil Films, the company who previously distributed documentaries such as the Oscar-nominated “Restrepo,” “Miss Representation,” “The House I Live In” and many others, has acquired the rights for the North American distribution of Life is My Movie Entertainment’s “American Made Movie.” The film became available on cable video-on-demand (VOD) beginning in April, with online VOD beginning in May. The documentary is also available as well on DVD and Blu-ray.

“American Made Movie” looks at the communities and families paying the harsh cost for the decades-long decline of manufacturing jobs in America. As employers struggle to compete in the global economy, moving operations overseas and slashing work forces at home, it feels like no one is fighting for American jobs, especially in manufacturing. Nathaniel Thomas McGill and Vincent Vittorio’s film argues persuasively against this trend, focusing on the positive impact of domestic manufacturing jobs on national and local economies in the face of great challenges. Also forthcoming from the McGill/Vittorio filmmaking team: “Incarcerating US” explores the intricacies of the deeply flawed criminal justice and prison system in the United States and why the U.S. has more prisoners than any other country in the world. “Warehoused” is a documentary film examining the plight of long-term refugees trapped in border camps for ten years or more without the right to work, generate income, move freely or choose their place of residence.

THE DINNER PROJECT

C ongrats to actresses Jessica Leigh Smith and Jyn Hall, producers of a new web show, “The Dinner Project.” The ongoing series puts actors and casting directors together in a conversation about the industry. The first episode featured Mark and Sharon Fincannon. The second episode features Jen Kelley 6

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and Rita Harrell of Big Picture Casting. Future episodes will feature Brian Beegle of Stilwell Casting or Rhavynn Drummer of Tyler Perry Studios. Goals for the series include educating the local community and breaking down barriers between actors and those on the other side of the desk.

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JUNE/JULY 2014

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GROUND FLOOR GOES GREENE A

dam Greene joins the Ground Floor Video (GFV) crew. Greene is a post production wizard from Nashville, TN with a love for all things cinema. He is primarily a visual effects specialist, but also has a strong background in production, prop design, and animatronics. Adam Greene joins Ground Floor Video’s post production department.

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FV recently traveled to Washington, DC to G live stream the anniversary of the Tea Party Patriots, celebrating 5 years of grassroots political activism. The event featured high profile speakers such as Sen. Rand Paul, Sen. Ted Cruz, Rep. Michelle Bachmann and Jenny Beth Martin as well as other

national leaders. The event also launched Tea Party Patriots new branding, “Pursue Your American Dream”. GFV also provided six inspirational video packages shown on two large projection screens that excited the crowd throughout the day long event. W hen Breitbar t News Network needed livestream experts they turned to GFV. The crew travelled to a ranch in the middle of Texas with no hardwired internet connection, desert for miles around, and were still able to provide a live web stream of the Patriots for Freedom rally.

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FAT GUYS IN THE WOODS W

eather Channel producer, Denise Denson called on Tube for a recent project. Nature called Tube to Wilderness Hunting Lodge in the foothills of the Tennessee Cumberland Mountains. The hunting lodge usually specializes in wild, exotic game hunting. Apparently you can hunt pretty much any animal with four legs there including wild boars, deer, antelope, rams, buffalo, and aoudad (we had to look it up too.) However, Tube was there to shoot one thing, and one thing only: couch potatoes.

Tube: Helping “Fat Guys in the Woods” since 2014.

T he newest addition to The Weather Channel’s original series roster is going to hit the airwaves this summer. “Fat Guys In The Woods” is a reality show like no other. Each episode documents the trials and tribulations of three everyday couch potatoes who are put in wilderness survival situations. They are not left completely alone to fend for themselves though. Survival expert and host of the show, Creek Stuart, is there to guide them through their journey to become a self-reliant wilderness survivor. While we were there, Creek taught contestants how to build a fire, make A total of 5 bands out of 16 were selected to shelter, find and eat bugs, as well as trap perform live in May at Opera Atlanta Event a wild boar. Center in Midtown Atlanta. A panel of celebrity judges selected the Top 3 Bands and People’s Tube was brought on to shoot behind the Choice was given to the group with the loudest scenes and promotional material for The applause after the live performances. Weather Channel to use as social media content and on-air promos. The Tube TAG Battle of the Bands is a unique musical crew included owner and creative director, competition featur ing bands made up Chris Downs; operations manager, Justin of Georgia’s most talented and creative New ton; shooter, John Nolen; and technologists. Band members did not have to freelance audio tech, Derrick Minyard. be professional musicians; just lovers of music! Applications were submitted from bands spanning different genres with each band posting their own music video on TAG TV.

A TAG TEAM BATTLE ROYALE T

he Technology Association of Georgia (TAG) in partnership with the TAG Digital Media and Entertainment Society proclaimed Ethan and the Ewox as the winners of the first ever TAG Battle of the Bands competition. The band, representing Atlanta-based STIBO Systems and Abacus Solutions, included: Lafrandin Minchew, Gary Chumney, Rob Bruce, Ethan Baker, and John Ballard. The group won both the top slot as well as the People’s Choice Award for their original tune, “Monkey Butt”. The other winning bands were: 2nd Place, The Fiascos, comprised of members from North Highland, and 3rd Place- Tullamore Road, comprised of members from Cisco Systems.

TAG Battle of the Bands Winners: Ethan & the Ewox (l-r) : Lafrandin Minchew, Gary Chumney, Rob Bruce, Ethan Baker, John Ballard with Emcee Dana Barrett and TAG President/CEO Tino Mantella.

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OZCETERA BUILDING PEOPLE PLACEMENT

T H E R E I S S O M E T H I N G YO U SHOULD KNOW ABOUT THIS TEAM.

Margie Eberline joins Hire Profile. Hire Profile has hired new team member, Margie Eb er line. Eb er line will b e heading up new business development, sponsorships and marketing research. She has a background in account management, film and TV production, and research. Welcome to Atlanta.

or Americans, protection and safety are top priorities and can now be prepared to learn the necessary tools in creating hillbilly home security in Destination America’s all-new series “Prepper Hillbillies.” The show’s highly skilled craftsmen — old-school prepping guru Barry, high-tech expert Eric and lifelong builder Fred of The Moss Shop in Jonesboro, Georgia put the safekeeping of South Georgia into their own hands, stopping danger in its tracks with inventive and entertaining home security systems. No threat is too small as the trio devises creative solutions for warding off possible hazards from trespassing and burglary to high-intensity doomsday scenarios. At their one-stop shop for home protection, The Moss Shop team construct what they see fit to ensure the highest level of safety for their clients, from exploding trees and secret escape routes to booby-trapped driveways and distracting decoys. In the premiere season of “Prepper Hillbillies,” viewers can see firsthand how the right plan of attack in home security can save a farmer’s goats from coyotes, protect pricy lawn equipment from pesky neighbors, and prepare for the biggest threat of all: an apocalyptic event. The show is produced for Destination America by MorningStar Entertainment with Gary Tarpinian and Paninee Theeranuntawat as executive producers. For Destination America, Caroline Perez is executive producer, Sara Kozak is senior vice president of production, Marc Etkind is general manager, and Henry Schleiff is group president of Investigation Discovery, Destination America, American Heroes Channel, and Discovery Fit & Health.

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JUNE/JULY 2014

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NEW SKY WHEN YOU FLY D

elta Air Lines has unveiled a redesigned version of its in-flight SKY magazine, the most read in-flight magazine in the world, that celebrates people and travel with the release of the April 2014 issue. The new SKY will be a leading premium travel magazine focused primarily on business travel and aligned to the interests of Delta’s customers. “As we continue offering premium products for our customers, we’ve looked for ways to differentiate each element of the onboard experience, including our tremendously successful SKY magazine,” said Tim Mapes, Delta’s senior vice president – marketing. “The new SKY will focus on content that is both relevant and interesting to our customers, providing them with yet another entertainment option on their travels around the globe.” T he new SKY will focus on four key editorial areas relevant to Delta’s customer base: travel, people, business and innovation. The magazine will highlight the best in travel with a focus on Delta’s routes, products

and partnerships; cover people and stories that align with customer interests; provide editorials about people, places and things that are unique, differentiated and relevant to Delta; and cover trends, technology and places that are pushing progress and advancement in the travel industry. The design of the new SKY will use more evocative imagery and a cleaner design for the reader with content organized into more clearly defined chapters and will direct readers to additional content - including slideshows, video and music lists on Delta’s digital channels, including in-flight entertainment systems, the Taking Off blog and the Fly Delta app. SKY is also available for download each month on the Fly Delta app for iPad. Readers can expec t to see new stories hig hlig hting innovatio n in t r avel and business, with longer feature stories around interesting and relevant destinations. This new organization and focus on content will continue to have the same great, award-winning

editorial features and retain popular columns like My Favorite Street, My Bag and Style Inspiration. The April cover of SKY features Sir Richard Branson, founder of Delta joint venture partner Virgin Atlantic Airways and Virgin Group, and focuses heavily on London both as a business and leisure destination. SKY is a premium onboard magazine with an industry-leading monthly readership of 5.2 million unique readers and has received multiple editorial and design awards, including Pearl and Folio awards.

DRINKING AND NOT DRIVING

S ampling the wares is part of the job at breensmith. Associate creative director Adam Millman completed package designs for EuroBevs’ complete line of craft beers. On the other hand, breensmith also created an outof-home campaign for SafeRide, a national non-profit that helps keep our streets safer by picking up drivers that have had “one too many,” as well as their vehicle.

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BCM STYLE B

iscardi Creative Media (BCM) artists Walter Biscardi, Jr. and Kylee Wall performed a quick turnaround, internal project for Heraeus which brought together original elements shot in the Buford, Georgia and England manufacturing locations. Originally conceived as two independent videos, Heraeus really liked the BCM style and decided to combine the two videos into a single project. Biscardi and Heather Hamilton did all original photography in Buford and a local team was hired in England to photograph that facility due to the short deadline. BCM’s international broadcast experience came into play with the combining of US NTSC footage and European PAL footage into the same project. The final project presented the information clearly using a modern, filmic style.

Biscardi Creative Media’s Heather Hamilton, getting down and dirty on a recent shoot for Heraeus.

CM recently completed a full day B of production for a new Interactive Advantage Corporation training project. BCM and IAC have a long history of working together to enhance the interactive learning experience through scenarios and other video elements. Director of photography Marion Laney and photographers Walter Biscardi, Jr. and R. John Becker spent the day shooting multiple scenarios with up to 6 actors on screen. BCM Principal Walter Biscardi, Jr. recently completed his yearly visit to Las Vegas and the National Association of Broadcasters Convention. Biscardi is a regular to the show making multiple personal appearances and often giving live presentations as part of the event. He is a long time tester, writer and collaborator of many industry giants who seek out his input on new and renovated products. This year he was one of four people awarded the “VIT” by the NAB Show . . . Very Important Tweeter. Biscardi was also all over social media with his now annual “WallyCam” feature, a one-man band, super low tech interview format he does both on the show floor and at after hours events.

Walter Biscardi, Jr. (right) with friend on the floor of NAB in Las Vegas.

JUNE/JULY 2014

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MILLEDGEVILLE ROLLS OUT THE RED CARPET T

he First Annual Milledgeville Film Festival delivered three days of movie magic in the heart of Downtown Milledgeville, Georgia. Filmmakers from around the world gathered at the Magnolia Ballroom. The red carpet was filled with noted stars including Stevie Lynn Jones, star of NBC’s “Crisis” and the fun crowd from “Here Comes Honey Boo-Boo.” Dinner was immaculate and the keynote address from Stevie Lynn Jones captivated the audience. The East Coast premiere of the AFI film “Young Americans” followed with a Q& A featuring writer/director Kevin Lacy, cinematographer Kristin Fieldhouse and lead actress Stevie Lynn Jones.

Honorees on stage at the First Annual Milledgeville Film Festival.

T he following morning included intimate wor kshops with indus tr y veter an directors, producers, casting directors, agents, and actors. Casting director Brian Beegle and agent Barbara Garvey provided valuable insight to life in front of the camera while producers Larry Hartle and Scott Thigpen discussed

what it takes to bring a project to life behind the scenes. Directors Kevin Lacy, Kristin Wheeler, BJ Gonick and Jason Prisk also engaged a large crowd. S aturday afternoon screenings with short and feature films from around the world shined a light on the many different styles of filmmaking. In the evening, hundreds flocked to the Oconee River greenway to view a community screening of the hit film “Spectacular Now” projected onto a three-story blow up screen. T he final day kicked of f with a filmmakers brunch hosted at Andalusia (former home of famed southern author, Flannery O’Connor), where guests were provided a private tour of the historic property by newly appointed executive director Elizabeth Wylie and April Moon. Additional screenings followed with an awards ceremony honoring excellence in film.

KELLY SHANE TAKES THE STAGE Kelly Shane takes over as PC&E’s new stage manager.

elly Shane has become PC&E’s new stage manager. Shane has been the stage K assistant for the past 16 months and has stepped up to oversee the rental of Stage One and Stage Two at the 2235 DeFoor Hills location as well as the Briarwood Stage at 1842 Briarwood Road.

NEW AT PC&E:

The Phantom Flex4K is a thirdgeneration digital cinema camera providing the ultimate in image quality. Designed for the cinematographer, the Phantom Flex4K is a high-speed camera providing exceptional flexibilit y through its frame rate capabilities and by adapting to

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different shooting styles. The super35mm 4K sensor provides sharp, detailed images with extremely low noise and high dynamic range. The Flex4K is capable of shooting from 15 frames-per-second (fps) up to 1,000 fps at 4K, and up to 2,000 fps at 2K/1080p.

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INDIE “HITS” WITH

PLACEMENT P

MUSIC

lacement Music was chosen by Emmy™ Award-winning writer, actor and comedian, David Cross to provide four songs for his directorial debut, “HITS,” a dark comedy exploring the nature of fame in 21st Centur y YouTube A mer ic a, which recently debuted at the Sundance Film Festival. Working with Joel C. High of Creative Control Entertainment, the film’s music supervisor, Placement Music secured: a re-record of Sara Bareilles’ “Brave” by Songs of the Architect; an original composition from Jason T. Shannon and the team at Tunewelders; an original song by Mark Dannells and Chris Cox of the Placement Music creative team;

and a catalog track by Decatur Redd, an independent Hip Hop artist from the AFFIX Music Catalog. Cross said, “Music can make the dif ference bet ween a good scene and a great scene. ‘HITS’ required a broad selection of musical styles so we engaged Placement Music because of their proven track record and access to a wide range of talent.” “HITS” takes place in a small town in upstate New York, populated by people who trade in unrealistic expectations. It’s a story in which fame, delusion, earnestness, and recklessness meet, shake hands, and disrupt the lives around them.

Film and Video Supply For all your expendable needs

Lee Rosco Setwear

Reyes Shurtape Matthews

American Arri Lighting Mole Richardson

www.filmvideosupply.com 404-609-9001

JUNE/JULY 2014

OZCETERA REMODELING AND DREAM KITCHENS:

THE KLEBER WAY K

leber & A s sociates won a Platinum award for Best Integrated Marketing Campaign: Residential Remodeling in Hanley Wood’s 1st Annual Brand Builder Awards. The Brand Builder Awards recognize innovative and effective marketing campaigns throughout the residential and commercial design and construction industry. The competition is designed to honor the organizations that have demonstrated superiority in their ability to develop, create, implement and execute marketing strategies and tactics that define excellence.

Kleber & Associates’ client Elmira Stove Works is the recipient of three website awards. The newly designed Elmira website, “What’s Old Is New Again” won an Interactive Media Award, a Marcom Award and a Davey Award. The Elmira website features an interac tive “Dream Kitchen” visualizer tool where website visitors can digitally customize their kitchen with Elmira products. The awards recognize that the projec t met and surpassed the standards of excellence that comprise the web’s most professional work.

LOCATE GOOD!

Your production will help those in need if you set your scene at The Salvation Army’s Ray and Joan Kroc Corps Community Center.

State of the Art, 53,500 sq. ft., LEED Silver certified building; 200-seat Chapel/Theatre; 200-person community meeting room; 8,000 sq. ft. gym with walking track, exercise room, concession stand and café; 650 sq. ft. art studio; nursery and toddler care areas with playground; game room; dance studio; classrooms, conference and green rooms. For facility rental inquiries, please contact Brandon Bragg: brandon_bragg@uss.salvationarmy.org

www.kroccenteratlanta.org

(404) 638-7201 • 967 Dewey St., SW, Atlanta, GA 30310 16

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ARKETI DESIGNS NEW MORTGAGES

rketi Group was selected by XINNIX, a leading provider of mortgage sales and leadership training, to create a new brand identity. The company is expanding its offerings to meet market demand for different training regimens including new digital offerings. Creating a brand that reflected the new XINNIX was critical to ensure its ongoing success. XINNIX’s initial engagement with Arketi included defining the appropriate value proposition for the constantly changing mortgage market. XINNIX’s training programs not only provide participants with techniques to increase production, but also leaves them excited about having the tools to generate more sales. Based on the successful new messaging, Arketi created a brand identity including a new website and a complete redesign of their collateral strategy, including a corporate brochure, product offering pieces, email templates and trade show materials. S ince more of its business is moving to online training programs, XINNIX needed an all-in-one site that was easy for both clients and staff to use. Arketi built a responsive website that works with any desktop or mobile device, and integrated the site with an ecommerce engine that makes access to online training solutions easy.

SOJO TRANSFORMS S

ojo is transforming and taking another step for humankind! Sojo is now VIVO360. With a team of creative and technology professionals, they are once again ahead of the evolutionary curve taking place and have re-imagined and reinvented their agency based on today and the future. VIVO360 is a digitally-led, cross-media creative agency, creating exceptional experiences that help their clients strengthen relationships between brands and the people who matter the most to them.

JUNE/JULY 2014

In Memoriam

Alan Martin

August 29, 1955 â&#x20AC;&#x201C; March 31, 2014

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OZCETERA MEMORIES OF

ALAN MARTIN

It was apparent from the moment I started working with PC&E in 2005 that Alan Martin had a passion for helping people. Alan was always willing to assist a client, co-worker or friend with any problem they encountered passing through PC&E. Whether it be with our gear, vehicles or their own. And he always did it the same way, with a smile. I remember one time when I was out with one of our cube trucks on a Saturday and I couldn’t get it to turn over. I contacted Alan, probably parked on an Island at Lake Lanier enjoying an adult beverage, before I could give him all the symptoms he told me to make an adjustment to the shifter and the truck fired right up. He will be missed. – Stephen Kirkpatrick Alan’s favorite time of the year was summer. He could not wait for the weather to be warm enough to take his boat out and dock it at one of the islands on Lake Lanier. If the weather was nice he would dock his boat on the island from Friday evening to Sunday and anyone that docked their boat near Alan’s became friends with Alan because he would talk to everyone. He had so many stories to share with anyone that wanted to listen. When I think of Alan it brings a smile to my face because there are so many times he made me laugh. I miss him. – Dawn Dye Alan always used to tell me jokes. They always made him laugh, and he would laugh even harder when the jokes were bad and he got my “oh, Alan!” response. Everything Alan did was with true commitment, professionalism and most of all friendship. I miss him, but I will always hear his laughter. – Erin Murphy Alan was one of the nicest and most helpful people I have known. I basically grew up with Alan. Ever since I was young I can remember going boating with him and Patty and his kids at “cocktail cove” on Lake Lanier. We would hang out and have bonfires, fireworks, and parties on the island. Since I have grown older and had a chance to work with him I have realized even more what a generous and down to earth guy Alan really was. He will truly be missed and can never be replaced here at PC&E. – Loren Swinton Alan was such a friendly guy. He would do anything to help people and do it with a smile. PC&E will have a hard time replacing him. He is missed. “I GOTTA GO GET MY WALLET.” – Lucy Smith

Alan was a huge fan of the show “Survivor.” I felt like I had to watch every Wednesday night because I knew the first thing he’d say to me Thursday morning was, “Did you see it?” Now as I watch each episode whenever things get a little crazy I think about him and how he’d love it. – Paul O’Daniel Although I didn’t have much time with Alan every encounter with him was warm and welcoming. I remember helping him convert some footage he shot of some high powered boats. He was so excited to get the footage back and would ask with a big warm grin on his face if I had finished the DVD yet. He was a very gracious human being and I will look back fondly on the short time I had with him. – Kevin Johnson The last conversation I had with Alan he talked about camping and hiking up to Horse Trough Falls. He ended up jumping over the guardrail and going straight up to the falls. Nothing held Alan back. I always admired his love of nature. – Lori Snow Nina and I were on vacation in New Orleans and just by chance, Alan was down there driving camera car on a Britney Spears movie. We met up one night on Royal Street and whooped it up real good. We ate tons

of oysters and crawfish and NOL A-style beverages. Alan was great fun to hang out with during extracurricular activities. – Steve Sonsini “I gotta go,” is my favorite Alan quote. – Randy Nappier One of the things I really miss was getting Alan’s perspective on politics, he always had common sense way of looking at it. Alan also had a big sense of adventure that I admired in him. We will miss hearing at 4:30 “Ca Mon Pickle and Bullet.” – Billy Tuttle I saw Alan in the warehouse one day as he passed one of the younger employees pulling an order with electrical distro. Alan looked at the cable and the distro boxes on the order and went quietly over to the young man. Alan asked him to think about the order and how the customer would be using it. It quickly became apparent that there was a mistake on the order because the cable and distro boxes couldn’t be used together. Alan said, “Always think about what you’re pulling and how it will be used. Don’t just fill the order without thinking about it.” The calm and considerate approach he took to teach a valuable lesson has always stayed with me. – Mark Wofford

JUNE/JULY 2014

OZCETERA

INTO THE

CODE S

uperlux has launched a new service group: web design & development, plus digital publications. As moving images become increasingly integrated with our surroundings, their digital containers play a bigger role in how they are experienced and understood. To demonstrate these new capabilities, Superlux re-launched their website, a big responsive canvas, with intuitive, story-driven navigation across all platforms: desktop, tablet & smartphones. It’s also filled with fun design references to the dawn of the digital era. And, you can count on healthy doses of glam, exuberance and cheeky tabloid flavor.

CMP LENSES MOVING PORTRAITS

raig Miller Productions has been awarded a project by the Georgia Department of Economic Development to shoot a sixmonth commercial campaign for the state. CMP recently marked the first day of scouting for what will soon become one of the largest and most comprehensive video shoots that Georgia has ever undertaken. Covering 45 locations, in all nine tourism regions, the new “Georgia: Moving Portraits” campaign will not only showcase this beautiful state, but also will tell the stories of the many Georgians that make this a great place to visit.

OZ MAGAZINE

VOICES

OICES

MA XIMIZING YOUR

FESTIVAL RESULTS

or the first-time filmmaker, getting into the festival of t heir choice may sig nif y all of their hard work has f inally paid of f, and that festival is an opportunity to revel in their accomplishment. Tons of hopeful filmmakers are checking their mailboxes anxiously awaiting for word on their film’s festival status. For those who get accepted, it’s a joyous occasion - there’s news to share, travel and accommodation plans to make, then figuring out how to pay for expenses that probably weren’t allocated in the budget, along with some last minute post work, and of course, a lot of well-deserved celebrating. While indeed a great achievement, beginning filmmakers need to also understand that participating in a festival lineup ushers in a whole new phase of work regarding the promotion and marketing of their film.

The festival season is an exciting time of year - Sundance and Slamdance festivals help kick things off, followed by SXSW, Tribeca and Cannes, yet many more festivals fill the calendar for the remaining half of the year. Film festivals are wonderful tools - they provide a screening venue to showcase your film, complimentary programming/activities for an overall industry themed experience, and the goodwill reputation of their name to attract a general number of attendees to support their efforts. What they don’t or can’t do, however, is ensure a sold out screening, or the sort of participation every filmmaker hopes for when they view their film with an audience on the big screen. Programmers want filmmakers to be successful and have an amazing experience, but they don’t have the resources (nor is it their responsibility) to be the film’s personal PR/ marketing team, the only person responsible for that is the filmmaker. There is a common misperception, by beginning filmmakers that once accepted, the festival will

AS A FIRST TIME FILMMAKER BY: MELISSA RANDLE

A WHOLE NEW PHASE OF WORK REGAR DING THE PROMOTION AND MAR KETING OF THEIR FILM. take care of everything else, including ensuring a nice sized audience draw for their film. They eagerly await official selection instructions on credential pickup and the festival itinerary to see what’s been planned on their behalf. They believe when they arrive, (with the exception of the Q&A following their screening), that they are there to enjoy the full festival VIP ride and all it has to offer. They approach it as though they are passive participants, who go where they’re led or the filmmaker shuttle takes them, and their overall experience, as well as the audience turnout for their screening will reflect as much. Granted, there may be some who had the perfect logline, submitted an interesting production still, came up with a catchy title, or a cleverly written synopsis that will draw an audience of interested moviegoers without any additional effort, but chances are that’s a rare occurrence. Also, if their film is playing at one of the larger festivals, the competition for viewers with multiple screening choices, panels, socials and networking options, can be stiff and a harsh reality. Two out of town filmmakers came to Atlanta for the first time to attend a festival at the Woodruff Arts Center in Midtown. Upon arrival, f ilmmaker A checked-in at guest services got his credentials, did some nearby sight-seeing and settled into his hotel near the screening venue. Filmmaker B also picked up his credentials, dropped off his bags in his room, inquired about some directions and then proceeded out on foot to canvas the surrounding area with promotional posters for

his film. During his trek, he stumbled onto a radio station at Colony Square, and while I still don’t know how he managed to do so, he talked to the right person, told them about his upcoming screening and actually got one of the radio personalities to give his film an on-air plug. The story could end here, as you can already guess the results - filmmaker B had a standing room only screening and was able to use the audience feedback to gather valuable information about his film (part of the main purpose of having a screening); while filmmaker A showed up to their screening to find dismal turnout numbers, and conduct a Q&A with a only a mere handful of viewers. Filmmaker A had put just as much work into the production of his film as filmmaker B, yet they had two completely different festival experiences. Festivals are truly fantastic out lets for f ilmmakers to showcase their work, get exposure, network and potentially f ind distribution, but it’s your job as a filmmaker to make sure your film gets the most mileage from that experience by having a strategy in place before you arrive. Whether it’s scheduling interviews with local media outlets, having promotional items like t-shirts, posters/ handbills or giveaways, boosting your social media presence and targeting local groups that fit your film’s demographic, or staging an elaborate hoax that gets people talking - you have to make some noise and let people know about your screening to ensure butts in seats!

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TITLE

If the a single company, of the Peach 22

OZ MAGAZINE

Film and television production in Georgia has hit new heights with the 2008 implementation of the Georgia Entertainment Industry Investment Act. The film tax incentive has lured productions to the Peach State and has meant a growth of jobs in the industry. Benefitting from this growth have been the unions representing the people behind and in front of the camera who make the variety of productions possible. continued on next page

entertainment industry was it would rank as one Stateâ&#x20AC;&#x2122;s top three employers.

JUNE/JULY 2014

“The tax incentive played the key role in

rising in 2014 to the current tally of 2,400

$500 to sign up to get on a referral list.

incentivizing business to come into the

members on the books. The growth includes

There are four lists, and while being on a

state,” says Ric Reitz, current president of the

people new to the industry and industry

list does not guarantee work, it does reward

Screen Actors Guild/American Federation

veterans who had moved away, but have

veteran drivers with the first shot at a job on

of Television and Radio Artists (SAG/AFTRA)

moved back to Georgia. Another part of

a production.

Georgia,

performers.

the increase includes those who left the

television

production business to make a living in

“When a production company comes to

related, music videos, digital interactive

other industries and have since moved back

town,” says Lefebvre, “they’ll ask for the list

entertainment or interactive gaming and

into production. In addition to that, a large

and hire the drivers. All the people on the

which

“Whether

represents film

related,

commercials, Georgia has found itself in a

number of Georgia residents who lost their

list for Group 1 have to be working before

terrific niche, as one of the top three U.S.

jobs in 2008 for various reasons and moved

they go to the list for Group 2 and so on.

production centers, behind L.A. and New

over to the entertainment industry.

The top list has drivers who worked on such

Melissa Goodman, executive director of the

and the Bandit,’ so they’ve been doing it

In fact, if the entertainment industry was

Atlanta office of SAG/AFTRA, which covers

for years. The work in Georgia dried up for

a single company, it would rank as one of

Georgia and South Carolina, states that her

a while, so they went out to different parts

the Peach State’s top three employers. The

union has also seen, “tremendous growth.

of the country or took on different jobs. But

2008 financial crisis, which caused anguish

There are approximately 1,500 current

now, the business has come back so their

in other states and sectors in the economy,

members in SAG/AFTRA Georgia, up from

patience is being rewarded.”

was somewhat buffeted by the increase

700-800 members a decade ago. A number

in production work brought in thanks to

of members recently relocated here from

The membership for Local 728’s membership

the film tax incentive. New graduates and

other markets.”

varies, but the numbers break down to the

opportunities to learn new trades and still

Tony Lefebvre, business agent for Teamsters

years and up (85 names); Group 2, 12 to 19

support families.

Local 728, which covers Georgia, says

years (80 names); Group 3, four to 11 years

productions as ‘Deliverance’ and ‘Smokey

York.”

the

unemployed

were

presented

following experience levels: Group 1, 20

with

that his union has also seen an influx of

(160 names), and Group 4 is for those trying

“The crafts and jobs that we represent did not

new members, swelling its ranks to 7,200

to get in the union. The Group 4 list has

see a downturn,” says Mike Akins, Business

with about 500 working on entertainment

about 370 names on it, but all the people on

Agent for Local 479 of the International

projects. The largest component, however,

lists 1 through 3 have to be working before

Alliance of Theatrical and Stage Employees

works for companies like UPS. “Unlike some

a producer can hire from the fourth list. Out

(IATSE), the union representing a wide array

other local offices around the country,” he

of those 370, only about 60 have worked on

of behind-the-camera crafts people working

explains, “we’re not a movie-only local.”

production projects.

Gaining a place on the union’s rolls varies

There are, according to Lefebvre, some

among labor organizations. The Teamsters,

exceptions to the rule. Although a producer

Akins cites membership statistics showing a

for example, work on a seniority system.

can’t hire an individual from the lower-

2002 tally of about 160 registered members

Potential

experienced groups until the pool on the top

in Local 479, increasing to 600, in 2006

Commercial Driver License (CDL) and pay

lists is depleted, if the position being filled is

on productions in Georgia. “We increased our membership because of the tax incentive.”

members

must

possess

left to right: Mike Akins , Business Agent, IATSE Local 479 • Melissa Goodman, Executive Director, SAG/AFTRA Atlanta • Tony Lefebvre, Business Agent, Teamsters Local 728 and Ric Reitz, President, SAG/AFTRA 24

OZ MAGAZINE

their crafts encompassing almost every

for a captain, it will be allowed.

film and television is not covered work.

department necessary to get a production to Says Goodman, “Plenty of people come here

“The captain is our shop steward as well as

a screen, from editors to camera, production

the head Teamster on the company,” says

designers to script supervisors, and many

and say ‘I’ve worked background jobs on

Lefebvre. “The captain runs the show on

more. Although many Locals cover a

‘Vampire Diaries’ or ‘The Walking Dead,’ but

transportation for the Teamsters: setting the

specific craft, Akins says, Local 479 covers

that’s not covered work, so they have to work

call times for the drivers, gets the pick-ups,

predominantly

set

three jobs under covered, contracted work;

sets up base camp when they move. The

dressing, the greens department, wardrobe,

or have one principal role in a SAG/AFTRA

captain makes sure the talent is picked up

grips, electrical, craft service, special effects,

covered film, commercial, television show or

on time, hands out schedules, makes sure

sound, video assist and first aid.

new media project.”

construction,

props,

everyone is where they need to be.” “We have an application that needs to be

Once that is accomplished, the aspiring

The transportation coordinator is another

filled out, you need references from within

actor would pay a one-time initiation fee

exception

The

the Local,” says Akins on how to join IATSE.

for membership. That fee differs all over the

coordinator is usually a Teamster, but not

There are residency requirements and an

country, depending on the size of the market.

covered by contract and works out his own

application fee and membership dues of $56

In addition, there are semi-annual dues. If

deal with the producers. This person runs the

per quarter. The local also assesses 3 percent

a lower rate, such as the one in Georgia is

transportation department and is in charge

work dues. The dues structure is set up so

paid, and if the person then relocates to and

of obtaining the necessary equipment.

that it’s a percentage over and above what

works in California, they are required to pay

our membership is to the International Local.

the difference in the initiation fee at the time

the

seniority

rule.

Once a Teamster has been chosen from a

It graduates each year by a dollar or two.”

list, he or she might find himself or herself

he or she joined. In Atlanta, the fee is $1,025; the California initiation fee by comparison

driving a variety of vehicles. “The Teamsters

No matter which craft the applicant seeks to

is $3000. Proof of residency and of work in

handle anything that rolls,” says Lefebvre.” It

join, Akins says a lot of the expertise to do

the state must also be shown. Members are

might be a golf cart, cranes, vans etc. The

the work comes primarily through on-the-job

required to follow Global Rule 1, meaning

producers have the freedom of assignability;

training. Once in the union, however, training

once they join, they vow not to do non-union

but they usually like to keep the same person

is available at no cost to the member. “So,

work that SAG/AFTRA has tried to organize.

on the same piece of equipment day to day.

for example,” he explains, “if we offer a grip

You don’t know exactly what you’ll do when

class, you can take that class. The same for

Goodman points out that the union’s Georgia

you come to work for somebody. You could

sound, safety or any educational class we

chapter offers a number of workshops and

be doing a number of things. That’s why we

offer. It is free to the members.”

activities. “We have an event called the SAG/ AFTRA Conservatory that meets twice a

require the CDL, because it is not a regulated

month, where we bring in casting directors,”

job on some shows, the producer needs the

Actors seeking membership in SAG/AFTRA

freedom to move you around.”

also have a path to follow. That person must

she states. “We have privileges that are not

work under the union’s contract as a principal

available to non-union members.”

IATSE, according to Akins, is “a labor

performer or work as background performer

union that works predominantly behind

on three jobs that are SAG/AFTRA covered

“It puts you in the plane of professional

the camera.” The union’s Locals vary in

work. In Georgia, however, background for

craftspeople in the industry, which is

Whether it is film related, television related, music videos,

digital interactive entertainment or interactive gaming and

commercials, Georgia has found itself in a terrific niche, as one of the top three U.S. production centers, behind L.A. and New York”

~Ric Reitz, SAG/AFTRA

JUNE/JULY 2014

recognized internationally,” says Reitz on

regulated position, the guys and girls have

the benefits of SAG/AFTRA membership.

standards they have to adhere to, they have

“Further, all the large-scale projects are

to be drug tested and have to maintain

union projects to begin with—whether

their licenses. There may be some that slip

did not see a downturn,” says Akins. “We

they originate in New York or California.

through, but on the whole, there isn’t a

increased our membership because of the

Most of those people have already signed

production company of any credibility that

tax incentive.”

signatory agreements because of the star’s

wants non-union people driving for them.”

the production industry above water. “The crafts and jobs that we represent

Lefebvre also believes the incentive law came

participation, and almost 100 percent of

at the right time. “During recession we

the stars are members. Once a project

The unions are also proud of the leadership

has memberships included in the contract,

role they played in the origination, passage

lost a number of jobs through mergers and

everyone—whether they’re from here or

and

Georgia

cutbacks in freight line business,” he states.

not—is entitled to perform.”

Entertainment Investment Act beginning in

“If not for the production industry, a lot

2003 with the formation of the Georgia

of the members would have lost their

Although Georgia has been a right to

Production Partnership (GPP), a private sector

houses and been out in the street.”

work state (meaning union participation or

group tasked to create a mechanism to

implementation

the

membership is not required) since the 1940s,

educate the state legislature and the public

Highlights from the Georgia Entertainment

and it is against state law to have only union

about the production industry. The GPP put

Industry Investment Act include the following:

members on set or have quotas or minimum

together a proposal, hired lobbyists and

hire standards; Reitz says that producer

spread the word about Georgia production

prefer union crews on their shows. “Most of

and why the incentive program was a benefit

the projects that everyone is aiming for are

to all in the state.

• 20 percent base transferable tax credit • 10 percent Georgia Entertainment Promotion (GEP) uplift can be earned

unionized; most of them do not originate here,” Reitz says. “This is a right-to-work

Akins says the key selling points on the new

by including an embedded Georgia

state that entitles those who are not in a

law included, “Job creation and leveling the

logo on approved projects and a link to

union to apply for and audition for union-

playing field with competitors within the

http://www.tourgeorgiafilm.com on the

covered work. The union is pretty specific in

industry. It was not just a labor initiative,

promotional website

that it would prefer union members—even in

but also about infrastructure and indirect

a right-to-work state. We can’t exclude them,

and induced spending from production

but there is an internal preference.”

companies coming into town.”

• $500,000 minimum spend to qualify • No limits or caps on Georgia spend, no sunset clause

“The production industry wants Teamsters

While the nation was reeling from the effects

on the show,” adds Lefebvre.“ It’s a union

of the 2008 recession, the Georgia legislature

industry and they welcome Teamsters on

passed the bill authorizing the incentive.

the production because they know it’s a

The legislation is credited with keeping

OZ MAGAZINE

• Both resident and non-resident workers’ payrolls and FICA, SUI, FUI qualify • No salary cap on individuals paid by

1099, personal service contract or

states like the Carolinas seeking to improve

At these downturns, Akins feels the union proves its value to members. “We have

loan out. Payments made to a loan

their enticements to an industry which

out company will require six percent

brings in well-paying, green jobs. There is

several outreaches for member services,”

Georgia income tax withheld

also anti-union sentiment in the rest of the

he explains. “One of the advantages being

country fueled by the lingering after shock

in this industry is that close to 90 percent of

• Production expenditures must be made in Georgia to qualify from a Georgia vendor

of the Great Recession.

all production in the entertainment business is under a union collective bargaining

“There might be some anti-union backlash,”

agreement. That means those individuals

says Lefebvre, “but I don’t see it. But then

have health insurance, retirement and a

purchased through a Georgia agency

again, even in this day and age, a lot of

pension which is provided through the CBA.”

or company

people don’t know what a union is and what

• Travel and insurance qualify if

• Original music scoring eligible for projects produced in Georgia qualify • Post production of Georgia filmed movies and television projects qualify • Development costs, promotion, marketing, license fees and story right fees do not qualify Even though the incentive has proved to be successful, the labor leaders believe this is not a time for the Peach State to rest on its laurels. Although the money has rolled in and the revenues far exceed the money paid out to producers; many long-time production veterans say this boom should be savored, but also should be cautious. Among the problems lying in wait are other states either offering their own incentives like Louisiana, Georgia’s prime competitor as a production center; as well as neighboring

it does.”

“In terms of boom and bust,” declares Reitz on lessons learned in a three-plus decade’s

The industry veterans remember a time not

career as an actor, “we’ve always been a risky

that long ago when Georgia could boast of

business, and one that doesn’t guarantee

being a growing and thriving production

that anyone can make a living in it. You have

center, with a number of shows and movies

to be persistent and professional like anyone

being shot all over the state. But then, even

else in the freelance world, you have to

the Peach State’s vaunted advantages in

organize your time, be strategic in the use of

location, climate, trained personnel and the

your resources, set goals and march toward

ability to sub as a location almost anywhere

those goals on a day-to-day basis.”

on Earth was not enough. Other states, Canada and Eastern European nations

Lefebvre says the primary advice he gives

offered economic inducements to lure the

his members is to save as much money as

producers to leave Georgia. In the wink of an

possible while the times are good. He states,

eye, Georgia production disappeared.

however, that few are heeding his hardlearned warnings. “We tell them when they

“Although we can offer good crews and all, at

sign on what the NFL tells rookies: You’ve

the end of the day [production companies]

got to save because you don’t know what’s

would go back to California if they could,”

going to happen.”

says Lefebvre. “So, we try to make it as painless for them as we can while they’re here because they bring in good jobs and put a lot of our people to work.”

Once in the union, however, training is available at no cost to the member. “So, for example,” he explains, “if we offer a grip class, you can take that class. The same for sound, safety or any educational class we offer. It is free to the members.” ~Mike Atkins, IATSE Local 479

article design by: Lisa Bell-Davis

JUNE/JULY 2014

TITLE

OZ MAGAZINE

TITLE The explosion of Atlanta’s music video, television, and film business equals more work for folks in the industry, a plethora of stories to tell, and endless opportunities for sheer pandemonium. Let’s not kid ourselves here—even with the best-laid plans, there’s always a good possibility something unexpected is going to occur. In the heat of the moment, you’re certain the world’s coming to an end. But in hindsight, it’s usually pretty funny. Robert C. Gerwig is an old-school Atlantabased propmaster. A native of the city, he went into the business full-time in 1980, so he’s worked on a number of projects here prior to the current production frenzy. One of his first projects was a film starring Gary Busey called “The Bear.”

was a Spielberg production, and the man is known for being a stickler to detail, especially when he’s shooting a period piece. I had an old Budweiser beer sign from the 1950s, and [the set guy] offered me a huge amount of cash for it on the spot.”

“It wasn’t a big hit,” Gerwig recalls. “It was pretty much a flop, but it was a big deal for an Atlanta shoot at that time (1984). “We were trying to get some carpeting put down for a particular scene that needed to be shot, and I had gone with [another crew member] to a local carpet company. It was December, and the owner just laughed at us. He said, ‘We might get around to you by February.’ The set man I was with looked him straight in the eye and said, ‘What if we give you five hundred dollars?’ That was a lot of money for a day’s work back then, so the guy jumped on it. He said. ‘I’ll come over tomorrow myself and put it in for you.’

“That wasn’t shot in Atlanta, but one of the [set people] walked into the storefront that I had at the time,” he continues. “It

“After all that effort though, you can barely even see the sign in the movie,” he laughs. “It’s way in the background in a shot and I only recognized it by the colors. Makes you laugh when you think about all the expense and effort they go to and then it doesn’t really even get used.” Evy Berman-Wright doesn’t have a huge warehouse full of furniture, antiques, and props she sells or rents out, but she does provide much sought-after service for television and film producers in the Atlanta area, ranging from styling and prop fulfillment to set design and construction. Like everyone in the field, she’s had her share of experiences—from the normally smooth and successful to the occasionally comic or disastrous.

“That was when I learned how you get things done in this business.” Gerwig maintains a massive storage space in Decatur, though it’s not open to the public. He stays extremely busy working on period films because he has such a large collection of antiquities. Among the favorite film projects he’s worked on are “Driving Miss Daisy” (“I provided a lot of the canned goods for that,” he recalls) and “Back to the Future.”

know if I had another. Fortunately for them, I did have just one more, so I went through the entire packaging and shipping process again and got it to them as fast as I had the other one.

Robert C. Gerwig

Gerwig’s challenges with “Back to the Future” began when he tried to ship the piece to Los Angeles. The now defunct Eastern Airlines refused to handle the shipment because of the gas contained inside the neon tubes. “So I went to Delta,” he said. “They shipped it right away, and it got there the next day. I got a phone call a few days later from the production company telling me someone had stolen the sign off the lot! So they wanted to

“I work on a lot of different kinds of stuff,” she offers. “Commercials, industrials, and music videos. One that proved to be profitable, but somewhat of a waste of resources for the client, was a commercial I did for ATVs [all-terrain vehicles]. We were shooting on a hunting range. I had gotten a thousand dollars’ worth of stuff for this production—it was an overnighter—but when I got there, they had rewritten the script and cut out everything I was going to use! “They still paid me, of course!” she remembers, smiling. JUNE/JULY 2014

Berman-Wright’s recollections don’t end there. She worked on a music video production with Jagged Edge and Run DMC for their song “Let’s Get Married.” “It was almost a horror story,” she chuckles. “Everything we were shooting was taking place at a wedding reception, so we did up this whole ballroom, with all the table cloths and the flowers and the chairs. We also had this cake. It was a dummy, with one real layer, so they could actually cut into it. The director decided he wanted the cake moved, but he asked some grips to do it, rather than me and my crew.

“That single scene—with the backdrop and the piano—was all there was. So, there was going to be nothing else to do but keep fingerprints off the piano. Or so I thought.”

“So they started to move it. They started to drag it, but what they didn’t realize was that the tables couldn’t be moved like that, or they would fall over. And the table holding the cake did fall over. But they caught it. If they hadn’t, it would have been this epic cake-all-over-the-floor disaster. I think the whole entire art department—our lives just flashed before our eyes, because there was no getting another cake.”

“You can’t really polish a lacquered piano,” she says. “So the best thing to use is Windex. It doesn’t get any more complicated than that, but I was informed by my friend that I needed to put on a good show and make it really look like I knew how to get the job done.”

Perhaps it’s the adrenaline rush from experiences like that or the out-of-theordinary rewards a music video assignment can bring when working with an artist of note, but Berman-Wright confirms she loves her work and was particularly excited to have the opportunity to be a part of Mary J. Blige’s music video for her song “Deep Inside.” “Elton John let her use that piano riff from ‘Benny and the Jets,’” she recollects. “So they’re shooting this Elton John segment in Atlanta, with just him in it and a black lacquer grand piano in front of a backdrop of the New York skyline, to make it look like he was sitting on a rooftop in New York City. A friend of mine who was producing it called me up and said, ‘I have a job for you. There’s almost nothing for you to do, but I need somebody I can trust. You’ll get the title of art director, and it’s for Elton John.’ “I was like, ‘Hey, I’m there! It’s Elton John? And you’re gonna pay me?!

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John is well known for being surrounded by a crew of support people who make sure that everything flows smoothly and is handled exactly the way it should be. It comes as no surprise that they would query BermanWright ahead of time about what she was going to use to clean and polish the piano and even the brand of products she intended to utilize.

Berman-Wright went to a local retailer and purchased practically every cleaner known to humanity, along with decorative bottles, cleaning wipes and cloths, and a basket to carry it all in, and set out on her journey to impress. “They were impressed. I had all these things I could never use to clean the piano, but it certainly ended up looking good. All I used was the Windex.” At some point during the process, John’s production crew felt the piano needed to be put on a raised platform, which was later brought in. Then it was decided that the platform should be painted to match the black piano. Berman-Wright’s work that day switched from wiping away Elton John’s fingerprints to procuring paint, and then functioning as an actual painter. “When the time came to resume the shoot, they hadn’t waited long enough for the paint to completely dry,” says Berman-Wright. “So Elton John comes out and the first thing he does is slip on the platform. Everyone’s

freaking out, but he was all British about it and polite: ‘It’s fine, it was probably my fault, no worries.’ For the rest of the shoot, Berman-Wright says she spent the day listening to John play around on the piano and wiping away his prints. “It was really a delightful day, after everybody sort of calmed down. “Between takes, I would run up to the piano and wipe off his fingerprints. He kept saying, ‘Oh, I’m so sorry!’ My response was, ‘No, you’re giving me something to do. Fingerprint away.’” Bruce Cusmano is the owner/operator of Metropolitan Artifacts and Architectural Antiques. His company is one of the larger ones in town and has provided props to many major motion pictures that have been shot in Atlanta, among them “Fried Green Tomatoes,” “Freejack,” and “Goosebumps.” Currently he’s working on the Oprah Winfreyproduced “Selma.” As a collector of antiquities for retail sales and film production, he’s often been on the road seeking out unusual objects. “Several years ago, I bought a fiberglass reproduction of an Egyptian sarcophagus,” he recalls. “I was driving with my truck and a trailer on the highway, and I heard this rumbling. I have to admit I’ve always been fascinated by Egyptian mythology and the stories you’d see in old movies…you know… you’re not supposed to touch the mummy’s tomb or else you’ll be cursed. After the sound I was hearing, that was the first thought that popped into my mind. “I had the sarcophagus strapped to the roof of my van, and the trailer behind me is another 25 feet. So I looked in my rear view mirror, and the sarcophagus is floating and turning and twisting way up in the air. It was one of those giant ‘oh shit’ moments. It was almost going in slow motion. It finally landed in the middle of a five-lane highway. Incredibly enough, it wasn’t damaged, and there wasn’t any traffic behind us.

“I jumped outta the van with a friend who was traveling with me, we run about 50 feet, grab the sarcophagus and we’re running back down the side of the highway with it covering our heads, looking like the Three Stooges, only there are two of us,” he laughs.

there was nothing in the back of the truck. The officer just stared at the zebra, then at me, and started laughing. ‘I’ve been traveling up and down this highway all night long,’ he told me. ‘And this was the last thing I ever expected to see.’”

Cusmano’s store is located at 4783 Peachtree Road in Atlanta. These days, he tends to specialize more in architectural antiques, although he has more than one comedic recollection of decidedly more unusual objects he’s collected in years past.

Ted Morrow is another prominent prop provider for films in the Atlanta area with his company All About Props, located at 4820 Hammerhill Road, in Tucker. They’re currently providing props for Oprah Winfrey’s production of “Selma” as well. In the past, they’ve contributed materials to theatrical movies and television series such as “Vampire Diaries;” “Endless Love;” “Crazy, Sexy, Cool;” “A Madea Christmas;” and “The Walking Dead.”

“One of the funniest things that happened to me was way back in the beginning—probably 30 years ago—when I had purchased this old beer truck to move stuff and pick things up. I was on the New Jersey Turnpike about five a.m. I had bought this full-sized stuffed zebra. I had him for several months, but nobody would buy him.

One particular experience Morrow had with the film “Identity Thief” (starring Jason Bateman and Melissa McCarthy) has stuck

Morrow winces as he thinks about it, but he can’t help laugh now that it’s in the past. “I had a problem with kidney stones,” he professes. “I had dealt with them before. “I was on my way back from Cleveland, Ohio, where I had picked up twenty-one medical filing cabinets to be used in a scene for “Identity Thief.” Somewhere in the vicinity of Charlotte, where I-77 and I-85 connect, Morrow began to feel a familiar pain. He knew what it was, and he knew what he would have to do.

Morrow popped his pain pills, checked into a roadside motel in Gastonia, and promptly phoned his wife. She made her way to Gastonia from Atlanta, and stopped by the check-in desk of the motel.

The officer who pulled Cusmano over reassured him it was only a routine stop, and that he hadn’t done anything wrong. He quickly requested to see Cusmano’s cargo, however, to check for any contraband cigs.

“I got out and opened the truck, and there’s this zebra standing there, staring at me and the officer. The same officer I had just told

“It was something of a more personal nature.”

“The pain was excruciating. Just past Charlotte in this little town called Gastonia, I finally couldn’t wait any longer to take the medication, but I knew it was going to knock me out.”

“So I’m on my way back up to New York, and I figure, maybe I can trade him to somebody, and I get pulled over by a policeman. At the time, people were smuggling cigarettes like crazy from the south to the northern states, because they were so cheap down here. I came to find out later, that’s why he stopped me, because he thought that might have been what I was doing.”

“I had been traveling all night long,” Cusmano remembers. “And I had completely forgotten about the zebra in the back of the truck. When the officer asked if I had any cargo, I just blanked and told him I didn’t have anything at all.

production,” he recalls with a laugh. “We were able to get the goods picked up and delivered on time.

“The owner was able to tell her what room I was in immediately,” Morrow’s wife later told him. “She checked on me to make sure I was okay—the pills had knocked me out—and left me the keys for her car so I could get back to Atlanta when I felt better.”

Ted Morrow

with him in a clearly uncomfortable way.

Morrow’s wife—a true partner in every sense of the word—made the delivery of the medical filing cabinets to the site on time, and the production went off without a hitch. “And I passed the kidney stone later,” he laughs.

“It wasn’t anything to do with the actual

article design by: Randy Davis

JUNE/JULY 2014

A FINE PA IRIN G

THE ATLANTA FILM INDUSTRY AIDS LOCAL NON-PROFITS BY: BRENN A CO NL E Y

hile some may know the entertainment industry only for its boozy celebrities, white-washed beach homes and torrents of flash bulbs,

the Atlanta film industry is striving to create a much more substantial presence in the community and connect with those whose lives have been neither glamorous nor facile. Creative non-profit leaders have teamed up with the movers and shakers of the Atlanta film industry to channel unexpected streams of income and wares into their foundations. The best part? Everyone wins.

OZ MAGAZINE

Take Maria Walden-Sullivan for example. Her eureka moment happened four years ago over a few martinis in Santa Fe: why not turn clothes into cash? She had always possessed a zeal for fashion and suddenly realized the enormous, untapped potential for capitalizing on the Atlanta film industry’s wardrobe, the majority of which is discarded after production of a film or television series concludes. Soon after wards, Vintage & Vogue was born. The concept is brilliantly simple. “Films can buy or rent our clothing, and a percentage of what they purchase or rent goes to a charity of their choice. And the other side is, once they use an item in a television show or film, and they don’t know what to do with it, we will pick it up, sell it, and give the cash to a charity,” explains Sullivan. Sullivan has gone to great lengths to make sure her unique consignment boutique will catch the attention of wardrobe departments. She often plays the role of treasure hunter, at one time eagerly crossing states to claim a particularly funky piece in Nashville. She has collaborated with “Vampire Diaries” and “Drop Dead Diva,” and, as a self-professed vintage clothes junkie, desperately hopes to one day add “Mad Men” to the list. Most of her consigned garments were preserved from the 1920s-1980s, but her willingness to restyle older pieces, lending them a modern flair, has definitely broadened her pool of customers. “We’ll have a vintage wedding dress, and we can cut it down and make it more current. Trust me, we eat and use every part of that buffalo,” she remarks. “We also take recycled things! Reuse, recycle, restyle.” The savvy duality of Vintage & Vogue’s consignment, both renting out and receiving wardrobe donations, has had significant success among members of the film industry and other citizens of Atlanta. She explains that everyone has the intention of giving, but rather than having to build monetary donations into your budget, why not just

clear your closet of items you aren’t going to miss? Everyone has clothes in their closet! The logic is inarguable, flawless even, and it seems to be catching like wildfire. In the boutique’s first year of business, Vintage & Vogue donated $17,000 to Atlanta-based charities, as well as donations of clothing that did not sell. While many of Sullivan’s clients choose to donate to their favorite charities, much of the remaining unspecified cash is funneled into Clothes for Those, Sullivan’s brainchild, a non-profit organization that focuses resources on aiding the homeless population in Atlanta. Sullivan has also donated clothing and cash to more than seventeen other nonprofit organizations, including Partnership Against Domestic Violence, Dress for

Success, The Drake House, Chris Kids, Chryalisis Experiential Learning and Orange Duffel Bag, among others. But even the queen of “funraising” herself admits that she’d love some additional support from a film industry insider: “I would love to have someone spearhead this with me! It is such a tight-knit industry, and I’m always out there marketing and trying to find a way in. How do I break into this mold?” Communication with such a valuable middleman could be key in elevating Vintage & Vogue’s success to the next level, allowing Sullivan to have an even greater positive impact on the children and families who’ve been buried by the rocky economy.

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One such middleman is longtime media, marketing, and entertainment professional, and current spokesperson for the Southern Regional Medic al Center Campus in Atlanta, Justin O. Cooper. Cooper is the first point of contact for any producer, director, film scout, or locations manager that is interested in filming on location at Southern Regional. “At the initial meeting, they explain their needs and I show them what we have to offer,” he explains, “and if we are a good fit for them, I’m the one that sees it through: the initial scout, executing the contract, filming on location, and making sure they return the facility to the condition in which it was found.” Cooper goes on to explain that Southern Regional, a non-profit organization, is one of only two hospitals in Atlanta that allow filming on site. Southern Regional and St. Joseph’s have become the go-to hospitals for the majority of films in metro Atlanta that require scenes with a medical setting. And much like Sullivan’s consignment success, Southern Regional’s success leaves far-reaching ripples in the

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Atlanta community. “The money we’ve raised working with the film industry is donated to buying new medical equipment for the hospital, and most importantly, providing charitable assistance for patients that are unable to afford medical care. We have raised between 350 to 450k in location fees that is able to go towards these needs,” says Cooper. Cooper also admits to wishing that more non-profits would think “outside the box” when exploring ways to generate income. Southern Regional actively sought out this opportunity in 2011, when Cooper and Claudia Hall met with the Clayton County Development Office and the Clayton County Film Office. During the meeting, Cooper and Hall expressed strong interest in being a part of Clayton County’s “Camera Ready Community” designation, subsequently meeting with the state film office. (Georgia’s Camera Ready Communities program, administered by the Georgia Film Music & Digital Entertainment Office, connects film and TV productions with skilled countylevel liaisons across the state who can help provide local expertise and support.) “From there, the word got out,” Cooper recalls. Southern Regional’s first big film was “What

“ to Expect When You’re Expecting” in the summer of 2011. Southern Regional has depended upon creative problem solving to balance the interruption of film crews on-site with the priority of smooth workflow and patient comfort. Cooper explains that the hospital is comprised of two towers, and for a long time there was a much lower patient volume on one floor, the fourth floor of the second tower. While this meant that business was not at full capacity, the low patient volume on this particular floor also meant that Southern Regional was extremely receptive to film crews at the crew’s convenience! “When a film project wanted to come on-site, it made sense for us to use that floor because we were able to relocate those patients to other areas and give complete access of the floor to film crews. We’ve filmed all throughout the hospital, but it is really a matter of logistics. I need to make sure I meet the needs of the production, but also meet rules and regulations to not interrupt patient care while the crew is on-site. It’s a working machine,” Cooper adds. Another example of the interaction between the worlds of film and community activism

We take that merchandise and turn it into c ash that goes into helping even more Atlanta families realize the dream of home owner ship.

”

~C a t hy Wall s, Atlant a Ha bi t a t ReSto re is the case study of Cathy Walls, Senior Operations Manager for the Atlanta Habitat ReStore. ReStore is a retail store open to the public that sells new and gently used home improvement items. 100 percent of the store’s profits go to the Atlanta Habitat for Humanity, a non-profit homebuilding program. So where exactly does Atlanta’s entertainment industry fit into the puzzle? Members of the Atlanta film industry are taking the time to donate set materials and props to Habitat ReStore after film production has concluded. According to Walls, even these simple donations are enormously helpful to the non-profit’s success and impact on the community. “Any time we get a donation of merchandise or materials it’s equivalent to donating money directly to our homebuilding program,” says Walls. “We take that merchandise and turn it into cash that goes into helping even more Atlanta families realize the dream of home

ownership. We also help the environment by abiding to the three R’s—Reduce, Reuse and Recycle. By offering these items for sale to the public at a fraction of the retail cost, we help keep them out of the landfill and give them a new home and new purpose.” “Atlanta Habitat for Humanity is building stronger communities in the Atlanta area, the site of so many productions over the past few years. When a crew works in an area for a while, it has to be very gratifying for them to know that not only are they helping the local economy, but by donating merchandise to Atlanta Habitat, they are also helping to strengthen the very fabric of the community,” Walls explains. Walls was drawn to Atlanta Habitat for its “reputation for programmatic success and solid management” and the ability it gave her to do what she is most passionate about:

ozmagazine.com | 35 JUNE/JULY 2014

running a business whose success is directly linked to fostering growth and positive change in the community. She explains her overwhelming gratitude to the Atlanta film industry, whose “donations are tangible and enduring,” and whose simple generosity will leave a lasting legacy in the community. “There’s nothing better than seeing the face of someone when the keys to their new home are placed in their hands. A movie couldn’t capture joy any greater than that!” Walls exclaims. Not surprisingly, this visionar y’s goals for Habitat ReStore’s growth are already underway. Later in the summer, the program is moving into a new facility that is twice the square footage of their current location. Hoping to maximize the abundant space, Walls will begin offering merchandise for rental purposes, and accepting donations from the film industry on what she hopes becomes a regular basis. “We’d love to get to the point where we get regular donations from the projects filming in and around Atlanta and be able to let our customers know that the film industr y in Georgia supports the local community by regularly donating to the ReStore,” she explains. In the convincing words of movie star, Ben Affleck: “Ultimately these aren’t just causes — they’re human beings who need our help.” All three of these stories carry similar moral fortitude . . . each one is driven by compassionate individuals that recognize the potential of the Atlanta film industry as a resource for community help and development. Thanks to the initiative of people like Maria Walden-Sullivan, Justin O. Cooper, Cathy Walls, and their co-workers, as well as the conscientious push to action in the Atlanta film industry, movements that focus on helping meet the needs of Atlantans are beginning to take off. The per fect intersection of these drastically different industries is siphoning money into Atlanta charities and the homeless community, while providing production and wardrobe crews with exactly what they need. Don’t just witness the change; throw the stone that causes ripples throughout your community. Donate your gently worn garments to Vintage & Vogue or your un-needed merchandise to Habitat ReStore today to join the movement!

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TO FI N D O U T H O W TO D O N AT E VINTAGE & VOGUE contact Maria Walden-Sullivan at maria@vintagevogueclothing.com

HABITAT ReSTORE contact Heather Mewborn at heather.mewborn@atlantahabitat.org

SOUTHERN REGIONAL MEDICAL CENTER contact Justin Cooper at justin.cooper@southernregional.org

Real. Good. Food. Full service catering for your next event.

www.solcatering.net 404.805.6589 â&#x20AC;˘ 404.853.3239

JUNE/JULY 2014

HOW I GOT INTO THE BUSINESS PAUL SOROHAN

How did you get into the business? I have known since high school I wanted to get into filmmaking. I got a degree in Japanese at UGA, but I never lost that drive to get into the movie business. After attending several different film related programs in New York, Nashville, and other places, I settled back in Athens, GA. I began working on as many film projects as I could, eventually gravitating towards sound. A friend I had worked with on a few projects called me to fill in for him on a movie called “Get Low” for a couple of days. I immediately joined the union and moved to Atlanta. Now I make my living doing what I love.

What do you love the most about your job? Being around people who are as crazy as I am. You have to have a passion for filmmaking to want to stay in it. We become a big family, and we have each other’s backs. Making a movie is like summer camp. It’s a small group of people in an intense situation, and eventually it’s over and you have a big party. Then you do it all over again.

Best advice to young people in your profession? Find like-minded people and work on as many things as you can. Nothing beats experience, at any level. Try your hand at many aspects of the business to find the role that fits you best.

What have you worked on recently? “Lila & Eve” with Viola Davis and Jennifer Lopez.

PRODUCTION SOUND RECORDIST

TIM BARRETT

PSOROHAN@GMAIL.COM

How did you get into the business? My first experience was as a child. I attended rehearsals with my father at a community theatre in Cleveland, Ohio. Out of boredom I would go and hang out in the construction shop until I began offering my assistance to construct the sets. Next in college I worked in the theatre department at FSU while pursuing my BFA degree to defray tuition costs. I learned all aspects of the art department as I worked as a designer, scenic and in construction as I worked on sets for local programming. My professional career started in Atlanta in the advertising photography world. This was a great place to begin. All compositing was done in camera as photoshop did not exist at the time and you only had one frame to get it right. The scope of work ranged from set design and construction to food styling, animal wrangling, painting drops, and doing greens work. My client base has grown to encompass a broad range of industries including feature & indie film, broadcast, news, video, and the music industries.

TIM BARRETT DESIGNS, INC: SET DESIGNER / CONSTRUCTOR

JIM HULSE

TIMBARRETTDESIGNS.COM

How did you get into the business? I grew up doing small sound reinforcement jobs for groups I was part of, such as the 4-H. While in college, this transitioned into working as a stagehand and doing live sound for corporate events or theatre. I had the opportunity to get a Masters of Fine Arts in Sound Design from SCAD in Savannah. In school, I networked with soon-to-be colleagues, which led to the first of many production sound mixing jobs. The program also gave me access to the teachers and gear that I needed to have to work professionally. No matter who you learn from, you will need a good education to work in the industry. Best advice to young people in your profession? Never think that you know it all. Everyone you come in contact with can teach you something, and everyone may be the next person that hires you or suggests you for a job.

GATOR AUDIO: SOUND RECORDIST / MIXER

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What makes your job cool or fun for you? Seeing people I know grow and develop; watching friends who barely knew what they were doing before become some of the top of their field in Atlanta.

WWW.GATORAUDIO.COM

Best advice to young people in your profession? PPO: Persistence Pays Off. Never lose sight of your goal. What do you love the most about your job? The variety of creative challenges. Do you have a word or quote or mantra you live by? Sleep between blinks. How long should one take to “make it” in the business? It is an ongoing evolving process, which takes a lifetime. Do you like how the business has changed? Yes, Georgia has long been overlooked and viewed as if we were all a bunch yeehaas, but Atlanta has always had a great talent pool. What have you worked on recently? “Vampire Diaries,” “Last Vegas,” TPS, Discovery, Tru TV. TIMBARRETTDESIGNS@GMAIL.COM

What do you love the most about your job? The lack of monotony! Nothing compares with the joy of arriving on a location, solving the noise sources, and leaving with a set of recordings that need only minimal cleaning to be broadcast-ready. Do you have a word or quote or mantra you live by? Quiet on set! How long should one take to “make it” in the business? A drama professor once told me, if you have a “fall back” career option, you will fall back. Keep at it until you make it, or retire trying. What are your 3 most recent projects? A crime re-enactment pilot for A&E in Savannah, a PSA for a clinic in Atlanta, and a Cooking Contest show for the Food Network in Charleston.

KEVIN WILSON

How did you get into the business? I saw “Jurassic Park!” That movie caused my brain to melt. I decided on the spot that whatever was required to be able to make movies for a living I would do it. I bought a crappy video camera with money I saved for a whole year and started making my own films. Eventually I attended film school and joined the IATSE 600 camera guild. I’ve been working in the camera department on a wide range of productions ever since.

there’s a specified or pre-determined amount of time it takes to “make it.” Everyone’s path is different.

Best advice to young people in your profession? Stay humble and always be on time.

What makes your job cool or fun for you? A main responsibility of a digital utility is setting up a video village for the director to monitor his shots. A great benefit of this is I get to spend a lot of time near the directors and watch them run the production. I’ve learned a great deal about the nuts and bolts side of directing and how to be a better storyteller.

What do you love the most about your job? Craft services, easily the best thing about the production industry. Do you have a word or quote or mantra you live by? Question everything. How long should one take to “make it” in the business? Take as long as you want. Don’t let anyone tell you DIGITAL UTILITY / CLAPPER LOADER

CHRIS ALPIAR

How did you get into the business? I was a late starter for music (9th grade). I went to the University of Miami school of music in 1986. Then I attended Miami Dade College for music and sound engineering. It wasn’t until I got to Berklee College of music with a dual major in per formance and Jazz composition that my voice as a jazz artist and composer blossomed. I won the Quincy Jones Award for Jazz Composition in 1994 and began a quest to find and create truth in art. In 2003 I moved to Los Angeles and opened up a music composition and production company, Too Much Reverb, LLC, with a good friend from Berklee and had a great run doing music for film, television, advertising and stage theater. I now reside and work out of my studio in Atlanta, GA. Having one of the best live tracking rooms for small and medium sized ensembles has opened doors to a world of production here. I continue to score film, TV and stage theater and work in advertising music.

What have you worked on recently? “The Vampire Diaries,” “The Haves & Have Nots,” “Nashville,” “For Better or Worse.”

Best advice to young people in your profession? While you absolutely need your craft and art at its peak, remember that the “business” puts all that time, focus, and effort of craftsmanship and artistry at about 1% of the equation. The other 99% is about people liking to work with you, getting your name out there, the “schmooze” factor, location, and a lot of luck. What makes your job cool or fun for you? The talented and wonderful people that I perform with, record and produce here in Atlanta make the most excellent music scene I have experienced in the US. What have you worked on recently? “Mythbusters,” Discovery Channel, Macy’s ad, a stage theater production of Equus.

WWW.ALPIAR.COM

How did you get into the business? I got in the business indirectly. I first started my career in 1989 as a comic book illustrator for Marvel and DC Comics. I did that for years. After that, I started dabbling in the animation industry for a few years, then I fell into the video game industry doing storyboard and 3d animation for games. While I was doing that, I started getting calls to do storyboards for live action work for advertising agencies. My work was seen by an art director on the NBC show “Surface” around 2005 and he called me to do some creature concept illustrations for him. After that job, he went on to art direct the CW Network show “One Tree Hill.” He called me to do some storyboards for that show and I ended up working on that for multiple seasons. Since then, my storyboarding and concept illustration have really taken off and I have never looked back. I love working in the TV and motion picture world!

STORYBOARD AND CONCEPT ILLUSTRATOR

If you weren’t doing this, what would be your dream job? Stunt car driver.

WRECK.THE.SIGNAL@GMAIL.COM

ALPSMEDIA, LLC. AND BEHIP RECORDS: COMPOSER, ARRANGER, PRODUCER, CEO

CRAIG GILMORE

Are you a fan of doughnuts? Yes, I am a big fan of doughnuts.

WWW.CHRISALPIAR.COM

Best advice to young people in your profession? Study what makes clear, and interesting storytelling. Why did they shoot this angle over another one? How could the scene be improved? Also, learn to draw extremely fast and accurately. Make sure that you study human and animal anatomy, perspective and lighting techniques. These have to be second nature as the deadlines in storyboarding are extremely tight. Be prepared to change the art at a moment’s notice. What have you worked on recently? “T he Walk ing Dead,” “CEL L,” “Ter m L ife,” “Constantine,” “Endless Love,” “Let’s be Cops,” “Resurrection,” “The Red Road.”

WWW.CRAIGGILMORE.NET

JUNE/JULY 2014

BEHIND THE CAMERA WITH DREWPROPS

have thought that they Duck. but them lips wasFortunately ever soforbig… crazy big… heck, I was Bethwere Morris, cross-examining the propmaster for the Daisy show Drop Dead Man, are way down near the bottom. us, there’s a Beth Morris, the propmaster for the show Drop Dead Diva, called For every mild-mannered, even-tempered person works Diva, called me up to see if I could take a turn as their lower rung still: the extras. gonna need to use an eraser on this broad. Seriously, like a rubber eraser. Her lips weresane nearly thewho size of mecourtroom up to seesketch if I could turn as their courtroom sketch artist. as an extra, there are 3 fruit loops who brag to their friends about artist.take The ashow’s creative team employs I’m going to take some heat for this article because my avarious banana and that’s entirely my fault, you see, because I was them. My name isextras, Gilbert Tucker The show’s creative team employs various bitswhat of courtroom their latestdrawing “acting jobs”. In a scene with 200 there are at bits of courtroom procedure to transition into circlefairly of friends now include peoplewho who are enjoy being movie procedures to transition into looking what would otherwise least 17 people actively trying to strike up a conversation would otherwise be fairly routine courtroom scenes be and I’m a courtroom illustrator byhas day, gumshoe detective night, and may entirely a of figment extras not become goingby to like this next bit, but it hasmovie to star. be routine looking and from time toaatime oneand of they’re and friends with the cute Some the guys of on and from time tocourtroom time one ofscenes those procedures been be of said: movie and television extras are CRAZY PEOPLE. those procedures has been a person drawing the events the the crew are absolute dogs about trying to hook up with the cutest person drawing the events of the court. After a bit of initial the imagination of your old pal Drew...

court. After Iadecided bit of initial decided to takeit Beth up on new girls in the extras pool. Of course some of those girls might hesitation, to takehesitation, Beth up onIher offer because To be fair not all of the extras are crazy, but there are her offer sounded like fun! for the show Drop Dead are be trying to swing moves like Heather Grahamfor in us, thethere’s comedy sounded like fun! it the Bethbecause Morris, propmaster down bottom. Fortunately a enough of the nuttyway people for itnear to bethe a “known thing” “Bowfinger” and date their way up the line from grip to assistant Diva, called me up to see if I could take a turn as their lower rung still: the extras. Of course the crew and is just as crazy, but of the things a lotofofpeople people outside Now,Now, one one of the things a lot outsideofofthe the amongst industrythe crew. director to director onward. not intent on being seen on camera like some of the industry don’t knowthere’s is that there’s caste system on movie courtroom sketch artist. Thea show’s creative team employs don’t know is that a caste system on movie sets.they’re The big going to heatto for this article because I’ve encountered thetake years.some If Iyou ever talk sets. The big movie stars and the executive are producers movie stars and executive producers upare nearextras the top As I’m thethrough day approached began wonder what my friendsmy on various bits ofthe courtroom procedure to way transition into what way upfolks nearon thethe topshooting and the crew folks on the shooting crewthewith an assistantcircle director, ask them think to tell include you a few stories of friends now people who enjoy being movie and the are way down near bottom. the crew would when they saw me sitting out there on the would otherwise be fairly routine looking courtroom scenes Fortunately for us, there’s a lower rung still: the extras. benchand amongst thenot extras because hownext my reputation might they’re going to likeofthis bit, but it has to and from time to time one of those procedures has been a extras be affected. You see, in addition to the caste system dividing the be said: movie and television extras are CRAZY PEOPLE. person the events the court. After amy bitcircle of initial I’m going drawing to take some heat for of this article because of crew from the extras, we also deal with the occasional crew person friends now include people whoBeth enjoy movie and it who is a frustrated actor. Part of the blame for that lies with the hesitation, I decided to take upbeing on her offerextras because To beenvironment. fair not all of the extras are crazy, but there are they’re not going to like this next bit, but it has to be said: movie working sounded like fun! and television extras are CRAZY PEOPLE. enough of the nutty people for it to be a “known thing” Spending your day around hammy actors can rub off on a person, amongst the crew. Of course the crew is just as crazy, but one ofthe theextras things lot of outside To beNow, fair not all of areacrazy, butpeople there are enoughof the and movie crews are famous (at least to other movie crews) for not of intent on being camera like some of the know is that there’s athing” casteamongst systemthe oncrew. movie they’re ofindustry the nuttydon’t people for it to be a “known the quality the witty banterseen they on trade while setting up for the Ofsets. course crew is juststars as crazy, not intent on beingare extras next shot. so often athrough director the or producer grab one of I’ve Every encountered years. Ifwill you ever talk Thethe big movie andbut thethey’re executive producers seen camera of thethe extras I’veon encountered through their favorite members from the crew and stick them into a scene wayonup near like thesome top and folks the shooting crew with an assistant director, ask them to tell you a few stories the years. If you ever talk with an assistant director, ask them to just for the novelty of it, and while most of the crew enjoy seeing tell you a few stories about crazy extras, because one of their own out there in front of the camera, there are always they’ve got them. a few people who might be jealous or irritated that their hammy compatriots will have been further encouraged to act like class clowns on future sets. 40

OZ MAGAZINE

In defense of extras, they do in fact face a lot of challenges of which the crew is unaware. My first interaction with the casting department from “Diva” was an email containing MANY WORDS IN CAPITAL LETTERS SO THAT THE EXTRAS WOULD KNOW WHAT THEY’RE BEING TOLD IS EXTREMELY IMPORTANT!!! This is apparently necessary because some of the extras are not good at words, or being on time, or parking their cars, or apparently a very long list of things we all take for granted. I will admit that I was slightly intimidated by the VERY THOROUGH EMAIL, but being treated like a crazy extra was the least of my worries. I was more concerned about the sketch I had to draw, but that part of the day went great and much faster than I’d anticipated. In fact, I had the sketch ready to go well ahead of the scene thanks to a quick photo session earlier that morning. By the time I was called to set, I was in wardrobe (my own, brought from home) and ready for my big scene. The grips ran a short length of dolly track behind my bench and the operator worked out the mechanics of his shot, which would begin looking over my right shoulder onto my sketchpad, watching me draw a sketch of the witness on the stand. On the director’s cue, the dolly grip pushed the camera dolly (still behind me) to my left, thereby clearing me from the frame and allowing the camera operator to tilt the camera upwards to reveal the actors in the midground, facing the judge in the background. During the tilt-up, the focus puller simultaneously shifted the focus of the lens from the foreground, which was immediately in front of camera, to the actors 22 feet 9 and 3⁄4 inches away. It took everyone a few takes to get their timing coordinated, and somewhere along in there I began worrying that I was in danger of making my sketch look too finished. One of my pet peeves about movies is when I see a character who is supposed to be making a sketch but I can tell that the actor is just pushing a pencil around an already completed drawing. But you know what? When they called action on the scene I found myself pushing my pencil around the drawing, doing my best to not actually make a mark on the page! I had panicked and started worrying that they might want to do an insert later so I was actually preserving the drawing because it was the only one we had. Thankfully, as I mentioned earlier, establishing shots are over really quickly – by the time you begin to notice details, the scene changes to a different shot.

how friends in the business might react to seeing me in a video clip looking like an extra, but do you know who wasn’t worried about what people thought? That would be Mr. Gilbert Tucker, a part of my ego that had apparently enjoyed being out there in front of the cameras. I’d started referring to Gilbert in the third person a little too much, but that didn’t make me a crazy extra, now did it? The very next week Beth called again to inquire about Gilbert’s availability for another appearance in an upcoming episode. Actually, she asked if I (Drew) might be available to do another sketch, but Gilbert knew it would be him out there on camera. To make sure that there was no confusion to the viewers at home he insisted on wearing the same outfit as his first appearance. We followed the same pattern as the previous visit: get some shots of the actress early in the day then pre-draw the courtroom sketch based on those photos. As I was busy putting together my drawing my cellphone rang. On the other end was the Business Agent for IATSE Local 479, Mike Akins, who politely asked if he could speak to Gilbert Tucker (this really happened). Gilbert was holding the phone but I’m pretty sure that I heard Mike ask if Gilbert had joined SAG yet. Boy, the news about Gilbert sure was spreading... This time around Mr. Gilbert Tucker was going to be filmed by “Diva’s” longtime A-camera operator, Paul Varrieur, who is also the First National President of the International Cinematographer’s Guild, Local 600. I’ve personally known Paul since the 1990s, which was actually worse for me because I felt especially embarrassed to be sitting in front of him like some crazy extra who might refer to their character in the third person. Gilbert on the other hand thought that it was awesome when “the big scary guy” asked the grips to raise the bench up onto apple boxes. In a few minutes they changed their minds and decided to instead make Gilbert climb up onto a stack of apple boxes so that he was as high up in the air as the camera. And then Paul (who is famous for his growling) growled “Drew, you need to get a manicure...” - I was mortified. I had completely forgotten that I’d spent the previous day planting my vegetable garden. Gilbert on the other hand just loved the attention. Frankly, I’d come to realize that he loved any attention.

After shooting the witness’ testimony on the stand, they moved the cameras behind the judge’s bench to get coverage of the enchwitness y bthe prosecutor and the star of the show. Since I knew that the cameras The guest star arrived on set and they put her up on ind m is shot, h e b h k could no longer see my drawing I flipped the page over to protect stand and in just a few minutes they’d y her of to adjust tracdecided nto m anics erlook dolly echdrawing it and then began scribbling out a playful cartoon version of the wardrobe in such a way that made ld o essvaguely on m th ofGilbert’s u g e o n h h s andwitsaid n “You’re t le actors in the scene. About 20 minutes into their coverage, between inaccurate. The scriptasupervisor tohtme out t up e shor rked came y rig d the of thno,pall ver m wo drawing, h but s ran toyour ushIecould o c takes, the actor playing the prosecutor turned to me and asked an artist, youecan right?” r t ripchange g e g k ip in a r s aring do r k g e le a o h y c p T lo ll y erasers, awcolored t in my box with all sincerity “So how is your drawing turning out?” – without was look helplessly drof reband the odown e do pencils egat e e h b to til h t d t r m , n ld , e a g perch left ofopapple erato boxes, wou from d, hinour ’s cuatop y a word I lifted the pad up and turned the cartoon around to face m. well out of arm’s reach a stack r c n h t o u m a ic t o a c h r o r t e w -g the ad, w the direliked am4e) year camin him. I wish that rolling cameras at the moment because the’vlook our plegs ahhigh ersondangling got in e midchair. , the tchpin the breeze heold y e sane rag to ske stand. On still behin llowing t ctors in t the tilt-up lens hemind t d e e his eyes as my tragically childish drawing registered in his and r s ( a a b e u e e g y p a e d o h ll h c h n in t t h m t o f d ur time ith f ea s, be If that man n-te loops w veal butnby d. Dthe the extras seated to my right erupted inylaughter. The rest nt o ne w of that scene cus othis issue mera wasfraamblur forreme, extra , eve had a sce ctively ca from the wards to ackgrou d the fo ely in fro fruit s”. In goes raz done the amost eredamazingly c 3 n t n b e been drinking a glass of water he’d have to print it should have already aired, and despite all the t a e u p r t e a b au -m the sly shif abo edia way. o are friends mhe cput mild tra, there “acting jo whembarrassment amer juthrough imm eappearance, ge in a ou classic spit take. his le x very st g wassecond e d ultaneduring ch s w the g thme ome e h in r c ic For e ks as an e their late 17 peop d beI chave timin ¾ h im box e s in d w h agreed to set the cable to automatically record c t n r , a t r n a f e t d s t heir theegan a n o ll t s a u 9 n o u e w o t u le t n t p s e b o u o e t tio uy us I b egr werscan e c Diva” 2 fe wh rme ds a e are a itnto After the day’s work was safely behind ontoallgof hhis thDead focseries forthat verasafew erelatest too the g “Drop eso o 2 catch tup f ien I mentioned er with ose girls akes e of ok upadventures. a coas to in t tch look ee m th o the act their jokingly s, th inquired o m h r a friends in the business and one of them what w p t f g o r e e t u S f n f e t x h o . alo eo y sk in t 0e era, star ing(the en I s to h trikethe vcall e a o son my character name had been in the20script tor e som r Graham from cam o ie sheet y ryon mewhere making m ies is wh t I can s r r e t m g v u t e o in e u v t e e try h bu ady mo kof Of c ook article er of crazy e cau featured d so anghow eatIhwanted joke being that, unless specifically scripted, e linto say more in s abo extral. isn’t e It tthis s etcthe bout some , an sabout d a a ith th lute dog xtras poo ves like H ay up th d s g e in w t e an alr in a totlook o . be, but Gilbert o of ina asked ak given a character name or included in the list on ampitch package w extras dcan e the front scast peevover und ey called t I wme ordhas o e r a e o b a re ab ls in the swing m ate their d onwar h c p t y a o g th ir writers encil Wto ed t to to had simply f my he’s a call sheet). I laughingly replied was that on himself d gthe an for a new series ryin othat hat mbased henthe y pencil a psubmit posgoing new be trying ger ” and director g wor ed. One er w m at? of in tinDead hbit shinghim is sup to ndof g it u w o o t overlooked giving the courtroom illustrator a name, so I invented creator “Drop Diva” and I need give a time s n o h p t h h fi make w is e w h t r s s n w w o m to mig pu w fi is ju detective omay n because cter gumshoe awwhile u kno y/scourtroom tually lf r y “Bo nt direct a h s a c o e r o f d g y a y t a one on the spot: Gilbert Tucker. he be a terrific o e e e c t t h m I b hen th no use o the a c at the a . Bu com assista beca iohe ound w st to ched t wing editor. h to proa ld think esketch e I f g my be l tell t needs xtras artist it n desperately d draa good grip p n a e e d a e e t d c d le a s h y u t a let me oknow st e lso oin , in mp A month or so later I received a call by some friends e dto rew w h among . You see tras, we a actor. co n on th awing, d As th Tucker the c on c dr that they’d just seen my appearance as Gilbert ed ed ex n“Drop ctio t t n e e a e . a c o t r h b h e t s t t n s ff e d e a ru m nd ying frien a elink ontotha short Dead Diva.” Several days later a friend posted ironm is a f ht beclip w fro arou worr th re tion mig g the cre on who king env rted actually a t outeveryone r s s a r of Gilbert in action (all 4 seconds of it) and had a big o t in d e w as . an epu m divid crew p h the ked e had my rreason so I w l laugh. Even though I had a legitimate prop-like ste to be adoing s wit panic ert later nly one w ove d ste sy occasion r that lie a a s h c e o r a !I the sketch on camera, I found myself surprisingly fo n in as the theworriede about page shots do a , th w with the blam n the t want to ecause it ablishing e details f o o k t r t r ic a s h t b r e Pa o m ig , o g r f n a e m ) in g earli begin to 2014 41 and ie crews up draw they ndin v that ving the entioned you JUNE/JULY rson, Spe e st a pe other mo e setting ill r m y e n I s a im t e o s d the e ff pr ,a hot. hil rw to your to by th kfully y on rub o ent s de w duce east

OZ SCENE:

ATLANTA FILM FESTIVAL

The Plaza Theatre marquee on opening night

Atlanta Film Festival

T h e 2 014 li n e u p s h o w c a s e d an incredible diversit y in programming, from a bev y of animated features and shor t s to a wide range of international narratives and documentaries. David Gordon Green’s “Joe” featured as the opening night presentation, with Green and star Tye Sherdian in attendance. Richard Ayoade’s “The Double” served as the closing night presentation on th th April 5th, with Sundance Special Jur y Award Winning film “Dear he Atlanta Film Festival (ATLFF) kicked White People” closing out a day of off its 38th edition on Friday, March encores and special presentations on April 28th. The ten-day festival is one of the oldest 6th. This year’s lineup also featured several in the country and one of only two-dozen world premieres, including “Farmland,” Academy Award-qualifying festivals in the “Limo Ride,” “Getting to The Nutcracker,” United States. A cultural institution for the “The Right Juice” and “The Unwanted.” city of Atlanta, ATLFF has continued to grow During weekday mornings and afternoons, and solidify its status as one of the most the ATLFF Creative Conference held panel important arts events in the Southeastern discussions, master classes and workshops United States. Plenty of today’s biggest covering a broad spectrum of industry names in film screened their earliest works topics, from screenwriting and financing at ATLFF, among them—Spike Lee, Robert independent films to marketing music Rodriguez, James Ponsoldt, David Gordon videos and sustaining yourself as an actor. Green and Ray McKinnon, who won the Live Action Short Academy Award for is film “The Accountant” in 2002 after qualifying Photography by: Doobious.org at ATLFF.

march

OZ MAGAZINE

28 - april 6

Festival Director Christopher Escobar hosts a Q&A with Producer Molly O’Brien from “Cesar’s Last Fast.”

Programming Associates Michele Delpeche, James Williams, Kailyn McCoy and Amy Tippit with Programmer of Short Films Christina Humphrey (center).

Brother Dege performs at the Opening Night after party at Paris on Ponce.

2014

A packed house at The Plaza Theatre’s main screen.

Director Justin Simien at a Q&A following his film “Dear White People.”

Crowds gather for a film screening at The Plaza.

Patrons and Staff both enjoy sponsor treats like Stella Artois and Batdorf & Bronson coffee (Marketing Manager Cameron McAllister, right) at Happy Hour at The Highland Ballroom. Chris Lowell of “Beside Still Waters” is interviewed on the red carpet.

Director of Marketing & Operations Christopher Holland with local filmmaker Greg Harding and ATLFF filmmakers in residence Brantly Watts & Jon Watts at Happy Hour at The Highland Ballroom.

JUNE/JULY 2014

OZ SCENE:

THE 13TH ANNUAL BRIDGE BUILDER AWARDS

Danny Shoy

Dorothea Hoeffler

13 Annual Bridge

The

Builder Awards T

he 13th Annual Bridge Builder Awards was held on Thursday, April 17th at the Foundry at Puritan Mill with all proceeds benefiting the Atlanta Technical College Foundation, Inc. This event raised much needed funds to suppor t grants and scholarships for the students of Atlanta Technical College. Hosted by The Atlanta

Technical College Foundation Board of Trustees and Dr. Alvetta Thomas, President of Atlanta Technical College, the honorees were Mary Brock, Atlanta Dream; Cheryl Lomax, Bank of America; and Erica Qualls, Atlanta Marriott Marquis. Karyn Greer, WXIA Channel 11, received the Presidentâ&#x20AC;&#x2122;s Award.

Photography by: Daniel Fowler & Horace Henry

John Brock, Mary Brock, Daniel Fowler

Warrick Dunn, Cille Goodman, Cheryl Lomax, Arlane Robinson

OZ MAGAZINE

Band â&#x20AC;&#x201C; Collective Voice

John Grant, Nancy Flake Johnson Neal Boortz, Lauretta Hannon

Harold Mitchell, Erica Qualls & Dr. Alvetta Thomas

Demetrica Wright

Mary Brock, Chesley McNeil (emcee), Cheryl Lomax, Dr. Alvetta Thomas, Karyn Greer & Erica Qualls

JUNE/JULY 2014

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DECATUR/EMORY Beer Growler 38A North Avondale Road Avondale Estates, GA 30002 Community BBQ 1361 Clairmont Road Decatur, GA 30033 Java Monkey 425 Church Street Decatur, GA 30030

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ASSOCIATION PARTNERS American Institute of Graphic Arts (AIGA) National Academy of Television Arts and Sciences Southeast (NATAS) Atlanta Ad Club Atlanta Press Club (APC) Atlanta Macintosh Users Group Georgia Production Partnership (GPP) American Marketing Association-Atlanta

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The Freelance Forum Media Communications Association International (MCAI) Women In Film & Television Atlanta (WIFTA) American Federation of Television and Radio Arts (AFTRA) Cable & Telecommunications Association (CTAM) Business Marketing Association-Atlanta (BMA-Atlanta) American Society of Media Photographers (ASMP)

L i m i t e d E d i t i o n G o i n g Fa s t

Industry Yearbook

In InYd sstrory du u Yeea arb rbot ooky k

Th Thee

2200 1 1 33

40 years of Georgia Filmmaking & the people who made it happen

19 7 3

The

40 Yea & the Peo rs of Georgia Film ple Who making 40 Yea de it Happe & the Peo rs of GeMa org ia Filmma n ple Who king Made it Happen

History SIDEBAR, TOP: Annette Stilwell, producer, Jayan

SIDEBAR, TOP: The early days: Tatum O’Neal on

Films.

the set of Little Darlings with a Lightnin’ Production

SIDEBAR, BOTTOM, L-R: Director Bart Patton and

Rentals’ truck (1980).

director of photography Paul Varrieur on the set of

SIDEBAR, BOTTOM: Lightnin’ Production Rentals in

Unshackled (2000).

2013.

ads featured Governor Carter sitting in a

watched the video and did change his mind.

director’s chair. Before long, the group’s

Over the next few years, Wayne would return

efforts paid off. Movie producers began

to Georgia many times to scout locations for

heading to Georgia to see what all the talk

future films. Other film companies followed

was about. Once crews arrived, Spivia and

suit, and before long, the film office had so

his five-person staff would actually go out to

many prospects, it was hard to keep up. Some

help scout locations. Sometimes producers

producers and actors kept coming back. One

came to the state with the singular goal of

of them was Burt Reynolds. In 1974, Reynolds, who had starred

finding the perfect location for their next film; other times, they were simply here on

in Deliverance just two years previously,

other business – in which case Spivia and his

returned to Georgia to film

team had to be a bit more creative in putting

The Longest Yard. The

Georgia on the producers’ minds.

movie was about a football

Case in point: John Wayne. In 1973,

LA Albarracin 1990: Hairstylist 2013: Hairstylist

Mark Apen 1987: Production Assistant 2013: Producer

Dwight Benjamin-Creel 1985: Special Effects Technician 2013: Property Master

Robert Bock 1989: Camera Tech - Atlanta film Equip. Rentals (AFER) 2013: Camera Technician - PC&E

Kelsey Lane 2011: Actor 2013: Actor

Shay Latte 2000: Actor 2013: Actor

Randi Layne 1983: Actor 2013: Actor

Geoff McKnight 1987: Actor 2013: Actor

Debra Nelson 1981: Actor 2013: Actor

Curtis Bryant 1985: Music Composer 2013: Music Composer

Linda Burns 1992: Production Assistant 2013: Production Manager

Paula Rose Castronova 1991: Wardrobe Stylist & Buyer 2013: Wardrobe Stylist & Buyer

Pat Cooksey 1985: Camera Operator 2013: Director of Photography

Stephen Crocker 1992: Production Assistant 2013: 1st Assistant Camera

Sara Bess Norton 2011: Actor 2013: Actor

Charles Orr 2011: Actor 2013: Actor

John Osgood 1988: Production Assistant 2013: On Air Talent

Brenda Pauley 1993: Talent Agent 2013: Talent Agent

Jay Pearson 1990: Stunt Performer 2013: Actor

Guy D’Alema 1989: Stills Photographer 2013: Stills Photographer

Jody Danneman 1989: Camera Operator - Video 2013: Producer

Brennen Dicker 1986: Production Assistant 2013: Director of Sales for Creative Services - Crawford

Andrew Duncan 1991: Prop Assistant 2013: Graphic Designer

Dawn Dye 1990: Receptionist - Post Prod. (VTA) 2013: Receptionist - PC&E

Mike Pniewski 1983: Actor 2013: Actor

Sarah Reagin 2011: Stunt Performer 2013: Stunt Performer

Ric Reitz 1977: Actor 2013: Actor

Robert Robinson 2011: Music Composer 2013: Actor

Linda Rutledge 1987: Talent Agent 2013: Talent Agent

Ellis Edwards 1985: Stunt Driver 2013: Stunt Coordinator

Jack English 1983: Production Assistant 2013: Producer

Brenda Findley 1989: Set Dresser 2013: Art Department Coordinator

John Findley III 1991: Production Assistant 2013: Location Manager

Jeff Fisher 1992: Production Assistant 2013: Director

Mercedes Sanders 2006: Actor 2013: Actor

Rebecca Shrager 1983: Talent Agent 2013: Talent Agent

Chuck Shropshire 2010: Actor 2013: Actor

Heather Smith 2004: Actor 2013: Actor

Pamela Smith 1993: Actor 2013: Actor

Terry Fitzpatrick 1985: Mixer/Location Sound 2013: Mixer/Location Sound

Carrie Gibbs 1989: Assistant Location Manager 2013: Location Scout

Thom Gonyeau 1986: Production Manager 2013: Principal/ Executive Producer - Mountain View Group, LTD

Chris Hamilton 1991: Stills Photographer 2013: Stills Photographer

Fred Houghton 1983: Warehouse/Generator Operator - PSA 2013: Shop Maintenance & Repair - PC&E

David Spencer 1992: Set and Sign Painting 2013: Actor

Laura Steele 1998: Actor 2013: Actor

Donna Summers 1978: Talent Agent 2013: Talent Agent

Tihirah Taliaferro 2011: Actor 2013: Actor

Patricia Taylor 2006: Actor 2013: Actor

player–turned–convict inmates to play against a team of prison guards.

meeting to convince Wayne to make a movie

It was scheduled to film

in the state. Spivia says, “An aide came

at a prison in McAllister,

in with a bottle of bourbon and poured a

Oklahoma, but three days

glass. John Wayne drank it down and said,

before the shoot, prisoners

‘Let’s get down to business.’ So, I played a

burned it to the ground.

tape in the VCR.” The video showcased the

Reynolds called Spivia for

diversity of the Georgia landscape – coastline,

help finding an alternate

mountains, and forests. Even though Wayne

location. Spivia recalls, “He said, ‘Can you get us a prison that looks like

seem convinced that the varied topography

this, real quick? If you can,

showcased on the TV screen was, in fact, in

you’ve got the film.’” The film commissioner

Georgia Industry Yearbook

had previously filmed a movie in the state – The Green Berets in 1968 – he didn’t

the state of Georgia.

a few minutes to finish my presentation, I

Yard would go on to net more than $43

do believe I’ll change your mind.’” Wayne

million in domestic gross sales. 5 It would

came through and

banging his hand on the table,” Spivia says.

arranged for production

“He said, ‘You can’t tell me this is Georgia.

to begin at the Georgia

Georgia is just hot and flat and dry.’”

State Prison in Reidsville shortly after. The Longest

“And I said, ‘If you’ll give me just

Recess

Production & Support Companies

110

111

Georgia Industry Yearbook

(g) 2nd Unit from The Dukes of Hazzard (1979). (h) Allen Facemire catching a high-speed drive-by with his camera on top of a pair of good old-fashioned ‘sticks’. (i) Gordon Siefferman, camera assistant on Moonrunners (1975). (j) Don Shisler and Doug Smith taking care of Boss Hogg’s infamous white Cadillac for The Dukes of Hazzard (1979). (k) Director Steve Rash and his camera crew in a bucket lift for The Buddy Holly Story (1978). (l) Gy Waldron, producer of The Dukes of Hazzard and Six Pack, taking a look at the framing for a shot, in the days before directors had the convenience of video monitors.

Georgia Industry Yearbook

(a) Operator Allen Facemire on the set of Moonrunners (1975). (b) The Duke boys encountering the Sheriff on The Dukes of Hazzard (1979). (c) Script supervisor Charlene Webb on the set of The Dukes of Hazzard (1979). (d) A young Paul Varrieur (on right) was a member of the camera department on the pilot Six Pack (1983), which was based on a film by the same name. (e) Allen Facemire rigging a camera for a stunt sequence on The Dukes of Hazzard (1979). (f) Paul Varrieur, Allen Facemire, and Billy Sherrill on the set of a commercial in the mid-1980s.

162

Companies

Year Started Founder/CEO/Officers

Companies

Year Started Founder/CEO/Officers

Electric Transfer Inc.

1987-2010

Joseph Donini, founder

Sirius Images Corporation

1990-2001

Marshall Peterson, founder

The Computer Studio

1988

Anita M. Critz

Imagic

1990-2005

Joe Huggins, founder

APC Studios

1988-2006

Salvatore Nappo, founder

Comotion Films

1991

Sheryl Myers, founder

Creative Edge

1988-2007

Beth Goodwin, founder

Comprehensive Technical Group, Inc. 1991

Steve McCormick, Jim Wile, co-owners

Baird Camera Cars, Inc.

1989

Greg Baird, founder; Wilma Jean Baird, CEO

Rob Rainey Video, Inc.

1991

Rob Rainey, founder

Jo-Thor’s Dog Academy

1989

Joan Lask, founder

Telltale Films, Inc.

1991

Peachtree Prompters

1989

Lauri Plesco, founder

Feature Systems South Inc. (Atlanta)

1991-2008

Riverwood Studios (DBA Raleigh Studios)

1989

Paul Lombardi, founder; Scott Tigchelaar, president

Atlanta Rigging Systems, LLC

1992

Rick Rushing, president; Dave Gittens, VP/GM

Casting Connection, Inc.

1992

John Culbreth, founder

SaltRun Productions

1989

Crossover Entertainment Group, Inc.

1992

Luther Randall III, GM; Billy Johnson, COO

Encyclomedia

1992

Lance Holland, founder

Gypsy Grips Georgia

1992

Danny “DJ” Haizlip, Chunky Huse, co-founders

Triple Horse Entertainment

1992

Karl and Amy Horstman, founders

Artisan Pictureworks

1992-1999

Joe Gora, founder

Barbizon Atlanta

1993

Damian Vaudo, branch manager

Broadcast Equipment Rental

Allen Facemire, CFO; Susan Satterfield, CEO

Staging Directions

1989

Nick D’Allen, president

The Propper Source

1989-2006

Hilary Henkin, owner

Savannah Production Group Inc.

1989-2010

Mickey Youmans, Tim Rhoad, Maria Rhoad

Southern Animal Talent Agency

1989-2012

Senia Phillips, founder

Atlanta Films, Inc. (Get-A-Grip Atlanta) 1990

Mark Henderson, founder/president

Bob Shelley Special Effects International Inc.

1990

Bob Shelley, founder

Houghton Talent, Inc.

1990

Gail Houghton, founder

Magick Lantern Studios

1990

Bill VanDerKloot, founder

Neverland Film Services

1990

Tim McCabe, founder

Payroll South (Crew)

1990

Annette Stilwell, founder

Peachtree Post

1990-2002

Jeff Blauvelt, owner

Phelanx, Inc.

1990

Mark Phelan, founder

Powell Group, Inc., The

1990-2004

Tia Powell, founder

ShowPay

1990

Annette Stilwell, founder

Spotchex (union)

1990

Annette Stilwell, founder

Xchex (nonunion)

1990

Annette Stilwell, founder

Effigy Film and Video

1990-1993

Toni Colley Lee and William Hudson

Dick Cross Special Effects

1990-1999

Richard (Dick) Cross and Gayle Cross, founders

Tom Luse, CEO Bob Bailin

1993

Tony Foresta, GM

ImageMaster Productions, Inc.

1993

Dan Johnson, founder

Inertia Films, Inc.

1993

A. Troy Thomas, founder

Synergy Films

1993

George Watkins and Lyn Toll, founders

Whoa! Films, Inc.

1993

Bill Orisich, founder

Brick House Editorial

1993-1997

Cindy Garguilo, Kevin Garguilo, co-founders

First Light Entertainment, Inc.

1993-2002

Vivian Jones, CEO/producer

Video Progressions, Inc.

1993-2012

Adair Simon, founder

Atlanta Dogworks

1994

Greg Tresan CEO; Carol Tresan, CFO

Blue Moon Productions, Ltd.

1994

Susan Kanellos, CEO

Bootleg Island Entertainment

1994

Mike Coolik, founder

Carlisle Production Services

1994

John Carlisle, founder

Danny Boy Services, LLC

1994

Dan Philipp, founder

Eagles Cry Productions, LLP

1994

J. Robert Russell, CEO; Karen Russell CFO

Company (BERC)

Entertainment Design Group, Inc. (EDG) 1994

Steven L. Guy, CEO

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Georgia Industry Yearbook

“About thirty seconds in, he started

Georgia Industry Yearbook

Cattleman’s Association meeting. When Spivia found out about it, he arranged a

Georgia Industry Yearbook

who organizes a team of

the veteran actor came to Georgia for a

Harold Morris, an inmate at Reidsville Prison, also worked as an extra in The Longest Yard. Originally sentenced to two life terms, Morris was later pardoned. When he was released, he wrote a screenplay about his life. Filmed as Unshackled, it was directed by Bart Patton and released in 2000.

In 1975, The Lewis Family founded Lightnin’ Production Rentals, Inc., in Atlanta. The company began renting production trucks to the motion picture industry in 1979 – everything from star trailers and honey wagons to camera trucks. Lightnin’s first feature film was 1980’s Little Darlings, starring Kristy McNichol and Tatum O’Neal.

Melva Akens 1990: Set Decorator 2013: Wardrobe Stylist & Buyer

Georgia Industry Yearbook

In 1974, North Carolina native Annette Stillwell moved to Atlanta and, one year later, founded what would become a very successful cast and crew payroll company. By 1980, Stilwell would become an Emmy award-winning producer and one of the premier casting directors in the Southeast.

Crew & Talent

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