Oz Magazine May / June 2021 by Oz Publishing, Inc

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May / June 2021

MAY / JUNE 2021

CONTRIBUTORS Kristen Estimond

OZ MAGAZINE

STAFF Editor-in-Chief B. Sonenreich

Publisher

Tia Powell (Group Publisher)

Cover story: Covington Blooms In Sweet Magnolias, p.24 Kristen Estimond is a writer, educator and Literary Manager based in Atlanta, Georgia. She received her Bachelor’s and Master’s degree from Kennesaw State University in Language Arts/English teaching and Special Education. She’s currently reading scripts and finding out new ways to promote and develop diverse writers within the Southeast, all while raising two beautiful children.

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Kris Thimmesch

Creative Director Michael R. Eilers

Production and Design Christopher Winley Michael R. Eilers

Cover:

Image Courtesy of Netflix

Olamma Oparah Feature Story: The Menacing Marionettes of Creepshow, p.34 Olamma Oparah is a writer and filmmaker based in Atlanta, Georgia. She received her Bachelor’s degree in Creative Writing from Florida State University and continued her education at Georgia State University’s Film, Media and Theatre graduate program. Her recent short films, “Laundry Day” and “No One Heals Without Dying,” are poetic, visual explorations of Black femininity in the modern world.

Alexa Rachelle Jennings Feature Story: Small Town, Big Screen, p.30

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Alexa Rachelle Jennings was born and raised in Atlanta. She received her Bachelor’s of English, concentrating in Creative Writing from Georgia State University. She is an actor and can be seen in such shows as “Bigger” (BET +) , “Dynasty” (CW), and “Greenleaf” (OWN). She has also appeared in national commercials for brands such as Sherwin Williams, AT&T, and Walmart, to name a few. She enjoys the arts and wants to be creative whenever she gets the chance.

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Starr Ferguson

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Feature Story: Filmmaker on the Rise, p.40

/ozmagazine Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright © 2021 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.

Oz Magazine - film. tv. entertainment.

Starr Ferguson is an Atlanta-based creative from Huntsville, Alabama and a graduate from Alabama State University. She is an actor, writer, and costume designer. Starr has also styled various short films, music videos, commercials and is currently writing her own web series. Her writing can be seen in Oz and TUC Magazine.

MAY / JUNE 2021

CONTENTS

OZCETERA

FEATURE STORY

A compilation of recent news and hot projects from and about the Georgia entertainment industry

The Menacing Marionettes of Creepshow An inside look at how the Georgia-based masterminds brought the comic book to life

COVER STORY

Covington Blooms In Sweet Magnolias

Oz discusses the foundational key to creating a hit Netflix drama: collaboration

FILMMAKER ON THE RISE A Q&A with Atlanta-based Director Ebony Blanding

FEATURE STORY

Let Me Give You My Card

Small Town, Big Screen A Q&A with Alexander Kane about making blockbusters in Fitzgerald

May / June 2021

OzCetera

“BLISS IS ORANGE” SET TO STREAM ON DUST

T.C. Barrera (1st AD), Samantha Weissert (Writer and Producer), and Jenna Kannell (Director) on set

he Georgia-lensed short film “Bliss Is Orange,” which premiered at OutFest, Atlanta Film Festival, Sidewalk Film Festival, Woods Hole Film Festival and Seattle Queer Film festival in 2020, is now reaching viewers through streaming distribution first on the Omeleto platform and soon through DUST. “Inclusive hiring, both in front of and behind the camera, is vital. And regardless of the outcome, I always fight for it,” Director, Jenna Kanell, said. “The entire ‘Bliss is Orange’ team was local to Atlanta! We had the joy of working with actors Victoria Ealy, Jade Fernandez, Agnes Mayasari, and Jason Francisco Blue.” “Especially considering the effects of the ongoing pandemic, I’m proud of having directed Samantha Weissert’s script, and proud of the film’s festival run,” Kanell added. Since COVID-19 hit, Kanell has been attending festivals and panels for the film virtually or via drive-in. When she’s not behind the camera or participating in the festival circuit with her

Oz Magazine - film. tv. entertainment. SINCE 1990

own films, Kanell is wearing different hats within the industry. “Most of the humans I know here are in some way multihyphenates - either by bouncing between budgets, or hopping formats, or working in a variety of positions from project to project, or all of the above.” Kanell is represented as an actor by

the Alexander White Agency and has recently acted in an episode of the hit Marvel and Disney+ streaming series, “WandaVision.” Additionally, she has worked as a Producer of the feature documentary On Island and the Des Rocs music video “This Is Our Life,” which she both acted and stunted in.

May / June 2021

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“Just Beyond,” a Disney+ horror-comedy series based on R.L. Stine's graphic novels, is now in production. The first installment is being filmed in Atlanta. The series was released in print in 2019 via KaBOOM!, an imprint of BOOM! Studios. BOOM! Studios revealed a first look at “Just Beyond: The Scare School.” The series follows three 12-year-olds within the halls of Scare Middle School as they evade a menacing cyborg creature called the Drogg. It’s unclear where these preteens came from; they don’t fit in with the rest of their peers and are thrust into mystery along with the audience. BOOM! Studios and the KaBOOM! imprint are home to comics for middle school readers and younger, including licensed series such as “Adventure Time,” “Steven Universe,” “Rugrats,” “Peanuts,” and “Garfield.” “Middle school is terrifying enough as it is but R.L. Stine takes that fear to a whole new level in ‘Just Beyond: The Scare School,” Vice President of Editorial & Creative Strategy at BOOM! Studios, Bryce Carlson said. “I honestly couldn’t imagine a better way to kick off a series of middle grade horror graphic novels. This book is every kid’s nightmare come to life with chilling art by phenomenal illustrators Kelly and Nichole Matthews and a frightening story that only a modern master like Stine could tell.” Filmmaker, Marc Webb, will be directing the first two episodes, and it will be adapted by Showrunner, Seth Grahame-Smith.

May / June 2021

OzCetera Screengrab from Raymond Carr's short film "Joyriders"

CRAZY LEGS FEATURES TEAMS UP WITH VAUGHAN FOR HOME SAFE C raz y Legs Features is current l y in production of the feature film, HOME SAFE. The drama-thriller is directed by Jacob Vaughan (Bad Milo), and stars Felisha Terrell (The Tomorrow War), Jason MacDonals (“The Vampire Diaries”), Emily Topper (The Girl in the Basement), Michael Shenefelt (“Sweet Magnolias”), and Henry Bazemore Jr. (“Homeland”). This upcoming movie marks Crazy Legs Features’ second feature length film as a division of Crazy Legs Productions, with plans to release multiple films for theatrical and digital distribution each year. Their first film, His Killer Fan, premiered on Lifetime Movie Network. HOME SAFE follows Anna (Terrell), the Editor-in-Chief of a news magazine, and her husband Daniel (MacDonald), the founder of an AI-centered home security company, as the couple is threatened by a mysterious houseguest all while the couple is expecting their first child. The f ilm is writ ten by Juddy Talt and produced in association with Uncle Easy Productions, with Scott Thigpen, Marie Halliday, and Jessica Fox-Thigpen producing for Craz y Legs Features. Executive producers are Tom Cappello, Ryan Ellison, Don Mandrik, Matt Ornstein, and Frank Schuler. Jacob Vaughan directed and co-wrote the horror/comedy Bad Milo in 2013, which was executive produced by Duplass Brothers Produc tions and Academy Award-winning producer Adele Romanski and was distributed by Magnet Releasing.

ATLANTA ARTISTS EMPOWERED BY VIRTUAL VENUE

Oz Magazine - film. tv. entertainment. SINCE 1990

GEORGIA-LENSED FILMS STAND OUT AT ATLANTA FILM FESTIVAL

he 45th annual Atlanta Film Festival boasted a 188 film catalogue and offered hybrid experiences, serving both virtual, drive-in, and socially distanced in-person screenings. The Atlanta Film Festival is the annual centerpiece of educational and enriching film programming that is provided year-round by its parent organization, the Atlanta Film Society. Festival blocks were mixed with homegrown Georgia feature length and short films that stood out for quality and creativity. Amongst these films were standouts from Oz’s previous “Filmmakers on the Rise,” Asad Farooqui’s “Mabrook” and Kate E. Hinshaw ’s “Ten Leaves Dilated.” Farooqui’s “Mabrook” follows a Muslim family who hosts an Eid celebration that goes south over political conversation and family drama. The short is layered and comical, with Farooqui both acting and directing. Hinshaw ’s “Ten Leaves Dilated,” which has a co-direction credit to Ebony

Blanding (this issue’s “Filmmaker on the Rise”), explores the history and mythology behind the birthing of a Cabbage Patch Doll. The short documentary, all shot on analog film, elicits conversations about the female body and how Western society comes to terms with the birthing process. Additionally, Atlanta-based filmmaker Raymond Carr’s “Joyriders,” took festival audiences on a ride through the tops of the Atlanta skyline via the driver’s seat of an alien spaceship that mysteriously landed in the hood. Three Black Atliens come across the otherworldly vehicle and end up taking it on a joyride. However, in outer space they have to collectively decide between returning to help the world that never cared about them, or escaping into the unknown. These films are only tastes of what these local f ilmmakers have in their repertoire, and it comes as no surprise that Atlanta Film Society continues to promote these filmmakers year round.

performers — across all genres — an equal platform,” Director of Creative Media and Brand Development for Volume, Ben Holst, said. “We feel that this will be a powerful and useful venue, regardless of the state of touring.” In addition to Volume’s commitment to creating an interactive platform for artists, venues, and fans, it has also committed to supporting various nonprofit music and artistic-related charitable organizations, while also highlighting these groups within the Volume community.

olume, a new and free 24/7 live streaming service and online venue, is providing a dynamic and personalized experience for both artists and entertainment lovers. The company recently celebrated its opening with a 48-hour event featuring more than 200 performers, ranging from aspiring to established performing artists across genres from country to classical, rock and roll to hip hop. Atlanta’s Aisle Five and 800 East Studios were amongst the venues participating in the event. “Volume was created with the intention of g i v i n g a s p i r i n g a n d e s t a b l i s h e d

May / June 2021

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WILLIS AND PELISSIER LAUNCH 42WEST ENTERTAINMENT GROUP

Lauren Pelissier

tlanta Hawks star, Kevin Willis, and renowned event planner, Lauren Pelissier, have partnered together to launch the 42West Entertainment Group. The new event venue is focused on creating and hosting exclusive events for high-end occasions. From film and television productions, like red carpet premieres, the facility located on Atlanta’s West Side will offer top-tier amenities in a venue that is both private and easily accessible. “I was looking for an event space venue, and I was originally looking at a building in Decatur,” Pelissier said. A commercial real estate agent was simultaneously showing Willis new spaces for his clothing line. They ended up looking at one of the same spaces that is now the 42West venue today. “Not only did our personalities totally jam, but we both came from a philanthropic foundation just in the way that he has this very successful nonprofit serving the inner-city of Atlanta kids, and I’ve worked in nonprofit my whole life.” Pelissier spent twenty years running a camp for homeless children, and Willis started the Atlanta Children’s Foundation with his brother, Robert K. Willis. “[Atlanta Children’s Foundation] started in 2002. "We have a 200-acre campus in Toccoa, Georgia. Right now we probably have at least a capacity of 150 beds for kids to sleep tonight,” Willis told Oz. “We have so many opportunities for kids to grow, expand, build their trust, build their self-esteem in more of a family-oriented structure, where they feel part of something that is positive in their lives so we can redirect the course of their lives, so they can be productive students and productive people and parents as they advance in life.” 42West is designed to give back to the community. Every event will include a charity commitment with multiple nonprofits to choose from as beneficiaries. The goal is for paid events to be a funding stream so that Atlanta nonprofits can use the space at no charge. “Neither Kevin nor I are driven by the dollar in the sense that we want to make money,” Pelissier explained. “We’ll take our experience of providing high-end experiences, whatever it may be, and then provide a give back that’s equal or greater than …. The idea is to have events throughout the months that will allow us to then give back to nonprofits and inner-city youth who need the space.” “The story that was behind this was when we grew up someone impacted our lives in the same way. Somebody gave us an opportunity, somebody gave us a chance. And who knew I was going to play NBA basketball for 22 years, which was a tremendous blessing? But, without that chance, and someone saying, ‘I believe in you,’ and giving me that encouragement and building faith in me, it would’ve been a very difficult task. So, through all the blessings that I’ve had, I said, ‘You know what? I need to give back now. Now it’s my turn.’” The 9000 square foot indoor and outdoor event space is located in Atlanta and will hold space for events including but not limited to, corporate functions, product launches, photo shoots, filming and social events.

Oz Magazine - film. tv. entertainment. SINCE 1990

Kevin Willis, image courtesy of Scott Cunningham - NBAE Getty Images

42West

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Terry J and MissAllieJoy

Autumn Bailey-Ford

TERRY J’S "8 MINUTES & 46 SECONDS" BRINGS BLACK LIVES MATTER MESSAGE TO OXFORD VIRTUAL FILM FESTIVAL

erry J’s music video for "8 Minutes & 46 Seconds", directed by Atlantabased, Aaron Strand, was selected to screen at the Oxford Virtual Film Festival. The song features MissAllieJoy and was produced by Brady Dunn. In June 2020, as the Black Lives Matter protests swept across the nation, Ter r y J, a n At la n t a - ba se d tea ch e r, actor and musician wrote the streamof-consciousness track with his wife and singer, MissAllieJoy, and longtime

Oz Magazine - film. tv. entertainment. SINCE 1990

producer, Brady Dunn. A week later he was connected to director Aaron Strand. “I had posted on Instagram that I would donate a video to any artist making music about the BLM movement,” Strand told Oz. “I was really lucky to work with Terry and Allie who are as passionate as they are talented” O ver t he nex t m o n t h , t he team developed the video concept to shed light on the many issues raised by the broader Black Lives Matter movement, as well as

focusing on events taking place in Atlanta, including the murder of Rayshard Brooks and death of civil rights icon, John Lewis. “While art is performative, we don’t want to be performative in our advocacy. We hope that the video can entertain but also serve as an emotional and historical artifact of what was happening during that unforgettable summer,” Strand added. "8 Minutes & 46 Seconds" can be streamed at the Ox ford Vir tual Film Festival.

May / June 2021

OzCetera Bob Odenkirk

GEORGIA NATIVE RELEASES BLOCKBUSTER AS MOVIEGOERS RETURN TO BIG SCREEN

rior to becoming a Producer and Agent, Marc Provissiero relocated from Georgia to Hollywood to embark on his journey in showbiz. Even after Provissiero represented big names like Mindy Kaling, B.J. Novak, Rainn Wilson, and most recently Bob Odenkirk of “Breaking Bad” fame, he never forgot his Georgia roots. Provissiero has continually advocated for filming in his home state. He worked with Garth Brooks and Halle Berry, helping both develop their film and TV ideas. Now, Provissiero is excited to release a big-name blockbuster that will hit theatres just as theatergoers report they are confident in returning to the movies. Nobody (2021), which opened nationwide in March, is the story of a home invasion that propels an underestimated, overlooked man to tap into his most lethal and ruthless instincts in order to keep his family safe. The idea was developed with Odenkirk’s own traumatic experience in mind. “My home has been broken into twice, both times with my wife and kids

Oz Magazine - film. tv. entertainment. SINCE 1990

and myself at home,” Odenkirk said. “As a dad, I felt the right thing to do was … nothing. I believe we made it through with minimal damage, but still, the experience has never lef t me, and I ’ve always wondered if I should have been more proactive.” Af ter the suspec t was arres ted, Odenkirk was haunted by the attending police officer’s comment. “You did the right thing,” the officer told him. “It’s not what I would have done, but you did the right thing.” Provissiero talked with Odenkirk about what it means as a father and a husband to protect your family in this day when men are guided to sublimate their more primal instincts. “That evolution is probably a good thing,” Provissiero said. “But then, what happens when you’re that dad and your family is in danger?” These conversations sparked the creation of a Death Wish or Taken-type storyline, but with a twist. “We thought, what if he’s not the type of guy who just flips a switch and you

know he will take down everyone in front of him? What if he’s a more suburban dad, an every-dad, and you’re not sure whether he’s capable?” To bring the story to life, the duo, along with Braden Afergood, attracted the John Wick trilogy writer, Derek Kolstad. They pitched the project 13 times in a windowless office in Beverly Hills to an array of financiers. 87North’s Kelly McCormick and David Leitch, whose long list of action films includes the John Wick series, Atomic Blonde and Fast & Furious Presents: Hobbs & Shaw, loved the concept and team and signed on. The final piece that fell into place was the Director, Ilya Naishuller, best known for the actionthriller Hardcore Henry, brought his talent for poetic action to the team. Nobody fills the whole spectrum, with action set-pieces, shock moments, dark moments and emotional moments, too. Viewers will be drawn to the relatable, big-hearted protagonist, Hutch (played by Odenkirk) as he discovers and tempers his violent impulses.

May / June 2021

OzCetera The Founder of TRICK 3D Studio, Chad Eikhoff, and the Founder of Music Matters Productions, Aaron Soriero

INNOVATION COLLABORATORS JOIN FORCES FOR XR STAGE IN GEORGIA

he Founder of TRICK 3D Studio, Chad Eikhoff, and the Founder of Music Matters Productions, Aaron Soriero, joined in partnership on one of Atlanta’s first extended reality (XR) stage using the game engine technology leveraged by Director, Jon Favreau, and Unreal Engine from Epic Games. The two founders have named this high-tech spot the Music Matters XR Stage and have set it up just northeast of central Atlanta in Peachtree Corners. The MM-XR Stage is outfitted with Absen LED walls, a ROE Visual Black Marble LED floor, Vanishing Point Camera/Lens Tracking System, lighting design and a full range of AVID and DiGiCo audio consoles, in addition to full range of additional options available from Music Matters. These tools combine with 360-degree virtual backgrounds that are rendered using the Unreal Engine and then tracked, composited and recorded in real time. Since the onset of the COVID-19 pandemic, industry professionals have dubbed these types of stages and tools ‘virtual production’ since the scenes are rendered from computer-tostage rather than shooting scenes in an on-location environment. “Georgia is leading across sectors from film and music, to tech and big business,” Eikhoff said. “The Music Matters XR Stage pushes what’s possible in content production for all of those industries. As a creator who has been focused on extending the use of real-time technology across sectors, I saw the opportunity we had here in Atlanta, and I saw that Aaron and his team at Music Matters Productions are the right people to get it done.” While the practical benefits of shooting in a controlled environment that virtual production affords have been widely recognized during the pandemic, these techniques are winning additional favor due to the fact that XR environments can run the creative gamut – from photo-realistic, cinematic exteriors to outof-box, abstract worlds – the possibilities are many. “Directors have strong creative visions, so the faster they can see their visions come to life, the better,” Eikhoff added. “This XR stage opens the possibilities to shoot with super speed and super capabilities.”

Oz Magazine - film. tv. entertainment. SINCE 1990

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OzCetera Samuel Laubscher and Chris Hunt on set

“THE INSTRUMENT” STREAMS ON AMAZON PRIME

tlanta-based Director, Chris Hunt, released his short, Georgia-lensed shor t f ilm, “The Instrument,” on Amazon Prime. The s tor y follows a detective investigating a family that may be connected to a mysterious, non-human, biological disaster. Prior to directing “The Instrument,” Hunt cut his teeth on otherworldly projects like “Spyglass” and “Adiaphora.” “The Instrument” feels timely, in the sense that the biological disaster in the film takes the form of a highly contagious virus

of some sort. “It’s always a bit tough for me to gauge but it seems that with those that have seen the project,” Hunt told Oz, “there is some kind of resonance with the real-life, non-filmic experiences we have all experienced with the pandemic. For me, personally, the emptiness of the early quarantine experience was particularly peculiar in how it permeated our film. The tone was somewhat dictated by a lack of background extras but it ultimately felt right. When no one is really going out and there aren’t as many cars on the roads and

there is a quietness in general, space and silence is dominant and it is coincidently straightforwardly discussed in a cinematic world with few bodies,” Hunt said. “I appreciate how there seem to be innate audiences that find material on certain platforms even without the material being promoted to them. That is part of what has been fulfilling in utilizing the Prime platform,” Hunt added. Hunt plans to venture into the feature length realm in his next directorial project.

May / June 2021

Oz Magazine - film. tv. entertainment. SINCE 1990

OzCetera Atlanta-based, Vietnamese Producer Thang Ho

FILM IMPACT GEORGIA RELEASES SUBMISSION DEMOGRAPHICS

ilm Impact Georgia (FIG), the nonprofit organization which offers aids, education, and funding for independent filmmakers in the state, released their demographics of the s u b m i s s i o n f r o m t h e S p r i n g 2 02 1 Filmmaker Grant. “The most diverse film crews and filmmakers that you will see in the United States exist in Georgia because that is what we look like as a state,” Creative Director of FIG, Molly Coffee, said. “The media we get to consume could look like that as well if we just get rid of the barriers of entry. Our grant demographics show that the stories and the voices are out there and the filmmakers are ready for the opportunity.” Thi s gr an t c ycle b rou gh t in t he most submissions Film Impact Georgia has seen, with a 10% increase in overall submissions. While the gender demographics leaned more male than the last cycle, they saw an over 60% increase in submission from BIPOC filmmakers and an increase from cities outside of Atlanta, including Columbus, Augusta, Savannah, Gainesville, and Valdosta. Also, in this round, 17% of submissions came from filmmakers that identify as LGBTQIA+. “Demographic s are impor tant to us as an organization as it lets us know where we can improve outreach, as well as provide transparency to the grant process,” Executive Direc tor of FIG, Melissa Simpson, said.

THANG HO PRODUCES FOR “RISING VOICES”

his past March, Lena Waith’s Hillman Grad Productions and Indeed partnered to spotlight 10 BIPOC filmmaker teams. Each team will debut their completed film at the 2021 Tribeca Film Festival in New York City. The par tner ship coined, “ Rising Voices,” awarded each team a $100,000 production budget and crew to produce a 15-minute short. Atlanta-based, Vietnamese filmmaker, Thang Ho, is amongst the producers on one of these film teams. Ho is an Emmy award-winning Director, Producer and Cinematographer and a SCAD graduate alumni. Ho recently debuted “Around the Block,” a short he produced alongside Atlanta-based Director, Kevon Pryce, at the 2020 Atlanta Film Festival. “I found that when I produce, it’s often

for stories that I want to support and see that director as someone who can tell that specific story better than I can,” Ho said in reference to working with Atlanta-based directors, like Pryce, Dany Flores, and more. “In those productions, [“Around the Block” and “Vanilla Milkshake,] the Atlanta community showed up.” “We are so incredibly grateful for the Atlanta community for the pure fact that they want to tell stories with a heart,” Ho told Oz. For “Rising Voices,” Ho will work alongside Director, Elisee Junior St. Preux. “[St. Preux’s] scripts just carry this poetic quality. They are profoundly rich, personal, and heartfelt yet carry this light quality that just floats your eyes through the script. His writing sparks the passion in me,” Ho added.

May / June 2021

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Still from "Zoelie," a SCAD cross-departmental collaboration on a family-friendly animated game

SCADFILM PRESENTS VIRTUAL SCAD GAMINGFEST

avannah College of Art and Design (SCAD) returned with the annual SCAD GamingFest, an all-vir tual event this year that took place in April. SCAD GamingFest featured captivating programming ever y hour on the hour throughout the two - day event. The event spotlighted innovators, storytellers, and designers on the leading edge of game design and development with sessions that ignited imagination and creativity. The event also featured a global network of working professionals and industry luminaries who presented programming and conversations focusing on explorations of technical advancement in artificial intelligence (AI), 22

Oz Magazine - film. tv. entertainment. SINCE 1990

photogrammetry, XR, player dynamics, and virtual production. Over 125 game development companies are based in Georgia, further emphasizing the connection between game design and creative careers. “The world’s greatest games unite two vastly important arenas of human invention: science and storytelling,” SCAD President and Founder, Paula Wallace, said. “We are pleased to provide virtual access to our festival to a global audience of digital enter tainment developers, designers, and enthusiasts,” SCADFILM’s Senior Executive Director, Leigh Seaman, stated. “In the past year, the incredible

work done by the industry leaders joining us for SCAD Gamingfest proved there are no boundaries to the creative opportunity found in game design, especially when it comes to using tools from the gaming industr y to create content for other platforms. SCAD GamingFest promises an explosion of creativity from the collision of story, design, and technology.” SC A D G amingFes t is presented by SCADFILM, the university’s leading programmer of event s for student s and working professionals in film and television, animation, interactive game design, virtual reality and digital media arts.

May / June 2021

Cover Story

BY: KRISTEN ESTIMOND

he Georgia-lensed series, “Sweet Magnolias,” is currently filming its second season and much of its success is based on community collaboration with the cast and crew working in Covington, Georgia. The collaboration begins with Sherryl Woods writing a beloved series of novels, which were adapted for the screen by Sheryl Anderson, the Showrunner of the Netflix series, and directed by the extremely talented Norman Buckley, who is known for his direction of “The OC,” “Gossip Girl” and “Pretty Little Liars.”

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“Sweet Magnolias” season one focused on the divorce between two town sweethearts. The series begins in a mediation session, where the Townsend couple (played by Chris Klein and JoAnna Garcia Swisher) are arguing over if the family home will stay in Maddie Townsend’s possession or be sold to support Bill Townsend’s pregnant fiancé (Jamie Lynn Spears). The story then follows the protagonist, Maddie, as she picks up the pieces,

all with the support of her childhood friends. The renewal for a second season is not a surprise from Netflix, as their investment in female-led dramas adapted from popular Woods novels such as “Virgin River” and “Firefly Lane” has boosted audience interest in women’s relationships and stories. The second season will continue to follow the lives of three lifelong best friends, Maddie Townsend, Helen Decatur (Heather

Headley), and Dana Sue Sullivan (Brooke Elliott), as they journey together through more joy, more heartbreak, and a lot of salt rimmed margaritas in the comfort of Covington gone Serenity. Fortunately, season two is also bringing back trios in both the cast and creators, to recreate the magic of season one. Oz sat down with the trio of major creative influencers behind the scenes, Woods, Anderson, and Buckley, to talk about the teamwork necessary to

May / June 2021

Cover Story Cover Story adapt and create “Sweet Magnolias.” While each brings individual experience and talent to this Georgia-lensed drama, their focus on authenticity and collaboration is what sets this project apart from other shows screening on the streaming service.

ADAPTING THE VISION

Sherryl Woods created this popular romance series with lifelong female friendships in mind; however, this is not the first time she has adapted her novels for television. “Chesapeake Shores,” another popular romance series written by Woods, is currently filming its fifth season for Hallmark Channel. Both series have their similarities; they focus on family and relationships in a small, tightknit community and both are produced by Dan Paulson, who brought “Sweet Magnolias” to Netflix. Woods describes Paulson as “inclusive” and “respectful” towards her as the writer, an experience that not all novelists have when their work makes it to the screen. Adaptations are usually notorious for not getting the imagery right in the book, omitting key parts, and leaving characters lacking the depth the original author intended them to possess. However, there was a sense of respect for Woods’ literary work that permeated the production.

“With 'Sweet Magnolias', the whole thrust of the series is the importance of women friendships that you have your entire life that back you up no matter what in any crisis, and all the changes they made still reflected that.” SHERRYL WOODS

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“Dan and I have a very good working relationship and I know how he’s going to treat my books when he translates them to screen. He has respect for the source material as well as what ends up on screen, knowing what is dramatic and works for TV,” Woods told Oz. Woods’ background as a television critic gives her a unique perspective on changing her original storylines to meet the needs of television, and it was easy to accept changes in the story as long as she felt that the heart of the relationships portrayed remained intact. “With "Sweet Magnolias", the whole thrust of the series is the importance of women friendships that you have your entire life that back you up no matter what in any crisis, and all the changes they made still reflected that,” Woods added. “Dan and the showrunner have been very good about listening to me and at least hearing me, “ she told Oz, “[but] if anything changes, that’s a whole different ball game. I have a voice and no control! But a voice is a pretty big deal.”

Another collaboration that Woods is grateful for is the one she shares with her literary agent. Unlike in the world of publishing, a literary agent in film and television is optioning your script to networks like Hallmark and streaming platforms like Netflix. Woods had the unique experience of having the same literary agent for almost forty years, an accomplished agent named Denise Marcil. She worked closely with Woods throughout her writing career with her novels, and her agency began advocating for her work to move into film adaptation. “You absolutely need an agent,” Woods told Oz, as having a literary agent submitting your work allows for projects to be taken more seriously. For almost all networks and studios, unsolicited projects sent without an agent won’t be accepted at all. In other words, finding someone who loved her work and had the right connections propelled her writing into different arenas that developed her career into what it is today.

“The joy of ‘Sweet Magnolias’ is that it is a series about community that is created by a community —the amazing writers room, the magnificent cast, and the superb crew.” - SHERYL ANDERSON A COMMUNITY OF CREATORS Sheryl Anderson, Showrunner for the series, was recruited for the project by Co-Executive producer Matt Drake, and for good reason. Anderson’s past experience as an Executive and Co-Executive Producer and writer on hit series, like “Charmed” and “Ties that Bind,” gives her the passion, drive and skills needed to bring the town of Serenity

May / June 2021

Cover Story

to life. Anderson knew she had to utilize community to adapt “Sweet Magnolias.” “My past projects have taught me what a blessing it is to work on a show where the themes resonate with you personally, and where you have the opportunity to share the creative process with kindred spirits,” Anderson said. “The joy of ‘Sweet Magnolias’ is that it is a series about community that is created by a community — the amazing writers room, the magnificent cast, and the superb crew.” Anderson used this idea of collaboration to develop a strong writers' room that used source material, personal experiences, and the wide variety of locations in the small but bustling Covington, GA to develop the 10 episode order. “[Woods] gave us plenty to work with,” she explained, “and we drew on our imaginations of course. We are writers after all!” After the experience of creating by the Author and the Showrunner for major networks, the shift to the filming schedule for Netflix was an adjustment. 28

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“My past projects have taught me what a blessing it is to work on a show where the themes resonate with you personally, and where you have the opportunity to share the creative process with kindred spirits.” - SHERYL ANDERSON “The biggest difference is schedule. On a network show, you're writing 13 to 22 episodes, and producing them while writing. The streaming model tends to be shorter orders — we do 10 episodes at a time — and we write first, then shoot the episodes after we're done writing,” Anderson explained. Ultimately, the focus on the community in this project impacted the show’s culture, as team members from different backgrounds and experience levels, including both cast and crew, collaborated openly to make this heartwarming series possible.

FOCUS ON CONNECTION This team that brought “Sweet Magnolias” to life ulitmately led by Director Norman Buckley, who maintained a collaborative relationship with the Showrunner and Producers, according to Anderson. “Before we started shooting season one,” Anderson told Oz, “[Norman] and I talked a lot about the look I'd envisioned, his thoughts as he'd read the scripts, and the references from art, photography, and film we wanted to evoke.” Buckley splits his time between Vancouver, Los Angeles, and Atlanta, but is drawn to the relationships that make

"Sweet Magnolias" (L To R) Brooke Elliott as Dana Sue, Cindy Karr as Frances Wingate, Heather Headley as Helen Decatur, and JoAnna Garcia Swisher as Maddie Townsend in Episode 105 of "Sweet Magnolias" Cr. Eliza Morse Netflix © 2020

small towns like Serenity unique. “It’s a show that really resonates with me because I grew up in Texas,” he explained, “and there are so many similar things to my own experience. I remember my mother’s friends coming over and sitting in our kitchen and talking while myself and the neighborhood kids played, so that resonates — the idea of a small community where everybody knows everybody’s business.” Choosing Covington was perfect for this series then, as the proximity to Atlanta, high quality of local talent, and the city’s familiarity with other productions like “The Vampire Diaries” provided the infrastructure that supported a seamless filming experience while also being authentically a small Southern town. “I love filming here,” Buckley stated, “I find myself completely at home.” Buckley is well known for directing popular series like “The OC” and “Gossip Girl,” and this is not a departure from the relationships between women that he’s enjoyed portraying throughout his career.

“Practically all of the shows I’ve done are about relationships between [women] and I feel that I have a real facility for that,” he expressed happily, “it’s something that comes organically.” Just like the community of Serenity, South Carolina, the community of cast, creators, and crew of “Sweet Magnolias” has collaborated to give the series the authenticity and warmth that Sherryl Woods imagined in her novels, and season two promises more success for its team and for Georgia.

May / June 2021

Alexander Kane acting

BY: ALEXA RACHELLE JENNINGS

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itzgerald, Georgia is in the deep south, with a population of almost 9,000; it’s not somewhere you would expect for the film industry to appear next, but with the help of Alexander Kane, a Fitzgerald native, and his wife, Brittney, that was their exact goal. At the age of 35, Kane decided that he wanted to leave his day job to pursue a career in acting, but once he started on the path, he quickly realized that if he wanted to work and find success in the industry, he would have to start by producing his own projects. With support from Fitzgerald Mayor Jim Puckett and other key figures within the town, they produced their first film, Lena and Snowball (2021).

“

I CAN STAY IN FITZGERALD, GEORGIA AND I CAN ACCOMPLISH MY LIFELONG DREAM.” ALEXANDER KANE

Kane’s charismatic and inspirational personality has piqued the interest of Hollywood names like Bruce Willis, Luke Wilson, and Mel Gibson to sign on to film in the small and beloved town of Fitzgerald. Kane is producing at least two features a month now, which started this year with Reactor (2021), starring Bruce Willis. These productions are boosting their local economy by supporting hotels and restaurants, and bringing hope to a town that previously felt like you must leave it in order to become a star. Kane doesn’t want any of his six children to feel that way, and he doesn’t want the citizens of Fitzgerald to either. His ambition is

creating a ripple effect within the town, and his passion is giving people the chance to grow in an industry that they never would have imagined. Oz: Tell me about the latest projects that you have been working on. Alexander Kane: The big ones started with Bruce Willis. We filmed Breach (2020) where we built a 12,000 square foot space ship. We got an old high school gym from the ‘20s and ‘30s and, instead of tearing it down, my company and I bought it from the city and turned it into a movie studio. [We] built the 12,000 square foot space ship, to our knowledge, it’s the biggest

one in the world. We reached out to the community and through donations and volunteers, we built this amazing set ... [Breach] really bolstered the community and sort of validated [Fitzgerald]. It’s one of those things where people go, “Are you really shooting a movie with Bruce Willis? So, Bruce Willis is flying in on a private jet, showing up in Fitzgerald, GA?” … My wife and I [were] taking the risk to say, “We’re gonna build an industry in Fitzgerald, GA!” So, then we started The Melanie Group after that with Mike Donovan, myself, [and] Vernon Davis. COVID slowed us down obviously after Breach, and we had all these movies lined up and we’ve been waiting and May / June 2021

waiting and waiting and then BOOM another year starts, we go into [production for] Reactor (2021) … The plan is everything shoots in Fitzgerald, because it’s about revitalizing the community, creating jobs in the industry, [and] driving money into the local economy. It’s a mostly Black majority, unemployed, economically depressed, tier one county, in the middle of south Georgia. If you cut Georgia in half, and stick your finger right in the middle … right in the center, that’s where Fitzgerald’s at. So it hasn't had the success like some of the other towns like Valdosta and Tifton, which are on the interstate. It’s been a successful town for many years, but right now it’s in one of those spots where it needs someone to come along and help it out, and that someone is gonna be me, because that’s where I’m from. Instead of moving to LA or other places to pursue acting, I decided as an actor, I don’t like the idea that my career is in the hands of casting directors and directors. I said, “You know what, the hell with that! I’m gonna make movies and I’m gonna pick out the roles I want to be in and I’m gonna control my own destiny,” so that’s kinda what started the productions and then I thought, “Everytime I get cast in a role we end up in some small town somewhere; we might as well be in Fitzgerald every time and help one specific spot and then inspire kids.

What were some of the biggest challenges when you brought the film industry to Fitzgerald? Kane: The big challenge is that you’re talking crazy ... I had a meeting before I even did Lena and Snowball and said, “Hey guys, there’s a lot of old money here and if y’all want to really help out, you can really make this easy on me.”… [People said,] “You’ve never really been in a big movie and you’re talking about bringing Mel Gibson and Bruce Willis and all this craziness.” … They didn’t believe it, so my Mayor and his leadership team including Cam Jordan, the City’s Deputy Administrator, and Brandy Elrod, the Director of Tourism, Arts & Culture, and the team surrounding them, and a few select people around Fitzgerald said, “I believe in you.” The city wrote the first check to support the first small movie and it made that a possibility and then we had infrastructure problems; we don’t really have the best hotels, but we have some nice airbnb’s, so we had to take sort of an inventory … There are a lot of old cars, there are a lot of dilapidated houses, a lot of abandoned buildings. Hotels are cheap, food is cheap, lots of stuff is cheap … The main thing was convincing people of the vision: this crazy idea that we’re gonna make Fitzgerald, Georgia as powerful as Atlanta.

In the long term, where do you see Fitzgerald in five or ten years? Kane: I see it revitalized to the point where children will be able to grow up here and not feel they have to leave … I don’t want children feeling stuck. I can stay in Fitzgerald, Georgia and I can accomplish my lifelong dream. Whether that’s being an accountant, whether that’s running a Chick-fil-A, whether that’s being an actor, whether it’s working in movies, whether it’s being the head football coach - that there will be enough success here and enough business here that you can find a career and a life here. I want other small towns to say, “Oh, it can be done! You just gotta work hard and have vision.” I really want to just show that in small town America, everyone doesn’t have to move into the big city. For me, Fitzgerald is going to be that example of, if you want it bad enough and if you work hard enough, you can accomplish anything, anywhere, at any time. I know COVID kind of slowed you guys down, but do you think that it stifled any creativity when it comes to your producing and acting? Kane: It’s hard to say this because it sounds so positive in such a negative situation, but COVID was a blessing for us. It allowed us a full year to get hungry. It allowed us a full year to put pieces together, to figure out what wasn’t working, what was going to work. We didn’t have to come out of the gate and compete. Alexander Kane producing in Fitzgerald

“

THE MAIN THING WAS CONVINCING PEOPLE OF THE VISION: THIS CRAZY IDEA THAT WE’RE GONNA MAKE FITZGERALD, GEORGIA AS POWERFUL AS ATLANTA.” 32

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Quiet on set in Fitzgerald, Georgia

We used that time to really [get] a headstart on our vision; we didn’t have to do anything that we didn’t want to do. We were able to come out of the gate with plans to do it the way we wanted to do it. So for us, COVID was a year of planning that we didn’t know we were going to have. Being that you are an actor and a producer, do you feel like it’s important for people to have all backgrounds in the film industry? Kane: Being an actor helps me be a better producer, being a producer helps me understand acting better. I think when you put on multiple hats and walk in other people’s shoes, it certainly helps to understand how to be better at your job and better for other people so they can do their job. That’s what I’ve experienced. What is something you look for in actors during the casting process? Alexander: The major players in any movie are usually cast ahead of time. The big boys, the top three [or] top four, are usually already locked in because you need them to get the movie made. It’s a movie written for them, about them, with them in mind. Then we do as much local casting out of Georgia as possible; trying to give people opportunities, trying to reach out. We try to look within the crew and cast and local people that are friends of ours that want to pursue acting … We try to give everybody a chance to audition,

using local casting directors and regional casting directors, like Mark Fincannon and other people, to try to help us identify the right roles, the right actors. Looking for an actor is no different than looking for a crew member, or looking for a camera guy. You want the right person for the right job that can do the job and is an asset to the movie and the team. That’s it. It’s not rocket science. I think that’s what people get caught up in sometimes, I notice. People get too artsy fartsy as I say and they get too married to the ideas that are in their head, instead of just using common sense like, there’s two actors, they’re both great. One’s in Georgia, one’s in LA. One’s cheaper and can get here faster, go with that one. If you are just picking an actor because of his face and his name and flying him out of LA, that makes absolutely no sense … We try to get the best actor in the best scenario for the film.

that way! That’s been the greatest part, is the validation that it doesn’t have to be this weird, closed exclusive club where no one’s invited but the people that are already having success. I’m enjoying changing it and going, “We’re not gonna do it that way, we’re gonna do it different,” and watching Hollywood come to me instead of me go to them. That’s been fun. I think there’s value and magnetism in showing people that an industry built on rejection and heartbreak and misery can actually be positive. You can do it in a positive and uplifting way, and have success at the same time. We’re making money, we’re making good movies, we’re having good times and good experiences. I mean, what more could you want?

Alexander Kane on set

What has been your favorite experience so far coming into this industry and learning all of these new things? Kane: Doing it on my own terms. That I came into an industry and went, “No thank you, I won’t do it your way, I’ll do it my way.” And taking the risk … that was gonna work or not work, and then so far so good, having it work. That’s been the best part: Saying, I’m not only gonna shoot movies, I’m not only gonna act in movies, I’m gonna make them my way. I’m gonna help people. It’s gonna be a fun experience and everybody’s gonna benefit from the way I do it and then being told it’ll never work that way, and then it working exactly May / June 2021

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ed “I really felt like I want all of to pay back to Georgia, at I’d the good experiences th ,’ and had on ‘The Walking Dead ough then I was fortunate en n to sort of create my ow ntinue show and be able to co e big to collaborate with thes people.” - Greg Nicotero

f you start seeing monsters from Buckhead to Bankhead, it’s Greg Nicotero’s fault. The special FX svengali has been creating ghoulish creatures throughout his longstanding career and he’s been making Georgia his zombie stomping grounds for over a decade now. His list of credits spans 46 years with hits like From Dusk Till Dawn (1996) to Atlanta’s favorite post apocalyptic odyssey, “The Walking Dead.” His varied background includes special make-up effects creator, television production and director. He has won awards for special effects make-up for Vampires; The Chronicles of Narnia: The Lion, the Witch and the Wardrobe; an Emmy for “The Pacific” and for “Dune” plus two Emmys for his work on “The Walking Dead”. The George Pal Memorial Award was presented to him in 2014 from the Academy of Science Fiction, Fantasy and Horror Films. In 2020 he was awarded the CinEuphoria Merit-Honorary Award for “The Walking Dead”. He has also won numerous Hollywood Make-up Guide Awards for “The Walking Dead” and Best Direction in a Drama Series from the Online Film and Television Association.

May / June 2021

Most recently, the Georgiabased creator has revived one of his first credits, “Creepshow,” a comic book turned cult classic horror film, turned television series. Nicotero, “Creepshow’s” Showrunner, Director, and Executive Producer, shot two full seasons of the horror anthology series during the pandemic. Season two had to stop shooting after just one day, but with a leap of faith and great deal of safety precautions, they continued the production in July. The fictional comic books come to life on AMC+ and on the Horror streaming platform, Shudder. It was announced before the April 1st debut of season two that the horror series would be renewed for a third season. “Creepshow” promises to deliver the most fun you will ever have being frightened. It will continue to explore terror, murder, the supernatural and the unexplainable. The episodes are written by acclaimed horror writers and Nicotero’s award winning company, KNB EFX Group, Inc created the creature and make-up effects. “Creepshow” smashed records for Shudder in number of views, new subscribers and total total minutes streamed to be the most watched program in Shudder’s history. The show received a 97% fresh rating review from Rotten Tomatoes to be one of 2019’s best-reviewed new genre series.

“I went into season two nce, with a lot more confide with a much clearer vision e of what I wanted for th show. That included more practical effects.” - Greg Nicotero

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SHU DD ER & AMC ALL IMAGES CO URTESY OF

WHEN COMICS RAISE HELL “Creepshow” begins with pages of a comic book on the screen, ones with familiar, brightly colored panels that translate seamlessly into storyboards. Undeniably, comic books are attention grabbing. A comic can make even the most hyper human feel like they can focus, because the accompanying visuals assist us in processing story events and subject lines, the dialogue is in bold font, and if you’re lucky, the story can be really captivating. “Creepshow” is certainly captivating, with an anthology-style structure that’s reminiscent of reading the funny papers in newspapers growing up. “I feel like when you have an opportunity like ‘Creepshow’ to give the audience bite-sized morsels of genre material, it seems perfectly suited for our generation of people that are watching things in small pieces. Attention span these days is not necessarily the same as it would have been if they were watching a three hour movie,” Nicotero told Oz. If the creative brain can grasp onto a comic book like a detailed storyboard, process it more effectively and use it as a

communication tool, how does one really bring a comic strip to life? “I realized that a lot of times you have to think like a director,” Nicotero explained. “You have to shoot the scene in your head before you even propose anything to the director, because you have to think that way when you’re designing shots … I look at it from more of a special effects standpoint.” It comes as no surprise that Nicotero is special effects oriented. Georgia filmmakers and audiences who are familiar with his work as an Executive Producer and Director on “The Walking Dead,” another comic book series adapted for television, know that Nicotero has a keen eye for the gory details. “One of the reasons that ‘Creepshow’ was filmed in Georgia was because of my experiences on ‘The Walking Dead’; my experiences with the crew - there's an amazing group of really, really talented artists and trusted people here in Georgia,” Nicotero said. “That really allowed us to do more than we could have ever imagined. On the budget that we had on the show, we had virtually no money. I really was counting on the kindness of friends, to really jump in headfirst into ‘Creepshow’ with me, and I couldn't have done it

without the people here. The team was amazing.” “I really felt like I wanted to pay back to Georgia, all of the good experiences that I’d had on ‘The Walking Dead,’ and then I was fortunate enough to sort of create my own show and be able to continue to collaborate with these big people,” Nicotero added. In Georgia, when there’s a return of crew, there may also be a return of monsters following close behind. “There’s a lot of really fun creatures and monsters in season two,” Nicotero revealed. “I feel like after shooting season one, I was really strapping myself in for this crazy ride and held on as tight as I could. But after season one was so well received and turned out as well as it did, I felt like I went into season two with a lot more confidence, with a much clearer vision of what I wanted for the show. That included more practical effects.” “The most fun thing is being able to design whatever creature I want to … And put it on screen and then be responsible for shooting it,” Nicotero added. There’s a loyalty here to old school horror that complements the loyalty Nicotero has to his team of fellow, menacing marionettes.

May / June 2021

HOUSING HORROR IN ATLANTA For both season one and two, Atlantabased Moonshine Post-Production has been a loyal partner in making the “Creepshow” that audiences see on AMC+ and Shudder. At the foundation of this strategic partnership is clear communication of aesthetics and overall tone. “We set a lot of style and tone up front when we’re talking to the editors,” “Creepshow” and Moonshine Post Producer, Drew Sawyer, explained. “So much [of the] look is decided in the production element, [and] the production element is sticking true to the vision of the Directors and the Showrunner.”

CREEPSHOW FAN CLUB

name address: 38

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“A lot of the comic book elements and graphic elements complemented the live action but a lot of that is heavily, heavily designed, and we set that in motion,” Sawyer said about Moonshine’s contributions to the comic book aesthetic throughout the series. Sawyer and Moonshine pay homage to classic comic books, graphic novels, and manga, but these tributes are not necessarily intended for the passive viewer. Some of Moonshine’s details are intended to be picked up after binge watching “Creepshow” multiple times. “It’s highly intense collaboration, but it’s actually the most fun working on comic book elements,” Sawyer said. “We can hide an Easter egg from an old form back in there.”

greg nicotero

These Easter eggs are almost like offerings to the horror and creep gods, and that’s not lost on Sawyer. “I feel like this was my dream job,” Sawyer added. “I’m working with all the people that made all the movies that got me into the film business in the first place, and now I get to collaborate with them … I realize how fortunate I am.” Sawyer and Nicotero’s efforts within the Georgia film community are affording many other Georgia-based crew and cast members opportunities to keep working in the film industry. Building up Georgia’s film industry from within is part of their living legacies, and as nightmarish as their dreams are, it’s fantastic to see them come true.

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dream job. I’m working "I feel like this was my t made all the movies with all the peo ple tha m business in the first that got me into the fil collaborate with place, and now I get to them.” - Drew Sawyer

May / June 2021

FILMMAKER ON THE RISE A Q&A WITH

EBONY BLANDING

BY: STARR FERGUSON

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A talented force that is on the rise is an Atlanta local, Ebony Blanding. She uses her talents as a Writer and Director and as a Co-founder of House of June to showcase Black women and Black people in the full cinematic universe they deserve. Blanding credits her mother for her start in film along with her father’s early investment of buying her a video recorder. She has stuck with the craft throughout her academic studies to present day, gaining several opportunities along the way, such as the Atlanta Film Society Filmmaker Residence Program, Wonder Roots Hughley Fellowship Program, and AIR Serenbe’s 2019 Artist Fellowship.

Most recently Blanding was accepted into the Black Magic Collective “Future Directors of Studio Feature,” which is a one year program where only nine candidates are chosen to help accelerate the careers of talented, qualified women, while giving the proper guidance, equipment, and software to assist them in creating their studio feature films. Oz got the chance to speak with this cinematic storyteller. Blanding graciously revealed her insight and knowledge on obtaining the achievement of various programs and grants, her activism through film, and some exciting projects to expect from her this year.

Blanding: I went to Tri-Cities High School in East Point and I can credit the experience I had as a student to the film and television magnet program. It was my first true, “I’m a filmmaker”- experience, because I had to interview and prepare before I could even get accepted into the program. I took it super seriously which set the tone for me to call myself a filmmaker, because I was around all these dope artists that inspired me to create. Earlier on, my mom was into Alfred Hitchcock; she raised me as a baby filmmaker from all the stuff she liked. I grew up watching Vertigo and these black and white films. At that time I didn't know what I was watching, I just knew I was watching stories that allowed me to sit with my mama and we would talk about it. My mom was an artist and had this walk of different experiences in art that trickled down to me. She was truly the first person to call me an artist, and if your mom calls you something you run with it.

Blanding: My partner Amber L.N. Bournett [and my] language was based on wanting to build worlds; however, we didn't have a George Lucas or a Marvel budget. Arthouse really does tend to that gritty indie element of doing it yourself, but also understanding why you’re doing certain things. Everything has an intention. Creating arthouse films allowed me to speak to the body of work I wanted to show visually and speak to narratively, but it also allowed my budget to place [us] within the world I wanted to create at the time. I didn't feel the pressures of something being super perfect and polished. There was charm to learning and through that experimentation and [expletive] up sometimes; you just create something that's really beautiful.

Oz: How did you get your start in film?

Your work is beautiful and unlike anything I've seen before. When I was watching your reel I didn't want it to end. What genre would classify yourself as?

All your work is so different but has a similar quirkiness to it. How does your work relate to who you are?

Photograph courtesy of Morgan Hager

Blanding: I grew up on John Hughes films, so The Breakfast Club is one of my favorite films. It would come on TBS like clockwork and I would watch it everytime and be so engrossed in the work he created with coming of age stories, exploring youth finding themselves. Of course, as a kid, you’re looking for the things that look like you and there was so much of me in the world he created but they were all white kids. You didn't see Blackness in his work and yet, because the storytelling is so powerful, I connected to it. So, what does it look like if I put myself in these worlds?... May / June 2021

FILMMAKER ON THE RISE ...It looks like my stories. It looks like visiting the candy lady, growing up in Atlanta and playing in the fire hydrant, having a big mama, aunties, spades. It looks like all these sounds of Blackness; I wanted to create that. I talk about a character losing their job, because I literally lost my job. I’m putting myself in those spaces because they were real, but I also knew other girls could relate as well. We are used to Black women being side characters and now... we’re going into Black women being superheros, which is awesome but what does the day-to-day life of a Black woman look like? She might not be saving anybody but herself. Her saving herself might look like her going to get a new set of acrylics. I tell stories like that because they matter to us.

You have your own independent work and then you have work with House of June. How did House Of June come about?

Blanding: Amber and I met at Georgia State and we were in a lighting class together. Two Black women typically stand out in the film space so we were standing in line for equipment and I spoke to her asking what she does. She said she was a DP getting into directing and I said I was a writing and I wanted to direct my works. We met formally over tea and started creating works, some that will never see the light of day because we were learning our language together. Then we made one and submitted it to the Atlanta Film Festival and we won the competition. Our micro budget, really our paychecks we used to make it, won at this festival. It gave us confidence and showed there was space for us. It was a Black woman's narrative in an audience with people of all demographics. That was a very liberating moment that formed the House of June and pushed us to make other works...

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Typically how it would work is, she would DP and cut it and also co-direct. I would write, direct and interface with the actors and Amber in the same way but how it feels in the overall frame. We balance and play off of each other very well. We have also been able to bring in other Black women [on production] as well.

“My work is meditative in intimacy and intentionality on amplifying Black women and Black people existing in fullness cinematically.” Can you elaborate/ expand your meaning behind this quote found on your website?

Blanding: Blackness is very important, and I do believe there should be some safeguarding around who tells [these stories] because when we talk about nuances, it’s an embodiment of who you are, the DNA, the rhythm. When we talk about documenting experiences and lives of other folks, that for me is very important work that we’re doing. As a Black woman, I’ve seen what history has done cinematically to my image, so I just don't trust certain folks to tell my story and I feel like they shouldn't even have to when they have me and a band of other really fly Black women to tell our own stories. When I write about a Black woman practicing self care, it's not just a buzz word for me. Zora Neale Hurston said, “Black women are the mules of the earth.” When I talk about a Black women practicing self care, it’s some super layered [expletive]. That’s me exploring what it looks like to not be beholden to anyone, putting herself first - which is something women in general are not taught, for her to expect to be treated a certain way and how her community shows up for her. It's not a burden for me, it's an honor. I understand the words I'm writing and the visuals I’m directing are creating real universes in real time. I want us to know that there are spaces we’re creating for our stories that we are actually telling.

Ebony Blanding working on set. Photograph courtesy of Natey Nukez

Do you believe that only Black people can write Black stories?

Blanding: When it comes to telling stories, my first thing is if a member from that community is not telling the story, I want to know why. Is it because they can't find anyone? Because it's just not true. If we have a story that centers the life of a transwoman, there are some really dope transwoman filmmakers that can tell it. Why wouldn't we be going to them and asking for them to be in the room who the story is about? Apart from that, The Color Purple comes to my mind. Spielberg directed that and it's one of my favorite books and films, but that's also from a different time where there wouldn't be any conversations of a Black woman directing that story at that time. We are having those conversations now and it should be the point of no return. If that were to happen today I would not understand it...

I think we owe it to ourselves to show how important the storyteller is to the story. It is our responsibility to bring in consultants, people who know the world you are going to direct, because a great director can work from any lens if you are doing the work and studying; it is not that you aren't capable. We are just asking for folks to be in the room who should be in the room for obvious reasons. I think a lot of us as artists, to a fault, are very concentrated on getting it done opposed to some of the layers and seams that can be appreciated because of the amount of care that has been taken to create it.

May / June 2021

FILMMAKER ON THE RISE What are the experiences of directing your own work versus someone else's?

“

Blanding: Both of them are deeply personal because for me to do something it has to become my thing in a sense. There's some ownership in it, even if I didn't write it, I believe in what I’m doing so I also believe in what's on the page. With that, even if I didn't write it, the research is still there. I still have to buy the same books. I still have to dig through my archives and do my discovery process. The connections to studying, whether it's another project or my own, doesn’t switch up because that is my overall process of investing and sitting in the work. I guess one of the biggest things in directing other work versus my own is the life expectancy that I have with the project. With directing my own work, especially now, I still have to baby a lot. I show up aware that it’s independent and that I’ll have to wear multiple hats at any given time. When I’m directing others work I don't typically take too many passion projects, because I’m doing my own passion projects. [Work I do for others is] typically documentary or commercial, and there's a different part of my brain that is not utilized because I don't have to stay with it for years down the line. With my own work the life span is much more like an embodiment.

I THINK WE OWE IT TO OURSELVES TO SHOW HOW IMPORTANT THE STORYTELLER IS TO THE STORY.”

Oz Magazine - film. tv. entertainment.

How do you get all these grants? What’s the secret?

Blanding: This is the thing, more people need to talk and be more transparent about. I’m very new to this part of my career, so it's still a bit surreal to me sometimes. [When] receiving grants and funding you're playing for the long journey. You can't look at it in a short context way thinking you applied so you’re going to get it. If you are at a part in your career where you are still emerging a lot of your practice will be just you applying. You are applying so people can get familiar with you and your work, which is what it boils down to. Then they get to see the lifespan of you refining whatever it is you said you were going to do. It’s a numbers game so be very exact. How much money do you need and why? The recent grants I have been fortunate enough to receive are because I have had a period in my career where I've applied to a lot of things and I simply didn't get them. Some of those things I felt like I should've, but as I’ve gotten further into my career I realize why I didn't get them and some of those things just weren’t for me. Overall, it's refined my process and how I speak to my work. Everytime I apply to something, I get sharper about how I frame who I am as a filmmaker and then I learn about how to incorporate more structure to how I’m disseminating my information. I realized grants ask for the same things so my bookkeeping for applying to grants is sharper because I keep everything and then I go back and review it. I may have to take things and reshape other things. It's not magical, it's not because someone is more special than you, it often falls down to where you are in your practice and how you articulate where you are in your work, and if you've started to build community around your practice.

What can we expect to see from you in the future?

Blanding: The future is bright! I'm excited about filming Jordan, my short and epic tale about a Black mermaid. My goal for that is to have it completely filmed this year and then push that into the festival market and get into some notable festivals. Recently, I got into a female directing program for Black Magic Collective and it is for women in film who are positioned to direct their first feature film and I’m working on developing my feature film Discovery Camp for Trill Black Girls during the fellowship. It's a group of badasses and I'm super happy about it and it's one of my biggest experiences as far as getting into a program. I was just in a Variety article, which was amazing.

What lessons/ knowledge have you gained thus far that you would want to share with other creatives?

Blanding: To realize that our business is a very nonlinear path, like really know that. In knowing that to them give yourself grace and allow yourself to experience the journey. If you're going to do this, it's going to be a lifelong journey where you may feel like nobody sees you and you’re invisible. There’s going to be a lot of questions because there is not one real answer, and that sounds very cliche. I love Ava, Issa, and Spike, but when you hear their story it's all very personal. Give yourself grace again, because what worked for them may not work for you, but because it worked for them, know that it can work for you. Understand that this is just a journey of experiences and if we call ourselves storytellers that means we are living life in real time, so don't stop living life in pursuit of your goals. Allow yourself time to do this work, which was one of my biggest challenges. Explore making meaningful relationships that you nurture. Do a lot of research before you reach out to people because most answers are already there. Come to the table with ground work and don’t expect people to just dump all this information on you. I hear a lot of conversations about mentorship and I remember praying to Jesus and Tyler Perry for a mentor [laughs]. A mentor isn't going to give you a brain dump of all they know, they are going to be asking you lots of questions so it all comes back to self and you understanding how you want to tell your stories.

Ebony Blanding. Photograph courtesy of Sierra King

May / June 2021

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