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Deadline
December 5th 2014
- flipbook - print directory - online listings - iphone/ipad app - major studio distribution Crew: must be a Georgia resident and have at least one verifiable credit in film, television, commercial, indie, documentary or corporate/industrials. Support Companies/Vendors: must have a Georgia business license, however film and television credits not required, but being film friendly is!
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MAGAZINE
STAFF Publishers: Tia Powell (Group Publisher) Gary Powell
Project Manager: Latisha “Tish” Simmons
Editorial: Gary Powell
CONTRIBUTORS ALEXANDRA COOK Alexandra Cook is a recent graduate of Kennesaw State University (KSU), where she received a bachelor’s in Communication. While attending school, she worked for the student newspaper, magazine, and radio station. She continues to explore her love for writing, editing & handling social media. (alexandralauren721@gmail.com)
AMY HEAD Amy Head is a licensed clinical social worker, a certified clinical hypnotherapist and the owner of New Perspectives for Life, LLC. Amy works with people to find their strengths through counseling, life coaching, hypnosis, health and fitness coaching. (Voices, p.36)
Sales: Gayle Rosier Monique McGlockton Kris Thimmesch Martha Ronske
Contributors: Alexandra Cook Amy Head Christine Bunish Dana Ware Kelly Meyer
Creative Director: Kelvin Lee
CHRISTINE BUNISH Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years. She was a writer at Broadcast Management/ Engineering and World Broadcast News and an editor at Millimeter before going freelance. ( Little Engine Pictures, p.22 / Halt and Catch Atlanta, p.28 / cbunish@gmail.com)
DANA WARE Dana Ware is a senior at the University of Georgia and will be receiving a Bachelors degree in both Advertising and Communication Studies come May 2015. After graduation, she plans to pursue a career in entertainment marketing.
Production and Design: Debbie Hampe Randy Davis Ted Fabella (Oz Logo Design)
Cover Design: Tori LaConsay
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 Suite 104, #302 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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KELLY MEYER Kelley Meyer is a senior Public Relations major at the University of Georgia with a love of communication. She enjoys and specializes in writing and social media marketing. She writes articles for the PRecedent, a student-run public relations newsletter. She also spends time writing news releases for the hockey team at UGA and help with their social network platforms. (Robin Williams: The Humanitatian, p.20 / kmeyer927@gmail.com)
TORI LACONSAY Tori LaConsay is an Atlanta-based writer/producer for images that move and a designer/illustrator for images that don’t. She proudly hails from Mobile, Alabama, which is home of the original (and if we’re being honest here—the best) Mardi Gras. Tori also loves a good .gif or twenty. (Cover Design / torilaconsay@gmail.com)
CONTENTS 06 OZCETERA
20 ROBIN WILLIAMS: THE HUMANITARIAN 22 COVER: LITTLE ENGINE PICTURES A HOLLYWOOD TALE
28 FEATURE: HALT AND CATCH ATLANTA 34 HOW I GOT INTO THE BUSINESS 36 VOICES 38 OZ SCENE 46 DISTRIBUTION PARTNERS 47 AD INDEX 48 LET ME GIVE YOU MY CARD 50 AD AGENCY CAMPAIGNS
OCTOBER / NOVEMBER 2014
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BRANDSURANCE AT THE POP SHOP
Jim Habzda, Brian Beam, Sonya Beam, David Geiger, Jo-an Lantz.
S
onya Beam, MAS+ and Brian Beam, C A S of The POP Shop – a Geiger company, were presented with the Geiger Brandsurance Award. This award recognizes their team’s ef for ts of ac tively utilizing product safety and compliance knowledge to protect customers and to grow sales. This award is representative of the superheroes behind The POP Shop, as they desire to save their clients from being headlines related to product recalls or product safety concerns. Ed u c at i ng c lie nt s of p r o d u c t s s af e t y compliances for specific audiences and age groups remains a priority as they work with
small and large brands across the country. “Produc t safet y and compliance is ver y important to our business practices,” states David Geiger, compliance manager. “Sonya and Brian have set the example by being proactive in their approach, true advocates for educating customers on the importance of product safety and compliance.”
from the promotional product industry to participate in educational sessions related to the latest business trends, sales tools, and technology advancements, along with a wide range of topics associated with best practices in the industry.
The Beams were presented their award while at tending Geiger’s national educational conference held in Phoenix, Arizona. The Geiger Galleria is the largest national event hosted by Geiger for the recognition and continuing education of its sales team. The event gathers more than 400 at tendees
DAN HAMMOND JOINS CINEVERSE C
INEVERSE welcomes Dan Hammond to the film and digital camera rental group. Hammond’s well-rounded technical background will help CINEVERSE ser vice the specialized needs of feature, commercial and television production crews. “We are excited to have Dan Hammond join our team,” states Zoe Borys, CINEVERSE’s national client liaison. “With his level of technic al ex per tise, his dedic ation to evolving with technical innovation and the artistry of cinematography, CINEVERSE will be well positioned to service the demands of production, regardless of location.” Previous to CINEVERSE, Hammond held the position of director, cinema technical
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ser vices at Doremi Labs, where he was responsible for directing a global team of technicians that provided technical support and training programs to the digital cinema exhibition companies and post production facilities. During his six year run, Hammond helped Doremi L abs build their global footprint from 8,000 digital cinema servers to over 60,000 installed around the world. He developed, organized and helped conduct over 250 digital cinema technical training seminars around the world. P r i o r t o D o r e m i, H a m m o n d w o r k e d at Panavision Inter national Cor p or ate Headquar ters in many roles throughout his 19 year tenure. Working his way from an entr y level position in the shipping
department, Hammond’s roles at Panavision included, c amer a prep f loor manager, direc tor of education, rental sales and director of technical marketing. Ha mmo n d w as aw ar d e d a n H o no r ar y Doctorate of Humane Letters from Columbia College in 1996 and holds memberships in the International 3D Society, Academy of Te l ev i s i o n A r t s a n d S c i e n c e s a n d Association of Independent Commercial Producers. Hammond currently sits on the Professional Advisor y Committee for ITT Technical Institute. With over 29 years of technical experience in the motion picture film industr y, Hammond is recognized as an industry expert and speaks at industry conferences when available.
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GOTHAM NOW IN ATLANTA
Gotham has new heroes in Atlanta: Ben Baldwin, TJ Garland, Doug Hill, and Marty Simpson.
Ben Baldwin
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otham Sound and Communication, Inc. has opened a branch in Atlanta. Formed in 2002 by Jim Guzzi and Peter Schneider and based in New York City, Gotham Sound Atlanta provides audio rentals, specializing in large-scale custom rigs for reality TV and feature films; communication rentals with walkies and wireless internet boxes; sales of the very latest in gear from all the major vendors; custom cable fabrication; and service, where they can repair or work with clients and the manufacturers. Gotham movers and shakers in Atlanta include: Ben Baldwin, TJ Garland, Doug Hill and Marty Simpson.
FIND IT IN ATLANTA
TJ Garland
Baldwin is on the sales side of the business with a background that includes television production, corporate AV, live sound for concer ts, and cock tail piano. He makes records for various bands on Atlanta label Blood Drunk Records, and he has a retro game collection including the Atari 2600. A graduate of The Art Institute of Atlanta, Garland has made sound his career and life, from sound utility and boom operator to ADR and post produc tion on several independent projects and pilots, as well as feature films including Fast & Furious 7. Garland is a US Marine veteran and a member of IATSE Local 479. He is writing, producing and even ac ting on projec ts
James Shulz
Doug Hill
Marty Simpson
of his own and as part of an independent production company. Af ter mixing live music for a few years, Hill segued into film produc tion. He’s always enjoyed the challenge of good mic placement from the end of a long pole, facing that challenge head-on for more than 30 feature films, TV movies, and TV shows in the Atlanta area over the past 25 years. Simpson is a jack-of-all-trades at Gotham Sound Atlanta. He comes from a production background and is eager to make a name for himself in Atlanta’s production industry.
Claire Shulz
Claire and James Shulz open their Atlanta office for Studio Find It.
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tudio Find It, a motion picture industry rental service, opened their third office in Atlanta earlier this year. The company, with offices in Hollywood and Albuquerque, New Mexico, offers a way for individuals and businesses to list their commercial proper ties, houses, land, vehicles, heavy equipment, watercraft, aircraft, et al, for rent to productions for free through their website, giving the general public a great way to make extra money. “A l o t o f p e o p l e d o n’ t r e a l i z e t h a t productions rent everything – in fact, they are always sending scouts out to find cast/ crew housing, film locations, picture cars
(which include vehicles, aircraft, watercraft and heavy equipment), background items and props that will make their series or feature unique and capture the audience,” said Claire Schulz, president of Studio Find It. “Our company is a distinctively different approach to this proces s – ins tead of sending a team out to look for each item the production needs to rent which is a costly and daunting task, we’re asking the public to come to us and share what they have available. This is why Studio Find It is great for both industry and community.”
impac t on local commerce by keeping money the production spends in Georgia, and not outsourcing to other states which has long been the norm. Studio Find It also helps level the playing field between individual owners of rental where each item for rent has their own dedicated page and can be searched as such. The company has already seen early success in Atlanta with credits including Taken 3, Insurgent and Ride Along 2.
The company’s business model of sourcing rentals locally has a strong and positive
OCTOBER / NOVEMBER 2014
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INDIE RAMPS UP FUNDING
A
motion picture about a Virginia high school basketball coach who battles terminal cancer is an inspirational stor y for everyone, not just sports fans. In order to produce the film, Cathy Irby Durant has launched an Indiegogo campaign to generate sufficient funds. It’s a story of grit, determination, passion and perseverance. When Joe Ellis, battling ter minal colon c ancer, coac he d Sur r y C o unt y Hig h Sc ho ol ( V irginia) to t he 2005 state basketball championship, his unyielding resolve touched the lives of many. Durant, from Atlanta, in association with Devine Communic ations Video & Film Produc tion and D. Ellis Enterprises, Inc. want s to bring it to the silver screen. Durant, a former T V news producer who has direc ted documentaries, T V shows and music videos, is about to embark on her most ambitious projec t ever, Going Out a Champion: the Coach Joe Ellis Story. The full-length motion pic ture, direc ted by Durant, will tell the true stor y of Ellis’ final days and how his players, as well as
“Going Out a Champion,” The Coach Joe Ellis Story.
the entire community and the media, rallied around the ailing coach. Ellis died eight weeks after the state championship game. The film is based on the true stor y novel wr it ten by Dor is M. Ellis. Dominiqiue
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Wilkins, former Atlanta Hawks star and member of the Basketball Hall of Fame, will play Joe Ellis, and Bea W. Bliss plays the role of Doris Ellis, Joe’s wife and wind beneath his wings.
Our people make the difference.
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PC&E - an employee owned company Atlanta’s most comprehensive production equipment supplier for over 30 years. www.pce-atlanta.com 800-537-4021 404-609-9001 2235 DeFoor Hills Road, Atlanta, GA 30318
OZCETERA Breensmith’s animal welfare campaign.
THE PET SET
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tlanta-based ad agency, breensmith, has taken a new approach to animal welfare campaigns. Instead of the typical creative, which gratuitously shows scared and abused animals, the agency’s campaign for Friends of Animals shows homeless animals in human scenarios. breensmith’s new campaign is purposed to show how, without spaying & neutering, millions of dogs and cats are born and lef t to live on the streets without a home. “In our new creative, we show cats and dogs in a variety of ‘homeless human’ situations, ranging from pets keeping warm around a trash can fire to a dog sleeping on a bench with a newspaper for a blanket,” says Chris
Breen, creative direc tor at breensmith. “It’s a humorous take on a serious issue that’s meant to tap into human empathy in an attention-grabbing way by putting dogs and cats in familiar ‘on the street’ scenarios.” The creative will be seen on billboards up and down the east coast, and in print and digital ads across the U.S. Breensmith also recently completed the second issue of “Hawks 360,” a digital publication with a mix of basketball news and “the baller” life. And, for the Susan G. Ko me n Foundation, t hey w r ap p e d production on videos that will air at sporting events to support corporate fundraising.
DAVIDSON JOINS NORTH CREATIVE N
orth Creative welcomes Parker Davidson, their newest editor. Davidson comes to North Creative from JWT Atlanta. Recent projects at Nor th Creative for Davidson include edits and VFX for the Nokia Lumia 928; directing, shooting and editing a spot for Florida’s Natural Orange Juice; and editing, motion graphics and sound design for a couple of Pennzoil spots.
North Creative welcomes new editor, Parker Davidson.
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END OF SUMMER POOL TOYS G
earing up for some big end-of-summer shoots, Encyclomedia acquired new toys to create unique visuals and to have a little more fun on set, too. To train users on a new line of pool chemicals, Encyclomedia shot in swimming pools all over Atlanta using an Ikelite underwater housing for the Canon 5D Mark III to capture the pool action both above and below the water. Gaf fer extraordinaire, Charles Bickelman, is helping with the scuba gear for Encyclomedia’s managing partner, Lance Holland, who will be doing the shooting and the diving.
Encyclomedia’s Lance Holland taking his underwater camera gear for a spin.
For the landlocked shots, Encyclomedia will be using their new Ronin Handheld Gimbal System. The 3-axis system allows them to achieve smooth and stable footage during all kinds of interesting and intricate moving shots. Getting the beauty shots in the can will be a little easier with the aid of an 80’ crane holding a 20‘x20’ silk above the pool area to keep the lighting crew from constantly battling the sun going behind clouds. Now if only they could figure out a way to control the weather.
ARSON DOGS M
T W D s i s t e r c o m p a n y, B i s c a r d i Creative Media (BCM), has begun pos t produc tion on a new web ser ies called Ar son Dogs for world-renowned dog trainer Vic toria Stilwell. The series follows Stilwell to southern Maine, where State Farm’s Arson Dog Training Program trains handlers and working dogs together to snif f out accelerants like gasoline and propane at potential arson sites. Accelerant detection dogs are an essential part of the
Walter Biscardi working on the edit for Arson Dogs.
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fire investigation team, working alongside law enforcement of ficials to aler t their handlers of the presence of accelerants. Accounting for a 40-50% increase in arson convictions, these dogs undergo a rigorous training process that is based on positive reinforcement. Stilwell and her crew spent five days at the school documenting many hours of raw material on up to five dif ferent cameras. While post-produc tion continues on the show, a trailer was first completed on a tight deadline: about a week to craft a sizzle from over 3500 raw clips. BCM founder Walter Biscardi, Jr. led the edit with assistance from BCM editors R. John Becker and Kylee Wall. “Vic toria’s team uses the Adobe Creative Cloud suite, as do we at BCM, so we worked with them to show how best to log and organize the materials so we could use their notes to quickly turn the project around. They did a beautiful job logging and organizing the bins in multiple ways so we could cross-reference. Ever ything was loaded into our Small Tree Shared Storage system which proved a major key in the quick turnaround,” Biscardi said. Stilwell commented, “We’re ver y excited to be working with BCM on the post production for this Arson Dogs web series project, as their professionalism, quality, and love of the subject matter – especially dogs – shines through in all their work.”
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YERSU JOINS i
INFINITEE
nfinitee, a full-service, strategic marketing agency in Atlanta, Georgia is thrilled to welcome Ezgi Yersu to their digital design team. Yersu’s passion for all things digital will meet the rising demand for website expertise from the firm’s leading real estate clients. “Ezgi’s unique multicultural point of view, passion for communication, endless curiosity for knowledge and self-motivated, go-getter attitude made the decision to hire her an easy one,” said Barbara McGraw, founder and CMO of infinitee. infinitee is a strategic marketing agency specializing in real estate, with over 25 years of experience in shopping center, mixed-use, commercial, multifamily and residential development. Yersu’s digital design skills and focus on client-centric solutions will positively contribute to the company as it continues to serve national and regional clients.
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OCTOBER / NOVEMBER 2014
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FORK U F
ork U is coming to the Contemporary Living Network (CLN). CLN is gearing up for its launch in 2014 by developing and collaborating on new and unique lifestyle shows. One such collaboration is with producer April Simpson on the upcoming food show, Fork U. As a veteran TV producer and feature reporter, for more than a decade, Simpson has helped create, launch and produce nationally syndicated shows such as Daytime, Star Watch and the Reel Animals Fishing Show. The “U” in Fork U stands for university, and when you listen to Simpson describe the purpose of the show it makes sense. “Now that we have the internet, Facebook and other social media outlets available to us, people are learning more and more about food. But what they’re learning isn’t always true” says Simpson. “Our goal is help dispel myths, by presenting facts based on research, incorporating food history, and “upping” the science in the show and how it relates to your body . . . food for geeks. We are excited about creating food programming that is taken to another level. Think Mythbusters meets food history and then add a healthy dash of insane biology and you have Fork U,” states Simpson. Discussions between MTWD Entertainment and show producers began in late 2013. Says MTWD founder and executive producer Walter Biscardi, Jr., “April and I have followed each other on Twitter for years. I admire everything she’s done and to have her as a part of the team as we launch the Contemporary Living Network is an amazing win for us. The quality of her work speaks for herself and as a person she’s just simply awesome and creative.”
SO YOU THINK YOU CAN . . . FLY A
llen Facemire says learning to fly a drone camera is a pretty big learning curve for a guy who doesn’t play video games. Even if it were as easy as shooting terrorists that pop up on alleyways, one needs to learn to make subtle moves as this is a picture machine. And Facemire is learning on his new Phantom 2.
by the bag full.” The Phantom 2 has a built-in GPS so if the machine gets out of range, it will stop and hover. If it does not detect a signal from the controller, it will automatically return to its home base. Additionally, if batteries get low, it will make a landing before it crashes due to lack of power.
Only a week into flying, Facemire says it’s, “easy to use if you don’t panic. I did panic, though, which resulted in crashing about 4 times so far. The last crash was in a magnolia so high I had to hire a tree surgeon to retrieve it. He said he’s already had to retrieve three others. Probably a nice side business for him.”
Drone technology is a game changer for getting that extra look, and Facemire is more interested in mastering crane like lateral moves and low angle tracking shots. According to Facemire, drone cameras are as much of a boon to the industry as the first DV cameras were, and they are starting to be common place on productions, both big and small.
The Phantom 2 is very robust. The most likely scenario is that the rotors get damaged. Facemire notes that, “replacements are available
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Allen Facemire practicing with his new Phantom 2 camera drone. (Photo courtesy of Chris Mewbron).
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THE D-GIRL
PROJECT
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he D-Girl Project expands and returns after a summer hiatus. A D-Girl is an antiquated term for a development girl, the old school entry level position of reading scripts for development by the studios. The D-Girl Project takes this idea a step further, offering it to men and women, helping them develop reading, writing, packaging, and pitching skills through monthly assignments and classroom discussions. The series is run by producer Linda Burns and Plexus Pictures. For the first time, the D-Girl Project will also offer a simultaneous writer’s room workshop, offered to graduates of the first track of the class. This group will learn to develop writing and pitching skills in a collaborative writer’s room environment by studying successful narrative TV series, and creating characters and long form story ideas for a television show set in Atlanta.
TIME TO
CHANGE THE INK I
nterior Ink is a new division of Parallax Digital Studios. Interior Ink offers a variety of products and services including custom printed solar shades and screens, wallpaper & vinyl, fine art prints, wall murals & decals, and translucent films. The offshoot has a new, user-friendly design tool that enables designers and clients to custom design wallpaper, vinyl and wall murals. Users can easily change color schemes and the layout on a design by simply clicking on the “star t designing” feature of their website and using the user-friendly design tool.
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OZCETERA PROPSOURCE OPENS P
ropSource is a new venture star ted by Rich Reams and Tyler Edgar ton to provide a fullser vice prop house in Atlanta. The new facilit y includes fully furnished produc tion of fices and a decorators’ lounge. The 55,000 sq ft. facility is located in the Chattahoochee Industrial District and is open 7am-5pm Monday through Friday. This area is filled with industry related businesses including a shopping district for designers. Specialty furniture, lighting, rug, and bedding companies are located nearby including top event companies in Atlanta. Rich Reams, a set decorator in L A for 35 years (retired) was in Atlanta researching the area and discovered a true need for an LA-style prop house. He speaks the language and understands the needs of the set decorators and crew. Inventor y includes all types of furniture (indoor and outdoor), draper y, linens & bedding, garden and outdoor patio supplies, lighting, flooring, musical instruments, hand props for prop masters, accessories, and art. In addition to the well-stocked, organized inventory, there is a buying ser vice for specialty items for both set decorators and prop masters. In addition, PropSource has 15,000 sq ft. of flexible space for stages, storage, wardrobe and a vehicle parking area for lease.
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BEASTLY BUTTERFLIES B
utterfly, a new spot recently edited by Beast Atlanta’s Jeff Jay marks ING’s TV launch of its rebrand as VOYA. The cinematic spot, skillfully captured by director Cole Webley for BBDO, portrays swarms of butterflies made of dollar bills gracefully making their way through a busy city. The CG butterflies were created by Method NY, with color correct and audio by Company 3 Atlanta.
OZCETERA Famed designer, Vern Yip, is the honorary chair of Atlanta Celebrates Photography’s annual auction and gala.
GET YIP
A
tlanta Celebrates Photography (ACP) welcomes famed interior designer Vern Yip as honorary chairperson of its annual photography auction and gala. Denise Bethel, VP of Sotheby’s N Y and head of photographs department will be the distinguished auctioneer for the event.
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Yip has knocked down walls and made over countless homes and restaurants during his four seasons on TLC’s Trading Spaces, on NBC’s Home Intervention, and during his now eight years as one of HGTV’s most recognizable designers. He spearheads the Vern Yip Home line of home décor goods with Home Shopping Network (HSN) and runs his own design company in Atlanta, Vern Yip Designs. He is frequently seen on NBC’s Today, CNN and Live! with Kelly and Michael and is a monthly columnist for The Washington Post. Yip’s new show, Live in Vern’s House premiered on HGTV during the summer. The distinguished auctioneer for the 2014 Atlanta Celebrates Photography Auc tion and Gala will be Denise Bethel. Bethel joined the Sotheby’s photographs department in 1990 and for almost 20 years, has been its director and primary auctioneer. She has played a key role in the development of the market for fine ar t photographs in New York, the epicenter of the photographs collecting world. Her long experience in appraising and selling significant photographs has made her the senior expert and senior auc tioneer in the world of photography auctions in the United States. The annual Photography Auction and Gala is one of the premier art events of the season, and is ACP’s only fundraising event of the year. Proceeds support ACP’s diverse programming. The auction date is Friday, October 17th, 2014 at Mason Murer Fine Art, 199 Armour Dr. Atlanta, Georgia 30324.
OCTOBER / NOVEMBER 2014
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Film and Video Supply For all your expendable needs
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SAVE THE FOX!
A
tlanta’s legendar y Fox Theatre announced a yearlong celebration to thank its hometown in honor of the 40th anniversary of the “Save the Fox” campaign, a city-wide effort rescuing the landmark from demolition. Atlanta Mayor Kasim Reed joined Allan C. Vella, Fox Theatre’s president and chief executive officer, entertainer Jeff Foxworthy, Valerie Jackson, philanthropist and widow of the late Mayor Maynard Jackson, Woody White, chairman, Board of Trustees, Fox Theatre, Inc., and Jay Myers, Board of Trustees, Fox Theatre, Inc. for a press conference in the Egyptian Ballroom at the Fox Theatre. The campaign, called “The Legend Lives On,” includes a block par t y, gala celebration event, “Fox in the Box” educational partnership with the Savannah College of Ar t and Design (SCAD), a national contest to find the theatre’s biggest fan, a special Coca-Cola Summer Film Festival event, and a lineup of performances including memory-making shows from Atlanta-native Jeff Foxworthy and “One More For The Fans,” a musical tribute to Lynyrd Skynyrd. The band was instrumental in the “Save the Fox” campaign, performing a 1976 benefit concert, which turned into the classic live album “One More From The Road.” By 1974, the Fox Theatre had fallen into a state of disrepair, far from its Shriners mosque beginnings and movie palace glor y days. W hen news of impending demolition came to light, the mayor’s of fice, citizens, student s, and local businesses fought to save the legendar y landmark, and the “Save the Fox” campaign was born. The turnaround was monumental. Over the next several years, the Fox Theatre transformed into a living museum and began steps toward the nonprofit that it is today. The venue now hosts more than 300 events and welcomes upwards of 600,000 fans through its doors each year.
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FAKING IT AT ATLANTA FILM STUDIOS F
or Atlanta Film Studios, the phone is ringing with a new kind of client. The facility recently welcomed Shine America’s Fake Off a new competition series about the art of faking. The show sets up teams that are challenged to recreate and re-imagine iconic moments in pop culture. Harr y Shum Jr. (Glee), Rozonda “Chilli” Thomas (TLC), and Michael Curry (Cirque du Soleil) have all signed on for the new truTV series to air this fall. Matthew Chavez, Fake Off’s executive in charge states, “We had a great experience at Atlanta Film Studios -location, staff and facilities were terrific, absolutely nothing but positive things to say…. We can’t wait for Season 2.” Nic k Smer igan, w ho’s Road Tow n Enter pr is es operates the facility, said “Although we continue to welcome features, scripted TV, advertising and web based content clientele, etc., AFS is excited about the community of game shows, reality and reality competition discovering the facility. We are fielding a lot of calls from audience driven shows. It seems the facility and location are perfect for this kind of production.”
THEY ARE ALL PLAYAS!
Ken Feinberg, founder and CEO of Creative Studios of Atlanta, and Lynn Stallings, founder and executive director of Atlanta Workshop Players, join forces.
A
tlanta Workshop Players and Creative Studios of Atlanta are joining artistic forces. Ken Feinberg and his Creative Studios Atlanta will now be “Artists in Residence,” setting up shop in the AWP facilities.
OCTOBER / NOVEMBER 2014
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Robin Williams: A Humanitarian
by Kelley Meyer
Hilarious. Dramatic. Generous. These are all generic words that can be used to describe a man that was all things except generic. No cookie cutter produced such a legend. Robin Williams will always be an irreplaceable and incomprehensible comedic force of nature. Williams got his start in Hollywood through stand up comedy, which will forever remain unparalleled. His movies Mrs. Doubtfire and Flubber give millions of people joy and will continue to do so for generations to come. Williams often channeled the characters he played on screen in his real life. He gave back to people in more substantial ways than just his acting and performances. Numerous charities, bucket lists and scholarships benefited from Williams’ generosity. Similar to his character in Patch Adams, Williams helped the sick and injured. He visited children’s wards and hospitals, such as St. Jude’s, just to bring happiness to others. According to USA Today, on several occasions he would play a secret Santa at the University of California-San Francisco. A mother with terminal cancer just wanted to meet him as a part of her bucket list. So of course, Williams sent her a video in which he sang her a song. He also personally visited the home of a young girl who was terminally ill to sit and play cards with her. Like Dr. Sean Maguire in Good Will Hunting, Williams supported education and the less fortunate. There is a scholarship to The Julliard School, of which he famously attended, funded by him and in his name. One of his final acts of generosity was giving his beloved motorcycle to an auction for a charity that helped low income students. It raised $20,000 along with an autographed Night at the Museum hat. Shouting those famous words, “Good Morning Vietnam!,” Airman Second Class, Adrian Cronauer entertained the troops. He fulfilled a similar role in his real life by devoting time to the armed forces and the United Service Organization. Williams toured six times in many countries including Iraq and Afghanistan. He believed it was his duty to make the troops laugh because they work so hard for the safety of the country. Beyond the comedic genius and performer, he was a humanitarian. Williams had a big heart that was devoted to helping others. The depths and complexities of Williams will never be replicated, but we can all be inspired how he lived his life.
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d a h s t.” m a illi hear W “ big a
VOICES
November 15-16 Want a career in the film business? See if you have what it takes by surviving this two day bootcamp! Run by Producer Linda Burns with the help of local DGA ADs and PAs, this two day bootcamp-style Production Assistant workshop is perfect for those just starting their careers as a PA as well as those looking to advance their knowledge of what it takes to succeed as an office or on set production assistant working on commercials, industrials, music videos,
For more information contact lburns@plexuspictures.com, check the GPP website or go directly to the AtlantaFilmFestival.com and register under workshops.
independent films, television series and studio features. Training includes but is not limited to production terminology and paperwork, film crew titles, job descriptions, and hierarchy, set etiquette - do’s and don’ts, how a typical day proceeds, locking up the set, setting background, and walkie protocol, terminology, and sign out.
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LITTLE ENGINE
PICTURES
A Hollywood Tale By: Christine Bunish
First comes love, then comes marriage, then comes Gina Matthews and Grant Scharbo, successful partners at home and in their production company, Little Engine Pictures.
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he husband-and-wife producing team of Gina Matthews and Grant Scharbo is determined to bring one of their next feature film or television projects to Georgia. Currently serving as executive producers on USA Network’s new hit series, Rush, and developing other properties through their Little Engine Productions, the couple is eager to shoot in Georgia where Scharbo grew up and still has family. “It’s the only place I’m dying to shoot and haven’t,” says Scharbo. “It’s my dream to shoot something at home and have my childhood friends drop by the set with their kids.”
Grant Scharbo and Gina Matthews at Cannes, France for the premiere of the TV series Missing, co-produced by their production company, Little Engine Pictures.
“We’re working hard to make it happen,” says Matthews. With a production company named Little Engine one would expect nothing less. While they haven’t had a chance to work in Georgia yet, the couple has a long list of productions to their credit. Matthews produced the TV cult favorite Popular, the series Jake 2.0 and the Jennifer Garner feature 13 Going on 30. Scharbo wrote the Emmy Award-winning Summer’s End and The Wishing Tree telefilms. And they teamed on the ABC TV series The Gates and Missing.
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Origin Stories Matthews and Scharbo met through the industry but hail from opposite coasts. Scharbo was born in Pittsburgh, spent his first five years in Connecticut then grew up in Georgia. “My family is still there, and we go back often,” he says. “We have an annual reunion in the mountains at Lake Burton.” An English major in college he thought he’d follow in his father’s footsteps and go into advertising. But a film course in his junior year changed his perspective. “I was always intrigued by storytelling in its various forms. The spoken word and written word were all interesting to me. As a student in grade school I used to go to a storytelling festival in Tennessee that was fantastic,” Scharbo recalls. In college he discovered film as a medium for “visual storytelling,” something that matched the visual way he read and wrote. Scharbo didn’t know what path would be his way into the industry, though. “I worked briefly as a PA on commercials in New York City,” he says, “and realized that, in the late 1980s, New York was not the base of entertainment. Most entertainment originated in LA. So I decided to head that way.” To save money for his trek west he moved back home to Georgia where there was enough production to “keep a few crews busy all the time.” He became an art department PA on a “very low-budget horror movie” and worked his way up to set dresser. Local production was his “film school,” Scharbo says. “I learned how things were made, what everyone did. It was a very hands-on education.” Matthews grew up in Eugene, Oregon where she laughingly says she was “related to most of the Italian enclave” in the city. She thought she’d be a teacher, but when she got to the University of Oregon she realized she could “do anything” and set her sights on a job that “Never forget “bring joy or drama” to where you came would people. She changed her major from, and they to Telecommunications and Film with a minor in Photography; can’t eat you...” she ran her own photography business while a student. She traveled to Los Angeles with an older friend and got internships at a casting agency and a network promotions department, jobs she says “changed my life.” Matthews discovered there was no strict employment structure in the film and television business, and that suited her just fine. “I’m very entrepreneurial, and here was a city and an industry that embraced that. You could make your own path in LA.” Matthews took a rather fearless approach to carving out her path. Her mother gave her two key pieces of advice when she left home: “Never forget where you came from, and they can’t eat you,” she says. “Yes, this business, this town can be hard but at the end of the day what’s the worst that can happen? They can’t eat you!”
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Gina Matthews and Grant Scharbo are executive producers on the USA Network’s series, “Rush.”
She sent her resume to Sam Mercer, head of production at Disney’s Hollywood Pictures. When she called his office to follow up his assistant told her, “we have no idea who you are.” She found her naivety really helpful. I told his assistant I had just moved to LA and had no money. I was so blubbery, so genuine and candid that he felt bad for me and said, ‘come in and see me.’ So I arrived in my poly-blend blazer, Payless shoes and hair that was way too big for the ‘90s and met with him and Sam and got a job working for a production executive.” While at Hollywood Pictures she learned that what she wanted to do was “be a producer at the beginning of the process. So I reached out to the creative executives at Disney about how to transition and got lucky.” She landed a job working as an assistant and story editor for producers Laurence Mark and John Baldecchi, “wonderful mentors” who provided an important learning experience.
“The Golden Age of TV is now. The best storytelling out there is in television – it has surpassed movies”
First Meet, First Successes During this time Matthews met Scharbo at a wine tasting party where each had asked their host who the other person was. Scharbo had arrived in town and taken the advice given him by LA-based professionals he had met in Georgia. “Everyone suggested starting at a talent agency,” he says. So he interviewed with CAA and William Morris and netted a job in the William Morris mailroom, “the legendary starting ground” for many Hollywood careers. He started writing his first script, set on the Georgia lake where he grew up. Summer’s End was optioned “pretty quickly” but remained unproduced when he met Matthews at the party, and she asked to see his script. “I said I worked with really big producers at Disney, but Grant’s attorney told him, ‘You know she’s an assistant. She has no juice at all.’” She loved the script. “It was so beautiful and emotional, about racism and tolerance. I called Grant and left a tearful message – I wasn’t remotely cool.” She met with him again and tried to tell her bosses at Disney about Summer’s End. But they felt it would not fit their big-movie model. Matthews and Scharbo dated for a while, then broke up. Many options later Summer’s End was still on the shelf, and Matthews was on her own managing writers, including Scharbo. She sent the script to Showtime, which decided to produce it. Scharbo hoped to shoot Summer’s End in Georgia, but it ended up outside Toronto. It won Emmy Awards for best children’s special and for star James Earl Jones. “It was a dream come true,” Scharbo says.
Sarah Habel as Eve Parker on “Rush.”
Showtime also produced his second script, The Wishing Tree, which he wrote while working in Savannah on the feature, Glory. Again, Scharbo made a pitch for Georgia. “I had found trees and a setting in Savannah that didn’t exist anywhere else – there was a very specific look and
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feel to the script and I diligently made the case for shooting in Georgia,” he recalls. Scharbo even found a privately owned plantation whose owner agreed to give the location – “the woods, the house, everything” – to the production for free. But Showtime opted for Toronto again. “When we went to see the tree, which was supposed to be 250 years old, it turned out to be a 30-year old tree in the middle of a bunch of other 30-year old trees,” Scharbo reports. “It can be heartbreaking when you have something so specific in mind, something rooted in your experience. But location and finances dictated something else; that’s the nature of the business.” The Wishing Tree starred Alfre Woodard and Blair Underwood and went on to receive four Emmy nominations. After reuniting Matthews and Scharbo were engaged in November 1998 and married two years later. Matthews’s writer management company was doing well – Ryan Murphy (American Horror Story, Nip/Tuck, Glee) and Silvio Horta (Ugly Betty) were clients. “We were all babies together,” she says. But Scharbo encouraged her to consider how she could build the company. Soon the couple partnered in the production management company, Round Table, whose credits included TV series Popular, Jake 2.0 and The Chronicle. In 2004 Matthews also was a producer on the feature 13 Going on 30, which marked one of the most poignant times of her career. Her mother had come to every set Matthews had worked on but had been too ill to visit the set or to attend the LA premiere. So Matthews asked Sony Pictures if there was a way to get a print to screen for her mom back in Eugene. She was surprised by Sony’s response: a red carpet prepremiere at a theater in Eugene complete with swag for guests and press coverage.
shoot in Georgia. “Atlanta has a plethora of beautiful gated communities,” he notes. “But we ended up in Shreveport because Louisiana had slightly better incentives. In the end, Shreveport really didn’t have the crew base to support more than one project at a time. We had to bring a lot of people in, which ate up the savings and then some. And, ironically, most of them came from Atlanta.” Although The Gates lasted only one season its direct-toseries model worked well. “We didn’t have the financing for a pilot, so we were one of the first companies to go straight to series,” explains Scharbo. “ABC Studios wanted to work on that model and made a deal with us.” Little Engine also promoted the idea of having a lower licensing fee for the network by bringing in network partners from around the world to share costs. That concept was ideal for their next straight-to-series project for ABC, the Ashley Judd thriller, Missing, which shot in Prague with an international cast. “It was an amazing experience living with our two kids in Prague and traveling to Rome, Istanbul, Paris,” says Matthews. “It changed our point of view about our future in such a profound way and was such a blast. It was actually the easiest show we’ve ever produced.”
“It was one of the times when my work and how we live our lives all came together,” she says.
Little Engine Takes a New Track Matthews and Scharbo launched Little Engine Productions in 2007. Scharbo had devoted himself to being a non-writing executive producer for some time but wanted to get back to writing. He found that despite Emmy nominations for Summer’s End and The Wishing Tree “no one knew” him as a writer. “So I started writing episodes of the shows we were working on.” Matthews and Scharbo were executive producers on the 2008 pilot, The Oaks, which was not picked up, and on the telefilm, Blue Blood (not to be confused with the current CBS cop series). Matthews, Scharbo and Richard Hatem executive produced the crime drama, The Gates, which aired on ABC during the summer of 2010. Scharbo was sure this show would
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Larenz Tate as Dr. Alex Burke on “Rush.”
Tom Ellis as William P. Rush on “Rush.”
Scharbo points out that despite shooting nine days per episode with an all-star cast and almost full-time 2nd unit, “it was still the cheapest one hour on ABC in prime time. We were more than $1 million under budget.” Sadly, Missing wasn’t renewed. Scharbo thinks the reason was its 8 pm time slot. “It was known as the Death Slot: We were up against Big Bang Theory and American Idol and there was no way to break that juggernaut. And Missing was not an 8 o’clock show.” The experience led Matthews and Scharbo to turn Little Engine into a co-production studio. They met Peter Sussman, one of the founding partners of Alliance Atlantis, and now head of Aver Media. “He thought we had an intriguing model and invested in Little Engine, so now we’re technically a studio and can finance straight to series ourselves,” Scharbo says.
Rush Sizzles with Summer Viewers This past year the couple has teamed to executive produce Rush with Jonathan Levine. Based on their concept, the show recently finished its first season on USA Network; it shot in Vancouver, which doubled for LA. “We’re extremely happy with the way the show turned out,” says Scharbo. “Gina and I were extensively involved in the season arc, developed scripts and one of us was always in Vancouver to oversee production and prep incoming directors. We also oversaw post production back in LA.” “The first season is all about figuring out what the show is and by the end you really have it,” Matthews says. “We had a great writing staff and wonderful support from the network and studio. We had a fun time in Vancouver and Tom Ellis [who stars as unconventional Dr. William Rush] is a real discovery. It was so great to see him blossom.” Rush had been growing its audience throughout the summer, and Scharbo believes it has “a good shot at renewal.” If that happens he wonders if increased California production incentives, which go into effect in July 2015, will bring the series back to LA. “It makes all the sense in the world for a show that’s set in LA,” he says. Little Engine has a distribution deal with Sony Pictures; the studio has a first-look option to co-produce with Matthews and Scharbo. They just turned in the first script for Wasteland, a supernatural crime drama co-produced with Sony TV for NBC and written by Mick Davis who penned the US version of the British series Eleventh Hour for CBS a few years ago. Wasteland follows a former black ops guy with a mysterious childhood who is charged with hunting down 200 fugitives of
Matthews and Scharbo hope 2015 will be the year that one of their shows shoots in Georgia. a massive prison break. “It’s big, noisy, epic and expansive – full of action,” says Matthews. On a very different note Little Engine also has sold the comedy feature, Isn’t It Romantic? to New Line Cinema. “It redefines romantic comedies in a smart new way,” according to Matthews. For Scharbo, the most fun part of his work is “taking an idea from inception and seeing it come to life. No two days are ever the same, and every project has new challenges. It’s an exciting career.” Matthews finds fun at each stage of a project. “Every step has its own joy,” she says. “From beginning to end it’s fun.” They agree that the toughest part of producing is the disappointment, which Scharbo says, “outweighs the success” in statistical terms. “We’ve had great projects that didn’t get made or that got made and had a bad time slot,” he notes. Producers “have to be able to celebrate the small things because the failures are so great,” Matthews adds. “You have to gear yourself up to navigate this and keep looking at the joys that outweigh the disappointment.” Little Engine is well positioned to take advantage of what could be television’s best days ever. “The Golden Age of TV is now. The best storytelling out there is in television – it has surpassed movies,” he says. “HBO, Showtime, AMC, Netflix – it’s amazing what they’re doing. There are so many good shows that it’s hard to find time to watch them all.” Matthews and Scharbo hope 2015 will be the year that one of their shows shoots in Georgia. “We will keep trying to bring something there,” says Scharbo. “The only strike against Georgia is its success. With so much production you have to look at crew availability before you go. Otherwise, Georgia offers everything in terms of locations and film-friendliness. They’re building fantastic stages; all the equipment and camera houses are there. Georgia is all geared up for continued success.” “Now that [Little Engine] is a studio and can make those choices about where to shoot, I have no doubt it will happen,” Matthews declares.
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HALT CATCH AND
ATLANTA
A
Though set in Dallas, Texas, the hit TV series, Halt and Catch Fire calls Atlanta home.
lthough its name refers to the machine code that causes a computer’s CPU to cease functioning, the AMC series Halt and Catch Fire will reboot for a second season in summer 2015. Set in the Silicon Prairie of Texas in 1983, the period drama is shot in Atlanta where the excitement of the early days of the personal computing era comes to life on location and on the stages of Atlanta Filmworks. A veteran producer of film and television, Jeff Freilich was intrigued by the concept for the new series, which explores a subject and setting “we haven’t seen before on television,” he notes. “I thought the script for the pilot, by new writers
By: Christine Bunish
Chris Cantwell and Chris Rogers, was fresh and engaging – a new take on a corporate thriller. It’s been a joy helping ‘The Chrises’ realize their vision.” There were other reasons why Freilich was eager to join the team. “Executive producers Mark Johnson and Melissa Bernstein helped produce my favorite series ever – Breaking Bad. And I’d long admired Mark for his formidable body of work in features. To top it off, they’re genuinely pleasant people! I left my interview thinking what a treat it would be to spend time with them. Then, they added the talented and collaborative showrunner, Jonathan Lisco, as well as an incredible team of writers, and Halt became a dream job.” OCTOBER / NOVEMBER 2014
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Additionally, “AMC has emerged as a network viewers go out of their way to watch,” he says. “AMC operates much like a premium cable network. It attracts the highest level of talent and creates intelligent adult programming. They have a passionately loyal audience who loves their programming and stands behind it. AMC has the patience to allow a show to build its audience. To creative people, having that kind of support from the network is crucial, rewarding and comforting.”
RELOCATING THE SILICON PRAIRIE While Halt and Catch Fire is set in Dallas, the producers ultimately settled on Atlanta as its production base. “Atlanta has grown into a major production center,” Freilich says. “And AMC has a well-oiled machine there with The Walking Dead, some of whose crew we cannibalized in their off-season. There’s a lot to be said for working with a group of people who are accustomed to each other.” Freilich has worked all over the world – “every major city in Canada, parts of Mexico, Puerto Rico, France, Spain, the Netherlands” – and he spent a number of years as executive producer on the USA Network hit, Burn Notice, which shot in Miami and south Florida. But Halt and Catch Fire marks his first series in Atlanta. “I’d thought about taking projects there, but it never quite worked out,” he admits. After the Halt pilot, he produced Blake Masters’s AMC pilot, Line of Sight, with director Jonathan Demme and star David Morrissey in Atlanta; it did not get a pick up. But the experience expanded his knowledge of the Atlanta production community, and he was impressed by the depth of its professional crews. “What I noticed first was the enthusiasm of the crew members; it reminded me of the early days of Toronto” when the Canadian city was emerging as a locus for American production, he says. Freilich produced six award-winning telefilms for Showtime with director Norman Jewison in Toronto in the 1990s. “Everyone was excited to be working and had come to Toronto to be where the work was. The same was true of Atlanta. We all tend to get a little blasé, to lose some of that passion. But Atlanta helped rekindle all the excitement I had early in my career.” Freilich concedes he had a jumpstart on working in town thanks to unit production manager Steph Accetta. She lives in Florida and has worked on six projects in Georgia, including the shortlived series Past Life, the horror feature The Collection, the first season of The Walking Dead, the pilot for Kevin Bacon’s FOX show, The Following, and Line of Sight. “She had relationships with people there and helped get the crew in place – 90 percent of them are local to Atlanta,” Freilich points out. “I’ve been following incentives around the country for 15 years, and it’s been fun to watch Atlanta develop,” says Accetta. “It has great crews and everyone is so nice. I always get great cooperation from IATSE Local 479 – their increase in membership has been tremendous as more people return or relocate to Atlanta.”
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SERENDIPITY HAPPENS Finding a home in Atlanta for Halt and Catch Fire was a priority. The pilot was shot largely on location with one set, Joe MacMillan’s Dallas condo loft. “It was a state-of-the-art production facility but too far away for everyone to travel, and from locations we’d need when we got picked up for the series.” He and Accetta set out to find the perfect alternative. And Halt and Catch Fire had extensive requirements. “We needed to build a 9,000 square-foot office set for Cardiff Electric, a full two- or three-bedroom house for the Clark family and Joe’s entire condo. And we needed room for swing sets,” Freilich recalls. “We required at least 40,000 square feet – a gigantic area. That’s the equivalent of two Hollywood-type sound stages – a tall order in Atlanta and likely unaffordable. So much production was coming in to Atlanta that actual studio and stage space was getting scarce.” He got an idea to replicate something he’d done in the 1990s when he found two warehouses in Chatsworth, California to house the series Dark Justice upon its return from a Barcelona home base. “We made a great deal to convert the warehouses to soundstages,” he explains. “It took a year to get them ready, but the studios on Lurline have been used ever since.” Enter Mark Henderson, Daniel Minchew and Glenn Murer who had just teamed up to turn Murer’s Atlanta property, a former DuPont plant that more recently had been a dog food factory, into a movie studio. “It really was a perfect storm in the good way,” says Minchew. “Glenn had the vision and trust in Mark and myself to build out the facility and keep it occupied by a film or TV show. It was a perfect chain of events and opportunities.” “They had two 20,000 square-foot adjoining warehouses with plenty of office space,” Freilich recalls. “We made a deal for a one-year lease and gave Mark a long list of what we needed done with these buildings. I thought he’d recoil, but he’s experienced in grip and electric work and spoke our language. He understood why we were asking for all the restructuring. They did all the demolition and renovation, including soundproofing one stage, in just six weeks. “Now Atlanta Filmworks is one of the best, most convenient stages in town. In a way, Glenn, Mark and Daniel were visionary
Atlanta has grown into a major production center...
RECREATING THE 80s One of the biggest challenges for production was conjuring up the era that marked the dawn of PCs in America. That meant finding wardrobe, props and locations with a 1980s look and feel. While only 30-something years ago, the decade already qualifies as vintage since so much about lifestyles and environments has changed.
A technology shot on the set of “Halt and Catch Fire.” The show has numerous technical advisors to ensure technology is accurate to the era. Photo credit: Blake Tyers/AMC.
– they gambled on us and took it on faith that what we wanted others would want too. We all laughed about it afterward. Nobody believed us when we said we’d turn a liver treats factory into a movie studio. But look at it now.” Halt and Catch Fire is the exclusive tenant at Atlanta Filmworks. “They use all the 57,000 square feet we have,” says Henderson, who also owns Get-a-Grip Atlanta. “Studio A is 110 feet wide and 200 feet long and has no columns. Plus it has a 42-foot ceiling and is soundproof. That’s extremely hard to find in Atlanta.” Sets for Cardiff Electric’s corporate offices take up the entire stage. Almost as large as Studio A, the adjacent mill area has been turned into Studio B where Joe’s condo set and others fill the space. And the show has production offices in the 17,000 square-foot office area. Atlanta Filmworks also boasts “lots of loading docks with direct access to the big rooms,” something Henderson says architects often overlook. “At a lot of studios, it’s a nightmare getting trucks in and out.” When Halt and Catch Fire returns the production will notice some improvements, adds Minchew, who also owns the nearby Studio Space Atlanta for interview shoots, corporate videos and music videos. “We’ve installed more quiet heaters in Studio B along with additional lighting since they’re using that space as a stage. We originally thought it would be flex space, for construction, but they used it as a stage in season one and we wanted to outfit it accordingly. Everything they need will benefit future clients as well.”
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Nobody believed us when we said we’d turn a liver treats factory into a movie studio. But look at it now.
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“The early 80s is not a period currently in fashion; looking back, it was a little bland, a beige time,” Freilich says. “So vintage clothing stores don’t carry a lot of 80s merchandise. We had to pull a lot of clothing from shops and wardrobe rental houses in LA where there’s just more inventory.” Craigslist proved helpful in locating period home and office furniture, along with “office supply companies in big cities that were closing and had warehouses full of what they considered junk and we considered set dressing,” Freilich reports. Technology of the era was tougher to find, although Craigslist was again invaluable. “We needed to find an example of the first Macintosh computer for the end of episode nine where our characters go to COMDEX [Computer Dealers Exposition] in Las Vegas and walk past a hotel suite featuring Apple’s latest product,” he explains. “Finding that model was extremely difficult – it’s a collector’s item now. Producing the show is a virtual treasure hunt. It has brought back to life so much stuff I had long ago forgotten.” Freilich notes that Halt and Catch Fire had several technical advisors “to maintain accuracy and authenticity” when referencing the computer gear. “The laptop Cardiff Giant could have existed; we built it ourselves from scratch out of molded plastic, and it was partly functional. We made sure the design was consistent with the visionary thinking of the time and was not sci-fi.” He says the prop department “learned a tremendous amount during the course of the season” and sharpened their huntingand-gathering skills. “A lot of these old tech companies are either bankrupt or part of another big conglomerate now. So even the right signage and logos is hard to get right – that material is sometimes untraceable.” The same attention to period detail applied to locations, Freilich points out. “Production designer Chris Brown, a veteran of
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“Halt and Catch Fire” principals: Scoot McNairy as Gordon Clark, Mackenzie Davis as Cameron Howe and Lee Pace as Joe MacMillan. Photo credit: James Minchin III/AMC.
Mad Men, has an uncanny eye for period accuracy. He’s got an amazing ability to identify different decades in architecture and interior design and keeps us honest. Location manager Ryan Schaetzle is local to Atlanta and has a vast knowledge of local history and landmarks. We’d try to pick locations to shoot that were not anachronistic and would require the least amount of adjustment; a lot of it boils down to framing the shots. Often, our art department would spend days of prep ‘retrofitting’ locations to send them back in time.” Halt and Catch Fire turned Atlanta’s American Cancer Society building into an 80s Las Vegas hotel for episode nine. “It took a lot less effort to turn it into a period hotel than to convert an actual modern hotel into an 80s replica,” Freilich explains. “Sometimes you have to dig deep into your imagination, in our limited time and on our budget. Fortunately, we have those creative minds on our team.” More difficult to find, he says, are “retail stores and restaurants that look like the 80s. But that would be the case anywhere. The lighting fixtures, the patterns on the chair backs, the carpets, the window frames – everything needed to be changed to be period accurate. And if it was a store, all the merchandise needed to be swapped out. Even finding period bathroom fixtures was a big task. We often had to pull out existing ones and install period-authentic parts.” Freilich notes that during the first season the LA-based writers cycled through Atlanta, helping to familiarize them with the area and inspiring possible locations for future episodes. “As the season progressed they got a lot better at structuring stories to fit environments that were practical and possible,” he says. “And the second season will be even better. The same thing happened with Burn Notice, when none of the writers, except creator Matt Nix, had ever actually been to Miami.”
BROAD BASE SUPPORT Besides Atlanta Filmworks, Halt and Catch Fire has enjoyed support from other vendors in town. “From a production services standpoint, Atlanta is just as easy to work in as any major city; I’ve been pleasantly surprised,” says Freilich. “Everything people warned me about proved not to be
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true: Equipment and supplies are readily available and any tech work we need is done immediately. “SIM Digital has gone out of their way to get the [camera] equipment we need and is always there for service. I’ve used them in Canada, and their Atlanta office has a great relationship with Steph.” Accetta has seen SIM Digital grow since it moved to town. “They’ve moved several times to bigger offices and now have a big, beautiful facility – they’re a great example of how things are changing in Atlanta,” she reports. Paskal Lighting is the show’s lighting and grip supplier. “I’ve worked with them on almost every project I’ve done in Atlanta,” Accetta says. “They have all the resources to support us.” The show rents its dollies from PC&E Atlanta. Pittsburgh-based transport vendor Haddad’s has a significant presence in town now, Accetta notes. Halt and Catch Fire uses their campers for cast trailers, box trucks for set dressing and trucks for the camera department and moving gear as needed. The series shoots on ARRI ALEXA and gets dailies via FotoKem Atlanta’s award-winning nextLAB system. “They are done quickly and distributed via PIX the next day,” says Freilich. The only drawback season one had to face was some pretty dreadful – and uncharacteristic – winter weather. “We shot the pilot in the spring of 2013,” says Freilich. “When we shot episode two last November, we had a scene the first day where Lee Pace [who stars as Joe MacMillan] drives his Porsche down a street that’s supposed to be in Austin. And it started to snow. DP Nelson Cragg promised the snow wouldn’t read on camera – he was right – and after viewing the footage, you’d never know it wasn’t summer but, instead, 22º with flurries! “But we realized then that the winter would be more of an adventure than we anticipated,” he says. “Like any city, the first day there’s really miserable weather people tell you, ‘It’s never like this here!’ I must have heard that 30 times last winter. We got bitter cold, a lot of ice. I was stuck on I-85 for nine hours, others for even longer. We had to shut down a few days and make sure everybody was safe at home. Then, when the streets were dry, it was back to business as usual.”
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It’s a matter of supply and demand: It’s simple economics.
Freilich is “thrilled” about AMC renewing Halt and Catch Fire, which, admittedly, had modest ratings its first season. “Networks could learn a lesson from AMC, which believes in its shows and lets the audience settle in with them,” he says. He reminds us that AMC’s Breaking Bad and Mad Men were “not instant hits. They attracted viewers in reruns and then Netflix and other streams and grew their audiences each subsequent year. Of course, critical acclaim and awards helped as well. Halt and Catch Fire has received strong support from critics and has a vocal and loyal core audience. I’m confident viewership will increase in season two.” Knowing that AMC backed the show for a full run of season one episodes helped promote a healthy atmosphere during production, he reports. “I’ve worked on network shows where you feel like you’re on Death Row from the minute the series premieres,” he says. “I’ve even been on a couple that were cancelled while the show was still in production. On Halt, we knew we would complete our season and that all ten episodes would air. And we knew AMC believes in what they develop and green light and stands behind its shows. We never felt as if we were on the edge of the chopping block.” Freilich gives credit to Georgia for its incentive program and “helping evolve Atlanta into one of the biggest production cities in the world.” Crews were “extraordinary and could compete against others anywhere. They helped production move quickly and solved problems that seemed insurmountable. Filmmaking is nothing if not an exercise in solving problems. At the end of the season I told the whole crew that I couldn’t remember as pleasant, rewarding and collaborative an experience in my 40 years in the business.”
”
We’d love to recreate that lightning in a bottle – that morale, that mood, that atmosphere – we had in season one.”
Many of the directors will return too. “Some came to Atlanta with apprehensions,” he admits. But they enjoyed their time on the set and their free time in “a very cosmopolitan city.” That includes Juan Campanella, who directed the pilot, episode two and the season finale. “He worked 20 years in New York [on the Law & Order franchise], in LA [on House] and directed The Secret in Their Eyes, which won the Oscar for best foreignlanguage film in 2010. He lives in Buenos Aires now, but fell in love with Atlanta. “He brought his whole family up for Christmas vacation last year,” Freilich reports. What could Atlanta do better? Not much, says the producer. But the city needs to keep a careful watch on the number of productions it attracts. “I saw what happened in Canada when production skyrocketed and crew and equipment didn’t increase proportionately,” he recalls. “It’s a matter of supply and demand: It’s simple economics.” Before he resumes Halt and Catch Fire, Freilich will wrap the first season of Grace and Frankie, a new series created by Marta Kauffman and Howard J. Morris starring Jane Fonda, Lily Tomlin, Martin Sheen and Sam Waterston, which he’s producing for Skydance Television and Netflix. The show concerns long-time rivals who are brought together when they learn their husbands are in love with each other and plan to marry. “It’s a dream cast,” he says. “I almost can’t believe I’m working with those incredible people.”
Freilich will be back in town soon to begin prep for season two. “We can’t wait to begin again,” he says. “I expect we’ll bring back at least 75 percent of the crew – more if they’re available.
Show star Lee Pace as Joe MacMillan with a vintage Porsche. Early 80s sets, propping and wardrobe creates the look for Halt and Catch Fire. Photo credit: Tina Rowden/AMC.
OCTOBER / NOVEMBER 2014
33
HOW I GOT INTO THE BUSINESS KATHLEEN FITCH
How did you get into the business? I started high school with a passion for photography, which expanded to video and audio production in college. After college, I went to work for CNN as a video journalist. That was in the early days when the hours were long and the pay low. It was a great opportunity to work with a company that would become a giant in the broadcast industry. From CNN, I ventured into writing and producing commercials in the creative services department of a local TV station in South Carolina. I honed my producer skills at, what was then, one of the largest advertising agencies in the Southeast. I had the opportunity to work with several Atlanta post houses including Crawford Communications. After 10 years with the agency, I saw that Crawford’s design effect division was looking for producers and I was ready for new challenges. I have had the opportunity to work as a producer, an
CRAWFORD MEDIA SERVICES. INC: SVP, COO CREATIVE SERVICE
SCOTT CSASZAR
KFITCH@CRAWFORD.COM
How did you get into the business? During college, I worked at my brother’s construction company. I really enjoyed residential painting and found the work very satisfying. After graduation, I worked in the expanding wireless industry exceling in sales/business development. I was at the “top of my game.” I moved to Atlanta, GA in 1998, and joined a wireless start-up company in 1999. Without any warning, the new start-up went out of business. Faced with a mortgage and bills to pay, I started painting homes in my neighborhood. After 18 months, the growing number of referrals started generating a powerful momentum for the growth of my painting business. A business opportunity “landed in front of me” that offered unlimited growth and income potential. I incorporated, Flawless Painting in 2003, and the company began to experience phenomenal growth in North Atlanta, and by 2006, I had accomplished my initial goal to dominate my marketplace.
FLAWLESS PAINTING ENTERPRISES, LLC: CEO & FOUNDER
KATE STONE
SCOTT@FLAWLESSPAINTING.COM
How did you get into the business? After earning a degree in Interior Design, I went to work for an acclaimed southern home decorator. In 2008, residential interior design wasn’t the consumer’s top priority, so sales were down and the atmosphere was tough (to say the least). One day, a client asked if I was happy or if I would like her help looking for something else. I replied that I was terrified to do anything else since I always imagined my life full of gorgeous and pretty interiors. She mentioned she had a friend in the event industry who was looking for a sales manager and I jumped at the opportunity to get an interview. The rest is history. I begged for the job and started as a sales assistant. I moved into sales just a few years later, and found my niche as a wedding, design, and floral sales manager. Best advice to young people in your profession? Always keep an open mind and never quit learning.
LEGENDARY EVENTS: SALES MANAGER
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WWW.LEGENDARYEVENTS.COM
executive producer, and now as their COO of Creative Services. Crawford Communications is now Crawford Media Services. Being a former client and now one of the team here at Crawford helps me understand our clients’ needs and concerns. Best advice to young people in your profession? Be proactive. Stand out. Be respectful. Listen and learn. Ask questions so you can learn. Volunteer to do more. And if you ever get a job that you think is “perfect” then retire because you should learn from every experience and every person you can. What makes your job cool or fun for you? Everyday, I am impressed with the people I work with both my team members and our clients. They are the ones that challenge me and keep my job interesting and fun. WWW.CRAWFORD.COM
I started expanding my local territory and then I wanted to determine if I could apply this business model in a completely different market. In 2006, I launched Flawless Painting in Sarasota, Florida, applying the same procedures, operations and marketing efforts that I used to grow in North Atlanta. By 2008, the Florida market started to take-off and I realized that my business model would work anywhere. That is when I had the vision to expand into a national franchise. In 2012, I founded Flawless Flawless Painting Enterprises, LLC, a painting franchise in the Southeastern U.S. Today we have 7 Franchises in Alabama, Georgia, Florida and Texas. Best advice to young people in your profession? The key is to focus on one thing and do it better than anyone else! Productions: Oxygen Network, Primetime Show, Bad Girls Club (season 10). WWW.FLAWLESSPAINTING.COM
“The capacity to learn is a gift; the ability to learn is a skill; the willingness to learn is a skill.” If you had to do it all over again . . . I would have researched the industry a bit more before entering into the craziness. Luckily, I had the ‘gene’ that we all talk about in the hospitality industry. You either LOVE the high stress fast paced environment, or you crumble under the pressure. How long should one take to “make it” in the business? How do you define ‘making it’? ‘Making it’ would mean that you are done trying. I believe that success is not the key to happiness; happiness is the key to success. If you love what you are doing, you will be successful.
TIMOTHY O’BRIEN
How did you get into the business? I started out working in theatre, but I always wanted to work in the film industry. In the beginning, I was freelancing around Atlanta doing commercials, trade shows, exhibit work, and custom fabrication. At that time in Atlanta, 1999, there were a few films that came to town a year and many people I worked with would go off to work on the productions. Then when the film left, everyone would return a number of other things. So I got into the industry by working with people on other various projects. Best advice to young people in your profession? Be prepared to be unemployed. I realize that may not be what you think you’d want to hear, but that’s what makes it good advice. I also know there’s a lot of work around town at the moment. However, there are also more people here looking to work in the industry, which means more fish in the sea. In general, being a
ART DIRECTOR
FAULKNER
DANIEL
What do you love the most about Art Directing? The variety of things I’m asked to do and that I get to interact with every department while learning from all of the other people in those departments. What have you worked on recently? “Term Life,” which we finished this spring and “Let’s Be Cops,” which came out in August.
How did you get into the business? As I see it, I backed into it. In 2009 we started a organization called Because Kids Count, Inc. It originally began as a non- profit organization with a goal to link community and businesses to service children by providing childcare services, as well the solicitation of healthy resources and necessities for children. During the years of 2010- 2011, I discovered that things were booming in the television and film industry in Atlanta. So after some NOT so careful thought, I came up with this idea that I should do something I really love, nurturing and developing young minds. Then I thought, “how do I combine these two things that I really like?” It seemed natural that I would do something concerning children. I saw a story on television about The Sourcebook and decided to sign up. I received great advice from The Sourcebook staff. I explained to them what I do and they told me how to categorize myself. I followed up on everything that I read and was told. Now here I am.
BECAUSE KIDS COUNT, INC: EXECUTIVE DIRECTOR
BENJAMIN-CREEL
How did you get into the business? At the age of thirteen, I began spending my summers working as a carpenter, building houses. At sixteen, when I left home to be a hippie, I stumbled into a job as mailroom manager for Theatre Atlanta.
I felt more at home than had my whole life. I spent the next ten years working theatre, from props to puppeteering and puppet building for The Vagabond Marionettes to four years as tech director at The SUBURBAN BOHEMIANS, INC: PROP MASTER
Best advice to young people in your profession? Start somewhere. Take the opportunity even if it’s not exactly what you want. Try it. If it puts you within the realm of possibilities, go for it. What do you love the most about your job? I really love being involved in the process of watching young minds and faces at work. It is fulfilling to know that my business can ensure the safety and wellbeing of the young people we care for. What have you worked on recently? I recently worked on the set of “Iyanla’s Fix My Life.” Working with the staff of OWN and Harpo was definitely a great experience.
WWW.BECAUSEKIDSCOUNT@GMAIL.COM
My second season there, I was hired as the assistant prop master. This was when my eyes were opened. I was surrounded by incredibly talented people for whom theatre was not a job, but a way of life. I was given the chance to learn and grow. Nobody cared about how I dressed or the length of my hair. We were all there to do our best for the show.
How did you end up as an Art Director? I studied theatrical design in college, and I have an extensive background in fabrication. Combined with being good at scheduling and cost estimating, art direction is a natural place to be.
WWW.WHATEVERUNIQUE.COM
BEVERLY
DWIGHT
freelance employee means you will have down time, and a lot of people don’t handle being out of work for more than a couple weeks very well.
Alliance Theatre. By age twenty-six, I had a family and needed to make more money, so I made a right hand turn into manufacturing trade show exhibits. I was absolutely miserable. I left that job and soon heard about a movie shooting in town. I found the production office address, rushed over, and somehow convinced the prop master to hire me as her assistant. Finally home again, I never looked back for the next thirty years. Best advice to young people in your profession? DO NOT BE LATE! Show up on time with your best work ethic. Try to strike a balance between humility and confidence. Since this is a “squeaky wheel” industry, try for a balance between making sure people know that you are available and irritating the crap out of them with constant calls.
DWIGHTBC@GMAIL.COM
OCTOBER / NOVEMBER 2014
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V VOICES
OICES A
high-demand field like the entertainment industry can cause your stress levels to escalate and explode before you even have the chance to realize its magnitude. The opportunity for you to manage stress may seem to pale in comparison to the pace, product or perfection that is demanded of you. Concepts like life-work balance, boundaries, or self-care may sound impossible to consider as they are overpowered by the unrelenting realities of deadlines, expectations, and pressure. When we add to all of this the facts that many in the entertainment industry struggle to find a sense of personal privacy, fight to have some level of control in their lives, and yearn for people whose authenticity and support can be trusted. It becomes evident that stress can take its toll mentally and emotionally.
You are probably familiar with some stress management techniques such as yoga, meditation, deep breathing, and talk therapy. But, if managing stress were as easy as knowing a strategy and doing it, then most people would be living pretty stress-free, or at least stress-manageable lives. What is it that makes stress so difficult to manage? The stressors are known; the management techniques are known; the solutions are available. So, what’s the problem? Could the problem be you? Are you simply a failure at stress management? Perhaps you find yourself answering yes to these possibilities. But, let’s be clear: the notion that you are the reason for your lack of stress management is a distortion of the truth and a disservice to you; and, this type of self-sabotaging thought can actually add to your stress level.
the notion that you are the reason for your lack of stress management is a distortion of the truth and a disservice to you; and, this type of selfsabotaging thought can actually add to your stress level.
A more accurate answer would be that the problem in managing stress is due, not to your lack of skills or abilities, but, instead, to the sheer magnitude and/or multitude of stressors in your life. In fact, many of the tools needed for healthy stress management actually exist within you! Sometimes, it’s just helpful to be reminded that you have them. So, what are these stress management tools? Let’s take a look:
Separate your personal value from your professional value. Your work is a part of you but it is not you. You have value and worth just by virtue of who you are. You are more than your profession. Embrace this truth; embrace your worth! Those in the workplace and in life will only value you as much as you value you.
Focus on what you can control. List the work elements that are not in your control. List the work elements that are in your control. Focusing on what you can control will create a greater sense of personal power even if other elements remain out of your control.
Refuse to buy in to negative self-talk. Immediately release a negative self-statement. For example: “I am worried that I will fail at this.” Replace that statement with a positive self-statement. For example:
I care about doing my best and am capable of great things. Repeat this process to create healthy habits of thought. What we tell ourselves about ourselves is what guides and directs our outlook, motivation, confidence, and behavior.
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Identify the potential risks of establishing boundaries.
Determine your nonnegotiable boundaries and stick to them.
What boundaries do you need to see in place? What would it take to put these boundaries in place? Is the risk to pursue these boundaries worth it?
What boundaries have you determined are absolutely necessary for you? How will these boundaries help you?
Boundaries must exist in order for a person or a system to function properly.
Non-negotiable boundaries provide a sense of safety, security and power.
Talk with an objective and trusted support person. Getting thoughts and beliefs out of your head can relieve stress immediately. Sharing openly and honestly without any reservations fosters manageability. Having someone completely objective whom you can trust is like finding a hidden treasure that adds a new sense of perspective and value to you and your life. Practicing these strategies will allow you to rediscover your ability to successfully manage your stress. It will also allow you to experience a greater sense of self-value and peace of mind that, before, might have seemed impossible.
VOICES
Greg Strelecki Photography A.C.O.G. Atlanta Magazine AT&T
Coca Cola Days Inn Delta Airlines
Georgia Pacific Kimberly Clark Shaw Industries
Telecom Turner Wachovia
I shoot People, Places, Things, Big Ideas & Branded Content.
www.gregstrelecki.com
OZ SCENE:
GPP: A FRENCH FOCUS FUNDRAISER
Fundraiser set up at Petite Auberge Restuarant.
GPP Fundraiser
September 4th
A French Focus O
n S e p t e m b e r 4 t h, f i l m i n d u s t r y professionals enjoyed a French Focused evening as they sipped wine and indulged in a French cuisine to show support for the growing Georgia film industry. The Georgia Production
Partnership (GPP) hosted their annual fundraiser at Petite Auberge Restaurant Banquet Room where attendees could win Delta airline tickets, a week on the beach, Jean Alexander artwork, and much more. Photo Credit: Jim McKinney & Tracy Page
Wendy Waterman & Clark Otten.
Susan Moss, Lucas Scott & Michelle Kabashinski.
Qua Black, Chinet Scott & Kisha Addison.
Shelly Justice & Karen Joanson. Silent Auction at Petite Auberge Restuarant. Michael Gropp & Tim McCabe.
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2014 Lewis Massey, JB and Sveta Vick & Tim McCabe.
Gwen Hughes & Samantha Worthen.
Carter Phillips, Cathy Hall & Dan Hall.
Dejuan Anderson & Loretta Brooks.
Noel Reitz twirls Jon Hayden.
Melissa Goodman & Kathleen Schultz.
Jacki Flynn, Tracy Page & David Fritsch.
OCTOBER / NOVEMBER 2014
39
OZ SCENE:
THE PAN AFRICAN FILM FESTIVAL
“Girlfriends Getaway� producers
Pan African Film Festival
The
T
August 7th -10th
he Pan African Film Festival (PAFF) is one of the largest and most prestigious black film festivals in America. The festival is dedicated to promoting a positive image of people with diverse backgrounds and showing racial tolerance through film and art. On August 7th, PAFF-ATL began its summer festival and opened by showing
the film Supremacy, featuring Danny Glover, Joe Anderson, Dawn Olivieri, Derek Luke, Evan Ross, Lela Rochon, Mahershala Ali and Anson Mount. On closing night, August 10th, PAFF-ATL presented the film Belle, featuring Gugu Mbatha-Raw, Matthew Goode, Emily Watson and Tom Wilkinson.
Photo Credit: RedCarpetShelley.com
Danny Glover.
Music supervisor Karen Marie Mason (middle) with friends.
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“Belle” Director Amma Asante & Actress Gugu Mbatha-Raw. Ayuko Babu.
Cas Sigers, Roger Bobb & Terri Vaughn.
Derek J.
Demetria McKinney.
Carl Payne.
Danny Glover & “Supremacy” Director Deon Taylor.
OCTOBER / NOVEMBER 2014
41
OZ SCENE:
GWINNETT CENTER INTERNATIONAL FILM FESTIVAL
Preparing for film festival interview.
Gwinnett Center International Film Festival
August 1st - 3rd
G
winnett Center hosted their second International Film Festival, Friday, August 1 thru Sunday, August 3. The fe s t i v al cele b r ate d b ot h lo c al a n d independent filmmakers from across the globe. The films screened at Gwinnett Center in the Performing Arts Center and Convention Center, where there were four
screening rooms, as well as workshops and panel discussions presented throughout the festival. There were three special screenings, including two world premieres (The Cure and Santa’s Bootcamp) and a documentary film featuring Kevin Spacey (Now: In The Wings On A World Stage). Photo Credit: Emilie Peters
“The Cure’s” Director & Producer Justin Poage & Kenneth Bradley.
Cast & crew of the film “Zombie Crush.”
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Kevin L. Powers with awards winners for “Dark Comedy.” Producers, Rayce Manna & Dewayne Bontrager.
Ondie Daniel with Kevin L. Powers.
The Cast of “Santa’s Bootcamp”
OZSCENE:
Deluxe Renovation Party
DELUXE RENOVATION PARTY
Patrick Scullin, Halle Griffee & Dave Galligos.
P
ost-produc tion sister companies Beast, Company 3 and Method Studios Atlanta were recently renovated and re-launched. The revitalized 20,000 sq. ft. studio is a great place for content creators such as advertising agencies and film/TV productions to collaborate with the company’s artists. The studio redesign by Flags of Origin features wood-clad walls, vintage furniture, retroindustrial lighting and other design details that add to the creative energy space. The renovation also added a full digital intermediate and screening theater to service Georgia’s booming feature film and television industries. The re-launch was celebrated with a summer bash attended by more than 300 guests. Festivities included a pig roast from local favorite Goin’ Coastal, and craft beer from Three Taverns Brewery. The highlight of the event was a performance by the buzz-worthy art-cabaret clown act, Puddles Pity Party.
Photo Credit: Fun in Focus Photo Booths & Amber Weaver
Tim Smith, Eddie Kesler & Kevin Wilson.
Nicky Scott & Maya Fizer.
OCTOBER / NOVEMBER 2014
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OZ SCENE:
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THE ATLANTA 48 HOUR FILM PROJECT
OCTOBER / NOVEMBER 2014
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DISTRIBUTION PARTNERS CABBAGETOWN/EAST ATLANTA/GRANT PARK 529 529 Flat Shoals Avenue SE Atlanta, GA 30316 97 Estoria 727 Wylie Street SE Atlanta, GA 30316 Argosy 470 Flat Shoals Avenue SE Atlanta, GA 30316 Daddy D’z 264 Memorial Drive SE Atlanta, GA 30312 Homegrown 968 Memorial Drive SE Atlanta, GA 30316 Little’s Food Store 198 Carroll Street SE Atlanta, GA 30312 Memorial Tattoo 190 Carroll Street SE Atlanta, GA 30312 Tomatillos 1242 Glenwood Avenue SE Atlanta, GA 30316
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
DOWNTOWN Elliott Street Pub 51 Elliott Street Deli & Pub Atlanta, GA 30313 Georgia State University Atlanta, GA Slice 85 Poplar Street NW Atlanta, GA 30303
FAYETTEVILLE Pinewood Atlanta Studios Fayetteville, GA
INMAN PARK/LITTLE FIVE POINTS Aurora Coffee 468 Moreland Avenue NE Atlanta, GA 30307 Brewhouse Cafe & Pub 401 Moreland Avenue NE Atlanta, GA 30307 Criminal Records 1154 Euclid Avenue NE Atlanta, GA 30307 Inman Perk Coffee 240 North Highland Avenue NE Atlanta, GA 30307 Jack’s Pizza & Wings 676 Highland Avenue NE Atlanta, GA 30312 Krog Street Stoveworks 112 Krog Street NE Atlanta, GA 30307 Parish Market 240 North Highland Avenue NE Atlanta, GA 30307 Savi Urban Market 287 Elizabeth Street NE Atlanta GA 30307 Star Community Bar 437 Moreland Avenue NE Atlanta, GA 30307 Studioplex 659 Auburn Avenue NE Atlanta, GA 30312
MIDTOWN Carolyn’s Cafe 1151 West Peachtree Street NW Atlanta, GA 30309 Georgia Film Commission Portfolio Center 125 Bennett Street NW Atlanta, GA 30309
Sam Flax Art Supply 1745 Peachtree Street NW Atlanta, GA 30309 Savannah College Of Art & Design–Atlanta 1600 Peachtree Street NW Atlanta, GA 30309
American Intercontinental University—Dunwoody 6600 Peachtree-Dunwoody Rd NE Atlanta, GA 30328
PONCEY–HIGHLAND
Turner Studios
Diesel 870 North Highland Avenue NE Atlanta, GA 30306
Utrecht Art Supply 878 Peachtree Street NE Atlanta, GA 30309
Highland Tap 1026 North Highland Avenue NE Atlanta, GA 30306
MIDTOWN—WEST
Limerick Junction 822 North Highland Avenue NE Atlanta, GA 30308
Imagers 1575 Northside Drive NW #490 Atlanta, GA 30318 King Plow 887 W. Marrieta Street NW, Atlanta, GA 30318 Panavision 1250 Menlo Drive NW Atlanta, GA 30318 PC&E 2235 Defoors Hills Road NW Atlanta, GA 30318 PPR–Professional Photo Resources 667 11th Street NW Atlanta, GA 30318 Sherwin-Williams 671 10th Street NW Atlanta, GA 30318
NORTH DEKALB Chocolaté 2558 Shallowford Road NE #201 Atlanta, GA 30345 Crawford Media 6 W. Druid Hills Road NE Atlanta, GA 30329 Showcase Photo & Video 2323 Cheshire Bridge Road Atlanta, GA 30324
NORTH PERIMETER
Manuel’s Tavern 602 North Highland Avenue NE Atlanta, GA 30307 Paris On Ponce 716 Ponce De Leon Place NE Atlanta, GA 30306 Plaza Theatre 1049 Ponce De Leon Avenue NE Atlanta, GA 30306 Righteous Room 1051 Ponce De Leon Avenue NE Atlanta, GA 30306
SENOIA Raleigh Studios Senoia, GA
SOUTH ATLANTA Breakfastville, Lunch & BBQ 339 University Avenue Atlanta, GA 30310 Clark-Atlanta University 111 James P. Brawley Drive SW Atlanta, GA 30314 Screen Gems Studios 175 Lakewood Way SW Atlanta, GA 30315 Atlanta Movie Tours 327 Nelson St. SW Atlanta, GA 30313
Art Institute Of Atlanta 6600 Peachtree-Dunwoody Rd NE Atlanta, GA 30328
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)
Rentals’ truck (1980). SIDEBAR, BOTTOM: Lightnin’ Production Rentals in
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Casting Connection, . Inc
1992
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1989
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1989
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Bob Shelley, founde r
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Bill VanDerKloot, rfounde
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Georgia Industry Yearbook
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1992
Karl and Amy Horstman, s founder
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1992-199 9 Joe Gora, founde r
Barbizon Atlant a
1993
Damian Vaudo, branch manage r
Broadcast Equipment lRenta Company (BERC )
1993
Tony Foresta, M G
ImageMaster Productions, . Inc
1993
Dan Johnson, founde r
Inertia Films, . Inc
1993
A. Troy Thomas, founde r
Synergy Film s
1993
George Watkins and Lyn Toll, s founder
Whoa! Films,. Inc
1993
Bill Orisich, rfounde
Brick House Editoria l
1993-199 7 Cindy Garguilo, Kevin Garguilo,s co-founder
"#!$ 3!45 %&'(!) *!+ %!6% )6/% %)',-& !75 )!0 !.-/00 & &8% !-4!5 1-2,! &66 %2
First Light Entertainment, . Inc 1993-200 2 Vivian Jones, CEO/produce r Video Progressions, . Inc
1993-201 2 Adair Simon, founde r
Atlanta Dogwork s
1994
Greg Tresan CEO;
Blue Moon Productions, . Ltd
1994
Susan Kanellos, O CE
Bootleg Island Entertainmen t
1994
Mike Coolik, founde r
Carlisle Productions Service
1994
John Carlisle, rfounde
Danny Boy Services, C LL
1994
Dan Philipp, founde r
Eagles Cry Productions, P LL
1994
J. Robert Russell, CEO; Karen O Russell CF
Entertainment Design Group, )Inc.199 (EDG 4
Carol Tresan, O CF
Steven L. Guy, O CE
Georgia Industry Yearbook
Case in point: John Wayne. In ,1973 the veteran actor came to Georgia a for
Harold Morris, an inmate t a Reidsville Prison, worked also as an extra in The Longest Yard . Originally sentenced wo lif to e t terms, Morris w as later pardoned . When hew as released, he awrote screenplay about his life. s Filmed a Unshackle d , it was directed by Bart Patton and released .in 2000
19 7 3
SIDEBAR, TOP: The early days: Tatum O’Neal on the set of Little Darling s with a Lightnin’ Production
SIDEBAR, BOTTOM, L-R: Director Bart Patton and director of photography Paul Varrieur on the set of
ited
)
2 0 1 3
SIDEBAR, TOP: Annette Stilwell, producer, Jayan Films.
40
YEA RS
197 3 2013
In 1974, North Carolina ve nati Annette Still well oved m to Atlant a and, one year late r, founded wha t would becomevery a successfu l cast andewcrpayroll compan y. By 1980, wStil ell would becom e an Emmy aw ard-winning produce r and one of the premier g castin directors in the Southeast .
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40 Years of Georgia Filmmaking & the People Who Made it Happen
In d u stry $#% ! &'(
Industry Yearbook
!"#
The
Lim
163
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21 PA ACADEMY
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09 & 18 PCE: PRODUCTION CONSULTANTS & EQUIPMENT
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49 CASES FOR VISUAL ARTS, INC. 44 FLÖT SPA 48 GAYLE ROSIER 45 GEORGIA PRODUCTIONS PARTNERSHIP (GPP) 48 GEORGIA STAGE, LLC. 49 GET-A-GRIP ATLANTA 13 GLOBAL LIGHTING AND PRODUCTION, INC. 37 GREG STRELECKI PHOTOGRAPHY 49 HELP ME RHONDA 48 JUPITER ENTERTAINMENT 11 KU’SHE 49 LIGHTS! ACTION! COMPANY
49 RJR PROPS 48 RYDER 08 SAM FLAX 48 SARAH MEDINA 49 SHERWIN-WILLIAMS 16 SOUTHEAST STAGING, INC. 15 SUPERLUX 03 THE GEORGIA FILM & TELEVISION SOURCEBOOK 47 THE INDUSTRY YEARBOOK 48 THE LAW OFFICE OF DEBORAH GONZALEZ, ESQ., LLC. 17 THE NATIONAL ACADEMY OF TELEVISION ARTS AND SCIENCES (NATAS) 49 WPA FILM LIBRARY
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Allgood Pest Control Mighty 8 Media Allgood Pest Solutions Bradley Sherwood, Managing Partner, Creative Director Jonathan Holmes, Managing Partner, Strategist Gordon McMahan, National Director of Accounts Ashley Ripley, Senior Project Manager Kevin Moss, Senior Graphic Designer Ron Dawson, Senior Video Producer In the current campaign for Allgood Pest Solutions, identifying what the brand mark means to Allgood and its customers. Allgood’s iconic mark is a halo of protection and a ring of trust. By showing the iconic mark in a hovering state over the home, it visually is identifying that it is protecting the family at all times.
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HBO Definition 6 HBO’s Game of Thrones Viewer’s Guide Lily Oei, Senior Editor LaurieAnn Wojnowski, Design Coordinator Katie Lucas, Assistant Editor Lynn Kim, Senior Designer Jake Taylor, Associate Art Director Horatio Baltz, Consultant Paolo, Production Artist Emily Bales, Associate Producer Dale Pollak, Designer Sean Gardner, Supervising Producer Annmarie Nye, Producer Adam Dubov, Director & Executive Producer Kevin Pearce, Editorial Director Emily Giannusa, Manager Michael Hoffman, Associate Manager Becky Rho, Associate Manager Frank Boutwell, VP Digital Delivery Julia Mooradian, Project Manager Mihir Shah, Account Supervisor Doug Dimon, Creative Director Ann Grey, Lead Developer Matt Timpson, Quality Assurance Engineer Brian Desarro, Quality Assurance Engineer Rose Holston, SEO Expert Walker Hutchinson, Networking Lead Scott Petts, Art Director Sabrina Calouri, Vice President, HBO Digital and Social Media
HBO’s Game of Thrones Viewer’s Guide is updated after each new episode airs so that all of the information (like character bios, maps, etc.) matches up with the current plot line. With each new episode brings imagery created by the team at HBO, updated information about characters and locations, and more. The fully custom content management system (CMS) built by Definition 6 allows the HBO team to update and move their content around quickly and easily with each new episode. It is flexible enough to support the ability to “stage” full content updates prior to pushing live, so the HBO team can have new content ready as soon as each new episode finishes airing. To support the launch of Game of Thrones season four, HBO engaged Definition 6 to build a digital extension of the show that would expand the experience from the television screen to second screen through a fully-customized content management system. It is an interactive and completely responsive companion piece. It’s an example of a multimedia narrative; by featuring exclusive video content combined with digital storytelling through bios, maps, and recaps, it offers users a truly innovative way to better understand and engage with the show’s complex story.
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