Hawaii Film&Vid Sept

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2013 marks the 100th anniversary of film production throughout the Hawaiian Islands. For a century, Hawai‘i has hosted some of the best filmmakers of all time. We are proud of the movie magic they’ve made across our archipelago...

Pictured here are the stunningly cinematic mountains, valleys, fishponds and ocean that make up the ahupua'a of Kualoa on the lush Windward side of Oahu. Photo by John Demello.

G E T

T H E

D E TA I L S

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H A W A I I F I L M O F F I C E . C O M

F I H A

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KING VIDOR, LOIS WEBER, VICTOR FLEMING, HAROLD LLOYD, CECIL B. DeMILLE, HOWARD HAWKS, FRED ZINNEMANN, EDWARD DMYTRYK, JOHN FORD, RAOUL WALSH, HOWARD W. KOCH, DICK POWELL, JOSHUA LOGAN, FRANKLIN J. SCHAFFNER, FRANK SINATRA, BILLY WILDER, CLINT EASTWOOD, JOHN G. AVILDSEN, JOHN GUILLERMIN, DINO DE LAURENTIIS, BLAKE EDWARDS, GREG MacGILLIVRAY, JIM FREEMAN, GORE VERBINKSI, JERRY BRUCKHEIMER, MICHAEL BAY, STEVEN SPIELBERG, GEORGE LUCAS, JOE JOHNSTON, LEE TAMAHORI, KATHRYN BIGELOW, TOM SHADYAC, IVAN REITMAN, ROB REINER, PETER SEGAL, BARRY LEVINSON, WOLFGANG PETERSEN, PHILLIP NOYCE, JEREMY LEVEN, PAUL THOMAS ANDERSON, KEVIN REYNOLDS, JOHN WOO, PETER BERG, ROLAND EMMERICH, JOHN PATRICK SHANLEY, DANNY DeVITO, BEN STILLER, LAWRENCE KASDAN, TIM BURTON, JULIE TAYMOR, BRAD SILBERLING, JOHN MILIUS, ANDREW BERGMAN, ROB MARSHALL, ANG LEE, AND ALEXANDER PAYNE

F I L M

O F F I C E S

H A W A I I A N

O F

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I S L A N D S

FilmHawai‘i

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H AWAII film & video

CONTENTS

M A G A Z I N E

Production crew for a Chinese milk commercial setting up a beach shot on the Big Island’s rugged Kona coast. PHOTO BY JONATHAN RAWLE

www.hawaiifilmandvideo.com www.hawaiifilm.com

PUBLISHER

James Baker EDITOR-IN-CHIEF

Tim Ryan tryan@media-inc.com ASSOCIATE EDITOR

Katie Sauro ksauro@media-inc.com CONTRIBUTING WRITERS

Donne Dawson, Harry Donenfeld, Sue Kanoho, John Mason, Thalia Naidu, Jonathan Rawle, Luis I. Reyes, Art Umezu SALES MANAGER

Katie Higgins SALES EXECUTIVES

Eric Iles PRODUCTION MANAGER

John Rusnak DESIGNER

Dawn Carlson, Christina Poisal, Beth Harrison

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WEBMASTER

Eric Pederson INBOUND MARKETING

Jon Hines

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Editor’s Letter

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Production Update: Features, Features, Features!

10 A Century of Movie Magic Captures the Hawaiian Islands 12 Hollywood’s Sands of Time in Hawaii 16 Lokahi Studios Set to Open on Hawaii Island

20 Watch Out Waikiki, Here Comes Godzilla!

21 Marie Louise Fine Garment Cleaners 22 Hawaii Theater Legend Glenn Cannon Passes 30 Location Vocation 34 Hawaii Location Scouts/Managers List

38 Finding Mongolia on the Big Island 42 My Experience as an “Inexperienced” Location Scout

46 Ocean Ramsey: Stuntwoman, Model, Shark Conservationist

52 Reel Recap: Maui Film Festival 54 Community Gathers to Remember Art Rivers

24 Hawaii: The Big Island 26 Maui: The Valley Isle 28 Kauai: The Garden Island

Garden of the Gods on Lanai.

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Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn

44 It’s a Small World

50 LOST Actor Directs Short Film in Hawaii

EXPLORING HAWAII’S FAVORITE FILM-FRIENDLY LOCATIONS

OFFICE MANAGER/ACCOUNTING

ON THE COVER: From Here to Eternity cameraman Burnett Guffey and director Fred Zinnemann (behind camera) set up a scene with Frank Sinatra and Montgomery Clift on location at Schofield Barracks on Oahu. PHOTO COURTESY OF LUIS REYES

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Editor’s Letter

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hat a difference a few months make.

At the end of 2012, Hawaii had a single film studio with a soundstage, mill, storage, office space and parking—the Hawaii Film Studio at Diamond Head, Oahu. Then in March, private investors announced a 26,000-square-foot-warehouse-turned-studio complex in Kahului, called Maui Film Studios.

Now filmmaker David Cunningham and the University of the Nations in Kona on Hawaii Island are building what will be an even larger production facility—Lokahi Studios—on the campus.

“The vision of Lokahi Studios is to facilitate, empower and train a community of artists, technicians and storytellers for shaping and impacting culture,” said Cunningham.

Lokahi Studios is a collection of state-ofthe-art production and exhibition facilities, including a 30,000-square-foot Transmedia Center, chamber concert hall, 800-seat cinema, broadcasting studio, and a multi-purpose facility containing two studio shells (soundstages/live performance venues) with supporting studio/department workshops.

The addition of the two studio facilities leaves just Kauai as the only county without such a venue.

But will the availability of two additional studio facilities alone lure production to Maui and Hawaii Island and break the hold Oahu has on productions filming in the state?

The lack of studio space hasn’t been the deal-breaker for productions wanting to film on a neighbor island.

One can speculate that unless the crew

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base is built up substantially on Maui and Hawaii Island, productions will continue to be reluctant to film there if they have to bring crew from Oahu and pay required per diems.

This will take a concerted effort among the counties, the state, IATSE, and even the private sector to figure out how to train and recruit enough crew to make the neighbor islands financially viable for visiting productions. Maui already has the most IATSE crew of any neighbor island, but not nearly enough to fully staff a major production or series.

And no neighbor island gets enough production that crewmembers don’t have to have a second job.

There’s also the cost of shipping production equipment to the neighbor islands from Oahu, although Maui is reportedly building its stock of high-end, available gear through TM Equipment Rentals. Maui already has several large RVs that can be used for makeup and wardrobe, and actors’ dressing rooms.

Hawaii Island’s long-whispered studio complex on the U of N campus is a bit surprising considering that most productions shooting there are reality and game shows— not generally full-on feature films or television series. But studio facilities have been on the university’s master plan for some time, according to Cunningham. Knowing the innovative and tenacious Cunningham, he and his partners will find a way to get the word out in grand style and have productions very soon, including at least one of his own.

This development is so potentially important to the state’s production future that Georja Skinner, chief officer of the state’s

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

Creative Industries Division, and Donne Dawson, Hawaii Film Office commissioner, traveled to Hawaii Island in May for a personal tour of Lokahi Studios and were reportedly “very impressed.”

For the full story about Lokahi Studios, check out the article on page 16.

In other news, Hawaii can expect another banner year in production revenues, most of it coming between now and the end of the year.

Next month, Godzilla (Legendary Pictures/Warner Bros.) begins three weeks of filming on Oahu. Storyline: A giant radioactive monster called Godzilla awakens from its slumber to wreak destruction on its creators.

A June casting call sought hundreds of extras—surfers, military members, senior citizens and Pacific Islanders—by Katie Doyle Casting. The shoot is June 30 to July 20.

Hawaii Five-0 starts shooting season four in July, followed by the Angelina Jolie-directed feature Unbroken, which films for eight weeks beginning in late August. Cameron Crowe’s Deep Tiki shoots for another 12 weeks starting in September.

And there could be even more films landing here before 2013 is pau.

Tim Ryan Executive Editor

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PRODUCTION UPDATE:

Features, Features, Features!

BY TIM RYAN Executive Editor

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an a location ever be too busy?

“Never” would be the public relations answer from Hawaii’s film commissioners and IATSE and Teamsters officials.

But behind the scenes these days, you can hear some huffing and puffing from some crew and at least one county film commissioner, Honolulu’s Walea Constantinau.

Not only will Oahu be host to the fourth season of the CBS series Hawaii Five-0—the gift that keeps on giving—but The Gathering Place is once again a magnet for several major feature films that will keep crew, drivers and even extras busy through the end of 2013.

Jake Shimabukuro performing on The Today Show. PHOTO COURTESY OF HAWAII VISITORS AND CONVENTION BUREAU

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The confirmed films? Godzilla, Unbroken, Deep Tiki, and eventually Jurassic Park IV, the latter of which also plans to film on Kauai.

But several other productions are also at least leaning toward Oahu: a Sponge Bob sequel, director Tim Burton’s Margaret Keane biopic called Big Eyes, and the indie film Always on My Mind, about an aging rock star who has Alzheimer’s. The film stars Nick Nolte as the afflicted rocker—how perfect is that?—and Glenn Close as his wife.

So let’s graph the timeframe of this onslaught of films and Five-0 to measure workflow: Godzilla, which stars Aaron Taylor-Johnson, Bryan Cranston, Elizabeth Olsen, Ken Watanabe and Juliette Binoche, begins three weeks of filming in late June/early July.

The production comes to Hawaii following weeks of shooting in Vancouver, British Columbia. Waikiki tourists should get an eyeful of Godzilla filming since part of the shooting will be at Fort DeRussy, then Kualoa Ranch, and a yet-to-be-determined salvage yard bunker.

Spoiler alert! According to a Warner Bros. source in Los Angeles, Waikiki is in for some major damage from the giant reptile.

Hawaii’s Rene Confair is production supervisor in Hawaii on Godzilla and on the Cameron Crowe film Deep Tiki, which starts filming in September.

As of press time, Five-0 is set to film July 10 through next April, with one possible cast change and a move from Monday nights to Friday nights an hour earlier. In Hawaii it will air at 8pm between Undercover Boss and the cop drama Blue Bloods, which stars former Magnum, P.I. star Tom Selleck.

Meanwhile, the Coen brothers’ screenplay Unbroken, starring and directed by Angelina Jolie, is set to shoot eight weeks on Oahu beginning in August.

Some filming will be at Barbers Point, as well as three “stadium stand-ins” on Oahu. Veteran locations manager Randy Spangler is doing the Oahu locations for Unbroken, which chronicles the life of Louis Zamperini, an Olympic runner who was taken prisoner by the Japanese during WWII. The production needs “stadiums” that can double for the Los Angeles Coliseum, where Zamperini ran track for the University of Southern California; Torrance High School stadium, where he did track; and the Olympic stadium, where he competed in 1936.

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Hawaii Five-0 begins filming season four next month.

PHOTO: NORMAN SHAPIRO/CBS ©2013 CBS BROADCASTING, INC.

Finally, Crowe’s Deep Tiki films for 12 weeks on Oahu, beginning in September and wrapping at the end of 2013. Shooting will be at Barbers Point, military bases, and Kualoa Ranch.

Jurassic Park IV had been rumored to start filming on Oahu and Kauai in June, but has been postponed. Sources in Los Angeles and Hawaii told Hawaii Film & Video Magazine that the production will still film in Hawaii “probably” in late fall.

Universal Pictures announced in May that plans for the fourth installment of the series had been put on hold for the moment. Juras-

sic Park IV, to be directed by Colin Trevorrow, had been scheduled for release June 13, 2014.

The studio said in a statement that giving filmmakers more time for development will “bring audiences the best possible version.”

Steven Spielberg is on board as executive producer on the film.

In other production news, The Today Show visited Hawaii in May, featuring Oahu, Big Island, and Kauai during the three-hour broadcast. The show’s hosts, Matt Lauer, Savannah Guthrie, Natalie Morales and Willie Geist, tried outrigger canoe paddling, surfing

and hula, and drank Kona coffee and Mai Tais.

Governor Neil Abercrombie stopped by the set outside The Royal Hawaiian hotel in Waikiki, even though the live broadcast for the East Coast took place from 1am to 4am. The show’s producers worked with the Hawaii Visitors and Convention Bureau to film a travelogue of the islands, showing a hula halau on Kauai, Hawaii Volcanoes National Park on the Big Island, and the sunrise over Haleakala on Maui. Lauer also hosted a piece about the USS Arizona and the World War II Valor in the Pacific National Monument, the state’s number one tourist attraction.

Finally, in June, location scouts and other studio execs were on Oahu for preliminary scouting for the Margaret Keane dramedy Big Eyes, directed by Tim Burton for The Weinstein Company.

Burton’s dramedy centers on the strained relationship between Walter and Margaret Keane (Christoph Waltz and Amy Adams), whose big-eyed children portraits were extremely popular in the 1950s through the 1960s. Danny Huston is in talks to join the cast, and would be playing a “burnt-out, heavydrinking gossip reporter,” one who presumably gets caught up in the story from the inside. The script was written by Scott Alexander and Larry Karaszewski, the screenwriting duo who worked with Burton on Ed Wood. HFV

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A Century of Movie Magic Captures the Hawaiian Islands

BY DONNE DAWSON Hawaii State Film Commissioner

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e’ve come a long way since 1913. Hard to believe that was the first year for film production in Hawaii nei. Countless film and television productions have taken place over the last century; productions that have helped shape Hawaii and showcase the beauty of these Islands and our people throughout the world. Not all of it has been pretty, and in fact many of these productions have promoted a more stereotypical view of our people, our culture and our history. But one thing is for sure—millions of people the world over have come to know Hawaii through the past century of films and television shows that have been created across our island chain. Visitors have flocked to our shores for decades and continue to do so in record numbers to experience the Hawaii they have learned about on television and the big screen.

The Hawaii Film Office has been there to help facilitate this production magic for the last 35 years. We are proud of the work we have done to help Hawaii become a preeminent production center and a world-class visitor destination.

Back in 1978, production was heating up in Hawaii with the original Hawaii Five-O winding down and Magnum, P.I. about to take off. Raiders of the Lost Ark exploded onto the big screen shortly after that in 1981, which launched Steven Spielberg’s love affair with the islands and numerous megaproductions that he’s made here since. The roster of productions that has graced our shores since then is nothing short of amazing: Jurassic Park, The Thornbirds, Waterworld, Godzilla, The Byrds of Paradise, Wind on Water, Baywatch Hawaii, Pearl Harbor, ER, Pirates of the Caribbean: At World’s End, Windtalkers, Planet of the Apes, Blue Crush, Tears of the Sun, Die Another Day, 50 First Dates, Tropic Thunder, LOST, Indiana Jones and the Kingdom of the Crystal Skull, Hereafter, Soul Surfer, Princess Kaiulani, the new Hawaii Five-0 and Last Resort, Pirates of the Caribbean: On Stranger Tides, Just Go With It, The Descendants, and now another Godzilla.

This diverse list of productions (which by no means is all-inclusive) has built Hawaii’s stellar reputation as a first-class filming des10

tination and has worked for years to develop our talented crew base into one of the most seasoned of any location in the world.

All of that means Hawaii has a reputation in film that is second to none.

Back in the day, unfortunately, it was a production free-for-all. Productions were forced to go directly to the government agencies that had jurisdiction over the location to seek permission to film. It wasn’t easy since these agencies didn’t know the first thing about filming and quite frankly had more pressing issues on their plate. The state needed a way to facilitate the process and make our stunning locations more accessible for filmmakers. Our government and our communities were beginning to recognize the tremendous economic benefit film production brought to the residents of our state. And because it was a clean industry that was not going to destroy our fragile landscape or soak up precious natural resources, that made it all the better.

So the agency then known as the Department of Planning and Economic Development (now called DBEDT, or the Department of Business Economic Development & Tourism) started a special projects office for film—a one-stop shop to get production what they needed in an efficient and effective manner and protect the assets and resources of the state. That initial program evolved into the Hawaii Film Office and the

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

first consolidated film permitting process we know today. We are now poised to launch the first 24/7 ePermitting system for our Department of Land & Natural Resources preapproved sites. It’s the first time our well established, although somewhat dated, film permitting system will be making a bold move into the 21st century, again making filming activity easier for our producers.

And then there is the success of our tax incentive program. Due to the unprecedented competition Hawaii has been facing worldwide since 2001, we were finally able to get a competitive tax credit program of our own. Launched in mid-2006, the production tax credit known as Act 88 has attracted significant production to our shores and generated more than $1.5 billion in economic activity. Based on this success, we are now taking the program to a whole new level.

We are proud to announce that our Legislature passed an increase to our existing tax credit and on May 31, 2013, Governor Abercrombie signed that bill into law. The new law will increase the existing production tax credit by 5 percent across the board. So effective July 1, 2013, qualifying productions on Oahu will be able to claim 20 percent of their production expenditures, and qualifying productions on the Neighbor Islands (Maui, Molokai, Lanai, Kauai, and the Big Island of Hawaii) will be eligible to claim 25 percent of their production expenditures.

The per production credit cap has also been increased from $8 million to $15 million, which means we will be able to attract bigger productions or garner larger portions of a particular production’s business. And best of all, our sunset date has been extended to January 1, 2019, which will give the industry the predictability and stability it needs to plan production.

It’s gratifying to know that the Hawaii Film Office has been around as long as it has.

We’ve witnessed an industry thriving before our eyes and we will always be proud of the role we have played to support production, despite some pretty daunting odds (namely limited resources).

Here’s to the next 100 years, Hawaii. HFV

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Hollywood’s Sands of Time in Hawaii THE FIRST FORTY YEARS (1913-1959)

BY LUIS I. REYES Guest Columnist • PHOTOS COURTESY OF LUIS I. REYES

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awaii played a role in the formative years of the Hollywood film industry, and specifically to the location filming executed in the islands. Hollywood had sought Hawaii’s diverse scenery, exotic quality and population to capture movie audiences’ imaginations since its birth as an industry at the beginning of the 20th century.

Hawaii’s annexation in 1898, becoming a territorial possession of the U.S. two years later, and its geographic proximity, only 2,500 nautical miles from the West Coast, coincided with the growth of the U.S. film industry in Los Angeles and San Francisco.

Betty Compson and Edmund Lowe in The White Flower.

Mona Maris stars in Cane Fire, also known as White Heat, on location on Kauai.

Before the advent of commercial air travel across the Pacific, the only means of reaching Hawaii from the mainland was a minimum five-day sea voyage on a Matson luxury ocean liner. Waikiki on Oahu quickly became the exclusive playground of the rich and famous.

There were no film commissions in those days, few if any filming restrictions, and permissions were easily granted through the ter12

ritorial governor’s office, the local mayors and private contacts.

Made in 1913, Hawaiian Love and The Shark God were the first theatrical feature films shot in and around Honolulu by Champion Film Company, utilizing a visiting theatrical troupe from the mainland. Champion Film Company was absorbed with other independent film companies to form Universal Pictures. These two theatrical features

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were only 10 minutes in length, a standard running time of the period, and starred actress Virginia Brissac. The films, now considered lost, were directed by John Griffith Wray, who later became one of the leading directors of the silent screen, working with such film pioneers as Douglas Fairbanks and Lillian Gish.

In 1918, Hidden Pearls, starring the silent screen’s first Japanese superstar, Sessue Hayakawa, was filmed in and around Hilo, though the film takes place in a fictional Pacific island fishing village. Additional filming sites on the Big Island included Kalapana and Kilauea crater. Anoa Patten, of the prominent Macy Patten family of the Big Island, had a small role in the film that now only exists in scene fragments rescued from total deterioration by preservationists at the Museum of Modern Art. Betty Compson, a popular star of the silent screen, made two films on Oahu in 1923, The Bonded Woman and The White Flower, in which the poster art displayed the athletic Compson riding a surfboard off of Waikiki.

During the early thirties, at the beginning of the sound era, several Hollywood productions brought entire cast, crew, cameras and equipment on a Matson Ocean Liner to Hawaii in order to shoot several feature films.

The Black Camel (1931) is the only Char-

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oped that required less lighting equipment. lie Chan film starring Warner Oland as the Damien, produced and filmed locally on Chinese Honolulu detective that was filmed Molokai and Oahu in 1949, is the first feain Hawaii, largely around the then-newlyture-length film on the life of Saint Damien built Royal Hawaiian Hotel and Kailua. of Molokai. A Pacific Islander, John Cane Fire, also known as White Heat Kneubuhl, who wrote and directed the film, (1933), was directed by one of Hollywood’s graduated from Yale Drama School, lived in first female directors, Lois Webber, and was Honolulu and went on to write for many of filmed on the Knudsen Plantation on Kauai.

This is the first known John Wayne and Duke Kahanamoku.

Hollywood film shot on the Garden Island. Bird of Paradise (1932), directed by King Vidor and starring one of the most beautiful women to have ever graced the silver screen, Dolores Del Rio, and a young Joel McCrea, was filmed near Kaneohe but ran into bad weather and was forced to return to the mainland.

Cecil B. DeMille set sail for Hawaii on a Matson Liner to Hilo to film Four Frightened People (1933), starring Claudette Colbert, in which four ship passengers try to survive in the jungles of the Malaysian Peninsula when they are set ashore. The area around the Shipman Ranch was used as a primary location in this dramatic film precursor to the modern-day reality TV series Survivor.

In 1936, singing sensation and actor Bing television’s most successful episodic series in Crosby came to Honolulu to film backthe ‘50s and ‘60s. ground scenes for the musical comedy Seeking to draw viewers away from the Waikiki Wedding and discovered the song new invention of television, Hollywood “Sweet Leilani” by Harry Owen. Crosby sought to film stories in never-before-seen sang “Sweet Leilani” in the film and it went actual locales in widescreen, 3D and Techon to win the Academy Award that year as nicolor. Pagan Love Song in 1951 became Best Song in a Motion Picture. Another song the first film to showcase the Hawaiian from the film, “Blue Hawaii,” was made even island of Kauai, doubling for Tahiti, in Techmore famous almost 25 years later in 1961 by nicolor, followed by a Technicolor remake of another singer, Elvis Presley, as the title song Bird of Paradise that was filmed on Oahu, of his biggest hit film and million-copythe Big Island and Kauai. selling soundtrack, Blue Hawaii.

John Wayne filmed Big Jim McLain in With Hollywood studio production conand around Honolulu in 1951, utilizing many solidated in Los Angeles, location trips to locals, including then-Honolulu Police Chief Dan Liu, in a contemporary story about govHawaii became less frequent and came to a ernment agents investigating Communist stop during World War II. spy cells in the islands.

After the war, Hollywood filmmakers disFrom Here to Eternity, the 1953 film covered that the islands had been made more adaptation of James Jones’ novel about U.S. accessible by developments in air and sea Army personnel stationed in Hawaii and the transportation to accommodate wartime mobiwomen in their lives on the eve of the attack lization. Technological advancements proon Pearl Harbor, starred Burt Lancaster, duced smaller and more lightweight cameras Deborah Kerr, Montgomery Clift, Donna and equipment. Faster film stocks were devel14

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Reed and Frank Sinatra.

Winner of eight Academy Awards, including Best Picture, From Here to Eternity is the most honored film made in Hawaii.

Celebrating its 60th anniversary in 2013, From Here to Eternity is perhaps best remembered today as one of the first post1945 films to shoot on location on various sites in and around Oahu (Schofield Barracks, Waikiki, Halona Cove), containing one of the most romantic scenes ever put on celluloid (Lancaster and Kerr in a passionate embrace kissing on a sandy beach as the waves overcome them), and for its pivotal role in the legendary career of Frank Sinatra.

The artistic and box office success of From Here to Eternity brought a spate of productions to Hawaii, including Miss Sadie Thompson, The Caine Mutiny, and Mister Roberts, the first film to utilize Oahu’s Kualoa Ranch property. The coming of statehood in 1959, coupled with the location filming of the celebrated Pulitzer Prize-winning Broadway musical South Pacific on Kauai, secured Hawaii’s place as an integral part of Hollywood’s film legacy. HFV Luis I. Reyes is the co-author with Ed Rampell of Mutual Publishing’s The Hawaii Movie and Television Book: Celebrating 100 Years of Film Production throughout the Hawaiian Islands. The book, to be

released in October of 2013, documents theatrical feature films from the classics of the Silent screen through the Sound era right up to the modern blockbusters into the Digital, Internet and mobile device age. The highly illustrated book also covers television and the iconic modern day fictional island crime fighters. In addition, The Hawaii Movie and TV Book includes an island film location guide as well as a history of the present day Hawaiian film industry. To pre-order copies of The Hawaii Movie and TV Book, call Mutual Publishing at 808-732-1709.

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Lokahi Studios Set to Open on Hawaii Island KONA’S NEW PRODUCTION FACILITY WILL BE THE STATE’S LARGEST

Lōkahi Studios

BY TIM RYAN Executive Editor

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ust a few months ago, Oahu was the only island with a production studio that included a soundstage, offices, warehouse space and a mill.

The state-managed Hawaii Film Studio at Diamond Head was the anchor that helped lure feature films and television series en masse since its construction in 1994.

Then, earlier this year in a surprise announcement, a private consortium on Maui announced the opening of Maui Film Studios in Kahului. An enormous warehouse with 28,000 square feet of empty space, it has great potential. Lessees are constructing office space and soundstages inside, which is already attracting production interest.

Hawaii’s neighbor islands—specifically Maui, Kauai and the Big Island—have historically had

difficulty attracting productions, in part because of the lack of a soundstage/studio, as well as a smaller crew base. The counties, unable or unwilling to fund such facilities, gently prodded that soundstage/studio facilities would have to be funded by the private sector.

But the question remained: If you build it, will they come? That question is still floating in the clouds. Maui’s private sector, however, has taken that risk.

Transmedia Center floorplan

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HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

David Cunningham

And now David Cunningham, together with the University of the Nations (U of N), has undertaken what will be the state’s largest production facility on the grounds of the school’s Kona campus.

“This will not be a traditional studio facility,” said Cunningham, a noted filmmaker who was raised on Hawaii Island. “First and foremost, we want to be a content creator and initiator. The concept is to incubate initiatives, storytelling, and get away from being purely a facility.

“We actually want to jump-start a community. We want to be a facility that can be (as) multi-purpose as possible.”

Lokahi Studios is a collection of state-ofthe-art production and exhibition facilities, including a 30,000-square-foot Transmedia Center, chamber concert hall, 800-seat cinema, broadcasting studio, and a multi-purpose facility containing two studio shells (soundstages/live performance venues) with

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supporting studio/department workshops.

“The vision of Lokahi Studios is to facilitate, empower and train a community of artists, technicians and storytellers for shaping and impacting culture,” said Cunningham.

“Lokahi Studios has the strategic goal to empower and provide artists, storytellers and students a venue and production facility for transformational expressions. This cross-disciplined community will give birth to inspired productions and initiatives and be a live-learn environment for interns and apprentices.”

Cunningham produced and directed two independent films in Hawaii: Beyond Paradise in 1998 on Hawaii Island, and To End All Wars, starring Kiefer Sutherland, on Kauai. He then moved to Los Angeles,

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transformational content for TV, motion pictures, documentaries, and more.

That was just the first step.

The tenacious Cunningham then convinced more people with similar talent and goals to move to Hawaii Island and join him in achieving these goals.

“We pretty soon realized we needed infrastructure if we were going to take it to the next level here,” he said.

That meant meeting with county officials, including Mayor Billy Kenoi and Big Island film commissioner John Mason. The goals were lofty, and perhaps wishful thinking.

Cunningham explained his team’s ambition: “We said we all have to work at ways to build an infrastructure so we could keep growing—not to just do a piece of a film here, but a lot more of it.”

What Cunningham and his team learned in the planning stages was that in the 1970s there was a multi-purpose studio put on the U of N master. When the U of N leadership discovered this, they started meeting with Cunningham about “a partnership.”

Cunningham has had a long and fruitful relationship with U of N. “I’ve helped about 200 graduates of the university get into the production industry over the last 15 years,” he said.

Lokahi Studios, which should be completed in

where he directed two mini-series for ABC: the $15-million Little House on the Prairie (2005), and the controversial $40-million epic mini-series The Path to 9/11 (2006), which deals with the events leading up to the terror attacks of 9/11. Over the two nights The Path to 9/11 aired, 26 million Americans tuned in, and the mini-series received seven primetime Emmy nominations and one win.

The Cunningham family has been trying to “fight their way back” to the island for years, instead of just living there part-time, he said.

“We started with a vision called Global Virtual Studio, in which we linked artists virtually around the world,” he explained. The studio connects artists, technicians and craftsmen from all over the world to create

DAY OF WAR: LOKAHI’S FIRST PROJECT? In addition to his ongoing efforts with Hawaii Island’s Lokahi Studios project, filmmaker David Cunningham is also working on his next film, Day of War, which he hopes will be the first feature shot at the production complex.

GiantKiller Pictures’ Day of War is an historical action adventure movie by screenwriter John Fusco, who wrote the screenplays Young Guns, Young Guns II, The Forbidden Kingdom, Hildalgo, and others. Cunningham’s producing partner on Day of War is Grant Curtis.

The film, which would be shot entirely on Hawaii Island, is based on the physical character of the biblical David and the mercenaries who followed him. The film is a 3D adaptation of the first book in Cliff Graham’s biblically set Lion of War series.

“The goal is to film it on (Hawaii Island) and take advantage of a lot of amazing landscapes,” said Cunningham, who will be directing the film. “This is not a low-budget film and certainly a significant one.”

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about nine months, includes the 25,000-square-foot Studio A, which features 40-foot-high ceilings and can accommodate 3,000 people. There is also a 50-foot by 50-foot tank that can be used for underwater filming, and when emptied, an orchestra pit for live performances.

“We’re trying to get away from just waiting for projects to come to the Big Island, but want to be incubating and initiating them,” said Cunningham, who will also be representing Lokahi Studios to outside interests.

Cunningham is aware, as are other neighbor island filmmakers, that the lack of a substantial crew base, the shortage of production equipment, and the additional cost on these islands have discouraged filmmakers from venturing away from Oahu.

“We’re working (on) a number of self-sustaining initiatives to help crew stay and work here,” he said. “That begins with growing the content, which for me is the ongoing challenge for any state or community, but especially in the middle of the Pacific. We need to be in charge of our own destiny…”

Cunningham and company have already met with IATSE to discuss training programs for possible new members. Also, as part of the county building permits for Lokahi Studios, production training for locals must take place.

Currently, the Transmedia Center is in Phase I, with the foundation, shell, roof and exterior walls completed. The interior build out phase for occupancy is anticipated to take approximately six months from the point of final funding. The Multi-Purpose Facility – Phase II excavation is currently underway. Completion of the building’s shell is estimated to take approximately six months.

As for the StoryHouse Cinema and Concert Hall – Phase III, this has not yet begun. HFV For more information, visit www.lokahistudios.com.

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Ten (FEATURE/OAHU) Hart to Hart (T.V. MINI-SERIES/MAUI) Diet Mountain Dew (BIG ISLAND) U.A.L. (BIG ISLAND) Jeep Grand Cherokee (BIG ISLAND & KAUAI)

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McDonalds (KAUAI) Honeymoon in Vegas (FEATURE/KAUAI) Chef Boyardee (OAHU) War & Remembrance (MINI-SERIES/ Pepsi (OAHU) HBO “Chimps” (OAHU) OAHU)

From stills to features, we do it all, large and small FAVAH/AICP/TEAMSTERS ISSUE TWO 2013 HAWAII FILM & VIDEO MAGAZINE

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Watch Out Waikiki, Here Comes Godzilla!

BY TIM RYAN Executive Editor

T

he much-anticipated Godzilla sequel begins its Hawaii production visit with a bang next month, when the monster roars ashore in Waikiki creating mayhem, terror, destruction—as in tidal wave—and panic to as many as 600 extras trying to escape its radioactive fury.

The tidal wave scene requires four days of filming—scheduled for July 8 through 12—in the heart of Waikiki at Duke Kahanamoku Beach, Fort DeRussy Beach, and an Ala Wai parking lot, also known as the Surfer’s Lot. The Duke Kahanamoku Beach shoot will feature beach debris— some of it on fire—from a Godzilla-caused tidal wave, and the aftermath of that major emergency. With more than 200 cast and crew, it looks to be an incredible scene. One highlight will be a beach bar full of people socializing, then the same crowd running from the approaching tsunami.

Filming will also be done at a Honolulu Airport parking lot from July 1 through 2, and at Secret Beach at Kualoa Ranch on windward Oahu July 7 through 10.

For the Kualoa Ranch scene, visitors arrive in as many as four outrigger canoes and people are seen walking on the beach. Then the monster attacks.

Cast and crew of the Warner Bros. production are staying at The Modern Hotel in Waikiki. HVF

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“Our staff at Marie Louise Fine Garment Cleaners takes great pride and pleasure in caring for the wardrobe cleaning needs for television series such as Hawaii Five-0 and Lost, as well as movie costumes for Battleship and Pirates of the Caribbean,” said owner Wendy Kia. “We all enjoy watching each episode of Hawaii Five-0 and seeing the clothes we clean in action!”

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Hawaii Theater Legend Glenn Cannon Passes

C

harismatic professor, inspiring director, actor extraordinaire: Surrounded by friends and family, Glenn Cannon took his final curtain call on April 20 at Straub Hospital in Honolulu, Hawaii.

He was 80.

Cannon’s death was announced by the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) Hawaii Local.

Cannon served for more than 20 years as president and board member of the former Screen Actors Guild Hawaii Branch, and at the time of his death was co-president of the combined Hawaii Local.

Left to right: Brenda Ching, SAG Hawaii executive director, former Honolulu Mayor Peter Carlisle, Glenn Cannon, SAG Hawaii president, and Honolulu film commissioner Walea Constantinau. PHOTO BY TIM RYAN

Becky Maltby, a longtime friend and colleague who had worked with Cannon on stage and also as a Hawaii Local board member, recalled him as a man with “a vital presence that would fill the room.”

“The passion and integrity he put into his work was unrivaled,” said Maltby. “A brilliant, funny, compassionate, noble man. He will be profoundly missed by so many.”

Maltby captured many facets of Cannon’s character, career, and impact on others when she produced a biographical film on Cannon’s life for screening at a party held in his honor at Manoa Valley Theatre in 2011.

Born in Philadelphia in 1932, Cannon graduated from Temple University in 1954 and went to New York to pursue a career as an actor. He appeared on Broadway in A Moon for the Misbegotten in 1957 and The Good Woman of Setzuan, and also in numerous offBroadway shows and touring productions.

His career soon expanded to include roles 22

“A brilliant, funny, compassionate, noble man. He will be profoundly missed by so many.” in films such as Cop Hater and Mad Dog Coll, and television shows including 77 Sunset Strip, Alfred Hitchcock Presents, Combat!, Johnny Staccato, The Gallant Men, and The Outer Limits.

He accepted a teaching fellowship at Stanford University in 1965 and became an actor, director and teacher with the Stanford

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

Repertory Theatre, an Equity company of nine actors supplemented by students in Stanford’s theater program.

Cannon was hired in 1968 by the University of Hawaii as a professor in the drama department and never left. In his 45 years in Hawaii, Cannon directed more than 50 shows at UH-Manoa and probably close to another 50 for most of Honolulu’s major community theater groups.

The range of Cannon’s own work as a stage actor in Hawaii is represented by his Po‘okela Award-winning performance in the title role of Manoa Valley Theatre’s 2003 production of Visiting Mr. Green, and his bizarre comic bitpart role of a Yiddish Satan in red longjohns and running shoes in Hawaii Pacific University’s staging of A Night at Rosie’s in 1997 and its sequel, Aloha Rosie’s, in 2005.

Cannon received 12 Po‘okela Awards for excellence from the Hawaii State Theatre Council (SATC), most recently in 2011 for his work as the director of Manoa Valley Theatre’s critically acclaimed production of August: Osage County. He received SATC’s Pierre Bowman Award for lifetime achievement in 2009.

“His work (at UH-Manoa) focused on many of the great plays of the Western canon, ranging from intense dramas to period comedies to musicals,” said Marty Myers, manager of Kennedy Theatre. “He was (also) instrumental in getting the Academy for Creative Media started on campus.”

Cannon’s years in Hawaii also saw him extend his career as a television actor. Hawaii Five-O fans remember him as District Attorney John Manicote. He subsequently portrayed Dr. Ibold for seven seasons on Magnum, P.I., and also appeared in Jake and the Fatman, Tour of Duty, Island Son and LOST. Despite successes as a Broadway and Hollywood actor, Cannon’s passion was “giving to others,” as exemplified through his teaching of theater at the University of Hawaii and directing 163 plays at Kennedy and other local community theater venues. He was heavily involved in both until the end of his life.

Cannon is survived by his wife Sam Sill Cannon, son Caleb Cannon and fiancé Jocelyn Wong, granddaughter Cassidy Wong-Cannon, sisters- and brother-in-laws Sam So Yoon and Chung He Lee and Sam and Daryl Fuji, nephews Jae Sung Lee, Dylan Fuji, and Cody Fuji, and mother-in-law You Soon Chon.

A celebration of his life was hosted at his second home, Kennedy Theatre, on May 25. HFV

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Exploring Hawaii’s Favorite Film-Friendly Locations H

awaii’s islands—Kauai, Oahu, Molokai, Lanai, Maui, and Hawaii Island—at first glance may look the same, but any visit quickly shows that while beaches, rainforests, and volcanic craggy mountains seem commonplace, each island is unique unto itself.

So Hawaii Film & Video Magazine asked island film commissioners to do some “show and tell”: What are their favorite locations on their island and why?

HAWAII: THE BIG ISLAND

BY JOHN MASON Big Island Film Commissioner

T

he Island of Hawaii is by far the biggest and the most diverse, encompassing all but two of the world’s climate zones. No matter what you need for your next production, you will find it here on the Big Island.

The black sand beaches on the Island of Hawaii.

PHOTO COURTESY OF BIG ISLAND FILM OFFICE

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Akaka Falls. PHOTO COURTESY OF BIG ISLAND FILM OFFICE

Waterfalls: We have many unique and exotic waterfalls in various parts of Hawaii Island. Some majestic, like the one in the back of Waipio Valley; some iconic, like Akaka Falls and Boiling Pots in the Hilo area, this small gem, tucked away in North Kohala.

Lava fields: Nothing compares to the look of the vast lava fields on Hawaii Island. Massive walls of lava, some smooth with pahoehoe, some jagged with a’a. Many are simply otherworldly, moonscape-like with sci-fi location possibilities.

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Old growth jungle: Vanishing quickly from all parts of the world, Hawaii Island still hosts some of the best old growth jungle found anywhere. Many feature films, including the last Indiana Jones feature, have shot on Hawaii Island in a Hilo-area rainforest.

Beaches: We have world-class and unique beaches. White sand, black sand, green sand, salt-and-pepper. Some long and wide, some lined with palm trees, some Kilauea volcano. PHOTO COURTESY OF BIG ISLAND FILM OFFICE

Hilo rainforest. PHOTO COURTESY OF BIG ISLAND FILM OFFICE

good for surfing and family outings. There’s a great beach experience for every taste!

Ranches and pasture lands: The Big Island holds dear and celebrates its distinctive cowboy, or paniolo, tradition.

Several vast tracts of cattle ranches, farms, and rolling pasturelands.

Hawaii Volcanoes National Park is one of the top tourist draws in the state and one of the world’s truly unique treasures with one of the world’s most active volcanoes— Kilauea. The lava flow into the ocean adds daily to the size of Hawaii Island. Outdoor adventures, exotic birds and unique plants, lava tubes and trails abound in the park. HFV

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MAUI: THE VALLEY ISLE

Halawa Valley on Molokai.

PHOTO COURTESY OF THE MAUI FILM OFFICE

Garden of the Gods on Lanai.

PHOTO COURTESY OF THE MAUI FILM OFFICE

BY HARRY DONENFELD Maui Film Commissioner

M

aui County— encompassing the islands of Kahoolawe, Lanai, Maui and Molokai—has many breathtaking, production-friendly locations. Here is a look at a few of them: Garden of the Gods – Lanai: This unique feature is very reminiscent of Mars. The incredible red rocks and soil are so alien to the surrounding area that one cannot help but to stop and stare. Contrast that with the blue sky and water, and Garden of the Gods is one of Maui County’s most remarkable locations. Most recently, director Julie Taymor shot The Tempest at this location.

Haleakala Summit – Maui: This is where dreams are made. Sitting at the 10,000-foot mark, Haleakala Crater is unbelievable. The clouds, the sun, the view are miracu-

lous. Whether you’re filming car commercials and need your cars to look like they’re flying, or big action Tom Cruise movies that have houses in the clouds, or want to mock up the moon like NASA, the crater is for you.

Twin Falls – Maui: Nestled in the jungle are the most wonderful and beautiful waterfalls.

Magical is a great way to describe these photographic natural landmarks. The delightful pools are easy to swim in and there are even caves on the property to add a bit of intrigue to any shoot. Most recently, Twin Falls was used in Lifetime Network’s remake of Blue Lagoon.

Makena State Beach – Maui: White sand, incredible views and easy access make this state beach a favorite for filming. Don’t forget the stunning blue water to make this location one to remember. During winter months there are humpback whales breaching and playing just offshore for added production value!

Kolea Forest Preserve on Maui.

PHOTO COURTESY OF THE MAUI FILM OFFICE

Haleakala Summit on Maui. PHOTO COURTESY OF THE MAUI FILM OFFICE 26

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Rainforests - Maui, Molokai: One of our unique features is our rainforests. There are quite a few that are easily accessible with ATVs and 4-wheel drive vehicles. Whether it’s the jungles on the way to Hana or the thick forests of Molokai, Maui County has some of the most unique rainforests in the world. HFV

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KAUAI: THE GARDEN ISLAND

BY ART UMEZU Kauai Film Commissioner

N

icknamed Hawaii’s Garden Isle, Kauai is a roundshaped island of 65,000 people. Towering Mt. Waialeale stands in the center of the island, with five rivers—Hanalei, Kilauea, Wailua, Hanapepe, and Waimea— flowing from its slopes.

Kalalau Valley lookout overlooks the Na Pali coast where several films have been shot, including the 1975 remake of King Kong; Steven Spielberg/George Lucas film, Raiders of the Lost Ark; Millennium starring Kris Kristofferson and Cheryl Ladd; and most recently, Pirates of the Caribbean: On Stranger Tides starring Johnny Depp. Kalalau Valley was featured in the first Hollywood film shot on Kauai, Cane Fire in 1933. PHOTO BY KEN BUCK

There are five districts on Kauai, which prospective filmmakers should familiarize themselves with in order to search for ideal locations for their projects. These are: Central: includes Lihue, Puhi, Nawiliwili and Hanamaulu.

East: includes Wailua, Kapaa, Kealii and Anahola.

North: includes Moloaa, Anini, Kalihiwai, Kilauea, Princeville, Hanalei, Wainiha and Haena.

South: includes Umao, Lawai, Koloa, Poipu and Kalaheo.

West: includes Hanapepe, Eleele, Kaumakani, Pakala, Makaweli, Waimea, Kekaha and Mana.

Kauai is a relatively small island, which has many ideal film locations and a wide range of looks. Find everything from dense tropical

Hanalei Bay is one of the most photographed beaches in Hawaii. Located on Kauai’s north shore below the cliffs of Princeville resorts, it was most recently featured in The Descendants starring George Clooney, which won an Oscar for best direction. Many TV shows, documentaries and reality shows have used Hanalei beach and bay as backdrops for its productions. Other notable movies that featured Hanalei Bay include South Pacific; Hawaii-made film, Behold Hawai‘i in 1981; Beachhead with Tony Curtis; and cult film, She Gods of Shark Reef in 1958.

jungles and forest to dry desert-like landscapes to exotic beaches to rustic and quaint old town settings, all within 550 square miles of island paradise with 90 miles of pristine coastline.

One of the best features about filming on

Allerton Beach or Lawai Kai is on the south shore of Po‘ipu at the National Tropical Botanical Garden.

Movies that filmed at Lawai Kai include the Broadway musical South Pacific; 1981 TV mini-series Thorn Birds starring Richard Chamberlain; Last Flight of Noah’s Ark in 1979; Donovan’s Reef in 1962 starring John Wayne; and SyFy movie, Island of the Alive. PHOTO COURTESY OF KAUAI FILM COMMISSION 28

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

Kauai is the distance between locations, which are never too far away, so multi-location scenes can be shot within days. Travel times to bring crew and equipment to another setting are shorter because of the close proximity between filming locations. Maximum drive time from one location to another is about 90 minutes. HFV Haena beach also is on Kauai’s north shore. The final scenes for Pirates of the Caribbean: On Stranger Tides and Body Heat starring Kathleen Turner were filmed at Haena. Other movies that shot at this end of the road beach include Islands in the Stream starring George C. Scott in 1975; producer Rob Reiner’s North; and MGM’s Pagan Love Song starring Rita Moreno in 1950. PHOTO BY KICKA WITTE

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LOCATION VOCATION Hawaii Film & Video Magazine catches up with some of the state’s most seasoned location scouts and managers.

Shawn Spillett & Sky Pierce, Hana Productions

Angela Tillson, A Whale of a Time Productions What are some recent production projects you’ve worked on?

Today’s Show – Australia; T & G Wedding Documentary – Japan; H.T.J. – Hawaiian Airlines.

What are some recent production projects you’ve worked on?

Home & Garden Television’s Hawaii Life, shooting second season now; Christopher Wray-McCann: Lifestyle shoot, Surf Story; David Lachapelle shoot; Harper’s Bazaar China; Daphne Guinness / Haute Couture; Conde Nast; Bon Appetit; and Jack Johnson & Friends.

Why did you get into this field?

We recognized that we lived in a location that was highly desired by productions which were coming to our remote area.

There was a need for a liaison in the sensitive area we call home: Hana, Maui. Essentially, we live on location.

What sets your company apart from others in your industry?

Our location sets us apart from the rest. Heavenly Hana is one of the most beautiful places on the planet.

Another factor that makes Hana Productions special is the partnership between Sky Pierce and Shawn Spillett. Having two professionals working on a production together puts one in the field and one in the office. Therefore, our clients receive double coverage resulting in excellent service.

What are some of your most exciting discoveries as a location scout/manager?

It is exciting to be involved with the artists and creative professionals that travel here from all over the world. Although we are in a remote location, we can effectively coordinate high quality productions which take advantage of the amazing scenery that surrounds us.

It is like having one foot in Hawaii and the other foot in Hollywood.

What is your most memorable experience on the job?

One of the funniest memories was when I stepped out of the producer’s role and into the role of stunt double on a documentary that we were shooting here in Hana, Maui. The DP was not happy with the numerous takes on a scene that required a fight in a rowboat that was to spill over into the ocean. The actor was unable to give a realistic fight. It was the final day and the final scene as the sun was setting. I dove in the water from the cliff above where we were filming, and in one take, gave a most memorable performance and really gave the actor a surprise that he will never forget.

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HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

Why did you get into this field?

My background and education are public relations, photography and event coordinating.

I was offered a movie job in 1989 as assistant to a famous Hollywood location manager after I helped raise $25,000 within three weeks for our first Hawaii International Film Festival held on Kauai in 1986.

It was something new from producing huge music concerts in Hawaii, California and Alaska.

It was a real challenge for me to try a new career after I realized how exciting it is to work on movies.

What sets you apart from others in your industry?

My 24 years of experience and reputation in working productions in Hawaii, California, France and 30 years living in the state of Hawaii.

What are some of your most exciting discoveries as a location scout/manager?

Finding new, spectacular, never been used in film and “film friendly” locations.

The islands are huge and properties change owners often; some are open to share their beautiful property with film crews and the world on the big screen. If they know you’re professional, respectful, responsible and “take care of their interest,” the doors will open up for our use.

What is your most memorable experience on the job?

Working on the movie The Descendants, it was an awesome experience to be working in some of the most exceptionally beautiful locations on Kauai with such a fun and great local crew, the handsome George Clooney, director Alexander Payne and producer George Parra. Life is good!

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Glenn Beadles, On Location Services

What are some recent production projects you’ve worked on?

TV Series: Mad Men – Season 6 – Episode 1, Off the Map, The River.

Commercials: Chanel-Eau Extreme Homme, Michelob, McDonald’s.

What are some recent production projects you’ve worked on?

Most recent are sciencebased documentaries for the BBC, PBS/Nova and Discovery Channel, national commercials and print catalog photo shoots for various clothing companies. Currently scouting for feature films and prep/pre-production for a clothing company catalog photo shoot and British adventure travel television series. Some recent productions include: Universal Pictures’ Oblivion, BBC’s Volcano Live, and Passion Planet’s Earth in the Time of Man six-part documentary series on PBS, among others.

PHOTO BY ZALMAN KING

Stephanie G. Spangler, Hawaii Film Authority, Inc.

Why/how did you get into this field?

Returning home to Hawaii, after living in France for 10 years, I was brought in on my first production by Randy Spangler my mentor and business partner. I became passionate with the business from the beginning.

What sets you apart from others in your industry?

I am a photographer and an artist in oil painting and sanguine (I attended Ecole Nationale Superieure d’Arts a la Villa Arson in Nice, France). But I also have keen business skills, great attention to detail and I’m good at budgets, which is so important. For years I functioned as a production manager/location manager on commercials, which was excellent training for becoming a great problem solver/troubleshooter.

Traveling all of Western Europe and Morocco, and being an artist, and then working with top Film, TV and commercial directors and DP’s in America, has given me a unique perspective creatively on many levels. This background works perfectly as I scout to find the ideal location for the director who usually ends up saying it’s “spot on.” I love exploring and challenges.

Having grown up in Hawaii, my contacts run deep and I have a trustworthy reputation for being as good as my word. I understand and have a deep respect for the Hawaiian local culture.

There’s a very special way of “operating” in Hawaii. I like to call it the “protocols of Aloha.”

What are some of your most exciting discoveries as a location scout/manager?

I discovered He’eia Kea Jungle and Kualoa Ranch for filming, which have become like Hollywood’s back-lot. These two locations have been responsible for bringing countless projects to Hawaii.

What is your most memorable experience on the job?

Being stopped by rifle-toting marijuana growers while scouting miles back in a secret valley on one of the neighbor islands in the 80’s, and making friends and getting away with my life.

Why did you get into this field?

I originally started as a talent stunt person as a windsurfer and water sports and saw more opportunities in back of the camera… My first jobs were as a production assistant and “go-fer,” as I knew most of the islands’ locations by experience from traveling for windsurfing or surfing or just plain adventure traveling. I have always had a keen interest in photography and translated that into location scouting early on as I documented most of my travels. I did a few jobs for Kodak and soon directors, art directors and ad agencies were asking specifics about Hawaii locations and requesting images. I was able to provide all the details, images and logistics support to help them to decide to bring productions to Hawaii, and still do…

What sets you and/or your company apart from others in your industry?

On Location Services is lucky to be included in a short list of some great service companies in Hawaii that provide specific island location services. I have the ability and local resources to work all islands equally well and provide those statewide, multi-island services with a high level of professionalism. Having the skill set and experience as a bidding producer with all budget details readily is a key factor in being a first point of contact, as well as years of experience as production and location manager.

What are some of your most exciting discoveries as a location scout/manager?

Having the opportunity to explore every main Hawaiian island in detail and working with the best in the industry in the most spectacular locations that Hawaii has to offer… The most exciting part is just discovering those special secret spots, that will have to remain so.

What is your most memorable experience on the job?

Too many spectacular experiences to condense to a short list...

Meeting and working with some of the most interesting people on the planet for cultural and science-based documentaries and precedent setting film techniques and tools used on location I’d have to say are the most memorable experiences… and I am very thankful to have them.

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Randy Spangler, Location: Hawaii

Paul Ehman, Ehman Productions

What are some recent production projects you’ve worked on?

Hawaii Location manager for movies: Pirates of the Caribbean, Hunger Games, Catching Fire, and now Godzilla, and pre-scout for the movie Unbroken.

Recent TV Series: Off the Map and The River.

What are some recent production projects you’ve worked on?

Amazing Race BoraBora (CBS), 72 Hours (TNT), Super Soul Sunday (OWN), XTERRA World Championships, Celebrity Golf – Children’s Miracle Network (Golf Channel), Red Bull Signature Series (NBC Sports).

How did you get into this field?

I started as a “location manager” on the original Hawaii Five-0, around 1970, when I took over from my father, Earle Spangler, who was Hawaii Five-0’s first “location manager.”

What sets you apart from others in your industry?

I was one of the first people to actually create my ‘job’ as “location manager” in the film industry in Hawaii. Due to the lack of any established movie industry infrastructure, I was on the ground floor of developing the location manager position, and thus in the early 1970’s, I became the unofficial “film office” for the State of Hawaii, before there was one.

I was instrumental in creating the Hawaii State film permit process and the one-stop permit, and in later years helped to establish the Hawaii Island film office.

I also scouted and established all of the essential film locations that are still used today. I’m known to have the key to every gate on the island, and I have connections in every government office and extensive local contacts throughout the Island chain.

What are some of your most exciting discoveries as a location scout/manager?

Some of my most exciting discoveries are an unknown, mystical valley on Oahu; a beautiful canyon overlook (like Kauai); a WW II quonset hut village; a hidden river-front valley; a gorgeous rolling pasture over-looking the ocean; an interesting art house in the mountains; and opening a local ranch to the film world.

What is your most memorable experience on the job?

It would have to have been the experience of working with Jack Lord on the original Hawaii Five-0. Jack was a perfectionist and taught all of us what it meant to do the job right. He was a great guy who gave Hawaii its film industry. Because of Jack, to this day, I still love to help anyone who calls, in anyway I can.

Then after those great Five-0 years, I went on to years of movies, mini series, television series, commercials, and still shoots. Extensively working with the really great big time DPs, Producers, directors and crews, military, and government officials, and the really great residents we meet and work with to help produce some mile making projects. Then, being an outdoorsman, were the special years of doing Camel cigarettes in the jungles and waterfalls of the Big Island. Scouting, hiking, making and cutting new trails, repelling down cliffs and experiencing the massive energy of the Big Island.

One day we got 12 inches of rain in 12 hours, and witnessed our ‘cute little waterfall’ set turn into a ‘massive beast’, and kept on shooting with great professional crews who “go for it”!

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HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

Why did you get into this field?

I began producing sports events and we had to organize television coverage and publicity for the sponsors. This led to coordinating and producing commercials and other events for clients as well. One of the most important components of any production is the preparation and management of locations, including permits, security, traffic and parking, facilities, and all of the other elements involved. At first it was a necessary part of being able to do the projects we were working on. Often “Locations” is one of the leading factors for some of the shows or commercials we produce.

What sets you and/or your company apart from others in your industry?

Experience.

What are some of your most exciting discoveries as a location scout/manager?

That’s it: Discovery. I love finding and going to locations that excite a client, when you are able to produce that “Wow!” moment for them. As for myself, I also like to sit down to a catered lunch at some of the most spectacular places on Earth!

What is your most memorable experience on the job?

I once scouted and prepped a job for 6 months, obtained over 135 permits, traveled across the country a couple times by motorhomes, boats and private planes, wrote 12 episodes for the network, and then the job was canceled. However, I received my full fee and had a blast meeting new friends and testing all of the challenges and elements for the show. And was paid my full fee!

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HAWAII LOCATION SCOUTS/MANAGERS A L SS LO OCA IST CA TIO AN TIO N T N MA AS N SI AG ST ER AN / T LO CA TIO N EX PE RI EN CE

MA NA GE R LO CA TIO N

LO CA TIO N

Company Island Phone Web site

SC OU T

SERVICES PROVIDED

Eddie Abubo/Kauai Productions Kauai 808-826-9438 www.kauaiproductions.com

Nike, Quiksilver, Roxy

Joel Angyal/Big Island Gigs Big Island 808-298-4449 www.bigislandgigs.com

NBC, BBC America, Discovery Channel

Glenn Beadles/On Location Services Maui 808-870-7499 www.onloc.com

Oblivion, BBC’s Volcano Live, Passion Planet’s Earth in the Time of Man

D. Robert Bloom/Ali'i Video Productions Kauai 808-822-4842 www.drobertbloom.com

NFL Films (music video)

Sue Boynton/Boynton Photography Kauai 808-828-2123

Natural history and science documentaries

Maria Caprio/International Productions Oahu 808-737-6320 www.hawaiilocations.com

Location services for all print, video and film projects

Dave Dahlberg Kauai 808-635-3130

Head & Shoulders (commercial), Cool Water (photo shoot), 6 Days/7 Nights

Paul Ehman/Ehman Productions, Inc. Maui 808-575-9151 www.ehmanproductions.com

Amazing Race BoraBora, 72 Hours, Super Soul Sunday

Nancy Erger Big Island 808-936-2754

No Kitchen Required, Michelob Ultra, Transformers 4

Heraldo Farrington/Huaka'i Consulting Big Island 808-967-7231

100 Miles from Nowhere, Symphony of the Soil, Strange Days on Planet Earth

Shane Feliciano Maui 808-357-6415

Just Go With It

Stani Franklin Maui 808-953-7789

Hawaii Five-0

KK Greenlee Kauai 808-639-8396 www.kkgreenlee.com

The Descendants, Pirates of the Caribbean: On Stranger Tides, You, Me and Dupree

Hana Productions Maui 808-248-7314 www.hanaproductions.com

HGTV’s Hawaii Life, Christopher Wray-McCann (photo shoot), David Lachapelle (photo shoot)

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HAWAII LOCATION SCOUTS/MANAGERS A L SS LO OCA IST CA TIO AN TIO N T N MA AS N SI AG ST ER AN / T LO CA TIO N EX PE RI EN CE

MA NA GE R LO CA TIO N

LO CA TIO N

Company Island Phone Web site

SC OU T

SERVICES PROVIDED

Jazz Alley TV Maui 808-573-5530 www.jazzalleytv.com

N/A

Tamara Jeffries Kauai 808-828-2119

Perfect Lady

Mick Kalber/Tropical Visions Video, Inc. Big Island 808-935-5557 www.tropicalvisions.com

N/A

Living Ocean Productions Big Island 808-345-4538 www.livingoceanproductions.com

National Geographic, Travel Channel, A&E

Patricia “Tree” Marino Maui 808-446-2622

N/A

Marilyn Mick Oahu 808-479-7764 www.marilynshawaii.com

Man-Up!, Paradise Broken, Deadly Honeymoon

Kaori Mitani Big Island 808-896-2153

N/A

Mark Moquin/Bamboo Productions Maui Maui 808-269-2341 www.bambooproductionsmaui.com

Hereafter, America’s Next Top Model, The Amazing Race

Thalia Naidu/Aloha Photographics Big Island 808-329-2666 www.alohaphotographics.com

Still photography/videography

Anthony Pacheco Maui 808-563-0072

Lanai Productions

Gail Pyburn/Rolling Liliko'i Productions Big Island 808-938-1592 www.rollinglilikoiproductions.com

Planet of the Apes, NBC News, BBC/Discovery

Jonathan Rawle/Rawle Photo and Communications Big Island 808-345-2611 www.jonathanrawle.com

Yili Milk

Randy Spangler/Location: Hawaii Oahu 808-732-1296

Godzilla, Pirates of the Caribbean, Hunger Games: Catching Fire

Stephanie G. Spangler/Hawaii Film Authority, Inc. Oahu 808-373-2710 www.stephaniegspangler.com

The River, Off the Map, Mad Men

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HAWAII LOCATION SCOUTS/MANAGERS A L SS LO OCA IST CA TIO AN TIO N T N MA AS N SI AG ST ER AN / T LO CA TIO N EX PE RI EN CE

MA NA GE R LO CA TIO N

LO CA TIO N

Company Island Phone Web site

SC OU T

SERVICES PROVIDED

Tom Summers Kauai 808-822-5876

Joe Versus the Volcano, Flight of the Intruder

Angela Tillson/A Whale of a Time Productions Kauai 808-823-0105

Today’s Show (Australia), T & G Wedding Documentary (Japan), H.T.J. – Hawaiian Airlines

Jim Triplett/Hawaiian Isle Productions Oahu 808-888-9709

Hawaii Five-0, The Descendants, LOST

Michiru Umezu Kauai 808-652-3963

Sumo on Kauai, Pilialoa

Daniel Weiss Maui 424-653-4229

N/A

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STEPHANIE G. SPANGLER stephspang@mac.com www.stephaniegspangler.com

Locations/Production Management Production Coordinator Features • Commercials • T.V. Music Videos

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Finding Mongolia on the Big Island

BY JONATHAN RAWLE Guest Columnist • Photos by JONATHAN RAWLE

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t had to look like Inner Mongolia. Not Outer.

Yili, a milk producer from this faraway land, was considering coming to the Big Island or Oahu to shoot a commercial about the cleanliness of their pastures and, by extension, the high quality of their milk.

Production crew for a Chinese milk commercial search Big Island ranchlands for a running stream.

After I made a quick visit to Wikipedia and NationalGeographic.com, I eventually found the pages of Inner Mongolia’s equivalent of the Chamber of Congress. Hmmm, milk is a big business in Inner Mongolia? I see that there are 100 million acres of milk production there…

Wait, 100 million acres? It’s January 2011 and those millions of acres are under snow, but media buying and placement schedules for Chinese television requires a new commercial soon. I pivot from amazement to action: Let’s find an Inner Mongolia lookalike on the Big Island.

A friend of a friend of a friend. That’s how an experienced commercial photographer (me)— but new to film-location-finding (me again)— got the call to get this production locked in here.

There are seasoned location searchers on the Big Island, but for various reasons a normally deep bench was out of the game with other clients, tasks, and family emergencies.

Would a newcomer be able to help? From 1971 to 1991, I built a successful still photography business for companies and agencies in New England. I arranged complicated projects requiring location searches and crew assembly. I always liked working as a con38

tributor to a good team.

Here I was, just back in commercial photography on the Big Island after business and elementary school teaching careers. In that go-go East Coast business lifestyle, I took responsibility for aesthetics and logistics to deliver a nuanced visual product for clients.

Photo crew lines up beach shot on the Big Island's rugged Kona coast.

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

My client set included both creative and account people. Flexibility was key—the images needed might change, even after we planned or after we started. I had experience finding a location and seeing the visual possibilities—always aware of compass directions, light, and time of day. My photography experience helped me capture better than average location images that illuminated the opportunity without prejudging how the director and his director of photography would interpret the scenery or light. Finally, I knew easy access for a big group, talent and clients was always necessary. For years I had trained myself to make life easy for the client.

Gracie Atkins of Honolulu’s Moana Productions was acting as line producer on the Inner Mongolia project. The director, Roland Dan from Hong Kong, and the DP, Shih Sheng Liu from mainland China, were not yet on island, but the client’s producer, Carl Thelin of Common China, brought sketches acting as preliminary boards.

We had our first detailed glimpse of what we had to find: Mongolia’s fields, a running stream, and black and white Holstein cows.

Oh, and a fence uncommon on the Big Island: post and rail. The fence had to have many sections and be able to move for good light.

The stream featured prominently in the sketches. In Mongolia, streams meander through bright green pastures, gurgling night and day through pebbled riverbeds. A little girl actor would run into the stream laughing, followed by her actor mother. But in Hawaii, streams are fed by rain and few are

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JIMMY JIB TRIANGLE. 40’, 30’, 24’, 18’, 12’, 6’, 3’

808.383.4374 edgecityfilms.com

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flowing all the time. Where are Crew set up a shot where accessible, visually appropriate a young Chinese girl is suppose to be peering streams now? at fish in a stream.

I brought in an expert early who handles all things nature on the Big Island. He gathered all the post and rail pieces across the island— enough to make the requested 150 feet of fence. He took some fencing right out of the ground at one client’s house, promising to “bring it back later…” Much of this material had to be re-cut and stained a particular color, and remain moveable for creative flexibility.

Two large dairies operate on the Big Island. CloverLeaf was both receptive and better situated on the coastal plains hired locally: Brightly colored fish actors. Bugs of Hawi. Owner Ed Boteilho and I negotiated came from Oahu as carry-on with the wranglers. a fee for the right to film there and support.

The director, DP, and Matt Clarke, also of I shot a lot of images to ensure that if we Common China, arrived and we started the committed to CloverLeaf it would serve the allocated prep and shoot days, during which a director’s needs. Roads and access were testchallenging number of setups were required. ed. Ed was good-humored about the need for I took on location coordination for Moana Prothe animal wrangler, Anita Manning (with help ductions and hired a production assistant to from husband Steve Montgomery, who speback me up. An agile crew from the Big Island cializes in bugs), to audition cows from Cloverwas assembling: Tom Haley as 1st AC, WarnLeaf’s large herd. er Wacha, Tony Lehman, Tom Petty, Andy In addition, Ed came up with a way to preCoyne, Jason Frietas, and Michael Chamberpare the chosen “hero” cow for close human lain. Deb Nishimoto, stylist, and Everett Galcontact: A local girl about the age of the talent isa, art, were coming from Honolulu. girl visited the cow after school every day for I had an excellent stream based on the 10 days while other preparation was going on. sketches, with great-negotiated access and We also needed fish, bugs, flowers and high staging at home just yards away. But rain had grass. No flowers that excite a director in the not well served our streams. A water truck field right now? No problem: We’ll gather them was considered for picturesque flow, but the from other places, as the florist’s solution was too director and DP decided to get that idea expensive and limited. Word came from the across with a shot steeply upwards featuring director: “More beautiful photography of the the mother and daughter. flowers.” Good thing I knew how to create stuMeanwhile, the fence shots were moving dio lighting on short notice. I rush-phoaround as needed for changes in weather and tographed appropriate local flowers to allow the background control. Several sections were director to see his choices. Then I got buckets hustled on short notice down to Puako one of those tiny flower stem water holders from a afternoon to get out from under cloud cover. friendly florist for our gathering efforts! Also The beach was used for sun and sky fields of The production rebuilds a fence borrowed from nearby Big Island ranches.

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HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

view. The fish made it, too, under the care of wrangler Anita Manning.

The director, Roland Dan, spoke English as well as Chinese. His DP spoke only Mandarin. Our talent flew in from Taiwan and Honolulu.

Most direction was delivered in Chinese dialects, but that left out the actor father, who had grown up in Honolulu. The director adjusted to suit. But the actor mother began to have creative differences with the director.

All of us missed those details, but not the tone of the exchanges. How much of this was influenced by history of Taiwan and mainland China?

The five-year-old daughter actor was an amazing pro and unfazed by delays, changes, retakes, shifts in location, and really big cows.

On our last day, the weather was perfect and an important shot called for CloverLeaf employees to herd a specially selected group of cows into the field of view behind a family picnic shot. The cows were begrudgingly taking direction. They were more motivated by unknown patterns of better-tasting grass here or there. Our wranglers were doing all they could to stay out of the shot, but so were the cows! All worked hard to get the shot done and we wrapped on schedule!

Experience in keeping clients happy and a project moving forward were key ingredients to success for the Yili project. Immediate response and always doing a little bit more to help were critical qualities.

All those years of competing for work in the tough New England market had paid off, so I was ready, willing and able to help make Yili Milk’s commercial a success as part of a great team. I was thrilled to hear that the client loved the shots finished in post, and pronounced it a success.

The cows, however, remained unconcerned. HFV

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Hawaii Five-0 • LOST • Forgetting Sarah Marshall Real Steel • Gangster Squad • NCIS • Desperate Housewives 24 • Princess Kaiulani • Baywatch Hawaii • Lilo & Stitch Identity Theif • Zombieland • 47 Ronin • Cars 2 • Surf’s Up

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Cell: (808) 368-1303 Email: AhunasSpecialEffects@yahoo.com

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My Experience as an “Inexperienced” Location Scout

BY THALIA NAIDU Guest Columnist

“D

on’t quit your day job!” was Big Island Film Commissioner John Mason’s sobering conclusion to my interview. John works diligently to nurture local talent in response to inquiries that filter through his office.

He verified that my resume had stellar credentials for breaking into location scouting for the media industry. My “day job” consists of 25-plus years as a professional photographer and videographer, specializing in weddings, portraits, events, resort, advertising, realty and stock photography, coupled with umpteen years in the hospitality industry, a BFA in Dramatic Arts, gigs as an extra (15 seconds of fame in Black Widow), assisting a visiting catalogue shoot, production Thalia Naidu stills, multiple publications to my credit (most recently a volcano cover photo for a Random House book), and backstage access to the Waterworld crew and set.

My primary motivation is to assist the Big Island Film Office in attracting the industry to this amazing island. Hawaii Island, where I have lived for 35 years, is a unique and underestimated destination worthy of attention for great reasons. It has a land mass larger than all the other islands combined, hosting 11 out of 13 possible climate zones, dramatic ocean depths, tropical plush rainforests, black sand beaches, moonscape lava deserts, waterfalls, and working ranches.

There’s a wealth of culturally diverse talent, artists, musicians, artisans, resort and hospitality amenities, diverse properties, lowdensity population centers, vast uninhabited areas, spectacular aerial views, and dramatic natural and “sci-fi-looking” backdrops for production possibilities. And people are genuinely friendly—we call that Aloha.

I dove into my first inquiries with hours of research, and cc’d communications to John for feedback. He was impressed with the scope and detail in my proposals. I consider elements a professional photographer would naturally consider, issues the “experienced” location scout might not. I think about best lighting, weather conditions, travel time, access, safety issues, transportation, food, and lodging alternatives (Plan B and even C) if the imagined scenario doesn’t jibe with logistics.

I’ve developed a wealth of local contacts and knowledge. My services were “rejected” consistently because I have everything but location scout “experience” on my resume.

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So I changed my job description to match my resume: location services concierge for the visiting media industry.

In 2007, I went to Peru and my journey included a 10-day adventure in the Amazon.

No phones, no electricity, no contact with folks back home. There were butterflies in my stomach as we descended from Cusco to the rainforest, driving under waterfalls, traveling for hours with only the barest signs of civilization.

I chose our guide and driver very carefully, a local biologist who has discovered several species. Our safety, getting great photos, the

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

Mauna Kea. PHOTO BY THALIA NAIDU

Waipio Valley. PHOTO BY THALIA NAIDU

quality of our whole experience depended on his skills. Some “adventures” included several days’ delay because coca workers were on strike, a landslide that crossed our path, and a visit to a remote Indian village that forbids outsiders. The trip was a fabulous experience thanks to the skills of our guide.

Working with a local person who lives, works and plays in the location will ultimately save you time, money and frustration by customizing recommendations to support your agenda. My goal is to align the imagined outcome with your reality budget. The biggest frustration is with inquiries from people who need it yesterday, soak up all the free information they can, then disappear off our radar screens without a “sorry, but…” or “thank you, but…” We likely passed up something fun to hustle a proposal for your deadline, so please provide the professional courtesy of feedback!

I recently procured another job as realtor with Century 21 All Islands. Why? Because real estate is a very useful tool for scouting new properties, keeping my stock images current, networking with property management professionals, and, yes, there is an ulterior motive!

When you make that great decision to film on the Big Island, you just might fall in love with our lifestyle and wish to call Hawaii your home, or your second home. When that happens, I hope you will call on me once more, to find your perfect piece of paradise! HFV Thalia Naidu can be reached through her Web site at www.alohaphotographics.com.

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Sound Recording for Film & TV Video Assist Service

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It’s a Small World

BY SUE KANOHO Executive Director, Kauai Visitors Bureau

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Another relationship (albeit not mine) brought Hawaii a gift recently when The Today Show launched their “Great American Adventure” series from the historic Royal Hawaiian Hotel in Honolulu. With a live broadcast starting at 1am HST on May 20, elements of Hawaii were front and center with Today Show hosts Matt Lauer, Savannah Guthrie and Natalie Morales. Many got

up very early (or never went to bed) to be in the audience on Waikiki Beach with smiles and signs of aloha for the Today anchors.

Special kudos go to the Hawaii Visitors & Convention Bureau’s (HVCB) marketing and public relations team, as well as Starwood Hotels, just to name a few, who pulled this opportunity together with a short window. Everyone did an excellent job on the

Filming hula dancers at National Tropical Botanical Gardens.

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PHOTO COURTESY OF HAWAII VISITORS & CONVENTION BUREAU

t’s a small world, and the film industry is most certainly a relationshipbased business. You never know when one connection might lead to another connection.

Our celebration of the 50th anniversary of Rodgers and Hammerstein’s South Pacific in 2009 actually originated from my relationship with someone I worked with on Disney’s Lilo & Stitch in 2002.

When we started to work on permission and approvals with Rodgers and Hammerstein for the South Pacific promotion, I discovered their point of contact was someone I had met 15 years earlier when The Today Show filming on Kauai. PHOTO BY RON ROSEN First Lady Hillary Clinton came to Kauai to celebrate the reopening of the Hyatt Regency Hotel, following Hurricane Iniki. Imagine my surprise when I heard on the phone, “Aren’t you the same gal that I met 15 years ago for the First Lady’s visit to Kauai?” Talk about a small world.

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

show and the neighbor islands were featured in a “Four Elements” approach: Fire = Hawaii’s Big Island, Earth = Kauai, Sky = Maui, and Water = Oahu.

Kauai’s segment was focused on hula and the connection to the ‘aina (earth), with Kumu Hula Kapu Kinimaka-Alquiza and the ladies of Halau Na Hula o Kaohikukapulani. The halau was shot performing hula on location at McBryde Garden/National Tropical Botanical Garden, with the vast hues of green and an enormous Moreton Bay fig tree in the background.

Mahalo nui loa to all those involved in The Today Show’s “Great American Adventure” focus on Hawaii, and special thanks for including Kauai. We made some new relationships and I think the Hawaiian islands radiated her beauty and uniqueness for all to see. HFV

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OCEAN RAMSEY:

Stuntwoman, Model, Shark Conservationist

BY TIM RYAN Executive Editor

T

he melodic voice, modest demeanor, and self-effacing attitude about what most might call remarkable accomplishments—which she says is “just living life and having fun”—makes stuntwoman Ocean Ramsey a standout in a tough, competitive, and sometimes ruthless business.

“The two are distinctly different and not The 5’9”, 115-pound professional scuba divrelated at all,” she said. “Stunt work is my day er, free diver, dirt bike/jet ski rider, kickboxjob, along with modeling. I was diving with er, model, and Great White shark conservasharks a long, long time before I got pulled tion advocate has been a stunt double on into stunts.”

Hawaii Five-0 since season one, in addition to many other film and television credits.

Perhaps the most notoriety the 27year-old Ramsey has received is when the free diver held onto the dorsal fin of a massive 17-foot Great White shark off Baja Mexico last year in 50 feet of water. The video was released in May. “I feel so fortunate that some of the greatest moments of my life have been diving with Great White sharks,” she said from Los Angeles, where she’s doing stunt work on Captain America.

“It’s difficult to express the incredible joy and breathtaking emotion experienced locking eyes with a Great White shark. Watching the shark acknowledge and observe me, while I peacefully and calmly allowed it to swim towards me, and then experiencing it accepting my touch, allowing me to dorsal and tail ride.”

She continued, “Once I was on the dorsal, or tail, I could hear the movement of the water flying past my ears and I realized we were probably moving two knots. The connection felt as I repeatedly pet and hitched a ride on several of these sharks reminded me of my experience with horses.”

Stuntwoman Ocean Ramsey.

Ramsey emphasized this experience PHOTO COURTESY OF P.J. O’REILLEY/MAKANI KAI HELICOPTERS wasn’t done as a stunt, but to show the general public that “Whites” are not Her first production stunt work was on the voracious, bloodthirsty creatures feaInto the Blue 2: The Reef, which featured a tured in movies like Jaws or other media. lot of water stunts in and around Makaha.

“These sharks were being pretty good The lead actress, Laura Vandervoort, because when they saw us, they came up couldn’t scuba or free dive and the mainland pretty shallow. They’re very intelligent and stunt double hired for the actress was havpeople don’t get that,” she said. ing severe ear pain from diving and couldn’t When she does interviews about her work go as deep as the shot required. One of the with sharks, Ramsey never mentions that film’s safety divers knew of Ramsey’s dive she’s a stunt person.

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work. And since Ramsey looked a bit like the actress, he asked her to come by the set. She was hired the same day.

“I was able to do the whole scene they wanted in one shot and all the (crew) got to go home early,” she said. “Everybody was happy.”

The night stunt required her to dive from a boat and swim 30 feet to the bottom, as bad guys topside were shooting at her. She wore a small wetsuit, no mask and no fins.

“I had to swim to the bottom and try to get inside a large container where there were air pockets for me to breathe,” she said. “When I couldn’t climb in, I pushed a latch that released air bubbles so I breathed off of that. I was loving every minute of it. It was so much fun.”

The production kept her on staff to do all the film’s female water stunts. For the record, Ramsey can hold her breath an astonishing 5 minutes and 45 seconds.

She made her television debut working on the first episode of ABC’s Off the Map, when she doubled for one of the leads and jumped off the 55-foot-high Spitting Caves cliff in east Oahu, landing at the mouth of an ocean cave below.

Ramsey credits noted watermen and water safety experts Brian Keaulana and Brock Little for their help in teaching her the stunt business and connecting her to stunt coordinators, which has landed her several other productions, including Journey to the Center of the Earth II, the ABC series Last Resort, and CBS’s Hawaii Five-0.

“In my first Five-0, I played a drowning victim. I had no dialogue but they needed someone who could hold their breath for a long time underwater and look like they’re dead,” she said. “That was easy for me because of my free diving experience.”

In addition to her stunt work, Ramsey is also a successful model. When she was first starting out, she joined Premier Models and Talent in Honolulu, where she landed a national commercial in her first year.

“Modeling is harder than it looks,” she said. “You can’t blink and you do a lot of looking in the sun and having to smile. And there

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Ocean swimming with tiger and lemon sharks. PHOTO COURTESY OF OCEAN RAMSEY

are awkward poses. The runway stuff is hard, too, but fun and very good money.”

She smoothly switches the topic back to Great White shark conservation.

“I had a goal and a purpose doing that Great White video,” she said. “I wanted to get people educated about sharks and understand

48

how we’re exterminating them. People know about dolphins, people know about whales and Orcas, but all they know about sharks, really, is what the media tells them, which are the attacks and (that) they’re supposedly insatiable. They don’t have a cuddly perception.”

According to Ramsey, attacking humans is

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

“almost always a mistake” because “we’re not part of their natural diet.” She added, “People tend to fear what they don’t understand.”

But she doesn’t suggest everyone swim with sharks, either. And when she’s surfing and sees a fin in the lineup, she heads for shore.

“I know all they can see underwater is my skinny little legs,” she said.

Ramsey has never been seriously injured doing stunt work, never broken any bones or even had stitches, but she also knows that danger is inherent.

During a still photo shoot at Hawaii Island’s South Point, where she and several other stunt people had to leap from a 40-foot cliff into the ocean, one of her fellow jumpers nearly bit off the tip of his tongue when he landed awkwardly.

“When I stand on a cliff above the ocean getting ready to jump, I get this little heat rush in my feet,” said Ramsey. “It’s really weird that my body is acknowledging that I am going to be hitting feet first.”

Preparation is the key to avoiding serious injury.

“Stunt people are the safest people on a production because of all the planning,” she said. “They’re not loose cannons or daredevils. For the good ones, it’s all about longevity.” HFV

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Indie film DRESS filming on Kailua Beach, Oahu.

PHOTO BY TARYN REID PHOTOGRAPHY

LOST Actor Directs Short Film in Hawaii

BY TIM RYAN Executive Editor

E

Henry Ian Cusick

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mmy nominee Henry Ian Cusick, who portrayed “Desmond Hume” in several seasons of ABC’s LOST and has appeared in many other notable television roles, recently made his directorial debut with the short indie film, DRESS. The film, from Henry Joe Productions, Inc., was shot over five days in Kailua and Lanikai, where Cusick, his wife, and their three sons live. The family’s home is featured in several scenes.

“I have wanted to make a short for a while, as my time on LOST was not only an incredible journey as an actor, but it gave me the opportunity to learn more about the art of filmmaking,” said Cusick. “Hawaii has become home for

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

me and my family and the story, DRESS, came to me while watching how my sons had adapted to the Hawaiian life so easily.”

The script was written by Susan Stanton, whom Cusick met when he saw her show, The Navigator, at Honolulu Theatre for Youth.

“I had been sitting on the idea of DRESS for some time but only had the courage to write it down after discussing the idea with Susan,” he said. “Working with Susan meant that we got a first draft quickly and then emailed back and forth with ideas. Even up until shooting we were reworking the dialogue to play with the strengths of the actors. The structure was solid.”

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Cusick plays “Ben Granger,” who is struggling with the recent death of his wife and how his children have been affected. The rest of the cast includes Loretta Ables-Sayre, Dennis Chun, Maile Holck, Kathy Young, Riley Graves-Lock, Kordell Kekoa, Junior Tesoro, Celia Kenney, Valerie Watanabe, Margaret Jones, Sam Merrit, and introducing Ho’ano Au and Asher Morgado.

Cusick promises that audiences will see him as they have never seen him before. “They will also see phenomenal performances from the cast, and particularly the kids whose first film this is,” he said. “They’re natural raw talent…”

Producers on the film include Annie Cusick, Angela Laprete and Matt Locey, and co-producers are Brent Anbe and Wainani Tomich.

Veteran surf cinematographer Don King was the director of photography, and waterman Brian Keaulana was stunt coordinator.

It may have been Laprete, an associate producer on Hawaii Five-0, who really got the project underway by getting much of the Five-0 crew to donate their time on DRESS. The 50 all-volunteer crew had either worked on LOST or Hawaii Five-0 or both.

Cusick said the directing experience proved to be surreal.

“There were these moments I looked up and I was having an out-of-body experience looking at myself directing,” he said. “What

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Actors enjoy a little break between takes during the filming of indie film DRESS. PHOTO BY TARYN REID PHOTOGRAPHY

have I gotten myself into? Is this good? Are we doing okay? Is the script good? All those questions popped into my head. But I was lucky to have so much talent around me.”

According to co-producer Anbe, “The film is currently in post-production and will be

submitted to film festivals locally, nationally and internationally.” The production team hopes that DRESS will make its debut at this fall’s Hawaii International Film Festival. The film will end up being about 25 minutes long and will be edited by July. HFV

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Reel Recap: Maui Film Festival

I

t should be no surprise that the Maui Film Festival, now in its 17th year, was selected by USA Today as one of the top ten best film festivals to attend.

Here’s what the article, published this past February, had to say: “Celebrities love this event known for its aloha spirit. ‘You can go to movies and wear flip-flops, and they show films under the stars,’ said Monika Skerbelis, author of The Complete Filmmaker’s Guide to Film Festivals. The five-day June festival screens 50 films, and it features food-related events, including one focused on chocolate.”

This year’s festival, held June 12 through 16, opened with the premiere of Hawaiian: The Legend of Eddie Aikau at the Celestial Cinema, located at the Wailea Gold & Emerald Golf Course.

Part of ESPN Films’ critically acclaimed “30 for 30” series, Hawaiian: The Legend of Eddie Aikau examines the legacy of the fearless big wave surfer and first-ever North Shore lifeguard. The film is directed by Sam George and produced by TAUBLIEB Films and Paul Taublieb. Through interviews, reenactments and dynamic historical footage, George, a professional-surfer-turned-filmmaker, uncovers Aikau’s little-known personal and family history and finds a compelling allegory for the

52

reclaiming of Hawaiian culture.

“It is an honor to be granted the privilege of presenting the Hawaii premiere of this powerful documentary showcasing the incredible life of Eddie Aikau and his tremendous life’s work,” said Barry Rivers, Maui Film Festival’s executive director. “My family came to Hawaii 35 years ago in the midst of this indigenous culture experiencing a vibrant rebirth and that move to Maui touched and shaped the Rivers family for years to come. Presenting this film completes a circle of respect and appreciation that all of us in the Maui Film Festival ohana have for Hawaii, its values and its statewide ohana.”

Said George, “There’s a reason we called our film Hawaiian. Eddie’s story is the story

HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

of Hawaii, embodied by a remarkable man, a remarkable family, and a remarkable people.

Eddie said it best when, only months before his tragic death, he won the prestigious Duke Kahanamoku Surfing Classic. ‘All for the Hawaiians,’ he said, with tears in his eyes. ‘I did it all for the Hawaiians.’ So did we.”

Several honorees attended the festival this year, including Kirsten Dunst, who received the Pathfinder Award, Jessica Chastain, who received the Nova Award, and Brie Larson, who received the Rising Star Award.

Dunst was honored with the Pathfinder Award, which goes to “an actor or actress whose eclectic choices and charismatic performances encourage us all to expand our definition of what it means to be human.”

Chastain’s Nova Award honors a film artist for their astonishingly original and seamless performances, and the way they consistently infuse each character that they embody with insight, humanity and wisdom.

“Few film artists are as talented and versatile as Jessica Chastain,” said Rivers.

She has made this clear in the range of characters she has brought to life in her chameleon-

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like silver screen performances. In 2011, Chastain starred as “Celia Foote” in The Help, which earned her numerous award nominations, most notably an Academy Award, Golden Globe, SAG Award and BFCA Critics’ Choice Award. The same year, she starred in the Oscar-nominated drama Tree of Life. In 2012, Chastain starred in Zero Dark Thirty, which earned her several awards, including the BFCA Critic’s Choice Award for Best Actress, the Golden Globe Award for Best Actress in a Motion Picture Drama, and her second consecutive Academy Award nomination for Best Actress.

Added Rivers, “Jessica is one-of-a-kind and we couldn’t be more pleased to honor her.”

Brie, the 21 Jump Street star, is being honored as a young film artist “for daring to dream big dreams and then delivering brilliant performances when opportunity knocks.”

Larson, 23, already has built an impressive career and is considered one of the more versatile young actresses working today. She starred in Maui native Destin Cretton’s SXSW Grand Jury Prize-winning film, Short Term 12, but is best known for her portrayal of “Kate,” Tara’s long-suffering teenage daughter in Showtime’s United States of Tara.

Said Rivers of the three honorees, “They’re all not only beautiful women inside and out, but are also talented nearly beyond description and uniquely passionate in their portrayals of the characters they bring to life.”

Dunst, Chastain and Larson join a long list of Hollywood A-listers who have been honored at the festival, including Jake Gyllenhaal, Andrew Garfield, Olivia Wilde, Megan Fox, Zac Efron, Dunst’s boyfriend Garrett Hedlund, Elizabeth Banks, Zooey Deschanel, Claire Danes, Clint Eastwood and director Tim Burton, among many others. HFV Since its inception in 1996, Maui Film Festival has welcomed more than 500,000 island residents and visitors to its film screenings and events. For more information, visit www.mauifilmfestival.com.

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Community Gathers to Remember Art Rivers

F

amily, friends and coworkers of Oahu locations manager Art Rivers gathered the evening of June 19 to celebrate his life. The celebration took place at Waimea Valley, where his Hawaii adventure began and ended.

Rivers, born and raised in South Carolina and a graduate from the University of Central Florida, moved to Hawaii as a young man to work at Waimea Falls Park as a cliff diver. He worked at the park for 17 years and while still diving every day he also served as operations manager and general manager of visitors’ attraction. As ownership and management changed, the cliff diving show was discontinued, with Rivers performing the last high dive off the rocks.

Rivers moved on to a successful career as a locations manager, scout, and stunt coordinator for films and television shows, including LOST, Forgetting Sarah Marshall, Flirting with Forty, Soul Surfer and many more.

Those who had the privilege of working with Rivers left better for the experience. A modest man who shied away from taking credit, Rivers had a way of improving each production he worked on. His irresistible smile and friendly demeanor made him a favorite on set and off.

Rivers always went way beyond the extra mile. Whether it was pro-

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HAWAII FILM & VIDEO MAGAZINE ISSUE TWO 2013

viding information on a possible location, a contact for a location he may not have been hired to work on, or just a simple request from a friend, he always cheerfully responded.

Rivers, who died June 13 at his North Shore home, had just been awarded a speaking role on the Godzilla sequel set to film on Oahu.

He was one of just nineteen actors out of thousands selected for a speaking role.

Art Rivers will be remembered and missed by friends, family and co-workers and those in the production community.

“What a good fellow,” said Rene Confair, longtime Hawaii production member. “It’s very sad.” HFV Art Rivers memorial service at Waimea Falls Park.

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