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Photo ©Randy Jay Braun, www.randyjaybraun.com, randyjaybraun@gmail.com “Hidden Cove” - Pa'ako, Makena, Maui, looking out to Kaho'olawe.

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H A W A I I F I L M O F F I C E . C O M 2

HAWAII FILM & VIDEO MAGAZINE ISSUE THREE 2011

F H

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FilmHawai‘i ISSUE THREE 2011 HAWAII FILM & VIDEO MAGAZINE

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CONTENTS

H AWAII film & video The Hawaii Five-O crew shoots a scene with actor Scott Caan.

M A G A Z I N E

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, Henry Fordham, John Mason

SALES MANAGER

Katie Higgins

SALES EXECUTIVES

Eric Iles, Paul Yarnold

PRODUCTION MANAGER

John Rusnak DESIGNER

Dawn Carlson, Christina Poisal, Beth Harrison WEBMASTER

Eric Pederson

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Editor’s Letter

Production Update: 2013 Looking Strong

12 State Seeking to Extend Expanded Jet Ski Law for Filming

36 Voices of IATSE

38 Maui at the Center of the Evolution of Television

PHOTO COURTESY CBS

40 The Business of Acting

Audra Higgins

INFORMATION SERVICES MANAGER

Lois Sanborn

44 Black Pearl Bids Aloha to Oahu 46 Branscombe Richmond Goes Trucking

Focus on the Big Island

14 The Big Island’s Top Ten Film Events in 2012

18 Tourism and Production Merge on Hawaii Island 20 County Targets Reality TV Productions

22 Live from the Big Island: Behind the Scenes of the BBC’s Volcano Special 28 Filling the Void: Big Island Gigs is Open for Business

32 Farish Media Wraps Busy 2012

On the Cover: Hunger Games star Jennifer Lawrence films a scene at Kawela Bay on Oahu's North Shore. The production filmed for four weeks in various Oahu locations.

COVER PHOTO BY TIM RYAN

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OFFICE MANAGER/ACCOUNTING

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

Media Index Publishing Group (800) 332-1736 media@media-inc.com

Display Advertising: Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. All submitted materials become the property of Media Index Publishing Group and will not be returned. Subscriptions, call (800) 332-1736 for information and rates.

Copyright © 2012 Media Index Publishing Group.All Rights Reserved. No part of this publication may be used for solicitation or copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher. PRINTED IN THE USA.

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ISSUE THREE 2011 HAWAII FILM & VIDEO MAGAZINE

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Editor’s Letter 2012 was a good year for Hawaii production!

• Three primetime television series filmed on Oahu.

• A multi-Emmy-winning series shot for two days on Waikiki Beach.

• A major BBC production shot on the Big Island at Hawaii Volcanoes National Park.

• And the year ended with the sequel to a major 2012 sci-fi hit shooting four ABC's series Last Resort, cancelled last November, shoots weeks on Oahu. a scene at Kualoa Beach, Oahu. PHOTO COURTESY ABC Oh, and in November, a location team scouted Oahu for a Godzilla sequel with filmting $10 million for the sequel, Catching Fire. ing scheduled to start somewhere on the island Catching Fire’s spend for eight weeks on in June.

Oahu—four weeks of filming and four weeks Okay, I know what you’re thinking. How does of prep and wrapping—isn’t known yet. all this production translate into dollars, meanOf last year’s $184.1-million production ing production expenditures in Hawaii? spend, expenditures that qualified for the state’s The state’s Department of Economic Develtax credit were $131.3 million. That means the opment and Tourism estimated that in-state estimated tax credit paid out was $20.05 million. production expenditures for 2012 totaled $246 Do the math. For every $1 the state rebatmillion, a huge jump from 2011’s $184.1 million. ed in tax credits to productions, $9.20 was spent A large part of 2012’s total came from three in Hawaii. Not a bad return on investment. series shooting in Hawaii. Hawaii Five-0’s budgFurthermore, state tax revenues generatet for the current season of 24 episodes is about ed were $17.7 million from production expen$60 million, while ABC’s Last Resort and The ditures. Jobs generated—full-time and temRiver, at about $2 million an episode, are about porary—totaled 1,125, of which 765 were $26 million and $16 million, respectively.

Hawaii residents.

Mad Men, which filmed for two days on If you wanted to know what each production Waikiki Beach, costs between $2.5 million and spent here and what their rebates were, well, sor$3 million an episode. How much they spent ry, Charlie! Hawaii state law prohibits revealing in Hawaii has not yet been reported. how much individual productions spend in The original Hunger Games film cost nearly Hawaii because, in part, that information could $100 million to make, though tax credits brought dissuade future potential projects, according to that total down to a little more than $80 million. state officials. Nationwide, just 8 of 24 states— The film grossed $685 million worldwide. LionAlaska, Arizona, Michigan, Missouri, North sgate has not made public the sequel’s budget, Carolina, Pennsylvania, Rhode Island, and Wisbut expects profits to be lower than the original consin—disclose this information. because of the scope of the new film. MeanWe have to shout out a hana hou to the Big while, star Jennifer Lawrence, who received Island, which was the location for the BBC’s Vol$500,000 for the first Games, is reportedly getcano Live program, that required the produc-

tion to set up cameras around the Kilauea volcano.

The series was broadcast live in four parts in July, combining live reports from Kilauea with segments looking at the phenomenon of volcanism and exploring volcanoes around the world. The production got extraordinary cooperation from the Hawaii Volcanoes National Park service, which required strict guidelines to protect all natural resources. Read more about this production in this issue’s Big Island section.

In other news, we all know that Hollywood loves sequels, which usually are cash cows.

So is it a surprise that Legendary Pictures and Warner Bros. are rebooting Godzilla?

Location scouts visited Oahu in November.

Location manager was Mike Fantasia, who held the same position when Indiana Jones and the Kingdom of the Crystal Skull filmed on the Big Island in 2008. Godzilla is scheduled to film on Oahu in June 2013, according to cinematographer Seamus McGarvey. Gareth Edwards will direct.

Here’s what else we know about the film: Godzilla won’t be the only monster. The teasertrailer shown at the 2012 Comic-Con revealed that there’s another monster that takes on Godzilla. Some attendees said it looks like a giant centipede.

Since a general theme in Godzilla films has been destroying major cities, are Honolulu and Waikiki safe? Just wondering.

Godzilla is scheduled to open in IMAX and standard theaters in stereoscopic 3D May 2014.

Tim Ryan Executive Editor

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

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HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

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Hawaii Five-0 stars Scott Caan (middle) and Alex O'Loughlin (right) shoot a scene with one of three Victoria Secret models guest starring on the CBS series. PHOTO BY TIM RYAN

Production Update: 2013 Looking Strong

BY TIM RYAN Executive Editor

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hristmas came early to Hawaii this year! In mid-December, the state’s Department of Economic Development and Tourism estimated that in-state production expenditures for 2012 totaled $246 million, with the estimated economic impact here a whopping $397 million.

A large part of these figures is the economic impact of Hawaii Five-0, which is set to return for a fourth season with at least 22 episodes costing about $2.5 million each. At least part of two episodes in season four will be shot on the Big Island and, for the second time, on Maui.

In 2012, Five-0 filmed 24 episodes with an estimated budget of $2.5 million per episode, 8

or $60 million total, most of which was spent in Hawaii.

As for feature films, Honolulu’s production community has been buzzing about Warner Bros./Legendary Pictures filming part of another Godzilla sequel on Oahu for two weeks in June. This Godzilla reboot has been mostly shrouded in mystery, but Hollywood sources told HF&VM that the film will shoot

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

first in Vancouver, B.C., in March, and wrap filming in Hawaii.

Screenwriter Drew Pearce has polished the script and “aged up the characters so that they fit the prototype of the actors they would like to target,” a source said. Reports indicate that the film will “return the character to its epic roots with a gritty, realistic actioner.”

The creature first appeared in Ishiro Honda’s 1954 film Godzilla. The last attempt to bring the monster to the screen was in 1998, when Roland Emmerich directed Godzilla that flattened much of New York City. That film—part of which was filmed on Oahu—was a critical and commercial disappointment, grossing just $136 million in North America and $379 million worldwide.

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The ABC series Last Resort films at its primary set at Kualoa Ranch on windward Oahu. PHOTO COURTESY ABC

The studio teased Godzilla’s return with a well-received trailer at this year’s Comic-Con. The brief clip showed crumbling buildings, a flattened train and human bodies flattened like bugs, then a glimpse of the massive, multi-limbed monster. The clip closed with Godzilla’s threatening roar.

Since Godzilla has a habit of destroying cities, could Honolulu or—my goodness!— Waikiki be its next target?

The film’s cinematographer is Seamus McGarvey, who did the cinematography on The Avengers. Casting has begun, but no names have been announced as yet. Godzilla is scheduled to premiere May 16, 2014.

In other production news, CBS’s Hawaii Five-0 is set to return for its fourth season.

The biggest problem facing Five-0 this year is finding a new soundstage. The former Honolulu Advertiser building near downtown

Honolulu has served as a soundstage for the series for three seasons, but was sold to a local developer who plans to build condominiums behind the historic building.

Five-0 executives are working with state officials to find a new production studio in Honolulu that can accommodate the show’s sets and 150 employees.

CBS is hoping to lease the Hawaii Film Studio at Diamond Head, which is currently occupied by ABC. The network has held the lease exclusively since 2004 when LOST began filming in Hawaii. After that series ended in 2010, in 2011 ABC brought in Off the Map (which was canceled the same year), followed by The River (canceled in 2012), then Last Resort (also canceled in the same year).

It’s unlikely that ABC will bring in another series anytime soon, so CBS seems to be first in line to take over the Hawaii Film Stu-

dio lease.

Donne Dawson, Hawaii Film Office commissioner, told a Honolulu magazine in November that there’s a “high probability” that Hawaii Five-0 will take over the space, possibly as soon as February or March.

“They’re a big production and it’s going to require some effort,” she told Pacific Business News. “I can’t say right now what the scenario might be. They may very well end up at Diamond Head and then have to secure ancillary space.”

ABC’s Last Resort, which filmed 13 episodes on Oahu this year, had a compelling storyline but was unable to sustain an audience, resulting in its cancellation.

Said Shawn Ryan, Last Resort’s co-creator, of the cancellation, “I would compare it to if you have a relative who becomes terminally ill. You know it’s coming and yet you still are

SINCE GODZILLA HAS A HABIT OF DESTROYING CITIES, COULD HONOLULU OR—MY GOODNESS!—WAIKIKI BE ITS NEXT TARGET? 10

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Actors Josh Hutcherson (left) and Jennifer Lawrence (right) shoot a scene at Kawela Bay for the Hunger Games sequel Catching Fire.

shocked when it happens.”

The series starred Scott Speedman and Andre Braugher as officers on a renegade Navy submarine. It premiered to more than 9 million viewers and a 2.2 rating in the 1849 demographic, but lost viewers quickly.

Though ABC didn’t pick up the series, all 13 episodes of Last Resort will air.

“Our ratings had been on the cusp, or really below the cusp, for a few weeks now…,” said Ryan. “We were all hoping for a bounce.”

Last Resort aired in a very competitive timeslot, going up against The Big Bang Theory, 30 Rock and The X Factor.

“There was a military aspect to the show that research showed kept some women at a distance, even though the women who did come tended to like it, and we thought there was growth potential for women,” said Ryan.

2012 ended strong for Hawaii production with Hawaii Five-0’s ratings climbing steadily and the Hunger Games sequel, The Hunger Games: Catching Fire, filming for four weeks all over Oahu at Kawela Bay, Turtle Bay Resort beaches, Manoa Falls trail, Heeia State Park and a Keehi Lagoon beach. The cast and Los Angeles crew stayed at the Turtle Bay Resort during the shoot. HFV

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State Seeking to Extend Expanded Jet Ski Law for Filming PHOTO BY PONO GRACE

BY DONNE DAWSON State Film Commissioner

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awaii is known throughout the world as the birthplace of surfing, and is recognized as having some of the best surf and ocean waters anywhere.

Filming in Hawaiian waters has become extremely popular over the years. In 2012 alone, film productions in Hawaii spent nearly $250 million throughout the Hawaiian Islands. Once those dollars pump through the local economy, the larger impact is closer to $500 million. A predominant number of those productions came to Hawaii to film in our pristine waters.

Water safety is key to making filming on the open ocean a possibility and we are known for having some of the best water safety experts in the world. A key component to water safety is the jet ski, or personal water craft (PWC). Modified in the early ‘90s by one of Hawaii’s own—expert waterman, stuntman and risk management expert Brian Keaulana—the personal water craft is 12

now used the world over as a critical rescue tool for getting in and out of dangerous waters quickly.

These agile vessels have revolutionized the world of surfing, too, with the advent of towin surfing—both to launch surfers on monstrous waves they could not paddle into prior to this technology, and to rescue those who get caught in the big wave impact zone.

PWCs have become a critical component to filming in the water as well. For years they have only been approved for use in conjunction with water safety on film productions.

But a new law passed in 2009—supported directly by the Hawaii Film Office and the Department of Land & Natural Resources’ (DLNR) Division of Boating and Ocean Recreation (DOBOR)—has expanded the use definition of “thrill craft” for filming.

The law now allows these PWCs to be used for camera vessels, picture vessels and transportation of talent and crew, in addition to safety. The passage of this important measure was a huge step forward and Keaulana’s personal testimony helped convince legislators—through his firsthand experience—that it was the right thing to do to further develop our industry, while keeping things safe in

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

PHOTO: C4 WATERMAN COURTESY DANAFOTO.COM

the water.

Specifically, Act 89, SLH 2009 amended HRS 200-37 to allow operation of a thrill craft in state waters by “authorized film production permit holders conducting operations approved by the department [DLNR].”

Act 89 has become a marketing tool for the state, encouraging more productions to come to Hawaii because we are able to tell them they will have greater access to ocean filming. Numerous commercials, television shows (including Hawaii Five-0 and Last Resort), and feature films have taken advantage of the law and they are not even aware of it.

If the law was not in place, it would have been very difficult to approve use of PWCs for the filming of The Hunger Games: Catching Fire, the highly anticipated sequel to The Hunger Games, which Hawaii was fortunate to host in December. That might have had an impact on their decision to film in the Islands.

As it was, the production spent a good portion of its time on the North Shore of Oahu near the Turtle Bay Resort. And, in fact, on the first day of filming, the winter surf at Turtle Bay was big. There were PWCs and water safety personnel involved in the film activi-

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ty that day. Three members of the public who got caught in a strong current and pulled into the pounding surf just outside the bay where the filming was taking place were rescued by Keaulana and his team, which included Terry Ahue, Kimo Miranda and Dave Yester. Hard to say what might have happened if the film production hadn’t been there. And they wouldn’t have been there, if not for this new law.

Keaulana also points to a Chanel commercial that was filming at Keawa’ula (aka Yokohama Bay) on the west side of Oahu last summer where a surfer got into trouble in some “giant waves.” Keaulana says safety always comes first and the PWC is a “surgical tool we use to facilitate whatever the needs are in the water. If we’re there, we drop everything and respond.”

Those types of rescues happen more often than people know, and having water safety experts and their rescue craft involved with the filming provides an extra layer of safety for the county’s lifeguards and the public they serve.

As part of the enactment of the law, which is set to expire June 30, 2014, the Hawaii Film Office has prepared reports to the Legislature to inform them of how the new law

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ABC's series Last Resort, cancelled last November, shoots a scene at Kualoa Beach, Oahu. PHOTO COURTESY ABC.

was used for filming, that there were no mishaps as a result of the expanded use for production, and to recommend that the law be extended beyond 2014.

Ed Underwood, DOBOR Administrator,

supports the idea of extending the law.

“We want to help the (Hawaii) Film Office achieve that goal,” says Underwood.

“Film production is good for the state, so if this helps in any way, we’re all for it.” HFV

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Focus on the Big Island The Big Island’s Top Ten Film Events in 2012

BY JOHN MASON Big Island Film Commissioner

Drum roll, please!

From the UK and The Weather Channel, The Land of the Volcano.

Electric Sky Productions from the UK was here in July, then again for all of November, to film this large-scale news documentary about life on the Big Island as impacted by volcanic activity. The production had an impressive budget with filming spread out over 33 days.

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We need to consider making the BBC an honorary citizen of the Big Island Film Office for all of their production activity. In the summer, the BBC was here for Volcano Live, which featured four days of live broadcast back to the UK. Find out more about this production

on page 22.

In November, BBC America’s Crash Course was here for three days of filming with a 15-person crew at the Kona-based Three Ring Ranch Exotic Animal Sanctuary. Richard Hammond is the show’s host, and he ramps up quickly on the show to master challenging job assignments.

More great exposure for our island and our often exotic way of life to worldwide television audiences.

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February marked my fifth year as film commissioner on the Big Island. It’s been a great run and I appre-

ciate and am grateful for having had the opportunity to serve the County of Hawaii and its film community. The last five years started off like gangbusters, with three features back-to-back and the return of Wheel of Fortune. The last two years have seen reduced levels of activity and a tapering off of highend business, reflecting the continuing impact of the worldwide economic collapse in 2008.

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HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

You win some and you lose some.

One big one we lost was the sequel to Hunger Games, Catching Fire. This is the second in the three-part novelization of the immensely popular story of survival and retribution in a post-apocalyptic world. We had beaches and jungle that seemed perfect for the sequel, and hopes were running on high octane when the Film Office and colleagues on Oahu hosted a scout on the Big Island for a team of Hunger Games production executives from Lionsgate.

Expectations were quickly dashed when the team did not deem the locations suitable when they actually saw them. Oahu was chosen for partial filming, so at least the state will get some of the business and exposure with this tent-pole sequel.

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The Big Island Film Office is working with the Big Island Visitors Bureau on a powerful and unique marketing program to induce producers of reality television programming to consider locations on the Big Island for reality content.

Four “webisodes” have been produced, highlighting locations and activity suitable to the needs of reality content and tourism, and these short video pieces will be distributed primarily through social media to producers of reality and networks that carry reality. Again, there is additional editorial about this innovative approach in this issue on page 20.

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This edition of Hawaii Film & Video features production on the Big Island, and I’d like to underscore my own personal congratulations and mahalo to our diverse and talented production community. My Ohana

Database has over 200 separate listings in the various production, post-production, and production support categories. We have about two-dozen people who are members of the IATSE Mixed Local, and we have an infrastructure that is expanding to add important support capability on island. This issue highlights sev-

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Focus on the Big Island eral of these impressive people and undertakings.

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The “Hollywood Comes to Hilo” seminar in September at The Palace Theater was a resounding success.

Three top award-winning cinematographers from the American Society of Cinematographers discussed the art and craft of image creation with over 100 enthusiastic attendees. These cinematographers included Ron Garcia (DP on the first season of the new Hawaii Five-0, among other feature film and television credits), Bob Primes (Felicity and many other television credits), and Wally Pfister (the last two Batman installments with Christopher Nolan). They were joined on stage by representatives of Canon’s professional camera division, who led hands-on demos of new Canon cameras during the lunch break. It’s not often that we are able to host filmmakers with such impressive credentials.

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The Hawaii Film and Entertainment Board (HFEB) and the Film Offices of the Hawaiian Islands (FOHI) are two key organizations that the Big Island Film Office is a member of. The membership of HFEB includes representatives of all the major unions, the county and state film

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

offices, and key production constituencies that play a critical role in developing and vetting issues of policy and strategy as they affect film production in the state. One highly visible area where HFEB exerts its influence is during the legislative season when legislation is drafted with implications for production. FOHI works collaboratively on many matters involving production on Oahu and on the Neighbor Islands, and joins forces during the annual Association of Film Commissioners International (AFCI) Locations Expo in Los Angeles to market and promote island-wide locations and resources for production to the Hollywood community.

The 7th annual Big Island Film Festival (BIFF) continues to offer compelling independent narrative feature films and shorts, family films, educational seminars and networking events, celebrity sessions, and a highly anticipated awards program to an expanding audience of locals and visitors from the other islands and from the mainland. Many of the

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filmmakers with films in the festival attend, and they invariably conclude that BIFF is a unique and captivating experience for filmmakers. This year the festival changed its dates to coincide with the Memorial Day weekend festivities at the Fairmont Orchid, a change that added value to the festival as part of a larger holiday weekend package of offerings. Yours truly received the Mayor’s Award, a service to the film com-

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munity award, which was presented by the reception host himself, Mayor Billy Kenoi.

And drum roll, please, for the 2012 film event of the year:

You win some and you lose some, redux. This time we won a big one with a very successful scout with the Hawaii Five-0 production executive team, including executive producer and showrunner Peter Lenkov and his team, Bryon Spicer, Craig Cannold, Noah Nelson, Angie Laprete, and Jim Triplett. We scouted several of the Big Island’s main location attractions, and Peter and company seemed very pleased with what they saw by offering a strong indication that they would return for some filming on the Big Island.

Several colleagues deserve credit for pulling this event together with such precision and professionalism, including Cindy Orlando and Jessica Ferracane with Hawaii Volcanoes National Park; The Mayor’s Office, including Nancy Crawford, Wally Lau, and Laverne Omori; Marcia Yoshiyama with the Department of Research and Development; Chris Colvin with Hawaii Forest and Trail; Leanne Pletcher with the Hilton Waikoloa Village; Lei Valencia with Blue Hawaiian Helicopters; and most especially George Applegate with the Big Island Visitors Bureau.

So, until this time next year, best wishes for continued prosperity and success! HFV

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Focus on the Big Island Tourism and Production Merge on Hawaii Island

BY TIM RYAN Executive Editor

T

he Big Island’s film commissioner and Visitors Bureau executive director have a standing order from Mayor Billy Kenoi.

That is, simply: Do whatever it takes to get Hawaii Five-0 to the Big Island, then get to work attracting feature films, more scripted television shows, and reality programs.

“The mayor is really, really behind this push to attract production,” said George Applegate, executive director of the Big Island Visitors Bureau. “And certainly (film commissioner) John Mason understands the mayor’s enthusiasm to accomplish this.”

In 2012, productions spent a total of $1.7 million in Hawaii County.

Applegate believes the best way to attract more productions to the Big Island—now rebranded as Hawaii Island—is to change studio and network executives’ “perception” of what the island is.

“We call this place Hawaii Island because Hawaii is the state,” he said. “We did several surveys and they showed that about 46 percent of the people thought the Big Island was Oahu because that’s where the big city is. The research made us listen to our audience and brand our island as Hawaii Island.”

especially one that reflects our values, that’s an awesome thing,” said Applegate of Five-0.

“And don’t forget, people want to go where movie stars and famous people go.”

Besides the new branding and ramping up of publicity, the county is producing at least four webisodes to circulate to studios, networks, commercial producers and advertising agencies. (Check out the story on page 20 for more on these webisodes.)

Something else Applegate is pushing is publicizing locations where film and TV shows have shot on Hawaii Island. Oahu and Kauai have done a phenomenal job doing this, he said.

“I am going to work closely with the film office about publicizing these locations,” said Applegate. “Visitors love seeing locations.”

The county has hosted numerous productions over the years that have attracted tourists.

In 2009, Hawaii Island was selected as the

“WE WILL DO WHATEVER WE NEED TO DO TO GET FIVE-0 TO HAWAII ISLAND.” The most recent survey showed that the Hawaii Island branding was popular with 90 percent of the people surveyed.

“We have to change peoples’ and studios’ and networks’ perceptions of what Hawaii Island is,” said Applegate. “Yes, we are big.

Yes, Hawaii Island has most of the world’s diverse climates. Yes, our landscape, flora and fauna are diverse. Yes, we have an active volcano. Yes, we have just about anything a production needs for filming.”

And what could possibly be better for Hawaii Island branding than to have a production called Hawaii Five-0 film there?

“Whenever we can have a production here, 18

location for popular reality show The Bachelorette. The production wanted to base the show at a high-end hotel but was having “difficulty” securing suites for the cast and executives.

“The hotel’s general manager didn’t understand the value of the publicity the resort would get,” said Applegate, who met with the executive face-to-face. “I explained to him the viewership, demographics, (and) television time the hotel would receive. When he understood, he agreed and they got great coverage.”

That coverage included a helicopter tour over Kilauea volcano’s active lava flows with Sunshine Helicopters; a private barbeque at a secluded Hilo waterfall provided by Kapo-

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

hoKine Adventures; and discovering a remote black sand beach with Captain Zodiac Rafting Adventures. There was also dinner and other activities at three of the hotel chain’s luxury resorts.

The ideal production is one that reflects Hawaii Island’s diversity. That’s what they got in 1998 when the ranch-themed NBC series Wind on Water, starring Bo Derek, filmed on Hawaii Island.

“The show reflected on the whole Parker Ranch lifestyle,” said Applegate. “If I had spent two years of my budget, I still wouldn’t have gotten as much publicity as we received from that series.”

Applegate said Hawaii Island has been “slow to embrace tourism.”

“The times have changed,” he said.

“Tourists now look beyond white sand beaches and coconut trees. People look at things like green sustainability, stargazing, diversity of activities. People are looking past the sunsets and the moonrises.”

Recently the Big Island hosted five Hawaii Five-0 executives, including executive producer Peter Lenkov, production supervisor Angie Laprete, and locations manager Jim Triplett, who scouted Hawaii Island for a 2013 episode.

The scout included a helicopter tour of the island, including Hawaii Volcanoes National Park (HVNP), and a dinner at the Hilton Waikoloa Village with HVNP’s manager.

“When we look at a production, you don’t just consider the script, but the challenges and how to work as a team to overcome them,” said Applegate. “We will do whatever we need to do to get Five-0 to Hawaii Island.”

Although a bit reluctant to admit it, Applegate had his 15 minutes of fame on the original Hawaii Five-O. In 1974, he had a small part in the series’ episode “A Hawaiian Nightmare,” which filmed on the Big Island. Applegate was the public relations manager for Hilo’s Naniloa Surf Hotel, where the cast and crew were staying. He played the Hawaii governor’s aide. The scene was shot in the Naniloa’s President Suite. Applegate later appeared in other Hawaii Five-O episodes.

After learning of Applegate’s TV debut 38 years ago, Lenkov teased him about getting a speaking part in the Hawaii Island episode.

Replied Applegate, “Well, okay, but I hope it’s not a bad guy.” HFV

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Focus on the Big Island County Targets Reality TV Productions

H

awaii County—aka Hawaii Island—is serious about getting Hollywood to take notice of the state’s largest and most diverse island.

The island’s film commissioner and Visitors Bureau executive director have been put on notice by Mayor Billy Kenoi to do “whatever it takes” to attract productions. The Big Island has even been rebranded as Hawaii Island to eliminate any confusion with Oahu—the state’s most populated island.

Now Hawaii Island officials are reaching out to Hollywood in social media venues with at least four, three-minute webisodes, each focusing on what makes the island unique from the other Hawaii islands.

The county has hired producers Scott Shatsky and Justin Klinger to write, direct, photograph and produce the webisodes.

Shatsky knows Hawaii Island well, having served as supervising producer on two reality shows filmed there: VH1’s My Antonio (2009) and Top Chef (2006), for which he was nominated for two Emmy Awards.

“We suggested doing some webisodes that

would really entice productions to work on the Big Island by showcasing its uniqueness,” said Shatsky from his home in New York City.

“The webisodes will feature (Hawaii Island’s) sense of romance, adventure, culture and tradition, and food.”

The webisodes are expected to be ready for viewing in January. The footage is not meant for traditional broadcasting, but for online viewing to “entice the travel, leisure and production audiences.”

Shatsky had visited Maui and Oahu several times, but had never been to Hawaii Island until he worked on Top Chef.

Scott Shatsky and Justin Klinger 20

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

“I was stunned at what it has to offer and how different it was from the other islands,” he said.

“Everything from a vanilla farm to Kona coffee, specialized chocolate. With the available adventure sports, it is truly a unique place.”

And Hawaii Island isn’t just big, it’s still growing, providing a vast canvas in which to discover a variety of unrivaled natural wonders. This is the home of the world’s most active volcano (Kilauea), the tallest sea mountain in the world at more than 33,000 feet (Mauna Kea), the most massive mountain in the world (Mauna Loa), and the largest park in the state (Hawaii Volcanoes National Park). All but two of the world’s climate zones generate everything from lush rainforests to volcanic deserts, snow-capped mountaintops to beautiful black sand beaches.

The producers will send the webisodes in “an e-mail blast” on social media sites that include Facebook, Twitter and YouTube.

The first blast, though, will target the Producers, Directors and Writers Guild members. The webisodes will also be linked to the Big Island Web site, as well as some travel, leisure and culinary magazine sites.

Shatsky believes that one of the reasons Hawaii Island may be underused by productions is that “the state of Hawaii hasn’t done such a great job marketing it as they have the other islands.” “(Hawaii Island) in the last decade has become something different than it was and an amazing family destination,” he said.

The size of Hawaii Island—twice that of all the other Hawaiian islands combined—does make it more difficult for productions to switch some locations without a long drive, said Shatsky.

“When we were filming the webisodes, it sometimes took a better part of half a day to get someplace,” he said.

But Hawaii Island’s diverse geography is why reality show producers love the place.

“There’s this incredible sense of adventure there and also the sense of leisure,” said Shatsky. “What producers who have never been there don’t understand is that you can work from day into the night, go from snow to warm water, and from eating a coconut in a bikini on a black sand beach to wearing a tuxedo at a fine dining restaurant that same day.

“That’s the message we’re delivering to the creative community.” HFV

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Focus on the Big Island

Live from the Big Island BEHIND THE SCENES OF THE BBC’S VOLCANO SPECIAL

The crew of BBC’s Volcano Live on location at the summit of Kilauea volcano within Hawaii Volcanoes National Park. NPS PHOTO/STEPHEN GEIGER

BY TIM RYAN Executive Editor

T

he challenge was enormous: To provide live coverage of an erupting volcano, transmit the footage via satellite to a country some 7,000 miles away, all the while protecting the flora and fauna and cultural heritage of a sacred Hawaiian place.

More than a year of preparation between the British Broadcasting Company (BBC) and Hawaii Volcanoes National Park culminated in four days of live broadcast from the Big Island of Hawaii to the United Kingdom in what a park official calls “an extraordinary experience” for everyone involved.

On set at Kilauea Overlook. Note the small orange flags marking rare Hawaiian plants.

NPS PHOTO/MICHAEL SZOENYI

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HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

“We hope to reap the benefits of a first-class production showing Hawaii Volcanoes National Park,” said Jessica Ferracane, the park’s Public Affairs Officer. “We received incredible exposure to an international audience. This has a positive ripple effect on the local economy since people watching a program like this often are motivated to visit that destination and see it for themselves.”

The production, a program called Volcano Live, was about Kilauea, one of the most active volcanoes in the world, which has been erupting constantly since 1983.

The planning of Volcano Live began some 18 months before the actual broadcast, said Glenn Beadles, a Maui-based production executive who served as the production’s “fixer” and locations manager. Beadles had previously worked on the BBC program Stargazing.

Volcano Live started and stopped during the program’s prep period for “some program issues” that included repositioning the BBC’s satellite, and because the network needed to televise various soccer tournaments, explained Beadles.

In the meantime, Beadles was completing paperwork for filming and access permits for the National Park Service and for the State and Hawaii County government agencies.

The program was filmed at four locations, including Kalapana and three sites in Hawaii Volcanoes National Park.

“We had to have specific permissions to bring a full-time live broadcast, with all the required equipment and crew, to the locations

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Focus on the Big Island Kalapana, just outside Hawaii Volcanoes National Park. PHOTO BY GLENN BEADLES

we needed,” said Beadles.

Fourteen Hawaii crewmembers were hired for Volcano Live, coming from Oahu, Maui and the Big Island. The BBC brought about 30 crew and the show’s 2 hosts from the UK. “We resourced as much local talent as possible, not only to save on budget costs, but to do this program correctly,” said Beadles. “That was one reason I was working on Volcano Live… to make sure it’s done pono (properly) with the good graces from the Big Island cultural and business community and the legal people who would give us the right of entry.”

The most challenging “fix” was gaining access to culturally and environmentally sensitive areas. This included negotiations with Hawaii Volcanoes National Park officials and with USGS Volcano Observatory officials, which limits access to the volcano for safety reasons.

Another challenge was securing the equipment necessary to satisfy the BBC’s broadcast criteria.

“We had to have a specific live broadcast satellite uplink truck,” said Beadles. “We had to have correct acquisition signals and equipment to acquire the BBC’s satellite signal.

Then we had to find and secure access to the actual locations where the signal had a clear line of sight. There couldn’t be any glitches.”

Beadles hired Oahu-based NOA Produc24

tions, which had the necessary Hawaii Satellite Uplink OB truck.

“This circus had a lot of moving parts, a lot of elements to be locked down before you start the live transmission,” said Beadles.

There were about 12 days of filming, said

BBC host Kate Humble interviews Hawaii Volcanoes National Park Chief of Interpretation Jim Gale. NPS PHOTO/STEPHEN GEIGER

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

Ferricane. The production team worked 16 to 18 hours a day—sometimes longer on filming days. When transmitting to the UK concluded at 10am, that’s when the team would start moving locations. That meant a whole set of challenges around rigging, de-rigging, rehearsals, eating and sleeping for the Hawaii team.

“Certainly part of the challenge was to pick up the circus and move to where we were sure we could acquire the satellite signal,” said Beadles. “Then we would do a dry run with the hosts and guest speakers, and not just on the day before, but also hours before the next transmission.”

Lisa Ausden, executive producer of Volcano Live, said, “Volcanoes are pretty awesome when they’re at full throttle, and many are in remote locations. That makes it logistically difficult, and very expensive, to contemplate a live show… Live is a new concept. It’s a logistical challenge to pull it off, so you have to find a volcano that you can get to safely and relatively easily. This is stating the obvious, but you can get two flights into Hawaii, drive for an hour, and there is our volcano. That’s one hurdle cleared.”

Another difficulty with filming a volcano is that once the production team is on site, they must not only set up a complex broadcast operation in an extraordinary location, but executives must look after the team, who has to sleep and eat, as well as work.

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Focus on the Big Island “That’s hard if you’re in the middle of nowhere,” said Ausden. “Fortunately, at Kilauea, there’s a military holiday camp with accommodations and catering, all very close to our location by the crater.”

Volcano Live was the largest production to film in Hawaii Volcanoes National Park since 2008 when the film The Tempest, starring Helen Mirren, shot there. But in many ways, Volcano Live was far more unprecedented, Ferricane and Beadles agreed.

“We were doing a live, primetime viewing for the UK,” said Beadles. The time difference between Hawaii and the UK is 11 hours. That meant the Hawaii production team had to broadcast between 9am and 10am to get the feed to the UK for a 7pm to 8pm show.

But Volcano Live was not only showing Kilauea, but would cut to pre-programmed vignettes of the hosts interviewing park service staff, geologists and volcanologists. The program had two different crews visit Hawaii Volcanoes National Park in advance to do those interviews.

The production was required to protect native and endangered plants and animals

The rare endemic Mauna Loa silverswords, found on Mauna Loa, bloom once every 25 years then die. Shown here: host Kate Humble and the park’s Chief of Resource Management, Dr. Rhonda Loh filming a silversword segment.

PHOTO BY SHAUN BAKER

wherever they filmed. The BBC team was “very aware” that they were working in “very culturally and environmentally sensitive areas,” said Beadles.

A huge amount of cable had to be laid out carefully at the Kilauea overlook near where the satellite truck was parked, said Ferricane. Then came the task of placing “hundreds” of small orange flags where endangered native Hawaiian plants grow so no one would step on them or so they would not be damaged by the cable.

“Pretty much if something was green, we needed to flag it,” said Ferricane.

She and Beadles believe that, because of the production’s success, the National Park Service and other government agencies now confirm that with preparation and cooperation a program of this magnitude can be done correctly to the benefit of all.

Ferricane said that from “the minute” the Volcano Live production team contacted Hawaii Volcanoes National Park, “we understood what they wanted to accomplish, the locations and large production equipment needed, and the interviews needed to be arranged.”

“We set the bar pretty high in terms of preparation and cultural and environmental sensitivity,” said Beadles. “We also wanted to make sure we would be welcomed back.” HFV

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Focus on the Big Island Filling the Void BIG ISLAND GIGS IS OPEN FOR BUSINESS

Big Island Gigs films near South Point on Hawaii Island. PHOTO COURTESY BIG ISLAND GIGS

T

do this, so I did—we did.” here are a lot of talented production Cunningham was born in Lausanne, people spread out over Hawaii Island, Switzerland, and raised on the Big Island. His which is twice as large as all the other worldwide travels with his parents visiting Hawaiian islands combined. So when a television, feature, or commercial production plans to shoot there, usually their first call is to Big Island Film Commissioner John Mason for crew contacts.

That’s because, until now, there really wasn’t a primary production or location services company on the Big Island.

But since opening its doors this past summer, Big Island Gigs has filled that void. The company provides crew, equipment, locations and local knowledge to a variety of productions, according to company president Michael Angyal (pronounced “angel”).

Creating Big Island Gigs was the brainchild of several Hawaii Island production Michael Angyal people, most notably filmmaker David Cunningham, with whom Angyal has refugee camps, slums, bustling cities, and worked on a number of projects. exotic cultures would become an important “Several of us were talking about there inspiration for Cunningham as a filmmaker. being a need here for a company with all the He studied film and graduated with bachelor’s production contacts and required equipment,” degrees from both the University of the said Angyal. “David kept encouraging me to 28

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

Nations on the Big Island and the University of Southern California.

Cunningham’s first feature, Beyond Paradise in 1998, revealed a modern-day Hawaiian culture clash rarely seen by visitors. His second feature, To End All Wars (2001), set during WWII and starring Kiefer Sutherland and Robert Carlyle, is the true story of allied prisoners who started a secret university in a Japanese POW camp. Cunningham then directed two mini-series for ABC: the $15-million Little House on the Prairie (2005), and the controversial $40million 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 latter production aired, 26 million Americans tuned in, and the mini-series received seven Primetime Emmy nominations and one win.

“David has been a major inspiration for many of us on the Big Island,” said Angyal, who also recruited recent Washington state transplant and filmmaker Michael Lienau to be an integral part of the Big Island Gigs team.

Lienau is CEO and founder of Washington-

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When Mount St. Helens erupted in May 1980, Lienau was one of the first cinematographers to photograph the devastation around the mountain from the ground. Caught in the second largest eruption, the camera crew barely escaped with their lives. Lienau produced the dramatic television special The Fire Below Us: Remembering Mount St. Helens.

His other award-winning productions include: Healing America’s Wounds, highlighting racial strife and the power of forgiveness with John Dawson; Return of the Raven, profiling a Native American’s stand against the United States government; Native Apology Resolution, a Congressional briefing video distributed to all members of Congress; and Run to High Ground, an American Indian story about earthquakes/tsunamis produced for Washington state military, among several others. “Big Island Gigs represents four generations of directors with a history of pioneering independent filmmaking on the island starting 15 years ago,� said Angyal.

The core group also serves on the Advisory Board of the Hawaii Film Office and is actively partnering with local government, landowners, vendors and crew to make the Big Island “a top choice for film and television production,â€? he said. “We know Hawaii Island‌like no others,â€? said Angyal. “As filmmakers, we understand the needs of both small and large productions—and take pride in a well run set.â€?

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Focus on the Big Island

Farish Media's slate of 2012 projects included a performance demo with musician Lee Stewart. PHOTO COURTESY FARISH MEDIA

Farish Media Wraps Busy 2012

B

ig Island-based Farish Media, Inc. had a very busy and diverse 2012, shooting everything from musical performance demos to real estate videos to HD aerial footage.

HERE ARE A FEW HIGHLIGHTS: Mitsubishi Electric: Shot footage for vari32

ous videos used at their corporate sales rally in Hawaii, including all corporate meetings and breakouts. Edited all sessions into a comprehensive training tool for the company.

Ironman World Championship: Edited a two-minute promo with Super Bowl MVP Hines Ward, featuring his announcement that he will run in the 2013 Ironman and his

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

endorsement of Chocolate Milk, the official refuel beverage of Ironman.

Big Island Aerial Footage: The day before Ironman, Farish Media timeshared NBC’s aerial HD camera package and helicopter, and company president Mason Farish directed Emmy-winning aerial cinematographer Chris Chanda (Planet Earth Live, Nova,

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Iditarod, Survivor), as they captured more amazing aerial footage of the Big Island.

Philadelphia Insurance Company: Captured HD video of two triathletes from Philadelphia Insurance Company as they competed in the Ironman World Championship. Full race-day coverage.

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video and a 30-second TV commercial promoting this legendary Big Island golf course.

Cyanotech/Nutrex Hawaii: Shot interviews with medical and scientific experts discussing the benefits of Hawaiian Spirulina and Astaxanthin, as well as product broll for promotional videos.

Real Estate Sales Video: Shot and edited a real estate sales video for a $1.15-million custom home and a $7.5-million estate in Kona. The videos are airing on KFVE and Oceanic Cable.

Other Farish Media projThe Farish Media team shoots a real estate sales ects include shooting and video, one of many diverse projects the company editing a performance demo produced last year. PHOTO COURTESY FARISH MEDIA for Hawaii-based musician BBC America: Second unit camera work Lee Stewart, as well as numerous TV comshooting interviews and b-roll at Three Ring mercials for local businesses, including Ranch for an episode of Richard Hammond’s Queens’ Market Place, Rotary Club/Hawaii Crash Course, which aired on BBC America Island Food Basket, KTA SuperStores, Minit in December.

Stop, and Pacific Boats and Yachts.

Mauna Kea Golf Resort: Shot on-location Visit www.hawaiivideo.com for more inforfive days and edited a three-minute promotional mation. HFV

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Voices of IATSE

A QUARTERLY UPDATE FROM HAWAII’S PRODUCTION CREW UNION

BY HENRY FORDHAM, Business Manager, IATSE Local 665

2012 started out with season two of Hawaii Five-0 anchoring the local production scene. With the early news of season three being renewed, we were further bolstered by the pilot for Last Resort in March.

From mid-summer through December, we were again a two-show town, with production visiting all corners of Hawaii. In March, The Blue Lagoon shot on Maui with almost all local crew from the Maui resident pool of members. Mad Men lensed part of its season six premiere episode at the Royal Hawaiian Hotel in October.

AMC’s Mad Men series filmed on Waikiki Beach and the Royal Hawaiian Hotel for two days.

years of service are eligible for a Gold Card, which denotes permanent lifetime membership, upon their 75th birthday. This year we bestowed eight Gold Cards to Robert Barnett, Herbert Furuya, Fujie Kajikawa, Oliver Konia, Lew Maddox, Phillip Miller, Albert Santos and Wallace Wong. President Loeb presented the Gold Cards to the six honorees in attendance.

In October, Local 665 sent two members to the inaugural IATSE Young Workers Conference. This conference is a new international initiative to identify and educate our young leaders of tomorrow. They were joined by their contemporaries from Locals throughout the alliance. The three-day workshop provided specialized skills, tools and interactions for these individuals to bring back and share with their home Locals.

Looking forward to 2013, Hawaii Five-0 will be moving digs from the now-sold former Honolulu Advertiser building, as they Hawaii Five-0 jump stunt on the roof of its production offices near downtown Honolulu.

The Hunger Games sequel project brought a full-scale feature in December and shot on some Oahu beaches and jungles. Cable pilots, commercial production and music videos sprinkled over the months kept the technicians and artisans of Local 665 busy.

The Hawaii International Film Association (HIFA) rebounded from the devastating tsunami of 2011 with steady production work in the spring and fall seasons. No less than seven HIFA affiliated production companies worked on Oahu, Kauai, Maui and Hawaii in 2012.

In June, IATSE Mixed Local 665 held a banquet to celebrate the 75th anniversary of our charter. International President Matthew Loeb, International Vice President Michael Miller, and International Vice President Emeritus Edward Powell joined us and addressed the gala event. History, stories, accomplishments, statistics, and the future were shared by all.

Retired IATSE members with at least 25 36

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Jennifer Lawrence stars in The Hunger Games: Catching Fire, which filmed on Turtle Bay Resort lagoon property in December.

finish season three and prepare for season four. There are always rumors on the horizon, including reports of scouts on all islands.

We await official word of feature and episodic production.

Local 665 also has a seat on the Hawaii Film & Entertainment Board (HFEB) with other organizations representing labor, industry and production entities in the state of Hawaii. HFEB continues to monitor legislation that affects our industry and work with each other to promote and grow opportunities. We look forward to the 2013 legislative session and the exciting prospects ahead of us.

Mahalo to all of our colleagues, on and off the job. Aloha to the friends and family who have left us. Continued best wishes to those recovering from injury or illness. And congratulations to those with new additions to the family.

Here’s to a prosperous and productionfilled 2013. HFV

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Maui at the Center of the Evolution of Television

T

he roots of television, back before the advent of videotape, was live TV. And in the pre-digital age, a multicamera, live-switched production was a massive set-up requiring tons of expensive equipment and engineering.

Today, with tools like Newtek’s Tricaster and high-def digital cameras, live TV is portable and relatively cheap. Especially for long format programs—like days-long seminars or festival events, where costs skyrocket just for the sheer number of hours required in editing—today’s multi-camera, live-switched production represents a new open-door for producers to generate content. Coupled with online distribution platforms, as an alternative to costly and time restrictive DVDs, there’s an entirely new business model applicable to niche content as never before.

True to the name, Maui’s Small Wonder Video Services has pioneered an entirely new way to produce, market and distribute content that allows virtually anyone to reach their audience via multi-camera, live-switched TV, that’s accessible on the Web, live-streamed or as Video on Demand, or shipped as video files where a

single 18 gigabyte USB flash drive plays over 24 hours of high-def video.

“I saw the potential last year when I was hired

by Eckhart Tolle TV as director for a multi-day, live-stream event with Eckhart Tolle, Ram Dass and Wayne Dye,” says Sam Small, founder in 1981 of Small Wonder Video Services. “They had thousands of people watching via the Web for three days of program. Eckhart Tolle TV had constructed their own platform for production, marketing and distribution of their own content. I knew I could do the same and make it available to any teacher or performer who has an audience.”

Small Wonder tested the concept with Dying into Love, a series of video seminars produced by Maui’s not-for-profit Doorway Into Light, featuring Ram Dass, Joan Haliax, Dale Borglum and Bodhe Be. Dying into Love ended up as 42 videos totaling almost 18 hours of seminar content focused on death and dying.

“That’s niche content if ever there was,” says Small. “We marketed it first to the e-mail lists of those involved and pretty much covered our production costs in the first wave of sales. It’s

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evergreen content so we’ve broadened out with Google Ads to reach a global audience.

Our sales pipeline, which is a fully automated, interacting package of video hosting, e-mail auto-responder and shopping cart, is all in place. We just got our first glowing review in Natural Transitions Magazine and more media to follow will only grow our sales over time.”

Two new offerings have been shot and are being packaged now. One, in partnership with Age Nation—“which is the Alternative AARP,” says Small—is the product of a two-day conference on aging, and features, among others, Jean Houston, Michael Meade, Ram Dass and Rabbi Zalman Schachter-Shalomi. The second is based on the work of Dr. David Greenfield, a practicing psychologist and pioneer in the treatment of technology and Web addiction.

Says Small, “Maui is a small production market; to survive here, we had to think big.

We’ve created an affordable and proven path for anyone with unique content to enter the global stage. That’s a true evolution in the field of communication and I’m very excited to be a part of it.” HFV

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The Business of Acting SAG-AFTRA PRESENTS WORKSHOP AT HIFF

BY TIM RYAN Executive Editor

A

cting isn’t a hobby, but a business.

Acting is engaging your imagination to the point where you can sensually believe the circumstances given to you in a script. With trust in the circumstances, you can begin to viscerally understand—in the body, rather than in the mind—the motivations of a character and bring life to it without effort or artifice.

Casting director Rene Haynes (right), with emcee and actor Kalani Queypo, emphasized to some 300 SAG-AFTRA members that acting isn't a hobby but a business, "so be prepared."

An actor’s job is to make the story real to him or herself and to the audience.

This was just some of the advice given to attendees of “The Business of Acting Workshop,” a daylong presentation by a panel of filmmakers and production executives. Presented by SAG-AFTRA Equal Opportunity & Diversity Department and SAG-AFTRA National American Indians Committee, the workshop was held at the Royal Hawaiian Hotel during the 2012 Hawaii International Film Festival (HIFF).

The workshop, attended by some 300 people, highlighted the critical tools actors need to promote and sustain careers in film, television, and new media. That included a discussion on resumes, reels, acting unions and representation, making an audition tape, and using social media effectively. The workshop also featured a tutorial on the essential film disciplines and 40

“TREAT ACTING AS A BUSINESS BECAUSE IT IS. THAT’S WHY IT’S CALLED SHOW BUSINESS.” the most common acting mistakes when approaching work and camera technique.

Later that day, the audience watched a group of actors, selected by casting director Rene Haynes from pre-submitted headshots and

HAWAII FILM & VIDEO MAGAZINE ISSUE FOUR 2012

resumes, read scenes from various scripts and teleplays. The actors then received coaching from the workshop’s leaders. These included Haynes, actors Kalani Queypo, Parveesh Cheena, Irene Bedard, and Ren Hanami, and director Quentin Lee. Preparation is “critically important” to succeed in an audition, said casting director Haynes. She strongly suggested that acting hopefuls invest in a video camera.

“If you don’t live where you can routinely be seen by casting professionals in person, you’re going to need to send them a recorded audition,” she said.

Haynes also emphasized the importance of learning the lines of any script sent to you.

The audition tape is going to be “your three minutes,” said Haynes, a two-time Emmy nominee for the TNT/DreamWorks miniseries Into the West and the HBO feature Bury My Heart at Wounded Knee. “You’ll have the undivided attention of the decision-makers on whether or not you’re going to proceed to the next stage of being considered for the role.

“If you have the line memorized, that allows you to be fully engaged with the scene partner and give the casting director a better sense of what you can really bring to the role.”

Other “musts” include appearance.

“Wear appropriate clothing, non-distracting without logos, neutral colors that relate to the character,” she said. “Do not wear a costume unless you’re specifically asked to.

And don’t let your hair obscure your eyes.”

Here are some more audition tips from Haynes: • Reader placement: Either to the right or left of the camera and standing as close to the camera as possible because this allows you to look at the eyes of your reader when acting the scene with them.

• Quiet feet: Auditioning can be a somewhat nerve-racking experience, so many people have a habit of shuffling from one foot to the other without being aware they’re doing that.

• Review your taped audition: Make sure you analyze your audition tape before uploading and sending. Is this the best work you can do? If not, redo it.

• Make the deadline: Time matters. Casting sometimes moves very quickly. Get your audition tape there on or before the deadline.

The panel also defined the difference between agent, talent agent, casting director, talent manager, and publicist, and that these days, actor reps take 10 percent of an actor’s fee—not the 15 percent of years before.

Haynes also suggested that new actors trying to break into the business forego hiring a publicist until “you have a lot going on.”

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SAG-AFTRA members mingle during the workshop's intermission.

“When you’re just starting out, go through an agent if you already have some (acting) credits,” she said. “But be careful of agents who say up front right away that they will get you work.”

The panel agreed that actors’ unions like SAG and AFTRA are there “to ensure you are treated fairly.”

“They keep track of residuals and what you are owed,” said Haynes.

There were also suggestions by the panel for “wannabe” actors on how to fill out an acting resume.

“Agencies generally have their own resume format,” said actor Ren Hanami, who’s appeared in such films and TV shows as Airforce Academy, Without a Trace, Private Practice, and Ice Storm. “The whole point of the resume is that

it’s a quick and easy read, and informative. Be clear and concise about your skills. Don’t say you can ride a horse when you can’t.”

Haynes added that there’s no need to put your

Panelists included (l to r) Quentin Lee, Director; Irene Bedard, Actor/Producer; Ren Hanami, Actor; Kalani Queypo, Actor; Rene Haynes, Casting Director; Parvesh Cheena, Actor.

name, age or home address on the resume.

“Let your picture and credits speak for themselves,” she said.

The panel also agreed that when it comes to enclosing a headshot, use the best and most natural photo possible, which is oftentimes captured using natural rather than studio lighting.

“Don’t have a headshot done by a glamour photographer,” said Haynes. “You’ll come into the audition room and no one will recognize you.

Oh, and show teeth so they can see that you have good teeth.”

Added actor Parvesh Cheena, who appeared as “Gupta” on NBC’s sitcom Outsourced and is the voice of “Blades” on The Hub Network’s Transformers: Rescue Bots, “Treat acting as a business because it is. That’s why it’s called show business.” HFV

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Black Pearl Bids Aloha to Oahu

T

he Black Pearl ship used in Disney’s Pirates of the Caribbean: On Stranger Tides bid aloha to Oahu in November after spending more than two years anchored at Barbers Point. The ship spent the past several months in drydock for repairs and in preparation for shipment to St. Thomas, U.S. Virgin Islands, where the fifth installment of the franchise will be shot.

Though the 270-ton, 140-foot custom-built pirate ship motored to Hawaii under its own engines from Long Beach, California, the pirate ship replica was shipped to the Virgin Islands on the deck of the heavy lift vessel, BBC’s The Pearl, with the operation managed by the Yacht Path Marine Group. The entire operational process— loading, blocking, cradling, welding and sea fastening—took six hours from start to finish. The company filmed the lift project for an in-house documentary.

“We performed the loading of ‘Black Pearl’ utilizing both ships’ cranes in a lift most commonly known as a tandem lift,” said Oliver Edwards, head loadmaster for the project.

The Black Pearl arrived at its new home in St. Thomas three weeks after leaving Oahu. HFV

The "pirate ship" Black Pearl, used in the fourth installment of The Pirates of the Caribbean franchise filmed in Hawaii, is lifted onto a freighter that will take it to the Virgin Islands for the fifth feature. PHOTO BY TIM RYAN

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Branscombe Richmond Goes Trucking

I

t’s not as if Branscombe Richmond, a highly recognizable Native American actor, stuntman, singer, and production equipment business owner, needs more work.

But the Maui resident, once again, is branching out, having recently acquired Honolulu-based Akamai RV, the largest business in Hawaii that specializes in recreational vehicles for productions and dressing room trailers.

Branscombe Richmond “I love to create jobs for family and friends,” said Richmond. “It’s always about that more than anything.”

Since purchasing the company this past summer, Richmond has added two more RVs to the Akamai fleet—a 36-foot Monarch with 1.5 baths, and a Winnebago—for a total of four motorhomes, a travel trailer, and a five-dressing-room rig that’s located on Maui. Eventually Akamai will have three motorhomes and the dressing room rig stationed on Oahu, with the others on Maui.

The Akamai fleet also includes a 33-foot Fleetwood Pace Arrow and a 29-foot Fleetwood Bounder. The Pace Arrow has a kitchen, dinette, couch, toilet, vanity and shower, and a double slide-out. The Bounder has space for a queen bed or office with desk and chairs, tub/shower, toilet, sofa, small kitchen, freezer/fridge, DVD/VCR combo, and closet space.

While the company’s name remains Akamai, the vehicles are registered with Richmond Ohana. Under Richmond’s leadership, the company has been servicing film—including the Hunger Games sequel—and television productions, live concerts, events, ad campaigns, and weddings.

“A lot of people are getting married on the beach so it makes sense to get dressed there and do hair and makeup,” said Richmond. “Our goal is to create jobs…”

The 6-foot-3 Richmond has regularly played the bad guy on-screen. He’s been on the receiving end of the fists of Arnold Schwarzenegger in Commando (1985), gotten pummeled by Carl Weathers in Action Jackson (1988), and tangled with Steven Seagal in Hard to Kill (1990).

He first broke into film and TV in the early 1970s with minor roles in shows including The Rockford Files (1974) and Magnum, P.I. (1980). In 1992, Richmond scored the key role of “Bobby Sixkiller” in the bounty hunter-themed TV series Renegade, starring alongside Lorenzo Lamas and Kathleen Kinmont. The series ran from 1992 to 1997, turning out more than 100 episodes.

More recently, he’s appeared in Hawaii television shows, including LOST and the current Hawaii Five-0, and the feature Forgetting Sarah Marshall.

Richmond is also the official spokesman for Indian Motorcycles and the lead singer for the band Branscombe Richmond and the Renegade Posse. Awards include being voted “Native American Entertainer of the Year” and “Mr. Showman” of the year by the Las Vegas Review-Journal.

“I love keeping busy and looking at new things to do,” said Richmond of his new venture. “This is just an extension of what I’ve done my whole life.” HFV 46

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