Louisiana Film and Video

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ISSUE TWO 2012

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CONTENTS

VOLUME EIGHT

ISSUE TWO

EXECUTIVE EDITOR/ASSOCIATE PUBLISHER Shanna Forrestall shanna@louisianafilmandvideo.com ASSOCIATE EDITOR Katie Sauro contact@louisianafilmandvideo.com CONTRIBUTING WRITERS W. H. Bourne, Cindi Davis-Andress, Wingate Jones, Dawn Landrum, Odin Lindblom, Tony Severio, Andrew Vogel, Laurie Walsh, Cristina Wollenberg SALES MANAGER Katie Higgins SALES Eric Iles, Kathy Riley, Paul Yarnold PRODUCTION MANAGER John Rusnak DESIGNER Dawn Carlson, Jenny Carlson WEBMASTER Eric Pederson OFFICE MANAGER Audra Higgins

Ted Morée (left) and director David Kirtland (center) review a shot from Homelicide.

INFORMATION SERVICES MANAGER Lois Sanborn

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LETTER FROM THE EDITOR

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COSTUMING IN NEW ORLEANS

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ABRAHAM LINCOLN: VAMPIRE HUNTER’S CALEB DESCHANEL ON SHOOTING IN LOUISIANA

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GREAT EXPECTATIONS: THE KEY TO A THRIVING TALENT POOL

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LOCATION SPOTLIGHT: HISTORIC ST. FRANCISVILLE

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FILM HISTORY IN THE MAKING

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LOUISIANA’S NEW BREED

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MARKETING AN INDEPENDENT FILM: A TEAM EFFORT

SIMPLIFY ACCOMMODATIONS OPENS OFFICE AT CELTIC MEDIA CENTRE

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HOMELICIDE: SHORT FILM TAKES ON HOMELESSNESS ISSUE

THE ST. JOHN CENTER SOUNDSTAGE — TECHNOLOGY MEETS LOCATION

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FILM FOCUS: RUGARU

FILM & FASHION NIGHT IN NEW ORLEANS

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2012 NAB SHOW: SOMETHING TO TWEET ABOUT!

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WOMAN THOU ART LOOSED!: ON THE 7TH DAY

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AN EXCLUSIVE LOOK BEHIND THE SCENES OF SCRAPE

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SMOOTH AMBLER LAUNCH PARTY

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FLETCHER CAMERA & LENSES EXPANDS TO LOUISIANA

Orleans, Ben Walker is the iconic Abraham Lincoln: Vampire Hunter. PHOTO © TWENTIETH CENTURY FOX FILM

ON THE COVER: Shooting on location in metro New CORPORATION. ALL RIGHTS RESERVED.

DIGITAL EDITION AVAILABLE AT: WWW.LOUISIANAFILMANDVIDEO.COM

SIGNS OF ALL KINDS

NEON SIGNS • BANNER • VINYL LETTERS • WOODEN SIGNS • GRAPHICS

• Neon For Rent • In House Neon Plant • Studio Friendly • www.neometix.com

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504.940.0888 • 504.940.0891 fax neometix@bellsouth.net 1928 Burgundy Street • New Orleans, LA 70116

Louisiana Film & Video Publications A DIVISION OF MEDIA INDEX PUBLISHING GROUP P.O. Box 50036 New Orleans, LA 70150 (800) 332-1736 contact@louisianafilmandvideo.com www.louisianafilmandvideo.com www.louisianaproductionindex.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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LETTER FROM THE EDITOR

L

osing someone to sudden death is a terrible thing. And this issue I’d like to take this space to talk about a dear person lost to us.

Frank Lee Wills, Jr. was many things in his lifetime—a professional athlete, an actor, a contributing writer to Louisiana Film & Video Magazine, and most of all, a friend. His unexpected passing on Friday, May 11, 2012 saddened our hearts and created a hole we will not easily fill.

While we know that life is short, we often forget to treasure the days that fly by so quickly. We can get caught up in work, and making a living, and forget to “live in love.”

It’s Mother’s Day as I write this and I am reminded that we should keep all of our loved ones—friends and family—close to our hearts and relevant in our lives, so that when our inevitable ends come, we don’t have to regret, but have much to celebrate for the precious times we’ve shared.

RIP dear Frank. The legacy of Louisiana film will live on, and so you will live with it. Your enduring passion for the industry here, your unwavering support of local talent and crew, and your unselfish desire to see all of us shine will propel us forward.

Sincerely, Shanna Forrestall Executive Editor & Associate Publisher

F X E Q U I P M E N T R E N TA L

333 River Road Jefferson, LA 70121

504.832.9800 www.storytellerfx.com

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ABRAHAM LINCOLN: VAMPIRE HUNTER’S CALEB DESCHANEL ON SHOOTING IN LOUISIANA STORY BY W. H. BOURNE • PHOTOS © TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS RESERVED.

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love New Orleans unless it’s the middle of summer,” says cinematographer Caleb Deschanel, A.S.C., as he diligently works on color timing Abraham Lincoln: Vampire Hunter, which is due out in a few weeks in theaters everywhere.

“We finished right around the beginning of July, so it was really hot and a lot of humidity,” says Deschanel of the 2011 shoot, which spanned end of winter to midsummer. But Deschanel also spent quite a bit of time in Louisiana before this film shooting Killer Joe with Billy Friedkin.

Cinematographer Caleb Deschanel (left) and director Timur Bekmambetov.

“My electrical and grip crew for Abraham Lincoln: Vampire Hunter was from Louisiana,” says Deschanel, “and I used the same key grip and gaffer for both films.”

When it comes to cinematography, Deschanel is legendary, having won the lifetime achievement award from his peers at the American Society of Cinematographers (A.S.C.).

He’s also been nominated for five Oscars and 8

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has an impressive career that spans more than 40 years, so hearing the details of his digital shoot with the Alexa was fascinating, particularly since this was his first time shooting for 3D. “The film is a conversion so you have to keep reminding yourself that you’re going to end up in 3D,” says Deschanel. “In 3D, you have to compose (your shots) in ways different than 2D because you have to weight the

composition toward the center of the frame much more. Things out toward the edge of the frame in 3D tend to get lost or oftentimes get confused by the edge of the frame.”

He continues, “We did a lot of research on 3D films, on films that were shot with two cameras and films that were converted, and it’s getting to the point that the conversion is, at least 80 percent of the time, every bit as good because when you shoot with two cameras you have to alter your perceptions of the backgrounds and keep changing the inter-ocular distance. But the one thing you don’t get from 2D converted to 3D is the sense of atmospheric elements like dust and smoke and underwater floating things, but Timur (Bekmambetov, the film’s director) came up with the idea of adding things later, after it was converted, to help that illusion. I know there are arguments on both sides, but I think the best way to shoot a 3D movie is to shoot 80 percent in 2D and convert it, and for those moments where you’re definitely shooting something atmospheric, smoke and fog and underwater, to shoot with two cameras. That’s my theory.

You’ll probably get a bunch of people with different theories, but I really think being able to switch back and forth (2D conversion to Native 3D) at key times is the way to go.”

Deschanel talks about working with Bekmambetov. “Timur comes with a really strong visual sense. He had done these two incredible vampire movies in Russia called Night Watch and Day Watch, which are really very dark and powerful films, which made him a very obvious choice for this movie. Timur and I would have loved to have made this film in black and white because that’s the kind of record we have of the time.

“The look of the film is a soft palette reflective of the way we perceive color. We did limit it to some extent. But as far as the color palette, everyone wore black in those days, so you know the color is automatically limited as compared to colors today with people wearing Hawaiian shirts and everything. There’s not a lot of Hawaiian shirts in the movie,” jokes Deschanel.

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As the film’s cinematographer, Deschanel had to do extensive research to ensure an accurate depiction.

“Shooting the Gettysburg Address was really exciting because it’s such an archetypal moment in American history,” says Deschanel, “also shooting the inaugural address of Abe Lincoln as well. Most were created with a lot of visual effects in the end, but it was great to have (actor) Ben Walker saying these iconic words, which become a centerpiece for the movie in the end.”

He adds, “Fortunately we’re dealing with an era of time that had a lot of photographic records of what went on and what happened, so those sort of became the reference, and from there you interpolate using common sense. I studied a lot of photo books of Civil War and pre-Civil War era and used that as a guideline for what we were doing.

“You also read about it as much as you can.

In fact, there’s more written about Abe Lincoln than any other person in history. There’s a prize every year for the best book written about Lincoln, so you have books from so many perspectives—political, socio-political, psychological, philosophical, sociological… He was an extraordinary human being, particularly with

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Cast and crew preps for a scene.

Ben Walker as Abraham Lincoln laughs with the crew between shots.

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Director Timur Bekmambetov (right) and actor Ben Walker.

“The reason the concept of Abraham Lincoln: Vampire Hunter works is because there was something very dark and tragic about his life that suggests the presence of something sort of supernatural.” the kind of accomplishments he had.”

Deschanel continues, “The reason the concept of Abraham Lincoln: Vampire Hunter works is because there was something very dark and tragic about his life that suggests the presence of something sort of supernatural. In the film that John Ford made, Young Abe Lincoln, people often talk about Abe Lincoln being this Nosferatu-type character. John Ford, who is known for making very patriotic films, made his Abe Lincoln very interior and not very personable, which makes for a character that can be interpreted and reinterpreted. There are also some silent films as well that have very dark visions of Lincoln.”

While the film is set in various Midwest locations, as well as in Washington D.C., it was shot entirely in and around New Orleans.

According to Deschanel, finding suitable stand-in locations wasn’t always easy.

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Abraham Lincoln: Vampire Hunter was that you can’t find any hills (in New Orleans),” he says.

“It’s all flat. The only hills you find are dirt piled up from excavations, so that was the hardest part for us—trying to make Louisiana work for other things. We tried to cheat things as much as we could. We gave up trying to find a big cliff overlooking the river. Even though we finally found one, it was two hours outside of New Orleans, and we ended up not filming there. Everything that had any kind of landscape other than flat was north of Lake Pontchartrain. We did do some shooting north of the lake to find some different vegetation and things like that.”

He continues, “A small part of the film does take place in the South and in Louisiana, but most of the film takes place in Illinois, Indiana and surrounding areas, as well as Washington D.C., so we just had to make do with what we could find. For the most part we found swamps and all sorts of different vegetation, but essen-

tially we scoured everything within a 50-mile radius to get different looks. What we couldn’t find, we made up for with visual effects. We used downtown New Orleans for Springfield, Illinois, and various other places just by decorating. The architecture in New Orleans is very distinct, so you have to find other areas of New Orleans that doesn’t look as much like New Orleans.”

Says Deschanel as he reflects on the months-long shoot, “It was great until it got hot and then it was uncomfortable, but I really liked my crew. Everyone was really friendly.

New Orleans is a great town. It’s a great place to spend time. But why did we really come to Louisiana… rebates, rebates, rebates!”

As I wrapped my interview, Caleb Deschanel hurried back to work. He was at Technicolor, hard at work on color timing for Abraham Lincoln: Vampire Hunter, which is scheduled for wide release on June 22 by 20th Century Fox. I know I’ll be one of the first in line. LFV

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FILM HISTORY IN THE MAKING indoor seated theatre in the United States.”

The Pooles are pioneers of Louisiana film research, and they are working hard to spread their knowledge and passion for Louisiana film history. They have begun presenting their research throughout the state on a mission to inspire, enlighten, and create the research headquarters that is long overdue in Louisiana.

Others, such as Al Bohl, are contributing to a similar cause. Bohl and his daughter, filmmaker Allison Bohl, teamed up to produce a feature-length documentary highlighting the making of Louisiana’s first blockbuster in 1918, Tarzan of the Apes.

The documentary, Tarzan: Lord of the Louisiana Jungle, premiered in Morgan City on April 13 and 14 at the first ever Tarzan Festival.

The festival celebrated the character’s 100-year anniversary and revealed compelling information on the making of the original Tarzan. Al Bohl even speculated that the true origin of the Loch Ness Monster could be a result of production gorillas being released into the Louisiana swamps.

“The committee is already making plans for next year’s Tarzan Festival,” said Bohl in reference to the success of his documentary and the festival.

Bohl gained enough clout with the festival and documentary that Governor Jindal declared

Ed and Susan Poole, authors of Hollywood on the Bayou.

STORY BY ANDREW VOGEL GUEST COLUMNIST

rich and vibrant history in Louisiana film is being exposed. Through the work of Ed and Susan Poole, authors of Hollywood on the Bayou, the legacy of Louisiana film is now being collected, researched, and published for the first time.

“Last year the state of Louisiana had more feature films made than Los Angeles. But if Louisiana is going to be a powerhouse, we cannot just focus on the new,” said Ed Poole.

Hollywood on the Bayou features 1,170 films made in or about Louisiana. The Pooles have written over 11 books on movie accessories and have collected thousands of original Louisiana movie posters in the last 30 years. Their goal is to give Louisiana film the historical documentation it deserves and have it accessible to the public.

According to Ed Poole, there is virtually no historical record of Louisiana film, other than what he and his wife have collected. Los Angeles and New York have extensive documentation, and Louisiana needs to have the same.

“We put out information that nobody else can right now,” said Poole. “It’s sad that we [Louisiana] don’t even keep track of what was done here. Not many people know of the huge impact Louisiana has had on the history of film.

Louisiana had the very first

A

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Ed and Susan Poole hold up various movie posters for movies filmed in Louisiana.

Friday, April 13, 2012, as “Tarzan Day in Louisiana.” Tarzan and the contributions of Bohl were further honored when Lt. Governor Jay Dardenne cut the ribbon on the Tarzan: Lord of the Louisiana Jungle exhibit at the Louisiana State Museum at Patterson. The exhibit displays 100 years of Tarzan memorabilia collected by Bohl.

“If you really believe in something, you have to sell the farm,” said Bohl.

The film industry in Louisiana appears to be ever-growing, and with the unmasking of such an eventful past, all those involved can feel prouder than ever. LFV

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LOVES US P

icture a sampler of everything Louisiana offers. Head into the wild and exotic beauty of primal swamp in the Atchafalaya Basin. Antebellum and Victorian homes. Picturesque small towns. A 19th century boulevard of cast iron street lamps and mosscovered oaks in a community with over 400 historic buildings. Plenty of inland waterways, bayous and the Gulf of Mexico. Even an authentic decommissioned offshore drilling rig and other locations in the heart of the petroleum industry.

Filming is always easy on the relaxed and friendly Cajun Coast. And we’re less than 90 minutes from New Orleans or Baton Rouge.

Explore the Cajun Coast, the heart of what National Geographic called this “hauntingly beautiful land,” when you’re scouting locations for your next production.

Call 800-256-2931 or visit the photo gallery of our website at www.cajuncoast.com.

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St. Mary Parish. Less than 90 minutes from New Orleans, Baton Rouge or Lafayette

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LOUISIANA’S NEW BREED

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ne of the keys to crafting a film and production industry with longevity is building an indigenous film community that creates quality work, generating and utilizing local money. And it appears that Louisiana is well on its way to doing just that.

With the success of the independent feature Beasts of the Southern Wild at Sundance this year, and Louisiana natives winning an Oscar for The Fantastic Flying Books of Mr. Morris Lessmore, which was created in Shreveport at Moonbot Studios, Louisiana’s creative natives are finally able to prove they can compete in the arena.

Louisiana is not a stranger to the Oscar nominations. Movies with links to the state have taken home awards for best actor, actress and even best picture over the years, but these recent successes are proof that Louisiana’s tax credits, created to lure big industry dollars here, have also spurred on the next generation of local filmmakers.

The next two issues will feature sections on Louisiana’s New Breed—a list of filmmakers you want to keep an eye on, because they may be the next ones on their way to the red carpet to represent us all!

Sean Gerowin - BACKYARD SHED FILMS Sean Gerowin, a self-taught filmmaker who began his journey on a Sony Betamovie camcorder, created Backyard Shed Films, LLC when his lifelong passion for film became virtually unstoppable after Hurricane Katrina.

He and his business partner, Gregor Fox, began the company to shoot their first feature film, Let’s Rob the Cheese Shop. The film went on to screen at festivals, and took home a Silver Medal for Feature Comedy at The Indie Gathering.

Backyard Shed Films’ most recent project, Trailer Park Jesus, was completed in December 2011, and is now being submitted to festi-

A scene from Trailer Park Jesus.

vals worldwide. The film is based on a “true misadventure” experienced when Gerowin was on a road trip through Mississippi.

“Currently, we are demonstrating the cinematic wonders, which we can produce with micro funds,” said Gerowin. “We are focusing 14

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with major “Hollywood” companies doing his kind of work and because of his proven track record with directors.

His success last year was enhanced by his production of Annie Leibovitz’s cover photo shoot in New Orleans of Robert Pattinson (of Twilight fame) for Vanity Fair, as well as traveling the globe to direct the Variety Studio at the Cannes, Toronto and Sundance Film Festivals on

on applying to film festivals with our ultra-lowbudget feature films, with the overarching goal of gaining advocates, whom could lead us to wide distribution and future financing.”

Backyard Shed Films has several feature ideas in development, one with a “drug comedy” theme similar to the first two films. They are also contracted to produce TV commercials, and have created a series of commercials for law firms based in Louisiana and Florida.

“Our goal is to move from low-budget films to high-budget feature films, and to continue having fun,” continued Gerowin.

“Filmmaking is a team sport, and part of the thrill is building that team of actors and crew.

When I write, I tend to have actors in mind, as I weave the story together based on their talents and the situations I wish to create.

Ultimately, we aim to connect with film audiences that dig our brand of zany comedy.”

For more, visit www.letsrobthecheeseshop.com and www.trailerparkjesus.com.

Richie Adams – RIVER ROAD CREATIVE Richie Adams, owner/creative director of River Road Creative (RRC), has been working as a title designer for the past 10 years—first in Los Angeles, then returning to Baton Rouge a little over 7 years ago, where, in addition to titles, he has provided design and related services to the film and television industry. Some of his recent title design projects include the main title sequences (opening credits) for the films Crazy, Stupid, Love; Water for Elephants; and Meryl Streep’s upcoming Hope Springs; as well as NBC’s acclaimed TV drama series, Awake.

It’s important to note that these jobs were not awarded to Adams and RRC because of Louisiana’s tax incentives, since these film and TV projects had no connection to Louisiana.

Adams was awarded the work because of his ability to compete successfully head to head

Richie Adams

behalf of entertainment magazine, Variety.

At the top of his current slate of projects, Adams is gearing up for his next independent feature film, Una Vida—a story about a renowned neuroscientist who grieves the loss of his mother to Alzheimer’s, while encountering an aged New Orleans jazz street singer afflicted with the same disease, but able to escape its effects when she performs. Before the singer’s music stops forever, the scientist seeks to unravel the mystery of her past, and in the process, perhaps, find redemption for himself.

Adams takes great confidence in the knowledge that Una Vida was considered for the June Screenwriters Lab at Sundance. While not chosen (very few projects were), there was considerable buzz surrounding the story.

Lastly, Adams is in the process of completing his first documentary film, Dog Man – The Dick Russell Story, about the beloved dog trainer who trained an estimated 30,000 dogs in and around Baton Rouge, and inspired countless other trainers far beyond Louisiana’s borders before succumbing to cancer in 2011. To learn more about the project, visit his “Kickstarter” campaign at www.kickstarter.com and enter the key words “Dog Man.” For more information on River Road Creative, visit www.rrc.la.

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Helen Krieger – THE HATCHERY MEDIA The Hatchery Media was founded by husband/wife team Joseph Meissner and Helen Krieger. Its mission is to nourish imaginative, human-scale, compassionate and engaging projects in film, television, live performance, and new media. The Hatchery values sustainability (environmental, social and financial), creative independence, respect for artists and audiences, and diversity of perspectives.

Joseph Meissner and Helen Krieger

Their biggest project to date is the awardwinning narrative feature Flood Streets, executive produced by actor/comedian Harry Shearer. Flood Streets follows a group of creative malcontents as they search for love, money, and marijuana in the surreal streets of post-flood New Orleans. Houston Chronicle reviewer Louis B. Parks gave it three out of four stars, and wrote, “For a drama about daily life in devastated New Orleans just 15 months after Katrina, this is a surprisingly upbeat, amusing film... Well-done and involving.”

The film premiered in Houston in April 2011, and has just been picked up for distribution.

Meissner and Krieger moved to New Orleans in 2001, drawn by the architecture and the culture, and continue to be inspired by the city 11 years later.

“We’re committed to exploring nuanced stories and performances, and to utilizing our amazing local talent to do so,” said Krieger. “We live in the Bywater neighborhood of New Orleans—filled with lots of colorful 18th-century homes built right up to the sidewalk—so we film in our neighborhood whenever we can. You couldn’t build a better set. We also film all around New Orleans—Uptown, in the French Quarter, Lakeview…Filming in Louisiana is great because you have every kind of architecture. You can shoot for anything here.”

Krieger is excited by the growing list of distribution options available to filmmakers.

“While things may be a little chaotic in the industry right now, I think this is ultimately 16

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going to result in more stories, and more storytellers, which means more sustainable careers for Louisiana filmmakers,” she said. “I’m also really heartened by the rise of groups like the New Orleans Video Access Center and the Women In Film and Television Louisiana Chapter. These are groups committed to developing indigenous filmmaking and to engaging and connecting local filmmakers. It’s vital that we keep building our indigenous film community, and it’s never been easier than it is right now.

As the entertainment market decentralizes and becomes more niche, this creates demand for more content, which is great for us, because Louisiana is full of storytellers.”

The Hatchery Media’s next project is a comedy series premiering online this fall, Least Favorite Love Songs, which Krieger describes as Sex in the City meets Flight of the Conchords in this look at “what makes us tick.”

“We’re really excited about this project, because it’s something new for us,” said Krieger.

“It’s our first Web series, and it’s also the first time I’ve acted in one of our projects. We’re also at work on a long-term documentary, Grow, now in its seventh year of filming, as well as several feature scripts, and we host a small theater space, the Garret Theater at the Hatchery.”

For more on some of the Hatchery’s latest projects, check out www.floodstreetsmovie.com and www.leastfavoritelovesongs.com.

Ji Choi & WOLLENBERG PRODUCTIONS Since 2010, Ji Choi and her team of Louisiana filmmakers (which includes Milo Daemgen, and Philip and Cristina Wollenberg) have finished three short films including hush now, holding his rabbits, and Madchen.

Choi came to New Orleans in 2002 for a visit, and fell in love with the city and moved here. She moved away for a short stint in 2004 to work on an international film, but returned in May of 2008, making New Orleans her long-term home.

“From the get-go, New Orleans has been inspiring and nurturing artistically,” she said. “In 2009, I enrolled in UNO graduate program in film production and UNO’s program has furthered the resources I have in terms of contacts, equipment, insurance, post facilities and guidance, especially from my editor and professor, Florent (“Danny”) Retz III, as well as screenwriting professors Erik Hansen and Henry Griffin.”

She continued, “Our last two films, holding his rabbits and Madchen, were shot in Franklinton and Folsom on the Northshore and it has been a privilege to have such a supportive community to set production. hush now was set in New Orleans and Vacherie and the generosity and welcome we were met with blew me away.”

The next project on the books for Choi’s team is The Shotgun Waltz, her first feature. It chronicles one chaotic night of a bicycle delivery boy as he becomes entangled in the underbelly worlds of the French Quarter and unravels the mysterious disappearance of his sister. The project is currently in development with a target budget of $1.5 million.

“What makes our team unique is that each member has unfailing dedication to the story,” explained Choi. “Each of them is an exceptional artist as well as being a skilled and knowledgeable craftsman. We work as a cohesive whole to contribute artistry and craftsmanship to the story and I believe the films speak for themselves.”

Choi and her team were also the recipients of the Nims Grant and the Louisiana Filmmakers Grant.

Milo Daemgen, Ji Choi, Philip Wollenberg and Cristina Wollenberg.

“As stressful and heartbreaking as the process of small self-produced films can get, I have grown and developed into a more insightful, whole, and discriminating filmmaker with each successive film,” said Choi. “I am most proud of the quality and originality of our films, due largely to the purity of talent and skill of our cast and crew. Through the production of these films, we have formed a film family who are dedicated to each’s respective craft and to the stories and productions as a whole, and I am immensely proud and grateful to be able to work and collaborate with people I love and trust.”

“Filmmaking in Louisiana is rampant with no signs of slowing down,” said Choi. “The state has so much geographical diversity and its rich culture and history, coupled with the bounty of recognized and undiscovered talent, are prime for filmmaking, not to mention inspiring. As resources, facilities and the number of indigenous film professionals grow, the future is bright and limitless.”

For more on Choi’s films, visit www.holdinghisrabbits.com and www.madchen.com.

Jason Waggenspack – NEUTRAL GROUND FILMS Neutral Ground Films (NGF) founder Jason A. Waggenspack is a native of Baton Rouge, but

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for 10 years now has called New Orleans home. NGF is a grassrooted New Orleans development and production company bringing unique and fresh ideas to filmmaking.

The company is unique because they have a wide range of mediums that extend from film and television to Web and smartphone integration. Their focus is developing in-house projects and helping young visual artists find the marketable vision and funding needed to put their ideas in motion.

NGF most recently completed “So You’re Dating A Vampire,” a witty choose your own adventure live action iPhone app, and is also currently working on launching a NOLA-based Web series called Below Sea Level, a comedy about the most insane city in America—New Orleans!

“NGF is a three-headed monster of seasoned developers, producers with direct connections to talent, and experienced managers to help bring any project from concept to completion,” said Waggenspack.

NGF is also working on a slate of feature film projects. They have formed solid relationships with William Morris Endeavor, veteran producers, foreign and domestic sales companies and most importantly, local funding.

“The industry is here to stay, if we will have it,” said Waggenspack.

“The incentives are great, the crews are strong and deep, and the infrastructure is on par with our competitor states. The future is very bright for stars to shine in Louisiana! There is so much to offer here from demographic, landscape, people, and best of all a tourist destination. People want to work here. We just need to grow more local people and projects to sustain this wonderful industry in Louisiana.”

For more information, visit www.neutralgroundfilms.com. LFV

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WHO DAT IN LOUISIANA PRODUCTION

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MARKETING AN INDEPENDENT FILM: A TEAM EFFORT STORY BY CRISTINA WOLLENBERG GUEST COLUMNIST

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veryone and anyone with a camera can be a filmmaker or a video content provider these days. Not all of them will join the ranks of Tarantino and Soderbergh, but the practicality and access to the numerous distribution tools make it a little bit harder for those trying to make a career out of it to cut through the clutter.

Independent filmmakers live somewhere between the rags and the riches, where marketing budgets, if existent, are very minimal. Since not all films are created equal, promotional strategies can differ significantly.

In this ever-evolving world of technology and digital media consumption behavior, there isn’t a recipe for success. The best bet is to follow some important steps—rules of thumb that have been employed for years. A good start is to pinpoint the film’s audience.

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Unless a project has millions of dollars allocated to advertising, general audience should never be the option. Big Hollywood studios thrive on that. An indie filmmaker can’t afford to play that game. Instead, a reasonable and savvy production team understands the need to focus on a niche and defined audience that they can conquer by building relationships with the media outlets that serve them and keeping them informed about the progress of the project using engaging content.

Marketing films, in general, is also about timing. Forecasting the audience’s demand for a particular topic while considering the calendar of events throughout the year is crucial.

Documentaries about Katrina are usually released around the anniversary of the storm, while romantic comedies emerge around

Independent filmmakers live somewhere between the rags and the riches, where marketing budgets, if existent, are very minimal.

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Valentine’s Day. Expect to see a batch of political-themed films during elections this year. Find a day that is a good fit for your movie, build a campaign around the timeline, and turn the screening into an event.

Like any business, though, it all comes down to the quality of the product being sold. Beasts of the Southern Wild, the little indie made in Louisiana starring a no-name cast—until award season when everyone will have to learn how to spell Quvenzhané Wallis—is a good example. When it premiered at Sundance this year, critics fell in love with it, and so did the audience, but no one knew anything about the film going into the festival. There was no publicity or marketing gimmicks. Keeping festival-goers curious seemed to be the strategy. That wouldn’t have worked if the filmed sucked. Beasts was director Behn Zeitlin’s Sundance lab project, which means that the script had passed a preliminary round of approval before it was turned into a movie. It is smart to get an industry professional to “test” your product and give you a boost of confidence if your script has what it takes to penetrate the clutter.

Start marketing your film as early as possible once you have that superb script in hand. Then, get to know your audience, your partners in crime, build strategic collaborations, and create a support system around your film (crew, local media and organizations, director’s alma mater, etc.) to expand your reach. When the day comes to release the film and/or hold a premiere screening, that group of people will be cheering you on and spreading the word. Make every person on the team an ambassador of the project. After all, no one markets an independent film alone. It is a collective effort. LFV Cristina Wollenberg is one of the founding partners and media strategist at The Marketing Hub, lead film writer for the online magazine Casa de Lola, and one of the newest additions to the board of directors of the New Orleans Film Society.

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HOMELICIDE: SHORT FILM TAKES ON HOMELESSNESS ISSUE A

ccording to 2010 U.S. census numbers, New Orleans has the second-largest population of homeless citizens in the United States.

The topic isn’t a “happy-go-lucky” one, but the story of Homelicide pulls at audience heartstrings in a way that few filmed narratives can.

Homelicide pushes the issue of homelessness to the forefront of the audience’s mind as a topic of conversation, which the filmmakers hope will lead to an opportunity for real solutions.

“Maybe this film can offer a voice to the homeless people of New Orleans and the rest of these unfortunate people,” said the film’s director, David Kirtland.

Homelicide, filmed entirely in the Marigny/ Bywater area(s) of New Orleans, is a unique project because it features a predominantly female cast and crew.

The short film is readying for fall 2012 competition on the film-festival circuit. Homelicide will have private screenings this summer, and is slated to begin production as a feature film in 2013.

Homelicide was written by Barry Jude Landry, directed by Kirtland, and produced by New Guy Films, Louisiana Film Resources, and Neil Wells (EP). LFV

Left: On the set of Homelicide. Below (left to right): Director David Kirtland (left) and Ted Morée.

Production stills from Homelicide. PHOTOS: ©2012 NIJME RINALDI NUN, ALL RIGHTS RESERVED.

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FILM FOCUS: RUGARU

VOODOO IS UNLEASHED IN A SMALL BACKWOODS BAYOU TOWN IN THE FORM OF A LARGE HAIRY BEAST, WHICH COMES FACE TO FACE WITH AN UNLIKELY HERO WITH HIS OWN CURSE. STORY BY TONY SEVERIO, DIRECTOR, RUGARU

The History of Rugaru I began researching Rugaru about three years ago to find out more about what I always heard as a child. Grandfather would say, “You better not do that or the Rugaru will get you!” Until then, I really didn’t know much about the legend and folklore. After researching and finding out how deep the folklore is rooted in our culture and how the legend became diluted and changed, I found it intriguing and thought it would make a great screenplay. So I wrote it. I pitched the idea many times to investors until we found a few to fund it, then I assembled a great cast and crew. We wrapped principal photography on April 28, 2012.

The Story Rugaru takes place in beautiful rural South Louisiana. A mixture of old small towns and moss-laden cypress swamps are the backdrop

Tony Severio (left) and crew prep for a scene.

Rugaru cast and crew.

Actors Joe Estevez (left) and Randall Oliver on the set of Rugaru.

for the colorful cast of characters. I believe that the mix of drama, suspense, and light horror in Rugaru will appeal to a very wide audience.

Rugaru touches on Louisiana culture such as Cajun, Voodoo and Native American. It also showcases Louisiana’s diversity.

At the same time, Rugaru is about a man who has hit rock bottom in his personal life.

He is also on a mission to find a missing person in his care. This leads him to a confrontation with bad people and this legendary creature.

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It also helps him find redemption. So the story is very character-driven. The creature, the legend, the folklore is a theme, but the heart of the story is Claude Bruneaux, played by veteran actor Randall Oliver.

The Credits I would like to thank the wonderful people of the communities we worked in and with. The towns of New Roads, Greensburg, Pine Grove and Port Vincent, thank you. There is no

replacement for Southern hospitality. We were treated like kings everywhere we went, from the locals to the governmental entities. They were all a pleasure to work with. My pledge to them is that we will be back to do more and we will always treat them in the same manner. LFV For more information on the film, visit www.rugarumovie.com.

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2012 NAB SHOW: SOMETHING TO TWEET ABOUT! STORY BY W. H. BOURNE AND ODIN LINDBLOM

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ver 92,000 attendees from 151 countries recently flocked to Las Vegas for the National Association of Broadcasters’ 2012 NAB Show, the world’s largest electronic media event covering filmed entertainment and the development, management and delivery of content across all mediums.

James Cameron, director of Avatar, explains shooting in 5D.

This year the NAB Show focused on the ways to transcend traditional storytelling by embracing technology for content delivery to new screens in new ways. While Avatar director James Cameron was promoting shooting in 5D (a process of shooting both 2D and 3D at the same time), shooting 3D in a higher frame rate (48 FPS) was also a hot topic, with scientists and studio execs discussing the challenges that exhibitors faced with the new process that both Cameron and Hobbit director Peter Jackson are actively exploring.

The large screen packed the star power, but the small screen discussions packed the meeting rooms as audiences heard from folks like Niko Chaules, head of original programming at Microsoft/X-Box, and Philip DeBevoise, president and co-founder of Machinima, as they talked about creating content for the elusive 12 – 35 male demographic. Definitely the new frontier for media, DeBevoise talked about content delivery and the demand for flexible solutions and choice. While many 26

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Packaged with DaVinci Resolve, Blackmagic’s new camera was a showstopper at NAB.

customers still want to be able to watch a Web series in 10-minute episodes, the short attention span associated with this demographic is a fallacy, claims DeBevoise. Many Machinima watchers are wanting to see series all at once, creating unique storytelling challenges for content creators (by having a story that works in both the webisode format and a feature format).

Technology always remained in the forefront for content creation with some of the biggest buzz focused on cloud based storage systems. This year, an entire pavilion was erected on the exhibit floor for Cloud Based Solutions. Even Adobe was focused on the cloud with the release of the new CS6 Production Premium and its ability to interface with the Adobe Creative Cloud, a subscriptionbased cloud service for making, sharing and delivering creative work. (Of course I was excited that CS6 will once again include Audition, which was much superior to the current Sound Booth for audio editing).

Perhaps the biggest surprise of the show was the addition of a cinema camera to Black Magic’s line of existing software and hardware solutions. Blackmagic Design touts that their camera has a super wide 13 stops of dynamic range, high resolution 2.5K sensor, built-in

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high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve, and a builtin LCD with metadata entry, all in an attractive compact design for only $2,995.

With many attendees comparing it to what RED originally promised in the Scarlet, the price point is perhaps the most impressive part. Considering it comes with $1,600 worth of software (DaVinci Resolve color correction and Ultrascope wave form monitoring software), the camera’s a steal. It’s expected to hit market sometime during July of this year.

JVC garnered an equal amount of attention by announcing the release and shipping of their GY-HMQ10 camera, the world’s first handheld 4K camcorder.

Powered by JVC’s Falconbrid large-scale integration (LSI) chip for high-speed signal processing and a 1/2-inch CMOS imager with 8.3 million active pixels, it captures, records, and plays video images in real time at four times the resolution of high definition television (3840x2160) at 24p, 50p, or 60p. In addition to 4K imaging, the GY-HMQ10 also captures and records 1080i or 1080/60p full HD. An HD image can be cropped from a 4K frame in real time or in post production using the camera’s 3.5-inch touch panel LCD display. Retailing at $5,550 and the promise of compatibility with FCP and Avid, the JVC

surprise that post production leader FotoKem was promoting nextLAB, an all-in-one mobile solution for on-set media and asset management. Based on an open architecture, nextLAB Mobile solutions effectively bridge the gap between production and post, while enabling other platforms to easily interact with its functionality.

FotoKem announced the opening of their New Orleans facility, which uses nextLAB and a fiber backbone to quickly transmit editable data for 4K dailies from New Orleans to Los Angeles. Peter Santoro is heading up the operations there at 935 Gravier Street, which utilizes the highspeed fiber connections from the old Chevron credit card processing offices. Since their opening in October of 2011, FotoKem has been busy doing dailies for TV series and feature films shooting in Louisiana.

I must admit I spent a lot of time in the classroom at NAB learning how to maximize the media abilities of Facebook, Google Hangout, and Twitter. To sum it up best: Great #NABSHOW. Tweeting about 4K on the Cloud! LFV

FotoKem’s Tom Vice announces the opening of their New Orleans office at NAB.

HMQ10 is an attractive 4K option.

Not to be outdone, RED was debuting their REDRay 4K cinema projector. Besides being much smaller than traditional 4K cinema projectors, it can play variable frame rates (up to 120 FPS). No pricing is available yet, but RED promises it will be substantially cheaper than most 4K cinema projectors currently on the market. RED also announced an upgrade program for EPIC owners. For $6,000 an EPIC camera can be upgraded with the new 6K Dragon image sensor, which boasts 15+ stops native dynamic range and a full 120 FPS in 5K. With the growing acceptance of 4K cameras by cinematographers and studios alike, it’s no

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AN EXCLUSIVE LOOK BEHIND THE SCENES OF SCRAPE STORY BY DAWN LANDRUM GUEST COLUMNIST • PHOTOS BY KAKA BIRMINGHAM

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ith amazing tax credits, historic scenic locations, and amazing talent, it is of no surprise that there are several productions in and around Louisiana. There is an abundance of styles and genres. One can run into a movie being made around almost every corner. The same can be said for surfing the Internet.

In perusing trailers and teasers of new Louisiana feature films, I came upon one that caused my teeth to clench in similar response to fingernails on a chalkboard. That reaction came from Scrape, an upcoming horror/thriller directed by Derek Wayne Johnson and written by Mindy Bledsoe.

On set of Scrape.

We talked exclusively with the film’s cast and crew to see what makes these Scrape-rs tick!

First we spoke with director Derek Wayne Johnson, who created the Scrape concept and story.

LFV: An original concept is often not an easy one to materialize. How did you successfully bring Scrape to light?

DWJ: When I conceptualized Scrape I found it difficult to come up with an original idea. It seemed like everything had been done. I was sitting at the dining room table one day and it just came to me. The lead character, how he killed his victims, what he did with their bodies, and so on. No dreams, no nightmares, but more of a fascination with what could be buried underneath any home in America. A body? Or two? Or three? Scary stuff to think about when you’re trying to eat dinner.

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LFV: What makes Scrape different from the other films you’ve produced/directed?

DWJ: Scrape is different from the other films I have produced and directed in that it is a unique horror film, mixing traditional horror elements with a fresh twist and style.

LFV: When shooting Scrape, what was your biggest obstacle? Triumph?

DWJ: The biggest obstacle was having such a small budget and small crew with a demanding 12-hour-day schedule. We crammed a 30day shoot into 17 days, so that was pretty tough. Also, we had a lot of special effects and stunts that were hard on our actors, but they all pulled through. The biggest triumph was that with such a small budget and small crew, we were able to get all of the shots we needed and never settled on anything but the best for each scene. Very proud of the cast and crew

for hanging in there and making this movie look and feel larger than what it was shot for.

LFV: When we watched the promotional teaser, I must admit that it was quite disturbing, which was brilliant for this film.

Who came up with the promotional teaser?

DWJ: I came up with the promotional teaser a few months before filming began. It was actually inspired by the opening credits that I decided to make ahead of time to give the cast and crew a feel for how wicked the movie was going to be and to set the tone of the story. The opening credits took five days of editing, where I created several (if not hundreds) of still images and visual effects that were all designed from my own (disturbed) mind. From there I created the promotional teaser with those images.

Next up, producer George Landrum Jr., of Geoland Films, LLC. LFV: In seeing your previous work, Scrape seems unlike your norm. Do you see your production company as assimilating into the horror/thriller genre?

GL: This is actually my first horror/thriller. The interest in producing such comes from the originality of the script. This particular project possesses elements of mystery and suspense with surprises that even the enthusiast will appreciate at the end. With so many repeat productions happening, it always pays to be original. Once I read the script and met with the cast I knew we had something fiercely organic.

LFV: Whether it is to laugh, to cringe, to be terrified, or to simply want to escape reality, people naturally flock to theaters to feel something. What makes Scrape a film that even those who dislike horror/thrillers would want to experience?

GL: Oh, the audience will feel something when watching Scrape! No doubt! But what will originally draw them will be the people involved in the creation. There is chemistry amongst all who are involved in Scrape which can be easily felt in each scene. From the manner in which the director personally gets involved in explaining and even physically walking the actors through the action of the scene, to the execution and delivery of the actors. The intensity and desire is there and cannot be denied.

Where there has been such commitment, there is the need in all of us to want to take part and

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LFV: Was there any “specialty” wardrobe created?

CM: The Scrape character also wore a leather and rubber mask I designed from a concept I worked on with Derek that was modified a few times.

Director Derek Wayne Johnson (right) and the cast.

to see what all of the excitement is about. Audiences will be drawn to this project because the energy is already there. There may be those who feel Scrape is too intense for their taste. But for those who enjoy this genre, it will be a film that all will soon be talking about. We anticipate great reaction, as there is already tremendous interest in this project.

LFV: In one sentence, what sets Scrape apart?

GL: Scrape breaks all of the conventional horror film stereotypes.

We also spoke with Rob Senska, director of photography/cinematographer, whose camera work shaped the film’s dark ambiance.

LFV: When setting up shots for Scrape what specifically did you try to accomplish in keeping with the tone of the script?

RS: The characters are all a little awkward, so I tried to make less traditional choices when shooting coverage. A wider lens on a close-up can change how you feel about the moment.

LFV: Did you bring anything different in lieu of technique to create “mood”?

RS: I’m all about the fog machine to create haze. It spreads the light and makes everything look more cinematic. Plus you can’t do scary without fog. Next time you watch a film, watch for how much haze has been put in the air.

LFV: What obstacles were you met with in this shoot?

RS: We all worked twice as hard because our crew was so small. Our own vehicles become grip trucks, and everybody had to get their hands dirty. I’m amazed we pulled it all off with what we had. It took everybody’s greatest effort and good attitudes.

LFV: A DP is an artist because there is vision that must be reached in each shot. What do you do to bring the artistry from script to screen?

RS: I try to stay true to the script’s tone as best I can as a DP. Ultimately the DP prefers to have as much guidance from the director as possible. That keeps things consistent. The vision can be lost otherwise. My philosophy is 30

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try not to settle, because you’ll regret it every time you watch the film.

Finally, we caught up with Christopher Moore, the film’s costume designer and head of props.

Through his studio, MooreMetal, he created Scrape’s “monster.”

LFV: Where did you get most of the wardrobe for the killer in this shoot?

CM: Honestly, it is almost all leather, and the jacket came from Paris and the pants from my own personal ‘80s wardrobe.

LFV: What were the obstacles, if any, in fitting the Scrape character?

CM: The night before the first day of shooting the original actor/double who was to wear the outfit for the Scrape character was nowhere to be found, so I told Derek, “I just hope you can find someone who can fit in what we have or this is going to have to fit you.”

LFV: What prop gave you the most headache?

CM: Most likely I would have to say mask because it had to be made four times.

According to Johnson, the film’s director, Scrape will be ready for release in late 2012 or early 2013.

“We definitely intend on a theatrical release, starting with a premiere and a few screenings in different cities, film festivals, etc.,” he says.

“Of course we hope to have it in as many theaters as possible, then on to Blu-Ray, DVD, VOD, foreign, and so on.” LFV

INSIGHTS FROM THE CAST We spoke with the cast of Scrape to find out more about their experiences on set. Here are some highlights: Rick Lacour as Barry Sagan LFV: What are your plans for the future?

RL: Being my first lead role, I hope for many more.

Even though this character was very challenging, I would love another lead role for this company. I want to be a bad guy the next time. I think I was too nice in (Derek Wayne Johnson’s 2011 film) Stanley Debrock, and definitely too nice in this one.

doesn’t acknowledge that she is. There are times when this is really a normal human experience for all of us. Her reality is created in her own isolation.

It doesn’t jive in her social world. In reality I don’t isolate myself. I prefer to be more outgoing. So, playing such a role was very enjoyable and different. No matter who we really are I believe we can all relate to Linda.

Nina Leon as Maggie Hedgeworth LFV: Even though the script may be considered terrifying in many respects, is it really scary playing the role you played?

NL: It’s not scary; well, except that one night that I couldn’t see much. I’d say it’s intense; you have to go to places in your mind that you don’t like to visit very often.

Katie Walker as Jeanie Simmons LFV: Did you have nightmares after acting in Scrape?

KW: Not after, but I did have a few nightmares before filming. I kept thinking I was seeing him outside our home. A well-written script can certainly put heebie jeebies in our minds.

Garrett Kruithof as Mick Hedgeworth LFV: Tell us about your character. Did you do your own stunts?

GK: Mick is a misogynistic self-absorbed jerk. The relationships he has with people are odd. I had some pretty physical scenes. The stunts you see in the final cut of the film for Mick are done by me.

Jena Waldron as Romona LFV: What was the most difficult scene?

JW: I really didn’t have a difficult experience. It was all so wonderful. However, my favorite scene was probably laying in the pool of water and blood in an alley in the middle of the night after being attacked.

Penny Harville as Linda Mead LFV: Do you relate to the Linda character?

PH: Linda is full of fear. She’s a desperate sort but

Heather Bloom as Nicole/Nancy LFV: Which of the two roles you played did you find the most challenging?

HB: Haha! Definitely Nancy. While it was very physically challenging to pull off a hot, attractive, physically-fit woman like Nicole, it was more difficult to become the cowering, shy, awkward Nancy.

KaKa Birmingham as Barbara / Wardrobe, Makeup and Set Photographer LFV: What was your on-set experience like?

KB: Working on set as makeup, wardrobe, and as set photographer I was able to see the screen of the camera and there were times that Rob (DP) would have the camera set up and Derek was directing the monster and I saw how that scene was going to be seen by the audience and the hair on my arms would stand up because it scared me! This movie is going to make girls and guys scream!

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FLETCHER CAMERA & LENSES EXPANDS TO LOUISIANA F letcher Camera & Lenses, a premier rental provider of motion picture cameras headquartered in Chicago, has announced its expansion into Louisiana this summer.

Scheduled for a July opening, the 6,000square-foot camera facility will be located in the Elmwood/Jefferson Parish region of New Orleans. This new operation will house an extensive inventory of the latest film and digital cinema cameras (ARRICAM ST/LT, ALEXA Studio, F65 and Epic) and optics (Cooke S4 & S5 Primes, Zeiss Master Primes, and Angeniuex Optimos), as well as a comprehensive technical service department with lens collimation, projection and camera maintenance.

Aside from the equipment, the strongest asset Fletcher brings to the market is an experienced team with over 50 years of combined industry knowledge. Tim Caldwell, Fletcher’s technical operations manager, will relocate from the company’s Chicago headquarters and join Louisiana film veteran Kelli Bingham, who will serve as the marketing representative.

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“After careful consideration, we feel the expansion is a natural progression for Fletcher,” stated general manager Zoe Iltsopoulos Borys. “Louisiana continues to

attract top-notch talent, and our team is eager to support the daily demands of the region’s burgeoning film community.”

Said Bingham, “As a part of the Louisiana film community, it has been exciting to see the quantity and quality of productions continue

to grow, and it is now equally exciting to have Fletcher expand into New Orleans with a fullservice operation to support the industry. I’m thrilled to be a part of the Fletcher team and look forward to providing productions with the latest in technology and exceptional service that Fletcher Camera & Lenses is known for.”

As a full-service business now with local staff, inventory and service, Fletcher Louisiana, LLC qualifies as a vendor whose goods and services are eligible for the Louisiana Motion Picture Tax Incentive Program.

“We are excited to welcome Fletcher Camera & Lenses to our state,” added Chris Stelly, executive director, Louisiana Entertainment. “This company is yet another asset to our maturing motion picture industry and will prove to be a vital component to our infrastructure. As the number three production destination in the USA, Louisiana’s stability and reliability continue to attract great companies like Fletcher.” LFV

For more information, visit www.fletch.com.

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COSTUMING IN NEW ORLEANS STORY BY WINGATE JONES, SOUTHERN COSTUME COMPANY

ore than $2 billion in productions have been filmed in Louisiana. The total direct impact to the Louisiana economy is $1.48 billion. The diverse and easily accessible scenery, both urban and natural, makes this area attractive to potential production companies. This environment, mixed with the advantage of the state’s tax incentives, has contributed to New Orleans’ rise as a Hollywood hub.

What’s missing? Some of the basic infrastructure needed to facilitate this industry. That’s why I chose to create a “Hollywood-style” costume house in downtown New Orleans.

I was raised in the costuming industry. My father was president of Western Costume in Hollywood, and gave me my first opportunities in the industry. I continued to work as a freelance costumer, and several jobs as costume supervisor brought me to the New Orleans area, just as the industry was picking up. I fell in love with the city and the culture, and it was only an eventuality that my love of costuming

M

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ending enthusiasm to dress up for all occasions, you never know when the bus is going to pull up. Southern Costume has over 10,000 excellent pieces for rent inhouse, many of which I purchased from postproduction Hollywood film.

We also provide an in-house design studio that has the capability to create amazing and marvelous costumes.

Collaboration with my clientele and staff has been very rewarding. The variety A look at some of Southern for film would find its place of characters that manifest Costume’s offerings, available to here. In 2011 that dream themselves out of our stock productions and to the public. was realized when I opened is always astounding. There NOLA’s first “Hollywood-style” costume shop, are so many creative people in this town that Southern Costume Company. However, my will find a way to mix and match costume intention was to not only serve the production pieces, wearing things upside down and backcompanies, but the locals as well. wards in order to make up their own characNew Orleans will always be an exciting ters or re-vamp old ones. There’s never a dull place to costume. With Mardi Gras’ yearly moment. I can’t wait to see who walks in the boom as a staple, and the public’s neverdoor next! LFV

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GREAT EXPECTATIONS: THE KEY TO A THRIVING TALENT POOL STORY BY CINDI DAVIS-ANDRESS GUEST COLUMNIST

s a SAG/AFTRA franchised agency we have been fortunate to play a significant role in Louisiana film production since 2003.

When we opened the doors of the agency in 1990 we committed to certain expectations that would determine the success of our actors and the agency as a whole. The first set of expectations applies to the talent we represent. The second set of expectations applies to agents.

Over the last decade as we saw Louisiana film production increase, we saw our role in productions become more and more significant. Consistently meeting the following expectations is the key to having a thriving talent pool in this region.

A

What an Agency Expects from Talent: 1) Train and then train some more. Your craft is a muscle that needs to be worked. If you don’t use your muscle, you lose it.

2) Have excellent marketing material. Are your headshots an accurate depiction of you and the characters you bring to life? Do you have a demo that showcases your best work?

Customer service is first. No project is neglected. No client is neglected.

3) Display integrity and ethics at all times.

Do you practice good judgment in everything you do in this business? Tiny lapses in judgment are costly to you and those around trying to survive in a very tough business.

What Talent and Casting Directors Should Expect from an Agency: 1) Customer service is first. No project is

neglected. No client is neglected.

2) Relationships, relationships, relationships.

Relationships that work have to be built and maintained over time. They require effort and the ability to back up promises with actions.

3) Always adhere to strict guidelines when it comes to signing talent. An agent cannot sign talent that they don’t know—and know very well. The ability to make sure that you know what the market demands and that you have the talent to fulfill requests from casting is one of the keys to longevity as an agency. No agent is able to fulfill these needs unless they know exactly what each actor brings to the table.

4) Behave with respect and integrity always.

Make every decision from a place of respect and integrity. This is the building block of all solid relationships and it’s no different in the world of entertainment. LFV Pastorini-Bosby Talent represents professional actors in Texas and Louisiana. The agency has provided talent for Louisiana films dating back to Ray (2004). Visit www.pbtalent.com for more information.

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LOCATION SPOTLIGHT: HISTORIC ST. FRANCISVILLE republic of West Florida finally had become part of the United States. The areas affected by this unusual chapter in history are the present-day parishes of East Baton Rouge, East Feliciana, Livingston, St. Helena, St. Tammany, Tangipahoa, Washington and West Feliciana.

Collectively they are known as the Republic of West Florida Historic Region, or the Florida parishes of Louisiana, a tribute to the region’s national and international significance. The official flag of the region is the “Bonnie Blue,” a blue flag with a single, white, five-pointed star.

St. Francisville’s Afton Villa Gardens.

STORY BY LAURIE WALSH, WEST FELICIANA PARISH TOURIST COMMISSION

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estled in Plantation Country’s beautiful rolling hills on the mighty Mississippi River, St. Francisville provides a unique snapshot of Louisiana. The plantation homes and breathtaking gardens are monuments of the adventuresome and creative English who settled this area over 200 years ago.

Once part of the Province of West Florida owned by Spain since 1779, the District of Feliciana, as it was then called, was settled by Anglo-Americans who received generous Spanish land grants, a certain amount of religious freedom, and freedom from taxation. While Louisiana was among the states included in the greatest real estate deal in history, the area known as the West Florida parishes was excluded from the Louisiana Purchase of 1803.

By 1810, troubled by a weak colonial presence and worried about their holdings, these settlers cannily staged a revolution, and captured the Spanish fort at Baton Rouge in a remarkable coup. Thus was established the Republic of West Florida. For 74 days the original Lone Star flag flew bravely atop a tall cedar pole in St. Francisville. Shortly after, the United States sent the governor of the Mississippi Territory and a small contingent of troops to St. Francisville, and to the loud cheers of the populace, raised the Stars and Stripes. The tiny 36

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The historic Greenwood Plantation has been the setting for several Louisiana-shot films.

The spirit and passion of the first settlers is understandable after just a drive through the beautiful countryside.

The spirit and passion of the first settlers is understandable after just a drive through the beautiful countryside. Nature preserves, abundant bird and other wildlife, winding roads, moss-draped oak trees, ancient cemeteries, churches, and stately plantations speak for why it was here that John James Audubon painted at least 80 illustrations of his Birds of America in the 1820s. St. Francisville’s easygoing warmth and ambiance attracts birdwatchers, photographers, golfers, bicyclers, hikers, nature lovers and historic travelers for relaxing weekend getaways. The beautiful Arnold Palmer golf course hosts golfers all year long. Gracious bedand-breakfast inns and hotels, art galleries, antique and unique gift shops, and great cuisine await the most discriminating of travelers.

Annual events include Audubon Pilgrimage, our world-famous Anglo rodeos, The Day the War Stopped Reenactment, Feliciana Hummingbird Celebration, Southern Garden Symposium, and Christmas in the Country. In addition, there are dozens of living history events and art exhibits throughout the year. LFV For more information, visit www.stfrancisville.us or call 1-800789-4221.

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SIMPLIFY ACCOMMODATIONS OPENS OFFICE AT CELTIC MEDIA CENTRE et another vendor for serving the needs of Baton Rouge’s growing film and video industry has established an office at the Celtic Media Centre. Simplify Accommodations, LLC has opened an office in The O’Connor Building to better serve the hotel and housing needs of the entertainment industry.

Simplify’s Stephanie Clarke describes the service model as unique, in that “Simplify will accommodate all levels of a production’s housing needs, both above the line and below the line. Whether it be luxury private residences, apartment homes, hotel accommodations for cast at one hotel and crew at another, we are here to assist that production coordinator as a ‘one-stop shop.’ Our model eases the production coordinator’s workload and cuts down on the number of vendors that production accounting has to invoice.”

Simplify Accommodations, LLC is a newly formed sister company of The Relocation Center, which for almost two years now has been the production partner of Raleigh Studios at The Celtic Media Centre for accom-

Y

modating its studio clients’ housing needs.

“We felt that the last two years have shown such growth for the temporary housing sector of our business, that it was ready to become its own free-standing entity,” said Missy

“The recent explosion of film business in the Baton Rouge area has everyone from production assistants to stars and executives looking for housing here.”

Higgins, CEO of The Relocation Center.

The Relocation Center has been a Baton Rouge-based, national full-service relocation company since 1993. Owners of The Relocation Center are joined by The Relocation Center’s business development manager,

Stephanie Clarke, in forming the new company. They expect that having a visible, daily presence at The Celtic Media Centre will make it easier to meet with studio executives as early as when scouting Baton Rouge.

“The recent explosion of film business in the Baton Rouge area has everyone from production assistants to stars and executives looking for housing here,” said Patrick Mulhearn, director of studio operations at Celtic. “We feel that The Relocation Center, and now Simplify Accommodations, and their experience in the market make them uniquely qualified to meet the demands of our growing industry.”

Simplify Accommodations will work handin-hand with The Relocation Center. Once Simplify has served a production’s temporary housing needs, The Relocation Center can assist those entertainment industry professionals who decide to make Baton Rouge a permanent home by providing coordination of their household goods move, real estate purchase, and/or long-term leasing assistance. LFV

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THE ST. JOHN CENTER SOUNDSTAGE — TECHNOLOGY MEETS LOCATION estled among centuries-old plantations and pre-historic swampland is an ultramodern, 42,000-square-foot facility with a 25,000-square-foot soundstage equipped for professional productions, from feature films to television commercials.

The St. John Center offers much more than just a room with a view. It features the highest level of soundstage decibel requirements (25DB), has a state-of-the-art ventilation system for the ideal production environment, is connected wirelessly throughout the facility, offers complete catering, dressing and green room facilities, and has ample parking for everything from passenger cars to tractor trailers. The facility is located on four acres of land that could double as a backlot set.

The St. John Center soundstage has been the home base for such productions as Memphis

N

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River to swamps, from plantations to towns to rustic farms with historic charm, and from treelined trails to wide-open spaces. The area boasts plenty of inexpensive, local accommodations, and the food, music and attractions that made Louisiana world-famous have quite an appeal to crew and cast alike.

Producers love Louisiana’s ample tax credits, and the supportive film office can help with everything from location scouting to RV and accommodations assistance.

St. John Center is conveniently located in the heart of New Orleans Plantation Country off I10 between the city of New Orleans and Baton Rouge, just 15 St. John Center minutes from Louis Armstrong Unchained and Love, Wedding, Marriage.

New Orleans International Airport and 10 And, while the facility itself is enough to catch minutes from St. John Airport. LFV the eye of productions, it is their off-site ameniFor more information, visit www.thestjohncenter.com or call ties that seal the deal. The surrounding area 866-204-7782. features unique locations, from the Mississippi Beat, The Curious Case of Benjamin Button, Meet the Spartans, Mardi Gras and American Violet, along with a host of television commercials.

Other area productions have included Django

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St. John Center Soundstage

The perfect location for

ANY production.

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Visit ямБlm-louisiana.com or give us a call at 866.204.7782 for more information to start your production rolling today!

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FILM & FASHION NIGHT IN NEW ORLEANS O n Saturday night, April 7, Roy Farthing and friends hosted a Film & Fashion Night featuring a screening of episode two of the Web series Below Sea Level, and a fashion show presented by Carl Mack Presents.

Local actresses and models “strutted their stuff” on the runway, featuring a variety of Easter costumes in the theme of the Mad Hatter. Carl Mack hosted the fashion show as “The Mad Hatter” with the lovely Stacy Hoover as his “Alice.”

Carl Mack Presents (www.carlmack.com) rents costumes to the film and entertainment industry, as well as represents a variety of key talented entertainers in a variety of genres for productions and special events. LFV Top left: “The Mad Hatter” (Carl Mack) and “Alice” (Stacy Hoover). Bottom left: Model Natalie Hultman. Below: (from left) Tracy Camp, Stacy Hoover, Carl Mack and Roy Farthing.

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Above: Model Nedra McCormick.

Left: Model Tracy Camp.

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WOMAN THOU ART LOOSED!: ON THE 7th DAY T

NEW ORLEANS HOSTS PREMIERE PARTY

Mae Chapman of Chapman Casting and Mike Ladd, songwriter and comedic writer.

.D. Jakes’ Woman Thou Art Loosed!: On The 7th Day premiered on Thursday, April 5, at a red carpet star-studded event hosted by Encore Event Planning at AMC Theatre Palace 12 in New Orleans. The film opened at select AMC theatres (Elmwood & Westbank) on Friday, April 13.

On the 7th Day, filmed in New Orleans, is an epilogue from the critically acclaimed Woman Thou Art Loosed, starring Kimberly Elise.

Coincidentally, it has been seven years since the film’s original release, connecting On the 7th Day to its biblical message symbolizing the number seven and its special meanings throughout the climactic story line.

The film takes its audience on a seven-day journey inside the souls and secrets of a husband and wife, Kari and David Ames, as they race to find their missing daughter. The film uses the eerie, yet peaceful and beautiful scenery of Louisiana’s bayous and the city’s unique culture to depict a story (left to right) Nicole “Niqui Love” Lovince, actress, singer and that everyone can relate to—a story host of Urbanorleans; Erica Master, theatre actress and singer; Eric of a couple’s transformation, O’Neal Jr., actor; Satin M. Mitchelle, actress in On the 7th Day; and Dominique DuVernay, actress. strength and conviction.

Woman Thou Art Loosed!: On the 7th Day stars Golden Globe nominee Blair Underwood (Madea’s Family Reunion, Set It Off) and Sharon Leal (Why Did I Get Married Too?, This Christmas) as David and Kari Ames. The film also stars Nicole Beharie (American Violet), Emmy Award nominee Pam Grier (2012, The Man with the Iron Fists), Reed R. McCants (Civil Brand), and New Orleans-based actors Nicoye Banks (Law & Order, Green Zone), Jaqueline Fleming (Contraband, Treme), Clyde R. Jones (Coming to America, Fantasia Barrino Story), and Zoë Carter (Black Saturday, Sinners and Saints).

To view the trailer, visit www.imdb.com/title/tt1996346/.

Zardis Nicholls and Lance Nicholls.

Below (left to right): Stills from On the 7th Day showing Jaqueline Fleming, Samantha Beaulieu and Sharon Leal; Pam Grier and Nicoye Banks; Sharon Leal and Nicoye Banks; Sharon Leal, Zoe Carter and Blair Underwood.

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Actress Brielle Pourciau (left) and actress Lydia Laine.

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SMOOTH AMBLER SPIRITS:

NEW ORLEANS LAUNCH PARTY

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n May 3, Purveyor of Fine Wines hosted a “launch party” featuring Smooth Ambler Spirits’ “Old Scout” Bourbon Whiskey, and invited some of the key cast and crew of Homelicide, a New Orleans-based film production.

Smooth Ambler Spirits is a corporate sponsor of Homelicide, a short film project that is being talked about as a “film to watch” on the festival circuit as a result of its hard-edged theme and relevant social commentary on homelessness.

Barry Jude Landry (left), writer/Homelicide, and David Kirtland, director/ Homelicide.

(from left) Neil Wells, EP/Homelicide; Shanna Forrestall of Louisiana Film Resources; and John Little of Smooth Ambler Spirits.

Smooth Ambler Spirits’ “Old Scout” Bourbon Whiskey was awarded a Gold Medal for Artisan Merchant Bottled Whiskey at the recent American Distillers Institute’s conference in Louisville. LFV

Above (left to right): Megan Hebert and Daniel Brown; Jamal Duff and Omar Dorsey. Far left: Nicole Lovince and Ricky Boatwright of Dixie Marketing.

Left: (from left) Tracy Miller, Craig Leydecker, and Escalante Lundy.

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