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ISSUE SIX

LOUISIANA FILM & VIDEO MAGAZINE 5


CONTENTS

VOLUME 12 ISSUE ONE EXECUTIVE EDITOR Andrew Vogel andrew@louisianafilmandvideo.com ASSOCIATE FEATURES EDITOR W. H. Bourne ASSOCIATE EDITOR Katie Sauro contact@louisianafilmandvideo.com CONTRIBUTING WRITERS Jeanie Andre, Vicky C. Branton, Shanna Forrestall, Pam Glorioso, Megan Hartman, Meg Alsfeld Kaul, Haley Summers SALES MANAGER Katie Higgins SALES Steve Joseph PRODUCTION MANAGER John Rusnak PRODUCTION ASSISTANT Kelly Baker DESIGNERS Beth Harrison, Sonjia Kells, Liz Weickum, Sam Rockwell WEBMASTER Jon Hines

11 8

OFFICE MANAGER Audra Higgins

(L-R) Actor Will Smith and director/writers John Requa and Glenn Ficarra on location in New Orleans for Focus. © 2015 Warner Bros. Entertainment Inc. and RATPAC-DUNE Entertainment LLC All Rights Reserved.

Letter From The Editor

51 Let Livingston Be Your Stage

11 Focus On New Orleans

53 Lafayette: America’s Best-Kept Secret

17 Focus On Background

55 Finding Pointe Coupee

21 A Peek Into The World Of Cinematographer Jon Philion

57 Why Film In Jeff Davis Parish?

SUNDANCE SPECIAL SECTION 27 Sundance Film Festival Recap 31 Louisiana Connected Films 35 LIFF Hosts Midnight Masquerade 37 Gazing Into CES’ Crystal Ball 43 Hollywood South Legal: Copyright Registration Provides Important Legal Benefits

LOCATION SPOTLIGHT 45 Film Office Guide 49 Baton Rouge: Shooting In The Film-Friendly Capital

59 My Southwest Louisiana Home 61 Shreveport-Bossier Brings You The World 63 Webster Parish: Small Town, USA - And More 65 FilmWorks New Orleans: The New Kid On The Block Is Rolling 67 To Be Or Not To Be: Something Rotten! Opens On Broadway 71 Period Piece: Hard-To-Find Props And Sets, For That Authentic American Look 73 Spotlight On: Lexie Bloom Makeup Artistry 74 Introducing Secret Chef Nola

ON THE COVER: (L-R) Actor Will Smith and director/writer Glenn Ficarra review a scene from Warner Brothers’ new heist movie, Focus. © 2015 Warner Bros. Entertainment Inc. and RATPAC-DUNE Entertainment LLC All Rights Reserved.

DIGITAL EDITION AVAILABLE AT: WWW.LOUISIANAFILMANDVIDEO.COM 6 LOUISIANA FILM & VIDEO MAGAZINE

ISSUE ONE 2015

INFORMATION SERVICES MANAGER Lois Sanborn

LOUISIANA FILM & VIDEO PUBLICATIONS A DIVISION OF MEDIA INC 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 ©2015 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.

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LETTER FROM THE EDITOR

I

n January, I flew out to Park City, Utah, for the Sundance Film Festival to represent Louisiana Film & Video, and it did not disappoint.

Park City is a beautiful mountain town with a lot to offer, and the festival itself, spanning the length of Main Street, is a whirlwind of films, parties, networking, promotion and paparazzi. Although I was on the more subdued end of the storm, I certainly had my share of the excitement. I was fortunate to have a film in the festival, A Walk in the Woods, where I played opposite Robert Redford and Nick Nolte. That stat, along with the company of some well-connected friends, allowed a few doors to open that made for a memorable adventure. Among other things, I discovered “gifting parties” where, if you are privileged to enter, a variety of companies hand you expensive things free of charge, ranging from electronics to trips to Aruba. I had no idea such a thing existed. Moreover, I’m continually impressed and motivated by the efforts of the team at LIFF (Louisiana International Film Festival), whose party has now become a staple event at the Sundance Film Festival, cited by many sources as being “the most talked-about party at Sundance.” Of course it is a major statement to say that Louisiana is the movie-making capital, but after talking to quite a few festival-goers, I found

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that the statistics didn’t necessarily translate to a national or international presence for Louisiana, especially on the festival circuit. People vaguely knew of the high production volume Louisiana has seen recently, but had no idea that we also have a thriving film community. Everyone I talked to, however, had heard of the Midnight Masquerade party that the Louisiana team was throwing, and that legitimized LA as a filmmaking state in their mind. Be on the lookout for LIFF, as they are making important moves for the state as a whole. See the full Sundance recap on page 27. In this issue we also highlight our film commissions around the state. Get an inside look at recent productions and see the full list of Louisiana film commissions and visitor bureaus starting on page 45. All the best, Andrew Vogel, Executive Editor


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FOCUS ON NEW ORLEANS

(L-R) Margot Robbie, director/writers John Requa and Glenn Ficarra and Will Smith discuss a scene from Focus.

Will Smith stars as Nicky in Warner Bros. Pictures’ heist film Focus. STORY BY W. H. BOURNE PHOTOS BY FRANK MASI © 2015 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC ALL RIGHTS RESERVED.

R

eleasing soon is the Will Smith and Margot Robbie action film Focus, a heist film where the stakes start out high and get exponentially higher. Will Smith plays Nicky whose masterful cons take him from snowy New York to sunny New Orleans to one of South America’s most exquisite cities, Buenos Aires. Toss in the year’s ultimate football match and the exceedingly competitive world of car racing for high-octane action, adventure and romance. Writing and directing partners Glenn Ficarra and John Requa conceived of the story by first asking themselves, “In a world where trust is currency, and love requires trust, how can two people ever fall in love?” “That relationship was my way in,” Ficarra says. “Two people who work together falling in love: traditionally that means letting your guard down, but for these characters, that’s the complete antithesis of who they are.” Requa adds, “A con artist uses his particular skill set to manipulate others, to gain their confidence and ultimately their trust, while his very nature is to not trust. We thought it would be inter-

esting to explore whether two people, two such con artists, could overcome these competing concepts that sort of naturally cancel each other out.” Ficarra notes that working out the details of such a complex story, where the relationships are also critical to the execution, required a difficult balancing act, “because the nature of a con movie is to withhold so much from the audience for the purposes of the plot, but a romantic movie requires exposure of the characters’ motivations. It becomes particularly complicated. You can’t compromise the plot for the emotional content, but you need the emotional content to drive the story.” Focus takes place in three distinctly different, world-famous cities: New York, New Orleans and Buenos Aires. The filmmakers were able to shoot in each locale, beginning in the Bayou State. “We shot our first movie in New Orleans,” says Requa, “but it was standing in for other cities. We were determined that the next time we were going to shoot New Orleans for New Orleans because it’s a really beautiful place. The culture, the architecture, it’s just amazing. We wanted to show it off.” Requa and Ficarra wrote and directed I Love You Phillip Morris which shot in the Crescent City more than five years ago. Cinematographer Xavier Grobet also worked on that project and returned to work with the writing/directing duo on Focus. “The directors wanted a slick look for Focus so together with the production designer (Beth Mickle), the directors and myself, we designed the movie in that direction,” says Grobet. Production designer Beth Mickle was also returning to the ISSUE ONE 2015

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Cinematographer Xavier Grobet on the set of Focus.

Bayou State after recently working on 2 Guns. Familiar with the city, the sequences in New Orleans were specifically designed to highlight the filmmakers’ favorite parts of the area, especially the French Quarter. “The city has so much flavor, so much heart and texture,” says Mickle. “It’s as authentic as it gets. It’s a pleasure to not have to mask the architecture but to actually embrace it.” “I love the music in New Orleans,” says Grobet. “I like the town, and I’ve made a lot of friends in the two times I’ve been there. I’ve always had a lot of fun, and I like the vibe of the people. It’s a great place to shoot. And if it serves the movie, it’s great—even better.” Due to the tax incentives, most of the film was shot in Louisiana. According to Grobet over two months were in Louisiana, a month in Argentina and four days in New York. “A lot of the scenes were challenging to shoot particularly all the scenes that were supposed to happen in Argentina that we shot in New Orleans,” says Grobet. Though the racecar circuit sequence in the movie takes place in Buenos Aires, a portion of those scenes were shot at the NOLA Motorsports Park in Avondale, 20 minutes from downtown New Orleans. “The very famous Autodromo Buenos Aires is not in the greatest shape,” says Mickle. “It was in its prime in the 1950s or so, but they haven’t held races there since 2009.” “Beth had a huge undertaking,” says Ficarra. “She had to replicate an open wheel racing league, a championship football game, New Orleans, Buenos Aires and New York… she really understood the tone of escapism and glamour with realism that we were going for.” “There’s a Super Bowl scene and a Formula 1 scene even though we couldn’t call them that because of rights,” says Grobet. “We did mount some cameras on race cars and that was challenging,” continues Grobet. “I wanted to introduce the race car scene in an unusual way so I came up with the idea of mounting one of the remote heads onto one of the race cars. So the scene starts with the car racing and as it comes to the pits and parks, the camera reveals Will Smith in a new environment so it was a nice introduction into this new world of car racing.” One of Mickle’s biggest undertakings was to replicate the setting of a championship football game taking place in town. “We had to stage a fake game that Nicky and Jess (Margot Rob12 LOUISIANA FILM & VIDEO MAGAZINE

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Will Smith stars as Nicky and Margot Robbie as Jess.

bie) attend, and all of the hoopla that goes with it,” says Mickle. Thus the American Football Franchise of America (AFFA) was born, along with its two top competing teams, the Rhinos and the Threshers. They battle it out as Nicky and Jess look on from a VIP skybox built on the production’s nearby soundstage, formerly NASA’s assembly plant for the Challenger, to better accommodate filming. “Back in the day when we shot I Love You Phillip Morris, there weren’t any studios available,” says Grobet. “And now with the NASA facility, there’s a lot more infrastructure.” “Most of the crew was local including the gaffer, the key grip and the B camera team,” continues Grobet. “I just brought in my DIT and my A camera team. A lot more people have moved to the state (since I last shot here) so the work force is much better now than it used to be.” Grobet is an award winning cinematographer and his work is a testament to that. He carefully selected his gear for the ultimate look. “I did some tests of anamorphic against spherical lenses and the difference was astonishing. The anamorphic lenses had volume like a three dimensional look to it, so I shot with the Alexa with the 4:3 chip,” explains Grobet. “We wanted to use the Hawk lenses, the 1.3 anamorphic, which allowed us to have a 1:185 aspect ratio movie. By shooting on a 4:3 chip, it allowed us to use all the information on the chip because we were not cropping any of it. That also gave us a great volume to the movie.” While they were able to shoot at the Superdome, the Focus

The action never stops for Smith and Robbie.


filmmakers needed to create their own league and teams, including signage, merchandise, and everything a fan would see around town and at the stadium. Pre-existing advertisements around the field were altered via CGI in post-production although one of Mickle’s biggest challenges was, unexpectedly, the team logos. “I showed John and Glenn grand illustrations for huge stage builds, and they were happy with everything,” explains Mickle. “Then I showed them football logos, and it was weeks and weeks of going back to the drawing board.” To evoke the proper tone and reflect Nicky’s arc at each stage of the story, Mickle employed a changing color palette as well. “The progression of the visuals in the movie had to reflect Nicky’s progression as a character,” says Mickle. “We start with New York; it’s very cold and he’s isolated, so we used a lot of stone, glass and metal to give a sense of detachment.” “In New Orleans, where Jess starts to become part of his world and the city has so much life inherent to it, the palette comes to life, too, with greenery, orange tones in the skybox, purples and lush pinks,” continues Mickle. “The colors are warming up just as Nicky is starting to open up. Then, once we get to Buenos Aires, where he is most vulnerable, and the most exposed, the colors really pop. The architecture becomes really fun and the visuals start to indicate this romantic and mysterious world.” “We always wanted to use as many practicals as possible in terms of lighting and the least amount of movie lighting per se so we incorporated a lot of LED lighting in the sets and into the design,”

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explains Grobet. “We tried to make it all as organic as possible so I basically used all different color temperatures from cold white fluorescent to tungsten lighting to LED to color lighting. I wanted it to be very colorful and slick.” “For me, the final scene in the high end car garage was the most challenging to shoot because it was a really big warehouse with white walls, a white ceiling and a white pad floor,” continues Grobet. “I had no idea how to light it until I came up with the idea of putting practicals all around them (the actors) and just let them be in the dark; it came out really well. I am very, very excited about that scene.” To showcase for the audience the finest details of Nicky and his team’s thievery, every move, however subtle, would have to come off perfectly and be caught on film. “It’s hard to photograph pickpocketing,” Requa contends. “The skills that pickpockets have developed over centuries have been specifically designed so that you don’t see what they’re doing.” In order to capture the acts on camera, Ficarra reveals they employed specific angles or slowed down the movements, and that, “quite a few times, we opened up the space in the scene so you can see what’s happening, where ordinarily you wouldn’t; they would be completely hidden.” Focus opens nationwide on February 27, 2015 and filmmaker Glenn Ficarra maintains, “There’s football, fast cars, sex, romance, comedy, drama, big stars and two really big cons… something for everyone.” LFV


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FOCUS ON BACKGROUND (L-r) Will Smith stars as Nicky and Margot Robbie as Jess in Warner Bros. Pictures’ heist film Focus. Distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

STORY BY W. H. BOURNE PHOTOS BY FRANK MASI © 2015 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC ALL RIGHTS RESERVED.

O

n Friday, February 27, 3500 extras from the metro New Orleans area who worked on the new Will Smith action film Focus will have the opportunity to try and spot themselves in the movie as the film opens nationwide. We took the opportunity to speak with Robin Batherson about the casting work her agency, Batherson Casting, did for these roles. “On Focus, we cast the background actors only. Most of the actors only got to work one day because the movie took place in different cities. So, they couldn’t be in a scene that took place in New Orleans then work in a scene that took place in New York or even Argentina. We did have some background talent that worked three to four weeks on the show. They were part of Nick’s Team (Will Smith) and most of them were bumped up to principal roles by the end of the project. I think these people had the most fun,” said Batherson. “Perhaps the most difficult casting on Focus was for the skybox scene at the football game,” continued Batherson. “We needed a lot of different ethnic groups and high-end models. These actors needed to be able to work for one to two weeks so that was a challenge finding great looking faces that could take off from their other jobs

and commitments. We did it though!” Batherson went on to explain the casting process for those interested in working as actors in Louisiana. Her agency casts Robin Batherson everything from crowd extras to stand-ins to minor speaking parts. “I do it all except the major speaking roles which are usually cast in Los Angeles or New York,” said Batherson. “Before I start casting on a film, I first meet with the producers and directors and talk about their vision for the character. Then we go to our database or the talent agencies and find what they’re looking for. Then, we hold auditions and see who the director likes. Usually there are callbacks of the top favorites and the final decision is

(L-r) Margot Robbie as Jess and Rodrigo Santoro as Garriga in Warner Bros. Pictures’ heist film Focus.

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made by the director and the studio. It’s important to note that we do work with SAG/AFTRA unions; however, this is a right to work state so you don’t have to be in the union to get cast in a role or to be an extra.” Last year, background actors worked a lot in the Bayou State. With the studios bringing in large tent pole productions, many shooting at the same time, this has translated into a demand for local actors. “This year is supposed to be even busier,” said Batherson. “It certainly helps if the production can stick to their shooting schedule. If you have 300 people booked on a certain day and then production cancels them the night before, you’re not going to get most of those people to return. They will need to go back to their regular employment, or they may be committed to other projects. I know in the real film world that there are constant changes so it is difficult to stick with a strict schedule, but it would sure make my job a lot easier.” Batherson Casting as well as the other casting agencies in Louisiana is always looking for new talent. While some people think that all you need is a warm body to be background talent for a film, there is much more involved. Punctuality is critical as well as the ability to follow directions. “If you want to be a background actor, and you’re from the state of Louisiana, it’s important to come to the set prepared. You must provide two forms of ID: a valid LA driver’s license, a current voter’s registration card, or your most recent Federal or Louisiana personal income tax return,” advised Batherson. “Keep studying your craft (acting),” continued Batherson. “This is a very competitive business. We have some wonderful workshops and some good acting coaches here (in Louisiana).” LFV


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Director Steve Esteb & DP Jon Philion.

A PEEK INTO THE WORLD OF CINEMATOGRAPHER JON PHILION STORY BY SHANNA FORRESTALL PHOTOS BY AARON HOGAN/EYEWANDER PHOTOGRAPHY

on Philion fell in love with film at the age of six. His uncle took him to see an architectural wonder at Dulles Airport, but there happened to be a movie filming in the terminal that day, and the “scene” that he stumbled on changed his life forever.

J

Philion knew at a young age that he wanted to be a cinematographer, and that he wanted to learn how to tell stories with just a slice of reality as viewed through a camera. In preparation he spent time studying visuals. He attended art schools, studied painting and sculpture, was heavily involved in theater and stage design, and then began to work in movies. He worked for years in motion picture lighting and camera work, and has become a recognized technician specializing in finding solutions for difficult shots. Now Philion, who just finished work on the Louisiana-shot film Heartland, is moving more into cinematography on feature films. “I believe that mastering my craft and applying it creatively will speak for itself,” he says. “I hope that experience and the care that I take will be recognized. I am looking for more projects that will take full advantage of my creativity.” Philion has been working as a creative craftsman for a long time now. He’s worked on some of the world’s largest films with some of the industry’s most recognized directors, but he wants more. His focus has always been on practicing his craft more than

talking about his work. He has a unique perspective that shies away from the typical style that he feels “focuses too much on the equipment instead of the art.” Philion is more focused on the product than just the tool. “I’ve made stuff that looked just exactly right for a project in Super 8. It’s not about the gear; it’s about choosing the right tool for the job.” Although Philion is excited about the possibilities afforded by digital filmmaking tools, he still feels film is a viable and valuable tool. “I believe that until a few years ago, it was only an economic choice to shoot digitally,” he says. “Nowadays, you can no longer say that one is better than the other. Film and digital are very different palettes, and I will be sad when we lose the choice to shoot in the palette of film if it becomes unavailable.” Philion agrees that “it’s easier to grab a digital camera and get a commercially acceptable image,” but also is quick to state that “if telling your story visually is a high priority for your project and you can use film, there are specific images that can only ever be created with film.” Philion’s approach to telling a story visually starts with the story itself. “There are lots of factors in choosing your tools, but it always starts with the story, how you want it to feel or play out on the screen,” he says. “I always start by talking with the director, because it’s their vision in service to the story.” He explains further. “Every collaboration is different. Some directors have a detailed vision and they give you a firm place to jump from. Some ask you to help them figure out a vision based on how they want it to feel.” And even in his quest for top-notch work, Philion understands ISSUE ONE 2015

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budget and other limitations. “Of course you have to look at budget, and balance the relative importance of the visuals,” he says. “I think in some cases it can actually be more economical to shoot and finish in film. Some would be surprised if they would run their budgets both ways. You have to decide going in what you want it to look like.” Philion got involved with the low-budget feature film Heartland through a good friend who was a schoolmate 20 years earlier. She called him because she was interested in the project and loved the script, and she thought he’d be the “right fit for the production.” “It was the best script I’d read for some time,” says Philion. “I knew it would be a challenge getting it to the screen. But the story tells itself visually and that’s any DP’s dream project.” Philion sees missed opportunities in some contemporary films, which he calls “radio plays set to pictures.” He believes that a work of cinema “is a whole different language that takes time and care to use effectively.” He believed the Heartland project was a great opportunity to do that. In approaching the project, Philion employed his typical protocol. “I knew I had to look carefully at what resources we had, figure out how to best leverage them and how to get what we needed for the film,” he says. “I’ve found that typically you can’t get everything you want on a low-budget project, but if you plan carefully, you can have most of what you really need.” For Heartland, Philion worked with director Steve Esteb to go back to a classic cinematography idea. “Instead of shooting with

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Shooting a scene for Heartland.

lots of cameras and angles, we took our time to compose an image the audience would want to look at for a while,” he says. “We staged the scenes for the camera and then let the scene play out. We didn’t want to ever feel like we ‘had to cut.’ This choice definitely required lots of discussion and a large amount of trust, and luckily we established that.” Philion says the biggest challenge for the small-budget film was the lack of resources, given the high production value they wanted to achieve. “Every day we’d show up to the set and wouldn’t necessarily know what crew we’d have, what equipment we’d have and we often wouldn’t have a clear idea of staging before we got there,” he says. “In prep we had discussed many possibilities and developed a visual plan, but on the day we had to play a game I called


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“JON PHILION IS THE MOST TALENTED CINEMATOGRAPHER I’VE EVER WORKED WITH. AND NOBODY WORKS HARDER THAN HIM IN PURSUIT OF TELLING A STORY THROUGH PICTURE. HE IS TRULY A BLESSING.” – STEVEN ESTEB, DIRECTOR OF THE LOUISIANA-SHOT FEATURE FILM HEARTLAND

‘cinematic triage’ (smiles) to really sort out what shots we needed, what story points we couldn’t get away without… and then how to play the very best with the hand we’d been dealt that day. It was a tough game of strategy.” According to Philion, filming in Louisiana brought about some unique challenges. “The story took place largely in a farmhouse surrounded by sugarcane fields. We had the perfect house, the perfect fields at the right time of year with the perfect light,” he says. “Our biggest challenge was to capture the natural beauty faithfully. If we could just manage to shoot it without screwing it up it would be beautiful.” Heartland had a real challenge finding crew because there were so many big-budget, high-dollar features and TV shows shooting in the state that had already hired most of the really experienced crew. Heartland was dependent on a few good friends who were very experienced and really believed in the story, augmented by a

rotating team of passionate support crew. “We worked daily with an ever-changing group of very enthusiastic technicians,” says Philion. “Heartland gave them all an opportunity to practice a new craft, and they in turn gave us invaluable support. One thing was sure: everyone really believed in the project and wanted to make it work. Even through difficult circumstances. It’s because of their hard work and this spirit of collaboration that Heartland is as beautiful as it is.” The Heartland cast included some Louisiana locals, but also brought in Amy Redford (Robert Redford’s daughter) for one of the leads. Philion thought the cast was fantastic. “Steve (Esteb) was able to bring in a great cast that had just the perfect tone. Every scene on this show was very emotional and very heavy and the actors were all extremely accommodating.” Heartland is currently being edited, and Philion believes the film will look and feel very, very good. “The film is being cut; it will need some additional photography, but they are aiming for a Sundance release,” he says. “It is an emotional film that will have a really strong impact.” Philion’s personal goal is succinct. “I want to continue to collaborate with directors who know what they want and have a strong vision; those who can give me a strong point of departure to work from creatively. Having just enough resources is a strong motivator. It really helps you focus keenly on what you need and what you don’t need.” LFV Visit www.jonphilion.com for more.

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SUNDANCE SPECIAL

SUNDANCE FILM FESTIVAL 2015 RECAP

S

undance Film Festival is known for its luscious lineup of fresh films, its super parties, its stunning landscape and most recently… its Louisiana contingency. Over the past few years as Louisiana’s film and production industry has grown, so has the number of Louisiana industry professionals trekking to the premier festival to connect, collaborate and promote the state for future work. Here’s an inside look at why Louisiana’s own attends the much lauded festival and what they hoped to accomplish: Julie Bordelon, Lafayette Entertainment Initiative, Asst. to the City-Parish President/ Film-Media, and Executive Director of Southern Screen Film Festival “This was my second time at Sundance; I provided the band for the Louisiana International Film Festival Sundance Party last year. The LIFF Party was the most entertaining event I attended last year. I was able to make a lot of contacts during both the event and the Chesley Heymsfield of LIFF and Julie Bordelon. Photo by festival, so I was happy to continue Aaron Hogan, Eye Wander my sponsorship by bringing the live music again. It was another successful year and I am happy that I could attend and support. I made more solid contacts in regards to filming and recording in Lafayette. Lafayette is home to so many talented artists in film and music. It was a great opportunity to bring that talent to the world during Sundance.” Kristin Samuelson, Actress and Vocal Acrobat “This was my first time to experience Sundance and it certainly will not be my last! A film I was involved with, Every Day, was in the festival, so I wanted to be there for its premiere. The opportunity to engage with directors, filmmakers and producers from all over the world was one I didn’t want

to pass up. Every Day was inspirational for all who saw it. That was clear from the audience response. I know everyone will enjoy seeing it on ESPN next fall! And now I have new friends and contacts in

L. A., Baltimore, Kansas City, New York and probably a few other places. All of them have projects coming up, so we’ll see what happens. And the parties! OMG, I had no idea there would be so many of them and that I’d have so much fun. The only Louisiana-based event I attended was the LIFF Party, which was fantastic! It included authentic food, CC Adcock & the Lafayette Marquis, fun costumes and folks from all areas of the film industry. It was definitely the best party I attended out there!” Jason Waggenspack, Producer “This was my first time at Sundance. I went because I wanted to network in the indie world a bit and help represent Louisiana at their events. I went to several panels on film financing and digital distribution. I met several up-and-coming filmmakers and I had a really good time in Park City. I would love to go again. The Masquerade Party seemed to be the hit of the week! It was packed inside and there was a line two blocks long outside. It showcased fantastic local music, food and drinks, and the costumes were out in full effect! The NOLA Film Society party was very nice. It was first-class all the way, with the food, drinks and atmosphere. They couldn’t have chosen a better day, as it was 53 degrees and sunny with an open second floor balcony overlooking Main Street. I met some really great contacts and hope to be doing business with them in 2015. I hope to have a movie at the festival next year!” Danielle Greenup, Actress “It was my first time at Sundance. I knew I just had to go this year when I heard that a film I was in called The D Train, which was shot in Louisiana, was going to be making its world premiere. It was going to be tricky getting into the premiere since we didn’t have passes and the tickets were so hard to get. However, everything worked out! I laughed the entire time, shed a few tears, and was amazed to be surrounded by such big-hearted and talented people. Andrew Mogel, Jarrad Paul, Jack Black, James Marsden, Russell Posner, Mike White, Kathryn Hahn. One could say I was gushing. I attended the Midnight Masquerade party. I mingled with tons ISSUE ONE 2015

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of people that had either been in Louisiana filming for a couple of months or had hopes of making contacts and filming there soon. It felt amazing to be surrounded by Louisiana-themed food, decorations, music and people again. The entire event was a thrill and I enjoyed catching up with friends. By the great amount of people I was able to chitchat with throughout the days I was at the festival, everyone knew about Louisiana’s film industry. People who had made this great State of Louisiana their temporary home from L.A. and New York were excited for their next projects there.” Jon Vogl, Sound Editor, Apex Post Production “I’d been to Sundance once before. That was five years ago and soon after I’d first started working in Louisiana. My first trip to Sundance was not as rewarding as I’d hoped. Actually, I had little desire to go back. But this year with Louisiana being such a focal point for filmmaking, and with many people I work with in Louisiana planning to attend, I thought this was the right time to give it another try. The festival this year exceeded my expectations. I wanted to meet people ‘in person’ from areas other than L.A. and N.Y., and share with them the Southern way of ‘establishing relationships’ before doing business together. I feel that I achieved that goal. The Midnight Masquerade was phenomenal! People were talking about it on the streets in anticipation. Apparently last year made

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quite an impression, and this year certainly affirmed it as one of the highlight events of the festival. I also attended a New Orleans sponsored luncheon that was equally impressive, but in a vastly different way. The Masquerade Ball was a party; the luncheon was a classy business affair. I didn’t work on any Louisiana-shot projects at Sundance this year, but I have hopes that’ll change over the next year or two. There’s a lot of talent flowing through Middle America, and Louisiana’s a natural stopping point for projects looking for a home.” LFV


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SUNDANCE SPECIAL

LOUISIANA CONNECTED FILMS Behind the scenes of Zipper with Mora Stephens and Ray Winstone. Photo by Hilary Bronwyn Gayle / Alchemy

L

ouisiana had a series of films connected to the state that played at Sundance this year, but a few of the most notable were Mississippi Grind, Zipper, The D Train and 99 Homes. MISSISSIPPI GRIND Ryan Reynolds is no stranger to Louisiana. He’s shot films in the state before, and he returned once again to work on a Southern-set road drama, Mississippi Grind, that tells the story of a down-onhis-luck real-estate agent who hits the highway with a young poker player in hopes of turning their luck around. Reynolds’ performance is being hailed as a “career best” by some media outlets, and the film’s directors, Anna Boden and Ryan Fleck, whose 2006 drama Half Nelson was a breakout vehicle for Ryan Gosling, have created a film that “details the awkwardness of adult relationships.” The picture debuted to a warm response at this year’s Sundance Film Festival, and WME Global has sold the picture. A24 has secured distribution rights to the film and will release it in conjunction with DirecTV. ZIPPER Zipper is a 2015 political thriller film written and directed by Mora Stephens. The film follows a federal prosecutor running

for office who cannot stop himself from sleeping with high-class escorts, putting both his career and his personal life at risk. Sam Ellis (Patrick Wilson) is a man on the rise—a hot-shot prosecutor on the cusp of a bright future. When an impossibly gorgeous intern (Dianna Agron) at the office becomes infatuated with him, Sam unwisely attempts to quiet his desires by seeing a high-class escort—only to discover that the experience is more fulfilling and exhilarating than he could have imagined. A second appointment with an escort soon follows, and a third, sending his once idyllic life spiraling out of control. In the midst of wrestling with his demons, he suddenly finds himself being groomed to run for U.S. Congress—thrusting him into the public spotlight, and forcing him to take increasingly dangerous measures to keep the press, the law and his wife (Lena Headey) off his trail. Zipper had a series of sold-out screenings at Sundance Film Festival, including its premiere at the Eccles Theatre on January 27. Many of the cast were in attendance for the premiere, including Wilson, Agron, Richard Dreyfuss, Penelope Mitchell, Alexandra Breckenridge, John Cho and Christopher McDonald. The film sold its North American rights to Alchemy. Alchemy is the new moniker for Millennium Entertainment, which rebranded after CEO Bill Lee and Virgo Investment Group partnered to acquire the company’s catalog and distribution operations from a group of investors. The film will be released in theaters and on-demand later this year. ISSUE ONE 2015

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THE D TRAIN Jack Black and James Marsden star in the comedic film about high school acquaintances spinning their own lies. Black plays Dan Landsman, self-appointed leader of his high school reunion committee, who convinces his belittling alumni members that he can boost attendance by luring back his class’ most popular student, actor Oliver Lawless (Marsden), whose biggest role to date is in a sunscreen ad. Dan lies to his boss (Jeffrey Tambor) about landing a big client in L.A., so he can fly out and meet Oliver in person— only to find the L.A. scene has its temptations. The writing-directing team of Jarrad Paul and Andrew Mogel construct a wickedly funny scenario built on the self-deceptions both Dan and Oliver have built for themselves, and what happens when they blow up in their faces. The D Train screened in the U.S. Dramatic competition of the 2015 Sundance Film Festival, and UTA and WME sold the film to IFC Films with a $3 million deal for the U.S. rights to the film. 99 HOMES Many films debut at Sundance, but the film 99 Homes is a film with a purpose. The film is set in Orlando, where construction worker Nash (played by Andrew Garfield) is evicted from his home by charismatic, gun-toting real-estate broker Carver (Michael Shannon) and forced to move his mom (Laura Dern) and young son into a shabby motel. Carver seduces Nash into a risky world of stealing from banks and the government. Nash makes big money, but there’s a cost. On Carver’s orders, Nash must evict honest

99 Homes debuted at Sundance.

families from their homes—just as it happened to him—and will have to choose between destroying an honest man for the ultimate win or going against Carver and finding redemption. Powerhouse director Ramin Bahrani brings this very real story to life. The film made the festival rounds from Venice to Telluride to Toronto en route to Sundance, where it screened January 23. The film was acquired by upstart Broad Green Pictures in a big $3 million deal for U.S. rights, with a P&A commitment. International rights stay with Hyde Park, which financed the hot-button pic with ImageNation. The film will be released in the spring. LFV

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SUNDANCE SPECIAL

LIFF HOSTS MIDNIGHT MASQUERADE Chelsea Langley and Andrew Vogel. Photos by Aaron Hogan, Eye Wander.

Crowds waiting to get into Midnight Masquerade. Photos by Aaron Hogan, Eye Wander.

Bad Kids collective. Photos by Aaron Hogan, Eye Wander.

A

highlight of Sundance 2015 was the Midnight Masquerade Party hosted by the Louisiana International Film Festival (LIFF), along with sponsors Cineverse, Louisiana Film & Video Magazine, Lafayette Entertainment Initiative, Southern Screen Film Festival, Louisiana’s Pick Your Passion (www.louisianatravel. com), Cinemark, The Advocate and the Louisiana Technology Park.

Shanna Forrestall and Andrew Vogel. Photos by Aaron Hogan, Eye Wander.

Over 1,200 guests attended the highly anticipated third annual Louisiana Film Party at Sundance on January 26 at the newly renovated OP Rockwell in Park City, Utah. The party showcased authentic Louisiana culture with sexy swamp rock & roll performed by the legendary CC Adcock & the Lafayette Marquis sponsored by the Lafayette Entertainment Initiative (LEI). Impressively costumed industry and local guests warmed up with savory cuisine and scrumptious desserts prepared by the “King and Queen of Louisiana Seafood,” chefs Samantha and Cody Carrol from the “soon to open” Sac-A-Lait restaurant in New Orleans. Classic Louisiana cocktails were served featuring distilled Oryza vodka & RougaRoux Rum from Thibodeaux, Louisiana, as a runway of Midnight Masquerade fashion from beguiled to brazen strutted the red carpet. LFV

Megan Hebert, Alexander Antebi and Sydney Harri. Photos by Aaron Hogan, Eye Wander.

LIFF is a non-profit organization created to provide access to

The Lafayette Marquis. Photos by TotallyRAD! Media.

Photos by TotallyRAD! Media.

education and opportunity for Louisiana’s talent in film, music and innovation industries. Visit www.lifilmfest.org for more.

Photos by TotallyRAD! Media.

Shanna Forrestall and CC Adcock. Photos by Aaron Hogan, Eye Wander.

The Lafayette Marquis. Photos by TotallyRAD! Media. ISSUE ONE 2015

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The annual Consumer Electronics Show (CES) in Las Vegas highlights the latest trends in video technology.

GAZING INTO CES’ CRYSTAL BALL STORY BY W. H. BOURNE PHOTOS BY ODIN LINDBLOM

T

he 2015 Consumer Electronic Show (CES) was once again an affirmation of the impending changes in digital media, television and feature films. This year, CES had a dedicated special show floor called C Space for content creators, brand marketers, advertising agencies, digital publishers and social networks. With special conference programming geared toward this, panel sessions focused on trends and techniques to reach the consumer through the next generation of digital video, social and multi-platform marketing. Other sessions explored related topics such as how brands can utilize video to drive deeper consumer engagement, the use of data and measurement, the best ways to foster creativity in a technology saturated world, and the need to balance customer relationships and privacy while im-

plementing targeted marketing. It was refreshing to see that corporations and their advertising divisions are taking the digital marketplace more seriously. Hopefully, this will translate into more ad revenue for digital content providers.

8K prototype TVs on the show floor of CES.

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Technology is always at the forefront of CES, and this year was no different. Of course, the eye candy at CES always begs the question, “Will this new technology become a trend or a fad?” Driverless cars, 3D printing, and virtual reality products received a lot of buzz this year; however, many still talk about technology that was never fully adapted like 3D TV. Drones (UAVs) were also very popular this year although legislative restrictions about the commercial use of drones (including filmmaking) tend to be problematic. While consumer 4K televisions (UHD) and cameras filled the CES marketplace with pricing much more competitive than last year, 8K prototype televisions were on display from numerous manufacturers. While some companies such as Netflix are already providing 4K streaming services in select markets, Dish’s announcement at CES of their 4K roll out this summer was significant. All signs continue to point toward the adoption of 4K content delivery at a much faster pace than the analog to HD conversion. For years independent filmmakers have been relying on consumer and pro-sumer equipment as an affordable way to create content. Dell and HP both had 5K computer monitors on display that will be reasonably priced. Alienware had many of their gaming computers that could support 4K editing. The highlight was their graphics amplifier breakout box for their current generation of laptops. You can drop almost any desktop video card into the breakout box allowing you to have a more powerful option for rendering. Rounding out the video gear highlights were Lowell’s 3 light LED Fresnel kit and Lume Cube’s tiny, app controlled, bright LED lights.

Gear reviews and coverage from this year’s CES should be considered by any filmmaker looking at investing in equipment. If you are working on projects that can spend any prolonged amount of time in post or in seeking distribution, you should be seriously considering 4K technology so your project is still marketable when complete. LFV

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HOLLYWOOD SOUTH LEGAL

COPYRIGHT REGISTRATION PROVIDES IMPORTANT LEGAL BENEFITS STORY BY MEG ALSFELD KAUL KEAN MILLER LLP

W

hen writing a script, preparing a treatment for a television show or composing a piece of music, it is often advisable to secure your original work by registering for a United States copyright. Without this protection, important legal benefits may not be at your disposal when you need them the most. What is a copyright? A copyright is a form of protection provided by the United States Code, Title 17, to those producing “original works of authorship” in the literary, musical, dramatic, architectural and other artistic realms. Although federal registration is not required to obtain a copyright in an original work of authorship per se (as a copyright is secured automatically when the work is created or fixed in a tangible medium for the first time), federal copyright registration does provide the author with a public claim to the work and affords certain statutory protections. How do I register? In order to obtain copyright protection in a screenplay, for example, you first register the screenplay under the category of “Dramatic Works.” This is done by completing a Form PA (Performing Arts) online at the U.S. Copyright website. The cost to file a work online is approximately $35 per application. If the work, such as a screenplay, is unpublished, you will submit one copy of the screenplay; if it is published, you will submit two completed copies of the best edition of the screenplay and provide the country and full date of the first publication. The Copyright Act of 1976 defines “publication” as “the distribution of copies or phonorecords of a work to the public by sale, or other transfer of ownership, or by rental, lease, or lending.” For example, a screenplay is also considered “published” if there is an “offering to distribute copies or phonorecords to a group of persons for purposes of further distribution, public performance, or public display.” However, a public performance

or display of a work does not in itself constitute publication. It is not necessary to make another registration when the screenplay becomes published, even though the author may decide to register the published edition. It is also important to remember that certain things like ideas and concepts will not qualify for federal copyright protection. How do I notify others? Once you have registered the screenplay, it is advisable to affix to the document the copyright symbol ©, along with the year of first publication and the name of the owner of the copyright. This notification is not required, but it does provide notice to third parties that your work is protected. Registering your work does not disallow others from having a similar storyline or theme, but it may discourage others from using your work without your permission. Even though a copyright may help discourage others from making unauthorized reproductions of your work, it does not wholly prevent this. Therefore, it is important to be selective when sharing your screenplay with third parties, particularly if you are shopping your screenplay in hopes of obtaining investors or talent for your project. In those cases, it is beneficial to have a non-disclosure agreement executed in advance of the third parties’ receipt of your screenplay. What are the benefits? Along with having a public record of the copyright claim, the owner of the copyright has the exclusive right to do things like reproduce the work in copies, prepare derivative works, perform or display the work publicly, or sell the work to the public. For works created after 1978, the copyright lasts for the life of the author plus 70 years. When faced with a lawsuit, if the screenplay is registered, the owner can seek statutory damages and attorneys’ fees against the infringer; whereas without federal protection, the owner would be limited to actual damages and the infringer’s profits. LFV

This article is provided for general information only. The material contained in the article may not reflect the most current legal developments. Such material does not constitute legal advice, and no person should act or refrain from acting on the basis of any information contained in this article without seeking appropriate legal or other professional advice on that person’s particular circumstances. ISSUE ONE 2015

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LOCATION SPOTLIGHT

FILM OFFICE GUIDE YOUR RESOURCE GUIDE TO THE FILM OFFICES, CHAMBERS, VISITORS BUREAUS AND FILM LIAISONS THROUGHOUT THE STATE OF LOUISIANA. STATE OFFICE Louisiana Office of Entertainment Industry Development Chris Stelly 225-342-5403 1051 N 3rd St Ste 173 Baton Rouge, LA 70802 www.louisianaentertainment.gov

REGIONAL OFFICES

SOUTHEAST Baton Rouge Film Commission Liza Kelso 225-382-3563 359 Third Street Baton Rouge, LA 70801 www.filmbatonrouge.com

Gretna Office of Tourism Bernadette Guarino 504-363-1500 2nd Street and Huey P. Long Ave Gretna, LA 70053 www.gretnala.com

Film New Orleans Katie Williams 504-658-0923 1340 Poydras Street, Ste 1000 New Orleans, LA 70112 www.filmneworleans.org

Film Pointe/Pointe Coupee Parish Office of Tourism Jeanie Andre 225-638-3998 727 Hospital Road New Roads, LA 70760 www.pctourism.org

Houma Area Convention and Visitors Bureau and Film Office Joey Pierce 800-688-2732 114 Tourist Drive Gray, LA 70359 www.houmatravel.com

Jefferson Convention & Visitors Bureau Linda Maher 504-731-7083

1221 Elmwood Park Blvd., Ste 411

Jefferson, LA 70123 www.experiencejefferson.com

Jefferson Parish Film Office

Livingston Parish Tourist Commission

Dominique Rotolo 504-364-2706 200 Derbigny Street, Ste 6100 Gretna, LA 70053 www.filmjeffersonla.com

Jonathan Taylor 888-317-7899 P.O. Box 864 Livingston, LA 70754 www.livingstontourism.com

Lafourche Parish Government

New Orleans Plantation Country Film Office

Grayling Hadnott 985-446-8427 P.O. Box 5548 Thibodaux, LA 70302 www.lafourchegov.org

Jo Banner 985-359-2562 2900 New Highway 51 LaPlace, LA 70068 www.film-louisiana.com

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337-948-8004 P.O. Box 1415 Opelousas, LA 70571 www.cajuntravel.com

St. Martin Parish Tourist Commission SOUTHWEST/SOUTH CENTRAL Abbeville Film & Visitors Commission 337-740-3636 907 Veterans Memorial Drive Abbeville, LA 70510 www.abbevillefilm.com

Arnaudville Area Chamber of Commerce

St. Bernard Parish Office Of Film And Television

Iberia Parish Convention & Visitors Bureau

St. Tammany Parish Film Office/Louisiana Northshore

Fran Thibodeaux 337-365-1540 2513 Hwy 14 New Iberia, LA 70560 www.iberiatravel.com

Loren M. Legendre 985-892-0520 68099 Hwy. 59 Mandeville, LA 70471 www.louisiananorthshore.com

CENTRAL

Emily McKneely 985-542-7520 13143 Wardline Rd. Hammond, LA 70401 www.tangitourism.com

Alexandria/Pineville Area Convention & Visitors Bureau Sherry Smith-Ellington 800-551-9546 P.O. Box 1070 Alexandria, LA 71309 www.theheartoflouisiana.com

West Baton Rouge Convention & Visitors Bureau

Central Louisiana in Film

Kathryn Gautreau 225-344-2920 2750 North Westport Dr. Port Allen, Louisiana 70767 www.westbatonrouge.net

Bill Hess 318-419-4377 P.O. Box 71 Alexandria, LA 71309 www.cityofalexandriala.com

West Feliciana Parish Tourist Commission

Natchitoches Area Convention & Visitors Bureau

Laurie Walsh 225-635-4224 P.O. Box 1548 St. Francisville, LA 70775 www.stfrancisville.us

Farrah Reyna 800-259-1714 780 Front Street, Suite 100 Natchitoches, LA 71457 www.natchitoches.net

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St. Martinville Office of Tourism Michelle Verret Johnson 337-394-2233 P.O. Box 379 St. Martinville, LA 70582 www.stmartinville.org

Brandy Perdikis 337-754-5316 P.O. Box 125 Arnaudville, LA 70512 www.arnaudvillechamber.org

Ryan Fink 504-650-1010 8201 West Judge Perez Dr. Chalmette, LA 70043 www.stbernardfilm.net

Tangipahoa Parish Convention & Visitors Bureau

Dona Degatur Richard 337-442-1597 P.O. Box 9 St. Martinville, LA 70582 www.cajuncountry.org

Jeff Davis Parish Film Commission Marion Fox 337-821-5534 100 Rue de l’Acadie Jennings, LA 70546 www.jeffdavis.org

Lafayette Entertainment Initiative

NORTHWEST Shreveport-Bossier Film Office Arlena Acree/Pam Glorioso 318-673-7515/318-741-8503 505 Travis Street, Ste 200 Shreveport, LA 71101 www.shreveport-bossierfilm.com

Webster Parish Convention & Visitors Bureau Lynn Dorsey 318-377-4240 110 Sibley Road Minden, LA 71055 www.visitwebster.com

Julie Bordelon 337-291-3456 705 West University Avenue Lafayette, LA 70502 www.lafayetteentertainment.org

Lake Charles/Southwest Louisiana Film Commission Megan Hartman 800-456-7952 1205 N. Lakeshore Drive Lake Charles, LA 70601 www.shootlakecharles.com

St. Landry Parish Tourist Commission Celeste D. Gomez

NORTHEAST Northeast Louisiana Film Commission Sheila M. Snow 800-843-1872 P.O. Box 1436 West Monroe, LA 71294 www.nelafilm.com


LOCATION SPOTLIGHT

BATON ROUGE: SHOOTING IN THE FILM-FRIENDLY CAPITAL

B

aton Rouge, Louisiana, “the #1 Small City to work and live in as a filmmaker.” That was the titled bestowed upon Baton Rouge in the January issue of MovieMaker magazine. Baton Rouge was listed as the top rated according to six criteria: film production in 2014, film community and culture, equipment and facilities, tax incentives, cost of living, and a general category that includes lifestyle, weather, transportation and other “livability” categories. Baton Rouge exceeded expectations with amenities such as the Celtic Media Centre, professional crew, and an engaged film commission. No doubt, 2015 looks to be an award-winning year for filming in the capital city. From the large tent-poles such as Oblivion and Fantastic Four, to the small, independent projects like Pitch Perfect, the Red Stick offers filmmakers an all-inclusive package from prep to post. Mayor-President Melvin L. “Kip” Holden personally meets with many filmmakers on their initial scouts, thanking them for bringing their projects to Baton Rouge and assuring them that the city will be a partner during their production tenure. A perfect example of said partnership is the instance when a production shoot interfered with a local neighborhood trash pickup. Through the collaborative efforts of the Department of Public Works and the Neighborhood Association, all trashcans were centrally placed in a vacant lot,

diverting a disaster and allowing for the show to go on. Now that is a city working together! The Baton Rouge Film Commission is busy gearing up for several projects that will begin photography in both March and April. With three television series and two feature films shooting in the second quarter of 2015, Liza Kelso, director, and Alison Wisecarver, production coordinator, are connecting productions with the local Baton Rouge crew and film-friendly vendors and suppliers in the capital region. Area vendors felt the financial impact of the industry, with a direct spend of $180 million in 2014. As the industry as a whole prepares for the 2015 Legislative session, the Baton Rouge Film Commission hopes to relay the following message to our state lawmakers: Baton Rouge is now a major film city bringing positive economic growth to our state. Visit www.filmbatonrouge.com. LFV

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Reed Hayward (504) 782-3526 • Leslie Bertucci (504) 905-7026 • Charlottle Miller (504) 908-3659

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LOCATION SPOTLIGHT

LET LIVINGSTON BE YOUR STAGE

L

ivingston Parish is seeing the benefits stemming from Louisiana’s film tax incentives. Located only 20 minutes from Downtown Baton Rouge and less than 1 hour from New Orleans, Livingston Parish is becoming a prime location for filmmakers looking to produce their next film. The Denham Springs Antique District, fishing camps located along rivers, and Carter Plantation are just a few of the locations they have to offer. John Schneider, actor/director, has recently opened a film studio in Holden, Louisiana. His studio has brought a lot of exposure and credibility to Livingston Parish when it comes to the film industry. John Schneider Studios sits on approximately 60 acres. His studio includes a 220,000-gallon swimming pool, two antique homes, a soundstage, two ponds, a bamboo forest and much more. For more information on John Schneider Studios you can visit the Facebook page at www.facebook. com/johnschneiderstudios. The film industry is be-

ginning to take notice and take advantage of the opportunities that Livingston Parish offers. “Our goal is to provide filmmakers with the best work environment possible,” says Jonathan Taylor, Livingston Parish Tourism’s assistant director. “We understand the positive impact the movie industry can have on Livingston. We partner with other parish agencies to accommodate them and give them a memorable experience so they will continue to come back.” If you would like Livingston Parish to be your stage, you can visit the film page at www.livingstontourism.com for more information or give them a call at 225-567-7899. LFV ISSUE ONE 2015

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LAFAYETTE: AMERICA’S BEST-KEPT SECRET

LOCATION SPOTLIGHT

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reative industries seem drawn to culturally dynamic cities like Lafayette, Louisiana. It is a mecca for arts and culture… and often called by the folks that live here and the friends that visit, “America’s best-kept secret.” And even though we would like to keep it that way, it is hard to hide the truth. The city is ripe with opportunity, and there are plenty of avenues to take, no matter what your entertainment industry profession.

Lafayette offers the entertainment industry such resources as the Lafayette Entertainment Initiative (LEI), a one-stop shop to all things entertainment, working to facilitate the growth of film, music, interactive digital media and live performance (LafayetteEntertainment.org). Lafayette has one of the nation’s largest municipally-owned fiber networks, offering 1 Gbps both up and downstream (LUSfiber.com). The Opportunity Machine (OM) is designed to assist relocations and start-ups in growing their business in Lafayette’s economy (OpportunityMachine.org). The Louisiana Immersive Technologies Enterprise (LITE) is among the few facilities in the world that combines high-performance super-computing, fiber optics connectivity, 3D immersion and advanced visualization (LITE3D.com). And LITE is home to the talented Pixel Magic (PixelMagicFX.com) and Null Effects (NullEffects.com), providing digital visual effects for motion pictures and television, continuing to build a base for post-production not offered anywhere else in Louisiana. Additional incentives and resources are: • 2% sales tax rebate on qualifying film productions. • Lafayette Regional Airport, offering flights to major domestic destinations with connecting service to points around the globe. • Over 60 hotels, and hundreds of restaurants. • Potential offices and housing assistance available to productions. • A large selection of diverse and low-cost filming locations and live performance venues. • State-of-the-art pre- and post-production companies, rental houses and recording studios. • Film-friendly city government support and free permitting and locations assistance from LEI. • LEI’s Reel Scout database provides locations, crew, talent and support services across all four entertainment industries. Lafayette continues to grow its infrastructure by educating the next generation of entertainment industry professionals with one of the top computer science programs in the coun-

try, along with programs in moving image arts and music business at the University of Louisiana at Lafayette. The Academy of Interactive Entertainment (AIE) is designed to train students in 3D animation, game development and other related fields (TheAIE.us/ Campuses/Lafayette). There is plenty of music/film production workforce training and workshops offered by multiple community groups. Southern Screen Film Festival is another industry development source offering a four-day event in November that provides a platform for local and international filmmakers to showcase their work to film enthusiasts from around the world. The event also hosts multiple workshops and seminars to established and aspiring filmmakers and musicians interested in learning more about the film industry (SouthernScreen.org). The Louisiana International Music Exchange (LIME) is held during Festival International de Louisiane (voted “Best World Music Festival” by About.com). LIME encourages professional networking opportunities and interactions while showcasing Louisiana musicians to music industry professionals visiting Lafayette to attend Festival International (FestivalInternational.org/Special-Events/LIME). Wall Street Journal’s Market Watch named Lafayette the “Happiest City in America” in 2014. The City has also been listed as one of the “Tastiest Towns in the South” (Southern Living Magazine) and “Best Small Town in America” (USA Today). With the intimacy of a small town and the sophistication of a big city, you’ll get the feeling that you’ve never been anywhere quite like Lafayette. LFV ISSUE ONE 2015

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FILM POINTE Film Industry Resource Center

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LOCATION SPOTLIGHT

FINDING POINTE COUPEE STORY BY JEANIE ANDRE DIRECTOR, FILM POINTE

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ilms in Louisiana began in 1898 and our first film was City Hall. Since then, Louisiana has been the home for many films, documentary shorts, television series and music videos. In 2002, Louisiana Legislature enacted the Louisiana Motion Picture Tax Incentive Act, giving film and video makers a 30 percent tax credit on qualified motion picture expenditures, and a Labor Tax Credit paid 5 percent for qualified payroll expenditures on Louisiana residents. These tax credit programs encouraged filmmakers to come to Louisiana to produce their films and encouraged them to employ Louisianans. Since the two incentive programs were implemented, many producers, scouts, agents and videographers have found their way down South. Many films, movies, documentary series and videos have found places like New Orleans, East & West Baton Rouge, Lafayette, St. Franksville, and so many other cities across Louisiana. But we want to tell you about another ideal location for filming. Pointe Coupee Parish is located 30 miles west of Baton Rouge and has been known to filmmakers long before the tax incentive program. Scenes from the movies The Long, Hot Summer and Easy Rider were filmed in Pointe Coupee many years back, but filmmakers began showing more interest in Pointe Coupee Parish when we started our own incentive program called Film Pointe. It is our parish’s film industry resource center. We have opened the doors to the filming industry and are telling them what we have to offer. Pointe Coupee Parish will address their needs. The best way to describe Pointe Coupee Parish is that we consist of four small rural municipalities very close in vicinity and that makes easy access for filmmakers. Our parish has unique buildings such as Creole- and Cajun-style cottages, antebellum homes, scenic highways, bridges, farms, ranches, fields, crops, bayous, swamps, lakes, ponds, farms, livestock, historical churches, graveyards and Louisiana wildlife, and it’s all nestled into one place. Another

point of interest is our parish courthouse. It is an old architectural structure that has an empty jail on the third floor and it would make an ideal setting for a prison movie or jail scene. Pointe Coupee also has other large buildings that could be used for temporary sets or storage. Filmmakers have used Pointe Coupee Parish for small scenes, such as in Bonnie and Clyde, Bad Asses on the Bayou, and Beautiful Creatures. Most recently, Half Yard Productions filmed a part of their already popular National Geographic Channel documentary series Filthy Riches in Batchelor, Morganza and Jarreau, and these small rural places are located in Pointe Coupee Parish. Local residents will be main characters on the show. Half Yard Productions filmed in our swamps, filmed wildlife, and used local business places and services in Pointe Coupee Parish. The new show will air in April 2015. Also, on February 2, scenes for a feature film called Showing Roots were shot in Livonia, Louisiana. Thanks to Louisiana Film & Video Magazine and the Louisiana tax incentive programs, filmmakers are finding us now and we want to welcome you here. For more information, visit www.pctourism.org. LFV ISSUE ONE 2015

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LOCATION SPOTLIGHT

WHY FILM IN JEFF DAVIS PARISH?

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ocation! Located between Lafayette and Lake Charles and New Orleans and Houston, Jeff Davis Parish offers a variety of locations utilized by feature films, documentaries and commercials. Looking to film a whimsical romance, an action-packed crime drama or a one-of-a-kind commercial? We have the perfect venue for your company. What you won’t find in our parish are fees, permits, hassles or mountains! Our film commission offers 24-hour availability when you are shooting or need assistance with your production. We act as your governmental liaison to clear the path for all services required, like scouting assistance and itinerary planning. Our parish has all of the usual venues like small towns, open fields, swamp and marsh scenes, and of course alligators and crawfish farm tours. Our newest additions include the Louisiana Spirits Rum Distillery, a perfect location both inside and out, and a bank transformed into a boutique hotel, along with a restaurant located on a lake with access by automobile, boat and seaplane. The film commission maintains an extensive photo library and will share photos and even shoot additional photos if requested. The Jeff Davis Parish Film Commission is ready to assist in assuring that your company has the best experience available. Please contact our office and let us show you the real Louisiana. Visit www.jeffdavis.org. LFV ISSUE ONE 2015

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MY SOUTHWEST LOUISIANA HOME STORY BY MEGAN HARTMAN LAKE CHARLES/SOUTHWEST LOUISIANA CVB

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arlier this year, the Lake Charles/Southwest Louisiana Convention & Visitors Bureau, along with community partners, produced the bureau’s first-ever commissioned song to accompany an areawide video called “My Southwest Louisiana Home.” While the intent of the video is to inspire travel to Southwest Louisiana, the video can be used by the Lake Charles/Southwest Louisiana Film Commission for location scouts and producers to give them a taste of the area’s location offerings. It’s a colorful piece that ties the region together so that people can grasp the essence of Southwest Louisiana. The video displays our gorgeous moss-strewn cypress trees along the Calcasieu River, the serene marshlands, Gulf of Mexico beaches full of seashells, historic homes and civic buildings, along with Vegas-style resorts. It puts our rich food scene and life on the water on full display. The music video is also a great example of a first-class production that can be shot in Southwest Louisiana. Over 50 people in the community came together to make this video a reality, from local talent to people interested in helping with props or locations. For the video aspect, Adam Boozer and his team at Stowaway with a wealth of experience in working with other tourism television projects, partnered with the Lake Charles/Southwest Louisiana Convention & Visitors Bureau (CVB). Adam scouted locations a few months prior to the shoot with the CVB staff and Lake Charles/Southwest Louisiana Film Commission. From there, everyone collaborated with community volunteers and Parker Brand Creative out of Sulphur, Louisiana, on a one-week shoot for the music video. It has also been made into a 30-second TV commercial. Wendy Colonna, the singer/songwriter from Lake Charles who

currently tours the country, was commissioned to write the song for the piece. “Whenever Adam, Wendy and I talked for the first time about the project of ‘My Southwest Louisiana Home,’ immediately I could tell that this adventure was meant to be—all being on the same page artistically,” said Angie Manning, communications director for the CVB and project manager. “We shared many conversations discussing the concept and the song and ideas for the video came together organically.” Local/Louisiana musicians worked on the piece as well, including Matt Moss (bass), Brandon Ledet (accordion), Joel Savoy (fiddle), Sam Broussard (slide guitar), and Doug Gay (drums). The song was recorded and mixed by Matt Moss at EMF Productions, located in Lake Charles Music Plaza. Check out “My Southwest Louisiana Home” at www.visitlakecharles.org/musicvideo and find out how easy it can be to film your next production in Lake Charles at www.shootlakecharles.com. LFV ISSUE ONE 2015

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SHREVEPORT-BOSSIER BRINGS YOU THE WORLD

LOCATION SPOTLIGHT

STORY BY PAM GLORIOSO SHREVEPORT-BOSSIER FILM OFFICE

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ringing you the world, from France to Africa and even the North Pole, Shreveport-Bossier is diverse and the area has the resources to make a film project a success. This slogan has become the motto of the Shreveport-Bossier Film Office, a virtual office that is composed of Arlena Acree from the City of Shreveport’s Mayor’s Office and Pam Glorioso of the City of Bossier City’s Mayor’s Office, who are ready to work with productions from small independent films to major features. These two ladies have worked together since 2005 to market, promote, educate and grow the film industry in North Louisiana. Both have achieved the title of “Certified Film Commissioner” from the Association of Film Commissioners International, making their office the only film office in Louisiana to have two AFCI-certified commissioners. Hundreds of producers and directors have found that Shreveport-Bossier can stand in for New York City to the blistering deserts of the Middle East. The northwest corner of Louisiana offers

filmmakers the opportunity for spectacular settings in the Sportsman’s Paradise, like the AMC production Duck Dynasty and the blockbuster Battle: Los Angeles. Our area over the past decade has been an instrumental part of Louisiana’s success in becoming the Hollywood of the South—a fact that many filmmakers are finding out for their productions: what a jewel the Shreveport-Bossier City area really is. The area has seen the making of several films in late 2014, such as the Hank Williams biography, I Saw the Light, and the television series Salem, which is coming back for its second season on WGN-America. This 17th century-set series, inspired by the witch trials of Salem, stars Janet Montgomery and Shane West. The Shreveport-Bossier Film Office covers the northwest region of Louisiana, offering filmmakers the most expansive portfolio of locations in the world, but the Louisiana Film Tax Credit Program, the most competitive film tax credit program in the United States, also helps draw productions to the area. We know that it’s not just locations that make a film, but its bottom line of the budget that will ultimately decide the place the production is going to film. The Shreveport-Bossier Film Office is ready to work with productions to help make that mere script into a reality of a profitable film. Visit www.shreveport-bossierfilm.com for more. LFV ISSUE ONE 2015

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LOCATION SPOTLIGHT

WEBSTER PARISH: SMALL TOWN, USA — AND MORE

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ebster Parish has always been perfect for rural locations with rolling hills, pine trees, Kisatchie National Forest, 17,000-acre Lake Bistineau with moss-covered ancient cypress trees, and beautiful Bayou Dorcheat that is protected by the Louisiana Department of Wildlife and Fisheries Scenic Streams Program. The original brick streets and the timeless architecture of downtown Minden have been a huge appeal for filmmakers. Minden is a perfect setting for a Small Town, USA. Surrounded by miles of rolling hills and forests, lazy bayous and mystic lakes studded with cypress trees, the diverse landscape offers countless options suitable for the movie industry. Camp Minden, just outside of Minden, is a 15,000-acre industrial park, formerly the Louisiana Ammunition Plant. This vast facility is fenced and guarded 24 hours a day. The site includes 65 miles of railroad tracks, 107 miles of paved and unpaved roads, and 15,000 acres of land within the secured compound that can be easily redesigned to resemble any locale. The most recent movie filmed in Webster Parish was I Saw the Light, the Hank Williams story, which filmed November 4 - 6 in Minden. This was the 26th production filmed entirely or in part in

Webster Parish since The Guardian, starring Kevin Costner and Ashton Kutcher, officially began filming on December 5, 2005 at Camp Minden. The northwest corner of Louisiana has provided the mock scenery for locations around the world that include Guantanamo Bay, Cuba; Kodiak, Alaska; Senegal, Africa; and Paris, France. This versatility is a valuable commodity for the movie industry, along with easy access to interstates and major airports. Highways • Interstate 20 • Interstate 49 • U.S. Highway 80 Airports • Dallas-Ft. Worth International Airport - 200 miles west • Shreveport Regional Airport - 30 miles west • Minden Airport All locations are less than 30 miles from Shreveport and less than 200 miles from Dallas, and have easy access from Interstate 20 and Highway 80. For more information contact Lynn Dorsey, Executive Director of Webster Parish Convention and Visitors Bureau, at 1-800-2MINDEN or lynndorsey@att.net. LFV ISSUE ONE 2015

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FILMWORKS NEW ORLEANS: THE NEW KID ON THE BLOCK IS ROLLING

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pened just over four months ago, a new studio facility is already becoming quite popular in South Louisiana.

“We’ve been open since October 15, and our fourth movie project is in-house right now and will be here for a couple months,” said George Steiner, managing partner of FilmWorks New Orleans. The studio, located just minutes from the French Quarter, offers 37 acres of flexible space, including a 20,000-square-foot stage, a 406,000-square-foot backlot, and 92,000 square feet of mill/work space. One of the main draws seems somewhat obvious, but is of dire importance. “Parking, parking, parking. It’s a big deal for film production in New Orleans,” said Steiner. Indeed, for a recent Mardi Gras event, the MOMs Ball, FilmWorks New Orleans provided parking within its fenced grounds for more than 5,000 guests. The studio facility is a long time in the making. According to Steiner, the building was once the main headquarters and distribution center of McFrugal’s, a discount outlet chain similar to Wal-Mart. But the 1-million-square-foot property burned down in 1996. Several years later, one of FilmWorks New Orleans’ eventual partners purchased the property, restored it to usability, and utilized it as a warehouse. Then Steiner approached the building’s owner to discuss the possibility of opening a film studio in the space. “This was an obviously good place for a studio,” explained Steiner. “Many groups attempted to buy it and develop it, but the

owner didn’t want to sell the building. I went to the owner, we discussed it, and shortly thereafter we went into business to develop it.” The management team behind FilmWorks New Orleans is the best of both worlds: one partner with warehouse experience and the other (Steiner) with vast production experience. Steiner started in the New Orleans production business in 1971, and has been in the industry for more than 40 years. A member of the Directors Guild, he worked as a television commercial producer for many years, and then served as the Louisiana State Film Commissioner from 1992 to 1996. After his stint as film commissioner, he spent 14 years in Southern California and then moved back to Louisiana “to get involved in the booming film production world here.” In addition to his work at FilmWorks New Orleans, Steiner is also an executive producer on the upcoming feature film She’s Funny That Way, starring Jennifer Aniston and Owen Wilson, which opens in 1,200 U.S. theaters in May. FilmWorks New Orleans has certainly enjoyed its first few successful months in operation, and Steiner’s explanation is simple: “It was an obvious fit. We opened it and they came.” LFV For more information about the studio, visit www.filmworksneworleans.com. ISSUE ONE 2015

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John Ashker • I worked on my first picture in New Orleans in 1986. • I moved to Los Angeles on the encouragement of the L.A. based stunt crew I worked for. I continued to work for them for several years until in 1989 they were asked to go to South Africa to do a six picture deal for then Cannon Films. I spent the next 6 years establishing myself amongst the best stunt men in the business. • In 1996 I was called back to New Orleans to work on the USA series The Big Easy. In 1997 I was offered the Stunt Coordinator Position on that show. When the show wrapped at the end of that year I was offered the coordinator position on a picture called Fait A’ Compli. I moved to Los Angeles after that picture wrapped and continued to work. • In 2006 I decided to move back to New Orleans to offer my talent and service to producers shooting locally. The local stunt talent has grown since those early days and nearly 100% of your action can be accomplished with the local stunt people to help maximize your tax rebate dollars. A very small percentage might need an outside hire from Los Angeles or New York.

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TO BE OR NOT TO BE… SOMETHING ROTTEN! OPENS ON BROADWAY STORY BY VICKY C. BRANTON

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ntertainment roots grow deep in Louisiana and for Baton Rouge brothers, it was only a matter of time before the individual film and music careers of Wayne and Karey Kirkpatrick combined to shine their lights on Broadway.

William Shakespeare wrote, “Be not afraid of greatness: some are born great, some achieve greatness and some have greatness thrust upon them.”1 In a few short weeks, the measure of greatness for the Kirkpatrick brothers will be redefined by something many long for and few ever achieve: a Broadway opening. “As good luck would have it”, 2 Something Rotten! could proclaim them all. Set in the 1590s, Something Rotten! takes a twist off the old master, William Shakespeare. “What if Shakespeare were like a modern rock star, and everyone wanted to be like him?” pronounced Karey Kirkpatrick on the development process of their premise. “What if Shakespeare’s London was just like 1940s Hollywood?” The Kirkpatrick brothers’ comedic and lyrical imagination breathes contrary to Something Rotten!. Like The Tortoise and the Hare3, one brother’s journey into New York City was slow and steady. The second moved from one end of the country to the other. As sons of a pastor, Karey and Wayne Kirkpatrick could have easily had musical theater omitted from their lives, or confined to a sanctuary. However, with gifts and talents beyond reproach, wise parents allowed their boys to venture into the world of entertainment. Typical of many raised in the shadows of purple and gold, Wayne Kirkpatrick dutifully set course for a traditional career via the local university. It didn’t take long to make the transition from LSU’s school of landscape architecture into the music program at Nashville’s Belmont University. While still in school, Wayne landed a publisher that catapulted his songwriting into the annals of history. Among over 400 recorded songs is “Change the World” by Eric Clapton, which recognized Wayne’s songwriting for Song of the Year at the Grammy Awards. Top Ten singles include “Every Heartbeat,” “Good For Me” (Amy Grant); “Wrapped Up In You” (Garth Brooks); “Place In This World” (Michael W. Smith); and “My, Oh, My” (The Wreckers). He was also writer and producer of three albums by Little Big Town Wayne Kirkpatrick with hits “Boondock,” “Bring It On

Home,” “A Little More You” and “Little White Church.” Wayne’s role increased from songwriter to musician and music director for Amy Grant’s House of Love international tour. He has written in pop, rock, country, R&B, Americana and alternative formats. Faith Hill, Tim McGraw, Wynonna Judd, Joe Cocker, Gabe Dixon, George Strait, Mindy Smith, Trisha Yearwood, Babyface and Peter Frampton have recorded his songs. The last three Bonnie Raitt albums yielded the singles “I Can’t Help You Now,” “I Will Not Be Broken” and “Take My Love With You.” Films featuring Wayne’s songs include Almost Famous (“You Had to Be There,” “Hour of Need”) and Tin Cup (“It Don’t Matter to the Sun”). Television shows Grey’s Anatomy, Hart of Dixie and Nashville featured his songs, and he also wrote the national Dr. Pepper jingle, “Be You, Do What You Do,” performed by Garth Brooks. These are but a sampling of over 1,000 compositions in his catalogue. Wayne has achieved his goal of writing “songs that someone else wants to record.” Karey Kirkpatrick began writing musicals straight from Baton Rouge High. Already his aspirations were “to be, or not to be” 4 a Broadway star. A childhood trip to Broadway landed them in the audience at the St. James Theatre, the same theater where Something Rotten! is scheduled to open in mid-April. Not long after Wayne moved to Nashville, Karey followed. The roommates were inspiring one another again. Until, smitten by the acting bug, Karey headed to Florida. Disney influences and mentoring at Epcot Center brought new interest. Karey recognized his future was not in acting. More viable was a career as a writer, complemented by his musical composition. Hollywood and USC film school would be the next stop. During his days at USC, Karey began as a screen and songwriter for Walt Disney Feature Animation. Inspired by earlier works, Karey penned The Rescuers Down Under and James and the Giant Peach. Additional film credits include Chicken Run (Golden Globe Award nominee for Outstanding Comedy Film), Charlotte’s Web, Hitchhiker’s Guide to the Galaxy, The ISSUE ONE 2015

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Spiderwick Chronicles and Over the Hedge, which he also co-directed. He directed the Paramount Pictures feature film Imagine That, starring Eddie Murphy, and also co-produced and performed on the film’s soundtrack. Hold the curtain! This is not your average overnight success. “This is the short and the Karey Kirkpatrick long of it.”5 The Louisiana natives started their journey onto the Broadway stage over 28 years ago. Something Rotten! is not their first crown jewel, but it has brought them full circle. Working together was a lifelong dream. “Our film and music careers kept getting in the way,” laughed Karey, who in 2010 set the two on a committed schedule to find time in the same city, either Nashville or Los Angeles, to focus on a joint project. With perseverance came a second challenge. “How do we pitch a musical we haven’t written?” It only took reaching back to longtime friend and fellow Disney World performer Kevin McCollum, now a multiple Tony Award- and Pulitzer Prize-winning producer. All he had to hear was “the idea

and three songs” to know another hit was in the making. Early on, McCollum brought in highly acclaimed Tony Award-winning veteran Casey Nicholaw as director and choreographer. “Casey’s sense of timing is incredible. All the moving parts are rhythmically and masterfully orchestrated,” exclaimed the animated voice of Karey Kirkpatrick. “He is keenly aware of how the audiences will react, what should be happening and at what point.” The writing team also includes longtime friend and British comedy writer John O’Farrell. When asked what they hope audiences will take away from attending the show, the Kirkpatricks agree: “This above all: to thine own self be true.”6 For brothers from Baton Rouge headed to Broadway, affirmation will come: “To do the best we can do with fun and heart.” “I like this place and willingly could waste my time in it.” 7 Something Rotten! will begin previews Monday, March 23, and officially open Wednesday, April 22, at the St. James Theatre (246 West 44th Street). Tickets to Something Rotten! for the general public can be purchased online at www.telecharge.com or by calling 212-239-6200. LFV 1 Twelfth Night, (Act II, Scene V), by William Shakespeare. 2 The Merry Wives of Windsor, (Act III, Scene V), by William Shakespeare. 3 The Tortoise and the Hare, an Aesop’s Fables numbered 226 in the Perry Index. 4 Hamlet, (Act III, Scene I), by William Shakespeare. 5 The Merry Wives of Windsor, (Act II, Scene II), by William Shakespeare. 6 Hamlet, (Act I, Scene III), by William Shakespeare. 7 As You Like It, (Act II, Scene IV), by William Shakespeare.

Leonard Reynolds Location Manager

Positive One Productions 504.606.4110

Cell

New Orleans, LA 70117 Pitch Perfect 2 • 21 & 22 Jump Street • Dallas Buyers Club • This is the End 68 LOUISIANA FILM & VIDEO MAGAZINE

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FEATURED TALENT

Deanna Meske Actress/Producer Deanna Meske has been working hard in Louisiana, pushing her way through the maze. With her recent role opposite Shirley MacLaine, Scott Bakula & other A list talent, she’s been able to spring board her career with new lead roles in independent feature films, lead roles on Investigation Discovery programs, The Food Network & has already signed contracts for 3 feature films, 2 miniseries for the web & 3 short films for 2015! When not working on films, you will find her speaking on behalf of Chevrolet on the auto show circuit about Chevy cars & trucks around the country or behind a camera shooting business videos for clients. Her very own series which she also stars in along with some of Louisiana’s top actors, www.GovernmentLiesMovie.com is about to release 2 more Episodes & she looking to turn it into a feature film!

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See Deanna’s Demo Reels & more at: www.DeannaMeske.com Agent: Impact MTA : 504-533-8759 • impactmodelingagency@gmail.com


PERIOD PIECE: HARD-TO-FIND PROPS AND SETS, FOR THAT AUTHENTIC AMERICAN LOOK

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ilm production in the sleepy historic setting of East and West Feliciana has always been strong, but lately it has been positively booming. These lovely, rural settings have been the host to Maze Runner, Twilight, Bonnie and Clyde, GI Joe, Final Girls, Whiskey Bay and Dead Man Walking, to name just a few. This is thanks in no small part to the rich backdrop, the varying scenery, the antebellum homes and of course the extraordinary range of antiques for props and sets—which have been showcased in numerous classic films, including the Oscar-winning 12 Years a Slave. The towns of Jackson and Clinton have been particularly busy of late, with The Free State of Jones, starring Matthew McConaughey, and the latest installment of American Horror Story shooting during the first quarter of 2015. Both of these projects have a distinct appetite for authentic vintage film props. In order to cater to this demand, a new 8,000-square-foot storefront has been created by experienced movie hands and local antiques dealers—Asphodel Antiquities and Prop House— which now hosts a truly memorable collection. With easy access and a large roll-up door for loading and unloading, this is a great space, full of truly unique pieces. The store very much seems to be part-museum, part-installation— with individual ‘scenes’ dressed, almost ready for immediate use as a photo shoot backdrop or a movie set. In fact, in this new store in the quaint historic town of Jackson (Louisiana, not Mississippi), you will find everything from 1860s farm equipment, to entire pinball/shuffleboard and working jukeboxes, to a complete doctor’s office and the gorgeous blood-red fainting couch used in the 2013 remake of Bonnie and Clyde. Asphodel Antiquities and Prop House’s owners have been renting out props since as early as 1959, when they rented out horses, wagons, clothes and cattle for the Orson Welles/Paul Newman classic film The Long, Hot Summer, shot at nearby Plantation Village Studios. Billy Kalinsky recalls simply walking the wild horses (which were used in the Paul Newman scene out in the farm) from his ranch in Jackson, down the gravel road to the Asphodel Plantation where they shot the scene, and simply steering them home again. Another film shot at the Plantation was Alvarez Kelly, where his steers, tractors and a range of vintage farm machinery were all used. In the recent Bonnie and Clyde film, set designers used Billy’s Chevrolet truck and the aforementioned fainting couch (which is now housed in the Jackson prop house window display). Other horror films have extensively featured his massive collection of ancient

farm equipment (plows, tractors, etc.). Billy’s history in organizing rodeos (he did the first rodeo at Angola) has also seen him hire out bucking bulls for numerous commercials (Pepsi-Cola, Wrangler, etc.) when the whole urban cowboy look was in vogue. It’s fair to assume Billy has seen it all, and he’s firmly convinced that the new prop house will be a huge service to the upcoming films being shot in the neighborhood and of course to the greater Louisiana area. Another antiques dealer who supplies the shop remembers renting out much sought-after (and extremely rare) period lighting from the pre-Civil War/pre-kerosene lamp era on several occasions. Most recently, the set designers of the blockbuster 12 Years a Slave came and raided his private collection of unique oil-burning Argand and Astral lamps. These were extensively featured in the rich plantation parlor scenes, affording the film an authentic and expensive look and feel. 12 Years a Slave also benefited from the hire of antique dining room settings—such as chairs, bureaus and tables—all contributing meaningfully to the authentic period setting of the film, which truly transported the audience back in time. With access to all of these local collections and many others, the new store on Highway 10 in Jackson is a virtual goldmine for set designers looking to complete the period look and bring enormous production value to the screen. The shop has even hosted set builds, small insert shoots and photograph sessions. Its creators have sectioned off the large store into separate ‘scenes,’ which have even been coupled with the judicious use of a portable green screen in order to create exciting and memorable scenes. Other customers have transplanted an entire classroom scene into a nearby studio, whilst some have mixed and matched to create the exact look they required. Meanwhile, it is increasingly common for productions to completely lift and transport entire sets to a near (or far) location. Small or large, there is a wide range of production design elements. This includes a small but enticing collection of antique and vintage buildings. These range in age, but include a train depot, a fully restored train car (on rails), several antebellum homes, a Greek amphitheatre, slave cottages, ancient graveyards and a range of unique cypress wood cottages and shacks. It’s a vibrant and exciting new spot for filmmakers, and increasingly has been attracting film enthusiasts keen to purchase authentic movie memorabilia. Locals have even been known to pop in and just look at the different set scenes, as the prop house is kept in museum-esque style. It really does seem that everything old is new again. LFV Check out Asphodel Antiquities and Prop House at 1429 Charter Street (Highway 10), Jackson, LA 70748. For more information, contact 225-658-8808 or info@ plantationvillagestudios.com.

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MAE CHAPMAN CASTING

LEXIE BLOOM MAKEUP ARTISTRY, UNLIKE OTHER BEAUTY SPAS & STUDIOS... Rolexis Schinsing Founder of Lexie Bloom Makeup Artistry & Celebrity Girl Cosmetics has worked with famous faces such as Kim Kardasian, Cee Cee Micheala, Garth Brooks, Ronique Marshalls, plus more! 5ROH[LVDOVRNQRZQDV´/H[LHµZRUNVRQ,QGHSHQGHQW6$*ÀOPV and commercials. Lexie has been a makeup artist for over 7 years and has signed makeup artists & hair stylists straight from beauty college and helped them get into the industry. Lexie has also written a book called “Secrets That Makeup Artists Won’t Share” where she discusses the tips and tricks that you can do in the comfort of your home. Lexie also specializes in lash extensions and brows. She is currently training other makeup artists in the same profession she is in.

AUDITION SESSIONS CASTING CALLS CALLBACKS VIDEO AUDITIONS CHARACTER BREAKDOWN PROFESSIONAL CASTING ASSISTANTS CASTING WORKSHOPS FEATURE FILMS/TELEVISION/TELEVISION/WEB UNION & NON-UNION PRINCIPAL, SUPPORTING & BACKGROUND ACTORS

chapmancasting.weebly.com

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SPOTLIGHT ON: LEXIE BLOOM MAKEUP ARTISTRY

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exie Bloom Makeup Artistry, owned by New Orleans-based celebrity makeup artist Rolexis (Lexie) Schinsing, provides services ranging from basic makeup application to special effects and beyond. Louisiana Film & Video talked to Schinsing to find out more about her work. Louisiana Film & Video: Tell us how you got started in the film business. Rolexis Schinsing: Well, I used to work for Dillard’s in the mall as a makeup artist. I genuinely started out as an actress and model. I found that film/TV was quite up and down dealing with the bookings and the auditioning process. I had needed a full-time job so I chose makeup artistry, which was a great avenue for me! I then started working with photographers, who then had connections with celebrities, and I chose to leave Dillard’s and have my own business as a freelance artist. I wanted my company to be different from other competitors, so I hired on makeup artists, special effects artists, hair stylists, wardrobe stylists and photographers and sent them on bookings. To go back and rewind, I could not have done this without God. I actually prayed about becoming a celebrity makeup artist and not even a month passed; I immediately received a phone call from one of the clients that I’ve worked with before letting me know about a project that they needed me for, which was a reality show for Cee Cee Michaela. Thanks to Brian and Jamil, they were and still are a pleasure to work with. Makeup artistry is not just applying makeup; I feel it’s an opportunity to uplift someone’s spirit, whether it’s inner or outer.

LFV: What productions have you worked on? RS: Oh wow, as a TV & Commercial actress I can give you a list of work, but I know we are talking about makeup artistry, so I will get straight to the point. I have worked on low-budget SAG films not just as a makeup artist, but also a wardrobe stylist and casting assistant for some of these films. Red Bean Monday, Life’s A Bowl Of Cherries, In Purgatory, Sweet Kandy, 1959, etc. These are just a few I have listed. Thanks to Mae Chapman Casting, I was introduced to a few of these clients. Mae Chapman has been and still is a pleasure to work with. My ultimate goal is to have me and my team work on big-budget films. LFV: What services does your company offer? RS: I offer a variety of services. The clients may choose to get airbrush makeup, basic makeup application, special effects, hair styling services, facials, eyelash extensions, brow extensions, brow sculpting, facial hair removing, tinting services and face painting.

LFV: What separates you from other companies? RS: At Lexie Bloom Makeup Artistry we offer 35 percent off the entire month of your birthday! We also have a diverse staff. As the owner, I send my artists on bookings whether I am available for the job or not. I feel that we are a team; someone else has to eat and feed their family too. I am also the CEO and founder of Celebrity Girl Cosmetics (www.celebritygirlcosmetics. com). This HD makeup is great for TV/film, as well as for brides, actors that get makeup done for headshots, and everyday dolls who are just looking to get a medium to full coverage without looking as though they have caked-on makeup. LFV: Have you worked with any stars? RS: Yes! I have worked with Ronique Marshall, Garth Brooks, Kim Kardashian, Cee Cee Michaela, Melissa Leo, Raven Symone, Aisha Tyler, Sam Jones, Lance Nichols, Alphonso McAuley, Jaqueline Fleming and more, whether it was on screen or behind the scenes. Each celebrity that I have worked with has been a pleasure to work with. They each have their own personality, which I loved. At the end of the day, they are just like us. I do have a few people in mind who I would love to work with and that is Halle Berry and Zoe Saldana. Now I have met Zoe off set, and she was as sweet as she can be! Very beautiful and as I recall, she and I are about the same height. At the end of the day, makeup artistry and acting is my passion and the other gifts that God has blessed me with, I will continue to pursue them. LFV For more information, visit celebrityartist.wix.com/lexie-bloom and www.celebritygirlcosmetics.com.

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LOUISIANA FILM & VIDEO MAGAZINE

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INTRODUCING SECRET CHEF NOLA STORY BY HALEY SUMMERS

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ew Orleans, a continuously growing hub of ďŹ lm industry activity, has provided opportunities to people of every trade.

Dennis Weber, an experienced chef and entrepreneur who owns Secret Chef Nola, has discovered multiple career opportunities because of increased production in the city, catering to major events such as Beaucoup Festival in New Orleans and big-budget features like Jurassic World. Âł7KHUHDVRQZK\ZHDUHLQWHUHVWHGLQJHWWLQJLQWRWKHÂżOPZRUOGLV because it is an everyday gig,â&#x20AC;? said Weber. â&#x20AC;&#x153;We have the opportunity to provide a service to someone every day, which is a great thing.â&#x20AC;? Formerly a resident of Destin, Florida, Chef Weber and his partner, Rachael Arrington, have primarily focused on catering for various events like weddings, Mardi Gras balls, and birthday parties. Âł:HÂśUHNLQGRIWKHQHZNLGVRQWKHEORFNLQWHUPVRIWKHÂżOP industry, but weâ&#x20AC;&#x2122;ve had a lot of experience catering in the city RYHUWKHODVWIHZ\HDUV2XUFXLVLQHGHÂżQLWHO\VSHDNVWRWKLV region,â&#x20AC;? said Weber. Armed with a wealth of culinary knowledge and experience, Weber and Arlington describe their cooking style as â&#x20AC;&#x153;Floribbean.â&#x20AC;? â&#x20AC;&#x153;We use a combination of Floridian, Creole, Indian and CaribEHDQWHFKQLTXHV´H[SODLQHG$UULQJWRQÂł7KHUHÂśVGHÂżQLWHO\DORWRI

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Ă&#x20AC;DYRULQYROYHG´ According to Weber, one of the most GLIÂżFXOWWKLQJVDERXW catering is making sure that the food is as fresh as possible, an issue that is ampliÂżHGZKHQFDWHULQJWR ODUJHÂżOPFUHZV â&#x20AC;&#x153;Most food doesnâ&#x20AC;&#x2122;t travel well. We want to provide a lot of variety, all of it fresh, which isnâ&#x20AC;&#x2122;t all that possible when you have to commute from a kitchen to an event,â&#x20AC;? said Weber. Luckily, heâ&#x20AC;&#x2122;s found a solution. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re building a 30-foot mobile kitchen,â&#x20AC;? he said. â&#x20AC;&#x153;It has more ÂżUHSRZHUWKDQZKDW\RXÂżQGLQPRVWUHVWDXUDQWNLWFKHQVDQGZLOO allow us to cook up to 2,000 meals a day.â&#x20AC;? â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ll be able to cook nearly anything they request, which is of FRXUVHDZRQGHUIXOWKLQJ´VDLG$UULQJWRQÂł5LJKWQRZPRVWÂżOP crews rely on food trucks; weâ&#x20AC;&#x2122;re taking it to the next level with the mobile kitchen. We believe itâ&#x20AC;&#x2122;ll allow us to expand professionally LQWKHÂżOPLQGXVWU\DQGLQRWKHUDUHQDVDVZHOO´LFV Contact secretchefnola@yahoo.com for more information.


Amazing Animal Productions Over 40 years industry experience providing affection trained HSQIWXMG I\SXMGERMQEPWJSVXLIXIPIZMWMSR ½PQMRHYWXVMIW We own our own animals and provide trainers, wranglers, and coordinators.

Nola’s only movie Ranch Call 877.254.8585 www.amazinganimalproductions.com

Recent Credits Include: Oscar Winning 12 years A Slave Fantastic Four • Maze Runner Annabelle • 2 Guns • Get On Up The Originals • Satisfaction True Detectives ISSUE ONE 2015

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76 LOUISIANA FILM & VIDEO MAGAZINE

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