Oz Magazine May/June 2017

film. tv. entertainment.

MAGAZINE

STAFF Publishers:

MAY / JUNE 2017

CONTRIBUTORS Christine Bunish

Cover Story: Above the Line with Mac Gordon, p. 32

Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years. She was a writer at Broadcast Management/Engineering and World Broadcast News and an editor at Millimeter before going freelance. cbunish@gmail.com

Tia Powell (Group Publisher) Gary Powell

Editor-in-Chief: Gary Powell

Associate Editor:

Zachary Vaudo

Sales:

Michael R. Eilers Martha Ronske Kris Thimmesch

Fran Burst-Terranella

Fran Burst-Terranella is an EMMY-winning independent film and television director and producer whos work spans four decades and totals more than 700 productions. Her documentaries have aired nationally on ABC, TBS and PBS and her work has garnered more than 100 honors including Tellys, CINE Golden Eagles and recognition at film festivals from Chicago, New York, Los Angeles, Houston and Atlanta to Australia, Scotland, Spain and Canada. A multi-faceted director with the ability to quickly build rapport with everyone who appears in front of her camera, her newest project is The 12 Lives of Sissy Carlyle–a darkly comic indie feature film.

Contributors:

Christine Bunish Fran Burst-Terranella Laura Miller

Creative Director: Kelvin Lee

Production and Design:

Kelvin Lee Michael R. Eilers Ted Fabella (Oz Logo Design)

Feature Story: Crew Call p.38

Laura Miller

Cover Image:

Feature Story: The Big Ground Game, Part II p.44 Laura Miller is a freelance writer from Atlanta, who has been scribbling away in her home office since 2012. From small community newspapers to national publications, Laura enjoys writing features, reviews, profiles, or good old-fashioned opinion pieces. www.omniawriting.com

Hannah Yata

Hannah Yata

Cover Artist Hannah Yata was born and raised in Georgia. She grew up surrounded by animals and a fascination with exploring nature.

Graduating from the University of Georgia in 2012, she moved to New York to work on her studies of spirituality, feminism, and nature into rich mind-bending paintings. www.hannahyata.com

www.ozmagazine.com www.facebook.com/ozmagazine www.twitter.com/ozpublishing www.instagram.com/ozmagazine (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright Š 2017 Oz Publishing Incorporated, all rights reserved.

Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.

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Oz Magazine

Seeks Next Generation of Artists

See page 58

MAY / JUNE 2017

CONTENTS

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49

Ozcetera

Oz Scene

A compilation of recent news and hot projects, from and about industry leaders.

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50 Georgia Film Day 50 Makeup Artists of Atlanta Spring Social

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51 The Georgia Entertainment Gala

How I Got Into The Business

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53 NoCoLIVE

Above The Line With Mac Gordon A conversation with Mac Gordon, location manager for the CBS hit series, MacGyver.

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38

52

Feature Story Crew Call Retrospective and Insight from Georgia’s Crews

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53 Professional Makeup Artist Conference

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Let Me Give You My Card

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Next Generation Presenting Georgia’s emerging artists

Feature Story The Big Ground Game, Part II Touring Some of Atlanta’s Studios and Stages

52 Athens Jewish Film Festival 52 Ripped, Slashed and Bitten

Cover Story

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49 ChooseATL at SXSW

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May / June 2017

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Post Production Wins Big

By Zachary Vaudo

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overnor Nathan Deal has signed House Bill 199, providing tax credits to post production companies in Georgia. The bill passed the House in February and cleared the Senate 38-17 in March, with an effective date of July this year.

HB 199 provides a 20 percent tax credit to post production companies with a payroll of $250,000 or more in Georgia, and who spend at least $500,000 in tax credits per year. A $5

million cap will be in effect the first year (2018), $10 million the following year, and $15 million between 2020 and 2022. No individual company can receive more than 20 percent of the statewide credit available each year.

“This bill just increases the opportunities to bring more business to Georgia and expand the movie industr y,” said Sen. Jef f Mullis (R-Chickamauga) during the Senate session in March.

An additional provision in the bill will make it easier for video gaming companies to qualify for tax credits, reducing total Georgia payroll qualifying requirements from $500,000 to $250,000 if the gaming company makes a base investment of $500,000 or more during a two-year period.

Atlanta Actors Round Out Speech & Debate Cast L to R Roger Bart, Wendi McLendon-Covey, Janeane Garofalo, Sloane Warren, Kal Penn

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A

tlanta talents Sloane Warren and Karen Beyer joined the cast of the upcoming film adaptation of the Broadway stage play Speech & Debate. Warren and Beyer join Liam James (2012, The Way Way Back), Sarah Steele (Spanglish), Austin P. McKenzie (When We Rise), Roger Bart (The Producers, American Gangster), Janeane Garofalo (Ratatouille, Wet Hot American Summer), Wendi McLendonCovey (Bridesmaids, The Goldbergs), Kimberly Williams-Paisley (According to Jim, Father of the Bride), Skylar Astin (Pitch Perfect, Wreck-it Ralph), Jeremy Rowley (Sparks, Epic Movie), Kal Penn (House, Harold & Kumar), and more.

“What I love about films like this is the director, Dan Harris, was so collaborative— even with my small, supporting role,” Warren mused. “Since he also co-wrote the film with Steve Karam, he gave us a roadmap and guidelines to play in, but he let me improv a lot of my lines. That is so refreshing and it really allowed everyone to take ownership of the storytelling process.” Warren and Beyer are represented by Atlanta Models and Talent.

Speech & Debate follows three teenagers brought together by a series of mishaps.

Frustrated by the hypocrisy they see in their parents, teachers and the entire school board, the unlikely trio set out to find a common truth and make their voices heard as they revive a defunct school club and take on the world.

Blogging, blackmail and Broadway-belting drive the trio’s bond in this outrageous comedy.

In addition to the aforementioned cast, the film features an appearance by Lin-Manuel Miranda and a soundtrack by Kristin Chenoweth.

“This was an indie produc tion, which meant the stars didn’t have trailers,” Warren said. “This was a huge plus because we were able to hang out together joking and talking about everything from our kids to Janeane’s [Garofalo] tattoos. That connection really comes through on screen. I’m honored to have been a piece of the puzzle and to be a working actor from Georgia.”

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May / June 2017

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OZCETERA Still from Hidden Figures

Locations Guild Honors Hidden Figures

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tlanta-shot Hidden Figures has been recognized for its outstanding locations in a period film at this year’s Location Managers Guild International Awards, beating out contenders including Hacksaw Ridge and Rogue One: A Star Wars Story.

Location manager Dan Gorman accepted the award for Hidden Figures, thanking director

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Ted Melfi, production designer, Wynn Thomas, and “the women of NASA — Katherine, Dorothy and Mary,” along with others involved in the production.

Hidden Figures filmed in locations such as the Monroe Courthouse, the Lockheed Martin Wind Tunnel in Marietta, and Fort McPherson in Atlanta. These specifically chosen locations

added to their productions, immersing viewers into the storylines. It received multiple nominations for Academy Awards and Golden Globes among many other wins and nominations.

Another Atlanta-made produc tion, Stranger Things, also received nomination for outstanding locations in a period series, losing out to The Crown and Westworld in a tie.

OZCETERA

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May / June 2017

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OZCETERA Dan Hammond

Zoe Borys

Welcome to PRG

P

roduction Resource Group LLC (PRG) welcomes industry veterans Zoe Borys and Dan Hammond to the PRG team. Borys will serve as senior account executive for business development in Canada and in the eastern United States, while Hammond will serve in the same capacity for the western U.S.

“The addition of Zoe and Dan is an important step in the continued expansion of PRG’s services and reach,” says Brian Edwards, CEO, TV and general manager of PRG. “Both Zoe and Dan bring strong personal relationships among key creatives in the motion picture business, and deep insight into their needs and working methods.”

Borys brings to her work more than 20 years of trusted partnership with the cinematic community. Prior to joining PRG, she was general manager at Fletcher Camera & Lenses.

Her resume also includes respected stints as account executive for industry stalwarts like Panavision and Eastman Kodak, as well as studio manager for Chapman/Leonard in Orlando, Florida.

Borys says, “In our business, it takes a team of creative and technical professionals working together to make a film. That’s what I find most compelling about PRG—the team here understands the collaborative creative process, and how to support that process with precision and

efficiency. I’m thrilled to be part of the PRG team.”

H a m m o n d b oa s t s t h re e d e c a d e s of experience. Prior to PRG, Hammond worked Cineverse/VER, was director of cinema technical services at Doremi Labs, and held a 19-year tenure at Panavision.

“I’m very pleased to join forces with PRG,” says Hammond. “There’s so much innovation being driven by PRG’s worldwide operations, and our job will be to put that technology into the hands of today’s filmmakers as they create their stories. We can’t wait to see what the future holds.”

Atlanta Movie Tours sports their award

Atlanta Movie Tours Rocks

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elebrating its fifth anniversary, Atlanta Movie Tours was honored with the 2017 Georgia Small Business Rock Stars Award.

“Georgia’s more than 650,000 small businesses have a huge impact in every community in our state,” said commissioner Pat Wilson of the Georgia Depar tment of Economic Development. “These companies keep our

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Oz Magazine - film. tv. entertainment.

economy thriving, and help Georgia maintain its status as the Number One state in the nation in which to do business. This is an incredible opportunity to put a spotlight on Georgia’s small businesses and highlight some of our fastest growing companies. It is an honor to congratulate this year’s winners for their hard work and dedication.”

Along with Atlanta Movie Tours (representing Fulton Count y), this year’s Small Business Rock Stars winners include Atlas Turf International in Troup County, Ecolink Inc. in DeKalb County and Sweet Grass Dairy in Thomas County. 135 nominations were submitted, reviewed and vetted by a panel of judges.

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May / June 2017

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OZCETERA

SCAD Named Best Motion Graphics School

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he Savannah College of Art and Design (SCAD) has been named Best Motion Graphics School by The Rookies in the 2017 official rankings of The Best Creative Schools in the World. The global competition aims to discover and showcase outstanding student talent in creative fields. “On top of the world,

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Oz Magazine - film. tv. entertainment.

what a monumental place for our motion media design program to be!� said SCAD president and founder Paula Wallace.

The Rookies rankings are based on over 1,800 submissions of portfolios and student work from more than 500 universities internationally. Each submission was reviewed

by a judging panel that included Joe Letteri, Academy Award winner for Best Visual Effects in two Lord of the Rings movies, Avatar, and King Kong, on criteria including creative skills, technical skills, presentation, variety of skills, raw talent and employment potential.

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May / June 2017

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OZCETERA

Walking Dead Aims at 20 Seasons

By Nicola Breslauer

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tlanta-filmed horror/drama The Walking Dead aims at keeping the show alive for 20 years, according to show runner Scott M. Gimple, who hopes to keep the show going until at least 2030.

“We are trying to do twenty years. The (Walking Dead) comic has certainly done it, and I look forward to every issue,” said Gimple.

Speaking at the Paley Center for Media’s annual PaleyFest in LA, he said he envisions a run to rival the Fox juggernaut The Simpsons.

Gimple reported that he has no concerns about the story going stale as the show continues into its eighth season.

“We try to reinvent the show every eight episodes. We have this story that is a fidelity to the comic book, but we’re also exploring original stuff, and those things help us go on every year. We want to try do it better, do things we haven’t done, take risks. It’s scary as hell, but as long as we keep doing that the show can go on and on.”

Fans of TWD are loyal and remain interested season after season.

However, reports say they have lost 40 percent of their audience since October. Gimple plans to keep the show exciting and fresh to keep fans tuning in.

Honors for Coleman

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ake up artist Patrice Coleman was one of five honorees to receive an Atlanta Technical College “Bridge Builder Award,” which recognizes companies and individuals that “bridge the gap” for the underserved. Coleman’s body of work includes The Immortal Life of Henrietta Lacks, Greenleaf, All Eyez on Me, and more.

This year’s awards were given during the school’s 50th anniversary. “When I attended Atlanta Technical College, I knew I would be well prepared for a fraction of the cost of some other schools,” said Coleman. “I will always remember my instructor, Mrs. Bertha Howard.

She was so dedicated to the students.”

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OZCETERA

May / June 2017

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OZCETERA

Shearer Hosts Voiceover Workshop

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he 4th Annual Voiceover Production Workshop ( VPW ) was held at the Art Institute of Atlanta’s Studio 440 in March.

Hosted by Greg Shearer, VPW featured a talent roundup including well known voice talents Jill Perry, Barry Stoltze, Grant Goodeve, and Jerry Immel.

The workshop demonstrated effective recording and production techniques for voiceover sessions to aspiring audio engineers and producers, centering on the live production and recording of five TV and radio spots.

Shearer, whose credits include music/production for AT&T, BMW, Dell, and Kellogg’s, filled the producer role for the workshop, with student Thor Bindhammer handling the engineering. A question and answer session followed production.

Perry’s credits include Lennox, Visa, and Ford; Stoltze is known for The Pandas and as the voice of West Coast liquor king BevMo; Goodeve’s resume includes video game work such as The Engineer in Team Fortress 2 as well as TV/radio commercials for Centurylink and Toyota; Immel has worked for CNN, Valujet, K-Mart, WAGA-TV, and more.

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MacGyver Renewed for Season Two

By Nicola Breslauer

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tlanta-f ilmed MacGy ver has been renewed for another season. The show, starring Lucas Till and George Eads, has averaged about 10 million viewers each Friday night and has earned nominations such as People’s Choice Award for Favorite New TV Drama. CBS renewed the show for another 18 episodes for the 2017-2018 season. The show will continue to shoot in Atlanta, primarily in Marietta.

MacGy ver breathes new life into the 1980’s classic of the same name. A young war hero, Angus MacGyver, is known for his problem solving skills and knowledge that always seems to save the day. Working for the government with help from a former CIA agent, MacGyver uses his intellect to thwart disasters.

OZCETERA

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May / June 2017

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OZCETERA Forming the new chapter of AICE, L to R: (back) Ben Holst, Kenneth Lovell, John Peterson, Misha Mazor, Jeff Jay, Brian Anderson, Chris Basta; (front) Drew Sawyer, Kyle Kramb, Molly Baroco, Soraia Callison, Jonathan Hayes

AICE Re-Launches Atlanta Chapter

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ICE, the international post production trade association, formed its newest chapter in Atlanta, electing Molly Baroco, executive producer and partner of Hero Post, as its new president.

The companies that make up the newly reformed Atlanta Chapter include Hero Post, Beast/Method/Company 3/Company 3 Sound, Bare Knuckles, Mad Hat Creative, Moonshine Post, Nine Mile Circle, and Tunewelders.

Representatives of each company were elected to serve on the chapter board: Stephanie Martucci of Mad Hat Creative; Soraia Callison and Brian Anderson of Beast/Method/CO3/ CO3 Sound; Ben Holst of Tunewelders; Drew Sawyer and Vinisha Rumph of Moonshine Post; Kyle Kramb and Kenneth Lovell of Nine Mile Circle; Molly Baroco and Jeff Jay of Hero Post; and Chris Basta and Chris Nicholson of Bare Knuckles Creative.

“From what everyone expressed at our meeting, the most important reason for join-

ing AICE was to be able to engage with and strengthen the post community in Atlanta,” Baroco says. “Networking, fellowship and solidarity are very important to our members.”

Officially, this marks the second iteration of the chapter, as one existed in Atlanta between 2000 and 2008. “We’re thrilled to have Atlanta back in the fold as a recognized Chapter,” says AICE executive director Rachelle Madden.

“This move underscores the value of membership in our association. The demands on post production companies have increased while competitive pressures have made it imperative that we run our businesses in smart, innovative and creative ways. There’s no better solution for that then sharing information and resources, which forms a large part of our mission.”

Like Baroco, Nine Mile Circle’s Kramb says he’s had the formation of an AICE Atlanta chapter on his radar for some time: “Creating more of a sense of community for editors, VFX artists and audio mixers is a big motivation for

me,” says Kramb. “I also think it’s important to be part of a group that champions not only the craft of post production but also all those working locally in the industry and the creative community. There is a lot of talent in Atlanta and the more we get that out the more quality work we’ll attract.”

Several board members say they feel being part of an AICE Chapter gives them not only a stronger collective voice, but a greater sense of national credibility as well. “It’s great to have national visibility along with the chapters in New York, L.A., Chicago and elsewhere,” says Callison. “And this gives us a platform for the community to work together to collectively promote the capabilities and resources available here. I think it’ll foster much more interest from talent, who used to think that New York or L.A. were their only options. We want them to see that Atlanta is not only viable, but a vibrant and thriving place to pursue their careers.”

Simpson Steps Up

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eorgia native Kyanna Simone Simpson w i l l p l ay a l o n g s i d e s t a r s i n c l u d i n g M at t hew M c Conaughey, Jennifer Jason Leigh and Rory Cochrane in Studio 8’s White Boy Rick. Simpson, represented by Ar tist Entertainment Management (AEM) as well as Abrams Artists Agency and J. Pervis Talent Agency, will play Brenda, girlfriend of drug dealer Richard Wershe Jr., played by newcomer, Richie Merritt Jr.

Set in 1980s Detroit at the height of the crack epidemic and the War on Drugs, White

Boy Rick tells the moving true stor y of a blue-collar father and his teenage son, Rick Wershe Jr., who became an undercover police informant and later a drug dealer, before he was abandoned by his handlers and sentenced to life in prison. The film is currently in production.

Simpson, who is now 20, also co-stars with Oprah Winfrey in the new HBO f ilm The Immor tal Life of Henriet ta Lacks, in which Simpson plays the younger version of Winfrey’s character, Deborah Lacks.

Kyanna Simone Simpson 18

Oz Magazine - film. tv. entertainment.

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May / June 2017

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OZCETERA Michelle and Hal Peeler, proud new owners at Cold on the Go

Youth Film Festival’s Time to Shine

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he American Youth Film Festival holds its third annual festival June 8-10 at The Conference Center at Atlanta Metropolitan State College. This year’s theme is, “Lights.

Camera. Action!–It’s Your Time to Shine!” The festival allows students to showcase their creativity in cinematography by presenting original films produced by, written by, or starring them and/or family or friends. In 2016, participants from 27 states and 8 foreign countries submitted projects produced on cell phones, digital cameras, or advanced recording equipment.

Reel Issues for Hall County

By Zachary Vaudo

F

ollowing complaints from Hall County residents about filming in neighborhoods, assistant county manager Marty Nix has drafted an ordinance to regulate crews in residential neighborhoods and business districts.

While the ordinance will not prevent crews from filming in Hall County, it will implement restrictions so that productions do not “unreasonably disturb the peace,” according to Nix. The ordinance will also allow residents and the county to oversee what impact film crews have and ensure safety.

Examples of the ordinance include productions notifying local businesses and residence before filming scenes (such as a bank robbery, in order to not alarm civilians) and to notify schools and monitor traffic before implementing a road closure for shooting.

“This ordinance will be a reflection... that (complaints) haven’t fallen on deaf ears,” said Katie Crumley, county public information officer.

Hall Count y has hosted produc tions such as Ozark, Blended, Creed, and more.

Complaints arose due to lawn and property damage and long hours of filming. Citizens of Hall County have mixed opinions, however, with many expressing positive experiences with productions. “Everyone was extremely nice, not anything but nice,” Clarice Bailey told the Gainesville Times in regards to Ozark using her property. “It was enlightening to see how these things are made, how hardworking these people are.”

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Cold on the Go on the Move

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ocal portable cold storage and refrigerated trailer company, Cold on the Go, has changed hands from Chris Hull to Hal Peeler.

Peeler and his wife Michelle took the reins after Peeler’s recent retirement from the University of Georgia Experiment Station.

Founded in 2009, Cold on the Go will continue its business for productions, live events, and more. “It’s such a cool opportunity to be

a small business owner and interact with customers of all sorts,” says Peeler, who would not state if the pun was intended. “Each customer is different, from caterers to festival organizers, to repair contractors. The diversity of each rental makes it interesting. It’s also fun to be doing something totally different than what I’ve done for the last 30 years!”

Turner Boosts Out On Film

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ut On Film, Atlanta’s LGBT film festival, has received a $90,000 grant from Turner to boost its annual film festival for the next three years. The grant is $30,000 each year for the 2017, 2018 and 2019 festivals and will allow Out On Film to bring in more filmmakers, spotlight new voices and add days to its already eight day festival.

“Turner’s long time support of Out On Film has helped the organization to grow over the years and help identify the filmmaking voices of tomorrow,” says Jim Farmer, Out On Film’s festival director. “When we re-branded and became independent in 2008, Turner was instrumental in helping us do so. Their support and belief in us has allowed us to expand the scope of our services and introduce Atlanta to a tremendous amount of filmmaking talent.

This gift will allow us to make our 30th anniversary festival, and the next two years after, to be very special indeed.”

“Turner is proud to support the Out On Film Festival,” said Angela Santone, Turner’s Executive Vice President and Global Chief Human Resources Officer. “Now more than ever, it is important to support LGBTQ voices and their filmmakers who deserve equal recognition. We look forward to continued collabo-

ration with Out On Film to celebrate and showcase these important stories which should be seen and heard across the nation.”

Out On Film’s 30th anniversary festival will take place September 28 – October 5 at the Landmark Midtown Art Cinema, the longtime venue for the event. In addition, select programming will be held over the October 6 – 8 weekend as well, including encores and retrospectives, at Out Front Theatre Company.

In addition, several events will take place leading into the festival in September, in addition to a full slate of spring and summer programming.

“We look forward to some great community collaborations and then a wonderful festival,” says Farmer.

OZCETERA Doug Paul

In Memoriam: Doug Paul

By Zachary Vaudo

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eteran voiceover talent Doug Paul passed away March 7 due to heart failure, according to his wife, Sharon.

Paul was widely lauded for his 25 years of voice talent, lending his pipes to projects and products such as Ford, Walt Disney, Coca-Cola, HBO, and more. He was known as the signature voice for Katz Broadcasting’s GRIT TV, for Joseph A. Bank clothiers, and as the signature voice of Peachtree TV.

Graduating from Washington High School (Washington, N.C.) in 1976, Paul worked in radio and television in North Carolina before moving to Atlanta, where he established the Catspaw Productions voiceover company and later Catspaw Studios in Alpharetta. The Pauls together founded Three Sisters Vineyards & Winery. Paul was a member of the Screen Actors Guild and the American Federation of TV and Radio Artists for more than 30 years.

“Doug was a welcoming, friendly presence everywhere he went, and the world will be less warm and friendly place without him,” said Sharon Paul.

Doug Paul is survived by Sharon, daughter Mittie Paul of Dahlonega; father Richard Paul of Washington, N.C.; brothers Jeff Paul of Buford and Jay Paul of Stanley, N.C.; and numerous nieces and nephews.

May / June 2017

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OZCETERA Karen Burns and Phoebe Brown

Set Art Partners with ATLiER

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et Art ATL by Karen Images has partnered with ATLiER Props & Design to provide a large collection of cleared artwork for Atlanta based film productions.

“We became aware of the many challenges faced by art departments trying to locate artwork for their set design that was cleared for filming,” says Karen Burns of Set Art ATL. “We have put together a large collection of photography and fine art that includes sets of images such as bicycles, botanicals, black and whites of Paris, landscapes of Tuscany, cartoons of

carousel animals, simulated oil paintings of Venice, as well as abstracts and blurs. Our new collection at ATLiER Props and Design truly has something for every type of character.”

ATLiER curator Phoebe Brown is excited to share the new collection with Atlanta’s set designers: “The new collection from Karen Images is incredibly versatile and diverse.

What’s really terrific is Karen’s ability to work with sets of images to create large collections on a common theme. She has created some great period pieces, office sets, living

Phoebe Brown (L) with Action Artwork Rental’s Carey Hall (R)

room sets, children’s images, all with a variety of moods and character that relate to so many circumstances surrounding character development. And Karen is just one of the many artists we now represent who are adding their own artwork to our growing collection of cleared art.”

ATLiER has been growing the art department community in Atlanta recently, now housing Action Artwork Rental in its walls. Action Artwork Rental made the move to ATLiER earlier this year.

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OZCETERA Stan Shkilnyi

James Simpson, Blane Humphries, Andrew Greenberg, Auverin Morrow, and Stephen Johnston Jr., panelists for the GGDA’s media primer

Stan Shkilnyi Joins GPP Board

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tan Shkilnyi, Barrow Group’s director of film, television and production insurance, joins the Georgia Production Partnership (GPP) executive board of directors as the board’s treasurer.

“It is an honor to be on the Executive Board for Georgia Production Partnership,” stated Shkilnyi. “An honor to work with talented people in the industry and on this board.

GPP is an amazing organization that works hard at keeping Georgia the film state we have become.”

Shkilnyi is also the president of Crogan Filmworks, LLC a Georgia based film sales and distribution company, and graduated from SCAD with a B.F.A. degree in Film/Television producing.

The Media Game

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he Georgia Game Developers Association held its March meeting at the GameSkinny offices, featuring a panel of guest speakers sharing their insights with developers to show how “anyone can work effectively with the press.” Titled “Not a War Game: Developer/ Press Interactions” and moderated by GGDA

president Andrew Greenberg, panelists included Stephen Johnston, Jr. (founder and CTO, Launch Media Network), Auverin Morrow (GameSkinny commissioning editor), Blane Humphries (account manager, Novy Public Relations), and James Simpson aka Dr. Unity (Cellbloc Studios, creator of SnarfQuest Tales).

May / June 2017

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OZCETERA Joi McMillon, Nat Sanders, and Reb Braddock

Moonlight Editors Featured at AFF Joi McMillon

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his year’s Atlanta Film Festival featured a panel discussion with Moonlight editors Joi McMillon and Nat Sanders, hosted by the Florida State University College of Motion Picture Arts Film Forum. Moderated by the college’s dean, Reb Braddock, the filmmakers shared their experiences in the industry and career highlights following graduation.

McMillon and Sanders were nominated for

their achievements in editing Moonlight by the Academy of Motion Picture Arts and Sciences (Oscars), Broadcast Film Critics Association (Critic’s Choice Awards) and the American Cinema Editors (Eddie Awards). Additionally, the pair won the 2017 Film Independent Spirit Award for the category. McMillon is also the first African-American woman to be nominated for an Oscar in the editing category.

Atlanta Film Festival VIP party, designed by Cinema Greens

Go Green

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inema Greens kicked off 2017 strong.

The plant and decorative rental company celebrated Guy Hendrix Dyas’ Oscar nomination for Best Production Design in Passengers, for which Cinema Greens (led by owner Bryan A. McBrien) created the “Garden of Eden” set.

Following the nomination, Cinema Greens cus tom - built a Holly wood Box wood Bar with a “Living Wall” for an Atlanta Film Festival VIP party.

The Living Wall

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Bryan A. McBrien (left) and guest at Atlanta Film Festival

OZCETERA

Oz Watch IN

Atlanta is constantly bustling with productions. Here’s a quick look from Oz at some select productions in the city.

Bad Boys For Life: The third installment in the Martin Lawrence/Will Smith Bad Boys franchise is slated for production in Atlanta this year, with the production bouncing between Atlanta and Miami.

The War With Grandpa: the Robert De Niro and Christopher Walken vehicle jumped ship from Toronto and made its way down South due to “an attractive offer” from the state of Georgia.

The Last Full Measure: Atlanta native Samuel L. Jackson returns for this Vietnam War movie starring Grant Guston and featuring Bradley Whitford, Sebastian Stan, William Hurt, and Christopher Plummer.

OUT

Home Free: Fox’s home f ixer-upper show wrapped after two seasons, with ratings dropping to a third of season one.

Atlanta Plastic: The Lifetime reality TV show revolving around plastic surgeons couldn’t cut it and ended after its second season dropped 27% in ratings.

Born Again Virgin: The Atlanta-based comedy from TV One also saw a huge downtick in ratings and cut production.

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OZCETERA

Atlanta Scores Peabody

By Zachary Vaudo

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X and Georgia’s own Atlanta earned a Peabody Award for the Entertainment category this year.

Atlanta is one of seven winners in this year’s Entertainment category, winning alongside VEEP, Beyoncé’s “Lemonade,” and others.

The Peabody jurors praised Atlanta for blending “vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”

Atlanta has already earned two Golden Globes for its first season, along with awards from the Producer’s Guild, Writers Guild of America, and Critics Choice Television Awards.

The Peabody Awards are based at the Grady College of Journalism and Mass Communication at the University of Georgia. Atlanta-filmed Stranger Things was also nominated for the Entertainment category.

Comcast LIFTs Atlanta

By Nicola Breslauer

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omcast/NBCUniversal is launching a new Atlanta program to aid in the assistance of media and entertainment startups.

The program from Comcast Corp. has been dubbed “LIFT: Labs for Entrepreneurs,” standing for “Leveraging Innovation For Tomorrow.”

LIFT will offer programs on how to boost a startup, find resources, and bring innovations into the forefront of the market.

While their flagship location is in Comcast’s home of Philadelphia, their goal is to install the program in Atlanta by 2018. Through their collaboration with Techstars, an entrepreneurial network throughout the globe, they will be able to offer mentorship, funds, and other resources to start-ups in Atlanta.

“We are excited to work alongside and learn from some of the best entrepreneurs,” Comcast Cable Chief Business Development Officer Sam Schwartz has said about the program, “while offering access to our experienced innovators to help them grow their businesses and take them to the next level.”

Applicants are encouraged to apply by April 2018, once details are released.

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Dan Reichard

Sumptuous Digs and Faces

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umptuous Media has unveiled its new location. Sitting on Wheeler Street in Atlanta, the studio features a 20-foot hard cyc wall, Milo motion control system, a client village, and more. “Our studio allows us as a production company to be more responsive to our clients needs,” says executive producer David Warren, “by providing faster turnaround for projects, more cost control, and interactive concept evaluation for a turnkey production solution.”

Sumptuous also recently retained Dan Reichard as the company’s business development representative. “The company’s focus on table-top and motion control production is welcome, and much needed addition to the Southeast,” said Reichard. “I’m looking forward to introducing clients to Sumptuous Media’s capabilities and amazing work.”

M&M Event Acquires Classic Party

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erving the production business since the mid-90s, Classic Party Rentals was acquired by M&M Event Rentals in March. The Atlanta, Nashville and Memphis locations now join the five existing M&M locations around the country.

“We are excited about the change,” says Debbie Kilgore of M&M, “and while we will continue to provide the same excellent service and products we have in the past, we will be increasing and updating our inventory.”

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OZCETERA

Pinewood Forrest is Progressing

By Nicola Breslauer

C The Wizard of Ack

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izard Electronics has purchased Ack Radio Supply Company and moved both businesses into their new location on Deering Road in Atlanta.

“I thought about the benefits of cross-pollinating customers between the entities,” says Cole Harrison, president of Wizard. “Ack, which provides electronic parts, and a wealth of knowledge about them, now has a built in service shop to handle repairs for broadcast engineers, film and recording equipment, ham radio operators, and much more. Wizard Electronics can offer a much faster turnaround time, by having most of the needed parts in the same building.”

Wizard opened its doors for audio repair in Atlanta in 1974; Ack launched business in 1946. “For many years we drove across town and purchased parts from Ack,” says Harrison.

“Now together we can bring knowledge, fast repair for production deadlines, quality system designs, installation, offering a better and stronger local source.”

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onstruc tion is progressing at the 234 -acre Pinewood Forrest going up next to Pinewood Atlanta Studios in Fayetteville. The new mixed-use development is being built as an easily accessed community for Pinewood Studios.

Co-owner of Pinewood Atlanta Studios, Dan Cathy, is the visionary behind the project: “Never before has this been done, that you have a purpose built industrial community as well to marry, mate up with an industry as unique and as special as we have across the street. We’re very blessed with the abundance of opportunity and land to be able to do what Disney, Warner Bros. and Sony would’ve loved to have done.”

Cathy announced that the developer Pinewood Forrest Multifamily Partners LLC (a combined venture of Capstone, Corner, and Woodford Capital) will helm the facility, which will include 100 town-homes, 600 multi-family residents, two hotels, vast retail space, as well as a medical and wellness center.

“We had dozens of people who were very interested in being a part of this development,” Cathy said. “We had our pick of some of the most respected builders recognized for their

work across the Southeast. To have an exciting project draws, in and of itself, tremendously talented and gifted people who are intrigued to do something that is unique and very imaginative on this scale. We’re so glad they’re here in Atlanta.”

The new development boasts energy efficiency to help keep Georgia green. The homes will be geo thermal, and 50 percent of the development will be public green space. Sales started this past Saturday for Earth Day, with floor plans ranging from 349,000 to over $1 million. While the development is being created adjacent to Pinewood Studios, all residential sales are open to the public regardless of their affiliation with the film industry.

OZCETERA

Atlanta Technical College Design & Media Production Presents

Atlanta Technical College Turner Stays Loyal to Atlanta

Student Film Festival 2017 Free and Open to the Public

By Nicola Breslauer

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urner assured its loyalty to Atlanta recently in the face of the potential merger between Time Warner and AT&T.

CEO John Martin shared information with the Atlanta Press Club recently: “Half of all of our employees are still in Atlanta,” said Martin.

“It is the birthplace and life blood of Turner, and it always will be. Our commitment to Atlanta is unwavering,” Martin said. “We are net-hiring in Atlanta now.”

Currently, Turner is responsible for 6,000 Atlanta employees, with its sports, and Adult Swim networks based here. Martin said that the largest area for employment in Atlanta is going to be in technology. He claimed that at this point, most people who have had their job moved to New York have already done so, and we should not expect more people to have to move out of Atlanta.

As the merge potentially moves forward, Atlanta residents will see how it affects Turner, and specifically CNN’s, position in Atlanta.

Thursday, May 25, 2017 Doors Open @ 6:30pm

Atlanta Technical College 1560 Metropolitan Parkway, SW • Atlanta, Georgia 30310 For more information call: 404.225.4439

New Alpha

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lpha Props Atlanta has moved across town, settling into its new location on Milledge Street in East Point. Alpha held an open house in April to show off the new “one stop prop shop” spot.

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OZCETERA

Crash! Boom! Bang!: An Interview with Michael Lucker

By Zachary Vaudo

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ichael Lucker of Lucky Dog Filmworks has an expansive career, with notches on his belt including Vampire in Brooklyn, Home on the Range, Mulan II, and the Academy Award nominated Spirit: Stallion of the Cimarron. Now, Lucker brings his knowledge and experience to the public with CRASH! BOOM! BANG!: How to Write Action Movies. Oz sat down with Lucker to talk about his new work.

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on my own writing wins, ties and losses, so the exposure is inevitable.

In a few words: what’s the WRONG way to write an action movie?

Great question! If more people asked this, perhaps there wouldn’t be so many bad movies. How’s this? Let’s call them “The Five Don’ts”: Don’t be derivative. Don’t be gratuitous. Don’t be boring. Don’t be shallow. Don’t be repetitive. Don’t do those and you’re well on your way to writing a RIGHT action movie.

What inspired you to write this book?

Threats, mostly. Some coddling, some cajoling. And widespread encouragement from students, peers, family and friends telling me it’s what I should do. Oprah says learning all you can and teaching all you learn is our purpose on this rock. So I figured I better do it. You don’t want to piss off Oprah. I have been fortunate to work as a screenwriter and to teach others how to be screenwriters. Writing this book allows me to pass on the lessons I have learned for everyone everywhere for evermore.

maker in the first place. And getting the chance to work as his assistant was such an incredible blessing. Hopefully some of the things I learned from him I am in some small way passing along to others in this book.

Do you have a favorite anecdote from the book?

There are anecdotes at the beginning of each chapter which are witty windows into the screenwriter’s path via mine. Sure, there are some great times in movie making, but there are also some pretty awful ones. The book gives readers a view into it all, so they can make educated decisions about their own stories, their own careers, their own lives. I think my favorite anecdote, while simple, is meeting Steven Spielberg for the first time. He had such a huge influence on my wanting to be a film-

What’s the hardest part about writing a book about your experiences?

Writing about writing is easy. Writing about me is not. I tend to keep my personal life personal. So plopping my warts out on a page for all to see and hear has forced me outside of my comfort zone. But students in my Screenwriter School workshops and university classrooms seem to benefit from those tales immensely, so I felt them worthy of inclusion. Mostly the book is about how to write great movies, specifically action movies, citing great action films as examples. But the lessons I impart are based

Oz Magazine - film. tv. entertainment.

Michael Lucker has penned CRASH! BOOM! BANG!: How to Write Action Movies.

What’s the inevitable sequel about?

This year I have been approached to adapt four novels based on true stories into screenplays. The first of which, The Rescue, is an action movie headed into production this summer in Vietnam and Thailand. There’s obviously an interest out there from not only screenwriters, but novelists to learn how to do adaptations. In fact, more than 50% of all movies are adapted from existing works. “How do you cut a 350 page single-spaced novel down into a 110 page double-space screenplay?” This has given me fuel to launch ADAPTARAMA, an instructional book and video series chronicling the adaptation of my good friend and author Nathan Goodman’s brilliant spy-thriller The Fourteenth Protocol. I hope the lessons from that will help all writers learn to adapt good (and bad) books into outstanding screenplays.

CRASH! BOOM! BANG! is presented by Michael Wise Productions, www.mwp.com

HOW I GOT INTO THE BUSINESS Past 3 Projects: Flip or Flop Atlanta, Fox NFL Sunday Super Bowl LI Atlanta Falcons, Greenleaf-Season 2: Behind The Scenes

How did you get into the business?

Matt Aston Sound Mixer / Boom Operator Aston Audio www.astonaudio.com

After graduating from the Atlanta Institute of Music in 2010 with a specialization in music recording and production, I was working at Tree Sound Studios as an intern/engineer, Eddie’s Attic as a live sound technician, and Aurora Theater mixing musical theater. I wanted to expand my sound experience into film and television so I started researching anything and everything I could regarding audio in the film and TV industry. After frequenting message boards and blogs to discover what the industrystandard equipment was, as well as which skills were needed to compete in this growing enterprise, I started to network with local sound mixers in the Atlanta area to pick their brains about being on set, different techniques for wiring talent and day-to-day responsibilities. Fortunately, a few folks really helped me out early on and gave me some great advice as well as helped me land one of my first TV jobs: T. I. And Tiny: The Family Hustle. Once I got my foot in the door, it was kicked wide open. The calls started coming in left and right to work on various projects and I haven’t looked back since.

Craft Assistant amandacape30@gmail.com

Do you have a word or quote or mantra you live by?

“If you’re early, you’re on time. If you’re on time, you’re late. If you’re late, you’re fired.”

If you weren’t doing this, what would be your dream job?

Food critic, movie critic, or a singer in a band.

I love making the crew and cast smile and happy!!! When I can make someone smile it makes everything worth it. I love everything about this career, from the fast pace, to the consist changes, to the people, to the craziest things I get to see, but most importantly its watching the smiles and happiness come from everyone when they get a snack or their favorite drink. It’s the simplest things in life really.

Almost 7 years ago I had cervical cancer and wasn’t able to work for six months, so my friend told me to sign up to be an extra. I did and ended up working on The Walking Dead. They saved my family and I from that whole crazy experience, and opened my eyes up into a whole new career I never thought about before. I don’t think they even know how much they saved my family and I from all the pain and craziness we were going through at that time.

I worked as an extra for a while before switching to behind the camera with P.A work and eventually joining the union and getting into craft service. I’ve now been in the union for almost four years and love every second of it. I’m affiliated with both the 479 and 140.

What makes your job cool or fun for you?

strahljaudio@gmail.com

The adventure! Every day is something different, challenging, and interesting. New people, new ideas, new challenges, and new relationships. It’s never a dull moment on set.

The Fate of the Furious, Baby Driver, Logan Lucky

I was introduced to music recording in high school and decided I wanted to pursue a career by going to The Art Institute of Atlanta. Once I was there, I was lucky enough to have some great mentors who took me out on set and the rest was history. I absolutely love being on set and being a part of making something.

Sound

What do you love about your job?

What do you love about your job?

How did you get into the business?

Julia Strahl

Hustle. Hustle. Hustle. This industry is not for the lazy or faint of heart. Network with peers as much as possible and maintain a positive attitude. Always continue to learn and educate yourself not only in your craft, but other departments as well. Never stop moving forward.

Past 3 Projects:

How did you get into the business?

Amanda M. Cape

What’s the best advice you can offer to young people in your profession?

Every single day is different, which keeps things interesting. There are always new challenges to overcome, new techniques to learn, new people to meet. My role as a sound person also largely depends on the size of production that I’m currently working on. When I work as a utility or boom op, I get to observe the mixer and learn

What advice do you have for young people?

DON’T GIVE UP!!!!!!! And get yourself out there. Talk to people, network yourself. This job will have ups and downs all the time. Take the lows with the highs and never give up. NEVER.

Do you have a word or quote or mantra live by?

It is what it is.

their way of doing things, which is priceless - things you can’t read out of a book.

What’s the best advice you can offer to young people in your profession?

Be kind. Work hard. Learn as much as you can about your department. Talk to people in other departments and learn what they do. Build relationships. Save your money. (I’m also giving all of this advice to myself, by the way!)

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ocation Manager Mac Gordon’s Georgia roots are deep–and historic. A native of Savannah, he’s the great-nephew of Juliette Gordon Low, who founded the Girl Scouts of the USA in 1912. Low’s Savannah birthplace is a pilgrimage site for Girl Scouts of all ages. Growing up with a sense of place is a good trait for a future location manager.

But Gordon didn’t start his career in locations: he spent about a decade doing video production in North Carolina, but always hankered for Hollywood, so he left for California to study screenwriting at the prestigious American Film Institute (AFI).

After a year as a student and running out of money, he ran into a man he knew when he was a PA in Savannah, who was now producing TV movies in Hollywood.

Gordon inquired about a job, and the man said he was looking for someone to pinch-hit for his location manager, whose wife was expecting. Gordon began his on-the-job training with the TV movie, Return to Green Acres. Although he tried to focus on writing for the next year, his friend kept calling him back with more job opportunities. Gordon’s 25-year career in location management was launched.

“I thought it was pretty strange work,” he recalls. “I was used to sitting behind a computer alone, figuring out things. But at the time it was better to be working than not working. And at some profound level I found satisfaction in the job: knowing when I’d found the ‘right’ location and discovering, usually, the solutions to a million location problems out there.”

It’s not for people who need a lot of praise Gordon quickly recognized that this wasn’t a job for everyone, however. “It’s not for people who need a lot of praise,” he says. “Location managers get a lot of complaints. We rarely get patted on the back. Satisfaction has to come from knowing in your own mind when it’s a job well done.”

Over the years, Gordon has amassed a long list of credits, including the TV series The X-Files, CSI: Miami, Monk, The Unit, The Mentalist, Necessary Roughness, Containment, and some episodes of the May / June 2017

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new FOX show, Shots Fired. Recent feature work includes Ride Along 2 and The Hunger Games: Mockingjay, Part One, for which he handled second unit locations.

While Gordon was location manager for the series Detroit 1-8-7, his wife took a new job in Atlanta, and the family relocated to the city from California.

“At the time, Necessary Roughness was gearing up in Atlanta, and I lucked into the first season with the help of a local manager I had just met,” Gordon recalls.

He has continued to find jobs in Atlanta and North Carolina even after his wife’s job moved again to upstate New York, which the Gordons now call home.

“I was thrilled to come back to Georgia to work,” he says. “The change in the pace of production has been dramatic.

There were a number of shows shooting here when I moved from LA, but today I can’t count how many there are. I used to know what other people in the business were doing in Georgia, but now I have no idea–there’s a tremendous amount of work going on.”

The Douglas County Jail interior

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The Mullet is Gone, But MacGyver is Back At press time Gordon was finishing season one of MacGyver, produced by CBS Television Studios and Lionsgate. This reimagining of the classic series about an unconventional problem solver finds Angus “Mac” MacGyver (played by Lucas Till, who grew up in Atlanta) applying his unique skillset to high-risk missions around the globe–from the show’s production base in Atlanta.

Gordon took over as the show’s location manager with episode seven, heading “two teams of seasoned locations people who run episodes alternately.”

Those teams include two key assistants, two assistant location managers, two

Things move fast; there’s not a lot of dilly-dally.

full-time location scouts, a few PAs and an office coordinator. “I work on all of the episodes but I’m rarely on the set; I’m mostly in meetings or in the van with the producer, director, production designer and cameraman,” he explains. “Because of my experience in the area I’ll get ideas for locations and send scouts to check areas that I think will work. Or they’ll find locations on their own–our scouts are locals and very knowledgeable. Then I’ll ask the production designer and the producer what they think of the choices.”

Gordon’s two decades in the business means his expertise in “how shows need to function” is invaluable. “We’re basically schedule-driven. We crank out a new episode every seven or eight days while spending three days figuring out the locations and tech scouting for the next one. Things move fast; there’s not a lot of dilly-dally. You want to plan a reasonable number of moves for the company on any given day. We pair locations to minimize travel time, and we’ll factor in things like rush hour traffic or particular routes. It’s my job

to keep the show moving forward with a minimum of disasters.”

Each episode of MacGyver spends an average of five days on location, Gordon estimates. The balance is spent at the show’s home studio, Mailing Avenue StageWorks. Located two miles from downtown Atlanta, the studio hosts interior shoots for MacGyver and houses its major standing sets and swing sets that are too difficult to shoot practically.

Getting Atlanta and its environs to double for locations around the world can be a challenge. “There’s not a tremendous depth of different looks here,” says Gordon. “Los Angeles, with its mountains and beaches, has more diversity in a 30-mile range. Atlanta is more consistent in its look. There are hills, beautiful forests and the city, of course, but it’s hard to play Afghanistan in Atlanta.”

The hard part was finding a building we could ‘destroy’

MacGyver’s writers are mindful of that and have developed scripts that can be produced in Atlanta. “They don’t send us scripts for places that don’t exist here,” says Gordon. “No beaches, no Alpine vistas. We can do a lot of magic, but the more magic you need, the more it costs!”

Still, Gordon and his teams have found a bounty of locations to play the role of domestic and international locales. About an hour from their stages they found an isolated old barn and a horse farm. Just 20 miles west of Atlanta is the decommissioned Douglas County Jail, which has attracted several film and TV productions and which served as a Texas prison in MacGyver. An abandoned military administration office on an old US Army base doubled for the US embassy in Latvia. “The hard part was finding a building we could ‘destroy,’” says Gordon. “There was an explosion out front, machine gun fire and chaos.

Special effects installed lots of breakable windows.”

Nevertheless, the sequence required digital visual effects to help sell the embassy’s destruction. “Locations that are augmented or modified in CG are picked because they work for the scene,” Gordon explains. “We scout for the

directors and the story as much as we can; when necessary VFX steps in and works with the camera department” to round out the locations with digital wizardry.

The lobby of a Georgia State University building in downtown Atlanta served as a spot under surveillance in Shanghai. The show’s art department dressed the street outside with bicycles, small cars, vans and Chinese signage to make the location more exotic.

The top of an Atlanta parking structure was the site of a helicopter rescue in Kazakhstan. The plot called for an urban environment, so Gordon’s team chose a parking structure with “interesting old and new buildings in the background,” he says. When the chopper was shot down in a wooded area, the production didn’t have to travel far from the stage for an appropriate location. “About 300 yards from the studio is reclaimed land sitting idle,” Gordon reports.

Recurring locations are MacGyver’s house–a real residence adjacent to Buckhead–and the Phoenix Foundation headquarters shown in an establishing shot. The latter is the stunningly modern Porsche Experience Center and North

The Douglas County Jail (decommissioned) exterior from the Can Opener episode in MacGyver which plays the part of a Texas prison

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A crash in "Kazakhstan" from the episode Large Blade, wooded location is adjacent to the Mailing Avenue Studios

American headquarters in Atlanta, a structure that looks great setting the scene for Phoenix in the storyline. But since it’s “in the airport flight path, it’s too noisy to shoot dialogue there,” says Gordon.

The hardest location to find was a stand in for Amsterdam for an episode where a bomb exploded in a van parked in an old part of the Dutch town. “We don’t see a lot of Amsterdam in Atlanta,” says Gordon. “We found a plaza in Marietta that we thought might work.

The art department was amazing and added a ton of the right accoutrements– signage, European-looking kiosks. And later VFX added canals. But that one was tough for all the departments.”

The most difficult locations to secure on a continuing basis are, ironically, part of every urban landscape. “We have a standing order for nice buildings with lobbies for walk-and-talk shots,” says Gordon. “Lobbies are hard to find during the work week. Buildings don’t want all the disruption that goes along with TV production, so we have an ongoing search for them. This is true everywhere–you’ll find the same challenge in LA.” Gordon believes that studio backlot locations could be “enormously helpful” for a show like MacGyver: “A generic European street would be fantastic for us. Maybe a classic New York City street, too; you can get close to New York, but you can’t find that same look,” he says.

A courtroom or a modern prison–

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Atlanta businesses are thriving locations that are impractical to access in the real world–would also come in handy.

Gordon finds that Atlanta is still welcoming to location teams despite the surge in production in recent years.

“Atlanta isn’t saturated to the point where people are mad at us,” he reports. “Most people are excited by the idea of being in a TV show, and it helps to have a show with name recognition, like MacGyver.

But it’s always amazing how often we’ll knock on doors and people will tell us they’ve already been scouted or filmed by some other production.”

People also know the value of their properties these days. “Atlanta businesses are thriving,” says Gordon. “You’ll find restaurants hopping on a Tuesday night.

If you want to buy them out for a location shoot the price has gone up considerably.

They’ve figured out what the market will bear.”

In addition to MacGyver, Gordon’s most recent project in Atlanta was the pilot for Dynasty, The CW’s reboot of another audience favorite. Set “in Atlanta for Atlanta,” the pilot found Gordon and his team scouting ... what else? ... “epic mansions.” They settled on two: "one for

the front view and interiors and another for the back view,” he says. Also in demand for the show were “fancy office space” and “high-end restaurants.”

An Infrastructure Boom But Room for Improvement Given the amount of production in Georgia, and Atlanta in particular, there’s still “a ways to go” to make Gordon’s life as a location manager easier. “It’s one thing to bring us here and another to adapt to the needs of the industry,” he says. “It would be nice to see improvements from city permit offices and even the state film office.”

Gordon would like the permitting agencies to “better comprehend the demands of the TV side of the industry.

TV moves so fast compared to features.

Permitting is almost always in crisis mode since you need so much lead time to do anything remotely hard. Perhaps if local municipalities could look at best practices elsewhere to streamline the process, things would be less frantic.”

He’d also like to see Georgia “do a better job advocating for us with municipalities

Shooting at the Marietta Plaza, which doubled for Amsterdam in the Ruler episode

or other government agencies. If a state film officer was there to liaise with a city council or a utility or especially some recalcitrant state agency, that would really help location managers. As it is now, once you’re here, you’re on your own.”

Gordon does have kudos for the film office’s “camera-ready counties,” which have a local person there to help productions,” he explains. “If we say we’re looking for a solar farm and we understand there’s one in your county, they’ll say here’s the phone number.

It’s very handy on a local level.” In terms of film-friendly towns, “Conyers and Covington are two towns that have been especially savvy” about assisting productions, he reports.

Gordon also praises Georgia’s production infrastructure and talent base. “Studios have been springing up all over, and each one that’s built cements the infrastructure further,” he says.

“Many designers, ADs and other below the line people have left LA, moved here and found it’s a good place to live.”

Perhaps the biggest infrastructure change for locations work has been the number and diversity of support services that are now available. “Layout board companies, tent people, cleaning services, security companies, dumpster suppliers– they’ve sprung up all around us,” Gordon reports. “I remember when there were no layout board companies, and now there are three or four. They came to Atlanta

and have expanded. These are the kinds of jobs that bring money and livelihoods to Georgia.”

There’s no doubt that cell phones, laptops, tablets and digital cameras have facilitated communications with those in the field and have put location databases at Gordon’s fingertips. But the process of getting out there and finding locations, securing them and coordinating the moves of the TV or film company has remained much the same over Gordon’s career. It’s still a people business.

Still, with all the incredible growth in Georgia’s production business, finding a qualified local locations crew can be difficult, according to Gordon. “I spend a fair amount of time training people. And it’s not the career path for everyone.” He hasn’t seen “a pipeline from film schools” to location management, although MacGyver did have a student intern on board for a while. “By and large it’s still a case of personal references: Somebody will suggest someone, they’ll come in, we’ll talk and I’ll give them a shot. Or not.”

So what are the qualities that make a successful location manager? “Patience, dedication, resourcefulness–and a good sense of direction never hurts,” Gordon laughs. “You have to think outside of the box. And you need to be incredibly diplomatic: We’re the gasket between the film/ TV world and the real world.”

A good location manager needs to read a script and get “a vision in your

head” about the kind of locations that will serve the story while being practical in terms of travel, budget and schedule.

“The greatest satisfaction comes in knowing that you’ve found the right location,” Gordon says. “A location that will look great on camera and advance the story but is shoot-able too. That’s what it’s all about.”

Gordon is a founding member of the Location Managers Guild of America, which was formed in 2003 “to increase our presence in and out of the industry and let people know how important our jobs are,” he says. LMGA was rebranded the Location Managers Guild International (LMGI) about a year ago after receiving requests for membership worldwide. “It’s an international business, and we should call it that,” he notes.

Gordon is quick to assert that, “a location manager is only as good as his team. The people I work with make things happen and solve complex problems every single day. I’m just the guy who sends them into battle, although I try very hard to always have their backs.

“My hat is off to everyone with ‘assistant’ in their location department title,” he declares. “They don’t get thanked a lot, they take a lot of crap and yet they persevere. They work miracles. That’s very admirable and proves to me every day what special people there are in our craft!”

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eorgia has come a long way since President (then-Governor) Jimmy Carter created our state Film Commission in 1973–the first office of its kind outside of California and a decision inspired by the financial benefits the 1972 filming of Deliverance brought to Georgia.

“When I first started out in the 1970s, crew from New York would ask, ‘Are you local or are you professional,’” says Billy Sherrill, key grip and key rigging grip, about working in Georgia. “I didn’t know enough to know this was a bit of an insult.”

Today, the Motion Picture Association of America (MPAA) reports that more than 25,700 people are directly employed by the film and TV industry in Georgia, and there are more than 2,700 industry-related businesses in the state.

So how did we get from an emerging regional production center in 1972 to one of the top five film and television production centers in the world in 2017? Through the vision and persistence of Georgia’s uniquely innovative, talented and stalwart professional film and television production community–our crews, our actors, our creative community, our film related businesses-and through the vision of our forwardthinking economic development and legislative leadership.

From the 1970s to 2007, Georgia’s state film office actively recruited more than 550 film and television productions to Georgia. And in fiscal year 2007 (July 1, 2006-June 30, 2007), the 48 productions filmed in Georgia had a total budget of $93.1 million and generated an economic impact of $241.5 million.

“Some of us have been around long enough to experience the ups and downs,” says camera operator Norman Andrews. “We had a

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mini-boom in the 1990’s when Georgia’s pool of good technicians was discovered, and numerous productions chose to work here—especially movies and TV shows with southern themes that would benefit from our authentic southern locations.

Then Canada introduced a major tax incentive and, combined with favorable currency exchange rates, the LA producers mostly packed up and headed north.”

Georgia’s true game-changer came in 2008 when our state legislature passed the Georgia Entertainment Industry Investment Act—one of the industry’s most competitive production incentive programs—and Georgia quickly became one of the three top US film and television production centers. For fiscal year 2016, the Georgia Film, Music and Digital Entertainment Office reports that 245 film and TV productions shot in Georgia, spending $2.02 billion and generating an economic impact of $7.2 billion–that’s 24 times more economic impact than in fiscal year 2007.

But we’ll let our crews tell you themselves.

How is the tax-incentive boom benefiting georgia crew?

ED HOTCHKISS: I was here through the 90s when people had to leave town to stay in the features business or to work in episodic TV. Now crew here that want to advance have many more opportunities.

And as they move up, that gives new people the opportunity to move into the business.

LISA BILEK: I’ve seen a tremendous increase in the volume of work and the number of crew and vendors since the 2008 Georgia tax incentive was implemented. I’ve been part of the Atlanta production community for over 25 years, and not only is the feature film world off the charts, other projects including television series, commercials, corporate and reality production have benefited as well. Working across all platforms has given me and many others the opportunity to mix it up, meet new people and learn new ways to get the job done.

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NORMAN ANDREWS: When my kids were small, I quit working as first AC on long-form projects to have a more sane family life. I was increasingly shooting and camera operating for corporate and commercial clients. When the recent “boom” put so many shows in Georgia, I started getting calls again to day-play as first AC and to shoot EPK “behind the scenes” stories for films and TV shows shooting here.

JEN FARRIS: When a location manager gets here and has to start from scratch, they can feel like a fish out of water. They can figure it out but it will take much longer.

Location managers love that I know the city. I know the short cuts, how to avoid the traffic and I already have relationships with neighborhoods. “Oh–I used to go to that church and I know the minister’s name” or “that’s my aunt’s neighborhood–let me call her.” I know where that exists, this exists–boom–I can pick up the phone and get things started.

NATHALIE DORTONNE: The first major film project I worked on was Netflix’s Come Sunday. I was at an Atlanta Film Society event and I met someone who gave me the email address for the film’s production coordinator and I reached out to that coordinator to say I was looking for a position. I was invited in for an interview with the line producer and director Joshua Marston and I was offered the director’s assistant position.

CLAIRE PAPEVIES: I grew up in Atlanta but once I went to college I didn’t think I’d be coming back. I’m all about traveling, so in college I was a PA in Australia, interned at the Weather Channel and after college I worked for an LA company as a PA in Costa Rica on The Bachelor. Then back in LA with a production company, I learned cinematography. Three years ago, ARRI invited me to intern in Australia with their service engineers. To my surprise, after the internship everyone there kept saying “All the work’s in Atlanta, you should give it a try.” The first week I was in Atlanta, I got called to work on the biggest project I’d ever done.

PATRICK MICELI: I moved to Atlanta from Las Vegas just three months ago, and it has been the most positive experience of my adult life. I’ve already gotten to PA on two major commercials–and I’ve been background talent on several of the major TV shows and feature films. This gives me a

chance to make connections with dozens of local crew members and actors, as well as become familiar with all the productions in the Atlanta area. It’s incredible how many productions are happening here all at once and the people in the industry are so nice.

MIKE AKINS: We’re getting to learn from the best crews in the world. On huge films like Ant-Man, Captain America, and Guardians of the Galaxy, the first time they shoot here, 68-78% of crew is from out of town. Next time they’re back, it’s the other way around because with that franchise’s second project in mind, the Georgia crew makes sure they’re so well trained in the project’s specialty areas that most of crew can be hired here.

Why is there still a tendency to bring in crew from LA or New York or to hire crew who’ve recently moved to GA from those production centers rather than to hire Georgia crew?

CLAIRE PAPEVIES: A few years ago, word got out that there were not enough experienced crew in Georgia and crew people started pouring in. First primarily from LA and New York, but then as other states lost their tax incentives, those crews began to move here too.

BILLY SHERRILL: Most keys are hesitant to work with someone they’ve never worked with before and a lot of people shooting here already know the people they prefer to work with.

ALFEO DIXON: Greenlights and meetings happen months before a project opens a production office and is up and running here. The higher your job is on the food chain, the harder it is to get in early enough. We’ve gone from about nine solid camera operators to about 90.

NORMAN ANDREWS: For upper level jobs in the camera department, there’s a strong tendency to hire people known and trusted by the DP. This often translates into someone from LA or recently transplanted.

But Georgia has excellent DPs and camera operators who are long established working on big movies-and they do get those calls too. If there is a bias, it’s more against those without credits on hundredmillion dollar movies rather than strictly a bias against hiring locals.

JEN FARRIS: You call people you like first and if they’re booked you hope they will shoot you a good name and if you need to, you can teach them what they need to know to do the job right. I’m a very good teacher–but they have to have the know-how to do it right on a consistent basis. If you don’t know how to do it, practice, practice. Learn and then do it right. I can’t teach you a second time. It’s so competitive, there’s someone waiting to take your job.

LINDA BURNS: When I hear someone say bad things about “locals,” it’s sometimes simply about people who’ve stepped up too fast and aren’t ready for it. If someone gets in the union as a local and they’re “faking it til they make it,” or pretending to know more than they do, that can damage the chances of more qualified locals getting jobs because the assumption is all locals aren’t professionals.

It gives people an excuse to bring someone in from elsewhere. Slow down and master your craft; working on a few shows doesn’t make you an expert. Get your training on Tier One and Two shows. You’ll be getting health insurance, a full-time gig, and the experience you need to build a long-term career.

Relationships, Reliability, Loyalty: How to Get Hired ED HOTCHKISS: Show up before time.

Work hard. Ask questions if you don’t know completely what is going on. Get asked back.

JEN FARRIS: This is a relationship-driven business.

BILLY SHERRILL: A good attitude is threequarters of it.

ALFEO DIXON: You have to do good work and you have to get noticed for it. You have to sell yourself. My circle of people was not that wide. Now I’m going from knowing people to people knowing me.

Now I’m going from knowing people to people knowing me.

DARLA MCGLAMERY: The director makes hiring decisions to fit their vision and she or he has the most powerful position when choosing department heads. Networking is key to success in our industry and you’re only as good as your last job.

Mike Akins

Norman Andrews Lisa Bilek

Linda Burns

Alfeo Dixon

IATSE Local 479

DP/Camera Operator/1st Assistant Camera IATSE Local 600/ICG 600

Line Producer/Production Supervisor Producers Guild of America

Producer/Line Producer/Consultant Producers Guild of America

DP/Camera Operator

IATSE Local 600/ ICG 600: Executive Board

Nathalie Dortonne

Jen Farris

Business Agent

Director’s Assistant/ Producer’s Assistant/Aspiring Director/Writer/Producer

Key Assistant Locations Manager/ Key Location Assistant Teamsters Local 728

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TONY HOLLEY: I still get jobs the way I used to: by word of mouth about who I am and what I can do. We’ve built a strong local community within the confines of my craft over the last seven or eight years, and through that, I have a constant database of professionals to reach out to for hiring and availability calls.

LISA BILEK: I still get work the same way—a recommendation, word of mouth or picking up the phone. I welcome the new folks, but I have to admit that sometimes the hair rises on the back of my neck when a producer calls and says they just moved here from another state and want to check my availability…that’s competition and a potential loss of work but there’s not a lot I can do about it except to welcome them and to stay on top of my game. You look at it as a new relationship, and that’s what our business is really all about.

BILLY SHERRILL: I’m usually hired by the camera department. Since I’ve handled key grip and rigging assignments all over the world, I stay in touch with the people I’ve worked with to be sure I stay on their radar.

NATHALIE DORTONNE: I believe it’s a matter of persistence and networking.

When I first got here, I didn’t know where to look for new productions coming into town, or when I did find the information, it was posted late. I started attending industry events and meetings and using some industry resources. All of this helps me immensely to find out what projects are in pre-production in Atlanta, often well before they’ve opened a production office here. The most important thing is don’t give up–your breakthrough is closer than you think.

LINDA BURNS: Loyalty gets you a job two years from now and well into the future. If you consistently jump ship— leave a job a week or two early—to go do something else, that becomes part of your reputation. And it may come back to haunt you even if you’re getting away with it now.

PATRICK MICELI: Attitude–put out positive energy and good things will come. Stay confident–I may not always know where the work will come from, but I know if I go out there and be myself, things do come and they do work out.

ALFEO DIXON: Be genuine. Have a regard for people on a personal level.

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Someone can be demanding, but if they have a personal relationship with each person they work with, those relationships can stay untarnished.

LINDA BURNS: There are plenty of Georgia folks at the top of their game, like Michael P. Clark (sound mixer on The Walking Dead and Stranger Things).

Listening to him talk about the craft of sound and the passion he has for recording sound during a 2016 Atlanta Film Festival panel was awesome. I remember when we were just punk kids starting out, and it makes me so proud to see the respect he commands as a union professional.

How can union low-budget agreements benefit producers, crew, and cast?

ALFEO DIXON: We now have tiered IATSE low budget agreements. Even at the lowest tier, you have health and pension benefits and a small wage. It can be a good way to move up in any department, like from B-operator to A-operator. You can build your resume, build your reel and build your craft.

LINDA BURNS: When you’re shooting a low budget agreement, especially a Tier One, you really need someone local to help get you a solid crew. When a producer has a great script and hires a strong local production manager who knows and has relationships with strong Georgia crew, that team will do a great job of getting your film shot.

BILLY SHERRILL: It can be quite difficult for new people to get in. For example, if you want to be a dolly grip, how do you learn to do this? You need access to all the gear and you need to practice. Who’s going to let you do this? On a tiered project, you may be able to shadow and assist an accomplished pro and learn the basics of a craft you can then build on.

CLAIRE PAPEVIES: Even if you don’t think someone is going to want to work on a lower-budget project: if you think they’d be good for it, ask them. It’s surprising how often they will say “yes.”

How do you stay ahead of the curve?

ALFEO DIXON: Any artisan who’s agreed to take on a project is going to want to put everything into it they possibly can. It’s why we’re always learning. ICG Local 600 is constantly providing opportunities for members to hone their skills–from entry level digital utility to DIT training to data management. We’re also developing a 2nd AC course and offering an operators course developed in New York.

ED HOTCHKISS: I got in the business when film was it. The only time you used a video camera was for news or for corporate and industrials. Now we’re several generations of changes into digital cameras and audio gear and the changes in lighting are rapid fire. Education is key. IATSE 479 offers courses across the board. You need to know what you’re getting into; any day you can be asked a new question that you’re going to need to be able to answer.

BILLY SHERRILL: You’ve got to be able to do the job right–every time. Master your craft and keep your skills current. If you see a possible safety problem, report it to your boss immediately even if you’re afraid you might lose your job. You’ve got to be able to walk away from a job if it’s not being done safely.

LINDA BURNS: Every responsible producer and production team puts safety first. I’m an “OSHA 10” fan–everyone should take these classes.

Author’s Note: The OSHA Outreach Training Program provides training for workers and employers on how to recognize, avoid, abate and prevent safety and health hazard in the workplace.

Looking ahead: LINDA BURNS: Before the 2008 tax incentive, there wasn’t an abundance of the $10 million to $50 million films and TV shows here, so we weren’t able to bring in and train new crew because there wasn’t a need for more than what we could supply.

You can now become a master of what you do right here. Georgians are making that leap in their careers and that’s good for them and for our future.

TONY HOLLEY: I don’t recognize everyone any longer! It’s not that that’s bad, but prior to our production explosion, there were maybe 25 or so locals regularly working in location management. Now, that number is easily over 200. Because there are so many individuals working here in every department, the interview process for hiring your crew has become even more critical.

JEN FARRIS: On a TV show you may have a different location every day. We have to move our company from one place to another, on time and in order. On average it’s 80-200 people every time we move, plus equipment, food, wardrobe carts, props. There can be 120 cars and 40 trucks—some 18-wheelers, some box U-Haul size. And 90% of it is often moved on the same day as the shoot. The locations department is the nucleus of all those movements—the center of that puzzle.

Georgia location managers and crews are uniquely qualified to make every movement synchronize and be seamless.

LISA BILEK: I’ve met so many great transplant crew outside of the workplace, a good many at my neighborhood pub! I think it’s nice for them to meet other locals in the biz that are not necessarily on the same project they are and vice-versa.

DARLA MCGLAMERY: Georgia has an evolving experienced crew base and here all film and television crews are now blended.

Meeting and learning from accomplished industry professionals is invaluable and the blended crew base is a real strength for Georgia.

MIKE AKINS: People keep working, technology keeps growing, our industry has grown by double digits every year since 2008. The film commissioners in other states, other countries are so amazed at how this happened. It’s because we all work together.

Whether you walk in under the golden dome [of the Capitol], walk in to the producers’ offices, or walk on set, everybody says the same thing: "let’s make this happen."

Tony Holley

Locations Manager

Teamsters Local 728, Location Managers Guild International

Ed Hotchkiss

Darla McGlamery

Patrick Miceli

Claire Papevies

Billy Sherrill

Property Master

IATSE 479: Assistant Director of Education

Business Agent

IATSE Local 600/ICG 600

Production Assistant

Aspiring Director/Writer/Producer

2nd Assistant Camera IATSE Local 600/ICG600

Key Rigging Grip/Key Grip IATSE Local 479

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By: Laura Miller

Forget Hollywood–Georgia is the place to be. At least, if you’re in film or television. With industry-positive legislature, a variety of locations, and production resources, industry activity is only increasing, as is the need for top-notch studios. Here, Oz takes a look at some of Georgia’s top studios, both big and small.

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WE COULDN’T HAVE ASKED FOR A MORE FRIENDLY FILM COMMUNITY. Scott Tigchelaar - Raleigh Studios

RALEIGH STUDIOS Built by Paul and Joe Lombardi, Raleigh Studios opened in 1989 and was one of the forerunners of the Georgia filming scene. Numerous projects have been filmed there, including Killers, Sweet Home Alabama, Andersonville, The War, Fried Green Tomatoes, and Pet Sematary II, but probably the most famous is AMC’s The Walking Dead, which has occupied Raleigh’s entire studio since 2011.

Raleigh Studios boasts 120 acres of facilities, which equals out to 105,000 square feet of stages, offices, mill, wardrobe, and support buildings.

Additionally, there is a variety of unique shooting locations including a creek, river, swamp, forest, large meadows, two lakes, and an abandoned railroad track. They’re considering adding four additional studios, an additional 90,000 square feet of stage, office, and support facilities, but no concrete plans have been made as of yet.

Located a short 50 minutes from Atlanta, Raleigh Studios is proud to call Senoia home and credits the small town with much of its continued success.

“Our most unique feature is the studio’s proximity to the town of Senoia, which has been a ‘backlot’ for the studio and a backdrop for more than 24 film and television projects,” Scott Tigchelaar, president of Raleigh Studios, said. “We couldn’t have asked for a more film friendly community. Senoia’s mayor and council

understand the economic benefits of the film industry, and they work hard to accommodate it. The results are pretty hard to argue.”

Indeed: in the past 13 years, the city of Senoia has grown exponentially, and much of that growth is attributed to the film industry. And industry showrunners recognize that, which is why more and more productions are landing in Georgia than in the traditional Los Angeles or New York.

“I believe that New York and California are hamstrung by antiquated film and television paradigms,” Tigchelaar said.

“There’s been a disruption in the entire production industry, and Georgia is coming into its own so quickly and with such a fresh perspective. Our industry here is well-positioned to pivot with the future of

the media and content creation…it’s the place to be.”

Small towns are experiencing much of the growth and activity. With quaint storefronts, acres of land available for purchase, and a variety of filming locations, these small Georgia towns are a veritable gold mine for those in film and television.

Revitalization has been a positive, though unplanned, side effect.

“Something we’re proud of is the role we’ve played in the redevelopment of Senoia,” Tigchelaar said. “[The city] has become a shining example of many of the positive impacts of the film and television industry, including an international tourist destination thanks to The Walking Dead.”

The hit show has no plans to relocate, and Raleigh Studios has no complaints about that.

Raleigh Studios Exterior

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Blackhall STUDIOS Located just inside the perimeter, with convenient access to all of Atlanta, Blackhall Studios is a new but powerful player in the Georgia filming game.

They specialize in everything, from independent films to television to largescale productions. The space, which includes nine sound stages, 175,000 square feet of mill space, FX, and storage, is designed to handle anything. The sound stages, in fact, boast the highest ceiling heights in Georgia, 45-55 feet. Blackhall Studios also offers 35 acres of backlot, a train track, and a 40,000-square foot school house. Stretching over 100 acres, the studio plans to open an addition 40,000 square feet of creative space.

Blackhall Studios opened this year and has hit the ground running. “We are the largest purpose built studio inside the perimeter,” said Ryan Millsap, executive chairman of the board. “We are about the same size as Pinewood when they opened their doors, so we are ready for major motion pictures to film here.”

The excitement and energy is easy to see; Blackhall Studios is committed to growing the local film and television industry, and it puts its money where its

Ryan Millsap - Executive Chairman of the Board at Blackhall Studios

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mouth is. They offer small film financing to worthy filmmakers who have already raised at least 80% of their budget and are committed to spending at least $500,000 in Georgia. Currently, the program is only for smaller and mid-sized films, but Blackhall is hopeful that a larger film fund will be added in the future.

And Blackhall Studio’s reception has been warm. “Everyone in the industry who comes to visit has very positive comments,” Millsap explained. “People who know this business love the logistics of our layouts and the heights of our stages and the sleek aesthetics of the built environment.”

Southeast Atlanta will benefit from Blackhall’s opening, as well: from property values to increased tourist and professional traffic, the area is poised for revitalization.

“Atlanta is on the rise in the entertainment industry and the momentum here is palpable,” said Millsap. “Over time, the entertainment industry will become a conduit for creative energy to build into a beautiful creative vortex that impacts Georgia for the human good.”

Atlanta is on the rise in the entertainment industry

Tyler Perry Studios - Historic District

Tyler Perry Studios A big player in the Georgia movie and television game, Tyler Perry Studios bought Ft. McPherson in July of 2015. The 330acre, 132-year-old site will house more than 350,000 square feet of sound stages and support spaces.

Located just to the north of East Point and a mere minute’s drive from Downtown Atlanta and Hartsfield-Jackson Atlanta International Airport, Tyler Perry Studios has 12 sound stages, a parade grounds, a 1950s diner, farm house, baseball fields,

Paul Schulz - President of Blackhall Sudios

Wilder Studios

Steve Mench - Tyler Perry Studios

trailer park, golf course, woodlands, ponds, and numerous production support buildings. One of the sound stages will contain a water tank. Additionally, there are 40 historic buildings, built from around 1880 to 1910. Once completed, the facility will be one of the largest in the country.

“Because this was a military base for over 100 years, the practical shooting locations, combined with a diverse backlot, being 10 minutes from the airport and downtown, and being able to shoot sound outside is unique to Georgia,” said Steve Mensch, president of operations.

And numerous productions have taken advantage of that unique backlot.

Pitch Perfect 3, Fox’s Sleepy Hollow, The Immortal Life of Henrietta Lacks, The Walking Dead, Too Close to Home, and Boo! A Madea Halloween have all filmed at Tyler Perry Studios, and there are plenty more projects planned for the upcoming months and years.

The surrounding neighborhood has been nothing but supportive. “Tyler is building the only major motion picture studio on the east coast, and keeping his productions here in Georgia has a huge impact,” Mensch said. “The neighborhood is benefitting directly from the activity, local businesses are enjoying the economic benefit, and the jobs being created are very welcomed.”

Mensch goes on to explain that Perry chose Georgia over the expected California or Florida because of his hometown ties. He considers Atlanta his home, and coupled with Georgia’s film-friendly legislation and the chance to provide jobs for thousands of his fellow Georgians, the choice was no choice at all.

Opened in late 2015, Wilder Studios is conveniently located a mere 12 miles from Downtown Atlanta. Don’t let its quiet demeanor fool you, though: Wilder Studios is fully equipped and ready for filming.

With four sound stages equaling 17,000 square feet, Wilder Studios offers office, mill, lock-up, and storage space in addition to filming.

Wilder Studios focuses mostly on small films and television productions, including Baby Driver, Life of the Party, and The Accountant; currently, Warner Brother’s Game Night and Amazon’s Lore is filming in its spaces.

David Nash, owner of Wilder Studios, took over the studio space in 2015. “The space had already been filmed in before I took over, so it was already on people’s radar,” he explained. “We’ve had a very positive response to the improvements we’ve made in the last year and a half, and folks are pleasantly surprised by how easy the commute is from downtown.”

Nash named the studio after his son, and was determined to keep the space

I'm a local so it was here or nowhere!

David Nash - Wilder Studios

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small and local. “I’m a local, so it was here or nowhere!” Nash joked. He started his career as a set carpenter, and by 2008 he was a construction coordinator which gives him, and Wilder Studios, a distinct advantage.

“We’re not a purpose-built facility so we don’t expect to compete with some of the facilities that are, but with my background in the industry I’m able to anticipate our client’s needs.” It’s working.

When Wilder Studios opened, they were filming only a few shows each year; currently, they’re starting two or three shows each week. They’re fully booked.

Nash, still a carpenter at heart, occasionally serves as construction coordinator for the productions filming at Wilder.

“I was lucky to be here at the beginning,” Nash said. “We hope to give our clients an affordable, yet comfortable, experience when they film [here].”

StageWorks When the economy turned downward in 2008, real estate agent John Raulet found opportunity amidst the despair. The filming scene was just beginning to pick up steam, and Raulet realized he could rent empty warehouse, industrial, and office space to those film projects. As the economy recovered, he saw an increased need for filming space and locations, and soon he was working exclusively with film crews and studios. By 2012, Raulet partnered with Paul Raulet and Tyler

Edgarton to form StageWorks.

StageWorks has since expanded to three metro Atlanta locations. Mailing Avenue StageWorks, the original, is located near Grant Park. An 85,000-square foot facility, Mailing Avenue boasts a 38,000-square foot stage area, 31’ ceiling height, a large production office, and an adjoining mill. Las Vegas was the first film shot there, and Necessary Roughness, Insurgent, and Allegiant were filmed in the years since. Currently, MacGyver is filming season two at the location.

Soon after, Westside StageWorks opened on Fulton Industrial. With more than 121,000 square feet of space, including a 40,000-square foot stage facility, 28’ ceilings, a mill, production offices, and plenty of fenced truck parking, Westside StageWorks is home to the Fox TV show Star.

Finally, Eastside StageWorks opened in Conyers in 2016, and the 130,000-square foot facility boasts 23+ acres of ideal filming space as well as a 114,000-square foot stage, mill, and storage area. Ceiling height soars to 28’, and there are 16,000 square feet of production offices, not to mention amazing access to both urban and rural locations, perfect for any television show or film. The Originals currently films here.

Raulet’s real estate background gives him rare insight and allows him to be fully in tune with the needs of filmmakers and the capabilities of the city. “The nature of our involvement in the film business really

Tyler Edgarton - Stageworks

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John & Paul Raulet - Stageworks

we know areas that film clients shy away from due to traffic real estate in Atlanta,” Raulet said. “We are born and bred Atlantans and know where good real estate is. We know areas that film clients shy away from due to traffic.”

It’s this knowledge that drives them; StageWorks enjoys finding dilapidated and abandoned buildings that others wouldn’t look twice at and revitalizing them as filming locations. Southern Dairies, an old Kraft Ice Cream plant in midtown that currently houses the StageWorks offices, was vacant when Raulet found it. He and his team helped convert the old plant to stylish, modern loft offices.

“We do not pretend that we know anything about ground up construction,” Raulet explained. “We let others play in that market. What we provide accommodates a large number of productions that do not want to be in a new studio facility or cannot afford to be in one. We lease them the whole property which allows them certain freedoms that they cannot have on a typical ground up studio lot that caters to multiple productions at once. This fosters a friendly relationship and created a following of producers that want to be in our buildings.”

OZ SCENE L to R: Duncan O’Brien (Cox Enterprises), Marc Gorlin (Roadie and Kabbage), Hala Moddelmog (Metro Atlanta Chamber), Rahul Samant (Delta), Matt Carey (Home Depot)

March 11-13

ChooseATL at SXSW

C Jermaine Dupri

hooseATL held a booth at this year’s South

by Southwest conference, hosting panels and discussions revolving around Atlanta’s film and entertainment industry.

Activation kicked off on March 11, with ChooseATL opening its 1,000 square-foot Atlanta job-fair booth in the Job Market. On March 13, ChooseATL transformed Maggie Mae’s on Sixth Street into the ChooseATL House for panels and performances, including the panels “Big Brands Driving Innovation,” “Going Big With Digitalundivided,” and “A Movie In Real Life,” along with a fireside

chat with Ludacris; a night party hosted by Culture Republic featuring Ludacris, T.I., and OutKast; and an interview with Frank Patterson, president of Pinewood Studios.

“With an incredibly diverse set of career options and our rich culture and community, it’s impossible to capture the Atlanta experience in just one day,” said Kate Atwood, executive director of ChooseATL. “So, we’ve crafted a three-day SXSW experience that promises to ignite new ideas, create business opportunities and increase the world’s sense of connectivity to our vibrant region and people.”

Kick The Robot outside of the ChooseATL House

Fireside chat with Ludacris, moderated

by Kate Atwood (Executive Director, ChooseATL)

Annie Kaiser (VP, Georgia Power Community & Economic Development group)

Grant Wainscott (Metro Atlanta Chamber's Senior Director of Technology Ecosystem Expansion) and Frank Patterson, (President, Pinewood Atlanta Studios)

Nicole Sanchez (eCreditHero) and Kathryn Finney (digitalundivided)

Frank Patterson (President, Pinewood Atlanta Studios) and Tripp Crosby

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OZ SCENE Governor Nathan Deal

Attendees pose with Avengers, Rocket, and Katniss

March 15

Georgia Film Day

T

he Georgia Production Partnership converged on the State Capitol on March 15 to celebrate Georgia Film Day. Governor Deal and Speaker of the House David Ralston lauded the success of film making in Georgia with over 245 film and television productions shot in Georgia last year, while Pat Wilson, Commissioner of Georgia Department of Economic Development, celebrated Georgia film’s economic impact of $7.2 Billion in 2016.

Pat Wilson

Mike Akins

March 22

Makeup Artists of Atlanta Spring Social

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Makeup Artists of Atlanta with their copies of Oz Magazine

Featured artist Candace Collier

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he Makeup Artists of Atlanta held their Spring Social in April. Guests included Tom Straub, (operational manager, The Engineer Guy), who spoke about the growth of the makeup industry in Atlanta and the upcoming Goo Con coming up on May 20th & 21st. Featured artist Candace Collier (media makeup artist) performed a demo and gave a presentation on the behind-the-scenes world of a media makeup artist. Two more socials are planned for July 16 and October 8 at the Art Institute of Aesthetics.

OZ SCENE Ric Reitz Ed Spivia and Wilbur Fitzgerald

Actor Keith Arthur Bolden and April Parker Jones

February 11

The Georgia Entertainment Gala

T

he 5th Annual Georgia Entertainment Gala convened in February at the Georgia World Congress Center for a night of elegance and showcasing the immense talent that Georgia has to offer in the entertainment industry.

The Georgia Entertainment Gala has garnered the support of a number of community leaders, brands, and organizations to provide a unique celebration with live

entertainment, cocktails and hors d’oeuvres, and more. A portion of the evening’s proceeds benefited two charities: Camp Dream and Kate’s Club. Leading up to the Gala, the Georgia Highlight Award winners were announced, including Ted Turner, Barbara Garvey (East Coast Talent Agency), actress Logan Browning, and Deidre McDonald (BronzeLens Film Festival).

Yung Joc Actor/singer Vesta Lugg

East Coast Talent Kids Christian Keyes & Beth Keener Hosts John Seydel, Ted Turner's grandson

Chandler Riggs (The Walking Dead) and singer/songwriter Wesley Cook

Chase Wainscott and Brad James Actor

Shaylatte Coffee Winners

Autumn and Camp Dream

Autumn and Kates Club

May / June 2017

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OZ SCENE Attendees with Spock standee

March 18-21

Athens Jewish Film Festival

T Barbette Houser, Marsha Crowell, Lynn Elmore

he ninth annual Athens Jewish Film Festival was held at CinĂŠ Athens, showcasing nine films and a shorts competition. Opening with romantic comedy Moos, the festival kicked off with a party at the Hotel Indigo Athens. The festival ran through the weekend, with film screenings and special guest Ambassador Judith Varnai Shorer introducing the documentary film On the Map. Festivities closed with a screening of the winners of the short films competition, a screening of For the Love of Spock (an ode to Leonard Nimoy from his son, Adam), and a performance by psychedelic Beatles cover band More Popular Than Klaatu.

Sarah Dactyl finished product

Spock and Ron Zell

More Popular Than Klaatu

Sarah Dactyl

March 23

Ripped, Slashed and Bitten

S Ondie Daniel applies makeup effects

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CADFilm hosted a workshop for special effects makeup at its Atlanta SCAD location. Veteran makeup artist Ondie Daniel shared tips and tricks with the group for how to create realistic zombie looks on an indie budget along with a demonstration of advanced prosthetic methods.

Sarah Dactyl terrifies Vania Kurniawan

OZ SCENE April 1

NoCoLIVE

T Kate Rouse, Jordan Bonner, Christain Drayton, Daniel Martinez, Sierra Isley

Lis Kerce, Josiah Quiroz, Madeline Laing, Christian Drayton

eens from Atlanta-based nonprofit re:imagine/ATL produced a 12-hour live-stream event, NoCoLIVE, on their new YouTube Channel, No Comment Media. The live event was a social media marathon across Facebook Live, Instagram Stories, Snapchat, and YouTube featuring musical guests, panel discussions, cooking demos, improv, comedy and more from Atlanta area influencers and creatives. NoCoLIVE promotes No Comment, a new web series written, filmed, edited, and produced by Atlanta teens, to raise funding for its first full season. Special guests included St. Beauty, Jimi Cravity, Ashera, Matt Weiss and Dillon Maurer from A3C, comedians TrĂŠ Williamson and David Perdue, Soul Food Cypher and many others.

The pilot episode of No Comment was screened on the opening night of the Atlanta Film Festival. Teen filmmakers spoke on a panel about their production experience and the need to have this unique platform to elevate their voice and creativity. When completed, the web series will be distributed on YouTube and other digital platforms. It will cover topics including stereotypes, the arts, music culture, and mental health.

Diana Munroe

L to R: Susanna Spiccia, Madeline Laing, Syeara Dunlap, Jordan Bonner

Adam Darby

LuBei Liu, Sierra Isley, Lis Kerce, Diana Munroe, Oji Nyasa Pecou

Charles Gregory, Reggie Wells, Gwynnis Mosby and Joe Blasco

Gwinnis and Phil Mosby

April 22-23

Professional Makeup Artist Conference Class on Application

Borrego shows off body art

by Roberto Hernandez

T

he Professional Makeup Artist Conference, founded by Gwynnis Mosby, gathered some of the finest makeup artists and cosmetic business people together in April to instruct attendees over a two-day weekend of fashions, awards, exhibitions, competitions, and other activities.

Industry icons including Joe Blasco, Reggie Wells, Charles Gregory, and many more were in attendance and took center stage to share their knowledge with attendees, along with indepth Q&A during personal interactions with the attendees. Attendees walked away with greater knowledge of set etiquette, utensil sterilization, client-artist relationships, and mentors.

Into The Woods Cast

Roberto Hernandez creating body art

May / June 2017

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Oz Magazine - film. tv. entertainment.

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NEXT GENERATION

Phoebe Rose Szymanski Phoebe Szymanski is a young artist raised in Atlanta, GA. Her lifelong passion for art led her to pursue a degree in photography at the University of Georgia where she is constantly exploring new ways to express her creativity. When she's not in her school's darkroom developing film and making prints, she can be found running around the city with her camera getting inspired by street art and captivating architecture. Following graduation, she plans to move to New York City and continue her professional career in photography. www.phoebe-szymanski.com

Kuukua Wilson Kuukua Wilson is a painter/illustrator in the Atlanta area and a graduate from Kennesaw State University. Born in small beach-town named Sekondi-Takoradi on the western coast of Ghana, traits of Kuukua’s upbringing and culture always appear in her works.

Kuukua aims to utilize both simple and obscure subject matters to comment on complex ideas, using her works as a commentary on culture and life: more specifically, her culture and the lens through which she views life. Most of her recent works have focused on natural life and the beauty of strange animals throughout the Kingdom, using patterns and designs from many cultures, to highlight the creatures and their elegance and grace. www.kuukuawilson.com

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