Getting to Know: Erica McDermott

ericamcdermot-portrait
By Carol Patton

Erica burst on the scene a little over four years ago and before she herself knew it she was shooting her mouth off at esteemed casting director Angela Peri at Boston Casting while fighting for the role of Tar Eklund in the Micky Ward story brought to the screen by Dorothy Aufiero.

“I stepped out of line,” Erica told IMAGINE, “got in her face, swore at her, gave her a look and demanded a part in the movie! I had my first call back!”

Sweet, funny, beautiful Erica McDermott said what? “Looking back,” she says, “and having more insight on how this business works, I’m not sure I would ‘mouth off’ to a respected casting director if I were put in the same situation today, but it paid off for me that day. After what seemed like a hundred long auditions, I was offered the supporting role of Tar Eklund in the Academy Award winning movie THE FIGHTER, and she will forever be known as the ‘fighter sister with the big hair’.”

Where did she come from? How did she get here? I asked her to tell me her story

The McDermott Ladies have a photo shoot, in Scituate Harbor, with Michelle Feehily Photography. Maisy on the left 11 years old—Katie on the right 10 years old.
The McDermott Ladies have a photo shoot, in Scituate Harbor, with Michelle Feehily Photography. Maisy on the left 11 years old—Katie on the right 10 years old.

“I was born in Cambridge and I lived there and Somerville through grade school. In the 6th grade I moved to Merrymount, a neighborhood in Quincy Massachusetts. My parents married at a very young age, had me at a very young age and are still happily married today. I am an only child and I love it! My Mom and Dad sacrificed quite a bit to give me the best opportunities growing up. I watched my mother go to night school for years to become a nurse, and after graduating from Archbishop Williams High School in Braintree I decided to follow in her footsteps. I graduated with a baccalaureate degree in nursing from Salem State University in 1995.

“My first job was at Pembroke Hospital where I worked in the Pediatric Psychiatric Inpatient Unit. A couple of years later I transitioned into the specialty of Pediatric Traumatic Brain Injury and became the Director of Medical Services at a residential facility in Boston. During this period, I was responsible for the overall healthcare of children that had suffered traumatic brain injuries. Needless to say I gained some serious perspective on life during this time.

“Shortly after marrying my husband, Bob (who works in the investment management industry) we moved to Nashville Tennessee. We lived there for nearly four years. I worked as a float nurse in several of the big hospitals in the city. What a cool place to live, and as newlyweds it was a great to be in place where we knew no one because it forced us to learn to count on each other – I think this is one of the reasons we are so happy after almost fifteen years!

In the dressing room at The Company Theatre Centre for the Performing Arts in Norwell, Erica prepares to go on stage for the comedic stage performance “The Final Push.”
In the dressing room at The Company Theatre Centre for the Performing Arts in Norwell, Erica prepares to go on stage for the comedic stage performance “The Final Push.”

Right after 9/11, Bob accepted a position in NYC, and we moved to southern Connecticut. I had both of our girls, 13 months apart to the day, at Greenwich Hospital. My new career was ‘stay at home Mom’ and I absolutely loved it! We moved ‘home’ in 2003, and settled on the South Shore. We’ve been here ever since.

The sisters from the Oscar Nominated film THE FIGHTER strike a pose and talk to Hikari Takano about the making of the movie. Sisters from the left: Dendrie Taylor, Melissa McMeekin, Erica McDermott, Jenna Lamia & Kate O’Brien.
The sisters from the Oscar Nominated film THE FIGHTER strike a pose and talk to Hikari Takano about the making of the movie. Sisters from the left: Dendrie Taylor,Melissa McMeekin, Erica McDermott, Jenna Lamia & Kate O’Brien.

“When it came time for both kids to be in school full day, I decided it was time to go back to work and started interviewing at local Pediatric Medical offices. It was right around that time that I received a call from my friend Barbara who told me about a stage show that she was pulling together to benefit a local charity. She insisted I come talk to her and the others . This is when everything started to change. I mean, I love to make people laugh, public speaking has never bothered me, and I did take part in exactly one school play in Middle School…. but acting as an adult?

“I decided to go try it out, why not, right? This is when I met Lisa Rafferty, an accomplished Director, and writer of a successful show called MOMologues. She wanted some ‘funny moms’ from around town to take part in a one night only performance of her show to benefit our schools. Lisa and I hit it off – and that was the beginning.

Erica snaps her own photo in her trailer while filming THE FIGHTER.
Erica snaps her own photo in her trailer while filming THE FIGHTER.

“After my first stage performance in MOMologues in 2008, I was offered free acting classes at Plymouth Rock Studios. Lisa had believed in me and encouraged me to give it a shot. When I got to Plymouth I met acting coach Kevin Lasit and at the end of the six weeks of classes he echoed Lisa’s encouragement. Kevin suggested that I reach out to all of the big casting agencies in Boston. I didn’t tell my friends just my husband and parents, and they were also very positive and encouraging, so I did it. It was three or four weeks later I found myself at an open casting call at Boston Casting for a movie called THE FIGHTER. I showed up not knowing what to expect, and when I arrived it seemed there were a million people there! I was there to audition to be a tough girl, for background work. It was then casting director Angela Peri told me I was too pretty to pull off a tough girl.

“I think my introduction to the Ellie Fund was coming into the 2010 OSCAR Night America show, whatever year Avatar was nominated – because I remember the ‘spoof’ IMAGINE produced starring Ernie Boch that year. So funny!

Erica McDermott performs MOMologues “Pink Ribbon Overdose” to a sold out house at Boston ‘s Hard Rock Cafe. The first comedy about Breast Cancer. Photo by Howie Hecht Photography
Erica McDermott performs MOMologues “Pink Ribbon Overdose” to a sold out house at Boston ‘s Hard Rock Cafe. The first comedy about Breast Cancer. Photo by Howie Hecht Photography

“The Ellie Fund’s then Executive Director, Julie Nation, had reached out to me and some other local actors and invited us to be guests at the only sanctioned Oscar party in Boston, which was a benefit for the Ellie Fund. As fate would have it, Julie and I hit it off, my mum had just won a battle with breast cancer months earlier and my other new friend, Lisa Rafferty, a breast cancer survivor herself, had just finished writing a new “MOMologues” comedy about Breast Cancer called “The Pink Ribbon Overdose”. It seemed like a match made in heaven.

“Julie and Lisa were able to pull together a very cool production of P.R.O. held at the Hard Rock Cafe in Boston. The cast featured Julie and me along with the very generous ladies for Channel 5 Boston; Karen Ward, Biancia Delagarza and Susan Warnick. The show sold out quickly, was so much fun to do and raised some money for a great cause – I was so thrilled to be a part of it.

“Each Holiday Season I take my daughters out of school and the three of us participate in a gingerbread house making event at the Home for Little Wanderers. It’s great to see all of the children interact and spend time together, and it’s also a wonderful opportunity to have my girls experience the rewards of giving their time to others.

Erica McDermott walks the Red Carpet at The SAG Awards – THE FIGHTER was nominated for Outstanding Performance by a Cast in a Motion Picture.
Erica McDermott walks the Red Carpet at The SAG Awards – THE FIGHTER was
nominated for Outstanding Performance by a Cast in a Motion Picture.

“This coming Spring I will be performing in The Vagina Monologues to benefit The Victim Rights Law Center; which is an effort being lead by my friend and fellow ‘Fighter Sister’ Melissa McMeekin (see October 2013 cover story).

It amazes me how much work is here in New England for anyone in the industry. It seems there are constantly big movies with big budgets coming our way. The folks who work hard every day to continue the MA Film Tax credit deserve a huge amount of credit for getting and keeping the momentum going. Thanks to them most of my auditions and reads are right here in Boston, although I do go to LA on tape auditions also. I would love to see successful television series come and stay in New England, which could be a catalyst to bring us to the next level. I expect that New England Studios and their Operations Director Chris Byers and the work he is doing will go a long way to making that a reality.

Angela Peri (Boston Casting), with actors Melissa McMeekin and Erica McDermott (sisters in THE FIGHTER) flanking Writer/Director David O. Russell at the Nantucket Film Festival Screenwriters Tribute. David was the honoree; Angela, Erica and Melissa worked with him on the Academy Award winning film THE FIGHTER. Photo by Gene Mahon.
Angela Peri (Boston Casting), with actors Melissa McMeekin and Erica McDermott (sisters
in THE FIGHTER) flanking Writer/Director David O. Russell at the Nantucket Film Festival
Screenwriters Tribute. David was the honoree; Angela, Erica and Melissa worked with
him on the Academy Award winning film THE FIGHTER. Photo by Gene Mahon.
ericamcd-curlers
Erica McDermott sits in rollers at Patrice Vinci’s salon on Newbury Street, as Noel McKinnon does her make up for Boston‘s Fashion Night Out. Photo by Sara Whitney.

I love the whole (acting) process. Changing the way I talk, creating character quirks and living my entire day as someone else is such a rush for me. My poor husband has lived with so many different women; he’s really supportive, but sometimes I wonder if it drives him nuts! Sometimes I can stay in character for weeks. It truly is what I love about acting the most. .. it’s not acting… it’s becoming. I suppose what I like least is spending time away from my family, and generally having to keep a very flexible calendar. I always have to reschedule stuff. Just this Spring I had to reschedule a trip to Disney World and Universal with my family. They are so understanding and supportive, I am so grateful. By the way, we just made that trip to Orlando in November.

“Typically, not more than a week or two will go by without me ‘practicing’. Each audition I prepare for, regardless of the size of the role is an opportunity to learn and get better. I don’t think of it a practice but I do look at each role I don’t get as exactly that, an opportunity to get better. It’s often a chance to create a new character in my mind, and contemplate the possibilities and different directions the character can deliver a writers lines. That’s what a I really enjoy about acting – the innumerable choices I get to make.

“More formally, I do participate in many classes and workshops whenever I have the opportunity, be it in LA, NY or Boston – it’s a great way to keep sharp, challenge myself and meet new people – which is something else I really enjoy.

IMAGINE Magazine Publisher, Carol Patton (center) with THE FIGHTER actresses Melissa McMeekin (left) and Erica McDermott. Photo by Globe Photographer Bill Brett.
IMAGINE Magazine Publisher, Carol Patton (center) with THE FIGHTER actresses Melissa McMeekin (left) and Erica McDermott. Photo by Globe Photographer Bill Brett.

“Something that is really fun, exciting and rewarding – which I’ve had the opportunity to do a few times – is to do an informal table read with other actors. In 2012 I was living in LA during pilot season (Feb-April) and I participated in a table read of STEEL MAGNOLIAS that was pulled together by and included more than a few names and faces we would all recognize, and that was really cool.

I’ll let Engine Room Edits Don Packer sum it up, “I love Erica. What can I say. She’s smart. She’s funny. She’s beautiful…. goes without saying, and she’s a pleasure to work with. Someday I’ll look back and thank the gods that I had the chance to work with her because she’s going to go big time.”

 

 

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Kristen Lucas: Respect Her Hustle

By Kate Sheridan

Kristen Lucas, Worcester, Massachusetts filmmaker. Photo by Justin Lawson.
Kristen Lucas, Worcester, Massachusetts filmmaker. Photo by Justin Lawson.

The hash-tag says it all: Respect Her Hustle. It’s the mantra of Kristen Lucas, a Massachusetts producer, as well as the motto for her company, Goldilocks Productions. And, with her first full- length feature, GIRLS NIGHT OUT, in development and a position as Marketing Director for Worcester’s brand new Mass Studios, Lucas is ready to hustle her way to the big time.

Born and raised in Peabody, Lucas started working in retail her senior year of high school, and hoping to move up in the company (the largest off- brand retailer) to a buyer position, she attended Framingham State for fashion merchandising. After an unfulfilling year, she transferred to Salem State to major in Communications and was placed in random prerequisite courses- one of which was a class in television production. Kristen admits she never would have chosen the class for herself, but luckily, she was bit by the bug.

While maintaining a major in Communications, she threw herself into film studies – taking classes in everything from cinema history to filmmaking and even started the first TV production club on campus. When fliers went up looking for help on an NYU student thesis film that was shooting nearby,Kristen hustled–asking for permission to miss her classes for a week to work on the film set. Of the work, she said: “It wasn’t anything glamorous. I was picking up the actors, running to the gas station- but the rest of the time, I just got to sit on set and I really started to understand how a film got made.”

Kristen Lucas on set of Audio McSwagger music video with Director TaylorBoy Nate. Photo by Stephen DePasquale.
Kristen Lucas on set of
Audio McSwagger music video with Director TaylorBoy Nate. Photo by Stephen DePasquale.

 

After college, Kristen applied to UCLA for graduate school (at the time, thinking she’d like to direct) but was not accepted. She went back to retail, eventually moving up to the brand’s corporate offices, but stayed active in the film industry with every bit of her free time- hustling to learn the skills on her own. She did PA work for local films on the nights and weekends, co-produced shorts and music videos, and even took vacation time from her corporate job to be a Production Manager on a feature film. “That was film school for me,” Lucas said, “just volunteering, networking, finding ways into projects and learning as much as I could from them.”

It would seem Lucas had the best of both worlds – her marketing job was stable, but still creative, and she was continuing to grow and move up in the film world on the side. However, in 2001, walking through her local Blockbuster, she found herself struck by how many bad independent movies were on the shelves- and how few came from a woman’s perspective. She started to develop the idea for SNOWFLAKE, a drama about a white, female rapper fighting to make it in the hip-hop world (before Eminem’s “8 Mile”) – but when she couldn’t find anybody to write the story, Lucas once again took matters into her own hands.

As a single mother with a four-year-old at home and a full-time job, Kristen decided to attend the graduate screenwriting program at Emerson College. After working for many years on rewrites and searching for funding, she managed to shoot SNOWFLAKE as a short in 2009- and four days after completing the filming,after twenty-two years of working for the off-price retailer, she was laid off.

Kristen Lucas (center) on set for music video with makeup artist Lisa Roche and Production Designer Rebecca Sumner. Photo by Stephen DePasquale.
Kristen Lucas (center) on set for music video with makeup artist Lisa Roche and Production Designer Rebecca Sumner. Photo by Stephen DePasquale.

Instead of caving into the fear of unemployment, Kristen went full-time film, and hasn’t looked back. She has continued production work on music videos, corporate promotional material, and develops her own projects with Goldilocks Productions, especially the promising GIRLS NIGHT OUT. Inspired in part by the misadventures of Lucas & friends’ own girl’s nights, the teaser of the same name won an Audience Choice award at the first Central Mass Film Festival and promises the real, sassy female friendships of “Sex & The City” mixed with the hilarity and ticking clock of “The Hangover.” Like her previous projects, GIRLS NIGHT OUT explores a women-centric version of an already successful formula: “I like to take something you’d expect and flip it – see what it would be through the female perspective.”

Lucas is hustling harder than ever to make GIRLS NIGHT OUT her biggest project yet, working with a development team of experienced producers to secure funding and attach actors for a full- length feature to be filmed entirely in and around Worcester. “I don’t need to go to LA. LA is coming to us. If Worcester is good enough for David O. Russell, it’s good enough for me!”

While the booming New England film industry certainly boosts Kristen’s visibility, her passion and dedication are what really make her stand out. “I love it when someone says ‘let me know if there’s anything I can do for you’. Hustling means putting yourself out there. All they can say is no!” But who could say no to someone like Kristen Lucas?

Respect her hustle, indeed.

Kate Sheridan is an actor and writer living in central MA. In addition to a B.A. from Holy Cross, she has trained in comedy and musical theatre at The Second City Chicago and North Shore Music Theatre, respectively. She is a regular contributor to Crazytown Blog (http://www.crazytownblog.com) and can be found on Twitter at @ahhkatesheridan.

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Funeral Drill: A New Film From Melissa McMeekin

Melissa McMeekin, photo by Carolyn Ross
Melissa McMeekin, photo by Carolyn Ross

By Carol Patton

Iris Malloy is a woman with a full life and a zest for living it. Whether it be playing poker and drinking Jack Daniels with her best friends- -the sarcastic, quick witted, daughter-in-law hating Judy, and the quirky, slightly dim witted but giant hearted Margaret–or tricking her teenage granddaughter Ireland into a never-ending attempt to finish a jigsaw puzzle by hiding pieces from her, Iris lives life to the fullest.

So it comes as quite a disappointment to learn she only has a few months to live. Always one to take charge of a situation, however, and believing this day is too important to mess up—claiming that it is, after all, “not just a day in a lifetime but a lifetime in a day”–Iris decides to plan her own “good bye party”. Insisting that her two grown children, uptight Kathleen (whose ex-husband happens to be a bona fide rockstar—showing us that underneath her tightly wound surface lies a free spirit that hasn’t been seen in years) and gentle natured Kevin (with a partner – the ever playful Ethan – he shares his home with yet has kept from his mother) will fail to properly execute her wishes for her final send off she decides to subject them to drills.

Randomly Iris calls to inform them she has just died so that she can supervise as they rehearse her over the top ideas, each time making changes—creating a need for yet another drill. Ethan turns out to become her kindred spirit and her biggest supporter in her antics.

Is she simply a controlling old woman forcing her family to indulge her eccentricities, or is she trying to spend time with her children and know that they are okay before she goes? Whatever the reason, her hilarious and sometimes bizarre requests, along with her crazy antics, somehow manage to bring this family together and provide closure. With the heart and wit of STEEL MAGNOLIAS or BEACHES, filled with humor and heartbreak, FUNERAL

DRILL makes us laugh and cry while reminding us to live each day to the fullest as if it were the only day we had left.

Upon reading the script, director Ben Proulx noted, “Towards the end, there is one of the most emotionally powerful speeches I have ever read. The words alone genuinely made me cry the greatest kind of tears.”

At a glance perks of producing FUNERAL DRILL are it is budget friendly offering three substantial roles for women over sixty-five – a too often forgotten talented and practiced group of actors who if they want to continue acting are often relegated to filler roles of little story consequence.

An accomplished actor turned writer, Melissa McMeekin has a cast wish list that this writer, who has read FUNERAL DRILL, believes would die for this script and these roles. TERMS OF ENDEARMENT comes to my mind. It’s tagline: “Come to Laugh, Come to Cry, Come to Care, Come to Terms” fit FUNERAL DRILL and its opportunities quite well.

Dean Winters as Dennis Duffy and Melissa McMeekin as Megan Duffy-Duffy on NBC’s hit comedy 30 Rock. Photo courtesy of NBC
Dean Winters as Dennis Duffy and Melissa McMeekin as Megan Duffy-Duffy on NBC’s hit comedy 30 Rock. Photo courtesy of NBC

McMeekin picks: to play Iris – Blythe Danner; to play Judy – Kathy Bates; to play Margaret – Carol Kane; to play Ireland – Jeanette McCurdy; to play Blake – the real live rockstar Jon Bon Jovi and to play Kathleen – Melissa McMeekin!

Melissa made the switch from stage to screen just four short years ago and since she has been seen in multiple critically acclaimed projects such as THE FIGHTER, 30 Rock and Boardwalk Empire, working alongside some of Hollywood’s most respected talents. She has played a range of characters in multiple indie films and television ranging from a meth addict to the much loved Megan Duffy-Duffy, a recurring character on 30 Rock.

Last spring she reunited with director David O. Russell on his latest film, AMERICAN HUSTLE. “To get to work with him at all is every actor’s dream” she says of Russell “so I can’t even begin to quantify the level of gratitude I have to have been given the opportunity to work with him twice. He really has a generous spirit and is honestly just fun to be around. I learned a lot working with him and I applied those things I learned to my Knick audition.”

The Knick audition she is referring to is the new Cinemax series starring Clive Owen with director Steven Soderbergh signed on to helm the entire season—and on which McMeekin scored a recurring role. The Knick is set at Knickerbocker hospital in downtown New York circa 1900. She’ll be playing a real person–the infamous “Typhoid” Mary Mallon, an Irish immigrant working as a cook that ended up becoming the first asymptomatic carrier of the disease discovered in the United States.

“I worked really hard on the audition, researching Mary’s life and her story, determining the type of Irish accent she would have based on what part of Ireland she was from—and then driving my family and anyone else I encountered crazy by speaking with it for the whole week I had to prepare”

“It’s both exciting and terrifying,” she said, “to have a director of Soderbergh’s caliber have such belief in my ability…definitely makes me want to bring my A-game.”

Sue Costello, Ashley Judd, Erica McDermott and Melissa McMeekin taken at the Victim Rights Law Center Gala,. This is a cause that Melissa actively supports. Photo by Cheryl Richards photography.
Sue Costello, Ashley Judd, Erica McDermott and Melissa McMeekin taken at the Victim Rights Law Center Gala,. This is a cause that Melissa actively supports. Photo by Cheryl Richards photography.

What would become the FUNERAL DRILL story took up residence in McMeekin’s head when a friend of hers told her a story of how she knew a woman who would actually call her kids and tell them she was dead to see how long it would take them to go through the telephone tree and alert the other relatives. “I found that hilarious and thought my mom would do something like that and this idea just formed from that. My dad had been diagnosed with a terminal illness and began really going downhill and this story became a way of dealing with that, too, and I couldn’t get it out of my head,” she told IMAGINE. “I would take walks and be writing it in my head and it would evolve and I kept thinking that I wanted to write it; I was just so afraid to do it.

“But, I felt compelled to tell this story. The story’s ever present persistence to be told beat out my fear. Once I sat down to write it all just flowed out of me very quickly. Then I was very hesitant to show it to anybody at all: I felt very vulnerable, more vulnerable than acting the most intimate of scenes.

“I started slowly sharing it and the feedback was overwhelmingly positive and so many people told me that it stuck with them and that it inspired them or made them feel they wanted to really live life to the fullest, many said it was healing to them after losing a loved one, some told me they immediately called their moms when they finished and I was told by more than one person they felt connected to the characters and that they hated saying goodbye when it ended.

“I felt genuine gratitude from them for bringing them into this world with me. I got frequent comparison to STEEL MAGNOLIAS, which I love because I wanted to write a movie that people would go see with their moms and their grandmas and that all the way home they would still be laughing about moments and talking about it. It was incredibly humbling and I realized that I was indeed meant to share this story.

“I am also a huge believer that there needs to be more women driven films being developed. That means more women need to find their voice and write. There is a huge audience of smart, independent, sophisticated movie goers with disposable incomes who want to see films they can relate to–women aged thirty to seventy. And there are amazing actresses over the age of sixty who are immensely talented, beautiful, filled with wisdom that just have these robust, rich spirits about them. I’m very proud of the fact that this movie has three substantial roles for women in that group. And that the movie is very women centric–there are significant male characters, and the men who have read this script have loved it, specifically the dialogue, so it isn’t strictly a “chick flick”, but the leads of this movie are women. I’m proud of that.”

Melissa is open to whatever way the universe sees her film project unfolding. She would like collaboration with a production/distribution company that can bring financing to produce FUNERAL DRILL. She sees it as a $2 – $5 million budget and she would like to see it filmed in Massachusetts, which offers a 25% tax credit. “I’d love to see a female director, and even a female cinematographer. I’d love for it to be very woman driven all around,” she says.

To reach Melissa at AFM call 978 559-1331 or email funeraldrill@gmail.com for more information.  Melissa McMeekin was also profiled in our upcoming New England actor series this year.

Carol Patton is the publisher of IMAGINE Magazine. She introduced Film Tax Credits to New England in 2002 and wrote a definitive piece in October 2004,which prompted the Governor’s office of Massachusetts to request multiple copies on the double.

 

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Element: Post Production Integrated

By Carol Patton

Element ProductionsA year ago this September, Eran Lobel and Mark Hankey got together as businessmen. After their merger the new company would be called simply Element. It’s an interesting note that next month Element Productions would have been in business fifteen years and Picture Park for twenty years. Long time Element Production’s tech savvy Kristen Kearns became the third partner and the integration of Element was complete. The trio are all executive producers. Eran serves as the company’s CEO.

This integration of these three entities created one of the deepest creative resources in the Northeast and Element has spent its first year in the fast lane. Elements non-conforming business card size says we are formed to be different. There’s a big E and a little 3 on the front of the card, flip it over for plainly stated contact information on the back. It doesn’t say what they do. Most likely if you are handed one you already know.

The little three on the front represents what they do: Production Post Integrated. Element is prepared to do it all under one roof located in Boston’s fashionable Back Bay on Stuart Street. In a spacious, functional, attractive workplace that accommodates a constant staff of fifteen with room for the fifty to hundreds of freelancers that are frequently hired every month.

The newly created talent pool establishes a diverse stable of directors, editors and producers that offer integrated content development deliverable across all platforms. Eran explained offering premium production, which Mark Hankey (Hank) brings to the table from his immense experience and cache at Picture Park. He radiates within the advertising world, which, is at the top of the premium production food chain and according to Hank, “brings home the bacon.” I asked Hank about merging Picture Park after all these years.

Element Productions Stuart Street Boston MA
Element’s headquarters on Stuart Street in Boston’s Back Bay. Photo courtesy of Element Productions
Executive Producer Mark Hankey
Executive Producer Mark Hankey Photo by Carolyn Ross Photography

“It was hard to give up a company I’ve had and the people I’ve worked with for twenty years,” Hank said. But, he added, everybody came over here for new opportunities and to form new relationships. Having everything under one roof is what this industry is moving towards and that’s what we are building here.

In the second quarter of this year Mark Hankey was the production supervisor for the TV pilot The Hatfields and McCoys. It was a great experience to bring back to Element.

“It would be great to have a TV series in Boston,” Hankey said. To that end, he believes the opening of the New England Studios in Devens will be helpful. He visited it recently and gave it a thumb’s up. He also suggested it could be a great place to produce a large advertising campaign.

Executive Producer Kristen Kearns. Photo by Carolyn Ross Photography
Executive Producer Kristen Kearns. Photo by Carolyn Ross Photography

Kristen Kearns is passionate about post. It’s her bailiwick at Element. Premium Post is her responsibility and she has a firm grip on it. For thirteen years she has grown with new media technology. Kristen graduated from Emerson with a background in production. She found her way to Element Productions through Boston Casting where she worked for Angela Peri and met Eran by casting commercials for him. He offered her a position right when Final Cut Pro and After Effects were catching on. She embraced the technology, the concept of working lean and efficiently appealed to her. She has grown with it over the last thirteen years. Add to that, Eran says she is incredibly well organized.

She oversees a great staff of editors and graphic artists and has a talent pool of dozens of others to draw on. She is constantly put to the test. When a client comes in needing a couple of pieces with hundreds of assets to deliver she knows the best way to get it done. She’s always ready to look at new technologies and the latest camera formats. Her goal is to provide the best work for Element’s clients.

CEO/Executive Producer Eran Lobel
CEO/Executive Producer Eran Lobel. Photo by Carolyn Ross Photography

After Production and Post comes Integrated. Eran expands on how the word has evolved and why it is the key to the future success of production. He says, it’s a catch all component to the industry and is inclusive of new media, documentary, film, programming, television, multi-platform, innovative technology, web video, developing web series that can become television series and more.

“Moving downtown, having everything under one roof, creating amazing opportunities for writers, producers, directors and editors to collaborate openly contributes invaluably to integration,” says Kristen. Doing it all, from shooting to final color correction to delivery is amazingly efficient and extremely satisfying.

Eran elaborated on the Element three core values: creativity, efficiency and reliability. Those attributes along with the amount of full service capabilities Element’s has amassed will provide their clients who work in ad game space, turnkey production (not a low cost cheap solution as turnkey used to be known). But, giving their clients high quality at a good value. He believes there is a competitive advantage for clients working with premium resources in a comfortable environment where people collaborate really well together. The economy of scale really kicks in.

The biggest clients for Element are ad agencies in Boston and New York. And brands like UMass and Vistaprint along with local TV networks. Element produces all the content for Comcast Sports Celtics off court programming available on Comcast Video on Demand. Element produces video for the Boston Business Journal, Boston Magazine, The Globe, Boston.com websites and content for traditional media channels, while incubating original web material and web television as well.

“Our future goals are to address the changing needs that marketing, advertising, entertainment and technology have put on every one of us,” says Eran.

Hank has a longterm relationship with TV and studio executives that call him when they are going to shoot in Boston whether it’s TV or film. He wants to stay well rounded, to continue to cross over disciplines when producing.

element-banner2
A gallery of Element’s work. Images provided by Element Productions

Pushing up global production is important. Element has done a lot of it this year ramping up shooting in the United Kingdom and in France. They’re working to develop a network of production resources and clients.

“We will continue to push our core values, creativity, efficiency and reliability, and find those clients who share those values and work to maximize their goals,” Eran adds.

Kristen’s initiative is to grow post production by continuing the expansion of their internal capabilities and staff, to continue to get great creative work, to collaborate and do good work.

Hank says, “Finding work that is engaging for our directors allowing them to be creative and effective for the client and exciting for them (the directors) to work on. Pilot season is coming up again. It would be good to get one or two TV series to work on again.”

Content across all platforms is king and in demand. That is why Production, Post and Integration reign supreme for Element residing on Stuart Street where the three principles of creativity, efficiency and reliability live along with Element’s three principals, Eran Lobel, Mark Hankey and Kristen Kearns.

 

 

 

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Cynthia Wade: A Masterful Story Teller

By Lauren Zink

Documentary Filmmaker and CinematographerCynthia Wade.
Documentary Filmmaker and Cinematographer Cynthia Wade.

“I am a storyteller first, and sometimes an unexpected, reluctant activist second.”

By the time you read this article, Cynthia Wade may or may not have won her second Academy Award in five years. As an accomplished documentary filmmaker who focuses on social issues, winning another Oscar is not what is important to her – creating compelling stories is.

Cynthia’s desire to become a documentary filmmaker began when she was a theatre major at Smith College in Northampton, MA. Spending her time traveling from audition to audition, and landing few roles, she was left feeling frustrated and absent from the creative process. When Cynthia found a camera her sophomore year and began filming her friends, she realized being behind-the scenes was where she belonged.

During her senior year Cynthia decided to apply to the Smith Scholars Program, a special study program where instead of taking classes, she could make a documentary. In 1989, she completed her first film – about women’s dating lives and romantic expectations at an all-female college. Cynthia compared her story to that of her grandmother’s time, a 1939 Smith College graduate.

On graduation day, Cynthia’s documentary screened in front of 800 people. The film included scenes from lesbian and bi-sexual dances, and many considered it too edgy and controversial. Days later, the then-President of Smith College held a meeting in which she announced that she would not run an article about the film in the alumnae magazine because the presence of lesbians at Smith upset some of the older alumnae.

“I didn’t mean for it to be controversial, I was just trying to figure out what college dating life meant to students. This was the first time I realized there was real power to a documentary film,” said Cynthia.

This experience solidified Cynthia’s desire to become a documentary filmmaker and she went on to receive her Masters in Documentary Filmmaking from Stanford University.

In 2008, Cynthia won her first Academy Award for her short documentary film, FREEHELD. This 39-minute film follows the life of Laurel Hester, a police officer who is dying of cancer, and simultaneously fighting for earned pension benefits for her partner, Stacie Andree.

Although FREEHELD was released during a very controversial time in the United States – when the subject of gay rights was being talked about on every media outlet in the country – Cynthia had no idea how big of an impact the film would have. “I just fell in love with the women in that story and their relationship – the love and care that they had for each other. My passion for a film always starts with the people. I am a storyteller first, and sometimes an unexpected, reluctant activist second.”

The late Laurel Hester with herlife partner Stacie Andree, stars of FREEHOLD.
The late Laurel Hester with her
life partner Stacie Andree, stars of FREEHOLD.

FREEHELD was televised on Cinemax and won 15 film festival prizes, including the Special Jury Prize at the 2007 Sundance Film Festival. FREEHELD is set to be a major feature film, with Ellen Page already signed on to play the role of Andree.

Amidst her hectic lifestyle post-Oscars, Cynthia said she realized — while walking up her fourth-floor walk-up in Brooklyn — that never before had she had her own sacred place. “What I yearned for was a quiet place, a special place, for my family. I dreamt of having a little house with a fireplace, wood-plank floors, and a private space for me, my husband and two daughters. After her Oscar win in 2008 Cynthia said to her husband, “I need to go some place where it’s just us as a family.”

Cynthia’s wish came true when she found the perfect home in South Egremont, Massachusetts – a real-estate listing she found on Craig’s List. “The house was crooked, small, cozy, and had wide plank floors and a fireplace. It needed work, and I loved it,” Cynthia states. Originally a weekend getaway, the family moved to the Berkshires permanently 2 ½ years ago.

At a time where people can do their work anywhere, Cynthia feels very fortunate that she can live in the countryside and still have just as successful a career. “The Berkshires,” Cynthia says, “has the potential to have the same creative vibrancy as Brooklyn does.”

The Berkshire community rallied around Cynthia for her second Oscar nomination. Melissa Bigarel, owner of the Great Barrington store Louisa Ellis, was her stylist for the dresses leading up to the Oscars; Anni Crofut, jewelry designer and owner of Anni Maliki, lent some jewelry; and Annie Okerstrom-Lang, local realtor and co-owner of the Great Barrington Okerstrom Lang Landscape Architects, introduced Cynthia to her brother Todd Okerstrom, head of Personal Shopping at Bergdorf Goodman. Todd connected Cynthia with NYC designer Randi Rahm. Rahm lent her a gold beaded gown for the awards ceremony.

Cynthia Wade shares a laugh with Rachel andCynthia, sisters and owners of the Racine Hair Salon
Cynthia Wade shares a laugh with Rachel and Cynthia, sisters and owners of the Racine Hair Salon

This time around, Cynthia’s documentary, MONDAYS AT RACINE, moves people in a different way. The 39-minute film focuses around a Long Island hair salon that, every third Monday of the month, closes its doors to the public for women who have cancer and are undergoing chemotherapy. During this time these women enjoy free beauty services, and along the way, have become a major support system for one another. The sisters, who own the Racine Salon and lost their mother to cancer, will be Cynthia’s dates to the Academy Awards.

Director Cynthia Wade on the set of MONDAYS AT RACINE.
Director Cynthia Wade on the set of MONDAYS AT RACINE.

Andrew O’Hehir, writer for Salon.com, writes of MONDAYS AT RACINE as “a modestly scaled film with a modest suburban setting, about the ramifications of a disease that has touched most American families, but Wade’s blend of intimacy, hopefulness and profound tragedy ultimately makes it much, much bigger than that sounds.”

Currently, Cynthia runs her own production company, Cynthia Wade Productions Inc., and is traveling all over the world – one day she’s working in Indonesia and the next she’s in Manhattan. How lucky we are to have Cynthia, and her masterful storytelling talents, here in western Massachusetts. To learn more about Cynthia Wade you can visit her website at www.cynthiawade.com

laurenzinkLauren Zink is the Communications Manager for the Berkshire Film and Media Commission. Reach her anytime at Lauren@berkshirefilm.com. To keep up-to-date with the film scene in western Massachusetts you can read Lauren’s tweets at @BerkshireFilm.

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WAM! Film Festival: Films Made By Women, About Women

Saturday & Sunday, March 23 – 24 at the Brattle Theatre

wam-featuredWomen, Action and the Media (WAM!) announces the WAM!Boston Film Festival, to take place on Saturday and Sunday March 23 and 24, at the historic Brattle Theatre in Cambridge. The 3rd annual festival showcases the latest films produced or directed by up-and-coming female
filmmakers, both regional and from around the world. The festival’s lineup includes documentary features and shorts, as well as animated and experimental shorts. Q&A sessions
with filmmakers will follow some of the screenings.

WAM! was founded in Cambridge, MA in 2004 and connects and supports media makers, activists, academics and funders working to advance women’s media participation, ownership and representation. Their work includes organizing conferences and workshops, providing
tools and education to remove barriers to media access and production, and working to create a media environment that is diverse and equitable.

“The fact that women direct only 7% of commercial films has a huge impact on the kinds of stories we see in movie theaters today,” said Jacyln Friedman, WAM!’s Executive Director. “The WAM!Boston Film Festival aims to fill this gap by showcasing films by women and about women. Our lineup features both international and regional submissions by talented women filmmakers, inviting us into the worlds of war journalists, bodybuilders, doll aficionados, teenage circus performers and far beyond. While these are women’s stories, they are stories that affect everyone, and we hope everyone will join us for some extraordinary films and
engaging discussion.”

The 2013 WAM! Boston Film Festival lineup includes:

indelible lalita
Indelible Lalita
INDELIBLE LALITA (see IMAGINE Dec/Jan 2013) (2012, Director Julie Mallozzi, 71 min. Screens 6:45pm, Saturday, March 23) is a poetic documentary about an Indian woman who completely loses her skin pigment as she migrates from Bombay to Paris to Montréal. Now 60 and appearing
white, Lalita copes with her changing identity as she battles ovarian cancer, breast cancer, and heart failure. Grounded in her strong marriage and Hindu faith, she refuses to let
her illness dampen her vibrancy. Lalita learns to let go of her body as the sign of her ethnicity and femininity – and ultimately realizes that her body is just a temporary vessel
for her spirit.

BORDERING ON TREASON (2013, Director Trish Dalton, 42 min. Screens 9:00pm, Saturday, March 23) tells the extraordinary and inspiring story of Lorna Tychostup, a single mother and photojournalist from New Paltz, NY, who travels to and continually returns to Iraq to put a
human face on the Iraq War. Traveling unprotected, she visits military units and Iraqi families beyond the Green Zone, and evolves from naïve civilian to seasoned journalist. Lorna’s story and the stories she shares are those not shown on U.S. television sets. They illuminate realities of a war often referred to as merely an “occupation,” and bridge the
emotional and political disconnect that Americans have experienced with the war.

WORDS OF WITNESS: (2012, Director Mai Iskander, 71 min. Screens 9:00pm, Saturday, March 23) is a documentary that follows 22-year-old journalist Heba Afify as she navigates Egypt’s Revolution. Every time she heads out to cover the historical events shaping her country’s future, her mother is compelled to remind her, “I know you are a journalist, but you’re still a girl!” Defying cultural norms and family expectations, Heba takes to the streets to report on an Egypt in turmoil, using tweets, texts and Facebook posts. Her coming of age, political awakening and the disillusionment that follows, mirrors that of a nation seeking the freedom to shape its own destiny, dignity and democracy.

circus-wide
circus-2girlsCIRCUS DREAMS: (2011, Director Signe Taylor, 82 min. Screens 12:00pm, Sunday, March 24.) documents a year in the life of Vermont’s Circus Smirkus, one of the best traveling youth circuses in the world. This vibrant documentary immerses viewers into the lives of the 12 to 18 year old performers, capturing their intense work ethic, passion for performance, deep friendships and budding loves. With a heartwarming story and great characters, Circus Dreams
is an inspiring testament to the power of youthful dreams.

Documentary Shorts:
(Various directors, 60 min. Screens
5:00pm, Saturday, March 23.) AGENCY follows five young women struggling to work as models in Osaka’s toxic and intoxicating fashion market; CUTTING UP examines the changing world of professional female bodybuilders; and WHY DO YOU HAVE BLACK DOLLS? explores the history, beauty, and pride of black dolls, revealing that they are more than just playthings – they are cultural artifacts that represent the history of the people they depict.

Experimental and Animated Shorts:
(Various directors, 90 min. Screens 2:30pm Sunday, March 24.) This selection of more than 10 shorts from around the globe transports us through dream-like states, from light-hearted, sensual, and surreal, to pensive, dark, and terrifying. The content of these films is for mature audiences.

The 2013 WAM!Boston Film Festival is part of a larger national series of WAM! events designed to foster gender justice in media, during the last weekend of March. Film festival partners include the Cambridge Women’s Commission, MIT Women’s and Gender Studies, and
Women in Film and Video New England.

For more informaion visit wambostonfilmfest.org. Tickets range between $6 and $10 per screening. A two-day festival pass is available for $30. Tickets and passes are available at the Brattle Theatre box office and online at wambostonfilmfest.org.

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