Bill – Page 4 – Imagine News

By Rosemary Pacheco

What exactly is it? Is it the same for you as it is for the next person? Probably not, but it’s what we all want to be thought of as – fitting in, not considered “strange.”

This very subject is the premise for Scorpio Film Releasing’s new feature – a psychological thriller entitled just that, NORMAL. It is directed by award winning director Richard Marr-Griffin, and is written by Leonard Schwartz. It is Griffin’s fourteenth feature, and it is the story of Jim, a seemingly “normal” young man who is the maintenance supervisor in an apartment building – his tenants though, are somewhat demanding.

Jim is replaying his tortured past, through a series of flashbacks, and interactions with these mysterious tenants he is surrounded by. We not only learn of his dark secrets, but also what it means to be normal. The answers he finds in his journey will shatter not only his perceptions of the past, but also his fragile grip on reality. Jim is played brilliantly by Michael Reed, and his lover, played by Sarah Nicklin, Reed’s wife in real life, one of many collaborations for them on a Richard Griffin film. Other very notable performances include Nat Sylva as the brother of the troubled man, the somewhat disturbed Kate, played by the talented Elyssa Baldassari. In addition, Ben Royer, Patrick Keefe and Christopher Ferrieira also give memorable performances as potential male lovers.

The cinematography is beautifully dreamy: most notably a flashback scene depicting the young Jim played by John Quinlan. Other cast members include Monica Saviolakis, Rich Tretheway, Shannon Hartman, and Samantha Acampora as a neighboring family. David Wilson as a nearby tenant. Patricia Hawkridge and Pat O’Hara as nurses in the hospital and the inimitable Michael Thurber as the man in black.

This is not the first collaboration for Richard and Lenny. MURDER UNIVERSITY, released in October 2013, and currently available on VOD and DVD, is a horror/slasher film that follows a series of brutal, cult-like murders taking place at a New England college.

NORMAL, however, is a different sort of film. It is highly cerebral and ponders those questions that we all ask ourselves. It was born out of the grief and loss that occurred in both of these men’s lives. Schwartz identified with the idea after losing his father awhile ago. He labored for three months, writing constantly. “I couldn’t shake it when it was done” said Schwartz. “Part of me still can’t. Part of me still feels like I’m stuck in that movie script.”

Griffin drew from his own pain and losses of the past to help shape the film. “When I first read the screenplay for NORMAL from Lenny Schwartz, I found that with each page my emotions ran the gamut from a deep, visceral sadness to unmitigated fear,” Griffin said.

“So many movies today are violent, but what Lenny wrote so brilliantly was a movie about violence. And not the blood and guts variety, but a violence that’s deep, emotional and profound. Weeks after reading the screenplay I couldn’t shake the emotions, and I still can’t.”

“I hope the audience shares in the same troubling nightmare Lenny wrote so brilliantly when they see the film in theaters. I am honored to have the chance to direct such a masterwork,” Griffin added.

What’s next for Richard? Two more films are in the making – ACCIDENTAL INCEST, in production now, and HIGHER METHODS, beginning production in January of 2015. The former feature film is the very black comedy about two young lovers who find out that they are – you guessed it, brother and sister.

HIGHER METHODS was originally a play with a very successful run in Providence last year about an actor who cannot discern fiction from reality. Having seen the play, I cannot wait for the film version to be made and released. Richard also has his newest film FUTURE JUSTICE, an action Sci-Fi thriller about a future gone straight to Hell, and one man’s efforts to bring justice to the world. The film is now in post, is written by Nat Sylva, and scheduled for a spring or early summer release.

For now, NORMAL is a film that you do not want to miss. It will have a Boston premiere on March 1st, 2014 at the Somerville Theatre, Davis Square, Somerville MA, 02144. (It is not suitable for young children due to nudity and graphic subject matter.)

For more info follow Richard on Twitter @ScorpioFilm or on Facebook.

Rosemary Pacheco is an actress, writer and a professional event/wedding designer. She writes film news for Motif magazine in Rhode Island, currently appears in a web series, and is in production on two feature films.

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Lunchpail Productions: Workmanlike Results That Play Well

Posted By: Bill production companies

By Carol Patton
When you love your work working for your daily bread is a joy. It’s easy to keep your eye on the prize – the prize being results! According to Lunchpail Production’s Founder Derrick Deluties that means results for every Lunchpail client as he believes it is a forgone conclusion that when your client gets results so do you in the form of repeat business, a staff that’s eager to do it again even better and recognition in the marketplace. The team won five Tellys last year. And it puts bread on the table at Lunchpail.

A personal experience Deluties holds dear like a mantra from a great lesson learned emanates from his early days when Lunchpail scored their very first client. “It was a big client,” according to Derrick. “We were a new company up against bigger, more established competitors. But, we customized the pitch to the client and ultimately won the business because we showed them we’d done exactly what they were looking for. That has stuck as our MO or maybe anti-MO in this case. We don’t have one specific voice or one look or just one approach. We tailor everything to each client – it’s about their story, their content, their current needs and goals, not ours.”

Even today Derrick Deluties is quick to say, “We don’t just dive into the equipment, the cameras, and the logistics of a shoot. We go through a discovery phase where we want to learn the client’s objectives, goals, and how our project fits in the larger picture. Because, just maybe, we can suggest alternative or additional ideas that will exceed their goals, save them money, or come at the work in a way they never considered.

That earlier lesson, though, has stood the test of time and it’s one from which the Lunchpail team has never deviated. While the bigger established companies presented what they do, how they do it and what they’ve done for other companies, they were not selected. Lunchpail could only refer to exactly what they could do for this client and it spoke directly to them and their needs. Against all odds, Lunchpail got the account even though they didn’t have a business card (they were at the printer). Then, I’m not at all sure Derrick even knew the new firm would be called Lunchpail Productions.

lunchpail-cookingshoot — Lunchpail Studio Shoot

I asked Derrick how Lunchpail attracted clients today and he summed it up in two words, “Personal referrals. Clients like what we do so much they come back again and again. They love the work, They enjoy the experience. They tell others about us. Just check our website. Instead of just two or three testimonials, we’ve got nearly a dozen. They know we’ll not only make them look good from a production standpoint, but also with peers for suggesting us.”

Like so many in this marketplace and throughout the industry, Derrick is Emerson College alum. There he learned to solve problems. Now he is a professional problem solver knowing the industry inside and out. An outgoing sport, his talents for engaging conversations ultimately led to sales after a progression of disciplines that included audio engineering and camera work for Cramer Productions. Finish Editorial recruited him as Director of Sales and Marketing in 1999. This well known post house was then headed by Don Packer (now owner and senior editor at Engine Room Edit). Derrick became Don’s disciple and Don Derrick’s mentor. Together they doubled Finish’s sales in Derrick’s first year allowing Derrick to launch the company’s corporate productions division.

Now, after more than a dozen years at the helm of Lunchpail, finding the best solution for a project continues to inspire him. He brings excitement and enthusiasm to every occasion. It’s contagious, almost addictive for clients and team members alike feeling an adrenalin rush while tackling problems and creating solutions. It’s a unique ability.

“Clients, friends, family – they all comment about my enthusiasm and love for the business. I’m serious – if I hit the Lottery tomorrow, I’d still keep doing what I’m doing…. I love this, I want to keep growing, learning, expanding and I look for that in the people I hire. I want them to share the dedication, the drive, the passion and the ethics that I do. I’m the company’s leader because I’m the founder, but every member of the team is responsible for leading the charge in their specific discipline. That’s why we’re such good collaborators and why ultimately, clients like the product and the process so much,” says Deluties.

He talks about his team like hand carved ivory pieces on a chess board: “Rich Barret – seen it all and done it all. Knows how to anticipate any challenge. Brian Ledet – great at exploring new client distribution and marketing channels. His music background has helped clients find “signature” sounds. Mike MacKenzie – super designer, gifted art director, internationally recognized and awarded. Sara Tremblay – unmatched story-telling ability, seamlessly crafts engaging narrative from hours of footage. Rob Stone – has impeccable pacing and shot selection. Terrific at dramatizing and adding impact to every script. Leif Husted Jenson brings an international scope and the extraordinary ability to write treatments to the team.

“Dale Resteghini – his stories and music videos explode off the screen. Tim Wainwright – very thorough pre-production and pre-visualization. Always has a thoughtful approach to lighting and composition. Tim Ticehurst – has a director’s eye for framing, color and depicting scenes artistically. Terrence F. Hayes – he’s shot reality shows for Bravo!, ABC Family, Sundance Channel, and just finished shooting Boston’s Finest. Enough said. Bryan – because of his set building and sign background, no shot is too ambitious or imaginative. Chris Harting – has everyone of his fingers on the pulse of integrated media and content marketing.”

Derrick Deluties is most satisfied when he is collaborating with his team and their clients. He likes sharing ideas, talking through options, exploring new possibilities. He says, “We get a rush from that.” If that was what satisfied him most I had to ask, what is least satisfying and he just couldn’t think of anything.

Lunchpails’ future goals include staying ahead of emerging video trends, looking for more inspiring work to keep their directors, editor and graphics team challenged and expanding into new platforms and markets. They are offering more to their clients than ever before by increasing Lunchpail’s Director Roster from three to six. Derrick sees more integration of video content and that’s why they are offering multi-platform content and with a partnership with Brightcove the streaming/deliver of content is more abundant and efficient than ever.

The beefed up team offers more graphics capabilities outside the usual 2D and 3D Motion Graphics, such as white board videos and animation – finding and doing good work with many healthcare clients producing multiple TV spots, animation videos and web videos around the constant changes in the healthcare system. Videos produced for clients requiring license content for music, videos, gaming, movies and sports have resulted in videos that could be seen in over 900 Best Buy and over 500 Costco locations worldwide.

According to Deluties they are seeing a lot of their clients expanding into International Markets. “We’re producing videos that show how there is no communication loss when doing business that crosses borders. In 2013 the Lunchpail team traveled to London, Los Angeles, China and Brazil spending one week shooting video at each destination.

The secret is being able to go wherever the business is. Derrick says, “We work with agencies, in-house agencies, PR firms, design shops, interactive and social marketing firms as well as B to B.” Point-of-purchase, kiosks, Internet product demonstration, music videos, animation, story and now reality shows have come into their purview. If it’s a moving image Lunchpail Productions is prepared to take it on with workman like results.

Carol Patton is the publisher of IMAGINE Magazine. She remembers just over twelve year ago when Lunchpail Productions launched a little more formerly than showing up to a presentation without business cards. Bright and shiny lunch pails (the kind with the dome – not a lunch box) were delivered around the greater Boston area filled with a t-shirt and other marketing novelties. Her daughter collects lunch boxes (she likes the dome varieties preferably with its original thermos) so she gave her Lunchpail silver lunch pail to her. It still rests among her favorites like her Star Trek, Lost in Space, Muppets in Space, her own fourth grade lunch box “Campus Queen” and about thirty others.

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How Diana Barton Manages Emerson’s TV Network

Posted By: Bill

By Hartley Pleshaw

dianabarton-emtv — Diana Barton in the Vin Di Bona Studios at Emerson College. Photo by Carolyn Ross Photography.

Emerson College is known the world over for being a rather unique place. It was the first four-year, undergraduate, liberal arts college devoted to Communications. While the study of communications has always been central at Emerson, it has taken much of the rest of the world some time to catch up with it. Now that we live in the Age of Communications, the first college devoted to the art is more relevant and important than ever.

For decades, students have come to Emerson dreaming of careers in every form of communication, including, of course, television. The hope that an Emerson education might lead to constructive and creative work at a TV station or network burns brightly in the heart of many an Emerson student.

Now, the realization of that dream need not wait for the awarding of a degree, If you go to Emerson looking for a future at a television network, that future can be, quite literally, now.

The Emerson Television Channel is on the air. Or, more accurately, it’s on cable, sent to every Emerson dorm room, and on the Web. (It’s officially known as “Emerson College Television Channels”, taking into account its’ availability on both media.) It’s more than a club, an internship program or part of the curriculum, although it can also be said to be all those things in its own way. It is an honest-to-goodness TV network: the real thing, even before the Emerson students who staff it join the post-college real world.

Diana Barton, Emerson ’91, is the Manager of The Emerson Television Channels. According to Diana, its creation was the natural progression of what was already happening at the school.

“All these students were creating all of this great content. They were shooting films and television programs. And there was no place to really put (them). So, the Emerson Television Channels were formed in order to showcase all these projects.

“It’s basically a network. The Emerson Channel is like ABC, NBC, CBS, whatever. And I’m the Manager of that. I’m the Network Executive, as I tell the students.

dianabarton-students — Diana Barton with students Christian Kiley, Lauren Feeney, Josh Waterman (all seated) and Gabrielle Ruiz and Paul Lazo standing in Control Room A in the Vin DiBona Studios in the Tufte Building going over the switcher and the technical director duties. Photo by Carolyn Ross.

“We run from the day the dorms open in early September, through Commencement. We run 24/7 programming throughout the campus (through a) cable-based system, as well as (through our) website, devoted to the Emerson Channel. We web stream live.

“There are about fourteen programs that are specifically produced for the Emerson Channel. We also have films from students, short programs, animation, alumni projects and faculty projects. We also have current feature films and television series.

“Basically, we’re the NBC or ABC of Emerson College.”

“There are about 150 students involved in producing all of these programs. The Emerson Channel is basically student run. We have a senior staff of directors, who are all students. I’m the manager. I just make sure that everything happens on a day-to-day basis. But, it is primarily student-run.

“We have a Director of Broadcasting, of Production, of Education, of Marketing, of Creative Design; that sort of thing. They basically run everything with the shows. I just oversee them all.”

Of course, as Diana noted, intensive television and video production was taking place at Emerson long before the channel came into existence. It took the form of curriculum work, of course, but also through such very active student clubs as Emerson Independent Video. When was the decision made to galvanize all of this creativity into a formal, actual TV network?

“It was formed in 1999. Students wanted it, and it was formed by faculty and advisors. It’s always had an adult faculty advisor, and it’s been student-run.”

Of course, many colleges and universities, including Emerson, have long had their own radio stations. (Mostly, 10-watt low-power stations, designed to serve, and mostly be heard by, students in their dorms.) But, the idea of a college or university having its own television station is something else again. Such an enterprise requires much more in the way of technology, equipment, technical knowledge and person power. But it also requires something else: an audience. According to Diana, Emerson had all of these things.

“We have half a dozen buildings that house students. There’s the Colonial, the Paramount, the Little Building, Piano Row. At least all of our freshmen live on campus. Many sophomores and juniors also live on campus. Cable was in full swing at that point, so it wasn’t a big thing (installing it).”

Technically, the Emerson Channel is a closedcircuit one, because it doesn’t go beyond the Emerson campus. But some of its programming does, in a different way. Emerson Channel programs have been picked up by other TV channels.

“We do have shows, like our Good Morning Emerson show, which is a live program on Tuesday and Thursday mornings, that Boston Neighborhood Network picks up,” according to Diana. “NECN (New England Cable News) is interested in potentially airing one of our latenight shows, called Breaking News. So, we are reaching people. They’re tuning in to our website, and seeing our programs that way.

“NECN came to us! They said, ‘Hey, we happened to catch this program called Breaking News, and it’s really funny!’ It’s based on Saturday Night Live’s “Weekend Update” segment. We’ve had a meeting with them. We’ll be sending them shows, to see if they’ll want to pick it up for content.

“We’re starting to break the bounds of just our cable and website.”

To have accomplished this much already, The Emerson Channel obviously would seem to have production facilities up to the task. According to Diana, those facilities go beyond a purely academic environment.

“In our Tufte Building, we have two main television studios and control rooms. Studio A is our main and biggest studio. Hopefully, we’ll be upgrading it to HD; right now, it’s still SD. Sill, we get some great product out of it. It’s fully functioning. We have switchers, chyron, playback, engineering, audio mixers—the whole gamut. It’s quite well outfitted. Control Room B and Studio B are the same way, but a little bit smaller. Studio B is also used as a classroom.

“We also have a control room in our gymnasium, in our Piano Row building. We broadcast live our volleyball and basketball games. We also are acquiring a smaller studio, here in the Ansin Building, which will need to be upgraded to be fully functional. So, we have three fully functional television studios right now.

“In the studios we have pedestal cameras. Out of the studio, we have EX3 High Def cameras. We have wireless lavaliere microphones, light kits; that sort of thing. (For editing), we have Final Cut Pro. They use Movie Magic to do their budgets on.

“Also here at Emerson, in the past couple of months, we started with a system called Isilon. It’s basically a “cloud” system. The students can actually record to Isilon at the studios, and without hard drives or without tapes, they’ll come back here to the Channel, and edit from Isilon. The days of tapes and hard drives are gone. It’s a great system; it’s working out very well.”

One reason why The Emerson Channel is working out so well is it’s organization. Its run as a professional organization, but one which also takes into account the fact that the people who staff it are also students.

“There’s myself, the manager. Underneath me is a senior staff, made up of students. The senior staff and their associates are paid employees of The Emerson Channel. Underneath them, they will deal in all their capacity with all of the shows.

“For instance, Good Morning Emerson is one of our flagship shows. It’s live, Tuesday and Thursday morning, for half an hour. The graphics for the show were designed by the Director of Graphic Design, and his associates. The marketing for that show, be it a social site, or something we put on a piece of paper on a board around here, comes from the Marketing Department. Their production needs—if they need tape, or a camera—that goes to the Director of Production. The Director of Broadcasting makes sure that they are technically okay. If anything technical goes wrong during a live broadcast, the Director of Broadcasting can jump in and fix that.

“We have a Director of Education, whose job is to get students to participate in our non-tuition credit. The students can get up to four non-tuition credits, one per semester, by either becoming part of our crew on one of our shows, and participating in three workshops which The Emerson Channel sponsors, or going to six workshops, which The Emerson Channel sponsors.

When I say ‘workshops,’ that means a student, or myself, or someone, will teach a workshop. That could be anything from running a lighting kit, or a camera, to producing, to how to run the switcher, how to light a studio, how to run a studio camera— everything that you could imagine, productionwise, is taught here at The Emerson Channel.

“We have a whole slew of workshops that we provide, for free, to students who just want to learn how to do something, or are learning something so that they can get their non-tuition credit.

“Each semester, we hold an audition for each of the shows. It’s an interview process. Students have to come in. If they want to be on-camera, they have to audition in front of the camera for the particular show that they want to work on. For crewing, it’s the same thing. If I want to be a lighting designer for Good Morning Emerson, I have to go to an interview with a resume, and sit down with a director, and/or a producer, and basically apply for that job. That lasts from Friday to Sunday night. It’s probably a twelve hour day each day. We have hundreds of student who apply and interview for those.

“By Monday morning, the EP’s and the director will have a good handle on who they want to crew up, and who they want in front of their cameras. Then, I okay it, they start pre-production, and within a couple of weeks, the studio is scheduled out by our studio manager. They know when they can go in, and what times they have. They get their scripts, their rundowns, their schedules ready. Then, they go in and they shoot it. Some of them are live-to-tape, some of them are live, some of them are segments for shows.

“That process happens every semester. We re-crew every semester. It’s quite a process.

“On top of that, I have a Submissions Coordinator, who goes after the alumni, the student body and the faculty, to get their projects. They may not necessarily be produced for The Emerson Channel, but we can show them on The Emerson Channel.”

“It’s quite a process, it’s quite an operation, and it works out very well.”

dianabarton-camera — Diana Barton heads the student team that keeps the Emerson Channel on the air. Photo by Carolyn Ross.

But, as has been the case with many native New Englanders who went out to California, the desire for a strong family life close to her roots led her back home to Pembroke, and to Emerson.

“I love Emerson College. I felt that I was needed there. I needed to teach my experience, and what I know, to students to help them in their productions.

“I have my cake and eat it, too. I get my great job here, as well as being able to go out and do my freelance productions. I have no complaints.”

Awards won by The Emerson Channel include:

6 NATAS (National Academy of Television Arts and Sciences) Boston/New England Chapter Emmys

1 MTVu/AHECTS (Association of Higher Education Campus Television) Best Student Television Network Award

1 NATAS College Television Awards Emmy

4 AHECTA Awards.

Hartley Pleshaw (Emerson, Class of 1987; M.A., Mass Communications) has written for IMAGINE since 2006. His email address is: hartleypleshaw@gmail.com.

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Images from the Imaginnaires 2014 Awards Gala

Posted By: Bill

IMAGINE Publisher Carol Patton and Academy Award Winning writer – actor – director Ernest Thompson.

“Shooting Star” Erica Derrickson and “Imaginnaire” honorees Margie Sullivan, Jay Craven, Diane Pearlman and Chad Verdi with Publisher Carol Patton (third from right).

From Right to Left: Comedienne Tiffany Crosby, Casting Director John Campanello,
and Actor – Voice Over Artist Jennifer Antkowiak.

Alexandra DiFiore and Cailey Kilpatrick at IMAGINE’s Industry New Year’s celebration in the beautiful Grand Ballroom of the Providence Biltmore Hotel.

Animator – Director Jack (Quanzhou) Zhao, Actor Pamela Lambert, Ernest and Kerrin Thompson.

Melanie Star Wilson and Rhode Island Film & Television Executive Director Steven Feinberg enjoying the “Imaginnaire” Awards presentation.

Talli Clemons and Eddie Nason at the Gala. Photo by Rosemary Pacheco.

Actor Billy V Vigeant and Publisher Carol Patton.

“Imaginnaires” Director of the Berkshire Film and Media Collaborative Diane Pearlman and Kingdom County Productions’ Jay Craven. Both were recipients at the IMAGINE 2014 Gala.

All photos unless otherwise noted are by Evelyn Schneider, EES Photography.

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High Output names Daniel H. Jentzen Account Executive and Director of Education

Posted By: Bill

High Output, Inc. has announced that Daniel H Jentzen, a lighting designer and theatre teacher, will join the company full-time as Account Executive in its event production department and as its corporate Director of Education.

Mr. Jentzen has worked for seven years in the New England area as a freelance lighting designer specializing in theatre, live music, and special events. He has created lighting for Hillary Clinton, Bela Fleck, Alison Krauss, WGBH, Celebrity Series of Boston, Harvard Business School, and many others. He holds a Bachelor of Fine Arts Degree in Drama from Carnegie Mellon University. Mr. Jentzen will bring this wealth of experience and connections to High Output, and will continue to build the company’s reputation as New England’s top provider of event production services.

Mr. Jentzen is also a committed educator, and teaches lighting design at Boston Arts Academy, the city’s public high school for the visual and performing arts. He conducts interdisciplinary arts/science workshops for students and teachers, exploring such topics as neuroscience, education, and theatre. He holds a Master’s degree from the Harvard Graduate School of Education. He is also the founder of Brighter Boston, a nonprofit partnership of top lighting companies, producers, and venues with area public schools, aimed at creating professional work opportunities for students in lighting design. Since its inception in 2012, Brighter Boston has created internships for public high school students on professional shows, building their confidence and teaching them leadership, creativity, math, science, and communication.

Beginning in 2014, High Output will create an educational outreach initiative, harnessing the power of lighting design to create unique learning experiences for students. When students participate in the production of theatre and special events, they explore both the arts and sciences and practice collaboration, leadership, and critical thinking. Using its industry expertise and inventory of state-of-the-art lighting equipment, High Output will build educational programs including student internships on production jobs and a lighting design contest for high school students. As the company’s Director of Education, Mr. Jentzen will implement these initiatives. Interested parties should contact the company.

About High Output

High Output, Inc is New England’s largest supplier of production services and equipment for theatre, film, television, and special events. Founded in 1986, the company has offices in Massachusetts, Rhode Island, Maine, and South Carolina. With an emphasis on top-quality event production, state-of-the-art technology, and superior customer service, High Output supports theatre and live music, political events, feature films and television shows, corporate meetings, fundraisers, and parties with more than 75 full time staff members and over 20,000 pieces of equipment from leading manufacturers. The company also designs and installs technologically advanced permanent lighting, AV and rigging systems in venues of all kinds, and operates three sound stages for film and television production.

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There’s Still Time-Reserve Your “Imaginnaire” Awards Gala Tickets Today!

Posted By: Bill Imaginnaire Awards Gala, Rhode Island

Hello everyone, just in case you need it, here’s more information about our IMAGINE Industry New Year’s Celebration & “Imaginnaire” Awards Gala on January 14th.

If you’ve never been and you want to see what it might be like, watch a video from earlier Galas here

I want everyone to be able to find their way and make arrangements to attend. This is the first time we have held this event outside of Boston, but then our industry scoots back and forth between Boston and Providence all the time.

Here are the particulars:

If you still need to subscribe, you can go here and take care of that right now: http://b19.a70.myftpupload.com/2013/11/party-invitation-2014. Your 2014 subscription or renewal is your ticket to this exciting affair. The cost is $49.95 to have IMAGINE delivered to your home or office for 2014.

Date: January 14th is the magical date (always the second Tuesday of the New Year).

Place: Providence Biltmore Hotel Grand Ballroom, 11 Dorrance Street, Providence, RI 03903, telephone 401 421-0700, The hotel is offering their beautiful rooms at discounted room rates of $124 for a Superior King and $149 for a Junior Suite. Be sure you ask for the discount. The hotel will be sold out by Tuesday so if you plan to make a hotel reservation, do it now!

How to Get There: Driving is simple; it’s South on 95 until you see the Providence Exit. The hotel is easy to find. Valet parking is $16 for the event. And there is a parking lot right behind the hotel available. You can take the train. Both Amtrak and the MBTA (an MBTA ride is $10) offer excellent service to and from South Station

Back Bay in Boston. There is an MBTA train at 6:10 pm from Boston and one at 10:40 pm returning to Route 28, Back Bay and South Station, which should work well for attendees. The Biltmore is a 5 minute walk or a shot taxi ride from the Providence Rail Station.

If you are coming from Boston or points north – jump on the Party Bus. It will leave the Boston Public Library at 6:15 pm and return to the Boston Public Library leaving Providence at 10:30 pm. It’s FREE. That’s right there is no cost for the Party Bus, but you will need a reservation to get on. When you subscribe or renew, I will respond with a “thank you” note and the question “do you want a party bus reservation.” Subscribe now if you want to enjoy the fun and convenience of the Party Bus as it will fill up and when it’s full it’s double the fun.

Some of our celebs are carpooling, so that’s something to think about, too. A group from WIF/VNE is doing just that.

No matter how you get there, come for the magic, the celebration, the networking, the food and festivities. You will not leave hungry and if you’ve ever been to an event at the Biltmore you will know what I mean…. You’ll have sumptuous passed hot Hors d ‘Oeuvres, Pasta Creations along with Antipasto and Coffee & Dessert all included. A full bar is available. And don’t forget your swag bag. (By the way, if you have a desirable item you would like to contribute to our prestigious glitter bag, give me a shout).

If you can’t attend, we’ll miss you, but please show your support for IMAGINE by renewing your subscription now. Thank you!

When we assemble all our bright, beautiful, talented, savvy and exquisitely creative guests there will be magic and you will be surprised – I promise. Come to meet our honorees and their accomplished presenters, celebrate all your work, to network and to toast 2014!

Barry Nolan will be our Master of Ceremonies. If you don’t know him just give him a Google! I’ll be announcing our presenters tomorrow so please watch for that!

I look forward to seeing you on Tuesday in Providence! Here again is where you subscribe to get your complimentary ticket: http://b19.a70.myftpupload.com/2013/11/party-invitation-2014.

Hope to see you there!

Carol Patton

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Imagine News

New England Production Industry Leaders Share Their Predictions for 2014

Posted By: Bill New England Film, Rhode Island, talent, Tech Edge, Whitebridge Farm

Every year IMAGINE gathers some predictions from industry leaders. They are thoughtful and sometimes extremely clever. However, most of these 2014 predictions tell us what the future of our industry may look forward to. Our predictors say the future is promising, exciting, interesting and that the region has positioned itself for a big pay-off.

Part of the optimism is hinged to the opening of new studio facilities in Massachusetts, but most of it is still banking on the regions attractive Film Tax Credits – hard won, but not yet nearly well enough promoted or advertised.

We present submissions that made our cut alphabetically here.

Obviously, again this year we will have to learn something new. –PUB

Becki Dennis, Actor, Producer & Owner of Talent Tools

I predict that we will have the busiest year ever for film production in Massachusetts and land our first TV series.

Steven Feinberg, Executive Director Rhode Island Film & Television Office

I predict that there will be an amazing IMAGINE Magazine party in Providence in 2014!

I predict that INFINITELY POLAR BEAR, starring Mark Ruffalo and Zoe Saldana, filmed entirely in Rhode Island, will win critical acclaim and some awards in 2014!

I predict that there will be an ongoing major television show filmed in Rhode Island in 2014!

I predict that an Academy Award-winning cinematographer will film a feature in Rhode Island in 2014!

I predict that 2014 will be a banner year for independent filmmaking in Rhode Island!

And I predict that three local talents will each have break-out years and be catapulted into the stratosphere of the movie heavens, and their stars will shine very brightly.

Steve McGrath, Senior Broadcast Sales Engineer HB Communications, Inc.

I think 2014 will be the one of the most transitional years in recent memory. People will be eager to push things up to the
cloud, but if 4K gets off the ground, that won’t happen. (Read Steve’s explanation about 4K here) So people will have to make a decision if they want to pursue 4K or not. Storage companies will be pushing 4K as it sells storage. Cloud service companies will be dismissing 4K because current network speeds don’t support it in the cloud. People will have to make decisions to re-invest in storage to support 4K, or go with cloud storage. And while on the topic of 4K, non-linear editing systems will start to support 4K with compression like ProRez or DNx.

Another big change will be to choose the new Mac Pro or keep their PCI cards and move to PC.

With the new MacPro, people are going to be buying a lot of Thunderbolt adapters to accommodate their old PCI card based infrastructure. People say the new MacPro looks like a trash can, but I think it will look like an octopus once all the Thunderbolt adapter cables start dangling out of it.

I will also go out on a limb and say that 2014 will be the beginning of the end for video editor rendering. I think people have been editing long enough where it should be expected that rendering can be done in the background now. Autodesk Smoke will render in the background today, but by the end of the year, I think that ALL editing programs will render in the background.

Steve also regularly contributes to our TECH EDGE column. You can read more of his writing here.

Susan Nelson, Executive Director SAG-AFTRA New England

New England is trending as one of the best filmmaking destinations in the country. The region has been enjoying a wave of production as filmmakers come to take advantage of our unique history, culture and architecture, wide range of shooting locations, and our deep pool of skilled talent. And it looks like the momentum is only building.

Just a few examples of the high-profile productions that have filmed here recently include THE HEAT, starring Sandra Bullock and Melissa McCarthy; AMERICAN HUSTLE, starring Christian Bale and Jennifer Lawrence; THE JUDGE, with Robert Downey Jr. (SAG-AFTRA President Ken Howard also appears in THE JUDGE); THE FORGER, starring John Travolta; and THE EQUALIZER, with Denzel Washington.

A significant motivating factor for producers has certainly been Massachusetts’ compelling film tax incentive, which provides a twenty-five percent production credit and a twenty-five percent payroll credit for qualifying productions.

While critical in drawing productions here, when combined with our ever-increasing local resources, it often tips the balance in our favor. In fact, this year we were successful in convincing a major feature film to choose Massachusetts over Louisiana where they also offer a tax incentive.

New England’s terrain is another plus: Picturesque seaside towns, urban environments, rural settings and unparalleled historic
streetscapes are all within easy travel. With the opening of New England Studios, state-of-the-art production facilities will be in easy reach, as well.

Another exciting trend for our union members is a significant increase in principal roles cast locally, as producers become more familiar with our local talent and realize that they can save costs by hiring true professionals locally. We predict this trend will continue.

Asked for my predictions for the upcoming year, I would say that all signs point to a banner year for local production in 2014, topping a fabulous 2013. SAG-AFTRA will continue to support local talent and promote favorable legislation. Our goal is to keep this area a destination. It’s a great time to be an actor in the Northeast.

Don Packer, Co-Owner and Senior Editor Engine Room Edit

2014 is upon us. 2013 is in the rear view mirror. However, I have a large sign on mine that says “Objects in mirror are closer than they appear” in that Jurassic Park sort of way. Brrrr…. So, it ain’t over yet. But I see the light.

We have a new Mayor in Boston. The old one was pretty good. But this one made a lot of noises about the arts community here and I predict it’s going to happen in a large way. Even to the point of embracing filmmaking in town. What a concept. All boats rise on the tide.

I predict that the tax incentive battle will stupidly rise again. And once again statements like “ … lets spend the money elsewhere” will be bandied about. I predict that the people who make those statements will once again fail to realize that, THERE IS NO MONEY. Sorry for the all caps. It’s a tax INCENTIVE. But I also predict that in the end, with sound reasoning and for the fact that hotels, restaurants and tourism have all seen a huge boost due to movie making in our town, that it will continue unimpeded. You know, those guys in Devens didn’t stick thirty million in the ground just because they didn’t know what to do with their money.

I predict that I will once again write a script that isn’t worth reading, but I will be entertained by many that are. Among
them will be some that will actually happen because people have great ideas for shooting in Boston and they’ll continue to.

I also predict that this will be the year we find out that both Kanye and Kim K are aliens. Face it. They named their kid a direction. They did an Imovie edit that they think looks good. They walk around in T shirts in freezing cold weather. I wouldn’t be surprised if they started to say they were from France and loved fried eggs and beer. Wait… Aren’t they getting MARRIED in France??!!!

I predict I’ll finish what I started. Which is a VERY good documentary from Rough Water Films about beer and well, I’ll try to not to put on any weight doing it.

I predict that the replacement for Dona Somers at SAG, Sue Nelson, will be wonderful and well liked by everyone. Not that we didn’t love Dona.

And finally, I predict a big TV show is finally coming. It has to. We’re primed. Why not? I’m not talking a reality show but a drama that will work. That will be based here. Shot here. Edited here. Come on, even a dog gets a bone once in a while.

2014. I’m going to love you like a long lost brother.

John Rule, President Rule Boston Camera

2014 will be a very exciting year from a technology perspective. Due to advances in electronics and a global supply network, innovators and inventors now have ready availability of all manner of motors, sensors, and specialized processors, which will bring forth a tidal wave of new camera dynamics products of all imaginable types. We’ll see many new stabilization rigs, flying
drones, motion control rigs, sliders, cranes, jibs and dollies. Additionally, I think that the burgeoning robotics industry
will this year introduce us to the first semi-autonomous camera robot, just you wait! We may never have to endure a static shot again (kidding!). 3D printing is also coming into its own, so every key grip, gaffer, DP and AC will be able to design and build his or her own signature line of production tools. And (I am hoping) that 4K workflows as used by Hollywood will become more practical, and will start to trickle down to more real-world production environments.

John Stimpson, Director John Stimpson Productions

2014 will be a big year here in Massachusetts! The tax incentive will continue to draw big projects to the Commonwealth, and our fabulous new facility, NE Studios will house some exciting productions. Some of the films shot here in 2013 will win Academy Awards. Many of our talented filmmakers and production professionals will get attention, acclaim and some big new opportunities. More of our local actors and creative talent will shine. And, with any luck, I personally, will premiere my newest film, and start production on two new projects.

Meanwhile, we will all continue to grow and change in the ever more volatile world of distribution and exhibition. The disparity between big studio projects and independent films will expand further. Television as we know it will continue to morph into a hybrid of online and broadcast content. Web based projects will be more plentiful and gain more notoriety. And binge-watchable series will start to overtake stand-alone, long format projects as the preferred form of narrative storytelling.

Have a great year! Keep plugging, stay creative, and let’s all self-generate some cool stuff here at home in Massachusetts!

Ernest Thompson, Writer, Director, Producer Whitebridge Farm Productions

Since it’s been scientifically proven that the universe is simultaneously expanding and contracting, as in nobody can see that far but can now Tweet about it in 140 characters, it’s only fitting that film follow suit. Film in 2014 is sort of where it was 100 years ago when no one knew what to think of the medium or its potential and went about making movies anyway. The old paradigm, and this is where Einstein steps in, still works except it’s bigger. A budget of 150 million is nothing, it’s a joke, provided that it recoups in its first weekend; if it doesn’t, don’t call me. But, relativity speaking, a newer paradigm has taken root in the shadows of the skyscrapers: Independent film will become more independent than ever.

Community filmmaking, we call it, those of us probably not conversation starters at 150 mill but with stories to tell just the
same. Through my company Whitebridge Farm Productions, I’ve made two movies in the last few years, TIME AND CHARGES and HEAVENLY ANGLE. We offered them as On Location Training and more than 800 people participated. The movies’ budgets were modest, even by 1914 standards, but their collective hearts are huge and the response from the few film festivals we’ve visited has been colossal. And we’re just getting started, we nouveau pioneers. Communities will be springing up all across the frontier; we’re expanding ours and we’re not alone. In the digital age, anyone can make a movie, which means a lot of bad movies will get made – they weren’t all masterpieces in 1914 either – but great, profound, provocative films will be created, too; it’s an exciting time to be a storyteller. 100 years from now, people will look backand marvel at what we accomplished. Einstein would be proud.

Dave Talamas, President Talamas Sales and Rentals

With the impending sale of spectrum above 600 MHz, wireless microphone and intercom manufacturers will become more spectrum-efficient. While 4K has been heavily promoted in 2013, most content will continue to be created in 2K since it has more than enough resolution for commercial and motion picture production, is cost effective and is supported by the cable and network infrastructure, whereas 4K presently is not. However, 4K production can be valuable for motion picture production for future proofing, as well as for computer graphics for film and commercial production.

Read on

Imagine News

Meet The AMERICAN HUSTLE New England Cast & Boston Casting Director

Posted By: Bill actor, American Hustle, Boston production, casting, New England Film

By Becki Dennis

Filmed almost entirely in Massachusetts last spring, David O. Russell’s recent cinematic masterpiece American Hustle has already received three awards from the NY Critics Circle, including Best Picture, and has been nominated for seven Golden Globe and two SAG Awards. This is the second time David O. Russell has filmed in Massachusetts; he filmed the FIGHTER here four years ago, which also garnered rave reviews and award season success. It is always exciting for the Massachusetts film industry, and all of the local businesses who were involved, when a major motion picture produced in New England receives so much positive attention. But as the nationwide media focuses on the stars of the movie, and which actors may or may not win an Oscar for their performance, we’re taking a moment to draw attention to all of the local stars who worked on this film. It is an amazing feat in and of itself how many New England actors landed roles in AMERICAN HUSTLE – roles that could have otherwise gone to NY or LA actors – and it’s time to recognize them and the casting directors who gave them this opportunity. Here is IMAGINE’s spotlight on our regional talent: (Spoiler Alert)

“Publishers Note: Becki Dennis has brilliantly interviewed Casting Director Angela Peri and a host of actors who had significant roles in AMERICAN HUSTLE. Here is the full compendium of her work. These responses were contributed by the actors themselves by either phone or email. Please note that there are other Boston actors who had roles in “American Hustle” who did not contribute to this article.” -PUB”

Angela Peri

1. What was your experience like casting this film?

It was one of the greatest experiences of my life. I love working with David O. Russell. He’s like Picasso. He is a cinematic genius. I knew that when I worked with him on “The Fighter.” He pushed us really hard (in a good way.) He always challenged us to bring him more options and to show him what else we have. Like with anything in life, you gel well working with some people and others you don’t. Him and I immediately gelled and have a kinship, where I can see his vision through his eyes. I knew what he wanted for this film. I’m from the 70’s and remember the time period completely. I knew the look, the feel, and the type of people he likes to cast. He loves shooting in Boston and he cast almost all of roles except the leads here. He’ll come back to Boston.

2. How many principal (speaking) roles did you cast at Boston Casting?

Approximately forty speaking roles.

3. Have you seen a trend of the numbers increasing for local principal casting, versus them casting all in NY and LA for the big budget motion pictures?

Absolutely. The SAG-AFTRA membership went from around 700-800 members in 2007 and now we are at over 3000 members (including film, television and broadcasting) because of the Massachusetts Film Tax Incentive. Everyone has stepped up their game. Everyone knows the stakes are really high. They’re taking classes and taking it seriously. Everyone preps for auditions. There was no difference between the Boston and NY/LA actors for the AMERICAN HUSTLE auditions. The only thing they have that we don’t is more options. I have complete confidence in every Boston actor to come out and do a good job. Before 2007, the films only came here to shoot exteriors for about two days and hired the local actors as extras only. It wasn’t until the movie PINK PANTHER 2 in 2007 that things changed for us.

4. A good number of background actors were upgraded to speaking roles in this film. What are your thoughts on that?

It’s all about being in the right place at the right time. Don’t shun extra work. You never know what could happen, plus it’s a great way to fill your acting resume.

5. How many actors did you audition for this film, and what is the average number of actors that auditioned for each role?

Over 1000 actors auditioned in total for the film. It depends on the role, but we auditioned around 20-30 actors for each part.

6. What made you and/or David want to call in an actor for an audition, callback an actor, and cast them?

I would call in actors that look the part and put them on tape. David O. Russell and the LA Casting Director, Mary Vernieu, would make a decision as to whom to callback. I made suggestions, but David O. Russell had the final casting say.

7. What did the auditions consist of?

All improv.

8. How does it feel to give Boston actors roles in a big movie like this?

It feels tremendous.

9. Is there anything else you’d like to add?

I’m so fortunate to be chosen to work with David O. Russell and Mary Vernieu. The LA producers were shocked that they didn’t have to fly in talent (besides the starring roles) and that we had what they needed here. It took me a while to beat them over the head to realize that, but now they’re getting it; largely due to David O. Russell. We have cast tons of locals in all of the recent films we worked on: TED, THE JUDGE, etc. We are now on the map.

Aaron Flanders

1. What was your role in AMERICAN HUSTLE?

Arthur, Carl Elway’s Friend.

2. What scenes did you act in?

Three scenes in the museum chasing Irving (Bale,) Richie (Cooper,) Edith (Adams,) and the Sheik Plant (Taghmaoui) as they enter the museum, then following them as they head up the stairs; confronting the group and Irving, and being blown off by them, and then concluding with the scene in front of the Rembrandt painting, where I accost Irving (Bale,) and am interrupted by Edith (Adams,) introduced to Richie (Cooper,) and then again blown off rudely by the whole group.

3. Which of these scenes made the final cut and which scenes didn’t?

According to my friend, who saw the Coolidge Corner pre-screening, I think all my scenes might actually have made it! I haven’t seen it yet!

4. What other actors did you work with?

Christian Bale, Bradley Cooper, Amy Adams, and Said Taghmaoui.

5. What was your experience like working on this film?

Singularly unique and amazing experience, walking into such a talented group of actors, and immediately being thrown into three intense, improvised, in-your-face scenes with them!

6. How did you get your role?

Auditioned at Boston Casting.

7. What are your upcoming projects?

I’m primarily a musician and have just released a brand new album, body of original music, and band, “Aaron Flanders – The Third Floor.” Our CD Release concert is going to be on March 7, 2014, at 7:30 pm, at Johnny D’s in Somerville! For more info., please visit: www.facebook.com/AaronFlandersTheThirdFloor

8. What are your reasons for being a Boston-based actor and pursuing your career here?

I live in Cambridge (Boston) because I went to music school here, and because I’m mainly a musician, and Boston is a great music town!

9. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Just to be honest and project an inner glimpse of yourself in every character that you portray.

Alura Carbrey

1. What was your role in AMERICAN HUSTLE?

Elizabeth (Betty) Polito. Carmine Polito’s daughter.

2. What scenes did you act in?

I acted in the casino scene, the arrest of Carmine Polito scene, and a family breakfast scene.

3. What other actors did you work with and what was that like?

I had the opportunity to work closely with Jeremy Renner and Elizabeth Rohm. I also had the chance to meet Bradley Cooper, Jennifer Lawrence, Amy Adams, and Christian Bale. As an aspiring actress, it was an exciting opportunity to work with such a talented and experience cast.

4. What was your experience like working on this film?

It was an unforgettable experience that will stay with me my entire life. I became very close with the cast and crew, and it was an emotional goodbye. Working with the talented David O. Russell was inspirational to me as a young actress.

5. How did you get your role?

I got my role through the casting agency, Boston Casting.

6. Is there anything else that you would like to add?

I’m currently studying business and theatre at Endicott College. I hope to continue my acting career in the future!

Ayana Brown

My role was Cosmopolitan Girl #1. Mr. David O. Russell cast me on set, and it was truly an amazing experience. DOR is a masterful visionary, intense, and knows exactly what he wants. Some would quip that his style of directing may be a bit unorthodox, however without a doubt there is a method to his madness. I am convinced he is one of the best in the business and it was truly an honor to work with him and the beautiful Ms. Amy Adams. I learned so much in that one day of shooting. The tools that I came away with under his direction are priceless. The biggest lesson: Be ready all the time. You never know when an opportunity will knock at your door….when it does you better be prepared to answer it!

I was raised in Amherst, MA where I started my acting career in the local theater circuit. I began working on films in 2007 in the Boston area. THE GREAT DEBATERS was my first film. I joined SAG in 2008; continued working in film and TV to date. I have had roles on Law & Order, Law and Order SVU, and Unforgettable. This was my first role in a feature film. I travel between NYC and Boston for auditions, television & feature film work, and am represented by Shirley Faison with Carson Adler Agency, NYC. Recently, I signed with Maggie Inc. for print modeling. Shortly after, I landed my first print ad with Keurig Coffee. Most recently, I auditioned for principal in a TV pilot. Other projects I worked on this year in the Boston area: THE FORGER, BASIC MATH, THE JUDGE, BUSINESS TRIP, Olive Kitteridge, Chasing Life, MA Lottery, Geico, & Bank of America Commercials. Currently I reside in Western, MA.

Becki Dennis

1. What was your role in AMERICAN HUSTLE?

I play Rebecca, who is a friend of Amy Adams’ character. I am a nanny for the son of the Suburban Businessman, played by Jay Giannone.

2. What scenes did you act in?

I filmed five scenes and one made the final cut. I am walking with Amy Adams (Edith) and pushing the child, who I am the nanny for, in a stroller when Jay Giannone approaches us and asks Amy for a line of credit. Amy gets upset with me for sharing information with him that I shouldn’t have about her banking connections. I apologize and we walk away, with Jay calling after me “Rebecca, tell her I never missed a check… Rebecca.” (Rebecca was my name in the script, which just so happens to be my birth name.)

3. Which of these scenes made the final cut and which scenes didn’t?

My apology to Amy was cut, but the rest of the scene remains. If you listen carefully you can hear my voice at the top of the scene. Amy, Jay, and I also filmed a second similar scene, which was omitted from the finished film. I am still so grateful to have made it into the film, period. Additionally, in the original script Amy Adams’ character was from England (not New Mexico as it says now in the completed film.) I and two other female actors were playing her friends and we were all nannies. They filmed us all getting our passports stamped together at customs, traveling in a taxi together, and arriving in New York City with our luggage. We also enter the pool party scene together arm and arm. All of these scenes were cut; the pool party is in the film, but it doesn’t show us walking in with Adams. Because we were supposed to be from England, I delivered my lines with a British accent, which I luckily felt pretty confident with since I had taken a dialect course when I was a Theatre major in college. Interestingly, David O. Russell didn’t hear me speak with a British accent until the day I was to film the scene with it, so he must have just trusted that I could pull it off and I received no dialect coaching on set. Another interesting tidbit: Amy had originally filmed all of the opening scenes with a British accent, but they did ADR work in post to change her to have an American accent in this first few scenes because of the script re-write. She now only has a British accent in the film when she is conning as Edith Greensly.

4. What other actors did you work with and what was that like?

I worked mostly with Amy Adams and she was so awesome to be around. She was so surprisingly normal and easy to talk to and super funny. My nanny friends were played by Hannah Yun and Rachel Bartolomei, who were also great. We became close working long days together. And, of course, the day I worked with Jay Giannone was unforgettable. It went so smoothly and was of one of the best days of my life. I also had my make-up done sitting next to Christian Bale while he was getting into hair and make-up. I didn’t really get to know him, though, as he is quiet and likes to focus on getting into character, which obviously seems to be working for him given his track record of outstanding performances.

5. What was your experience like working on this film?

It was truly a dream come true and life-altering. This opportunity came at a time when I least expected it, which was the ironic part about it. Having a principal role in a major motion picture had long been a dream of mine and having it come true really rekindled my faith in my acting career. I was very nervous before it was time to film my big scene, but found myself feeling really prepared, relaxed, and in the moment once the cameras were rolling, which I surprised even myself with. On the day I was given lines, I was not given a script, and David O. Russell just fed me the lines during a rehearsal right before shooting. He is very hands-on and walked through the scene with me as if he was in it. I think my experience with improv and interactive theatre prepared me well for this type of directing, as it didn’t scare me at all. When I was done for the day, I couldn’t wait to come back for more. It really left me yearning to experience more on a film set like this with the world’s best actors and crew.

6. How did you get your role?

While I have had hundreds of auditions over the years, the amazing thing about this is that I didn’t have to audition for the role. I had first been selected and narrowed down from a bunch of pictures. I was then asked if I’d be willing to wear a bathing suit for the pool party scene, and initially hesitated, but then said I would do it if I could wear a one-piece suit since I don’t have what you would exactly call a bikini body. They agreed and I was given the role of one of the nanny friends of Amy Adams. The costume department even ended up making me a whole new bathing suit cover-up specifically for me. I was told I would be featured background with the possibility of an upgrade. The awesome casting associate, Ashley Skomurski, of Boston Casting recommended me to David O. Russell as being an actor good at improv, who could handle an upgrade. The upgrade to principal did happen and I am forever thankful to her and Boston Casting for putting in a good word for me.

7. What other work have you done recently?

I recently had a principal role in a MA Health Connector commercial, which is still airing frequently on several channels. I produced and assistant directed the short film MILDRED’S MILLIONS, which is now starting to play at film festivals. And, I am always busy running my company, Talent Tools, as well.

8. What are your upcoming projects?

I have the lead role in an indie feature film, which begins filming in March (title TBA,) which I am really looking forward to. I am also keeping my fingers crossed about other projects I am currently being considered for… Stay tuned!

9. What are your reasons for being a Boston-based actor and pursuing your career here?

I grew up here, my family is here, and I love the acting community in New England. I’ve been a part of the film scene in Massachusetts since the tax incentives were first put into place and I’m invested in helping to build the industry here. I have tried my hand at the New York scene and it’s not for me, nor is LA, which I’ve visited. Boston is my home and I’m here to stay. Plus, the opportunities that I have received here would have been harder to achieve in a larger, more competitive market.

10. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Persistence, preparation, and positivity. When I decided to pursue acting as a career I had people tell me to get my head out of the clouds and to stop dreaming. I’ve also had people tell me I was too big (physically) to act for a living. If I had listened to them, I would have never had the success I have had. I have worked hard for over ten years at this. I have taken dozens of acting classes. I have auditioned for countless jobs that I didn’t get. But it doesn’t go unnoticed. Remember that when you audition, you are auditioning not just for that role; you are auditioning for all future work. If you do a good job you will be remembered, and some day, if you don’t give up, a role will come around that will be right for you and it will make it all worth it. Also, this may be obvious, but – be nice. Being nice to people goes a long way and makes you likeable. And be professional – show up on time, prepared, and ready to work at every audition and job. Likeable, professional people get hired.

11. Is there anything else that you would like to add?

The last day I worked on AMERICAN HUSTLE was the same day the Boston Marathon bombing occurred. Luckily, we were filming in Worcester that day and were not in any real danger. It was a very bittersweet day, with this tragedy that occurred. Boston has had a tough year, but we have also had a great year. When the Red Sox won the World Series it was a moment for us to feel pride in Massachusetts. I feel “AMERICAN HUSTLE is another “Boston Strong” moment for our state. This is a movie for us all to feel proud of.

Billy “V” Vigeant

I did a scene with Amy Adams. I play an FBI Security officer. I escort her to a cell and toss her into a padded room. The scene was cut shorter than originally shot. I was filmed walking with her by the arm and I then approach the cell door and open it and fling her into the room. She then runs back towards the door and I close it on her. They filmed me closing the door and then just standing in the hallway after all that. The final cut shows the back of me walking with her and then throwing her in the cell, but closing the door and me standing there were excluded.

Amy Adams was a treat to work with. Very personable and very friendly. I was surprised how small she is. David O. Russell is a blast to be directed by. His non methodical thinking and creating on the fly is a treat to watch and be a part of. I was amazed how he remembered me from working on THE FIGHTER. He’s very kind and very flexible with his on set creation of scenes on the fly approach. Sadly enough I was to film a scene with Robert DeNiro and the following day, after being fitted for the scene, I was called to be told David O. Russell canceled the featured background for that day.

I’m from Rhode Island, but work mostly in the Boston Market. I have worked in New York and Connecticut, as well, but consider Boston my home base. The Boston film market is incredible and quickly becoming a Tour de force in the filmmaking industry. It has it all and I’m very proud to be a part of it and to be considered an adopted son to it.

This year I’ve worked on eleven film projects and most recently “Self Storage” and “Army of the Damned” were released to over 100,000,00 million homes, with VOD and nationwide releases in January. Also, I just finished the film KILLING KHAN, a Vendetta Motion Picture, in which I co-star as Ivan. It was filmed in Boston and surrounding towns. Next up is BLUE SUEDE, in which I graduate to a lead role as Mafia Don Franco Pizzan alongside Robert Miano, who starred in DONNY BRASCO with Al Pacino and Johnny Depp. This is an epic crime drama that is scheduled to start filming in February 2014. All in all, I’m excited and proud to be a part of the Boston film community and look forward to working on the projects to come. It’s going to be a great 2014 and thank Angela Peri for the opportunities to be a part of such legendary films as AMERICAN HUSTLE.

Erica McDermott

1. What was your role in AMERICAN HUSTLE?

I am a con artist/ the girlfriend of character Carl Elway.

2. What scenes did you act in?

I am in the scene when Irving is first meeting with Carl Elway to discuss plans. I burst into the meeting with Edith and Ritchie. I am also in the scene when Carl is getting arrested; I am wearing an old school slip and freaking out.

3. What other actors did you work with and what was that like?

I worked with Shae Whigham, Bradly Cooper, Amy Adams, and Christian Bale. It was great to work with Christian and Amy again. I had a blast getting to know Shae and Bradley.

4. What was your experience like working on this film?

I work well with David O. Russell. He is smart, funny, and is able to get the best out of me. It’s exciting to be part of his films; the stories he tells are always so captivating. The people that I’ve gotten to know and had the privilege to work with have been the best teachers.

5. How did you get your role?

Although you may not see it from the few moments I have in the film, there really was a ton of work that went into this for me from the first audition in January to the last day of filming in May. I auditioned over the course of three months. Lots of improv, character development, and taping in between. Wigs, authentic retro outfits, dialect coaches to perfect my accent, and a day of screen testing were all part of it. I was officially cast at the end of March, and I was beyond excited.

6. What are your upcoming projects?

I will be doing quite a bit of theater over the next few months, we are in early discussions with producers about a feature comedy, and I’m looking forward to a busy pilot season.

7. What are your reasons for being a Boston-based actor and pursuing your career here?

With the Mass Tax Film Credits – opportunity is here for me. Boston is my home and this incentive makes it possible for me to live here and work.

8. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Practice, take classes, stay focused, and be in the moment during auditions. My friend, Kevin Lasit, gave me the best advice and I believe it’s true: “Ask for work, not fame.”

Jay Giannone

1. What was your role in AMERICAN HUSTLE?

Jim, the Suburban Businessman.

2. What scenes did you act in?

I acted in three scenes. One with was with Amy Adams and Christian Bale; I was one of the businessmen. Two were with Amy Adams and Becki Dennis.

3. Which of these scenes made the final cut and which scenes didn’t?

One of the scenes made it in, where I’m trying to get a line of credit from Amy Adams character.

4. What was your experience like working on this film?

It was wonderful. David O. Russell treats me like family and makes it an interesting, fun experience. David and I have been close since 1999, when I first met him working on WE THREE KINGS and we have stayed in touch since… He believes in me. We have a natural, organic relationship. I thank Mark Wahlberg for putting us in contact with each other.

5. How did you get your role?

I auditioned for Mary Vernieu, the LA Casting Director, in LA. I was booked off my first audition. David was familiar with my work and liked what I did.

6. What other acting work have you done recently and what are your upcoming projects?

I recently played Joe in GOD ONLY KNOWS with Toby Jones and Harvey Keitel, written by Emilio Mauro of Boston. I have a lead role in THE WITCHING HOUR filmed in Boston, and also have acted in THE LIFE and UNTOLD. I believe you shouldn’t wait for roles and should always be creating your own work, which is why I write, produce, and direct my own films, too. I am directing a movie about Alzeimers in April with Taryn Manning and a TV show I wrote, Diesel, is currently in development.

7. Where are you based and are your reasons for pursuing your career there?

I am originally from Boston, but am now LA-based and have been for eighteen years. I come to Boston a lot because it is where my heart is. Thank god for the wonderful casting directors back home. I have been blessed that Angela Peri and Carolyn Pickman call me in for projects. Because of them I have got parts in films such as THE GAME PLAN, GOD ONLY KNOW, WHAT DOESN’T KILL YOU, and now AMERICAN HUSTLE. I have now done eight movies in Boston and many have been Blockbuster hits. For me to be able to go home and work is the best thing, so I can be with my family.

8. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Don’t give up. You’re going to get discouraged and get the door slammed in your face. Keep your chin up and don’t get down. Your performance can be great in an audition, but the director may not see you in the role. Just keep on moving forward and your time will come. Create your own projects. Do what you love. Don’t compete with anyone except yourself.

Melissa McMeekin

1. What was your role in AMERICAN HUSTLE?

I play Alfonse Simone’s assistant. Simone is played by Paul Herman from GOODFELLAS and SILVER LININGS PLAYBACK.

2. What scenes did you act in?

I filmed a few scenes, but not all made the final cut.

3. Which of these scenes made the final cut and which scenes didn’t?

The pool party scene and a key scene that I can’t get into or it would be a spoiler. However, my lines were cut from both scenes and they were a bit whittled down. But I’m certainly not complaining! That my face just pops up at all in this movie is pretty cool.

4. What other actors did you work with and what was that like?

I worked with Christian, Amy, and Bradley. It was great. This was my first time working with Bradley, although I had met him before at a visit to the editing room of SILVER LININGS PLAYBOOK. It was really fun to reunite with Christian and Amy (who I worked with on THE FIGHTER.) Christian is incredibly funny and charming and I really enjoy being around him and joking with him.

It was so great to work with Amy again, especially since our characters weren’t supposed to hate each other this time… she’s so warm and down to earth, and I enjoy being around her. Not only were they a lot of fun, but they were all so incredibly talented and focused. I learned a lot; it was really like a master-class. I’m so impressed and amazed by Amy and the way she immersed herself completely and the places she let herself go to. She really showed me how to be fearless and brave, and I’m very proud of her and really rooting for her. And Christian is like some kind of freak of nature in the way he transforms completely, and is without question one of the best actors of our generation. To have been given the gift to learn from him up close and just being around him is priceless.

5. What was your experience like working on this film?

It was nothing short of amazing. This movie is definitely going to be a loved and well respected part of cinematic history, and to be even the teensiest part of that is unreal, and the fact that I was with people that I have a rapport with just made it so great. I love working with David. I love the way he works and I love watching him work; he gets so in to it and it’s really inspiring to witness his passion and creativity in full force. And he has become one of my very favorite people, he’s very fun to be around, he shares my affinity for jokes second graders enjoy, and I love laughing with him.

6. How did you get your role?

I had an initial audition with Boston Casting, but all of the larger roles went to established actors out of LA as everyone wanted to work with David. He very graciously called me and told me he created a place for me and asked if I’d like to make a cameo appearance in the film. I was incredibly humbled and honored.

7. What other acting work have you done recently?

I just finished working on BUSINESS TRIP with Vince Vaughn and have been working down in NYC trying to build my TV credits. My goal is to get a series regular role on a show.

8. What are your upcoming projects?

I’m currently working in NYC on Steven Soderbergh’s new series, “The Knick”. It will air on Cinemax in 2014. I have a recurring role playing the real Typhoid Mary. I also am in the early development stages of a script that I wrote and am currently working on writing a TV pitch for a one hour drama.

9. What are your reasons for being a Boston-based actor and pursuing your career here?

I love living in Boston. I am not from the area originally, I’m from Washington state. I moved here seven and a half years ago for no reason other than I wanted to live here. I had no family, friend, or ties of any kind to the area and had, in fact, never even visited the area before I stepped foot off an airplane to live here. The best way I can describe it is that when I would look at pictures of New England I felt homesick. And, indeed, it truly feels like home to me.

So it is very important to me to find a way to do what I love and still get to live where I love. It has certain challenges, sure, and I have to travel to NY a lot and have gotten very used to putting myself on tape, but it is all worth it to me when I walk around Rockport or meet a friend for lunch on Newbury St. And I believe there is just so much talent here in New England, so it has also become very important to me to write and do what I can to bring work here.

10. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Work on your craft. Train. Take classes. Both Boston Casting and C.P. Casting have one day workshops where you can meet the casting directors, and that is great and I strongly advise that, however, I am a believer in the adage that “success happens when preparation and opportunity meet.” So while it’s great to get on the CD’s radar, you need to be prepared for when that opportunity does come along, so you should look in to their other more in-depth classes, as well. I did stage for years, and worked on my craft taking classes and working with a private coach.

I also recommend to new actors to work as much as you can; do plays, short films, student films, etc. Work creates work and you will get better and more confident. This also helps you build a resume and have something for a reel. Outside of Boston you really need to have a reel to compete as a lot of submissions won’t even be looked at if a reel is not attached. This doesn’t have to be major films with major stars.

And we are so blessed here in Boston in terms of the colleges and universities that are here and the superb film programs. If you are willing to go to NY for work, NYU has an amazing film school and they are constantly doing student films of really great quality.

11. Is there anything else that you would like to add?

I’m just really proud to be a part of this dynamic and talented community and was so thrilled to see so many familiar faces on the screen in AMERICAN HUSTLE. I felt true and sincere pride and can’t wait to see the local industry grow.

Rob DiNinni

1. What was your role in American Hustle?

Desperate Businessman. I’m humbled and grateful to play a small role in a widely acclaimed film.

2. What scenes did you act in?

An office scene where I’m desperately asking for money; a loan. It was mostly improv and additional direction from DOR… I embezzled money from my own parents clothing manufacturing business located in the garment district NYC, and traveled to France numerous times and bought cars and boats on my parents company money for love. Or was it lust? Either way I’m in big trouble and my parents will disown me.

3. Which of these scenes made the final cut and which scenes didn’t?

Most of my scene was on the cutting room floor except a small part used in a montage. I’m one of three of the business types begging for money.

4. What other actors did you work with and what was that like?

Amy Adams and Christian Bale: It was very rewarding to work with such generous actors fully committed to their characters.

5. What was your experience like working on this film?

It was an invigorating and inspiring process, which left me begging for more time on set with the desire to perform more with actors of their stature and a director/writer hitting his stride, enabling incredible acting performances and filmmaking.

6. How did you get your role?

Model Club, Inc. got me an audition with Boston Casting’s, Angela Peri. Angela put me on tape for an audition and after three callbacks I auditioned for a final callback directly with David O. Russell.

7. What other acting work have you done recently?

I played the lead, Cause, for a new comedy play, “The Break-Up of Cause and Effect,” which premiered at the Festival Fringe in Edinburgh, Scotland and then performed in London – thirty shows from August through Sept 2013.

8. What are your upcoming projects?

As Principal of StageCoach Improv, I have a few holiday improv and sketch comedy shows and I’m also involved in writing a new comedy short film for a web series on dating and relationship traps.

9. What are your reasons for being a Boston-based actor and pursuing your career here?

I moved to Boston for a sales job and was wishing to do stand-up and theatre, which I did to kick off my acting career on stage and film throughout New England, coming from Rotterdam in Upstate NY. I’ve been acting and performing since 2003 and am looking to go bi-coastal LA and Boston.

10. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

My advice for actors looking to land roles in a major picture is to keep working your chops on independent films and industrial videos to increase you comfort and confidence on a film set. Audition a lot and take classes for auditioning and improv so you focus on the role, the character, and the choices you make to emotionally commit to the scene and the moment so you can let go that it’s a major motion picture… it’s just another film. And, make sure you are visible to all casting directors by making them aware of your performances in fun and creative ways. And, keep an eye on who is casting for major motion picture films and find ways to get an audition, get yourself seen, and of course, an agent can also help.

11. Is there anything else that you would like to add?

You must love, love auditioning and prepare like you’re shooting that day and that mindset will hopefully translate into a more relaxed state to give you more impact and presence on film. Be true to you, showcase your personality, and take risk to heighten, not sabotage a scene.

Sean Eklund

1. What was your role in AMERICAN HUSTLE?

I played a street punk.

2. What scenes did you act in?

My scene was to get into a fight with Bradley Cooper on the street.

3. What other actors did you work with and what was that like?

I worked with Bradley Cooper in that scene, but was able to be around the set and entire cast for days. They were amazing!!

4. What was your experience like working on this film?

It was a phenomenal experience, as is working on any David O. Russell film.

5. How did you get your role?

Through Boston Casting and David O. Russell.

6. What are your reasons for being a Boston-based actor and pursuing your career here?

I live in Lowell and over the past few years there has been a major increase in major motion pictures being filmed in the Boston area.

7. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Just to audition as often as possible and never give up!

8. Is there anything else that you would like to add?

Just how amazing everyone on the set was. From the entire cast and crew, nothing but true professionals and top tier talent!!

Steve Gagliastro

1. What was your role in AMERICAN HUSTLE?

Agent Schmidt

2. What other actors did you work with and what was that like?

I was fortunate to work with Christian Bale, Amy Adams, Bradley Cooper, Louis C.K., Jeremy Renner, Shea Whigham, Liz Rohm, Erica McDermott, and most importantly, my partner, Chris Tarjan (Agent Stock.) It was inspiring to watch such accomplished actors find the right tone and perfect their timing. I realized the experimentation and methods they executed in front of the camera were universal. All actors use them in some form or another. What was clear to me was the preparation before they got to set. This is what separated these actors from their peers.

3. What was your experience like working on this film?

I was very fortunate to spend a good deal of time on set. Together with my partner, Chris Tarjan, we became very familiar with everyone who was there on a daily basis. From hair and makeup, to props, to AD’s and PA’s, they all got to know and trust us. This trust is important when it comes to the delicate issues of privacy and respect that surround high profile sets.

4. How did you get your role?

I auditioned through Boston Casting, had a callback for David and got it!

5. What other acting work have you done recently?

Most recently I was on the US National/North American Tour of “Buddy: The Buddy Holly Story” and I am performing in the Hanover Theatre’s production of “A Christmas Carol” in Worcester through December.

6. What are your reasons for being a Boston-based actor and pursuing your career here?

I am from Worcester originally and have settled here. My family and side work are here, as well. I am on the road so often that it makes sense for me not to have an expensive apartment in NYC or Boston when they are so accessible to me (one hour to Boston, three and half to NYC.)

7. Do you have any advice for actors looking to land roles like the one you had in a major motion picture?

Be yourself. Casting directors are seeking interesting, talented people, not cookie-cutter actors. And, of course, prepare.

8. Is there anything else that you would like to add?

As a full time performer, it is heartening to see the high level of work created here in New England. We are an excellent community filmmakers should utilize. Whether it is the exceptional talent base or the diversity/proximity of locations, Boston and its’ surrounding communities are ideal for shooting. Except desert locations, those we don’t have.

Steven Barkhimer

I survived the cut. I’m one of the guys begging Christian Bale for a loan as Amy Adams looks regally on. David had me play the HBO producer in THE FIGHTER, the one making a documentary about crack addiction, so I had a working knowledge of his singular directorial style – not for the faint of heart, by the way. So when I was called in for AMERICAN HUSTLE he gave me a tremendously warm welcome at the audition and afterwards said there should definitely be a spot for me in the film (even if not as large a role as in THE FIGHTER.) They were keeping a pretty tight lid on information about the project, so I didn’t even know Christian Bale and Amy Adams were in it until I got to the shoot that day. Not surprisingly, I had to do a double-take before realizing it was actually Christian walking right by me onto the set, looking well-fed and skeezy in his purple velour jacket, with a hilariously pathetic comb-over.

My prior experience with David O. Russell served me very well on this day because time was getting very limited and the pressure became pretty intense to get it done. Several of the “businessmen” were lined up and one by one, and we were to go beg Bale for money. This is also when I found out Amy Adams would be in the scene as well. Okay. We were to be fired one after the other out of the torpedo chute into the room, do our scene, and get the hell out. Next! A revolving door, bam, bam, bam. Well, David’s films do have scripts; however, what he likes to do is prompt the actor as the camera is rolling. He suggests things that you aren’t expecting, and you just have to go with the flow and be ready to improvise. Or often he will just suddenly order you: “Do This. Now! Faster. Again. To the left? The left!!” It does give a wonderful immediacy and improvisatory sense to scenes, but it can be unnerving for the unsuspecting or the uninitiated. I’m sure it makes editing very interesting, too!

On other scores, a play of my own called “Windowmen” just finished a gratifyingly successful and well-received production at Boston Playwrights Theatre and is now in consideration by several theatres around the country.

Before I came to Boston back in 1998, I’d taken a couple years off the circuit to pursue a Master’s degree among other things, but I’m glad I didn’t run right back to New York as a sort of default. There are marvelously talented actors, directors, playwrights, producers, designers, etc., right here in Boston, and it is an extraordinary honor and pleasure to have worked almost non-stop here for most of the last fifteen years.

In January, I head back to the theatre with the Actors Shakespeare Project (now in our tenth season) in a production of “The Cherry Orchard” before I perform in Beckett’s “Krapp’s Last Tape” in March and April.

*These responses were contributed by the actors themselves, except for Angela Peri and Jay Giannone, who were interviewed by Becki Dennis. Please note that there are other Boston actors who had roles in “American Hustle” who did not contribute to this article.

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