he Georgia entertainment industry is one of the most exciting industries, both economically and culturally, to come to our state in a long while. Our industry fosters inclusiveness, adventure, creativity and opportunity to all. Regardless of age, ethnicity, skin color or socio-economic background, the entertainment industry in Georgia is truly an equal opportunity zone. This fabric is why Georgia Entertainment only has one direction to go. Up. We hope you enjoy all that this issue has to offer. In each issue of the magazine and on each episode of Georgia Hollywood Review TV, we will cover the unique tapestry of talent, both above and below the line, that makes the Georgia film, television and music industry vibrant, strong and fascinating.
Mila Harris ON THE RISE IN DISNEY’S NEW THRILLER , “NO EXIT” GEORGIA SUPERSTAR
LETTER FROM THE PUBLISHER
Publisher/Founder/Editor-In-Chief: Miles K. Neiman
Tell It Like It Is
Managing Editor: Carol Badaracco Padgett
The movie business in Georgia is poppin’. It’s quite clear that the industry is not only here to stay in the Peach State, but is here to thrive. The pages that follow chronicle that journey. Georgia Hollywood Review tells the stories of the storytellers. The traditionally marginalized. Black, white, or brown. Gay or straight. Male or female. He, she, or they. It’s time to tell the stories of the other side. Time to balance the scales. Not only are these stories interesting and relevant, but they are fresh, new, and exciting per- spectives for the viewer. They give us lift and inspiration. They tickle our empathy while touching our curiosity.
Georgiahollywoodreview.com to learn more. These events, named “Thursday Night Live,” are on fire and are authentic ways to connect with both peers and lead- ers in the entertainment industry. Not to mention, they are a damn good time. With live billboard musical acts and live televised roundtable discussions with actors, direc- tors, producers, and tastemakers of the industry, it’s a great way to educate your- self while enjoying a full bar and good eats, one Thursday a month. In this issue there are many noteworthy stories. From Maggie Gyllenhaal’s directo- rial debut of The Lost Daughter , to the story
Proofreader: Denise James
Magazine Designer: Brenda J. Oliver
Advertising Design: Sharon Jollay
Photography: Bobby Bosston Mia McCorkle Lance Thomas
Distribution: TGS Media LA Print LLC
of a Southern son making A-list whiskey in Colorado, to the cover story on up-and-comer Mila Harris in her new debut, No Exit . Harris is a star to watch. She’s got chops beyond her years and her passion for the craft is already clear. And Academy Award-nominated Gyllenhaal is honing her bril- liance in ways that make us proud, celebrating stories of women that deal with both empowerment and struggle. So read away. And until next time, pop the corn, or whatever you fancy, and keep watching the films and TV series that make you smile, cry, and most importantly, walk a mile in someone else’s shoes.
So kick back, grab your pleasure, and read about these muses in the pages that follow. We expanded Georgia Hol- lywood Review magazine into Los Angeles at the end of 2021 and we are gearing up to expand into Manhattan, as well, at the end of 2022. Our triangle of entertainment will never be complete, however, as the stories never end. They are as infinite as the creative process and as fascinat- ing today as they ever were. We also host monthly entertainment industry net- working parties in Atlanta, and will be doing the same in Los Angeles later in the spring. Go to our website at
Advertising Sales: miles@georgiahollywoodreview.com
Sales Support: Cristina Colomer
Georgia Hollywood Review TV Hosts: Angelo Diaz Andry Palacio Jai Santiago
Sincerely,
Videographer: Jason Jones MONUMENTALmedia Contributing Writers: Carol Badaracco Padgett Connor Judson Garrett Echo Montgomery Garrett Tess Farmer Simha Haddad Tracey Hawkins Julie Herron Carson Jessica Holthaus Badour Ellen Howle
Miles Neiman
about the cover
The Georgia Hollywood Review is published every other month by Georgia Hollywood Review, LLC. Repro- ductions in whole or in part, without expressed writ- ten permission of the publisher, are strictly prohibited. The Georgia Hollywood Review is not responsible for the content or claims of any advertising or editorial in this publication. All information is believed to be accurate but is not warranted. Copyright 2022. Send inquiries to 227 Sandy Springs Place, Suite D-288, Sandy Springs, GA 30328. For more informa- tion, contact miles@georgiahollywoodreview.com.
Pictured: Mila Harris who stars in Disney's New Thriller, No Exit . Photography: Courtesy of Disney
Jerome Jackson Denise K. James
Jessa Jansen Tierra Jones Chris LeDoux Autumn Murray Michael J. Pallerino Mary Welch
Visit our webpage: www.GeorgiaHollywoodReview.com
Social Media: FB @gahollywoodreview IG @georgiahollywoodreview
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CONTENTS
8 georgia power players GO Media Productions 10 a-list art Danny Simmons 12 a-list security Jan Du Preez of RMA 13 reality tv
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Kenny Kim in Mat Made 14 writer/producer Genevieve LeDoux 16 georgia actor Muretta Moss Anthony J. James 18 non-profits in film The Creatives Project 20 southern studios Tate Taylor's Crooked Letter Picture Company 21 thursday night live 22 lgbtqia+ Kentö 24 actor/model G. Eric Smith 26 young star on the rise Mila Harris
30 atlanta producers Justin Poage of Fifteen Studios 32 producer/director Nadine Velázquez 34 a-list whiskey Distillery 291
30
36 l.a. vibe Deighton Mckoy Edward Finlay Cheryl O. Bedford of Women of Color Unite Playhouse West 41 music phenom International Nova 42 realtor for the stars Pam Hughes of Harry Norman Realtors 43 designer series Nuhaus Knows 44 new releases Maggie Gyllenhaal's The Lost Daughter
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CONTRIBUTORS
Carol Badaracco Padgett
Tracey M. Hawkins has been a contributing editor and writer for various print publications,
Connor Judson Garrett
Echo Montgomery Garrett has written for more than 100 media outlets, including Delta Sky, Parade,
is an Atlanta-based writer and copywrit- er. Over the past 30 years she has written
was the 2017 Edward Readicker-Henderson Travel Classics Award recipient, honed his
Photo by Kevin Garrett
such as The Thirty-A Review, American Contemporary Art, and Frontier Airlines magazines; as well as award-winning websites, galleries and novelists. She has served as a collegiate Professor of Art History, as well as a collections consultant, curator, and artists’ representative. traceymhawkins.com and skrybes.com
for the Atlanta Business Chronicle , Oz Magazine, National Real Estate Inves- tor, Waste Age, Retail Traffic, and other B2B and B2C publications. She also worked as a copywriter crafting copy for Revlon, Georgia-Pacific, Stainmaster, and Publix. She loves to meet people, find their spark, and share their stories. Reach her at badaracco.carol@gmail.com .
craft as an advertising copywriter in Los Angeles. He is the author of two poetry books, Become The Fool and Life in Lyrics; a novel, Falling Up in The City of Angels; and a co-authored mind-body self-help book, The Longevity Game. His writing has appeared in Private Clubs Magazine, South Magazine, and Hook & Barrel.
ABC.com, AARP, The Atlanta Journal- Constitution, and Business Week . She’s the author of 20 books, including multi-award winning My Orange Duf- fel Bag: A Journey to Radical Change. Up next: a book called Unsung about growing up around Nashville’s Music Row with parents in the industry.
Julie Herron Carson ,
Jessica Holthaus Badour From veteran com- munications specialist to preeminent food safety professional,
Denise K. James
Jessa Jansen is the founder of J Squared Ven- tures and a regular contributor at The Boom Bap
is an independent writer and editor based in Atlanta with clients across the Southeast. When she isn’t working, you can find her exploring the city or dancing around her apartment —or on another road trip.
an Atlanta native, has over 30 years of public relations and feature writ-
Hour Podcast Blog, Sociomix, The Borgen Project and more. Connect about writing projects on Medium @jessajansen.
ing expertise. Her specialties in- clude media relations, newsletters, website writing, and cause-related marketing, as well as feature writing for The Thirty-A Review magazine and Atlanta ShowGuide . Julie is a graduate of the University of Geor- gia and lives in northeast Atlanta with her husband and teenage son.
Jessica Holthaus Badour has built a successful and diversified career de- veloping compelling means of sharing information while engaging the public on essential issues. She is currently working full-time for the Georgia Department of Agriculture while freelancing in her spare time. www. linkedin.com/in/jessicaholthausbadour
Autumn Murray has written for various print and online publications includ-
Michael J. Pallerino is an award- winning writer who has written for a number of national B2C and
Mary Welch is a veteran writer and editor who has worked for a number of publi- cations, including the Atlanta Busi- ness Chronicle,
Chris LeDoux Alaskan born and bred, Chris earned degrees in both psychology and sociology, but his fascination with cinema and filmmak- ing instead led him
ing The Plunge, Divine Lifestyle,
and Simply Amazing Living . Authority Magazine and Thrive Global declared her a “Social Media Impact Hero” for her “Choose Love” campaign to pro- mote acceptance and diversity. She is working on a book about her life and overcoming abuse while inspiring oth- ers to Choose Love in all situations. autumn@simplyamazingliving.com
B2B publications. When he is not lost in his writing, music and binge watching, Michael can be reached at mpallerino@gmail.com.
to the world of visual effects. Chris’s impressive résumé includes composit- ing and VFX supervision on numerous films and TV shows, including 12 Years A Slave , Doctor Strange , The Greatest Showman , and Better Call Saul . Chris has also directed major music videos and led visual effects teams. craftyapes.com
Travelgirl Magazine, Atlanta Woman, Business to Business, Car Business Today and biography.com . In her spare time she enjoys travel- ing with her son, Grady, and tries to fix up her 100-year-old home in Virginia-Highland. www.marywelchwriter.com
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GEORGIA POWER PLAYERS The Superpowers Behind GO Media Productions Wayne Overstreet and Len Gibson deliver a strong punch of industry business acumen and keen creative vision By Ca ro l Bada r acco Padge t t
W e look at projects from a few different angles,” says Atlanta-based GO Media Productions’ Co-CEO, Wayne Overstreet, when you ask him what kinds of projects he’s looking for alongside his business partner, Len Gibson. “Does it have wide market appeal, does it have what’s considered a bankable cast, is it a project we can get behind even if it doesn’t fit the boxes?” And he adds, “For us, that’s often faith and family- based projects, which are our passion.” As a production and distribution company, though, GO Media Productions produces all genres of content. And its Co-CEOs are multi-faceted. “We develop projects from a business perspective first,” as Overstreet puts it, “while always trying to maintain the creative vision.” Simply put, they are able to straddle between their love of excellent content and the necessary business maneuvers to bring that content to life—and the results speak for themselves. Most recent case in point, film For the Love of Money , starring Keri Hilson and Katt Williams and directed by Leslie Small, that debuted in theaters across the nation on Thanksgiving 2021 and is slated to be available on VOD in March 2022. The crime drama, produced by Melvin Childs Presents, is about a Brooklyn-raised, street-smart single mother, Gigi (Hilson), who has walked away from a billion dollar enterprise to follow her own path and safely raise her daughter. When an opportunity arises to make a large sum of money, her past is suddenly staring her in the face. Overstreet and Gibson serve as executive producers of the gritty drama, along with Atlanta-based actor Cedric Pendleton who also appears in the film as one of its main characters, Brian. For the Love of Money was one of seven films the GO Media Productions business partners have executive produced and produced since 2019, and they also have three streaming channels—Influencer TV, Good Life Television, and Global View TV—on the cost-conscious cable alternative TikiLIVE, a user content generated IPTV platform that offers access to premium cable and satellite channels from smart devices. Before GO Media Productions, Overstreet and Gibson spent time building up their film and TV industry strengths, learning the business inside and out. Overstreet, for instance, spent 20 years in post-produc- tion work, serving as operations manager at Atlanta’s Wolff Bros. Post for seven years, followed by another seven years there as general manager. “I started Overstreet
“
Wayne Overstreet and Len Gibson
receive quality post-production, which is often the difference between having a viable opportunity for distribution or not,” Overstreet says. “And that’s also how we developed a desire to become a distribution company.” When asked what’s next for the GO Media Productions’ duo, Overstreet says, “We’re developing several projects, in- cluding films First to Orion ; Committed , written by Len Gibson; and He Who Fin- deth , written by my wife and local radio personality Ramona DeBreaux.” In addition, they’re in post-produc- tion on several other projects, including Red Winter, which was produced by At- lanta film companies Smoot Films and Supremacy Films. Still another project in post is Sluttified , a documentary about the Slutty Vegan eateries, directed by Bart Phillips, executive produced and pro- duced by the Slutty Vegan restaurants’ owner, Pinky Cole, and co-produced by GO Media Productions. In all of the superpowers’ endeavors,
Photos courtesy of GO Media Productions
Production and Post in 2014 and then joined forces with Len Gibson in 2019 to form GO (Gibson/Overstreet) Media Productions,” he notes. For his part, Gibson is a 20-year industry veteran and founder of the 16-years-strong Peachtree Village In- ternational Film Festival. “Len and I have worked together on and off for over a decade, with him having a film festival and me having post-production,” Overstreet says. “It was a natural fit.” Both partners have taken their individual love for filmmaking and combined it into a mission, of sorts. “We both have a passion for helping filmmakers, so he would often send filmmakers to me to help them
several themes run strong: Atlanta, filmmaking, growth, and strength. As Overstreet confirms, “The Atlanta mar- ket is primed for continued growth and a place amongst the leaders in the film and television industry, as well as the entertainment industry as a whole. With the ef- forts of many alongside ourselves to finance productions, we’re building a sustainable model—able to support the growth of local filmmakers and actors.” GoMedia.productions | www.tikilive.com/channel/inf luencer-tv www.tikilive.com/channel/good-life-television www.tikilive.com/channel/global-view-tv
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A-LIST ART
Danny Simmons on Art Series Intertwined By Autumn Mur r ay
D anny Simmons is a renowned Neo-African abstract expres- sionist painter, published author, poet, activist, and phi- lanthropist. He has a degree in social work from New York University and a Master’s in public finance from Long Island Univer- sity in Brooklyn. In his 20s, his mother encouraged him to quit the job that he hated at the Bureau of Child Support and become a painter. Simmons founded Rush Arts in 1995 with his brothers, media mo- gul Russell Simmons and Joseph “Rev. Run” Simmons of the legendary hip-hop
"Day Break"
"My Big Blue Beauty"
Danny Simmons
group, Run-DMC. Their goal for Rush Arts is to fill the gap that the disenfranchised and people of color faced in both accessing the arts and exhibition opportuni- ties. Danny and Russell also established Def Poetry Jam, which enjoyed long-running success on HBO and won a Peabody Award for the television show and a Tony for the Broadway version of the show. Simmons’ work now appears in prominent institu- tions around the globe, including Brooklyn Academy of Music, Brooklyn Museum, Chase Manhattan Bank, Deutsche Bank, Schomburg Center for Research in Black Culture, The Smithsonian, and the United Nations. In 2021, he exhibited at the Mariposa Museum (Oak Bluffs, Massachusetts), and the Houston Museum of African American Culture. In 2022, Simmons is Artist in Residence with an ex- hibit at the Jamaica Center for Arts & Learning (JCAL), while also exhibiting at the Hudson Guild Gallery (Chel- sea, New York), and August Wilson African American Cultural Center (Pittsburgh, Pennsylvania). The artist took time out of his busy schedule to tell Georgia Hollywood Review about his upcoming Inter- twined art series on display at Town + Culture Gallery in Atlanta, open to the public from February 19 to March 18, 2022. GHR: HOW DID YOU COME UP WITH THE NAME “INTERTWINED?” DS: I created the Intertwined series during the start of the global pandemic. The artwork centers on themes of connection and isolation. Most of the paintings are combinations of African fabrics, other textiles, and paints. They are sort of mixed together in a way that they
WHAT ELSE CAN YOU TELL US ABOUT YOUR POETRY? Spoken word has been an important part of my life even before starting Def Poetry Jam with Russell. I have written five poetry books and I have
"Red Line District"
a CD with legendary jazz bassist Ron Carter on Blue Note Records—The Brown Beatnik Tomes. It is a live recording from BRIC House in Brooklyn featuring my poetry and paintings, and Carter performing solo accompaniment along with instrumental interludes from his fleet trio. Danny Simmons’ Intertwined series is presented with the support of The Works Upper Westside ATL and Platinum Sponsor FilmHedge, a fintech company that uses data to improve financing in TV and film. Jon Gosier, FilmHedge’s founder, says, “We are more than proud to sponsor this event and exhibit. The only medium that has changed the world more than cinema is art. We are honored to make this contribution in support of all artists who seek to change minds and inspire.” Simmons’ Intertwined series is curated by Denise Jackson at Town + Culture, who has created more than 100 art events and exhibitions of regional, national, and international artists. Jackson believes the mission of Town + Culture is to engage a broad audience with the arts. She is joined by co-curator and award-winning producer T. Bankolé on presenting the Intertwined art series.
are intertwined, so it is hard to tell where one starts and the other begins. HOW DID YOU DISCOVER YOUR LOVE OF ART AND POETRY? My mother, Evelyn, was an amateur painter. Growing up I would watch her painting on her tabletop easel. She would always bring home art supplies for me and teach me how to use them. She taught me how to paint. My love of poetry started with my father, Daniel. My legacy will be the Rush Philanthropic Arts Foundation (Rush Arts) in Philadelphia, which provides underserved youth with contemporary art education, and developing and supporting artists, curators, and new audiences. GROWING UP, WAS THERE ANY COMPETITION BETWEEN YOU AND YOUR BROTHERS? Honestly, no. We didn’t compete against each other as we were all focused on our own careers. Even Joey (Rev. Run) and Russell didn’t compete against each other, and they are in the same industry. We have always supported each other, and we are still close and talk several times a week to check in. He was a poet and wrote a couple of novels. WHAT DO YOU THINK YOUR LEGACY WILL BE?
@dannysimmonsjr | @denisejacksonartcurator
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A-LIST SECURITY
No Risks, All Rewards Jan Du Preez at RMA keeps us safe and secure By Den i s e K. Jame s
So what’s a typical day like for Jan now? Because he oversees a variety of security personnel on an array of posts, no two days are identical, and each day presents a new opportunity for solving problems and potential problems within the realm of security. From assessing the risk for a business, a factory, or even a school to the safeguarding of specialized production equipment, Risk Management of Atlanta does much more than just guarding an individual, although they do that, too. “Not all clients need to have a guard,” Jan notes. “There are multiple other solutions that are more cost- effective and sustainable than assigning a person to you. For example, some clients are technology-inclined, and they prefer massive amounts of cameras, but do they have someone to look at them—so it all depends on the clients.” Working with each client and finding out what exactly will suit their needs begins with a thorough risk analysis. The analysis can often yield potential risks the client had not considered, as well as simple methods to reduce said risks. “In the entertainment production industry, things we find [that jeopardize security] are how items con- stantly move around—one crew might put cables un- der the tree, for example, for the next crew to grab, but they might not know how many cables should be there. And simple procedures can reduce these risks. Another example: in studios, people love to open exterior doors to have access to the outside, and then they leave that door propped open the entire night instead of closing it,” Jan says. “We want to give our clients an exact idea of where these high-risk areas are,” he continues. “We want to analyze their risk profile and develop mitigations against these risks over time.” Jan points out that his experiences living in different countries and growing up in South Africa have given him a keen sense of how we need a better understanding of security, from our homes to our schools to our belongings. He also notes that today’s culture—the fact that many of us walk around wearing earbuds and looking at our individual screens—can make us susceptible to a myriad of security issues. “Security is everyone’s problem, not just the provider’s problem,” he says. “As a person who grew up in Africa, we are more security-conscious as part of our nature. Africa is tougher in terms of theft and so forth;
the culture there is just different. But here in America, there is a perceived sense of security that people live in; clients and people don’t suppose they need to secure things. Yet, the world has changed a lot—that perceived sense of security is not necessarily accurate anymore. We try to create security consciousness with our clients.” Jan embraces the challenges of opening everyone’s eyes—and has for the duration of his career in security. He values being able to shed light for every client and increase their knowledge as well as their safety. “We are a small company, not a corporate company,” he says. “We want to work with our clients, educate them, and develop relationships. RMA ownership is on the front line of all contracts, with our personal and custom approach. We will change the world, one day at a time.” “ …here in America, there is a perceived sense of security that people live in; clients and people don’t suppose they need to secure things. Yet, the world has changed a lot—that perceived sense of security is not necessarily accurate anymore. ”
Sheree and Jan Du Preez in Ghana
S outh African native Jan Du Preez met his wife, Sheree, an Atlanta native, while both were working in Ghana. After another move to Dubai—with Jan working in leadership consultation and management for school secu- rity and Sheree working in education admin- istration—the couple eventually relocated to Atlanta, where they’ve happily lived and thrived ever since. “She was born and bred in Decatur and dragged my butt here in 2017,” Jan laughs. As the new director of operations for Risk Manage- ment of Atlanta (RMA), Jan stays busy with a variety of projects, including security for big-name entertainment companies Warner Bros. and AMC, working on beloved shows such as The Walking Dead and Legacies , a spin-off of The Vampire Diaries . Having a wealth of security man- agement experience as a retired, 16-year combat veteran (Major) from the South African National Defence Force, Jan seamlessly pivoted into his current role. RMA started on the original version of The Vampire Diaries —a Warner Bros. production—and then its owners established themselves as a preferred provider for other projects the old-fashioned way, by “getting to know people and meeting new contacts.”
Twitter: @AtlantaRisk
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REALITY TV
Mat Made How a new Jiu-Jitsu-based reality TV show is turning Kenny Kim into a storytelling superhero By Mi chae l J . Pa l l e r i no
Kenny Kim
Kenny Kim, cast and crew on location filming Mat Made
Photos courtesy of Imani Givertz and Kenny Kim
opportunity to get an up close and personal look at disciplines of martial arts that changed people’s lives. Now it was time to honor the journey. With the book as the perfect introduction, Kim set out to tell their stories. For this part of the storytelling process, he would launch a reality TV show on YouTube. Mat Made —the TV show—follows Kim as he travels from city to city, finding and highlighting Jiu-Jitsu dis- ciples whose lives have been transformed by the practice. The show’s template is to document these redemption stories while visiting different cities, learning the city’s history, and indulging in some of the area’s best food. A native of Atlanta, the entrepreneur, athlete, author, and now reality TV show host has been involved in martial arts for more than 40 years. For the past 20 years, he has owned and operated Kenny Kim Brazilian Jiu Jitsu in Marietta, Georgia. “I always hear someone talk about how Jiu-Jitsu literally changed their lives,” Kim says. “My vision and hope for the show is to showcase the power of personal success through martial arts. The mats don’t lie. They teach us valuable life lessons.” The inaugural episode, filmed in Nashville, Tennes- see, features Ultimate Fighting Championship (UFC) vet- eran Dean Thomas. The duo visited Milton Bastos’ gym and highlighted one of his student’s stories. Kim calls the first episode surreal. From permitting, to learning the ins and
outs of the production, he was blown away by the experi- ence. “I’ve done some short video content before, but not to this magnitude. Walking into the gym where we were filming and meeting the crew members actually made me a little nervous, especially when you have four to five cameras in your face and a producer yelling, ‘Action.’” Kim says the early feedback from the show has been amazing, with gym owners from around the country psyched up about the premise. The long-term vision for Mat Made is to do multiple seasons and eventually film in other countries. As for the content, his favorite stories are always going to be students who use martial arts values to overcome hardships in life—whether that’s a self-defense situation, stepping out of their comfort zone, or finding the confidence to tackle the unimaginable. “The true power isn’t the physical techniques we learn,” Kim says. “Don’t get me wrong, those techniques are priceless. The true power is the mental superpower it gives us to be better versions of ourselves. There are millions of people who train and practice, and wherever there’s a mat, there will be a story to tell. I want to make sure we can capture that beauty.”
D uring the pandemic, Kenny Kim decided to write a book. The autobiographical story not only served as a way to help get him through the unprecedented times the world was facing, but also to pay tribute to the indelible impact the world of martial arts had made on his life. Mat Made was a personal success story—a story that Kim admits also includes the scores of people he met on his journey to becoming a 3rd-degree black belt in Jiu-Jitsu with more than 20-plus years of training under his belt. Traveling the world competing and conducting seminars, the past three decades had afforded him the “ There are millions of people who train and practice, and wherever there’s a mat, there will be a story to tell. ”
@kennykimbj j
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WRITER/PRODUCER
A Leap of Faith Writer and producer Genevieve LeDoux lengthens her stride By Den i s e K. Jame s
S even lucky years ago, Genevieve LeDoux moved to Atlanta with her husband. Though it felt like a crazy idea at first—she’d only been to Georgia for work and felt settled in her native California—once she’d taken a peek at the housing market and discovered “dream homes” on every corner at an affordable, non- Californian price, the plans solidified. “I had gotten a fortune cookie the night before we were moving that said, ‘Take a leap—the ones who matter will follow,’” she recalls. “I stuck the fortune inside my wallet. Now, my mother, sister, cousins, friends, and everyone are here in Georgia. It’s this great migration.” Furthermore, the “take a leap” philosophy has been a prevailing theme for the prolific writer and producer since that day—perhaps since even before then. As a child, LeDoux was passionately artistic, “always drawing on everything, an idea person, with a million ideas.” She reminisces about one afternoon when her dad was trying to rename his business, and LeDoux, a mere 6 or 7 years old at the time, came up with “50 pages of ideas for names.” The simplicity of her childhood (pre-internet, of course) continues to be an inspiration for how she parents her
own children and nurtures her craft. “Art, nature, stories— really PLAYING—it was all magical and so special to me, and now, I am that way as a parent,” she says. Fast-forward to high school graduation, when LeDoux initially considered a career in fashion design. A creative dresser and thrift-store-scouter, her taste beck- oned the attention of her peers, making fashion seem like the next logical move. When it wasn’t the right fit—yes, it was creative, but something felt missing—her dad sug- gested trying out his industry: architecture and design, which she enjoyed for the next 13 years as a designer and vice president of a notable firm. But her best was still yet to come. “That entire time, I was always trying to tell a story about the designs,” she shares. “You think of a house or business and putting in new carpet or painting it … but I was always trying to tell the story.” Following her instincts, LeDoux decided to pitch a TV show to Warner Bros. Animation; at the time, her sister was nannying for the family of the vice president. They turned down the pitch because they were develop- ing something similar, but they invited LeDoux to work for them as an assistant. “I learned about animation, kids’
Genevieve LeDoux
content, storytelling—and I got to work on great TV shows and learn from great men- tors,” she says. Opportunities with household-name companies soon followed, along with the chance to work on popular shows like My Lit- tle Pony and Yo Gabba Gabba . Then LeDoux found a clear-cut path with Christopher Keenan, who owned a company called Cre- ating4Kids (C4K) and who swiftly became her mentor. She easily thrived at C4K, noting Keenan was the “kind of boss who pushed you out of your comfort zone.” The results of being pushed, by the way, evolved into her
had help—her cousin, Andy Kurtz, an audio engineer and composer, was brand-new to kids’ music but ral- lied, thanks to LeDoux’s infectious enthusiasm. Also instrumental to the process is Chris LeDoux, her loyal husband, who, she says, “has been so supportive, doesn’t mind me singing at 3 a.m., and is pushing me forward every day.” So what’s next for Star Forest? Plenty—live concerts with the Star Forest virtual band that are family-friendly and perfect for kids, and a second album, already in the works as you read this. LeDoux has assembled a team of creatives who believe in the vision. From forest conser- vation partnerships to fully animated music videos, the stars have really begun to align. “We recorded the first album in three days in a shut- down office building,” she exclaims. “Now, we’re working on the second album. We feel less restricted and [more] sure of our sound–synth-fantasy folk pop, and it’s going to be even cooler.” She adds, “I want to celebrate kids and help them find their voices. You can’t make a difference if you aren’t different. That’s my mission. These kids are going to change the world.”
Images courtesy of Star Forest Music
current project: Star Forest. Like most great inventions, Star Forest Music came about on a whim, while LeDoux was enjoying a leisurely drive with her two children during the COVID-19 quarantine. Noticing there was no ideal music for her 6-year-old (everything was either too babyish or too grown-up), her wheels started turning. The pandemic had slowed down TV production—before that, she’d been writing and producing with her new company, Silver Comet Productions—and she needed a project. First, she made a list of everything elementary kids are into, from outer space to video games. Those themes would assemble to create an innovative musical record, the first exclusive to her son’s age group. Of course, she
“ I want to celebrate kids and help them find their voices. You can’t make a difference if you aren’t different. ”
@starforestrocks
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GEORGIA ACTOR
Muretta Moss Thrives Within the Creativity of Synchronized Chaos By Ca ro l Bada r acco Padge t t
T hinking back, Muretta Moss, an Atlanta-based actress, writer, improviser, and podcast host says she found something in college that she didn’t expect: a film set. “Before Atlanta was booming with film and TV, there was a film shot on the campus of UGA [in 1999], and I was an extra. Then I got to be a featured extra and got to work with the director,” Moss describes when asked at what point in her life she knew she wanted to act. The film was Roadtrip , one of the bigger budget films to come through Georgia at the time, and one of the last Hollywood movies that the University of Georgia in Athens granted permission to film there. For Moss, then a UGA student, the filming of Roadtrip was a monumental experience. “It was synchronized chaos on that set. It was beautiful,” Moss notes. “I didn’t even know something like this was an option. But I figured it out in college.” So she transferred to Georgia Tech to be closer to the film and video production action, and she began doing regional commercials. The move was pivotal for Moss in several ways. She found both a calling and she found herself. “I grew up loving Kids Incorporated on Disney, but what I didn’t realize is that I’d always had it in me,” she says of acting. Over the years, Moss developed deep roots in the local indie film community, and she has repeatedly honed and showcased her skills at The Village Theatre in Old Fourth Ward. “Normally, without Omicron, there are shows on Fridays and Saturdays,” Moss says of the venue. “Fridays are cultivated, and they’re different every quarter. Saturdays are Improv Asshole, and it’s an Atlanta Institution”—that showcases some of the best improv and sketch comedy in the city. Incidentally, comedy is something Moss is drawn to and at home with. “Being an improviser, you’re up on stage and creating dialog. And it comes easily,” she says. “I take these rules into writing, as well—it’s listening and reacting, situational humor, juxtapositions where you think this would happen but the opposite does.” And she adds, “I’ve always gravitated towards comedy.” This love and appreciation for the genre is showcased in Moss’s recent role as the family matriarch Rita Loud in Nickelodeon’s film, A Loud House Christmas , based on its Emmy Award-winning flagship animated series,
Loud House . The series is about a boy, Lincoln Loud, in a wild, busy household with 10 sisters and his parents. The original live-action holiday movie came out at Christmas 2021 on Nickelodeon and Paramount+. And the film’s Nov. 26 premiere was so strong that it garnered the ViacomCBS TV network the honor of “TV’s Top Kids Entertainment Telecast 2021.” Moss has also just wrapped production on a dark comedy TV show called Intersection that she co-created, wrote, and stars in as a real estate agent. “ Intersection is a collaboration with other Atlanta actors and filmmakers, and it’s about gentrification on a local level.” As a licensed realtor herself, it’s a topic that the actress understands all too well. “Gentrification has different shades of gray,” she notes. “Whether it’s good or bad depends on who you ask. Our hope is to create a dialog and awareness. Right now, we’re on a community level.” In future seasons, Moss wants to see the show grow to include the topic from a political and government level, showing the power players whose decisions affect the community. Other recent work for Moss includes roles in short films The Transition and Peggy that premiered at the Tribeca Film Festival in New York City in 2019. She also wrote and starred in a quirky webseries,
“ Get quiet and listen to yourself. This has taken me decades to learn. ”
Muretta Moss
Photo by Stacey Bode Photography
Dyed, Highlighted, and Hopeful , that was featured on HelloGiggles, an entertainment and lifestyle website founded by Zooey Deschanel and collaborators. And she appeared in The Inspectors , a CBS Morning Show, as character Leah Appleton. A recent weekly podcast she created and hosts, Counter Parenting , deals with co-parenting from a step- parent’s perspective. “It deals with so many things you wouldn’t believe have happened in co-parenting,” Moss reveals, saying you have to laugh about it or you’ll cry.
When asked what her tips are for helping others keep smiling and thriving in the synchronized chaos of the entertainment industry, Moss pauses. Then she says, “First thing, there’s too much advice out there. Get quiet and listen to yourself. This has taken me decades to learn. If you have an inkling to be in the arts, pursue it. Cultivate, shine, and let it bring you joy.”
@MurettaMoss
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GEORGIA ACTOR Anthony J. James Contemplates the Magic The thoughtful up-and-comer talks art and life—and embracing the unscripted in each By Ca ro l Bada r acco Padge t t I t’s funny how success works,” says Atlanta-based actor-director-producer Anthony J. James. “Any time you go through something tough or have problems, it’s teaching you and building you into the person you’re supposed to be. And then all of a sudden, the clouds break and the magic happens.” And for James as an actor, filmmaking creative, Of the project, he notes, “Basically, it’s about the Snoopy characters, and they’re in high school and coming into themselves— some dealing with drugs, some with relation- ships for the first time. And I played CB (for Charlie Brown), who’s gay and has a relation- ship with Beethoven, who commits suicide.” Another recent project is the film short La Anthony J. James
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and one-time Hollister and Abercrombie model, when it happens, you know it beyond a doubt. He’s experienced it personally throughout his 18 years of acting since start- ing in theatre as a child. Case in point: an audition he went to in 2018 for the lead role as a star high school athlete who develops cancer. “It was an open call, which means that they don’t set a specific audition time for you,” James describes. “You could go and there could be a thousand people waiting for an audition.” And this is the exact scenario he encountered when he auditioned. “I had this gut feeling. I had read the breakdown. And I’d had cancer as a kid. I spent a lot of time in hospitals, and I knew I could vibe with this,” he notes. To stand out from the crowd, James drove up to the audition hall in Norcross, Georgia, on his motorcycle. “And good or bad, I got pushed right up in the line,” he states. While reading over the part and rehearsing in a hallway at the audition site, James heard a watchful producer say, “I like this guy.” “As soon as I auditioned, I knew I booked it,” James states. “I had this feeling, and it felt like magic.” In the film, which is currently in production with potential licensing interest from Netflix, James finds the very phenomena he speaks of—lows leading to highs, trials to triumphs, and adversity to achievement that he has experienced in his own life. “This young guy is on top of the world and then finds out he has leukemia,” he says of the bittersweet role. “But the whole story has faith-based ties. I’m not really religious, but it brings about this positivity that people really need to see.” The heavy topics, it seems, are drawn to James. And he is equally drawn to them. Although he has appeared in, produced, and directed a number of films and TV series, including having a starring role in Amazon Prime’s 2021 film Beyond Adversity , his favorite piece of work wasn’t actually a film or a TV show, it was a play called Dog Sees God.
maison de l’hypocrisie , in which James, who’s fluent in French, both produced and directed. The film, in French with French sign language and captions, is about a virus-ravaged, post- apocalyptic world. Another recent project that’s a favorite is Netflix’s Bad Trip , a hidden-camera movie that has afforded him the opportunity to work alongside major stars, produce, and experience working with a multimillion dollar budget. When asked to think back to earlier days over the past 18 years, and what gigs have helped mold him for the film work he’s doing today, James says early modeling helped him get comfortable in front of the camera, as did time spent in a French/Haitian soap, La Fleur de Mai . Equally formative lessons came from simply being hungry, both literally and figuratively, as a starving college student in expensive San Francisco. “There was one teacher in particular, and I didn’t really think I liked him, but he told me, ‘You look terrible. You’re falling asleep in class. You’re already working (in the business), so why are you going to school?’” James adds, “He talked me into not coming back. But in his own way, he was very supportive. We still communicate on Instagram to this day.” As for the future, James contemplates his next welcome dose of magic, saying, “I’m still auditioning. All leads. For a big series last week, plus two studio films on the weekend. And any of these can pan out at any minute.”
Photo by Marcus Nelson
@anthonyjamesoff icial
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NON-PROFITS IN FILM The New Empowerment of Atlanta’s Arts Ecosystem The Creatives Project generates a circle of giving for the creative class By Autumn Mur r ay
Jennifer Long
The non-profit organization strives to change the face of Atlanta by giving a voice to those in historically minoritized and marginalized communities that lack an outlet for creative expression.
J ennifer Long, “Shea Love” on Atlanta’s Kiss 104.1 radio station and a host for the Georgia Lottery on WSB-TV, is the new executive director for The Creatives Project (TCP), the city of Atlanta’s first non-profit to support the creative class through affordable housing programs. TCP is focused on continuing to generate a circle of giving through strengthening and uniting arts, education, community, and commerce by creating an empowering arts ecosystem. Through the implementation of crucial and deliberate arts and culture initiatives and leading arts- based education, TCP strives to change the face of Atlanta by giving a voice to those in historically minoritized and marginalized communities that lack an outlet for creative expression. Executive Director Long received her Bachelor of Arts degree in Broadcast Journalism – Mass Media Arts from Hampton University in Virginia, and a Master’s degree in Business Administration in Strategic Management and Marketing from Pepperdine University in Malibu, California. In addition, she has over 20 years of entrepreneurship, non-profit, and corporate experience and has held management positions in network distribution for several entertainment brands. This experience is in addition to her role at Kiss 104.1 and for the Georgia Lottery. The Creatives Project celebrates its 10th anniversary in 2022, and the program will hold its 11 th Annual Ex- hibition, ASCENSION, from February 12 - March 13, 2022. The event will showcase the aesthetic exploration of the 2020-2022 resident artists and their works, as well as selections from their tenure with the non-profit organization. When asked about her role as executive director, Long says, “I manage the operations of the organization
which includes strategy, marketing, communications, programming, and all of the strategic components to en- sure that they are running smoothly and aligned with our bigger vision, which is to support Atlanta-area cre- atives through affordable housing programs.”
Photos by Neda Abdhari
Photo by Jeremy Adamo
She also took time to explain the significance of the exhibition’s name, saying, “ ASCENSION is about taking The Creatives Project to the next level. This involves expanding who the program is available to, and ultimately increasing the number of artists that can be impacted by affordable housing. We are also looking into opening the program to creatives in various industries, where in the past we have mainly focused on visual arts.” And she adds, “I am excited about growing our outreach and continuing to build and strengthen relationships in both the business and residential communities. There are so many opportunities to expand the work that we’re doing and connect with other creatives.” The non-profit organization currently has two programs for creatives—The Creative Community Housing Project (CCHP) and the CCHP Artist-In- Studio Long Term Studio Space. Applications for both programs are reviewed and selected by a panel of judges. CCHP is a two-year residency program supporting emerging, practicing, and mid-level artists by providing special subsidies to provide affordable housing and studio spaces, professional development, and teacher training. The works of all artists participating in the program are showcased at the annual fall exhibition. Then, following participation in the program, the artists give time to underserved communities through outreach organized by TCP’s Community Arts Program. Over the past 10 years, the program has supported more than 40 artists,
and more than 200 young people have had one-on-one mentorships with these artists. The CCHP Artist-In-Studio Long Term Studio Space program provides up to six visual artists with studio spaces and exhibition opportunities for two years. Over the past 10 years, the studio space has been located at The Goat Farm Arts Center, and exhibitions have been hosted in partnership with Atlanta-area developers. This year’s Artist-In-Studio fellows include two filmmakers—Crystal Jin Kim and Artemus Jenkins. Jin Kim is an award-winning filmmaker and visual artist, and several of her short films have screened at U.S. and international film festivals. Artemus is an award-winning filmmaker and documentarian who created the first (and only) documentary detailing the lives and history of Black tattoo artists, entitled Color Outside the Lines . The Creatives Project’s ART-FORCE at the Acad- emy Lofts at Adair Park is the first concept of its kind in the city of Atlanta. It is a symbol of inclusionary neighborhood revitalization and community engagement through the establishment of a live/work atmosphere for artists and creative enthusiasts from throughout the re- gion. The Academy Lofts is a historic renovation project, and its location was formerly the George W. Adair El- ementary School.
IG and Twitter: @creativespro | FB: @thecreativesproject
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SOUTHERN STUDIOS Tate Taylor’s In a Mississippi State of Mind By Ca ro l Bada r acco Padge t t
“ When filming, most of the actors stay with me in my home. We cook dinner every night, have some cocktails, and perhaps we may do some dancing. ”
W hile filming The Help , I noticed how much my cast and crew liked Mississippi. The ease of it all was what was so attractive to everyone,” says Tate Taylor, screenwriter and director of the 2012 Oscar winner for Best Picture, adapted from the novel by Kathryn Stockett, his childhood friend growing up in Jackson, Mississippi. “So at that moment,” the director, producer, and actor notes, “I thought to myself that I would move back home and try to shoot as much as I could here.” By 2021, Taylor’s work in his home state included four films he’d shot and countless others that he produced through his production company and studio, Crooked Letter Picture Company, in Natchez, a riverside town with a population of about 50,000 that’s known for its exquisite antebellum homes. With an eye on preserving the natural charm and beauty of the area in the Magnolia State, Taylor proceeded thoughtfully in building his studio. “I chose an old Budweiser distribution center on the banks of the Mississippi. It’s a fantastic location,” he states. “I own a restaurant, the Little Easy, and also a Blues club, Smoots grocery, right across the street. Crews love it. Natchez is a tourist and a party town. It’s a fun environment to be in.” Outside of Natchez, in Church Hill, is where Taylor and his partner reside. “The home was actually built for an Irish doctor in the Church Hill community,” he de- scribes of the mansion, Wyolah, built on 100 acres in the 1830s. “He saw patients in [an] office in his front yard.” As he brings some of the film industry back to his childhood stomping grounds, Taylor and his crews are met with genuine hospitality. “It all comes down to how easy it is to film in Nat- chez. The city and the citizens welcome [the crews] with open arms,” he says. “And it’s so much cheaper to work here. You often can just walk the town to the various sets.
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Loss of travel time does so much for morale and the budget.” Beyond cost and convenience, though, there’s deep personal appeal for Taylor: “It’s about the peace and serenity of living in the country. I’m a writer, and there is nothing more inspirational than being in the woods.” When Taylor is writing a film that will be shot locally, it’s helpful to be right there where he can see the locations he might use. “Visualizing filming in those spots is great for the writing process,” as he puts it. Then there’s the downtime and mem- ories he makes with his co-collaborators. “When filming, most of the actors stay with me in my home,” he describes. “We cook dinner every night, have some cocktails, and perhaps we may do some dancing. It’s just a great way to work.” It’s also a great way to give the locals work, Taylor finds. “It has been so fulfilling to provide jobs and training in my business to those who might never have had the opportunity to jump [into] our industry.”
Tate Taylor
Photo courtesy of Getty Images
Among the next film projects to enter the mix for Taylor is an adaptation of The Prince of Tides for Apple, as well as a movie, Miss Macy , that he is writing and directing for actress Jean Smart, which will be filming at Crooked Letter Picture Company and in New York City. Circling back to Mississippi, though, Taylor is aware of the simple lessons his home ground has reinforced. “People are people the world over,” he closes. “Everyone wants to be treated with respect and love. There is such hospitality here and sense of community. You don’t get that in LA and NYC so much.”
All the Southern charm of Taylor’s Mississippi film hub does not come without its share of sophistication, though, which really makes it the best of both worlds. “There is a fantastic private airport here,” Taylor notes, and Baton Rouge, Louisiana’s, Jackson, Missis- sippi’s, and New Orleans’ airports are all within 1.5 to 2.5 hours away. “Most people love the drive through the countryside to get here. You can get a lot of phone calls out of the way via Bluetooth in a car.” The convenience of the airport situation works in reverse, too. “I also keep an apartment in NYC. It is so fun to wake up here and be eating in New York that same evening,” Taylor shares. “Going between the two places is such a perfect balance.”
@crookedletterpicturecompany
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