The 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.
Watch our exciting interviews with the stars at Georgia Hollywood Review TV on Roku or Amazon Fire or the Thea App.
The UP & COMERS
Art In Film Mark Boomershine
Kids In Film Rylie Coe
Local Actor Karon Joseph Riley
Angelo Diaz
LETTER FROM THE PUBLISHER
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We’re Stronger Than Ever
Over the past 4 months, I’ve watched and listened to many industry VIPs, ac- tors, producers, writers, influencers and experts talk about their businesses, their projects, their auditions and their scripts on our Instagram show, GHR Talks Live @georgiahollywoodreview. I’ve heard stories of preparation meeting oppor- tunity. I’ve heard stories of reinvention. And I’ve heard stories of inspiration. Not once, did I hear a story of defeat. Of anguish. Of despair.
Our genius is in our authenticity. Our pure desire to create. To tell stories. And to produce an infrastructure that is long lasting and gorgeous. It gives me great pleasure to be part of this community. To add my own creations. And to celebrate the amazing talent that we foster and develop within the Georgia entertainment industry. Enjoy the pages that follow. Be sure to watch our Georgia Hollywood Review TV channel on Roku or
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Folks, the Georgia entertainment industry is made up of some of the finest, most optimistic and resilient workers I’ve ever seen. We are a force, not only for local economic stimulus, but a creative force so passionate, so determined and so resilient that I can only believe Georgia will continue to green light Georgia for many years to come.
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about the cover
The Georgia Hollywood Review is published every other month by Georgia Hollywood Review, LLC. Reproductions in whole or in part, without expressed written 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 2020. Send inquiries to 227 Sandy Springs Place, Suite D-288, Sandy Springs, GA 30328. For more information, contact admin@georgia hollywoodreview.com.
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Visit our webpage: www.GeorgiaHollywoodReview.com
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CONTENTS
10 documentary The McMillion$ Files 12 kids on film Rylie Coe is That Girl
14 local actor Karon Joseph Riley 16 education Agnes Scott College 18 dreams from the background Background Talent 20 acting methods Sharing Stories, Building Bridges 22 music Roberta Setzu is Atlanta’s Own 24 props Bryan McBrien – Cinema Greens 26 language in film Jimmy King 28 art in film Mark Boomershine – Art Insists on the Artist 30 gaming MomoCon – Geeks, Freaks and Gamers 32 georgia stars Powerhouse Duo Crafts Council of Dads 34 filmmakers Behind the Lens with Jesse Wolfe
36 cover story The Up and Comers 40 industry inf luencers To Hoard or Not to Hoard
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CONTRIBUTORS
Carol Badaracco Padgett is an Atlanta-based writer and copywriter.
Connor Judson
Echo Montgomery Garrett has written for more than 100 media
Tracey M. Hawkins has been a contributing
Garrett , 2017 Edward Readicker- Henderson Travel
editor and writer for
Photo by Kevin Garrett
Over the past 30 years she has written for the Atlanta Business Chronicle , Oz Magazine, National Real Estate Investor, 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 .
Classics Award recipient, honed his 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.
outlets, including Delta Sky, Parade, ABC.com, AARP, The Atlanta Journal- Constitution, and Business Week . She’s the author of 20 books, including multi-award winning My Orange Duffel 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.
various print publications, 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
Julie Herron Carson , an Atlanta native, has over
Jessica Holthaus Badour From veteran communications
Chris LeDoux Alaskan born and bred, Chris earned bachelor’s degrees in both psychology and sociology, but his fascination with
Autumn Murray has written for various print and online publications including The
30 years of public relations and feature writing expertise. Her specialties include 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 Georgia and lives in northeast Atlanta with her husband and teenage son.
specialist to preeminent food safety professional, Jessica Holthaus Badour has built a successful and diversified career developing 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
cinema and filmmaking instead led him to the world of visual effects. Chris’s impressive résumé includes compositing 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 music videos and led visual effects teams for U2, Chris Cornell, New Kids on the Block, and Paramore. craftyapes.com
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 promote acceptance and diversity. She is working on a book about her life and overcoming abuse while inspiring others to Choose Love in all situations. autumn@simplyamazingliving.com
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 publications, including the Atlanta Business Chronicle, Travelgirl Magazine,
B2B publications. When he is not lost in his writing, music and binge watching, Michael can be reached at mpallerino@gmail.com.
Atlanta Woman, Business to Business, Car Business Today and biography.com . In her spare time she enjoys traveling with her son, Grady, and tries to fix up her 100-year-old home in Virginia-Highland. www.marywelchwriter.com
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DOCUMENTARY
The McMillion$ Files Atlanta’s role in one of America’s favorite new documentaries By Mi chae l J . Pa l l e r i no
J ames Lee Hernandez was reading Reddit one night before falling asleep when he noticed a headline about a fraud case where an ex-cop turned security officer rigged McDonald’s widely popular Monopoly game promotion, stealing millions and building a vast network of co-conspirators across the country. To say Hernandez was intrigued is putting it mildly. A huge fan of the game back in the day, he immediately filed a Freedom of Information request to find out more about one of the biggest scandals nobody apparently had ever heard of (thanks to a verdict rendered days after 9/11). The request took three years to process. In Hernandez’s anticipation to dig deeper into the story, he tracked down the federal prosecutor on the case, Mark Devereaux, and a few of his FBI colleagues to be a part of what he was sure would be a must-see story. Adding his documentary director friend Brian Lazarete to the team, they set out to pitch the story to Unrealistic Ideas Productions, the production company run by veteran documentary filmmaker Archie Gips, actor/producer Mark Wahlberg, and his longtime manager/producing partner Stephen Levinson. In what may end up being a documentary about the making of a documentary, a story in the Daily Beast about the scandal set off a Hollywood firestorm, with Ben Affleck and Matt Damon securing the eventual narrative rights. But Hernandez and Lazarete were undeterred. Nailing down their pitch in record time, they slam-dunked their presentation, struck a deal with HBO, and McMillion$ was born. We didn’t set out to paint this as a black and white picture, positive/ negative situation. It is very much about the gray that exists in our lives.
McMillion$ team at the Sundance World Premier Activation Party. Photo courtesy of Getty Images.
“Sometimes good people make bad decisions,” Hernandez says. “That was really the underlying fascination about this whole story. For me, it was an idealistic view of something from your childhood, something beloved that you really cared about. And then you find out it was entirely fraudulent. We didn’t set out to paint this as a black and white picture, positive/ negative situation. It is very much about the gray that exists in our lives.” The gray that Hernandez and Lazarete reference pertains to the cast of unwitting characters who sold their souls for easy money. People who, when presented with an ironclad way to win a million dollars by telling a little white lie, lied. Therein lies the heart and soul of the McMillion$ story—what would you do? Sara Elizabeth Timmins says the human side of the story is the most attractive part of the tale—participants who end up becoming victims themselves. Timmins, producer and creative director for Atlanta-based Life Out Loud Films, originally worked with Lazarete 20 years ago on a film in Cincinnati. Their relationship came full circle when the directors reached out to her to help coordinate the parts of the story (the perpetrator, Jerry Jacobson, lived in Atlanta) that had local, state, and regional ties. Since Timmins is from Atlanta, she worked closely with the Unrealistic Ideas and HBO teams, managing the shoots on the ground and in the field here, Florida, and South Carolina.
“We had a talented splinter crew from our area and worked with several local rental houses to bring this show to life,” Timmins says. “Since the documentary got greenlit quickly and was timely, we were moving insanely fast with tight resources. Everyone involved literally worked magic to make that shoot possible.” In the story behind the story, Timmins says that the passion Hernandez and Lazarte had for the project resonated with everyone involved. “We can learn so much from following what lights us up, being prepared and getting your timing right. They had the courage, faith, and confidence to follow what inspired them.” The arc that made McMillion$ an HBO must- watch show is that it takes viewers behind the headlines and sensationalism, especially when it involves a story nobody saw coming. “We are drawn to truth and as humans, we are curious,” Lazarte says. “We all make mistakes. It is just that our mistakes often are not in the public eye like this. It is easy to assume that this was just a victimless crime—people are taking something from a big corporation. Who is getting hurt? But these people who were involved lost job opportunities, relationships, their freedom. There were some tragic ramifications. The whole thing makes you be more skeptical of promotions like this.”
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KIDS ON FILM
Rylie Coe is That Girl By Ca ro l Bada r acco Padge t t
“If you think about your characters, and you’re engaged and invested, it feels natural,” she describes of her process for character development. “It’s more of putting yourself into the perspective of the character.” While crying on demand is one of Coe’s tools in her repertoire, she credits acting coaches for helping her develop a better way to cry. “Instead of thinking of a loved one dying,” for example, “I think about what my character is going through.” And she adds, “I’m an extremely empathetic person. I feel very easily for others.” This keen understanding of others’ feelings may have come from the guidance of her biggest fans, at home. As Coe shares, “My dad [music and film producer Bram Bessoff ] always says that rocket scientists need movies for their down time to inspire them to do what they do.” When asked about her role models in the film world, Coe rattles off: Johnny Depp, Tim Burton, and Millie Bobby Brown. Depp because, as an actor, “He can totally change himself.” Burton, as a director, because, “I love him and it would be a dream to act in one of his movies.” And Millie Bobby Brown, well, “I’ve watched Stranger Things so many times I can quote it.” Currently, Coe is training at North Side Productions in Alpharetta, but there are many acting schools on her resume, as well as a growing number of film projects. The last short film she appeared in, for the 100 Hour Film race ( The Keep by Vara Films in Alpharetta), won best U.S. picture and was No. 3 overall internationally. What’s next for Coe? She’s doing a lot of self-taping (online auditioning) for pilot season and feature films across the country, as well as starring in a number of microfilms with the local indie filmmaking group “Kick The Ladder”. All of these projects are getting Coe’s face out there so the local scene, as well as national filmmakers and casting directors, will spot and book her. While she works toward her goals, she keeps things in perspective. In her way-too-wise-to-be-only-12 kind of way, Coe advises, “Once you audition you don’t want to think about it every second. It can make you pick on yourself about things you did and didn’t do. You just do your best… and send it in.” As she waits for her big break, the sky seems the only limit for That Girl. But more accurately, it probably can’t contain her.
Rylie Coe
I like getting creative with the scenes. It’s fun to read the script and morph it into something that everyone agrees to.
hands, knees, and joints were all in pain, even as a baby, well before her parents knew the source of her unending crying. Coe is in remission now, and has not dealt with JIA in a long time. But she does remember the lessons that it taught her. “It reassures me I can do things. It’s empowering to know that I did it, and that I got through it,” she smiles. JIA served Coe in more ways than one, because it took her on an intense journey that has deepened the emotional well for the occupation she adores: acting. Coe first dipped her toe in the water at a small acting school when she was barely double digits. “To me, I was just starting a fun
Photo by Marliese Carmona
M eeting Atlanta actress Rylie Coe is kind of like meeting a sage in the body of a 12-year-old girl. She’s old-soul wise, she’s spontaneous and fun—and she’s grounded in a way that people three times her age only wish they were. One can not help but wonder, how exactly did she get this way? As oftentimes happens in life, apparently even when you’re only 12, she grew by overcoming obstacles that made her who she is. Her catalyst for growth—and an impetus for her innate acting abilities—was juvenile idiopathic arthritis, known simply as JIA. “Older people usually have arthritis,” Coe shares, “but I was born with it.” Her
summer day camp,” she says of her introduction to the art. “Everyone knew what they were doing, and I was intimidated.” But she quickly caught on, and then the fun set in. “I like getting creative with the scenes. It’s fun to read the script and morph it into something that everyone agrees to,” she says. “Last weekend I did my own stunt while filming for the 72 Hour Horror Film Race. I had to fall backwards down the stairs and my coach caught me.” One of the things Coe does best, she believes, is develop an understanding of her character. When she gets a script, she studies her lines, gets to know her cues, and works to figure out who her character is in any given scene.
@ryliecoe
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LOCAL ACTOR
Grind Inside the mind of actor Karon Joseph Riley By Mi chae l J . Pa l l e r i no
Karon Joseph Riley
I never want to go into an audition room or on a set unless I know every line. I put the work in just like I did when I was on the field.
I t is not about the transition, but the transition matters. Karon Joseph Riley wants you to know that no matter which path you choose, there is always another one tempting you to explore. That moment affects each of us at different times—the moment you are living in and the one that awaits. For Riley, playing in the National Football League was a dream come true. When the Chicago Bears drafted him in 2001 (he later played for the Atlanta Falcons), it was a box that only a chosen few get to check. But as much as Riley dreamed of a life on the gridiron, he longed for other ways to entertain the masses. For that, you have to travel back to the first grade. That was the first time Karon Riley heard the roar of the crowd, so to speak. With a single line—delivered with every ounce of passion and energy in his young heart—Riley watched and listened as the auditorium roared with approval. At that moment, he knew what he wanted. The crowd. The approval. The validation. “For years I focused on being an athlete, putting my attention there, training my body, my mind, and my spirit to be the best athlete I could be. Once I accomplished that, the NFL came. But as soon as I made it, I started shifting gears to wanting to be an actor. I started traveling to LA in the off seasons and taking auditions once I retired.” When the NFL road came to an end, Riley was ready for what was next.
He started the transition by co-hosting a handful of local sports shows. From there, he landed a role in Tyler Perry’s Meet the Browns , followed by the romantic comedy 35 and Ticking , where he shared the screen with Kevin Hart, Nicole Ari Parker, and Meagan Good. Next were parts in a string of independent films, theater, and television projects, including Single Ladies , For Better or Worse and Necessary Roughness. “Everything I did I used to make it today, no fail. I try to be intentional and keep working. I’m constantly thinking like an athlete, training like an athlete. I never want to go into an audition room or on a set unless I know every line. I put the work in just like I did when I was on the field. For me, the worlds are very similar.” One of Riley’s blessings is his relationship with his wife, Terri Vaughn, a successful actor and producer in her own right (the couple also have three children). While the journey and passion to get to the top is what drives the competitor in Riley, having the support and guidance from a soulmate and fellow artist is comforting. “We support each other—prop each other up when need be. But we’re also very independent and strong in our own right. We do a lot on our own—the things that we have to do. It’s the way we’re both built.” In a time and place (he gives major props to Georgia and the ATL here) where Hollywood dreams can still come true, Riley will stick to the game plan he has been following. Keep grinding. Keep pushing. Never give up. “It is like riding a bike. Sometimes you go fast; sometimes you go slow. There are going to be times when you feel like you want to get off, but you know you have to stay on and keep pedaling.” For now, like in every path he has chosen up until this point, that is the plan—the strategy that without fail that will keep the crowd roaring like that first grade play. “Put your head down, close your eyes and pedal. That is my path forward in this business. Know thyself, stay grounded and keep pedaling.”
@karonjosephriley
Photo by Habeeb Mukasa
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EDUCATION
Agnes Scott College By Je s s i ca Ho l thaus Badour
“They hosted the festival on our campus for free last year, one time only, in part because we are a women’s college and because there is a need for more women in film,” Palma explains. “The more we can work with local partners and provide opportunities for students to network with those in the industry, the better. It continues to increase the number of women working in film, and we have a very diverse campus with a lot of underrepresented demographics.” And anytime there is a film project coming to campus, students are a piece of the equation; a formal committee of faculty, staff, and students review all incoming proposals. “Students are very vocal about film content and the representation of women for the production company,” says Tolliver. “Even if a film is fictitious, we want to be proud of our partnerships.” “It’s not a giddy student who only wants to meet Brad Pitt,” notes Demetrice Williams, Senior Director of Special Events and Community Relations. “Our students want to meet the director, the person doing set décor, the person managing the budget—they are very specific about these experiences and where can they get involved, to see if this is a career they want to follow.” Williams, who’s worked at Agnes Scott for 25 years, says the students work on very intentional, targeted, and researched ideas when it comes to film projects they’re involved with. “Our students are very innovative in their passions,” she says. “Year after year, they continue to impress me, which is a testament to the amazing faculty who are preparing them for the world.” Moving forward, Agnes Scott plans to build the minor into a major. Tolliver says adding a film production piece is key. Palma agrees, hoping the college can find a corporate partner to get production off the ground and help with equipment and full-time faculty.
x
I t was 65 years ago when Atlanta’s Agnes Scott College hosted its first movie set for A Man Named Peter . Since then, Georgia has come a long way in film—and Agnes Scott has grown right along with it. Nestled just outside downtown Decatur, the campus’s sprawling grounds and picturesque brick buildings provide the perfect setting for current- day filming or period pieces. The campus has been featured in roughly 50 productions, including hits like Scream 2 , Fried Green Tomatoes , and The Blind Side . School staff prides themselves on ease and flexibility for filming crews, thanks to careful (but time-sensitive) planning and campus inclusiveness. Building off that, just over a decade ago, a Film and Media minor was added to Agnes Scott’s offerings. The minor has two required courses covering basic elements and history of film, along with a variety of electives for students. “Our film minor is so inter-disciplinary,” says Willie Tolliver, Jr., who oversees the program as Director of Film and Media Studies. “It’s a very diverse and useful minor to combine with the majors offered at Agnes Scott. Students can even self-direct a pathway to their major, seeing how film fits into the larger theme of liberal arts.” The latest cohort includes eight students out of the college’s 1,000+ undergrads. Agnes Scott is a member of the Atlanta Regional Consortium for Higher Education, meaning students can also attend classes around the city
Photos courtesy Agnes Scott College
(e.g., Emory, Georgia State University, etc.). Many (but not all) are English or Creative Writing majors who have landed successful internships at film festivals, in blogging, media consulting and more. There’s also a very successful rate of students in graduate programs across the country. “Film studies is a valuable place to start if someone is interested in writing, research, filmmaking, or any type of job that might include audio visual,” notes Dr. Shannan Palma, Faculty Director for Graduate Program Writing and Digital Communication, who minored in it herself. “My background in film production allowed me to move into a job in communications and marketing… It’s important to understand the cultural impact and know how to do more than simply take a video with your phone.” Part of students’ education ties into the campus hosting film projects and related events. As a women’s college, Agnes Scott landed the Campus Movie Fest event last year—the world’s largest student film festival—with talks to host it again this fall.
Agnes Scott College is located at 141 E College Ave, Decatur, GA. Learn more about working with the school’s location for a f ilm, or enrolling in the Film & Media minor by visiting www.agnesscott.edu.
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DREAMS FROM THE BACKGROUND Background Talent By Gl or i Amador
You quickly learn that background talent is a big community of people loving the industry, wanting to make extra cash and willing to help.
background casting companies, I landed on Central Casting’s website. Before I knew it, I had submitted my application and scheduled an appointment to meet. I walked in trying to figure out how I could escape if they asked me to pay for any kind of services. But after 3 hours of filling out paperwork, reviewing their presentation about their company, hearing the do’s and don’ts about background work, and taking my photos, I headed out the door asking myself, “was this a waste of time?” Before I even got home, I got a text from one of the casting agents asking if I was available for “BIG RED”, code name to a pretty premier film. With a little hesitation, some excitement, and plenty of surprise, I said yes…and that was my first booking. It’s a little frightening being almost 50 years old and going to your first filming, figuring out what to do, who to see, etc. But you quickly learn that background talent is a big community of people loving the industry, wanting to make extra cash and willing to help. I found myself on Genius Aretha being transported to 1967, with hair and make-up artists dolling me up and I’m wearing a beautiful silver glittery gown. As the nightclub scene unfolded, I was positioned to walk around (typical of background work). Aretha was being played by Cynthia Erivo, who was Oscar nominated for her role in Harriet . But then Erivo summoned me to go on stage and perform as Lena Horne. I began to tell her I wasn’t cast for it, but she got up and walked over to the director to find out what was going on. Imagine, a big star like her being so invested in me! No, I didn’t get to play Lena Horne. I was just excited that I got noticed by her and then placed in front of the camera as much as possible for the rest of filming. A few bookings later, I accepted a casting for the pilot of DMZ with Rosario Dawson, Benjamin Bratt, Josh Pais, and director Ava Duvernay. This was a cattle call of background talent, as 800 of us showed up to do a NYC evacuation scene. I had never worked in such a big setting before and I had sworn I never would: I felt it would be chaos—but it was extremely organized. We were outside and freezing, so decided we would be
runners to stay warm. 5 minutes later, we realized we would be running for 8-10 hours, (we ended up filming for 15 hours) so we changed to be walkers. That placed us in the main camera area. So much so, Rosario noticed me and was nice enough to give me compliments about my grey hair and make-up, saying, “You are the prettiest, fanciest evacuee.” I thanked her and said, “We evacuate pretty in NYC.” She calls over Ava, the Director, to look at me. I blushed so much even my tanned Latina skin tone couldn’t hide it. As we continued to film, I hear Ava ask, “Where’s the lady with the white hair?” As I turn around to see what’s going on, Ava is calling me over. Of course, I turn around to see if she’s calling someone else. She grabbed my hand as she looked for a camera—I felt like a 5-year-old being taken to the principal’s office! She asked the camera woman in what direction she was shooting, saying to me, “With your beautiful face, your hair and make-up, your face needs to be in front of the camera.” Before I knew it, I was being featured. This all happened within 4 weeks of signing on to do background talent work. Now I’m obsessed with the film industry and taking acting classes—never too late to start, folks! I’m confident that as Atlanta continues its journey in the film industry, more work will come and soon enough, I hope to land a prominent feature speaking role. So, for those of you out there who want to get into the film industry, this is a good steppingstone. I advise you to bring your “A Game”. Come prepared—make- up and hair done immaculately, clothes cleaned and ironed (I was surprised to see how some people show up), arrive on time, be professional, listen to your PA/ AD, and follow directions. These are simple things that can get you noticed and take you to the next level. Oh, and be QUIET on set. This is the biggest challenge for background talent but the most frustrating for your PA/ AD. Overall, be prepared to have a long day, meet lots of people (many will become friends), and have fun. I’ll see you on set!
Glori Amador
L eaving NYC as an Executive at Christian Dior to follow my husband to Atlanta, I thought to take a few months off, get acquainted with what I now understood as being “Hotlanta”, come up for air, and spend time writing “Life of Glori” a book about my life. That didn’t last very long! I got bored and wondered what fun thing I could try while I write. Some Googling, reading a few articles, and coming across good reviews for some
@life.of.glori
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ACTING METHODS
Sharing Stories, Building Bridges By Ca ro l Bada r acco Padge t t
S tories seemed to find Jonna Johnson, an Atlanta-based accredited acting instructor and executive producer, long before she went in search of them. Growing up on a farm in the Tennessee town of Lebanon, her favorite time of the year as an elementary student was when the local library invited special guests to read and tell stories to the children. “I would often be told, from my eagerness to participate and [my] expressed interest, that I would one day be a great storyteller,” Johnson says. “That stuck with me to this day.” By the time Johnson enrolled at Middle Tennessee State University (MTSU) in Murfreesboro, TN, she’d developed a deep passion for theatre and the arts. And it was here at MTSU that two important stories unfolded in her life—a fairytale and a drama. First, she met her husband, football player Thomas Johnson, on campus outside the athlete’s study hall. Just before graduation, he walked her to the exact spot they met for a surprise proposal with rose petals, candle- light on the sidewalk, and her family and friends gathered around. The couple would go on to have three children (two of them actors), and Johnson would begin building her career as an acting coach and a certified coach practitioner (CPP) of The Chubbuck Technique, an acting method developed by American acting coach Ivana Chubbuck and used by Brad Pitt, Charlize Theron, and others. By 2005, Thomas was a defensive tackle in the NFL, where he played for the Dallas Cowboys, Houston Texans, and the Atlanta Falcons. But the couple’s story took a dramatic turn when Thomas retired from the sport in 2011 with chronic traumatic encephalopathy (CTE), the neurodegenerative disease caused by repeated head injuries. Using her coaching skills, including a certification as a life coach, Johnson pulled herself and her husband through the difficult times of memory loss, psychological effects, and behavioral challenges that come with CTE. “I did not and will not give up on adapting [or] finding tactics and solutions to help,” Johnson says. She has used the challenge to grow stronger, both as a person and as an acting coach. “The impact this has had on my art shines through in my teachings. I’ve been there, I can relate, and I can understand the feeling [of
being] at rock bottom,” she says. “But with that, there is only one place to go… and that is up.” She tells her students, “Keep moving forward. Keep your head up. Push through, and I promise you, you’ll be much stronger.” It’s this outlook on life that Johnson credits for the love and admiration her acting students have shown her over time. “To have that relationship, the genuine love from my students, is simply fueling and priceless,” she shares. Over the years, Johnson developed casting skills, as well. “I’m often asked to cast projects by my producer and director friends. I don’t advertise this, and I only take it on when asked,” she says. ‘The beautiful thing about this is… my Chubbuck students will always have first dibs on auditioning for these roles, and they most likely will be cast.” Today, Johnson’s Chub- buck Technique instructor
Jonna Johnson and Ivana Chubbuck
accreditation includes Georgia, North Carolina, South Carolina, Illinois, Florida, and, most recently, Africa. During a groundbreaking trip to Ghana to coach acting students in the Chubbuck Technique—a “first” for the West African region—Johnson met an influential Ghanaian film director, Confidence Losu. “His [past] films received great recognition in the Ghana Cinemas,” Johnson says. The two are working together on a feature film that will begin filming in August 2020. Johnson’s role will be assistant director and executive producer, her first involvement in a feature film outside of casting or on-set coaching. Another first will come out of the collaboration between Ghanaian film and Johnson’s coaching: an
acting school in Ghana. In future trips, Johnson plans to find a plot of land for the school, as well as contractors to build it. From there, it’s Johnson’s vision that her work in Ghana will serve as a bridge between her students in the United States and her future students in Ghana. Across this bridge the students will share ideas and even trips to one another’s countries and acting studios. “I look forward to traveling multiple times a year, back and forth, bringing new Americans to absorb and grow as people, entertainers, and artists … and to provide the same in return for my African students,” Johnson closes.
www.COACHEDbyJonnaJohnson.com | @jonnajohnson1
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MUSIC
Roberta Setzu is Atlanta’s Own Jazz Singer, Composer, and Actress Extraordinaire By Tr ac ey Hawk i ns
but we have a path forward into creating a supporting, nurturing, and inclusive environment. Personally, I work hard to love the woman in the mirror even during darker days. As people, but especially as artists, we have the power to define ourselves with our own words and actions; therefore, I try to focus only on words and thoughts that are self-loving and that actively propel my goals forward. WITH SO MANY PASSIONS, INTERESTS, AND PROJECTS, HOW DO YOU MANAGE YOUR TIME? HA! Managing my time is not the best of my skills, but it’s a must, so I work really hard to make sure that I am effective and clear in my priorities. I am currently putting most of my focus on music. I just released my new jazz album, As You Are, and I am working to set a European tour and promote the record. It’s nice to see my music listened to by people across the world on all digital platforms. WHAT WAS YOUR FAVORITE PROJECT SO FAR, AND WHY? The best project is always the one I am working on right at the moment. It’s about being present and giving your all. Producing As You Are was such an incredible experience of music making, from inception to fruition. My album features six originals and a few jazz standards, and I was lucky to have some of the best musicians that the American Jazz scene has to offer. It’s co-produced with my good friend, wonderful Grammy-nominated pianist Kevin Bales. It’s been a great year. I booked and shot three TV costars, and my first short film as a director just won “Best Film Made in GA” at the Southern Shorts Awards. Actually, the song on my album Come As You Are was inspired by my movie and was the first I recorded for the album. So you see, everything is connected, which is why I feel that the limit is the sky when you stay open to possibilities!
Roberta Setzu
I believe the most incredible artists never cease to seek deeper meanings and never miss an opportunity to learn something new.
Photo courtesy Roberta Setzu
P assionate, multi-talented jazz musician and actress Roberta Setzu generously granted us an interview, and we discovered the beautiful energy with which she approaches the perfor- mance arts. HOW DID YOU DISCOVER YOUR PASSION FOR THE PERFORMANCE ARTS, AND WHEN DID YOU KNOW THAT YOU WANTED TO PURSUE A PROFESSIONAL CAREER IN ENTERTAINMENT? Ever since I was a little girl, I have loved music and storytelling. I have loving memories of my family creating stories together. My mom had the sweetest voice; she would sing for me lullabies from all over the world, and my dad would create the most wonderful bedtime stories. I guess I liked to put on shows for them, and I am lucky they had the patience to listen to me singing for hours straight, especially in the car on short or super long drives. In high school, I started dedicating more time to arts, and after graduation, I was lucky to study and work in theater where I also started cultivating more passion for music. I guess everything happened pretty organically, but by the time I was twenty, I knew there was no other option besides following my heart and becoming committed to the performing arts.
WHAT IS YOUR BACKGROUND: WHAT DID YOU HAVE TO UNDERTAKE TO “MAKE IT” IN THE BUSINESS? I was born in Cagliari, Sardinia, a colorful and enchanting island in the middle of the Mediterranean Sea. I‘d say in life the first teacher is always your environment. I grew up with the colors, sounds, and openness of a port city touched by so many cultures, people, and traditions throughout history, so that really laid the groundwork for my music; it’s part of me. The biggest turning point in my professional career was the impact that Cagliari University Jazz Program had on my life. My discovery of jazz sparked an incredible journey that it is still in the making. As a musician, your training never ends. I believe the most incredible artists never cease to seek deeper meanings and never miss an opportunity to learn something new. I have had incredible mentors in music and acting, and they all focused on the same lesson: “The art of being in the moment.” WHAT IS IT LIKE BEING A WOMAN IN THE ENTERTAINMENT INDUSTRY AND HOW HAS IT CHANGED FOR YOU DURING YOUR PROFESSIONAL CAREER? Entertainment, like most industries, has its glass ceilings to break, but I actually believe there is not a better time for women to express their voices in their own unique ways. We live in an era where, yes, we have to work hard,
Setzu’s Spotify: open.spotify.com/album/4tt6UI3y4W9GrsiebxX36E?si=8 OrOT3ajTo6iyfszW9ChmQ www.robertasetzu.com | @robertasetzu
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PROPS
Bryan McBrien – Cinema Greens By Autumn Mur r ay
B ryan McBrien (Hollywood Art Director, Production Designer, Greens’ Coordinator and co-founder of Cinema Greens) gives us the inside scoop on Cinema Greens and how the business became the one and only source for Greens rentals in the Southeast. Cinema Greens creates stunning and profound scenes and experiences through botanical, natural, and greens rentals, custom designed fabrications, and superior customer service. The company was founded in 2013 by McBrien and his two partners Jeff Brown (coordinator), and Carlos Martinez (horticulturist). While based in Los Angeles and working on the film sets of Marvel Studios’s Antman and Universal Pictures’s The Fast and Furious when they were filmed in Atlanta, the team saw a growing need for film quality greenery to supply the rapidly growing film and television industry here. McBrien recalls, “The city lacked an infrastructure for film greens. The market at the time literally had no plant rentals. There were only a few nurseries that weren’t specialized. We needed big plants, like 20-foot pines, and you just can’t buy them at the local greenhouse.” On a film or television set every tree, bush, flower, moss, rock, and vine—both real and artificial—has been crafted deliberately for that scene. Those are all called “Greens” in the industry. “Greenspeople” are the members of the film crew who are responsible for renting, replanting, arranging, and taking care of all these plants. The coordinator makes the impossible happen with skilled craftsmanship and tricks of the trade. Most of a Greensperson’s work is done on a soundstage, creating backyards, jungles, and forests on a concrete floor and varying degrees of natural light. They also augment an outdoor location’s existing greenery or hide un- wanted elements. Cinema Greens’s flagship property is located in Hampton, GA with a 14-acre shooting ranch complete with an 1897 farmhouse, 5,000sf fabrication warehouse, 7-acre nursery, and a custom built 20,000sf greenhouse. In 2018 the company opened a 15,000sf warehouse just minutes away from Hartsfield-Jackson Airport and the New Tyler Perry Studio at Fort McPherson. Both locations are available for rental space. Cinema Greens’s East Point location recently hosted The Georgia Hollywood Review’s Mix and Mingle film and television industry networking event with over 200 attendees.
vendor at the Atlanta Botanical Gardens and the Atlanta History Center. WHAT IS THE PROCESS OF CLIENTS BOOKING CINEMA GREENS SERVICES? One thing that I am excited about right now is that we’ve just updated our website to make it more interactive and inventory oriented. We wanted to connect directly with the consumer. Now clients can click and get price quotes just like you can on a Shopify-based account, but ours is much more intricate. Clients can click on all that we offer from pricing on individual items, dimensions and sizes of the items they are looking for, and all the packages that we offer. The Cinema Greens team of Bryan, Jeff, and Carlos have over 65 years of combined experience and credits on hundreds of film, television, and commercial productions. They have worked on multiple Oscar Nominated/Winning films and there isn’t a major movie company they haven’t worked with. Success to them now is seeing the look of awe on their clients’ faces when they see their “Greens” designs and creations for the first time. WHAT DO PLANS FOR THE FUTURE INCLUDE? We are looking at selling our Hampton location and consolidating at our warehouse location in East Point. We are also looking at areas we might be able to put a big retail greenhouse that would house our rental in- ventory and offer a portion of the retail sales. Look out for Cinema Greens pop up plant sales. The sales events are promoted on their Instagram page (@
Bryan McBrien
While Cinema Greens started with a focus on film and television rentals and set design, they soon saw opportunities in the local event industry in Atlanta. They work with top catering and event companies; such as Legendary Events, and Bold Catering and Design; and create magical weddings and one-of-a-kind backdrops for parties, conferences, conventions, and festivals. Cinema Greens was recently named a preferred
CinemaGreens) and they are held at their East Point warehouse every six weeks on a Saturday from 9am to 1pm.
Warehouse; 1557 Saint Joseph Ave, East Point, GA 30344 Greenhouse & Farm; 2319 Lovejoy Rd, Hampton, GA 30228 www.cinemagreens.com | 888-215-0531 | sales@cinemagreens.com | @CinemaGreens
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LANGUAGE IN FILM
Jimmy King By Je s s i ca Ho l thaus Badour
he always knew he wanted to feature sign language in his craft. A Hustler’s Notebook: I AM Him is a documentary about his life, which King plans to narrate, featuring several Georgians (and one Kentuckian), in hopes that the film will help everyone better understand deaf culture. “This documentary is where I want to start—with my roots,” he explains. “I’m working to give back to my heritage and Georgia is the place for me to do that; it’s one of the meccas of the film industry and there are a wide range of projects going on. The sky is the limit right now. “I want the film to have subtitles, because there will be a lot of sign language,” he continues, noting there’s only one other similar film he knows of with ASL and subtitles ( Switched at Birth ). “This way, people can watch the signing while reading along.” From recent altercations where law enforcement thought a deaf person was in- toxicated, to deaf people being misdiagnosed because the doctor’s office or hospital lacked a certified sign language interpreter, King’s film asks viewers to consider, “What if that was me?” King notes that ASL is just that—Ameri- can. From country to country, just like spoken languages, sign language varies greatly. The point of his documentary is to raise awareness and make progress for the deaf here in Georgia (and across the U.S.). “I want to be a voice for the voiceless and be an advocate for deaf people—that’s my primary goal,” he says. “I’m trying to start a campaign to raise awareness, which I want to share with the legislature.” The documentary is currently in the
Jimmy King
I want to be a voice for the voiceless and be an advocate for deaf people—that’s my primary goal.
N ot everyone you pass on the street hears your “good morning”. It’s possible that you just aren’t speaking their language…and maybe their language isn’t spoken. Inspired by his own life events with the purpose of educating everyone, Atlanta’s Jimmy King is preparing to film a docuseries, The Hustler’s Notebook: I AM Him , which follows his life and the lives of others he’s met and helped over the years within the deaf community. King has unique first-hand experience growing up as a CODA (child of a deaf adult). Both of King’s parents are deaf and American Sign Language (ASL) was his first language. He’s been interpreting ASL since he was 5 years old. “Having two deaf parents made my childhood an afterthought. I had to be able to interpret every type of situation my parents needed me for,” King says. “I’d have to miss school to help get things done. Oftentimes, I didn’t have full knowledge of how to sign certain words, so a lot of my early ASL was self-taught.” Quite the tall order for a young child whose home life was mute. King’s description of his mother’s upbringing also sounds isolating; as the only deaf person in her family, she grew up reading lips. While her family tried to adapt to communicate with her, her son is the only one who knows ASL. As for his father, his parents met at Georgia’s School for the Deaf in Cave Spring, and King’s father was out of the picture early on. Born in Atlanta at Grady Hospital, King moved to South Georgia at a young age with his mom and grandmother. Living in Small Town USA, there wasn’t a lot of opportunity. While his mother worked agricultural jobs, King turned to the streets. As time went on, he began writing—poetry, songs, scripts, and more—and
Photo courtesy of Deelite Photography
budget phase, otherwise ready to move forward. He hopes the film will eventually be available for streaming, along with his idea for a sitcom that would ideally be a weekly roll-out. “If people can relate, it opens doors to new relationships and opens doors into deaf culture,” he says. “This film will help people better understand, even just a little bit. And it is my hope that everyone can learn to sign the alphabet, because if you know nothing else but the ASL alphabet, you can communicate with a deaf person.”
Learn more about this project by visiting Facebook (Know ASL Now) and Instagram: @asl.now or contact King directly at knowaslnow@ gmail.com.
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ART IN FILM
Art Insists on the Artist By Ca ro l Bada r acco Padge t t
R emember the days when certain people you knew drew stick figures while play- ing Pictionary? And then there were those who actually put appendages and facial features on their people, making the rest of us look bad? Atlanta native Mark Boomer- shine can’t relate to these things, not even close. Because he has always existed in the stratosphere of art talent. “I have always had the ability to create art at a high level,” he confirms. “Even in elementary school my work was once displayed in a collection of youth works at The High Museum of Art.” Yet Boomershine wasn’t always all about art in his early days. He majored in business management at University of Alabama with a minor in studio art. “I would go straight from a finance class to a sculpture class,” he notes. He studied business to go into his family’s business of running auto dealerships, which dated back to 1929. “In my middle 20s I had 150 employees and I was
He works in acrylic paints on canvas, with an admiration for their drying times. “I work very fast and the quick drying time is helpful to my pace,” he says, sharing this about his technique: “I would describe my work as exhibiting an economy of gesture in my strokes. Simply put, one brush stroke in my painting may do the same as 10 brush strokes in another artist’s.” Viewing his work up close gives it an abstract characteristic, Boomershine believes, “but the farther you get from my work the more detail actually begins to come out. I let your brain fill in the gaps.” While Boomershine delved heavily into celebrity works from 2009 to 2013, he then switched to other styles. “But recently I am getting back into Icons,” he shares. “That being said, I have consistently painted Lynda Carter as Wonder Woman. I have an upcoming show at The Buckhead Art Company where I will revisit Icons.” (Due to COVID, the show was postponed. Follow @markboomershine for updates.) With the film industry budding and growing in Atlanta since 2008, Boomershine is beginning to see his art merge with film. “Interestingly, through my art, an admiring screen writer/director and I connected,” he says, “and I am helping produce a beautiful film shot in Guatemala.” Moving forward, Boomershine looks at his art and his life as an open canvas. “I am constantly striving to better myself and my work, but one thing I have learned is [that] the art business (like any business) can ‘zig’ just when you learned to ‘zag’,” he says. “I look back at my career and feel blessed to have international collectors, a mem- ber of the Whitney Museum Board as a collector, Hollywood A-listers as collectors, and honestly, I just keep plugging and chugging.” Each year he makes an artist’s mark stencil for the back of his pieces, he says. ”I always put them in Latin and have had ‘Keep Moving Forward,’ ‘Never Look Back,’ ‘Stay Humble,’ and this year’s is ‘Nailed It!’” And he closes, “Personally, I keep trying to grow as a person, husband, and father — all of which I adore being.”
100% business,” he states. But in 1999 his family sold the business, and Boomershine was forced to reinvent himself. But he still didn’t go straight into art. “I’ve always been infatuated with off-road adventure, and I created a Land Rover off-road adventure tourism business in Highlands, NC,” Boomershine says. Then four years later, still not devoting himself to his destined occupation, he sold the off-road business to follow an idea for an automotive safety product he patented, manufactured, and sold through automobile parts retailers and infomercials. “I licensed my product to an auto- motive parts supplier. It was at that point [that] my wife planted the seed to finally become the artist that was within me,” he says. “She told me to paint 20 paintings and see how I liked painting every day.”
“Wonder Woman”
Mark Boomershine
“Steve McQueen GQ”
in Cartersville, GA, where it was placed on permanent exhibit in 2009. Since then, Boomershine has never put down his brush. “I consider myself a pop artist first and a figurative painter second,” he says, adding, “I think it is going in the studio, playing amazing music, and creating works that liberates the imagery inside of me.”
The sixth painting he created was of Jay Silverheels who played Tonto in the Lone Ranger, he shares. And through a connection, his work was shown to the Smithsonian Affiliated Booth Western Art Museum
@markboomershine | @theboomershines
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