Georgia Hollywood Review is a free magazine that features the directors, producers, actors and behind-the-scene film and industry professionals who make films in Georgia. Georgia Hollywood Review profiles professionals in filmmaking such as location scouts, sound engineers, casting agents, prop and set designers, animators and CGI artist, costume designers, hair and make up artists, teaching and training professionals and more.
LETTER FROM THE PUBLISHER
Publisher/Founder/Editor-In-Chief: Miles K. Neiman
A Look to the Past, Present, and Future of Film and Television
Managing Editor: Jennifer Thompson
The Georgia Film industry is not simply an 11-billion-dollar industry. It is, rather, a mecca of creative talent. Men and women who are passionate, not only about creating works of art, but also giving 100% to each and every project that comes their way. The Georgia Hollywood Review is dedicated to capturing this talent and passion in the pages that follow. Look to each issue to discover the people, places, and things that make Georgia the leading state in the entertainment industry. A title that’s not only earned but should also be celebrated by all of us who enjoy the incredibly moving and inspiring medium of film and television.
post viewing dialogue, and the subjective take of the film, that make a filmmaker’s job incredibly exciting and satisfying.” In addition to the Marvel and Avengers stories that are being filmed in Georgia, there is no shortage of dramas, comedies, television series, and Indy films. Look for local actor Denitra Isler’s new movie, Just Mercy, with iconic superstar Jamie Foxx and Black Panther’s Michael B. Jordan. Also look for actor Chris Pratt, quietly shooting a project downtown with the current title Ghost Draft. In addition, Georgia is home to such productions as Dynasty, Ozark, and Stranger
Proofreader: Sloane Neiman
Magazine Designer: Brenda J. Oliver
Advertising Design: Sharon Jollay
Things, just to name a few. Thanks in advance for picking up our fine magazine and don’t hesitate to let us know about your project filming here in Georgia. Whether it be big or small, no vision of quality is too little for us to consider. Email us at myfilm@ georgiahollywoodreview.com. Finally, we invite you to like our Facebook page for updates and broadcasts of special screenings, as well as our Georgia Hollywood Review TV. Our host, Nadia Bilchik, has interviewed amazing personalities, such as President Nelson Mandela, Tom Hanks, Meryl Streep, Anthony Hopkins, Morgan Freeman, Matt Damon, and George Clooney. Now she is interviewing Georgia’s talent both above and below the line to help us tell stories about “a day in the life” of Georgia’s remarkable talent. For now, you can watch us on YouTube or our website, but look for us to come to your television screen soon. We will also cover award ceremonies for live interviews with Georgia celebrities at the Academy Awards, Grammy’s, Emmy’s, Sundance Film Festival, and Cannes Film Festival, as well as our many Georgia Film Festivals. Until next issue, I wish you star studded nights and drama free days.
Powerhouses Ozzie Areu and partner Kim Leadford, featured on our cover, are two of the dynamic individuals making a difference in our strong and vibrant industry. Keep a watch on them in the headlines of the latest film, television, and music news in Georgia with their newest venture, Areu Bros. Studios. After recently acquiring Tyler Perry’s old property, they are positioned to make not only a big splash, but a difference in the fabric of the content available to us all. We will also cover Georgia’s strong and established music business. Look to next issue for us to expound more on this industry. In the meantime, read about Indy artist Stickz Greenz in our R&B section to add some color to your day. Greenz is not only a fearless and passionate artist, but an extremely prolific one as well. Also read about local director Deborah Riley Draper. Known for her 2012 film Versailles 73 , Deborah is now on the social justice warpath. Her latest films, Illegal Rose; Olympic Pride, American Prejudice; and Coffee Will Make You Black are sure to get us all thinking and discussing important social issues of today. And these discussions could not please her more, Deborah says. “A film should make us talk. It’s the
Photography: Aiva Genys Richie Arpino
Distribution: TGS Media
Advertising Sales: advertising@georgiahollywoodreview.com
Sales Support: Beth Wroten
Georgia Hollywood Review TV Host: Nadia Bilchik
Videographer: Randy Harris
Contributing Writers Joanna Brooks Connor Judson Garrett Echo Montgomery Garrett Christopher Hall Tracey Hawkins Julie Herron Carson Jessica Holthaus Badour Michael J. Pallerino Mary Welch
Miles K. Neiman
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 2019. Send inquiries to 227 Sandy Springs Place, Suite D-288, Sandy Springs, GA 30328. For more information, contact admin@georgiahollywoodreview.com.
Pictured: Ozzie Areu and Kim Leadford Photographer: Aiva Genys, AGpicture Photographer’s Assistant: Ethan Ramirez Location: Areu Bros Studios Hair: Paul Russo Makeup: Robin Burton
Deborah Riley Draper and Jasmine Guy MakeWaves with “Illegal Rose”
Georgiaʼs Denitra Isler Co-starswith Jamie Foxx and Michael B. Jordan in “JustMercy”
Ozzie Areu andKim Leadford prepare to takeGeorgia’s Film, TV andMusic industry by stormwithAreu Bros. Studios
Atlantaʼs PC&E PropsUp the Film Industry
R&B Prince, Stickz Greenz Makes BeatsOriginal Again
CheckOut Georgia Hollywood Review TV with hostNadia Bilchik, for interviews with local celebrities and talent above and below the line!
Mark Stiemke and Crafty Apes Prepare to Produce 17Georgia Films
Child Actor Marco Schittone MakesHisMark
Hair by Paul Russo. Makeup by Robin Burton.
Visit our webpage: www.GeorgiaHollywoodReview.com
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CONTENTS
12 stunt woman Damita Jane Howard is Just Cool 14 casting Focused on the Big Picture 16 furry friends The Wild and Wooly Biz of Animal Casting 18 screenwriting+scripting Don Dudenhoeffer 20 location scouting Michael Woodruff at Eye Productions, Inc. 22 executive producer Mark Stiemke: The Connector 24 audio engineers Sound Confessions: Bob Miller 26 hair+makeup To Amy Elizabeth, Every Face is a Canvas 28 props RJR Props Creates Movie Magic 30 animatic storyboard The Godfather of Storyboard 31 industry groups Who is Going to Bat for Georgia’s Film Industry? 32 indie film Atlanta Filmmaker Deborah Riley Draper is One to Watch 34 blockbuster Just Mercy; Speaking to the Times 36 local studio Areu Bros; Changing the Complexion of the Entertainment Industry 38 celebrity actor & producer Terri Vaughn; Stronger Together
40 goodwill in film Mark Wofford of PC&E 42 sports+faith Full Count 44 child actor Marco’s World 46 biography Behind the Lens with Corine Dhondee 48 r&b Rapper Stickz Greenz
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CONTRIBUTORS
Photo by Kevin Garrett
Joanna Brooks has been an industry writer and producer in Atlanta since completing her M.F.A. in Film & Television in 2013. She has worked at corporate, broadcast, and digital production companies, and has been in Development at Crazy Legs Productions since 2016. In addition to contributing to the Georgia Hollywood Review , Joanna scripts choose-you-own-adventure games and her own feature screenplays.
Connor Judson Garrett , 2017 Edward Readicker-Henderson Travel 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, Hook & Barrel, Georgia Hollywood Review and ads for major brands such as Texas Pete, Green Mountain Gringo, and Ziprecruiter.
Echo Montgomery Garrett has written for more than 100 media 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.
Tracey M. Hawkins has been a contributing editor and writer for various print publications, such as The Thirty-A Review, American Contemporary Art, and Frontier Airlines magazines; as well as award-winning websites, galleries, novelists, private artistic institutions, and individual artists. She has an extensive background in the fine arts, having 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 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.
Jessica Holthaus Badour From veteran communications 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
Michael J. Pallerino is an award-winning writer who has written for a number of national B2C and B2B publications. When he is not lost in his writing, music and binge watching, Michael can be reached at mpallerino@gmail.com.
Mary Welch is a veteran writer and editor who has worked for a number of publications, including the Atlanta Business Chronicle, Travelgirl Magazine, 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 Atlanta Woman, Business to Business, Car Business Today
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STUNT WOMAN
Damita Jane Howard is Just Cool By Tr ac ey Hawk i ns
A tlanta-based Damita Jane Howard is cool, chill, incredibly humble, and a necessity in her unique profession. For over ten years, she has leapt and fallen and jumped and taken punches (fake and real) from celebrities on the sets of some very well-known movies and TV shows. You have seen her impressive work as a professional stuntwoman in Avengers: Infinity War , Avengers: Endgame , Star, Guardians of the Galaxy Vol. 2, The Hunger Games, Whip It, Captain America, The Nice Guys, The Purge, The Originals, NCIS: New Orleans, and Selma as well as The Walking Dead, for which she has been the longest-running stunt-double (she is the stunt Michonne!). That you never knew you were watching Damita speaks volumes about her talent and passion for this rare and difficult profession. A Compton, California native, Howard has a fascinating background that includes a bachelor’s degree
in criminal justice from Clark Atlanta University and two master’s degrees in applied social sciences and historic preservation; all while a roller derby girl. Playing with the Atlanta Rollergirls at the national level led to Howard’s first role in stunts. Whip It director Drew Barrymore needed someone to skate for the character of Rosa Sparks, played by Eve, the rapper/actress in the film. Howard shot as Eve’s stunt-double for six weeks, 12-plus hours a day, and asked the stunt coordinator to help her get into stunts. He called all of the stunt coordinators in Georgia and gave her glowing recommendations. Howard has always been athletic, and she’s been hooked on the crazy skills, strength, and adrenaline involved in stunt work ever since. Because of her roller derby girl background, Howard excels at getting beat up and returning punches. She can take a punch or kick, jump through fire, leap out of cars, and still get up every time. She was trained in fire-work,
and she is currently training with the President of the Atlanta Black Rodeo Association, Keith Roberts. When not working on set, she now trains three to five days a week in western horse riding, running barrels, roping, and training both horses and other riders. Roberts is also teaching Damita how to be a ranch hand in preparation for owning her own ranch someday. She currently has two beloved quarter horses, Shadow and Blue Magic. Every day for Howard is fun; she gets to play both on-set and off. When she’s not working, she’s training. In addition to riding horses, training includes things like skating, martial arts practice, swimming, practicing fight choreography, and scuba diving. Howard was gracious enough to take some time out of her packed schedule to talk with us about her work in the industry.
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STUNT WOMAN
WHAT IS IT LIKE BEING A FEMALE STUNT PROFESSIONAL, AND HAS IT CHANGED FOR YOU OVER THE YEARS? We are no different than stuntmen, except sometimes we get paid less for the same work. And we often do stunts without pads/protection because our wardrobes are too skimpy to allow for it. These are facts about the profession that audiences probably simply don’t think about or realize. Men are usually the stunt coordinators in this industry and it is still very much a male-dominated profession. However, in Atlanta, we are lucky to have a couple of rare women who are stunt coordinators. WHAT WAS YOUR FAVORITE PROJECT SO FAR, AND WHY? I don’t really have a favorite project. My favorite projects are ones where I get to work with extremely talented, veteran stunt performers. I don’t always get to have one-on-one conversations with them, but there’s always an opportunity to watch, listen, and learn. I am always learning and challenging myself. I want to be constantly expanding my skill set. DO YOU HAVE ANY ADVICE FOR FELLOW OR ASPIRING STUNTS PROFESSIONALS? Figure out what areas of stunts you want to work in and start training as soon as possible. Become as close to an expert as you can. Market yourself over social media. Never accept a job doing something you aren’t amazing at--that’s the fastest way to get black-listed. WHAT PROJECT ARE YOU EXCITED ABOUT RIGHT NOW? I recently produced and starred in my first short: titled Stuntwoman. It was written and directed by a super-talented woman named Stacie Davis. It’s currently doing very well on the indie film festival circuit and I’m very proud to say that it screened at Artemis Film Festival in Los Angeles. Artemis is the “Women In Action” festival--a big deal for stuntwomen. More information about Artemis can be found at: www. artemisfilmfestival.com .
When she’s not working, she’s training. In addition to riding horses, training includes things like skating, martial arts practice, swimming, practicing fight choreography, and scuba diving.
For a comprehensive look at Howard’s film and television credits, visit her IMDB page at: www.imdb.com/name/nm3180152
Photography courtesy of Robin Henson
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CASTING
Focused on the Big Picture Jen Kelley and Rita Harrell gave themselves the lead roles as partners in Big Picture Casting By Echo Mont gome r y Ga r re t t
F inding the right business partner is like the challenge of casting the right talent — on steroids. When Jen Kelley saw room in the Atlanta market for a new casting agency in 2011, she immediately thought of her colleague from the People Store, one of the top talent agencies in the Southeast where she had worked for fourteen years. Kelley knew her work style and ethics aligned with Rita Harrell’s. New Hampshire native Kelley drove across the country to Los Angeles immediately after college graduation, determined to be a sitcom writer. She got her start in the industry as an assistant in the youth division of a talent agency. She moved to Atlanta in 1996 to become an artist but eventually felt the pull of becoming a talent agent again and joined The People Store, Inc. For several years, Harrell lived in New York City where she worked in casting for theatrical organizations such as The Public Theater/New York Shakespeare Festival, the New York Theater Workshop and the Williamstown Theater Festival. She freelanced in casting on various television and movie projects and worked in FOX Television’s east coast casting office before returning to her hometown of Atlanta with her husband Scott. When Kelley reached out, Harrell had left the talent agency for five years to start her family, and she was ready to jump back in the game. The duo co-founded Big Picture Casting. Their office in downtown Decatur offers a studio where they tape auditions, and the agency has gotten so busy that they recently promoted their one employee Kimberley Thomas to an associate position. “Tax incentives were just kicking in, and the volume of work was starting to change here,” says Kelley. “I kept hearing from clients that they wanted more casting options.” The pair dove in. Says Kelley, co-author of The Actor’s Guide for Kids , “We’re one of the few casting directors in town who do it all: film, television, commercial and voice over.” She also notes that, “Each year has its own flavor. Some years have been busier with film and television. This year’s been busy for commercials.”
adding, “We both have a really good sense of humor. We keep things lighthearted when it gets stressful.” And although each have their strengths, they’ve learned to play all the roles needed to lead a successful casting agency. Since they started their agency, the number of talent agencies has quadrupled. “A lot more actors are moving here, and the talent pool has grown significantly,” says Kelley. One of the duo’s biggest casting jobs was the Tom Cruise movie American Made. “That was a challenging one, because we had so many roles to fill with different nationalities,” says Harrell. Big Picture frequently works with Adult Swim and cast four seasons of the Your Pretty Face is Going to Hell series. Says Kelley, “That show is quirky and weird. It’s a challenge sometimes finding the right person for it, but it’s a lot of fun.” Still there are challenges. “One of the toughest things about being a casting director is balancing your schedule,” says Kelley. “It’s often feast or famine. You never know when your next job is coming.” Like many businesses, Big Picture relies heavily on word-of-mouth and gets a lot of repeat business. “Word of mouth is crucial — especially in the film and television world,” says Harrell. As for the type of roles that are going to actors in Georgia, Kelley says the business is changing but there is “still a way to go. Producers often want a star name in the role of a series lead and that still usually gets cast out of LA or NYC. We are seeing local actors getting more and more recurring, guest star, and supporting roles” Harrell attributes some of their success to their strong sense of talent and good taste.
Rita Harrell, Jen Kelley and Kimberly Thomas
Both partners, members of the Casting Society of America, have their different roles. Harrell jokes that she’s the technological end of the partnership — “the IT department,” — while Kelley says, “I’m the organized one. I like to do scheduling and get out and see live theater and keep my eyes peeled for new talent.” They both admit to being detail oriented perfectionists, which is essential to casting, says Harrell,
“We have a good vocabulary for giving direction,” she says. “We take the vision of the director, the production company or the ad agency and communicate that to the actors, so they can produce what they need to do to win the role.” Because so much new talent is coming into the market, says Kelley, “Everyone has to up their game.”
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FURRY FRIENDS The Wild and Wooly Biz of Animal Casting
The top dog in animal casting in Georgia reveals the latest trends and why business is booming By Echo Mont gome r y Ga r re t t
G reg Tresan of Animal Casting Atlanta takes a break after unloading his precious cargo on a film set to talk about his favorite subject: the business of providing animals and other critters for films, TV, commercials, and print. The California native was first introduced to the film industry via dog training thanks to his partnership with Jumpin’ Jess, a frisbee-loving Australian Shepherd that he trained and competed with all over the country. “She was a great frisbee dog, and we wound up doing half-time shows for the NFL and performing at MLB stadiums,” says Tresan, who runs Animal Casting with his wife and business partner Carol. In Ball Ground, the couple operates a 15-acre ranch, which has a full-service commercial training and boarding facility. Says Carol,
summer. It was a real challenge to do that safely for the human and the spiders.” He worked closely with the American Humane Association and production on the elaborate set up. Tresan has built trust by being budget conscious. “I got asked for flamingos recently,” he says. “I told the client flamingos are extremely delicate, not local. It would be very difficult and probably not worth the cost. Everything comes down to budget, the safety of the animal, and the crew.” He observes animals’ popularity trends. “We joke that the writers must all eat lunch together and look at the same demographics,” he says. “Lately, rats are in. Sometimes goats or bunnies are in.” The most difficult animal to work with is cats. He says, “One in 100 can make a film dog. With cats, it’s more like one in 1,000.” However he and his wife managed to train Ziva, a cat that they love. Says Carol, “She was rescued by Spider Man from a burning bodega.” Tresan works with a variety of animals and says, “My favorite animal to work with is an animal that has some sense of what’s going on, is compliant and helps make the day go smoothly. Every animal has its own personality.” He thrives on challenges. On the movie Prisoners , he had to create a safety stunt vest for a dog that was supposed to be yanked off the ground and look like it had been strung up by an actor. He used the same technology for a similar stunt for Widows . “People reacted strongly to those scenes, because it looked so real, but the dog was perfectly safe,” he says. “I always like it when we get a chance to do groundbreaking stuff. On a Comedy Central show, we had to dress a chicken in a tuxedo and teach it to play the piano. We had to come up with some interesting ways to get a chicken to do that.” Some of his castings have become unlikely breakout stars. “The rat in Avengers: Endgame has a significant role and did something that made it the unsung hero of the film,” he says. “Entire blog posts have been written about that rat and he’s all over the Internet.” The animal lover predicts that his company’s star will continue to rise: “The film industry in Georgia has exploded with more and more studios investing in our state.”
“He calls me the chief executive officer in charge of increasing the herd. I like horses, sheep, and cows. He prefers dogs.” Knowing the Atlanta Olympics were coming, Tresan started the company — originally called Dogworks — in 1993. The couple now have eleven dogs that work in the business and more than 2,000 in their database. They’ve also expanded their talent roster. “Today we offer everything from ferrets to parrots,” says Carol. When the film industry tax incentives debuted in 2008, their business nearly doubled right away. “Greg had a ‘build it and they will come’ attitude,” Carol says. “I’ve always been impressed by his vision.” That vision has paid off. His company provided all the animals for the first five seasons of The Walking Dead. He says, “My wife and I both appeared in the series, and that crew became like family.” Not only has Animal Casting Atlanta become a well-regarded name in the Georgia film industry, Tresan gets calls from all over the country. He has worked on his share of mega-films, including the last three Hunger Games as well as Avengers: Infinity War , and Endgame.
“The Marvel movies are always a challenge,” says the entrepreneur. He loves lending his expertise to the creative process. “I enjoy all the projects we work on, but I especially like medium-size movies where
Greg and Carol Lane Tresan
I can be highly involved creatively,” he says, naming Three Billboards Outside Ebbing, Missouri ; Hidden Figures ; and Jason Bateman’s Game Night as recent favorites. “I’m proud of anything that comes out good on film.” Recent projects include Netflix’s Ozark and reboot of Dynasty ; HBO’s Watchman (debuting in October), and Stephen King’s Doctor Sleep , The Shining sequel coming out in November. “We’ve been working on Watchman for over a year now,” he says. “It’s a huge effort.” Weird requests have become common place. “We had to dump a bunch of spiders on an actor’s head last
To find out more, contact Greg Tresan at (404) 786-6400 or Dogworks@aol.com, and Carol at (404) 786-4232.
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SCREENWRITING SCRIPTING
DON DUDENHOEFFER
By Je s s i ca Ho l thaus Badour
We are a story incubator, developing content across media channels at a significantly lower cost with new revenue channels.
Illustration from “A Planet Called Eden” by John Adcox
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SCREENWRITING SCRIPTING
W hether you’re in the entertainment industry or not, it’s abundantly clear that Georgia is a hot-bed of activity for film and television. When it comes to finding the next big thing, Atlanta’s Gramarye Media is a unique concept for developing and producing projects — all within state lines. “Gramarye Media is all about finding original content and curating it; investing early, bringing in new acting talent and young directors — with the story incubated and developed right here. Georgia is the perfect place to do this,” says Don Dudenhoeffer, Chief Creative Officer for Gramarye. “We have very generous tax incentives for the industry, with a very low cost of doing business. With the opportunity zone credits, it’s a perfect storm.” Georgia’s film and TV industry has created more than 92,000 jobs with over 450 projects in FY2018, according to the Motion Picture Association of America. The overall economic impact is somewhere approaching $10 billion, with direct in-state spend of $2.7 billion. These numbers are impressive — especially when you consider net profit for most projects returns to big film industries in places like Los Angeles and New York. Gramarye Media is looking to literally disrupt the existing Hollywood system with their new model, designed to be an all-inclusive package here in the Peach State. The company’s team includes industry experts from across the country, with the three primary founders — all Georgia-based. As a graduate of Georgia Tech’s Flashpoint Center for Deliberate Innovation, Gramarye Media was recently named one of the state’s 40 Most Innovative Companies by the Technology Association of Georgia. They’re currently fundraising capital and, while they are in diligence with major funds, there are still open opportunities for new investments. Revenue for projects comes from token-based economics and preferred stock shares. “We are hometown-focused, and we want to stay here,” Dudenhoeffer says “Here’s the great thing about our business model: Media is a risky investment, but it’s especially risky with a single project. At Gramarye, our investors’ money is a distributed risk because they are buying into everything we produce, which is going to be a huge slate of new content.”
Gramarye starts with unpublished book manuscripts with the potential to become franchises (think Harry Potter ). Incoming submissions are initially filtered by accepting is incubated to develop a polished manuscript ready to adapt; with script or treatment, storyboard, attachments, AND budget. “That’s a critical piece; we’re extremely selective, only choosing stories with opportunity for expansion,” Dudenhoeffer explains, noting they plan to accept up to 12 stories per year. “The model for franchises in the industry right now is very fragmented, with limited room for success. We aim to turn that around by investing in a story before it’s ever been published. We are a story incubator, developing content across media channels at a significantly lower cost with new revenue channels.” Dudenhoeffer points out this process is, in many ways, inspired by the Silicon Valley business incubator/ accelerator process. In fact, a recent study suggests only 10 percent of start-up projects survive — whereas 80 percent of projects that go through an accredited accelerator process (like this concept) succeed. Stories, like disruptive businesses, are innovated. They, too, can be innovated reliably. As the process continues, the incubated story is launched as both hardcover and e-book in a new interactive app where readers connect and earn rewards by sharing feedback (in other words, built-in analytics that track brand awareness). “If the story has legs, we’ll roll it into a business plan that could become a multi-media franchise,” he says; books, films, games, or adaptations for television or live streaming. “And there’s your green light. We invest in the earliest stages and we make the green light decisions based on audience, community, and other key data points that tell us this is going to be successful.” Each storyline is treated much the same way as a Silicon Valley start-up business, protecting the story/ author with an improved path for success. Currently, Gramarye Media is a virtual entertainment studio, with plans to build a full-service studio. The long- range goal is to build out marketing assets to include video/mobile games, 3-D action figures, etc. Optimized technology and a key acquisition will give Gramarye full control over development and distribution channels (e.g., movie theatres, online, e-books, hardcopy books, etc.).
Don Dudenhoeffer
“The goal is to build our own distribution network for our content, not being beholden to third-party distribution channels,” Dudenhoeffer says. “Right now, we’re in development stages of the first story, with plans for our first interactive e-book release in 2020.” Dudenhoeffer’s 20 years of creative design and implementation work has focused on forward-thinking applications and, as an entrepreneur, he currently also owns and operates ClickMore Media in Atlanta. Learn more about Gramarye Media at www.gramaryemedia.com or contact them at info@gramaryemedia.com.
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LOCATION SCOUTING
A Conversation with Michael Woodruff, Atlanta Location Manager for Eye Productions, Inc. By Tr ac ey M. Hawk i ns
WHAT WAS YOUR FAVORITE PROJECT/CLIENT SO FAR, AND WHY? I have really enjoyed being the location manager for two seasons of the Netflix show Insatiable . The actors and crew are a big family and get along really well. As a location manager, I deal with every department and get to know all of the department heads. My office is always open, and I have many “pop ins” throughout the day. It makes my job fun dealing with a wide variety of people from very diverse backgrounds. You have to learn to get along with everyone, be patient, and really hear them. The location department is a support department. We are here to help everyone. DO YOU HAVE ANY FUNNY STORIES OR ANECDOTES FROM YOUR LOCATION SCOUTING EXPERIENCES? Many times, we spend days and weeks finding a location only to have script changes that remove the location we have spent many man-hours finding. You have to learn to let it go. Changes are made for diverse reasons and we are hired to find those options. I don’t get frustrated when a “gem” of a location has been removed from the script. I usually find it humorous that we have spent money and man-power for it just to get written out. I warn the homeowners and business owners that it could all change last minute. It can be a major shock to the property owner if they are not warned properly about our footprint. Our department is responsible for protecting the location. We want to be able to return to the location again and keep everyone happy. We want it to be a positive experience. Location Scouting is a very solitary job. It’s part private investigator, part translator, and part sales. We have to find the sites, communicate what filming entails, and sell the owners on why they should allow us to film. Confidence and clear communication are key to getting access to properties. Productions pay to use properties because it is an inconvenience, but it can also be fun, exciting, and financially rewarding.
TELL US A BIT ABOUT YOUR BACKGROUND AND HISTORY. After graduating from UGA, I moved to NYC to work in the music industry; two of my friends from college were also there and actively worked in film production. Although film production interested me, music was my focus. I helped “produce” a few, low- budget, short films, and music videos. I left NYC in late 2002 and opened up a recording studio in Marietta. After a year, I had reliable staff running the studio, so I decided to get into commercial real estate. Commercial real estate had me driving all over Georgia, learning about every town. I stuck with that for about 5-6 years but was never really happy. To dip my toes into film, I signed up with the 48 Hour Film Festival, not knowing anyone. It was crazy—everything happening so quickly—truly an exhilarating and exhausting experience. My college friend, Tony Holley (Location Manager for Stranger Things ), had been working in location for a few years. Realizing I needed to change careers, I asked Tony to “show me what you do when you are location scouting”. He was kind enough to take me around for a day. I realized that what I had been doing in the real estate industry was very similar; I had just been scouting for sites for tenants. Tony gave me a list of Location Managers to call. I placed some calls, got two callbacks, and landed my first job as a location scout due to my background in real estate. The first production that I scouted for was the Coma miniseries (2021)”, and I found one of their key locations. HOW DOES THE PROCESS OF LOCATION SCOUTING WORK? Typically, a location scout is given a script, outline, or location list, and sometimes reference photos. We are tasked with finding options for the production designer and director to sort through. Specific architectural styles and requirements of the location might be requested. It really depends on the script and feedback from the production designer and director. The location manager or line producer hires the location scouts; the information flow for the scout process is usually given from the location manager to the scouts. If you are hired before the location manager, the production designer and director usually take the lead on the needed locations. The script will change as pre-production moves forward. New locations can be added, and locations you’ve been searching for may disappear.
Michael Woodruff
Location Scouting is a very solitary job. It’s part private investigator, part translator, and part sales.
Photography by Aiva Genys AGpicture
For further information, and to contact Michael: www.linkedin.com/in/ mmwoodruff.
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EXECUTIVE PRODUCER
The Connector By Echo Mont gome r y Ga r re t t from start to finish,” says Stiemke. “We do true stories, horror films, happy-go-lucky films, thrillers, docudramas, children’s shows — a number of different styles of films.” The entrepreneur discovered his gift for selling and event management early on. He’d been scouting for a modeling agency, but when the agency went out of business, the twenty-nine-year-old was at loose ends. A friend told him about an opening at the Sheraton on the sales team. He was hired and given 90 days to prove himself. “Then 9/11 hit,” he says. “I was the last in and
W hen Mark Stiemke first got involved with location scouting with the film and entertainment industry in the late 1990s, he never expected it to lead him to the web of connections it yielded. The result of more than a quarter of a decade invested into various aspects of the business — executive producer, producer, investor, and global locations and onsite management — is iKonic Entertainment, established two years ago. “Over the last dozen years, when the TV and film industry really took off here, I became the go-to guy for high-end locations,” says the Atlanta native, who first made a splash as a national accounts manager with the Sheraton Atlanta and then the Georgian Terrace Hotel by coordinating epic events that garnered national headlines. “I started getting all these calls to coordinate, negotiate and be the liaison between homeowners and the studios or celebrities wanting to rent,” he says. The challenge? “Atlanta is not a resort town. It’s a different type of location, because these are not second and third homes. I take the time to really educate homeowners about the process.” Because the properties involved are
I figured I’d be the first out. My boss came in and dropped this huge book filled with lost business contacts on my desk. I just started calling them.” A few weeks later, his boss called him into his office. “I thought I was in trouble,” says Stiemke. His boss asked what he was doing. “I told him I was
Mark Stiemke
“ The Wall Street Journal wrote about how we’d pulled that off.” That same can-do attitude serves him well in his primary role with iKonic where he continues to drive success to the core of his business. iKonic has an all-star lineup of talent from producers, line directors, ghostwriters, and every role needed to make a film. “iKonic is a well-greased machine. We all stay in our lane. It’s taken
iKonic has an all- star lineup of talent from producers, line directors, ghostwriters, and every role needed to make a film.
usually multi-million-dollar mansions, when Stiemke is wearing his location management hat he often stays on-site to make sure the homeowner is protected and that the movie people get what they need. “Most people do it for the novelty of it, or because they like a certain actor. However, the money isn’t bad either.” A handful of his more recent credits on the location side include projects for What to Expect When You Are Expecting, The Haves and The Have Nots, Anchorman 2, Need for Speed, An Actor Prepares, and What Men Want. The former model/actor has negotiated
Above: Mark with Morgan Freeman, Jeremy Irons. Photos courtesy of Mark Stiemke.
us ten years to put our whole package together. One of our partners is VFX Crafty Apes, one of the biggest special-effects companies in the business. They did LA LA Land . We’ve all worked together on projects and have our own companies. Then we decided it made sense to partner/and co-produce.” The combined years of experience on the core team adds up to one hundred plus years in the business. Says Stiemke, “I took a lot of risks early in my career, and I still take a lot of risks every day. I create, connect, and find new opportunities.
just calling everybody in that book,” he laughs. “Then he informed me I was the only one booking business and was outselling the entire sales team combined.” When Stiemke noticed that the hotel was slated to be lights out for New Year’s Eve, he came up with an idea for transforming the 765-room hotel into a party scene with seven different environments with music staged throughout. “It took me and several partners, but we sold out the entire hotel in 35 days, with seven different environments of sound, entertainment, casino, and a 500-person dinner. We were written up in Rolling Stone as the 15th biggest New Year’s Party in 2001,” he says.
location contracts for every major studio and network from Paramount, Sony, Universal, HBO, Showtime, Tyler Perry Studios, Starz, Netflix, ABC, Fox, and more. “I’m the guy they call for hard-to-find stuff,” says Stiemke. His reputation for making the impossible happen turned into long-term relationships with several industry heavy hitters. He launched his own production service Stiemke Productions in 1995 and added executive producer, producer, and investor to his resume. With iKonic Entertainment, he and his partners currently have 17 different projects — two of which are episodic series — in development. “We can do a film
To contact Mark, go to mark@thebuckheadmansion.com or www.theBuckheadMansion.com.
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AUDIO ENGINEERS Sound Confessions: Audio Engineer Bob Miller By Je s s i ca Ho l thaus Badour
Another special project he did in Nashville was with Thomas Morrison (Morrison Sound Nashville), who split a two-day job for the Johnny Cash “Hurt” music video with him — “a once in a lifetime gig.” “We shot at the Cash home in Hendersonville, Tenn., on Old Hickory Lake. June walked up and introduced herself and welcomed us to their home,” Miller says. “The music performance was filmed mostly in the basement and there’s a moment in the video when Director Mark Romanek asked June to stand on the staircase behind Johnny — you see this look on her face while she’s looking at Johnny, so caring and loving. It’s an iconic moment of them together… This was a very special job I got to do because I started in Nashville.” Miller points out that he wasn’t just in the right place at the right time — he also had the right equipment. Thanks to borrowing (and then renting) the equipment from Morrison and Figlio, Jr., Miller could bring in the necessary technology to get the gig. As the work waned in Nashville in the 2000s, it was just picking up in Georgia. “In freelance work, you’re only as good as your last gig,” he explains. “Credits really aren’t as important as the last thing you did, the people you last worked with.” Miller has spent the last decade-plus working behind the scenes, even dabbling in the role of A1 for some sport-related projects. In live television production, the A1 is the primary audio engineer responsible for the live sound mix for the televised broadcast. “Doing A1 takes a special kind of brain,” he explains. “The audio engineer listens for all the calls on the field and follows the action; what the announcer is saying, adding in effects, music, making sure everyone can communicate. I have so much respect for those who do it full time.” Miller’s preferred jobs involve location audio gigs. Most recently, he is splitting his time between Georgia for film and television work, and Iowa working on a feature film and getting in some extra time with friends and family. “You can’t always love what you’re working on creatively. The times in my career that I live for are the times when I’m loving the project and people I’m working with… ‘If you’re about the love, you’re with me,’ he quotes. “I’m a huge Ringo Starr fan — not just because of the drumming, which is highly underrated — it’s his heart.”
The audio engineer listens for all the calls on the field and follows the action; what the announcer is saying, adding in effects, music, making sure everyone can communicate.
Miller working a NASCAR event
B ob Miller is originally from Iowa, but he’s lived in the South for most of his adult life. To say he was born a musician feels like an understatement because it’s legitimately true; he received a toy drum at age 2, upgraded to a real snare at age 7, followed by a complete drum kit by 11. He played the drums at school and was serious about it. He started lessons in third grade, band in fourth, followed by learning melodic percussion (including timpani, marimba and bells). In junior high, he started helping with the choir’s sound system (self-taught by other classmates), which he continued through high school. From there, he attended Iowa’s Kirkwood Community College and started recording music. “I studied the things I enjoyed that I thought would be helpful in the real world. I didn’t pursue a single degree; I played in jazz ensembles at Kirkwood, a rock band, did some background vocals, played for a church orchestra — all while studying electronics and media. It was fun,” he explains. “Music isn’t my primary business anymore, which makes it even more enjoyable when I do play.” But music has made up a huge part of Miller’s career. In the early 90s, he relocated to Music City, USA:
Eric Fiedor and The American Steel Band Left to right: Dave Jacques, Moose Harold, Eric Fiedor, Gary Goodlow & Bob Miller
Miller practicing snare drum at 7 years old.
Nashville. He dabbled with several bands, including one most of us have heard of. “I’ve always loved singing harmony while playing drums. This band had four lead vocalists who were great songwriters and players too. I thought we were going to be the next Eagles!” he laughs. “Turned out, it was more like the next Alabama… it was a band called Texassee who later changed its name to Lonestar.” After a taste of touring, he played until the band found a new drummer. Then, with a little help from his friends Brian Parker (Parker Designs) and Michael Figlio Jr. (audio and AD freelancer), Miller ended up in the right place at the right time to land his first gig: A music video with Chet Atkins and Susie Bogguss off their duet album, Simpatico . Two days later, he found himself working on a music video with Diamond Rio.
Miller works on feature films, television, behind the scenes (EPK), live sports, commercials, industrial, music videos, Internet, voice over, radio and theatre. Reach him at bob@audiobob.tv or visit www.audiobob.tv.
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HAIR MAKEUP
Make-up Artist: To Amy Elizabeth, Every Face is a Canvas By Ma r y We l ch A my Elizabeth knew she was destined for the creative work, hopefully in film, but she took her parents’ sage advice, went to college and worked as a physical on their eyes, well, that’s my art. I look at each face as an individual canvas.” On the other hand, if the project calls for it, she has the skills to create cuts, bruises, tattoos, scars, etc. — or to cover those things if needed. She likes to have a short conversation
therapist for eight years. “I always wanted to go to film school, but my parents laughed it off and did the ‘get a degree and then do what you want’ thing, so I did.” But destiny always wins out and today Elizabeth is one of Atlanta’s most in demand makeup artists, working on a
with the star to get an idea of their comfort zone. “I want to know what they like and dislike on their skin. We may be talking about a makeup style to complement what they’re wearing to an event or performance. Or, we may be discussing a character they are playing and the mood of the scene. It’s about making sure we are on the same page in our creative vision.” The talent she’s collaborated with have all been very nice with a positive energy. “A positive energy is important to me. It also brings out creativity.” She notes that Ian Somerhalder and the cast of Vampire Diaries were “amazing. Andrew Lincoln (the star of The Walking Dead ) is one of the kindest people I’ve ever met.” Atlanta is still a growing market for film and television and there are multiple
John Collins of the Atlanta Hawks
Norman Reedus
ways to get into the industry, she says. “Most of the television shows and all of the studio movies are union productions so it takes time and a lot of work to get your union card.” The key, she says, is to network and reach out to people. “I’m not afraid to tell
Elizabeth says her signature style is creating a natural look that enhances the person.
variety of television shows and advertising campaigns. She has done the make-up for stars such as Norman Reedus, Ian Somerhalder, Maureen McCormick, Taylor Hicks, Taye Diggs, and sports celebrities such as the ESPN College Game Day cast Jennie Finch, Dominique Wilkins, Tim Tebow, and Matthew Stafford. After working in PT, Amy followed her heart and signed up for a program in video editing and also took a job with the iconic makeup line Bobbi Brown. Originally Amy took the job for extra money, but it wasn’t too long before she saw the potential in makeup as a career and Bobbi Brown saw the potential in her as an artist. Within a year, she was working with Brown as part of her personal appearance team. “I learned a lot from that brand and from Bobbi. It allowed me to practice on a lot of skin tones and textures. Bobbi is all about enhancing a person’s look rather than a
more dramatic look, and so am I. I watched how she marketed herself as a brand, and I admired her business model and success.” Working with Bobbi Brown set her
people I’m available; you have to market yourself.” As a freelancer, Elizabeth is always up for the next job. She just finished Bravo’s Spy Games, scheduled to air this fall. “I guess the best thing I can say about my career, and what I would tell anyone wanting to get into it, is you have to persevere. Don’t give up. In the freelance world there are moments when you’re up and then there are also moments when things are slower. “If you have a passion for it — or anything — don’t give up. I absolutely love what I do and that makes everything worth it.”
Photos courtesy of Amy Elizabeth
career in motion. She did make up for print campaigns and a few television shows. Her cousin told her to move to Atlanta and, ready for a break from New York, she got in her car and headed south intending to stay two months; 7 ½ years later, she hasn’t looked back. “I wasn’t aware of the Atlanta market and the possibilities, but I started getting work. I’ve worked primarily on TV shows and commercials.” Elizabeth says her signature style is creating a natural look that enhances the person. “I want someone to say: ‘You have beautiful eyes,’ not ‘You are wearing beautiful eye shadow.’ If you have stunning skin, I don’t want to hide it or detract from that. Or, if someone needs more
For more, go to www.makeup-designs.com.
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