Orphan: First Kill Releases Teaser Poster and Trailer Launch – In Cinemas August 25

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SYNOPSIS: Leena, a murderous sociopath who looks like a child due to a medical condition, escapes from an Estonian psychiatric facility. Leena impersonates the missing daughter of a wealthy family but becomes pitted against a determined mother.

Release Date: August 25

Cast: Julia Stiles, Isabelle Fuhrman, Rossif Sutherland, Matthew Finlan, Morgan Giraudet, Hiro Kanagawa, Jade Michael, Samantha Walkes
Directed By: William Brent Bell
Produced By: Alex Mace, Hal Sadoff, Ethan Erwin, James Tomlinson
Screenplay By: David Coggeshall
Story By: David Leslie Johnson-McGoldrick, Alex Mace
Based On: Characters by Alex Mace

Check out the trailer below:

Aussie Filmmaker Thomas Meadmore Signs First Fiction Feature Deal

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Thomas Meadmore, the critically acclaimed Australian filmmaker behind Stan’s AACTA nominated True Crime Series After The Night [The Night Caller], and documentary features The Spy Who Fell To Earth and The Outsider, is now making the move into fiction by partnering with EQ Media Group for his first ever fiction feature film, Ball & Chain.

A touching and insightful comedy, the film follows freshly dumped entrepreneur Samantha who is resentful and unable to move on when she suffers a mysterious accident and wakes up invisible, inaudible and chained to her ex with a front row seat to his blossoming new romance.

A far cry from previous projects centred around the likes of serial killers, spies and shipping empires, Ball & Chain is a humorous exploration of the roots of narcissistic human behaviour as Samantha learns what it really takes to let go of an ex.

Thomas has written the film with Lisa Duff from EQ Media Group on board as producer.

Thomas Meadmore, Writer and Creator says: “I’m very excited to be again partnering with EQ Media on my first fiction feature. Ball & Chain is just how I like my movies – funny and entertaining with enough layers to touch my heart and give me a different perspective on life. In the case of Ball & Chain, literally! I’m thrilled to have AACTA nominated Lisa Duff on board as producer and I can’t wait to share the film with you.”

Lisa Duff, Producer and Head of Scripted, EQ Media Group says: “After partnering with Tom on the AACTA-nominated true crime series After The Night, EQ Media is excited to be producing his feature film Ball & Chain. Both funny and thought-provoking, audiences will love protagonist Sam, laughing and cringing as she grapples with a solution to finding herself chained to her ex, and being in a front row seat whilst his life continues without her.”

Ball & Chain is currently in development, while Thomas’ most recent project The Cancer Conflict – a powerful and moving documentary feature about cancer treatment – will be released later this year. Thomas will also be directing a Melissa Caddick feature documentary this year for ITV.

About Thomas Meadmore

Originally from Perth, Australia, Thomas lives and works in the UK and enjoys a successful career as a director, editor, writer and producer. His 2020 AACTA-nominated Stan Original True Crime Series After The Night [The Night Caller] was a worldwide hit, while his 2019 Netflix documentary feature film The Spy Who Fell to Earth has become a cult favourite in the Middle East. Other past projects include documentaries Fred, Breaking Habits, How to Lose Jobs & Alienate Girlfriends and The Outsider, about the collapse of a multi-billion dollar shipping empire which enjoyed a Bertha Dochouse cinema release and four stars from Total Film magazine. Alongside directing Thomas is an acclaimed editor who shared an Emmy award (2012) for The Amazing Race Australia and lists National Geographic, Discovery Channel, Channel4 and the BBC among his credits. He was also editor on Salon Pictures’ The Guv’nor, an intimate and revealing portrait of the toughest man in Britain, Lenny McClean. He has also tried his hand at acting, having appeared on popular Australian TV series Neighbours in 2002. Next up is documentary The Cancer Conflict, a very personal and intimate look at cancer treatment, being released in 2022, a documentary on missing fraudster Melissa Caddick, and Ball & Chain which will be his first fiction feature.

About Lisa Duff

Lisa Duff’s producing career spans over 20 years. Her feature film credits include producer of feature films Last Train to Freo, Last Cab to Darwin starring Michael Caton and the Academy Award® nominated Jacki Weaver, and Unindian, the first feature film financed by the Australia India Film Fund, starring Brett Lee and Tannishtha Chatterjee. Lisa was producer of the critically acclaimed documentary Sexing the Label for SBS and theatrical release in Australia, The Future Makers for Discovery Channel and a number of short TV dramas and documentaries for Australian broadcasters, including drama Road for SBS and Leah Purcell’s short drama Aunty Maggie & The Womba Wakgun for the ABC’s series The New Black. Lisa has completed a Masters thesis on the impact of the global film industry on Australian film making culture and has a Juris Doctor degree. She worked as a Senior Production Investment and Development Manager at Screen Australia for 5 years overseeing feature film and TV drama projects and is currently the Head of Scripted at EQ Media Group (After The Night [The Night Caller], Body Hack, Unchartered with Sam Neill, Koala Rescue, Rhys Darby: Big in Japan).

Film Spotlight: An Exclusive Look At “Over The Edge”

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When Barbara Bingham and Enzo Tedeschi met on social media via a connection to a retro horror film, neither of them knew that within a couple of short years, this chance meeting would blossom into a fruitful working relationship with not one but two screen projects in which Enzo would bring together to direct Barbara opposite Australian Film Industry stalwart Nicholas Hope – two icons of cult cinema having starred in Friday 13th Part VIII and Bad Boy Bubby respectively.

A shared love of classic cinema soon saw Over The Edge evolve into a love letter of sorts to Alfred Hitchcock’s Rear Window and ultimately dedication to Barbara’s nephew Ian Bingham. He passed away from cancer soon after, encouraging her to revive her acting career.

A film about how appearances can be deceiving, Over The Edge, marks Enzo’s third collaboration with Nicholas Hope after Event Zero and the Shudder Original Series Deadhouse Dark.

FilmCentral magazine recently interviewed Barbara to discuss the movie, and here’s what went down:

What is the synopsis of the film?

After witnessing a terrible event, film composer Simone is dragged screaming out of her self-obsessed creative funk and into a situation that will put her very life in danger.

Who are your director and producer?

Director – Enzo Tedeschi

A versatile filmmaker, Enzo is recognised among his peers as a prolific and innovative Producer, Director, and Writer. Enzo is no stranger to darker stories, a self-confessed junkie of thriller and horror films like Vertigo and The Shining. In 2011, he wrote and produced the viral hit The Tunnel. In 2017 he produced and directed the now eerily prescient Event Zero and was most recently Showrunner of the Shudder Original Series Deadhouse Dark, which is streaming now on the Shudder platform. Enzo joined forces with Julian Harvey to make The Tunnel– a project whose innovative approach to funding and distribution saw it hit international cinema screens despite being crowdfunded and simultaneously given away online. The film garnered Enzo and Julian the Screen Producers Association of Australia Award for Breakthrough Independent Producers of The Year. Having spent much of his career as a Creator / Showrunner in the digital space, Enzo was also a creator of the science fiction series Airlock, as well as Producing several productions for the Blackpills mobile streaming platform, including Skinford, Skinford Chapter Two, and Pet Killer. His ongoing commitment to his work within the online space and community earned him The Michael Ajakwe Jr Lifetime Achievement Award from Melbourne WebFest in 2019

Producer – Rachelle Wiggins

Rachele Wiggins is an award-winning producer, writer, and director. Her work includes short films, series, and features, some seen by millions around the world. A recipient of the 2018 Enterprise People funding by Screen Australia, Rachele produced several projects with Deadhouse Films, including Nancy in Hell, Pet Killer, and the Shudder Original Series Deadhouse Dark. The anthology series had its World premiere at Canneseries in 2021. Rachele’s other projects include the feature film Beast No More, which won the Audience Award for Best Film at Monsterfest and is currently in US release; the epic sci-fi Blade Runner-inspired short film Slice Of Life, which won the Best Sci-Fi at LA Shorts; and the supernatural series The Surge, which she co-wrote and created. The series was selected for the Nashville Film Festival and HollyShorts screenwriting competitions in 2020. She is currently in post-production for her second Shudder original project as a segment director for an upcoming international anthology feature sequel. Rachele is currently in preparation to direct her first feature film, Wolf Creek 3, with producers Greg McLean, Bianca Martino, and Kristian Moliere.

Producer – Helen Tuck

Helen’s artistic background initially saw her focus on traditional art by studying drawing and painting at University. Still, her passion for makeup from a young age saw her become enamoured with the concept of working on a live canvas. This led her into the world of film, where she is usually found elbow deep in makeup, hair, and prosthetics, regularly working as a Hair & Makeup Designer for indie films, such as Sissy, Ruby’s Choice, and Moonrock for Monday, as well as on the team for larger films such as Thor: Love and Thunder and Shang-Chi and the Legend of the Ten Rings. She also regularly works on TV series and was Makeup Designer for Amazon’s new comedy The Moth Effect, and on the Hair & Makeup teams for shows like Drunk History, Doctor Doctorand Cleverman. Helen has a deep love of filmmaking. In addition to her Hair & Makeup work, she has also worked in the production department for the online series Deadhouse Dark, which made its world premiere at Canneseries. She then went on to be a producer on the short film Over The Edge, directed by Enzo Tedeschi. She is currently in post-production on an international anthology feature film commissioned by Shudder, where she is the sole producer for her segment directed by Rachele Wiggins.

Who is your main cast?

Barbara Bingham – “Simone”

Barbara Bingham was born and raised in Hawaii, and her first TV credit was on the original Hawaii 5-0. She moved to LA, immersed herself in acting classes, and has spent the decades since working and refining her craft. Barbara’s film credits include lead roles in Friday the 13th Part VIII: Jason Takes Manhattan, Soldier’s Fortune, Cop Target, and Beyond Darkness. Television credits include the mini-series Space, movie-of-the-week Bridge Across Time, and appearances on highly popular television shows such as Knots Landing and The Colbys. Barbara has called Sydney home since 1996 and is a dual American-Australian citizen. 2019 brought roles in the Deadhouse Films series Deadhouse Dark and the Steve Jaggi Company romantic comedy Romance on the Menu. She wrote, executive-produced the same year, and starred in her first short film, Over the Edge, a Hitchcockian thriller currently touring the international film festival circuit.

Nicholas Hope – “Officer Blaze”

Following an introduction to live performance as a bass player in various bands in the Adelaide rock scene of the 1970’s and 80’s, Nicholas has acted for the past thirty years in film, television, and theatre around the world. His first film role as the lead in Rolf De Heer’s acclaimed Bad Boy Bubby won him the Australian Film Industry Award as Best Actor in a Feature Film. He has recently been seen as an ethereal doctor in Storm Ashwood’s debut feature The School, an aristocrat in Foxtel’s Picnic at Hanging Rock, and a modern-day vampire in Erin Goode’s Jade of Death, for which he won Best Actor at the Denver Series-Fest 2018. He played the potential villain in Zanny Begg’s The Beehive, and will soon be seen in Leah Purcell’s The Drover’s Wife, and Peter Duncan’s Fallout for the ABC. Nicholas also provides the invisible voice for Ambience Entertainment’s Random And Whacky Children’s Television series. Nicholas’s memoir Brushing the Tip of Fame was published in 2005, and he made his writer/director debut with the play Little Gods as part of the May Day Festival in 2013. He directed the sell-out production of Joel Drake Johnson’s Four Places for Outhouse Theatre in July 2014. He directed his own play Five Properties of Chainmale, for the Griffin Independent season in April 2015. He directed the short film Like Gold for The Hub Studios The Bench Series(2017) and produced Peter Hanlon’s The Reckoning of Christian Spencer, currently on the festival circuit. Nicholas was awarded a Ph.D. in Performance Studies in 2011.

What inspired the story?

I used to stand at my kitchen window, look out at an escarpment across the valley, and wonder what I would do if I saw someone pushed off the ledge.

How did it come about?

When my 32-year-old nephew, Ian, was dying of cancer, his last words to me were, “Auntie Barbara, it feels like your career is just starting again.” I cried, “Oh, from your lips, Ian!” He slid his head back on the pillow, closed his eyes, and said, “I’ll be watching, I’ll be watching.” His death was such a shock that I felt I had to DO something. I reached out to Enzo Tedeschi to ask him if I could run an idea past him, and when I told him my idea, his reply was, “Can I direct it? Write me a script, and let’s do this!” I’d never written a script before, but I sat down, and it literally typed itself.

What makes this story unique, and why should people watch it?

It’s about the nature of appearances, things not being what we think they are. Simone is trying to stay relevant in her career as a composer and struggling because she’s afraid she’s lost her mojo. It’s also got a wonderful Hitchcockian thriller vibe.

What was the production process like?

It actually happened fairly quickly. I submitted the script to Enzo in May, and we continued to refine it together. I got the funding in June (being the age I am, I could activate my SAG-AFTRA pension fund from the 18 years I worked in LA), Enzo assembled his team with the help of my two amazing producers, Rach Wiggins and Helen Tuck, and we shot in October.

What was the most challenging part of bringing the project to light?

Waiting for my co-star Nicholas Hope to say yes to playing the detective! We had shot an episode of Enzo’s Deadhouse Dark anthology series together and really had immediate chemistry. I knew he’d be terrific as Detective Blaze, so I gave him the script to read. It was probably only a week before he said yes, but it felt like years!

Did anything funny or exceptional happen on set?

We shot the short at my home and had a camera rehearsal day, and as Enzo, Helen, Rach, Fung, and I stepped out onto the balcony, five black cockatoos flew in a circle right in front of us doing their special cries and spirals and then were gone! I knew that was my nephew, Ian saying, “you got this!”

Are there any great achievements from your cast or crew you want to mention?

YES! Fung (Shing Fung Cheung our DP) won the GOLD Award from the ASC Australian Cinematographers Society for his stunning visuals on Over the Edge.

What is the next step for the project?

A production company approached us about turning Over the Edge into a feature film! Watch this space. Enzo and I are working on the script and expanding Simone’s world.

Has it won any awards or had any big achievements yet?

Yes, Over the Edge won the audience award in the Horror/Thriller category at the Coronado International Film Festival!

If you could redo anything in the process or the film itself, what would it be.

Trying not to do the festival film circuit during the covid lockdown. We finished the film in March of 2020, right when Covid hit. The timing couldn’t have been more challenging with our international borders closed and most of the film festivals going virtual.

Director Spotlight: One On One With Margaret M. MacDonald

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Margaret M. MacDonald’s twenty years of experience spans several roles in the film industry, living and working in Los Angeles, New York, and Sydney. A background in production design has helped her to hone a unique visual voice, which conveys a tangible sense of place, inviting readers into the story world. She creates character-driven films and often infuses a mix of genres with a twist of the fantastic.

Her written work includes a library of spec features and series that have earned her a few laurels and several features written on assignment. In 2017 she wrote and produced the sci-fi/thriller Enter Sanctum, which was adapted from her award-winning script, The Residents. She is currently in development on One Summer’s Night, a modern-day comedic adaptation of A Midsummer Night’s Dream.

Margaret has directed several shorts, including her 2021 film, The Writer, which won the Audience Award at A Night of Horror Festival. She is working on several shorts and planning to direct a larger-scale project in the near future. She is also in development on a sci-fi/fantasy novel series inspired by her award-winning screenplay, The Phoenix Effect, under contract with Oghma Creative Media in the United States. Margaret loves to tell stories that transport people into other worlds and help to make this one a little more extraordinary.

FilmCentral magazine recently caught up with Margaret to discuss her journey in the industry, and here’s what went down:

Tell us a little about yourself and your background.

I’m a writer and director with a penchant for unusual storytelling. I live in Sydney but am originally from the U.S., so I bring a bit of both experience to everything I create. My first passion in film was production design, but it wasn’t long before I went from designing filmic worlds to creating them through writing. I’ve been doing that for over a decade now, writing features, shorts, series, and a novel trilogy, as well as directing several short films. I love telling character-driven stories and enjoy the challenge of infusing them with a mix of genres and a twist of the fantastic. I am passionate about creating films that transport people into other worlds and help to make this one a little more extraordinary.

Your new project is very unique and intriguing. Tell us a little more about it and what makes it so unique.

I’m in the midst of making a trilogy of one-woman thriller shorts. These are all single-location stories about a woman suddenly encountering an unexplained phenomenon during the course of an average day, and I take on writing, directing, and the roles of cast and crew to capture these stories on camera. The first film is titled “The Pool” and the second is “The Bridge.” The third is in planning, and I hope to have it released in the next couple of months. I guess these films are unique because they are a self-imposed creative challenge. I’m not just shooting alone for convenience but as a way to discover how to tell an effective story through simple but impactful filmmaking. The core of each film is a basic story about a person and a place, but my goal is to elevate these stories into spine-chilling and surprising adventures. In a sense, these stories explore the experience of being totally alone, which I am making totally alone, so the process feeds the storytelling.

How did you come up with the idea to do something like this?

It all started with the moment that inspired the first film, “The Pool.” One day while I was swimming, whenever I put my head under the water, I could hear voices in conversation, doors opening, and closing; I swore I heard someone running on the treadmill in the gym next door, but every time I surfaced there was no one around. It got my imagination spinning and inspired the first story. I realized that not only could I make this story into a film with just me and my phone, but also that that’s how this story wanted to be told, simply. Two days later, I had a shotlist and a couple of bullet points on performance, and I went to the pool just to see what I could capture. It took a lot of lap swimming and a bit of improvising, but eventually, I shot everything I had planned for and more.

“The Pool” then evolved into quite a special little film, especially thanks to many talented people’s contributions during post-production, not the least of which was sound designer and composer Vitaly Zolotarev. “The Pool” got a great reception as soon as I released it, and greatly appreciated the creepy spin I gave to an otherwise ordinary setting. Creating the first film was such a challenging, educational, and rewarding process that as soon as I saw the location that inspired “The Bridge,” I knew I wanted to do it all over again.

What is the production process like?

The locations inspire me to think about “what if” scenarios that ultimately become scripts about ordinary circumstances spinning into extraordinary ones. I then spend some time on the location with my phone camera, testing various angles and lenses and trying to figure out how to best capture the story and what is unique and cinematic about the location. The great thing about using a phone is being able to stick it into tight spots or positions where I can naturally move around it. I always try to find a cool little niche or unique angle to shoot from.

From there, I make a shot list and schedule. In the case of “The Bridge,” I literally mapped out all the positions I was aiming to shoot from and then scheduled according to where the sun was likely to be as I moved from one to the other. When it comes time to film, I simply go shot by shot, moment by moment, until I have everything on camera. There’s always a bit of working around unforeseen circumstances and lots of conversation with curious people passing by. Still, as long as I keep in mind what moments are most important to the story, and make sure to capture those in a simple and effective way, I know it will all come together in the end.

What are your future plans for the project and/or what do you hope to achieve from it?

The next step is to make this trilogy’s third and final chapter. I don’t want to reveal too much about the next “The..” in the series, but I’ll just say I’m looking forward to finding lots of creative camera angles in a tight location. Once the trilogy is complete, I’d like to find a platform where these films can connect with an international audience that loves chilling and usual stories just as much as I do.

What was the most challenging part of bringing the project to light?

I’ve never trained as an actor and had no idea if I would be comfortable on camera when I started this journey. In addition to having to find my inner performer, I discovered how difficult it could be to switch back and forth between the headspace of director and actor, especially when you’re on your own. One moment you’re setting up the shot, thinking about frame and exposure, thinking three shots ahead to make sure you get everything before the light changes, planning to combine two shots into one to save time, then the next moment you suddenly need to forget all of that and be in an emotional place. At the start and end of most of my shots, you can hear me giving directions to myself, reminding myself what I’m supposed to be experiencing and feeling at that moment.

It’s also worth mentioning that it’s incredibly hard to hit your mark when no one is behind the camera to tell you where it is. Another advantage of phone filming is quick playback and lots of storage for all those takes where you accidentally stepped completely out of the frame. I still wonder what my performance was like on those.

Who is the character in these films, and how much of her is similar to you?

In the scripts, I refer to her as “The Woman.” I like the idea that her identity remains anonymous as if these stories are urban legends that begin with people saying, “Did you hear about the woman who was swimming one day and…”. She is definitely the same Woman throughout, experiencing and responding to all of these extraordinary events in a completely unique way. As much as I would love to have one of these crazy experiences myself, I know I wouldn’t react the way she does. I share her curiosity and desire to explore, but I am nowhere near as intrepid. If it were me in these films, they would end about a third of the way through with me running for safety.

Did anything funny or exceptional happen on set?

One of the quirkier and more inventive moments actually happened in post-production on “The Pool.” While Vitaly was busy with sound design, I was spending a lot of time at the location, listening to the sounds under and around the water, trying to feel out if the mix was really capturing the experience of hearing through the water. I realized that when you jiggle your finger in your ear to help release stuck water, as I do in the film, it sounds like a hand running over a microphone. I suggested Vitaly try it, and he one-upped my suggestion by sticking one of his little mics in his own ear to capture the sound. Once a wet squish noise was added to the mix, it sounded perfect.

Are there any great achievements you want to mention?

Better than any award, I’m most proud of getting positive reviews on my work from friends, colleagues, professionals, and total strangers. Every time someone has enjoyed the journey, my films or scripts have sent them on; that’s when I know I’ve done my job as a storyteller.

What would it be if you could redo anything in the process or the film itself?

Every time I make something new, I learn something new. Putting myself behind the camera and into the editing chair, as well as taking on a bit of visual effects, has taught me so much more about those arts. I’ve also gotten to know my little phone camera pretty well, trying many different apps and settings and learning about it’s limitations and strengths. I wouldn’t redo anything in these films, as they became what they wanted and needed to become at the time, but I now know how to avoid some of the issues I encountered along the way. I enter the process of making each new film armed with everything I’ve learned on the last one, the one before that, and so on. That, combined with my desire to come up with something inventive and exciting to try for each new project, hopefully, leads to a better film each and every time.

What is the next step for you?

Once the trilogy is complete, and ideally, in a home where appreciative viewers can discover it, I can dive into the next journey. At the moment, that includes development on a comedy feature, pre-production on an episode of a wacky web series, an upcoming development of my novel series, and continuing to work away on an ever-growing pile of stories that are looking for their future audience.

Disney+ Just Released The New Trailer For NOT OKAY Starring ZOEY DEUTCH

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Disney+ released the trailer for NOT OKAY, an original film streaming on Disney+ under the Star banner on July 29, 2022. NOT OKAY is directed and written by Quinn Shephard, and stars Zoey Deutch, Dylan O’Brien, Mia Isaac, Embeth Davidtz, Nadia Alexander, Tia Dionne Hodge, and Negin Farsad.  Brad Weston and Caroline Jaczko produced.              

NOT OKAY follows Danni Sanders (Zoey Deutch), an aimless aspiring writer with no friends, no romantic prospects, and — worst of all — no followers, fakes an Instagram-friendly trip to Paris in the hopes of boosting her social media clout. When a terrifying incident strikes the City of Lights, Danni unwittingly falls into a lie bigger than she ever imagined. She “returns” a hero, even striking up an unlikely friendship with Rowan (Mia Isaac), a real trauma survivor dedicated to societal change, and scooping up the man of her dreams, Colin (Dylan O’Brien). As an influencer and advocate, Danni finally has the life and audience she always wanted. But it’s only a matter of time before the facade cracks, and she learns the hard way that the Internet loves a takedown.

Check out the trailer below:

Actor Spotlight: One On One With Barbara Bingham

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Photo Credit: Marnya Rothe/HMUA: Zoe Slatyer

Barbara Bingham was born and raised in Hawaii, and her first TV credit was on the original Hawaii 5-0. She moved to LA, immersed herself in acting classes, and has spent the decades since working and refining her craft. Barbara’s film credits include lead roles in Friday the 13th Part VIII: Jason Takes Manhattan, Soldier’s Fortune, Cop Target, and Beyond Darkness. Television credits include the mini-series Space, movie-of-the-week Bridge Across Time, and appearances on highly popular television shows such as Knots Landing and The Colbys. Barbara has called Sydney home since 1996 and is a dual American-Australian citizen. 2019 brought roles in the Deadhouse Films series Deadhouse Dark and in the Steve Jaggi Company romantic comedy Romance on the Menu. She wrote, executive-produced the same year, and starred in her first short film Over the Edge, a Hitchcockian thriller currently touring the international film festival circuit.

FilmCentral magazine recently caught up with Barbara to discuss her journey in the industry, and here’s what went down:

Can you tell us more about yourself?

I was born and raised in Hawaii (as was my mother) and moved to LA in 1978 with the dream of being an actor. Success came quickly, and I was proudly in the 1% of the SAG (Screen Actors Guild) members earning a living as an actor for the 18 years I was living there. In 1996, my husband and I left our home in Malibu to move to Sydney for “a couple of years” when my son was ten months old, thinking we’d move back to LA when he started preschool. Well, he’s 26 now, and we’re still here; Sydney is our chosen home.

How did you get started in the entertainment industry?

I performed in musicals and did modelling jobs during all four high school years. I thought I wanted to be a musical theatre major, only to find out I really couldn’t sing or dance! My first acting job after graduation was on the original Hawaii 5-0, and while standing on that bustling set, it was like a bolt of lightning went through me, and I thought, “this is what I’ll do for a living!”

What do you like most about acting?

I love the deep emotional and psychological understanding of other people. Being able to construct the thoughts and motivations of someone other than myself is truly my passion. After 40+ years of acting, I still get complete joy from creating a character and having insights into why they feel and behave the way they do. And I’ve been lucky enough to play a variety of roles, from femme fatales to scream queens in horror films.

Also, there is something very special about a group of actors (and crew) coming together to freely express their talents for the greatest good of all involved!

How different is it to act in a movie and to act in a TV series? And which one do you prefer?

I love movies; being a lead in a feature is the best job! I thoroughly enjoy breaking down a script and creating the character’s arc for each scene and the arc for the entire story. I always found working in series difficult because you were walking into an established unit with the cast and crew. When you are only coming in for a few days or a week, I found my enjoyment level was directly related to how generous and welcoming the lead actors were (or not).

What are your weak points when it comes to acting? How do you try to improve them?

I have found my American accent has been my biggest challenge getting cast here. For some odd reason, Americans are not considered a part of the Australian storytelling landscape. You’d think no Americans ever lived here! I’ve tried desperately to adapt an Aussie accent studying with Jenny Kent and Robert Maxwell, but alas, “the dingo ate my baby” might always be my Achilles heel. Hopefully, one day, I’ll be considered part of Aussie storytelling’s fabric.

What are your strong points as an actor?

Listening and creating a vibrant inner life. During the years I took a break to raise my son, I did corporate role-play work where you have to listen and react at the moment depending on what the participant says. That work kept my instrument finely tuned, so it was an easy transition when I returned to film acting. The great thing about acting is you always have skills to learn and refine. I’ve been in Les Chantery’s class this year for self-testing skills and to sit in a room full of 25 year old’s and be treated like a peer is a testament to the generosity of actors and the sense of belonging in a community.

What have you learned from the directors that you have worked with throughout your career?

It’s all about trust. If you trust them to do their job, they will trust you. As actors, we get very precious about our characters, and I’ve learned that if you lean into the director and their vision, it will only enhance what you can bring to the screen. There’s a direct correlation between the performances I am proud of with the directors I adored working with.

What are some of the difficulties of the acting business?

What I’m coming up against now is being visible in my 60’s. I am turning 65, and the world is telling me it’s time to go away and get ready for the retirement home. 50% of the roles I go out for are for old dotty grandmother stereotypes, and I’m NOT that. Sadly, ageism is alive and well in our industry which is why I wrote my short film, Over the Edge, to be able to play an interesting, complex woman at my age. There is a fight in me to stay visible and relevant; I believe the best is yet to come!

What’s challenging about bringing a script to life?

I’ve always loved this part of the process. It’s like mining for gold in a script. Fleshing out the character and inhabiting their world. I feel the biggest challenge is getting locked into choices too early. You have to allow yourself time to walk around in your character’s shoes and be open to what the director and your fellow actors bring. It’s the process of discovery where you can connect the dots to why a certain behaviour serves the story.

What do you do when you’re not filming?

I have a corporate role-play company called Corporate Actors Australia that I started with three other actors. We have a large range of clients from Macquarie Bank, Ampol, Deloitte, AusIndustry, and Macquarie University. It’s very fulfilling work being able to help our participants with their communication skills. I also mentor a lot of young actors, and I urge them that they need to build a big beautiful life outside of acting. Relying on acting to fill your cup is never a healthy choice.

What has been the most memorable experience of your career so far?

Oh goodness, after 40 + years? I probably have to go back to my first day on set at Hawaii 5-0. James MacArthur, who played Danno came up to me and asked how I was; I must have looked petrified because he said, “just hit your marks, you’ll be fine.” I blankly stared at him, “Marks? What are marks?” That gorgeous man then gave me a masterclass on finding your light (the big hot klieg lights back then) and how to enter and exit scenes to block your steps to hit your mark every time! His kindness and generosity that day touched me and made me want to always be as helpful to newbies as well.

Who have been the most interesting people you’ve met so far?

Too many stories to tell! LA in the ’70s and 80’s?! There were dates with Robert Evans, who offered me a contract at Paramount only to take it away when I wouldn’t put on his black satin pajamas. I was under contract for Kraft with Chris Lemmon, and meeting his dad, Jack, was a highlight. A kind, loving, FUNNY man. I worked with Chuck Norris, James Garner, Beau Bridges, James Arness, Charlton Heston, and Charles Napier, among others. Kane Hodder, who played Jason in my Friday the 13th, is MENSA. I met Elizabeth Taylor backstage after a Love Letters performance; her eyes are violet! Back in the 80s, I used to audition with Bryan Cranston; he was probably the hardest working actor I knew, he deserves every bit of success he’s created, and we’re still friends to this day!

If someone is going to make your life into a movie, who would play you?

Well, it would have to be another wide-eyed optimist!

What are your future plans? Inside your career or out of it.

I’d love to create/write more complex female roles for older women. Who says I can’t play a femme fatale at 65? I was approached earlier this year about turning my short, Over the Edge, into a feature film. Enzo Tedeschi, my co-writer and director, and I are developing two versions. One is an expansion of the short film, and the other is a more character-driven piece that dives into what the protagonist Simone is willing to do to regain her mojo. Turning Over the Edge into a feature film would be a dream come true!

Meet The Man Behind The July 2022 Issue Of FilmCentral Magazine: Steve Stanulis

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Steve Stanulis, trailblazing actor, producer, and creative force behind Stanulis Productions Inc. and Chaos Production Inc. has appeared in several major studio movies such as ‘The Interpreter’ and ‘I Now Pronounce You Chuck & Larry,’ acclaimed indie films (Cupidity, Over the GW), and TV shows (The Sopranos, HBO series The Deuce). He also branched into production, starring in and producing the short films Dick & Jane and Because of You, and the award-winning feature The Invisible Life of Thomas Lynch.

Originally a decorated NYPD officer, Stanulis changed his career path when he got injured on the job. After studying at Manhattan’s HB Studios, Stanulis pursued his long-standing love for films. His passion eventually led him to getting co-starring credits in Aftermath with Tony Danza and Anthony Michael Hall, Darkroom with Elizabeth Rohm, Sam, executive produced by Mel Brooks, and American Fango, winner of a dozen Best Feature awards. Stanulis also starred in and produced the comedy-drama The Networker, co-starring William Forsythe, Sean Young, and Stephen Baldwin, directed by indie icon and frequent Stanulis collaborator John Gallagher. It was released in September 2017 by Sony’s The Orchard, making three consecutive films (Sam, American Fango, The Networker) acquired by Sony companies in less than a year, a truly unique achievement.

As a producer, Stanulis founded Stanulis Productions, Inc. in 2012, with the feature film Long Shot Louie, starring Jake Robinson (The Carrie Diaries), winning Best Drama at the Williamsburg Film Festival. In 2016, he produced and starred in Say Something, co-starring Marc John Jeffries, a cautionary anti-terror drama filmed in Times Square, receiving massive media exposure and also available on Amazon Prime. He directed the feature-length musical documentary Legends of Freestyle starring Lisa Lisa and C & C Music Factory and created the pilot for the TV series The Fifth Borough, starring Cathy Moriarty, Richard Grieco, Vincent Young, Vincent Pastore, and Joseph D’Onofrio. Stanulis recently created Chaos Production Inc. and announced his first project, the horror movie Clinton Road, which he will direct, starring Ice T, Vincent Pastore, Bo Dietl, Ace Young, and Fredro Starr.

Stanulis’ creativity is inspired by his experiences as a former NYPD policeman, Chippendales dancer, and bodyguard for several A-list celebrities, including Leonardo DiCaprio and Kanye West. FilmCentral magazine recently caught up with Steve to discuss his journey in the industry, and here’s what went down:

Can you describe your journey to becoming a producer?

I always believed when I broke into this business that you have to make yourself indispensable. The thought of waiting for my agent to call or putting my destiny into someone else’s hands never sat right with me. So I decided to produce and make myself more valuable to the powers that be in the business.

What methods do you use to communicate effectively with directors, actors, crew members, and writers to discuss production details?

I always like a hands-on approach when discussing a new project I am producing. I want to share my visions with the writer, director, and most importantly, the actor. I love getting feedback on character development and like to give everyone the comfort to provide their creative input, which I believe is essential to making great content.

What do you think is the most important skill to have when producing something for television or for film?

The most important skill to have is no matter how big the production is; you’re always going to run into issues, whether it be with the cast, a location, or a food allergy. No matter the issue, never let anyone see you get flustered, and always be prepared with a plan B. I think that usually comes with experience over time.

What do you think is the most difficult task of a producer when planning a production?

The most difficult task behind the scenes is ensuring all the proper funds are not only in place but allocated accordingly. The second equally important task is scheduling your DOODS with your “Anchor” actors in place within specific time frames that coincide with your main locations.

What is the first step you take when working to secure financing?

Dealing with a studio like Lionsgate, for example. Letting them know the budget and genre and who they deem means the most, both foreign and domestic actors, to properly set your budget to assess potential earnings while mitigating risk.

How do you go about establishing deadlines for a project, and what do you do to keep it on schedule?

I am very old school in the sense that once you set a hard date for something, it makes it real and gets everyone on the team in the mindset that it’s go time!

Given the choice, would you prefer to miss a deadline to make a project perfect or meet a deadline but compromise the quality of the production?

Luckily I have never been in this situation. But if that were to happen, I would definitely miss the deadline and then compromise the integrity of the project.

Can you tell us about a time when you needed to change your style to accommodate the communication style of one of the critical members of the production team?

Every new project brings different people to the cast and crew. You are dealing with many personalities from different parts of the country. Some might not have the same mindset or do things differently. I always start off being the most professional I can be with everyone and try my best to read the room. Usually, I assess from there but if you are a professional and you treat everyone, with respect at all times I feel it goes a long way with the whole team.

What do you look for in a script when deciding whether you would like to join a project as the producer?

What I look for in a script is simple: does the genre and certain script have marketability and will it make money! Or is the topic of the script timely with what’s going on in the world today.

How do you deal with unforeseen strains on the budget and/or timetable during a production?

Like I mentioned in a prior question, I have been absolutely blessed that I have yet to go over budget. I hope next time we speak I have the same exact answer (laughs).

What projects are you working on right now?

Right now we are about to release a film called “Monica” with Emily Browning at Patricia Clarkson fall of 2022. We are working on a tv show called “Great Kills” closely with Peacock. As well as a pretty controversial documentary called “15 days with Kanye.” Those are the immediate ones n post production we are off to an amazing 2022!

The Trailer For New Horror Movie Smile Is Out And It’s Freaking People Out!

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The trailer for a new horror movie called “Smile” is out and it’s definitely scaring the heck out of everyone!

After witnessing a bizarre, traumatic incident involving a patient, Dr. Rose Cotter (Sosie Bacon) starts experiencing frightening occurrences that she can’t explain. As an overwhelming terror begins taking over her life, Rose must confront her troubling past in order to survive and escape her horrifying new reality.

WRITTEN AND DIRECTED BY

Parker Finn

PRODUCED BY

Marty Bowen, Wyck Godfrey, Isaac Klausner, Robert Salerno

EXECUTIVE PRODUCED BY

Adam Fishbach

STARRING

Sosie Bacon, Jessie T. Usher, Kyle Gallner, Robin Weigert, Caitlin Stasey with Kal Penn and Rob Morgan

Check out the trailer below:

CGA & Showcast Launch Dedicated Database For Deaf And Disabled Performers

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The Casting Guild of Australia (CGA) together with Australia’s #1 casting resource Showcast have launched a free professional tool aimed to increase the representation of Deaf and disabled performers in Australia by showcasing the pool of talent to industry professionals. The dedicated platform will be hosted on Showcast’s website and be made available to national casting directors, agents, and producers.

The new portal will host self-taped video footage of individual performers as well as a headshot and CV for industry professionals to use to cast their projects. Performers wanting to submit their details will simply need to log-in to Showcast’s portal.

An initiative of CGA’s Inclusivity Committee led by casting director, Angela Heesom, the tool was designed to widen the pool from which casting directors and directors draw their talent.

Heesom said: “We really wanted to make a difference. Not only to showcase a vibrant and talented pool of Deaf and disabled artists, but to facilitate greater inclusion and equality of representation on our screens. Stories told authentically is what audiences want to see, and our Inclusion Committee is really excited about this launch and already working on the next.”

CGA President, Thea McLeod said: “This is one of a series of CGA projects to support the equity and inclusion for all performers in the film and television industry and we’re delighted to be working with Showcast on this meaningful initiative. Together, we can highlight a breadth of Deaf and disabled performers to create further opportunities in TV, film, and on the stage. We are very excited about the talented performers this initiative will lead us to.”

Showcast Manager Kendall Phillips said: “Showcast is delighted to be partnering with the Casting Guild of Australia to help showcase Deaf and disabled performers using Showcast’s state-of-the-art technology. Showcast is passionate about inclusivity in casting and always keen to collaborate with the industry to uncover exciting new talent.”

Actor, filmmaker, and dancer Daniel Monks said: “As a disabled actor, I find CGA and Showcast’s new database dedicated to increasing the representation of Deaf and disabled performers in Australia incredibly heartening. Inclusion and accessibility within our industry is a necessity, and I heartily encourage any interested Deaf and disabled performers to utilise this important initiative.”

For more information, please visit www.castingguild.com.au.

In Pictures: Smartphone Filmmaking Class by SF3 and WIFT NSW

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This Smartphone filmmaking class was presented by Angela Blake and Megan Riakos.

Angela Blake is a Sydney girl who grew up dancing, singing, and acting from the age of four. The last few years have seen her working as an actor primarily in television. TV credits include the recurring role of Duty Nurse on Season 6 of Channel 7 and Foxtel’s, A Place To Call Home, Love Child Season 1, Top of the Lake Season 2, and Deadly Women Season’s 9 & 10.

She has worked as a performer on stages all over the world for companies including Princess Cruise Lines, M.E.I., The Entertainment Store, and many others. She lived in LA from 2010-2012, graduating from The New York Film Academy’s Acting for Screen Program. She then went on to shoot countless shorts and web series, many touring the festival circuit. She has also worked extensively in theatre and her credits include: The Silence Came, Love Game, Surprises, The Odyssey, The Crucible, The Silence Came, Popesical-The Musical and the Off-Broadway Production of Sex, Relationships and Sometimes Love in NY.

As a director, Angela’s first play was Eating Out, which she also co-wrote and produced in LA. Since then she has won the Wildcards and Audience Favourite Award for the short play Weeing on a Stick at the 2012 Short and Sweet Festival. She worked with writer, Adele Shelley to turn this into a film. In 2015 she directed her very first Shakespeare, Romeo, and Juliet, for Sydney Classic Theatre Company and she was also Assistant Director for the immersive theatre company, Mongrel Mouth’s The Age of Entitlement and co-wrote and acted in Like Me. in 2019, she directed the comedy short, Upsold, which is currently on the festival circuit and has won numerous awards.

Angela also has her Bachelor’s Degree in Communications and Journalism and is in the development phase for her first feature film, Burnu, plus a stack of shorts she plans to shoot on her iPhone! In 2016, her 1 minute iPhone film, The Circle Game, was a finalist in the Mobile Film Festival in Paris, the Miniature Film Festival in Vancouver, and the Flash Film Festival in Berlin, and it just won Best SmartPhone Film at the Buddha International Film Festival in India. Since then her smartphone short films have played in many festivals around the world including MINA, the Dublin International Smartphone Film Festival, and more.

Angela Co-Founded the smartphone film festival, SF3 – the SmartFone Flick Fest, with Ali Crew in 2015 and since then they have received thousands of entries, hosted countless workshops, and inspired a new generation of filmmakers the world over, especially in their home of Australia. SF3’s Ambassadors include Phillip Noyce, Kriv Stenders, Kerry Armstrong, Stan Grant, and more. SF3 has been included in the American Express Festivals to Travel To List (alongside festivals such as Cannes and Sundance), the World’s Best Smartphone Film Festivals List, and the Australian Traveller Magazine’s Most Unique Festivals in Australia list.

As an actor, she has also shot ads for Elgas, Keystart, Queensland Bananas, and Verizon Wireless.

Megan Riakos is a dynamic filmmaker bringing a distinctive female lens to the world of genre filmmaking. Her debut feature as writer/director/producer of the thriller Crushed received strong reviews with The Australian calling it “a tense, bloody mystery thriller”, and The Hollywood Reporter labelling it “A solid debut.” Crushed completed a successful festival run before a strong limited theatrical release in Australia and acquisitions by channel 10 and Qantas. Megan’s next feature-length project was as creator and producer of Australia’s first female horror anthology Dark Whispers – Volume 1 in which she wrote and directed the wraparound segment. Dark Whispers is currently screening on SBS On Demand. Megan was also brought on to write and direct an episode of Deadhouse Dark currently streaming on Shudder, for which she was nominated for an Australian Directors’ Guild Award.

Her screenplays have also garnered acclaim. Her mystery period feature The Last Reprieve was awarded the Grand Prize in the Greater Philadelphia SIP Screenplay competition. Her political drama Victory and Defeat made the semi-finals in the Final Draft Big Break Competition and was shortlisted for the Nate Wilson Award at the University of California Los Angeles (UCLA).

Megan compliments her filmmaking with her advocacy for gender equality. She is the co-founder of the Not-For-Profit organisation Women in Film & Television (WIFT) Australia and merges these two fields of creativity and advocacy via her company Hemlock & Cedar Films, which focuses on amplifying female voices.

She earned her Bachelor of Arts in Communication (Media Arts & Production) at the University of Technology, Sydney (UTS), has a Graduate Diploma in Directing at the prestigious Australian Film Television and Radio School (AFTRS), and has also completed the Professional Screenwriters Program at UCLA.

In their last workshop, Angela Blake and Megan Riakos taught some very useful techniques on how to utilise and shoot professional films and content on your smartphones. SF3 is now the world’s biggest smartphone film festival and co-founder and director, Angela Blake provided some very useful tips and techniques on how to shoot on your phone. Megan Riakos, an award-winning director/writer/producer has been on the SF3 judging panel since its inception and has made a swathe of incredible films. Megan guided everyone not only on how to craft an award-winning film yourself but also on what to do with it once it’s completed and how to achieve film festival success and get on the streaming networks.

SF3 is one of the most respected smartphone film festivals in the world, attracting filmmakers of all ages and levels from across the globe. All entries are shot entirely on smartphones or tablets, forging an accessible and affordable entry platform into the film industry.