Israel Film Festival – Ali Saam Interviews Asi Levi

Israel Film Festival – Ali Saam Interviews Asi Levi

I am here with Asi Levi, the star of the film “Aviva My Love.”   She is a hardworking mother with a great deal of talent and passion for writing stories. Between her job and taking care of her family at home, she still finds time to write.

Ali – Hello, Asi. How are you?

Asi – Thank you. It is great to be here.

Ali – How do you think your audition for this part set you apart from others?

Asi- Basically, I don’t have a clue. Honestly, I know I did my best. Audition is a slick process. If you don’t get the part it does not mean you are not good. It means you were not suited for that part. I think it is important to be authentic, to be real and not to be excited too much.

Ali – How do you see the character you played, “Aviva,” and do you have anything in common with her?

Asi – We have a lot in common. Aviva is a very special character. We are similar in the fact that she is very committed to her family. As an actress I take the things that lead the character and I connect them into my personality and emotions.   You always find a connection.

Ali – How did you prepare for the part?

Asi – I learned how to cook, how to cut vegetables, and how to break eggs with one hand. Other than that, I tried to learn about Aviva and understand her.

Ali – How long have you been acting?

Asi – Since I finished the drama studio, the end of ’95.

Ali – Did you study drama in Israel?

Asi – Yes, 3 years in drama studio. I started in theatre and TV and then film.

Ali – Is this your first film screening outside of Israel?

Asi – No, my last film, “Avanim,” was a big success in Europe and I was nominated for best actress in the European Academy Awards.

Ali – What is the message Aviva has for the audience?

Asi – To follow your dreams and that you can always find a way to have your family and career. Basically there is a huge message particularly for women, and that is to always follow your dreams no matter what.

Ali – You are a known actress in Israel, and you still had to audition for this part?

Asi – Yes. And I am still auditioning. We call it TESTING when you are in a certain stage of the game. You don’t audition on your talent; you audition to the part.

Ali – How was it working with Shemi, the director?

Asi – Amazing. He is one of the most amazing people I have ever met. He is very talented, but what is so special about Shemi is he is an enormously generous human being, and he loves actors. He adores actors.   They are very important to him. This is not the case with every director. He also writes brilliantly. It is amazing that a man wrote this script. I think he has a woman’s soul.

Ali – Asi, thank you for your time. I look forward to seeing the film, and I wish you luck.

Asi – Thank you.

Ali Saam

Israel Film Festival – Ali Saam interviews producer Eitan Evan, director Shemi Zarhin, and founder of the festival Meir Fenigstein.

Israel Film Festival – Ali Saam interviews producer Eitan Evan, director Shemi Zarhin, and founder of the festival Meir Fenigstein.

It is a soft and cool evening in Hollywood. I am at the Grauman’s Chinese Theatre to screen a film called “Aviva My Love” from the Israel Film Festival. There is a line of 40 to 50 people waiting to get their tickets and go inside to watch this film.

I met the founder of the festival, the producer, the director, and the star of this film; and had a chance to interview them and get to know more about the film.

Eitan Evan, the producer –

Ali – Hello, Eitan, and congratulations on the success of the film.

Eitan – Thank you, it is great to be here.

Ali – Where did you shoot the film?

Eitan – The entire film was shot in Israel. 60% of it was shot in Tiberia, and the rest was shot in Tel-Aviv.

Ali – How long did it take to make the film from conception to completion?

Eitan   – Six years. However, in the meantime we also worked on another film. Once we finished the last draft, it took one   year from shooting to releasing it. We wanted to release it in the summertime, so we waited until July to screen it; but the war between Israel and Lebanon started. However, we went ahead with the screening and the premier in Tiberia in an underground shelter. We got great coverage on TV, which brought us a big audience to see the film. We had the best admittance for this film in Israeli cinema for the past 20 years. It sold over 300,000 tickets.

Ali – Are you planning to release it internationally?

Eitan – Yes, We started with Chicago Film Festival and won the best script. I just came from Berlin Film Festival, where it attracted buyers and we are now in negotiation.

Ali – What was the budget of the film?

Eitan – About $1.2 million, which is a medium size budget for Israeli films. It is probably the size of the catering budget for the American films!!!!! (laughing and joking of course)

Ali – Thank you for the information. I wish you great success.

Eitan   – Thank you.

Now I get to speak with Shemi Zarhin, the director and writer of the film.

Ali – Hi, Shemi, how are you?

Shemi – Thank you. Great.

Ali – How long did it take for you to find the cast?

Shemi – It really didn’t take that long because I already knew who I wanted to cast for this project while I was writing it. The main challenge in casting was to find the main character Aviva. It took four months of auditioning so many beautiful and talented actresses before we decided Assy Levy was the right actress for the part.

Ali – What about Assy caught your eyes for this part?

Shemi – Well, on the outside she looks very strong and you would think she will not break because of her strength. So when she feels pain you know it must go deep and you would actually feel her pain when she is going through it.

Ali – How long did it take you to write the script, and what inspired you to write it?

Shemi – I wrote the first draft 8 years ago and it took me 2 or 3 weeks, but I decided to put it aside for a year and do more research. So I rewrote it 14 times.   When I submitted it for funding, it took me two to three times before it was accepted for funding.

Ali – How close are the script and the film to the vision you had in mind?

Shemi – It is very close. There are no exacts in art.

Ali – I would like to congratulate you on the film and I wish you luck.

Shemi – Thank you.

Now I finally was able to pull Meir Fenigstein, the founder of the festival, away from everybody so I could interview him and get more information on the festival.

Ali – Hello, Meir. Where are you from and where do you live?

Meir – I am from Tel-Aviv and live in California.

Ali – Have you always been involved in the film industry?

Meir – I used to be a musician in the early 70s. I played in an Israeli rock band called Poogy. It was the biggest rock band in Israel at the time. In 1976 I acted in a couple of Israeli films (“The Troop” and “Aunt Clara”) and I acted in Jerusalem theatre for a year.

Ali – How did you decide to start a film festival?

Meir – I moved to Boston to study music in Berkley College of Music. I then decided to switch from music, and that is when I found a new passion, creating a film festival. I thought this would be a good idea to stay in touch with Israel since I wanted to live in the U.S., and felt by creating a festival I will be in touch with Israel and I can also stay in the entertainment world. This also helped me to sustain my vision and keep it alive. So I did a small festival in Boston. Next, I did one in LA and one in Boston and then one in Chicago. On the 10 th year anniversary of the festival, I realized four cities is too much, so I mainly focused on LA and NY.

I stayed with those two cities for five years until the 15 th year anniversary when I decided I was getting bored with only two cities, so I went ahead and added Miami and Chicago to the list. By the 20 th year I noticed four cities getting to be too much work, so I dropped Chicago.   I have been trying to sustain the festival in three cities.

Ali – Do you have a hand in picking the films that are admitted in the festival?

Meir – I have a hand in it but am not the program director. I have two American program directors that pick the films because I am Israeli myself and want this to be more objective. They recommend the films, and we discuss it and make the decision based on the quality of the film, the subject matter. I am happy to tell you this year we have even a greater lineup of films. The best that we have ever had. The films will be running in

After the festival we then move to Miami and then to New York.

Ali – What is your vision for this film festival today and the future?

Meir – The festival should continue in the three cities, bringing more American people to see the films. I am hoping to get the American audiences to come and see Israel through the lenses of the cameras of the Israeli filmmakers and not just the news and the headlines of newspapers and television.

I would also like to mention that one of the films in this festival that is called “Sweet Mud” got the first prize in Sundance film festival and also the winner of the youth category in Berlin Film Festival.

Ali – Are you going to take the festival to other countries?

Meir – Well, I have thought about taking it to some of the English-speaking countries, due to subtitle translation issues.

Ali – Thank you for your time, and I congratulate you on the success of the festival.

Ali Saam

San Francisco International Film Festival Interview with Graham Leggat

San Francisco International Film Festival – Fifty Years and Still Going Strong
Interview with Graham Leggat

“The San Francisco Film Society embraces the art, technology and innovation of the world’s most imaginative storytellers who use the moving image to celebrate humanity while educating, entertaining and enriching the audiences of the world.”

The San Francisco International Film Festival has been a visionary from its very beginning; and throughout its several decades, it has upheld that tradition.  Each period of its life has been forward thinking in its own way, and it continues to be so.  From December 4, 1957, when San Francisco International Film Festival founder Irving Levin kicked off the first International Film Festival, to the upcoming 50th anniversary, numerous people have contributed to the yearly endeavor of planning, producing, and staging what is the annual SFIFF.  And this year is no different.  Graham Leggat, the new executive director of the San Francisco Film Society gives us his take on the thriving and pioneering festival this time around.

Graham, what was it that made you decide to get involved in running the San Francisco Film Society?

Well, it’s one of the best planned film festivals in the country, if not the world.  It’s a fantastic region for filmmaking, and in fact, renovation of all kinds.  It’s an enlightened city government here and a great staff and board, and a fantastic film culture in San Francisco in both making films and watching films.  There are some great writers here.  I left a great job in New York.  It is probably the only place I would have come to.  The chance to run the show here was just something I couldn’t pass up.

Wow, that’s pretty amazing.  And that’s quite a move, too. So what’s it like being involved in San Francisco at all as opposed to New York for you?

San Francisco is the opposite of New York.  In New York there’s an overwhelming density of cultural offerings.  And every sort of square inch of space has been developed in one way or another.  San Francisco has a much greater openness.  There’s much more opportunity, much more room to expand into new areas.  San Francisco is a frontier for the kind of work that we do, and so in short, it’s extremely exciting to be here.  This place is like a powder keg to me.

O. K., having been involved in this festival, why don’t you tell me about some of the highs that you’ve experienced.

Well, this is a big festival that tries to excel in a number of different areas, so we’re always trying to get the very best film speakers, interviewers, panelists, jury members, etc.  And we hold ourselves to very high standards.  Everyday we are on the phone or on email.  I won’t say fighting, but doing our utmost to land films and talent that we think will be most exciting and most enlightening for our audiences, so all the highs and lows revolve around that, especially now, when we’re launching the program.   We suffer setbacks and have glorious triumphs almost on an hourly basis.  For a couple of weeks, it’s almost like a sporting event at this point.  It has that kind of total engagement, an almost physical engagement and exhilaration; and like a sporting event, you don’t feel your injuries while you’re playing.  You know that you wanted such and such a guest at such and such a film, and for some reason [he/she] is not available; and so it hurts a little bit.  But you have to keep going as you would if you want to play.  You just keep going and going.  That’s the phase we’re in right now.   Once the dust settles a little bit next week, we will know what’s in the program, and then we’ll start sort of shaping it, thinking about how we’re going to present it.  And we’ll also notice things that we didn’t notice in the heat of the moment.  For example, we have a suite of films about “X” theme or “X” region, which we may have been vaguely aware but didn’t realize fully until after the program is locked.  Then we can start talking about motifs with journalists and filmmakers, and so on.  It’s like putting the icing on the cake at the festival.

What’s the biggest film that actually came out of your festival?

This is the 50th International San Francisco Film Festival.  We’re the longest running film festival in the Americas.  No other festival from Alaska to Argentina has reached the 50-year markdown.  So your question is not an easy question to answer since we have a full house section.

Tell me one or two that were great successes.

Back 20-odd years ago we did a world premier of She’s Gotta Have It by a little known filmmaker named Spike Lee.  Since then he’s gone on to brilliant things.  Last year, our State of Cinema address was given by British actress Tilda Swinton.  She received a prestigious standing ovation after her talk.   The transcript of that talk’s on our website.  In the early ’90s’ festival, many Iranian films came to this country at a time when very few other cinemas were showing them.  And Iranian cinema was one of the great national cinemas in the ’90s.  The list goes on.  The festival has technically invented beyond stage tributes, where actors, actresses, directors, and producers talk at length about their careers.  We pioneered that in the late ’60s.  We also were the first place to show the films of the great Japanese director Kurosawa.  This festival has been a cultural treasure for the region, bringing the world to the Bay Area for literally half a century.  It’s a pretty extraordinary legacy to have stewardship of.

Do you see certain trends in particular types of films that are coming in festivals annually?

You may say that, yes.

Is there any particular trend you are seeing a lot of in this particular festival?

Well, we’re not quite at the point where we can see that type of motif kicking out.  But obviously the festival has always had a strong tradition of showing really good documentaries; and unfortunately over the last five years, the world has really gone to hell in a hand basket.  So the documentary section despite—or probably because of—so many terrible state of affairs, for instance famine and so on, we have a very powerful suite of documentaries, and our audiences are very interested in them.  So one trend is to see increasingly unflinching cold eye views of many of the difficult social issues around the world, whether it be global warming or wars in the Middle East or healthcare issues.  We show all sorts of other documentaries, too, but you can see that documentarians with an eye for social issues are making stronger and harder hitting films.  We see that very much in our festival.

What final words would you want to say in regards to this festival and possibly the future of it?

The San Francisco International has been visionary from its very beginning, and throughout its several decades it has upheld that tradition.  Each period of its life has been visionary and forward thinking in its own way, and it continues to be so.  We’re not only interested in upholding a great tradition, but in continuing to reinvent ourselves in relation to the contemporary world.  So we have a section devoted to new platforms, new moving image platforms, and new audiences.  We’re always so very interested in the amazing innovation and creativity that runs throughout the Bay Area.  We have a special section devoted to the Bay Area filmmaking.  We’re doing a world premier of a film called Fog City Mavericks, about the last four years of filmmaking in the Bay Area.  As always, from the beginning, the city in this festival has always been very outward looking.  This is a very international city.  So the sense of bringing the world to San Francisco is something that is very important to us.  So we’ll bring in more than a hundred filmmakers.  And audiences just eat them up.  They love it.   It’ll be a blast!

For updates and to purchase tickets for the San Francisco International Film Festival, April 26 through May 10, visithttp://fest07.sffs.org.

Interviewed by Kaylene Peoples

Transcribed by Lisa A. Trimarchi

Sherby

CD Review
Sherby

I wasn’t sure what to expect from Sherby. I triedgoogling the name and according tourbandictionary.com , it is either a) really cute, sweet doggie or b) something stupid or humiliating; follows a previously embarrassing act. Needless to say, neither definition really describes Sherby’s second album Starfish Lane . Well, maybe the doggie one wasn’t too far off.

Cheryl Childers, aka Sherby, is a classically trained pianist, originally from Winston-Salem, North Carolina, the same Winston-Salem that brought us Ben Folds and John Tesh. She furthered her skills in Knoxville at the University of Tennessee and California State University in Northridge. Her travels are reflected in her music, incorporating elements of classic pop, America, and occasional forays into rock.

Sherby is the type of musician that the industry needs. She writes her own music. She formed her own label. Most impressively, she founded Likwid Joy, a nonprofit devoted to helping underprivileged children by using music as a way to change lives. This career route may never earn a Behind the Music special, but it should earn some well-deserved respect.

Starfish Lane , named for a small stretch of road off picturesque Highway 1, is a delightful half-hour collection of pop. Some comparable names that jump to mind are Jenny Lewis, Natalie Imbruglia, and John Mayer minus the Y chromosome. The album is about evenly split between up tempo songs and slow ballads. Personally, I didn’t find the slow numbersparticularly engaging. They are well crafted, but the emotion behind them didn’t pull me in the same way that an artist like Neko Case or Cat Power does. The best of the bunch, “Seesaw,” is worth a listen for you to decide for yourself.

The uppers on Starfish Lane were immediately uploaded into my iPod in preparation for a sunny day. “Blue” is the type of song you’ll feel comfortable with after the first listen. In “Superhero,” Sherby makes supercalifragilistic sound sexier than Julie Andrews. That’s no easy feat without the British accent. The highlight song has to be “Honey,” the opening track. Think of it as prozac taken sonically. Advice like “My friends say enjoy the ride, and my grandma says it’s going to be fine; While the suns out you might as well smile” is as good as that of any therapist and at a fraction of the cost. A classic California sunshine pop tune made for walking along a boardwalk.

Sherby’s Starfish Lane doesn’t break new ground. No grand experiment. It’s simply ageless singer-songwriter pop by a woman who knows how to create a solid song. For this I give Starfish Lane3 out of 4 stars.

http://www.sherbymusic.com

Reviewed by Justin La Mort

Livin’ Out Loud – What About Us

CD Review
Livin’ Out Loud – What About Us

Do you remember the early 90’s? That sweet innocent time when rap frightened old people and flannel was a fashion statement?  The R&B group Livin’ Out Loud harkens us back to those simpler days with their smooth melodies and silky grooves.  After a strong showing in the UK, the LA based quartet is hoping the States are ready for a flashback with their first album What About Us.

Livin’ Out Loud is primarily composed of four friends who happen to be strong musicians. Reuben MacCalla is the self-titled Creative Producer and channels artists like Stevie Wonder to add some old school soul.  Sylvia MacCalla is a songwriting vocalist, best known for her work in “Rent” and “Hairspray.”  Lisa LaShawn is another strong singer who also happens to be a songwriter.  Then there is J. Martini, a singer-songwriter who manages to play the guitar and who has a recurring role on “General Hospital.”  The group receives assistance from the multi-talented Dminor and an occasional infusion of rap by New York Puerto Rican emcee Crisis.

Having nearly a half dozen songwriters is the group’s greatest strength and its weakness.  The variety of soul, jazz, hip-hop, and dance that they put together in this 56-minute album is impressive but excessive.  Livin’ Out Loud is obviously a talented bunch and towers above many in a genre where 12 chapters of “Trapped in the Closet” reside.  The problem is there are too many chefs in the kitchen.  Knowing when to stop is no easy task for such a large group of artists, and the filler diminishes the overall strength ofWhat About Us.

The cover of “You Are My Sunshine” should be making the rounds at middle school dances across the country. Just remember hands above the belt and leave room for Jesus.  “Brokeazz” is a catchy piece of hip-hop storytelling about people who aren’t millionaires, and “Lately,” sounding like a completely different group, comes out swinging with soul power.

The two standout tracks are the Burbree remix of “Where’s the Love” and the album’s namesake “What About Us.”  They’re well produced, sincere, and have that classic R&B sound.  The big question is whether clean genre-defying urban music will be given a chance.  After Gnarls Barkley’s breakthrough, I think they’ll have a shot, and the success across the pond will hopefully give them the same buzz factor Amy Winehouse, David Craig, and Lady Sovereign were able to capitalize on.

Livin’ Out Loud’s What About Us is an impressive new record with old school sound.  The inclusion of a few too many forgettable songs detracted from the full flavor, but it’s still a strong 2 1/2 out of 4 stars.  Time will tell if America agrees.

http://www.livinoutloud.com/

Reviewed by Justin La Mort

CD Reviews – Ashes Are Nutritious

CD Review
Ashes.Are.Nutritious

Bands like Ashes.Are.Nutritious are the reason I hate being a music critic. These boys from the Garden State are musically talented and have the rock star look. Singer Billy Clifton sounds like he should be in front of a microphone. They even have their media-friendly factoid with drummer Craig Lawlor’s four-year stint on “As the World Turns,” playing Adam Hughes. To make it worse, I wouldn’t be surprised if going to one of their shows turned into a sweaty series of blurs ending with a smile, but all this doesn’t make their first full-length album Frustration+ good. It just makes me feel bad having to be negative on a young band with real potential. There’s a lot less guilt pointing out the faults of millionaires. Paris Hilton, anyone?

Besides lead singer Clifton and Lawlor on the sticks, the band is composed of guitarist Paul Grocz and Gianni Scalise on the bass.Frustration+ was produced and engineered by Billy Graziedei and Danny Schuler of the now deceased genre-bending band Biohazard. The eleven song effort reveals the diversity of their musical chops shifting in winding prog rock ambiance to pounding hardcore. Unfortunately, it is a journey that doesn’t necessarily lead to anywhere memorable, and the lyrics are no intellectual match for the music. It isn’t easy playing Progressive, and I don’t mean because of Bush. The best example of everything good and terrible about prog rock was the incredibly talented King Crimson, who while influential, routinely created seven plus minutes of humorless rock without any pop elements, causing them never to reach a wide audience.

Ashes.Are.Nutritious are smart enough not to be so esoteric, but the instrumental 19-minute final track “Siafu” makes me wonder: Is it a statement that unlike a lot of their peers, they can play more than three chords; or it is it overindulgence, forewarning of future big songs and small crowds? To their credit they do have pop sensibilities and aren’t afraid to show it. Lawlor and Scalise do an admirable job as the rhythm section, crafting a wall of sound around Grocz mean rifts. Clifton can sing and scream, but at no point on this album do I ever feel anything. “Purgatory,” one of their better tracks, begins with Clifton sounding like Scott Weiland performing a Tenacious D cover.

The lyrics are reaching for Jim Morrison but never attain that level of sincerity. The opening line of “Purgatory” is “Look within yourself to find a deep, dark path that leads to the center of your soul. Along this path you’ll be forced to answer several questions. First and foremost when your time comes where will you be? Heaven… Hell… (dramatic pause) Purgatory?” Maybe I’m too cynical, but never was I under their spell enough to keep a straight face through that intro. I tried over and over again, but every time he got to purgatory, my poker mask crumbled into a smirk. During the hour-long disc, there isn’t one instance of humor; and never could I fully lose myself in the imagery they were constructing. After listening to this album, I was in the uncomfortable position of wanting to believe the illusion or at least laugh with Ashes.Are.Nutritious but instead was left wondering what went wrong.

I wish I could see these guys live for the full experience before reviewing, but they’re playing the Jersey/NYC circuit for the time being. If you’re a fan of bands like Tool or Mars Volta, then I would definitely recommend giving them a listen. I, with a heavy heart, give Frustration+ 1 1/2 stars, but they’re only a single or two away from being on a radio station near you. Keep your eyes and ears open.

http://www.myspace.com/ashesarenutritious

Reviewed by Justin La Mort

Michelle Shaprow – Transcending Musical Genres

Michelle Shaprow – Transcending Musical Genres

Los Angeles recording artist Michelle Shaprow has songs on several record labels, including Om Records Scuba “Hidden Treasures” compilation, Norman Jay’s “Good Times 3” compilation, Fader Magazine compilation “Suite 903,” Ministry of Sound’s “Chill out Ibiza” compilation, while charting on Giles Peterson Top 20 List and major dance stations.  In 2001, her Warner Bros single, “If I Lost You,” reached #1 on BBC London 94.9 FM.  You can also see Michelle singing on top of a rooftop in the Coke Zero commercial, and she is currently doing media work for VH-1.  She’s made a huge impact on the music scene and is now planning to put out her first solo album featuring all of her own music.

This Yale graduate majored in music perception and cognition, along with psychology and philosophy.  She presents a convincing argument as to why people like the music they do—a philosophy that directly reflects her very own, very infectious musical style.

How did you decide to become a singer?

I wrote music when I was a child.  In eighth grade I wrote our eighth grade musical.  It was a dance/pop version of The Hobbit, and I wrote a musical my senior year in high school for “Rumplestiltskin.”  It felt pretty natural and I just wanted to do it.  I had a lot of songs, and I just wanted to make them into a musical.

What was that musical about?

It was a futuristic version of “Rumpelstiltskin,” where Rumplestiltskin was this devil trying to seduce girls.

Thought about converting it to a screenplay and maybe selling it?   Musicals are becoming popular again with Moulin Rouge,Chicago, and Dreamgirls.

(Smiles) Maybe later down the line.

Where are you from originally?

All over the place, I was born in El Paso, Texas.  Then I moved to Houston, Chicago, then Los Angeles, and then New Haven, and then my family moved to Florida, and then I moved here, and I have been here for about four months now.

And I understand you’re going to be attending business school?

Probably UCLA Anderson.  I got admitted there, but I’m still looking at other schools.  I will start classes in September.

What happens if your music takes off while you’re in school?

I can still do music, and release it.  I don’t really see a contradiction.

Why don’t you describe your music for me?

I call it “neo” because it’s just really how I hear it.  I don’t try to fit it in any genres.

So it’s very new, and I’ve worked with a lot of dance and soul producers, so it’s kind of across the board.  I just try to make good music.

What inspires it?

It depends on whether it’s a co-write or it’s just something that comes organically through me.  If it comes organically through me, it will usually be some chords that come to mind a lot.  I’ll start to etch them out, and then a melody, syllables, and then words.  But I don’t know if there is one precise thing that inspires it as much as just the feeling of existence.

Once you get to the words, do you have a theme in mind?

For me it’s really just about not contradicting what the chords are saying.   So as long as the lyrics are saying what the chords are saying, I’m cool.  A lot of times they’re open-ended.  Chords are about life, full of a lot of different types of emotions, as opposed to specific things.  So I think a lot of times it’s a lot easier to be more accurate with the chords if my words are more open-ended.

You want to make sure the lyrics mirror the chords?   What does that mean exactly?

For me it just means being open-ended enough so that it can really replicate what a chord is saying.  I don’t really get too specific unless it’s compatible.  It means just going with the music.  That’s the most important thing for me.

Your music has a lot of cool dance beats.  Why did you choose to do dance music?

I don’t think I really chose dance.  I just did a dance song and a dance producer contacted me; and then dance producers kept contacting me.  So I ended up doing a lot of dance, but I’m not really trying to do one type of genre.  But I do think the reason that I have ended up doing a lot of dance is because it’s one of those more open-ended genres.  It allows that type of flexibility, where a lot of other styles are more confined.  But dance and the Europeans are open, and my music is pretty open, so it falls into dance.   But I don’t really think about doing things in a certain bpm [beats per minute].

What is it about you that makes you think outside the box like that, because a lot of people who write songs and do music cater to a certain style.   You seem to be more of a free thinker.

It’s probably because of my background, growing up multi-racial, and growing up living in a lot of different places, and being exposed to rich people, poor people, different types of cities, different types of cultures, you kind of just get outside of that.  I feel like I’m a part of it, but I don’t feel like I’m all this, or I’m all about that type of culture or group or socio-economic status, or genre.

I am sure the Yale experience also has helped you formulate who you are as an artist.

Definitely.

How would you define Michelle Shaprow in a couple of sentences?

I’ll use words:  Creative, philosophical, questioning, open-minded, positive, spiritual.

Perhaps people evoke those descriptions from your music as well.

Yes, definitely.

I read something on your website.  It was the focus of your major. It really caught my interest.  It had to do with sociology and people in music.  Could you go into more detail?

My senior thesis was on music cognition and psychology, which is basically why we like the music we do.  And this is mostly in the realm of chords and melody, but I think it can be applied to all types of media.  Things that are sticky—that appeal to people, have a good balance of polar elements.  If I can get technical… a song would be like a system.  I classify them as X elements and Y elements.  The X elements are the complex ones, the Y elements would be the simple ones.  In the category of the complex elements, you have things that are novel, melodic leaps, dissonant chords, anything that takes the mind a little bit more energy to process, like syncopation, since it’s not regular.  Dissonance is similar to syncopation, melodic leaps and any new information, novel musical ideas.  On the other end of the spectrum you have simple things.  Things that are familiar, like stable chords, simple chords, melodic steps.  So within any song, any type of X element, it will always be compensated by a Y element in that it can occur not necessarily simultaneously, but you can have an X element in one part to be compensated by a Y element twenty seconds later.

Would you say that the elements that are more familiar to people are something you need more of than the more complicated elements like syncopation and dissonance?

My theory was that it’s the balance of both, but I think the balance can change; or how much of each element you have can change depending on society and where society is.  So maybe now we’re in a simple place.  I think we’re moving into a more complex evolved place.  But yeah, now a lot of songs are pretty simple.

So what is your plan for your music?

My plan is to put out an album on i-Tunes this summer.  Randy Jackson heard my music on MySpace through a neo-soul artist.  I met with Randy and he said he wanted to put my song “I Will Be Good for You” on a compilation, which is coming out this summer.  And I am going to put out my own album around the same time.

What obstacles have you encountered while working on your music?

Getting it to sound the way I want to, and finding the right producers, organizing the entire project [have been my biggest challenges].  As an independent artist I am in charge of a lot of the business elements, like the marketing, the strategy, which is why I am really excited to go to business school.  I’ll be able to manage all those things easier.

I feel like everything is doable.  I don’t feel like there are types of information that are not understandable.  I feel like time is the only obstacle.

Are you getting any help?  Or are you doing a lot of it on your own?

I’m doing a lot of it.  I produce my own stuff.  I do a lot of the tracking at home.  I do a lot of collaboration with other producers, but it’s never really my own music, like the way I intend for it to be.  When you ‘re working with a producer, and they have the distribution outlets, and they have their whole reputation as a certain type of producer, you end up going into their world.  Now I try to do production swaps when working with other producers.  I’ll take less of a percentage of the royalties if they’ll do additional production on my work.

Where do you see yourself in five years?

Owning my own music company, and I say that in a broad term, because we don’t really know where music is going right now.  Finding a way to monetize music and doing something with music, film, and having a few records out.

Michelle Shaprow has a lot of singles that are already out from the record labels Warner Bros, Milan Records, Ministry of Sound, and even a new one coming out on Capitol through King Brit, as well as some other compilations with producers throughout Europe and the United states.  You can purchase her at most retail outlets, like Virgin Megastores, Walmart, K-Mart, and any outlet that sells cds, as well as online.

To learn more about Michelle Shaprow, visit her websites:  www.michelleshaprow.com and www.myspace.com/michelleshaprow.

Interviewed by Kaylene Peoples

Raun Kaufman – Proof There Is Life After Autism Spectrum Disorder

I was very moved when I heard about Raun Kaufman, who as a child was diagnosed with severe Autism Spectrum Disorder, and against all odds, his parents invented a radical form of treatment, which caused him not only to stop certain behaviors associated with autism, but to recover completely from the disorder.  Over 30 years ago, the best-selling book Son-Rise was written about Raun, and an NBC television movie based on his recovery followed. In honor of Autism Awareness month in April, and the shocking rising number of children diagnosed with Autism Spectrum Disorder, Agenda Magazine has interviewed the man who fully recovered from that disorder and now heads the Autism Treatment Center of America, Raun Kaufman.

So you’re the person the book Son-Rise was written about.

It’s really an amazing position to be in because growing up I was the son.   Now, as the CEO of the Autism Treatment Center of America, I get to guide the organization and help families, parents, and children in really the same way my parents helped me.

What would you call autism?

It is often called a disorder.  You may have heard Autism Spectrum Disorder.  And that’s because there are really a whole spectrum of different children and adults who have what you might call different levels of autism.   Some children have no language at all and spend their entire day doing certain repetitive activities like lining up toy cars, whereas other children or adults might be much more verbal but nevertheless still have a lot of difficulty in communicating socially, making friends and making connections, as well as telling people how they feel about things.  So there’s a whole huge, broad spectrum, and we work with a whole range of different children.

In your experience, which have you seen the most of, extreme cases or sort of the middle of the road cases like those children who are somewhat functioning in society?

We see a pretty even distribution in a lot of cases of children.  We might work with a three-year-old who is totally nonverbal, or we might work with a 12-year-old who is also nonverbal.  We might work with a 10-year-old who is speaking full sentences but really needs a lot of help with social communication.  There is an increase in autism, which is now 1 in 150, and we definitely more recently have seen an increase of younger kids with their families come across our path who have gotten a diagnosis.  A lot of them have lower levels of verbal communication and interaction—at least when parents first come to us.  Obviously one of the things we’re most trying to help them with is to help their children to communicate more, connect with other people, form relationships with other people, by choice and by inspiration, versus doing that because they’re being trained with rewards like M&Ms and food, the more typical way to try to help autistic children to behave like more “neuro” typical children.

Tell me about when you had Autism Spectrum Disorder?

As a little baby I was faced with all these different ear infections and some of them quite life threatening.  And then there was a whole period where it was sort of touch and go for awhile, and then finally it looked like I was doing better, and then all of a sudden they noticed I wasn’t speaking or communicating.  I didn’t look at them, nor did I even allow them to touch me, and if they did, I was non-reactive.  I didn’t respond to sound.   People thought I might have been deaf.  I spent all day doing repetitive activities like spinning plates over and over again and rocking back and forth and flapping my hands in front of my face.  My parents knew this was not typical behavior, so they took me to specialists in an attempt to [ascertain] what was wrong with me.  They were told what so many parents that we work with are told:  “You’re an over-reactive, overprotective parent.  Albert Einstein didn’t talk till he was four.”  That’s the kind of message so many parents get.  Eventually, as my disorder got more severe, and they saw more specialists, they told them that I was severely autistic, that I would never learn to talk or interact with them, that I would spin plates and rock back and forth 10-20 years.

So it’s really amazing what they did in the face of all of that.  They really wanted to help me and reach out for me.  And what they were offered, to try and get help for me, was very invasive kinds of treatments based on behavior modification techniques to stamp out my autistic behaviors, and then through repetitive action, I would be trained to have more “normal” behaviors.  And they really felt like this just was not the way to go for me.   A lot of these children were really being pushed and pulled, and it seemed to them that they didn’t yet understand all the dynamics of autism, but it seemed pretty clear to them that I wasn’t going to be brought into their world by force.  And that, yes, they could probably get me to eat with silverware or dress myself, but that wasn’t what they were looking for.   They were looking for a real connection, as well as helping me to want to  make this real connection.  So they began to create and pioneer this new program that is in the book—the Son-Rise program.  They worked with me for actually a little over three years, and they started by doing something that was hugely controversial—it’s still one of the more controversial aspects of the program.  Instead of forcing me to conform to this world, which I didn’t understand yet, they started by joining me in my world.   So if I was spinning plates, instead of taking the plate away, which everyone told them to do, they actually got a plate, sat down next to me and spun those plates with me.  And you could imagine people walking in seeing this and saying to them, “This is the worst possible thing you can do.  You’re just going to reinforce the behaviors that you’re trying to change.”  And they luckily—and I thank God for this—didn’t listen to that at the time.  [My parents] really saw that first they wanted to let me show them the way in, so that they could show me the way out.  They joined me in these behaviors as a starting point, and that was actually the first time that I started looking at them, including them in my play, acknowledging them, and connecting with them.  It opened the doorway so that they could teach me how to communicate and talk and connect with people.  And we’ve been doing this since the mid-’70s, when I was a kid, and this Autism Treatment Center, which started in 1983—we’ve worked now with thousands of parents from all different countries.  When you join these children in their world, it doesn’t reinforce the behavior but actually helps create a connection with these children so that they don’t need to do the behaviors so much.  They become more interested in the people that love them, like their parents.

Exactly how old were you when they started this radical idea?

I was 18 months.  I really got into full swing by the time I was two, and then they worked with me.  By the time I was five, I was pretty much a typical child.  I went to regular schools, and no one knew about my past unless I told them or unless they read the book or saw the movie.  I think it was very smart that they got on top of it as soon as possible.  Early intervention is helpful, but I often hear people say, “Well, they started really early.  If you don’t get a start that early for a child, there certainly isn’t much hope for them.”  But we work with children who are 18 months, or 2-1/2 years old, children who are 10 or 12 or 15.  We worked with this boy, for instance, who was 16 years old.  He was completely mute and had no language.  And his mother was told that there was a chance for him to learn language, but he was16 years old, so if he hadn’t learned it by now, he would never be able to learn it—his brain already formed.  Six months into her Son-Rise program, her son after six months was speaking to her in full sentences.   Now, he didn’t go on to fully recover in the way that I did, but he was able to communicate in full sentences and really tell his mother what he wanted, and have a connection with her and with other people—and that didn’t even start until he was 16.  So we get children and adults who are capable of so much change because the brain is so plastic and so capable of growth and change, you know, in the same way that a 70-year-old stroke victim can relearn to talk and learn to use parts of his body.

So there is hope for a ten-year-old.   My housekeeper has a ten-year-old grandson who is completely nonfunctional.

What does he do with himself during the day?

He rocks, he jumps, he’s super hyperactive.  He’s constantly jerking up and down.  He likes to be naked a lot.  He won’t wear his clothes. He only knows one or two words.  He seems to kind of understand when they tell him no.  He’ll stop, but he has absolutely no speech of any kind.  They were told it was because of his vaccinations, but do they even know what causes this?

Gosh, that is such a source of controversy in the media and in other areas, that they don’t ultimately know with any degree of certainty what causes autism.  There’s a lot of speculation and a lot of theories.  And fortunately there are a lot of studies to try and figure this out, but there’s no definitive explanation.  There seems to be some evidence that points to a possible interaction between maybe genetic susceptibility combined with environmental triggers very early in life, the first two years of life.  But even that doesn’t seem to be the exact cause for every single child.  Some children appear to be born different.  Some children have what’s called late onset autism, where they appear to be developing at or ahead of the average, and then age 1-1/2, age 2, age 2-1/2, 3 sometimes, they will appear to lose all their language and all their communication skills and become autistic.  There are even different children that start at different points in their lives.  And so there isn’t a totally clear understanding of what actually does cause it.  And the problem is that it’s becoming so political and politicized about what does cause it, it’s hard to get a real sense of an objective look at what is causing it.  But I will say this.  Here at this organization, the Autism Treatment Center of America, we’re working with so many different families.  We don’t really need to know what causes autism in order to be able to help these children now.  I think it gets lost on the debate, for instance, on genetics and trying to find a series of genes that causes autism.  But when we start to focus exclusively on that, you don’t help the children that have autism right now here today.  Your housekeeper’s grandson… he’s ten years old, right?

He’s ten, yes.

Well, something that you did say about him that also could shed a little light on autism is it’s often treated as this behavioral issue.  Where these children just behave differently and they need to be trained to behave the proper way.  We see autism as something very different.  First of all as a social communication disorder, but also – and this is why I wanted to highlight what you said about your housekeeper’s grandson—you said he likes to be naked a lot.  Now, actually this is not uncommon at all in different children of various different ages.  People say, “Well, why doesn’t he understand it’s important for him to be dressed, and it’s inappropriate when we have to teach him to keep his clothes on?”  And yes, it absolutely is important to help children learn to keep their clothes on, of course, but there’s a reason why children like this little boy keep taking their clothes off.  In many cases these clothes feel incredibly uncomfortable for them.  They feel scratchy, itchy, they are overpowering in terms of what it feels like on their body.  That might sound funny because it doesn’t feel like that to us, but a lot of these children have what is called a sensory integration disorder, which basically means what they’re seeing—what they’re hearing—what they’re feeling is entirely different than what we’re seeing, hearing, and feeling.  For most of these children, just being in the living room is like being in the center of an airport for most of us.  If you’ve ever spent three or four hours in the airport, you zone out after a while.  You can’t really have a conversation.  You just want to relax.  That’s what these children’s day-to-day existence is like.  And so a lot of what these children are doing might look unusual, but it is actually their attempt to have an environment that is not totally overpowering and totally over-stimulating.  And actually that’s why one of the key principles of the Son-Rise program is to create this home base and sometimes school base specialized work/play environment.   Where these children are in a very simple playroom with one other facilitator, and this playroom will probably be boring by the standards of a typical child. But for children with autism, they’re absolutely essential.  These playrooms have zero distraction with very few pictures on the wall, no music playing, and toys, but no electronic toys in the room.  It’s a room where these children can finally get a chance to breathe.  Where they can start to build a connection with another person.  And it’s also a room where we can call it a “yes” room because they’re never told no.  They’re never told you can’t play with that, you can’t touch that, or you can’t do that.  And that’s not an attempt to spoil a child.  Instead, we’re trying to get in a situation where first we can build up trust and security and build up a child’s sense of feeling safe and loved so that they can then start to step outside their envelope and connect with other people.  In order to do that, you need a very non-distracting simple environment where these children are first allowed to have control and a grasp of their own environment.  And then we can start to help them communicate.

Do you have much memory of your experience?

I can remember things looking really different—distorted faces.  It would look like I was looking at it through the wrong end of a pair of binoculars, or people looking very small and far away, like at the end of a tunnel.  Or sometimes I would look at a wall and it would look like it was bending inward.  And again this is consistent with a lot of the integration and the sensory processing issues that a lot of other children have.  This is the way that I saw it and that’s mostly what I remember of the early days.  I do have a little bit more memory in the very late part of my Son-Rise program when I was more verbal.  I can remember my mom playing with me and laughing—I do remember that really fondly.  And it didn’t feel to me like I was in a special program and something was wrong with me.  It just felt like my mom was playing with me, and loved me, and we were enjoying ourselves.  That’s what we really focus on, making it feel like that for all of the children.  For them it feels like someone is loving them…and enjoying them, and they have the opportunity to play with things that are most exciting and motivating for them.  And we turn that into a way of building more communication interaction.

Is your program very expensive?

If a parent really wants help for their child, they will want to also have the tools to be able to build the program to connect with their child.  So they might come to what we call the Son-Rise Startup Program—the first program that a parent or a professional might take.  And that’s a week-long course where a parent will come to our 100-acre campus in Sheffield, Massachusetts, for an all-inclusive week.  They would have all their meals and free room and board and classes all day.  They would be learning all the key elements of the program.  The parents are the absolute keys to this program, the best resource for the child because no one has the kind of lifelong dedication and love that a parent has.  They would pay roughly $2,200 for that program.  Then there are other, more advanced programs.   They could get phone consultations.  They can have someone come out to their house.  The cost structure really varies for them.  We’re a nonprofit organization, so we have people who donate money every year just to help these parents.  So what happens is you have some parents who are paying $2,200 to come for the week, and you have other parents who are paying a whole lot less because they’re getting financial aid and scholarships that we’re giving them because we’re able to have that with people donating to us to help these parents.  At the end of the day, the parents are able to come regardless of their financial situation.  They can apply for as much aid as they need.

What is the parent’s responsibility in all this?

The parent is going to make the biggest difference in a child’s life.  When and where a parent actually changes the way they are with their child…that tends to have the biggest effect on how the child responds.  One of the areas which I think is the most overlooked in autism treatment (we spend 50% of our time on this in the startup program with the parents) is their own attitudes and comfort levels with their child and their child’s condition. When you first hear it, it’s like a soft skill.  Does that really make an actual difference in how a child is able to communicate and build skills?  Teaching them the specific techniques of the Son-Rise program, like how to join with the child, how to use motivation to teach socialization, how to set up the special play room, all of that is absolutely critical and essential, of course.   But teaching a parent what to do without really teaching them how to do it makes what they’re doing not that effective.  And what we see is what is the biggest and affecting thing is how comfortable the parents are and what their attitudes are, and what their beliefs are about what their child is capable of.  I hear this from parents that at the end of a startup program—(and this is before their child has improved at all—they haven’t even gone home yet to implement it) is that they feel like they see their child totally differently.  What we see, when someone is working with a child with autism who is for any reason uncomfortable, stressed out, or a little frustrated, the child can pick up on a lot of these signals.  The child doesn’t understand that the person has good reason for feeling this way.  All that child knows is this is an increase of stress, and they want to move away from that.  They might do that by “tantruming” more or retreating deeper into their world.  At the same time, when a person is really comfortable, excited, or is feeling really at peace when they’re working with the child, that child becomes more interactive and more interested in that person, which helps with the learning process.

What do you think of these other forms of treatment compared to yours?   Do they work?

One-half is the educational-based treatments, where someone is working with the child, trying to help them learn skills, communicate, do something.   The other kinds of treatments are biological treatments:  medical, dietary intervention, supplementation, etc.  A lot of these more biological treatments work really well in tandem with the Son-Rise program, and I am completely supportive of quite a lot of them.  One of the first things we advocate to the parents who are doing the Son-Rise program is start looking at dietary intervention.  One of the areas is to remove gluten (found in complex proteins, wheat and some other grains), and Casein (found in complex proteins in dairy).  It is widely known that removing these foods will stop some of those biological habits going on in the children’s body, and allow them to connect and adapt more.  Unfortunately, there are still parents who are told by their physicians what their child eats is not going to affect their neurological disorder.  But physicians who are involved with autism really see the research through clinical practices that diet absolutely has a huge effect on how drastic these children are.  Many of these children have immunological, gastrointestinal issues, and deficits going on.  Those treatments can actually accelerate what a child is doing in the Son-Rise treatment program.

The other kinds of programs that are more educational-based, those are really different.  The most popular way of treating autism educationally is through a program called ABA.  Applied Behavior Analysis has been around for quite a while, and is touted as the only program with research backhand. The research was not only done in 1987—and those who tried to replicate it in the ’90s were unable to replicate those results—but also it was done with a very small number, 16 or 17 selected children who had this research done on them.  There is no program out there right now, that with total honesty and truth, can say, “Our program is 100% proven by research on large groups of children.”

What programs are the schools implementing?

I mean absolutely no disrespect by saying this, but if you talk to most school officials and teachers—and you really have them on an off the record—in honest conversation, they will in most cases tell you they have no idea what to do with these children.  Not because they don’t want to help, just because they have no idea how to handle them, and how to help them.

How many Rain Man cases do you get?

We have worked with children and adults who are like Rain Man, but it is incredibly rare.  The term for those people is Autistic Savant.  We more often get children with varying levels of abilities.  When Rain Man came out, there weren’t as many cases of autism as there are today.

Do you have any idea why it is rapidly growing? It’s like an epidemic.

There has been an explosion.  When I was little, it was 1 in 10,000, and now it’s 1 in 150.  There is an increase in diagnosis because there is a little bit of awareness, but that doesn’t count for getting us to 1 in 150.  California has been using the same diagnostic criteria since 1990, and they’ve seen a many-fold increase of autism just in that state.  What’s causing it?  There is a lot of uncertainty and controversy.  The only thing that I would put into that debate is if it’s entirely genetic—you can’t have a genetic epidemic.   The rates should be roughly the same as they were 20-30 years ago.  It could go up by 1 or 2 percent, but nothing like it is now.  My belief then is in order for it to go up at that kind of rate you have to have a contributing environmental trigger.  There could be a host of different ones that affect different children.   Even if it is genetic, you’d have to have interaction with that genetic predisposition with something in the environment.  Otherwise, how do you get an increase of that magnitude?

So often I see in the media messages being given to parents and by professionals, doom and gloom about their children.  I think hope leads to action, and that’s how these children are helped.  Parents have been able to do amazing things with their children if they’re just given a chance.   Unfortunately, there has just been this continual stream of “Your child is going to have this miserable life.”  In the ’90s when autism was on the rise, we were starting to work with more people.  I thought once more if the [success stories] got out, and once people saw what’s possible for these children, this [negative thinking] would change.  And yet I literally keep seeing everyday that nothing’s changed.  I struggle with the fact that in spite of what all of these parents are doing and have done with or for their children, it makes them out to be pathetic creatures who can’t help their children, when it’s the exact opposite of that.  Even when I hear people say things like “You must have been misdiagnosed because you recovered,” or other kids like Kyle, one who was recently in the news, people said the same thing about him.  Everybody doesn’t have to do the Son-Rise program, but let’s not discount what these parents are doing.  Can we at least give those parents some respect and credit for what they did?   And give Kyle some respect and credit for the strides that he’s made without having to keep them down in order to make a point.

Is there only one autism treatment center for your program?

There is only one Autism Treatment Center of America.  However, there are parents running these small-scale programs all over the US and in other countries.  We do a program two times a year, one in England, where we fly our team of teachers out to the UK to run exactly the same program that we run here. I also do lecture tours in the UK and in the US, whenever we can get the funding for it.  Those are usually free lecture tours.  We’re trying not to charge the parents.  In America we actually had a wealthy Son-Rise set of parents who were excited about their own child’s progress.   They funded 100 low-income families to come for free to a startup program that we ran in New York City.  So we got off of our campus to reach out to other parents and other families, but in most cases, parents and families are coming here and then they’re getting ongoing help from a distance that they continue to run their programs.

To learn more about the Autism Treatment Center of America, visit their website: www.autismtreatmentcenter.org.  They also offer a free 30-minute consultation call to ask questions about how to apply the principles to your child.  Don’t believe everything you hear in the news.  Children are recovering from Autism Spectrum Disorder.

Transcribed by Lisa A. Trimarchi

Keith Munyan – Making the Transition from Model to Photographer Look Easy

Keith Munyan – Making the Transition from Model to Photographer Look Easy

Keith Munyan has modeled for fifteen years and has been on calendars, appeared on “EXTRA,” “Hard Copy,” and “Access Hollywood.”   He was featured on billboards for Bud Light, modeled for Diet Coke, did countless commercials, and was a very successful swimsuit model. One would never expect to see him—with those rugged good looks of his—behind the camera. Keith uses his modeling experience to create great photographs, capturing some of the biggest celebrities on film.   His client list reads like an all-star cast with celebrities like Jessica Simpson, Cindy Crawford, and Hilary Duff.

Was it hard to transition from modeling in front of the camera to moving behind the camera?

Because of my experience from working in front of the camera, I listened a lot regarding lighting, and shooting. I found it easier for me because I enjoyed working with people.

Do you think having been a model helped your eye when shooting other models?

Yes, I do.  One of the things I’ve learned is patience.  Don’t rush.  I’m more laid back.  When we’re doing shoots, if you have an idea, let’s try it.   I’ll try anything, because I’m not always right.  If you can give your input and enjoy the job, it goes by faster, and everybody has a fun day.

Who are some of the people you have shot?

I knew a guy from a magazine who found out I was shooting.  I shot Beth Broderick, whoplays Aunt Zelda on “Sabrina the Teenage Witch.”  The television show used all my photos in the background as they did a story on her character.  Because of that show, and from knowing me as a model from Popstar!Magazine, he called me and asked me if I was interested in shooting.  And I said sure, why not?  I’d be glad to do it.  The first person I shot was Jessica Simpson.  Then later, I shot Cindy Crawford, Carmen Electra, Hilary Duff, whom I’ve worked with for over four years now, as well as countless other celebrities, and just recently, Rachel Melvin for Agenda Magazine.  All my work is by word of mouth or by referral.  I do not advertise.

In Rachel’s shoot we used a lot of wood elements.   We kept it very vogue, very high fashion, but we threw in the wood elements to keep the warmth, to keep it grounded to make it more special and individualized for her.

I did like the idea of the wood.   How do you come up with ideas for different shoots?   Do you ever end up duplicating your ideas?

I look.  I shop.  I find elements and things for backgrounds.  And then once I see the clothing and get the feel, we started pulling things in.  The Yucca tree that we used forAgenda Magazine for Rachel Melvin was actually from off of my property. It was just a dead yucca that had bloomed and it died, but we saved it.  The vase from the Malibu fires went with the elements; something rustic, something used, but then you’ve got elegance with it.  I see a lot of photos and ideas from other magazines… Yes, I look; I shop.  You’ve got to keep your eye going, you’ve got to stay up on fashion with your shooting, and know what’s happening with photographers.  So you’ve got to keep up.

Do you have any secret tips for yourself when you’re actually shooting, like trade secrets that you use to pull a photo out of someone?

Sometimes I do.  The best thing to do when you’re working with a celebrity is to remind them to think of the people they love and care about or their pet.  And they laugh.  Like with Rachel, we brought up Murphy, her cocker spaniel, and her eyes lit up, and she was very relaxed.

Have you ever had a disaster shoot?

When you’re dealing with celebrities, you’re dealing with personalities.   Some PR people do not get along with their celebrities.  And then you deal with celebrities that think they’re bigger than other people… and I can’t mention any names… but everyone thinks she is a diva, but she’s a clock-watcher.  They only give you so many hours to shoot this editorial for a hair magazine,Sophisticated Hair, and we were doing the hair stuff on her and she saw the clock and decided it was time for her to leave.  I told her she’d only been here an hour.  Her mother told her she wasn’t going anywhere.   When she excused herself and turned her back, I took the clock down, told her mother to hide her watches, hide everything… and she stayed for three more hours.   She was trying to rush us through our job, and without these photos, she didn’t have the publicity.  They were doing the story on her.  She had the cover already.  Just be nice.  That’s the only bad experience I had.  Everybody else who I’ve worked with has been amazing.

I enjoy doing the celebrity stuff because everyone is usually so pleasant.  I do not do the paparazzi, and very seldom will I do weddings.  No! (He shrugs.)  Weddings are not fun.  People do not understand that weddings are the hardest thing on a photographer or because you have no control.   The mother does.  (Laughs.)

I noticed when you were shooting Rachel, you had a very elaborate light setup.   Can you tell me how you came about doing textures through lighting like you did on her shoot?

For one thing, dealing with celebrities, you have to make sure everything is perfect.   And Ilearned over the years to test the lighting, and use more light because most of the time, not everyone always has the perfect skin and complexion, and not everyone gets Photoshopped.  So I’ve learned how to adjust my lighting around my clients.  I figure out how to make it hotter, warmer, darker, depending on their skin tones, their hair, their makeup.  I like to mix my Tungsten lighting with my daylight to give you that blue hue, which gives you that porcelain look, almost China doll.  Not everyone has that perfect warm skin.  Not everyone’s a fitness model.  Not everyone’s tan.  Like Rachel, the lighting we used on her was the Tungsten lighting, but I shot it as daylight to give her that porcelain look, yet the tones stayed rich and vibrant.

Tell me about your partner.   I noticed it was a joint effort.   You’re shooting, and he’s directing the model.

The funny thing is, Dean’s my partner for almost eighteen years.  He’s been my business partner, and he was actually a photographer first.  He would always do the shoots, and I would always direct the models, but now it’s reversed.  He’s taken over my business part in running my business, whereas I’m doing the shoots, and he does the directing of the models because sometimes I get very quiet and more involved in what’s going on with the elements, the shots, the angle I want, the lighting… I make sure that everything is perfect and I’ll get quiet sometimes.  There’s always going to be somebody ballsy on the set anyway, so why not have somebody who’s got a lot of energy.  He is so funny.  He can get hysterical.  He’ll show people how to pose and they’re laughing, and everybody enjoys it.  It’s fun. It’s entertaining.  Everybody loves him.  We’re sort of a team.

Before you shoot with a client, do you consult with them first?   And how do you learn their angles?

I ask, before I shoot with someone, if they have an old photo, bring it.   Show me what you like and don’t like about a photo.  Bring it in.  Because they’re going to have a side they like better.  It’s about the lighting that you use with the person and still know their angles.

Do you miss the modeling?

No, I don’t.  I miss the auditions, the cattle calls, where 300 people show up, and they’re looking for one model.  I did that for fifteen years and I enjoyed it. I loved it. I traveled a lot.  I got a lot of experiences.  I did things I thought I’d never do.  In Barcelona, I went up and down an escalator, dressed coming down, and naked going up.  I didn’t think I would ever do that.  But hey, they paid us triple.  Why not?  I was a starving model then.   I was in my 20s. But I prefer being behind the camera now.

What’s next for you?

I want to make videos.  I like the energy of music videos.  It’s a little more pushed.  I like the idea that it takes a lot of energy.  You have to stay up and going all day, but you still treat it like a still shoot.  The elements you use are almost the same.

Interviewed by Kaylene Peoples

Marlene Forté – It Wasn’t Too Late to Follow Her Dream

Marlene Forté – It Wasn’t Too Late to Follow Her Dream

Marlene Forté has been acting since 1988.   She starred in “Lost,” “The Unit,” “My Wife and Kids,” “The George Lopez Show,” etc.   The film Adrift in Manhattan, where Marlene is featured along with Heather Graham and William Baldwin, recently premiered at Sundance Film Festival and was a big hit. She has produced and starred in several of her own productions, including Lena’s Dreamsand Cuco Gomez-Gomez Is Dead.   Hers is a face you will immediately recognize.   When asked how she broke into acting, her answer was surprising and encouraging.

How did you know you wanted to be an actress?

I always wanted to act, probably since I was ten.   I started acting at almost thirty years old against everybody’s logical advice: I was too old; lived in Jersey, etc. Eighteen years later, here I am.   I starred in my first movie, The Bronx War.   I played a stripper.    As a young Latina actress at the time, you pick and choose.   Even though The Bronx War was not a great movie, it moved my career and the director’s career forward.   I learned not to take anymore stripper roles. I did it early.   I got all that stuff out of the way early in my life.

You are a very animated person.   As an actress, how are you able to use that personality in each role?

I’m very bubbly and I can be on stage and 800 people can see me, but when I’m in front of a camera and TV, it’s very different.   My challenge is to sit still and let that bubbly personality come out through my eyes and my voice and the words that I’m saying.   Being in front of the camera is a big challenge for me.

What’s your favorite role?

They are all my favorites when I’m working on them.   I become the person, and there’s no judging the character.   So at the moment, they’re all my favorites.   Right now my favorite is “Lost” because I just finished.   I played Detective Murphy.   I’m dying to play a cop on TV, little girl with big gun.   I am hoping it will lead to more of that.

Tell me about your personal life.   Have you been married?   Have any kids?

I have been married several times.   I just got remarried July 2, 2006.   I married a lovely man called Oliver Mayer, and yes he is my third husband.   I am a hopeless romantic.   But I finally found my partner.   You know, that prince in the Cinderella story, it does exist, but they don’t tell you that you have to kiss a lot of toads before you actually find him.   I have an amazing 26-year-old daughter, Gisella Rodriguez, who lives in New York, and now she’s acting and lives in my old New York apartment.

Highest High

I remember the first time I booked a legit job.   I ran a video store for six years.   I am submitting myself to Backstage.   I get a call to do stand-in work for Talia Shire in New York Stories.   Coppola was directing.   I was ecstatic!   I remember hanging up the phone in the video store and I was just so happy. I told my actor friend that I was doing stand-in work for Talia Shire, isn’t that fantastic?   And she asked me if I knew what stand-in work was?   I said, “No!   It doesn’t matter. I am going to be on the set with Coppola and [Vittorio] Storaro.”   That’s all I knew!   I have not matched that feeling yet.   Every time I book a job, I get that high of “Oh my god I’m gonna work one more day.”   That moment stands in my head so clearly, and when I tell people that it was stand-in work… but it didn’t matter. I worked two weeks, and everyday Storaro put a light meter in front of my face, and I said it’s gonna happen some day again.

Lowest Low

Telling my dad I was playing a stripper for really not a lot of money (laughs). Nothing harder than that has ever happened to me.

Have you ever turned a role down?

I turned down another stripper role.   And even now, I am part of LABrynth Theater Company back home, and I find myself having to turn down a lot more theater work these days, just because it just doesn’t pay as much.   And I’m not in a position yet where I can take off three months and not work.   I’d like to be in that position where I can go home and work at LABrynth for $200 a week and do eight shows.   Somehow the money doesn’t work out.   $200.00 at eight shows a week, and six weeks of rehearsal, and three months of your life where you can’t audtion for anything else.   Or you go and do a week on “The Unit” and make $7,000,00.   It doesn’t weigh out.

You’ve been acting for eighteen years.   Would you say that the industry has changed since you started?   And what do you think about the Indie revolution?

Yes. It’s slow. It’s like the ant rolling that big boulder up that hill.   But it is changing.   When I started acting back in 1988, submitting myself (booked The Bronx War through Backstage West, by the way) I ‘m still married and my name was Rodriguez, my husband’s name, I’m in Jersey with this little Jersey management that is telling me Rodriguez is so Latin., and that I can pass.   I should change it.   [I ended up with Forte’.]

There was a slow period where I couldn’t even get arrested in New York as a legit actress.   I was working with LAByrinth Theater Company, which was not the phenomenon that it is now.   I was doing really well commercially and doing a lot of theater work.   Thank god because I needed insurance.   I couldn’t be a starving actor.   I had a kid to feed. I did a lot of production work, too, and I met Gordon [Eriksen] and Heather [Johnston], and they were doing this very low budget independent movie.   This was 1989, and they hired me to be a PA for $200 a week, plus room and board in Queens on location because somebody had to stay with all the equipment at night.   So here I am living in this big house in Queens with the condition I can go in and out of the city and audition.   We started doing this movie, and shot it on 16-mm… and an exhausted cast and crew… I had all these crazy stories about being an actor and they kept saying they were going to write me a story and they did, called Lena’s Dreams in 1995.   This film brought me to L.A., and put me in the eyes of the independent world.

What do you think about the “Indie” revolution?

The “Indie” revolution is old for me.   I think the digital world has brought accessibility to people, which is wonderful.   But it has dropped the quality of stuff. Anybody can become a filmmaker now.   But it has opened things up. If I had the digital capabilities back then, wow!   We shot Lena’s Dreams on a short end [A short end is a partial roll of unexposed film stock which was left over during a motion picture production], because they lost all their money on that other movie, by the way.   $61,000.00 we raised, selling $2500 shares after six readings.   The odds were so against us!   And yet that’s the one movie that really brought them a lot of attention as filmmakers, and it really put me into the “Indie” scene, and that was in 1996. It’s an old revolution as far as I’m concerned.

You almost need a name now.   If I had done Lena’s Dreams now, I don’t know if we would have gotten as much recognition.

Where do you see yourself in five years?   Or do you have a plan?

I see myself working.   I don’t have set plans. I think you have to be like a palm tree in the wind out there in a tsunami and just be willing to move.   When the doors open, you go that way.   I have done a lot more television lately than movies.   I love acting… from doing radio plays to commercials, to doing live sitcom comedy [“George Lopez” and “My Wife and Kids”].   I love it all.   My plan is to keep working.

I do want to do production, and I do produce.   I think that’s really important. Because people aren’t writing for us as much, even though it is changing, we need to infuse the market with more work, more stories—our stories, us telling the stories, directing the stories.   The idea is to keep working. And not judge how much you’re getting paid for this, but just move forward, produce, and do, and act.

You didn’t start acting until you were almost thirty.   Wouldn’t you say that you probably did well at thirty, and are doing well now because you had those thirty years of life experience?

Oh, absolutely!   I hung up my college diploma to wait tables for several years.   I met people from all over the world.   That’s what I do as an actor.   I have to recreate people, live—4-dimensional people, if I can.   And the only way of doing that is by living and by experiencing things.

Interviewed by Kaylene Peoples