As I delve deeper into the fascinating world of Hollywood, I find myself utterly captivated by these remarkable individuals who have made their mark in their respective fields. Suzanne Stokes-Munton, with her knack for transforming heads into works of art, is no exception.
In 2024, EbMaster’s list features a variety of artists, from big-budget hits to unique indie productions. These talented individuals specialize in makeup, hair design, stunts, editing, sound engineering, and music composition. Over the years, they’ve climbed through different roles, amassing an impressive body of work and experience along the way.
Ultimately, they ascend to positions as department heads, assuming leadership roles. The magazine 10 Artisans to Watch honors those who are breaking through this year, leaving a significant mark on their craft in recent films and television shows.
EbMaster will pay tribute to the class of 2024 at the SCAD Savannah Film Festival on October 29.
Devendra Cleary – Sound Mixer, ‘Twisters’
Cleary’s first experience on a film set was as a sound PA for the 1999 film “The Hungry Bachelors Club.” Cleary, who was still deciding between working in cinematography or audio, describes this time as a “defining era” that solidified his path as a sound mixer. After continuing to work through college, Cleary landed his big break in 2001 on “Buffy the Vampire Slayer” as a utility sound technician. That job led him to “Glee,” where he worked as a sound assistant, boom operator and music playback operator for 11 years. His recent credit is on the upcoming “Star Wars: Skeleton Crew.” Having been a lifelong fan of legendary “Star Wars” sound designer Ben Burtt, Cleary says he is still “blown away” that he was able to work on a Lucasfilm production. “It’s unbelievable,” he says. “Needless to say, it was the most fun I’ve ever had on any project.” — Jack Dunn
Reps: Agency: Innovative Artists
Influences: SkyWalker Sound, Geoffrey Patterson, Ben Burtt
Andrea Datzman – Composer, ‘Inside Out 2’
At the age of eight, Datzman received a cherished family artifact – a piano that her aunt had transformed into a striking shade of emerald green. “That color was simply breathtaking,” she recalled. “It seemed as if this piece rolled right into our home and I found myself inexplicably drawn to it.” This was her initial encounter with music.
In her analysis of Pixar’s newest release, Datzman identified the physical sensations each emotion portrayed in the film – Anger, Sadness, Joy, Fear, Anxiety, Boredom, and Envy. Furthermore, she dived into an intuitive exploration by trying to understand how these feelings resonate with a character or a specific scene. In other words, she asked herself questions like: “How does this feel? How does it fit the character or the context? What physical responses does it evoke in me?
Previously, Emiliana Betancourt has been involved with several Pixar movies, including the initial “Inside Out” project together with Michael Giacchino. This current moment feels like coming full circle for her. “That first score holds a very special place in my heart. I contributed to every single note of that score, not as the composer, but by working behind the scenes.” – Emiliana Betancourt (paraphrased)
Reps: Gorfaine/Schwartz Agency (Representative for composers’ works)
Julie Diaz – Supervising Dialogue/ADR Editor, ‘Y2K’
According to Diaz, who’s the lead sound editor for films like “Everything Everywhere All at Once”, “Reggie”, and “Insidious: The Red Door”, one movie they truly enjoy despite any moral reservations is ‘Twisters’.
She takes delight in conversations about the Academy Award-winning movie “Everything Everywhere,” often asking if others were moved to tears by its ending. Part of her role, she explains, was to portray the emotional and audio impact of one powerful blow after another leading up to the film’s finale.
During the blending stage, dialogue and music hold the throne, according to Diaz. This means it’s crucial for my role to ensure the dialogue is clear and impactful in storytelling. The music then plays a vital part in expressing mood and emotions, working hand-in-hand with the words and subtleties; this is what creates an emotional bond between the audience and the visuals, achieving the intended effect. Diaz champions representation, yet she emphasizes that Latin creatives should be appreciated for their skills rather than being viewed as a box to tick.
Following his graduation from Savannah College of Art and Design, the upcoming project for this alumnus is titled “Y2K”. This comedy-horror feature will see the star-studded cast of Rachel Zegler, Kid Laroi, Fred Durst, and Alicia Silverstone. According to Diaz, the film’s tone and humor are reminiscent of “Superbad”.
Influences: Ben Burtt, Richard King
Jade Healy – Production Designer, ‘Wolfs’
Originally from Montreal, Jade Healy kickstarted her career on movie sets for “American Psycho” and “The Virgin Suicides,” working as an assistant at Muse Prods. However, she soon discovered that producing wasn’t her calling, leading to a smooth shift into the art department. Intrigued by the role of the production designer, Healy asked questions and found herself drawn to the task of visualizing the script’s settings. “I read the script, then I figure out what it should look like,” she explained. Following her encounter with director Ti West on “Cabin Fever 2” as a set decorator, Healy got her big break in 2009 with “The House of the Devil.” Some of her other notable works include “The Killing of a Sacred Deer,” “I, Tonya,” “Marriage Story,” and “The Green Knight.” Her latest project is “Wolfs,” a production starring George Clooney and Brad Pitt, which was filmed in Los Angeles despite being set in New York. With 20 exterior locations to scout for, Healy likened the search for New York in L.A. to finding a needle in a haystack. However, she embraced the challenge and ultimately enjoyed the experience, as one review remarked that the production designer was having a great time. “And I was!,” Healy confirmed. — JD (Paraphrased)
Reps: Agency: WME
Influences: Photography, Google Earth rabbit holes, Zillow
Danielle Immerman – VFX producer, ‘Kingdom of the Planet of the Apes’
In her latest venture titled “Kingdom of the Planet of the Apes,” Immerman oversaw a whopping 1,521 visual effects shots. Although this task undeniably presented challenges for Immerman and her team, she found it immensely gratifying collaborating with such a large crew. As she explains, “Having numerous artists and creative individuals working towards a shared objective and jointly striving to accomplish it, especially when we could all feel the project was something extraordinary, fostered an invigorating ambiance.” – JD (Paraphrased)
Inspirations: Fellow visual effects experts and coworkers, as well as the supervisors and directors she works closely with on a daily basis.
Lee Morrison – Supervising Stunt Coordinator, ‘Dune: Part Two’
Morrison proudly states that he has the most fantastic job in the world, as he’s the supervising stunt coordinator for films like “Blitz,” “Dune: Part Two,” and “Masters of the Air.” He explains his passion for the role by saying, “It’s not about doing action just for the sake of it… That’s what I love about working with Denis Villeneuve. He approaches storytelling in the same way; he ensures that the action is fully committed to the character’s journey.” Morrison acknowledges Simon Crane and Vic Armstrong for guiding him at a young age, 23, and introducing him to the industry through the “Lara Croft” films. Later, under Gary Powell’s guidance, he became the lead stunt double for the James Bond franchise, working on “Casino Royale,” as well as “No Time to Die,” “Quantum of Solace,” and “Skyfall.
Towards the end of this year, he’s set to collaborate with John Krasinski on a “Jack Ryan” production, and also handle the action sequences for Michael B. Jordan in the reboot of “The Thomas Crown Affair” at Amazon MGM Studios.
Reps: Agency: UTA
Influences: Buster Keaton, Steven Spielberg, Francis Ford Coppola
Steve Newburn – Makeup, ‘Sasquatch Sunset’
Newburn has always had an appreciation for supernatural interpretations in film. “I can remember being a teenager and thinking that a certain handful of creatures and characters were really kind of the coolest thing ever in my world,” he says.
He grew up during the height of the original “Star Wars” series, which fueled his fascination with alien creatures. To make matters even more intriguing, his father worked for NASA and was an avid sci-fi fan. Looking back now, he believes it was destiny. This passion eventually transformed into a career, as Newburn describes his journey starting from a casual visit to a creature shop that soon turned into a full-time commitment. He felt reluctant to leave and, nearly three decades later, still views his work primarily as a hobby rather than a job.
Titled “Sasquatch Sunset,” this production served as an ideal platform for the creator to breathe life into his unique interpretation of these legendary beings. Instead of just one character, he developed four individual characters, portrayed by actual actors rather than stunt performers or those in suits, making it all the more exhilarating. Remarkably, the film relies solely on practical effects, meaning every detail of the costume had to be flawless when captured on camera. This decision to forgo digital enhancement lent a sense of commitment to the artistry. He expresses, “Bringing authentic characters to life for a movie, ones that must carry the entire film… Such roles are scarce and hard to come by. The obstacles may be numerous, but the payoff is truly invaluable in the end.” – EB (paraphrased)
Influences: Rick Baker’s Harry from “Harry and the Hendersons”
Sofía Subercaseaux – Editor, ‘Maria’
In search of an editor for the film “Maria,” featuring Angelina Jolie, Pablo Larraín chose his long-time collaborator, Subercaseaux, whom he had previously worked with on “El Conde.
She hadn’t been familiar with the story of opera soprano Maria Callas prior to this experience. “I recognized her name, but it was deeply touching to discover details about her life and witness Angelina and Pablo craft such a captivating tribute to her,” she expressed. “Pablo is an incredibly bold and courageous filmmaker, never shying away from experimentation or making daring choices. He’s also extremely dedicated, which allowed us to work tirelessly for extended periods without any distractions, fully engrossed in our work. And then, around 4 p.m., he would signal that we’d worked enough for the day and see us tomorrow. Pablo is a generous collaborator; he is always receptive to new ideas and dialogue.
Although editing “Maria” was straightforward due to Jolie’s work, Subercaseaux found the opening scene to be the hardest to trim. He described it as having an abundance of options and establishing all the necessary elements.
The climax of the movie remains Jazz Tangcay’s most cherished moment. She always finds it touching. Despite having watched it numerous times, it still manages to evoke emotions. Each time they re-watched it, it had a profound impact on her. She truly admires that particular scene.
Reps: Agency: WME
Influences: Thelma Schoonmaker and Martin Scorsese
Suzanne Stokes-Munton – Hair department head, ‘Nosferatu’
After starting out as a wig designer, Stokes-Munton has now advanced to the position of department head, marking her third time in this role. The movie “Nosferatu,” Robert Eggers’ reinterpretation of the classic vampire story, serves as the backdrop for this achievement. Prosthetics, bald caps, and gothic-style hairdos are some of the tools that bring Eggers’ creative vision to fruition in this production.
According to Stokes-Munton, their role is to serve as a mediator and facilitator between themselves and the artists, including Robert. They strive to bring the visual concept to life in a non-disruptive manner while filming. The hairstyles should not dominate or obstruct but rather enhance and complement the overall look.
Freelancer Stokes-Munton thrives on the unexpected and the thrill of fresh endeavors, and she encountered just that with “Nosferatu,” filmed on 35mm. Having worked with Robert’s shooting style in various nations where film stock is scarce, she finds each scene, often being a single take, presents an additional challenge for hair management.
In the role of Herr Knock, played by Simon McBurney, she favored a unique style: he intentionally had his hair shaved unevenly, which made acting in certain scenes more convenient, as she subtly hints.
Reps: Agency: Gems
Paul Tazewell – Costume Design, ‘Wicked’
Tazewell has been involved in multiple ventures, spanning from hit Broadway productions such as “Hamilton” and “Suffs”, to film adaptations like Steven Spielberg’s “West Side Story”, and the forthcoming blockbuster “Wicked”.
Tazewell outlines two distinct approaches required for proficiency: In theater, one observes the entire scene simultaneously as the audience takes in the entire stage and scenery, with minimal changes in each scene. Conversely, filmmaking involves focusing on what is being filmed at that specific moment and how it impacts the character, creating a more personal connection.
In the 1990s, Tazewell began his career when there weren’t many costume designers of color in theater. Now, he feels honored to serve as an inspiration for newcomers. He believes it’s impactful for young people to see someone who resembles them pursuing a profession they might aspire to, himself included.
Reps: CAA, Paradigm
Read More
- W PREDICTION. W cryptocurrency
- PENDLE PREDICTION. PENDLE cryptocurrency
- AAVE PREDICTION. AAVE cryptocurrency
- ZETA PREDICTION. ZETA cryptocurrency
- AEVO PREDICTION. AEVO cryptocurrency
- FutureNet Co-Founder Roman Ziemian Arrested in Montenegro Over $21M Theft
- BITCI PREDICTION. BITCI cryptocurrency
- NEXO PREDICTION. NEXO cryptocurrency
- USD JPY PREDICTION
- ELA PREDICTION. ELA cryptocurrency
2024-10-25 20:19