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Interview with Bitter Harvest producer and co-star Tamer Hassan

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Movie Marker’s Kat Kourbeti chats to Tamer Hassan, producer and co-star of Bitter Harvest. Mild spoilers ahead, beware!

Congratulations on the film – tell me about how you got involved in it.

It was an interesting project, and a tough one to make. George [Mendeluk], our director, first came to me as an actor, and then later I came in as a producer as well, so first and foremost what I did was throw myself into research. Hours and hours of it. I play the villain again, as I’m kind of the go-to guy for villain roles, but this one was different because he’s a true life character. He was Stalin’s enforcer, a mass murderer, a truly disgusting kind of person, but you wanna look at why this man became this person. They say the apple doesn’t fall far from the tree, and you’re the product of your environment, but there’s a bit more to it than that. Those two things are one side of the coin, but the flip side could be, what has this boy suffered, to make him like this?

That’s what I wanted to ask: the scene in which your character drops his facade and is deeply vulnerable. There’s obviously a story there which we don’t get to see in the film.

Of course there’s a backstory. In this case the character was inspired by real historical figures, so I researched people in his position so I can understand him. Men who witnessed their mothers or parents be executed, and were then taken and bred to be ruthless enforcers for Stalin’s regime. I added some elements to that, fleshed it out, and then I spoke to George about the character and my vision for him, and told him that I wanted to find a moment, even a millisecond in the movie, that the audience will have a different look at this man, and maybe feel sorry for him. Because through all the terrible things he does, what is he searching for? Love, companionship. He never wanted to hurt Natalka, he wanted to love her, and thought he could do so by force. And then there is that moment where she poisons him and he hallucinates, and he’s crying like a baby in the corner. I’ve had people say they actually felt sorry for him in that moment, and that his end is fitting, dying in a church which he so despised. A tragic ending for a man who only knew how to get the things he wanted with murder and suffering.

What about the wider historical context of the film’s events? Were you aware of it at all before becoming involved?

I was part of that 95% of the world that had no idea about any of this, not until I read the script. I thought, “how do we not know about this?” I knew some things about Stalin, like most people. “Stalin the Horrible, he had something with the Ukrainians, right? His body count is something like 60 million, right?” It’s so flippant, the way people say “60 million” like it’s nothing. To learn that he created a man-made famine, the Holodomor, which literally translates to murder by starvation and it’s absolutely the worst way a human being can perish, was staggering. When you look at the numbers, it works out to something like 30,000 deaths a day, and Stalin was paying the international press to keep quiet about it. Even his own people, he put a gag on them so no one could talk about what was happening. It was absolutely horrific, and it was heartbreaking for me to read about it. George [Mendeluk] and Ian [Ihnatowycz, producer] are both Ukrainians and they were so passionate about the film, and they kept sending me more and more information and the more I read I thought, “why isn’t this taught in schools?”

That’s why I say this is a must-see movie. Not because of myself, or Samantha or Max or Barry Pepper or the great Terence Stamp, or any of the actors and crew that worked so hard on it, but because it will hopefully prompt people to look into this, find out more about it, see what happened. When you think that we didn’t know about this until the early ‘90s, and that there’s countries out there now that don’t accept that it was a genocide—UK not being one, USA not being one… We’re even thinking about editing it down into a dramatised documentary so it can be shown in schools. Why shouldn’t kids know about it?

The attention to detail on the historical side of the film is remarkable. What was it like to be involved with it as both a producer and actor?

We were very lucky, because sometimes with love stories set in historical tragedies you can lose focus of the big picture and focus on just the romantic side of it, and I’m not a big fan of that. But when you look at this film, even the love story is about survival, honour, dignity, respect, and it feeds into what’s going on as a whole. We screened it in the Ukraine to survivors of the Holodomor, and they said it was so on point, that even the love story resonated with them personally.

We were lucky enough to be able to shoot in Ukraine in the first place, because when you deal with terrible events like this you’re very rarely allowed to shoot where it actually happened. But with this film we were blessed with a lot of support, and with a great Ukrainian crew and cast who came on board and made the film what it is. It drove us even more to know that we were working with people who had heard the horror stories of the Holodomor from their families, and that we had their support in this.

There was a point when I was acting where I thought, these people are going to absolutely despise me… and I was talking to the crew and they said, “how would we tell this story without you there driving it forward?” I was so humbled by that. It didn’t make these things my character was doing alright, but when you have that kind of responsibility, you have to keep it in mind the whole way through. So I decided that I was going to be the worst I could be, bring out that malice that these people’s grandparents faced in their real lives, because I was there for that reason, to drive that story forward the best I could.

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Any stories from the set that have stayed with you?

We’d broken up for Christmas and when we came back we needed the snow. There was four or five inches of it, minus 17 degrees outside, and the Ukrainian crew were throwing hot water in the air and it landed as ice. Miserably cold weather—but we got through it, and as you can see it was a long time coming. It was four years in the making, we just couldn’t get it right because when you’ve got two Ukrainian heads of the movie, our lead financier Ian and director George, they both wanted the film to be perfect. The first cut was, I think, three hours long, and we were battling it out because they wanted everything in. I even cracked a joke about making “Harvest 2”, get all that lost footage in there, make a franchise out of it.

It was at that point we brought in Stuart Baird, who edited Skyfall and Casino Royale, and we had to do reshoots and make dialogue changes so it’ll all make sense. That was tough for me to go back to, because I had to revisit all the dialogue and scenes which were hard the first time but even harder the second. He’s a tough boy, Stuart, and he talks all stern and can come across a bit rude at times, but when you look at what he’s trying to achieve, you realise you’re dealing with a professional who knows what he’s doing, and that it’s time to shut up and do as you’re told.

And it worked!

It did work. It’s been so beautifully received. It’s not a film to be enjoyed exactly, but it touches people. There’s never a dry eye in the cinema. When we did the New York premiere, some big name producers would come up and congratulate us on even making a film like this, because Hollywood just doesn’t do it. The movie industry is no different to the real estate business at this point. But when you have a financier for whom this is a passion project, who is giving you an open cheque to do what you need to, it becomes less business and more art. Hopefully Ian’s gonna make his money back, though I don’t think he was ever driven by that. No one’s going to make a movie like this and expect money to pour in. It was more important for him, and for all of us, to tell this story.

Myself, Chad Barager and Camilla Storey who were the UK producers, we were very lucky to be entrusted to get this right. It was tough at times, because we had to battle each other on what stays in. We wanted to make a movie that is watchable, not just accurate. You’ve still got to find that perfect balance of accurate and interesting, you’ve got to follow a journey, because if there’s no story to keep the audience engaged, they will switch off. So we worked hard to make it engaging, and in the process some of us actors had to swallow our egos and leave some of our best work on the cutting room floor, because it just didn’t serve the film right. Everyone did their part: Ben Wallfisch, the composer, made music that was beautiful; the way it was shot by our cinematographer Doug Milsome; its colour and its grain; the way it was edited; George’s direction—everything blended in beautifully together to bring it to the silver screen.

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Can you give us a glimpse into what it looked like before the edits and reshoots?

Well for one, we had so many different endings! Everybody was sitting around the table, and we all wanted our vision in there. Chad would say something, and Camilla would say something, and Ian would want something else and George as well… but I think the ending we have now is the right ending. There was one where they died, where everyone died. But then, where’s the hope?

Or there was one with me and Max [Irons] where we had this big fight and Max cut me to pieces, and I said “look, my character is a trained general and Yuri is a painter. He would never overpower this man.” But we filmed it, this huge scene that cost a fortune, we had these burning buildings in the background and me and Max were having a fight, very Hollywood style. But it would never happen! So we scrapped it and we gave my character a fitting death, and left Yuri and Natalka to float up to the dragons, maybe. That’s up to the viewers to decide.

Bitter Harvest is in cinemas now. Read our review here.

Kat is a film critic and novelist based in London. She makes video blogs about film on her YouTube channel, Cinescapist TV, and contrary to what her accent might suggest, is not from North America. You can follow her on Twitter and Letterboxd @kourkat.

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Interviews

An Interview With… Steve Hodgetts & Arabella Burfitt-Dons (Love Possibly)

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In the mockumentary, Love Possibly a documentary film crew follows the hopelessly romantic, Alex, on his quest for love. Following their wins for “Best Feature” and “Best International Feature” at the LA Edge Film Awards and Catalina Film Festival, Che Grant and Michael’s Boccalini’s new feature is now screening at the Raindance Film Festival.

Lead Actor Steve Hodgetts and Producer Arabella Burfitt-Dons sat down with Movie Marker’s Marion Donnellier to talk about Love Possibly

Q. Steve, your transformation into “Alex” is impressive. How did you prepare for the role?

SH: Alex is very different from any character I have played before. In terms of research, I watched a lot of youtube videos to try and master the lisp as best I could. Alex is a very anxious and socially inept person so I tried to remember certain traits people tend to have when they are nervous. For instance, he uses his hands to mask his face and dances his eyes around. These are all different traits I took from people I have met. Also I think everyone deals with anxiety to a certain extent and I just tried to amplify my own anxiety x 1000.

Q. How much of your personal experience did you use?

SH: I think there is a little bit of Alex in everyone. I just tried to remember my own anxiety and try to magnify it as best I could.

We all know someone that looks like Alex.

SH: Absolutely. I think Alex is just very socially unaware. Especially due to his speech impediment, I don’t think he’s had an easy upbringing. I think if I’d met him, I’d be mate with him.

ABD: I think the idea behind the character of Alex is that everyone can relate to him in a way, whether it is because of his anxiety, loneliness, finding love or heartbreak. Because the story is mainly based on the cast and crew’s own experience, we hoped that people could relate to it.

Q. Such as in Alex’s favourite film, “Sleepless in Seattle”, modern rom-coms all have a similar structure. How do you think the character of “Alex” would fit in one of them?

ABD: I think it would be very interesting to put him in a very conventional rom-com and to see how it would play out. I think it would be very beautiful and would resonate with the audience of a normal rom-com.  It is kind of what we tried to do here. It is a spin on a rom-com ,which is a recurring theme throughout the film. It is meant to be an non-conventional and ironic rom-com. I think if we put him into a character in a normal rom-com, it would probably achieve a similar thing and would be relatable to the audience.

SH: I think a way it would be slightly better because he is quite relatable. He is more of an “everyman”.

Q. You mentioned most of Love Possibly was improvised. Was there a point while shooting when the story or tone deviated from what was originally intended?

SH: The directors knew the narrative they wanted to achieve from the start. The plot never changed as a result of the improve and it only allowed a couple of changes in scenes. I would say 75% of it was improvisation and brought a certain realism to the film.

ABD: Although the narrative is still very close to Che and Michael’s original vision, we stripped everything back in post production and started from scratch in terms of brainstorm, how to plot out the story and how to piece it all back together. At one point we were brainstorming without even referencing the footage that we already had just to see what came up. Whilst we pieced it back together, because it is improv and always very open, we managed to pull together the final edit. Improv opens up opportunities of changing the storyline in a positive way as well as being, obviously quite difficult.  It is exciting as a filmmaker because it allows you to take your story in another direction and it still works.

Q. How do you choose the project you want to work on? What’s the most important factor(s)?

ABD: Script! I really enjoy spotting upcoming talents and really enjoy working on under represented art forms. That is the beauty of working in independent films, you get to see such incredible and varied projects that wouldn’t normally get made by the big studios. Personally that is something I like and catches my eyes.  I also enjoy projects that really connect with the audience and with me. And obviously amazing talents as well. Working with filmmakers, directors and actors that are incredibly talented and helping them bring their talent to life.

SH: Always the script I would say and interesting characters. In terms of acting, I would definitely rather play someone that is widely different than a character that is similar to me because it wouldn’t be very challenging. Which is why Alex was always so fascinating, because he is so different.

Q. What did you learn from Alex?  

SH: Always think before you say something. Probably not to worry as much. He makes situations worse because he is so worried.  In some situations, Alex is the normal one and surrounded by crazy people. His mum is very out there and her boyfriend is nuts.

ABD: Expending on the anxiety theme, I think when you make a film that highlights and showcases a difficulty that a lot of people have, it resonates with you as a filmmaker. Everyone has anxiety to a certain extent in this day of age. There is statistic that was release recently that shows significantly high number of millennials suffer from anxiety because of the nature of the period with live in. I have learn from Alex character because I know anxiety but seeing it in that form, makes it all the more relatable.

Q. We don’t see many rom-coms dealing with mental health. Most films are either entirely focus on the topic or omits it entirely.

ABD: I would like to see it more in characters in bigger films and that is why I wanted to explore it in that film. I think when films do cover that topic it tends to be all about the anxiety but what is nice about “Love possibly” is that although it deals with that topic there isn’t a massive emphasis on it, it is just part of it.

Q. The film was financed through Kickstarter. Do you have any advice on how to run a successful kickstarter campaign?

ABD: A lot of it is about the talent behind it. Pulling together a very good pitch that justifies what you are trying to do. Show that you are serious about it. Show that is a serious project as well as a passion project. Put it out there to as many people as you can, there is no better way than to kick-start the project.

SH: Find someone that has a lot of twitter followers or lots of money!

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Interviews

An Interview With… Selena Tan (Crazy Rich Asians)

Selena Tan, who plays Alix Young- Cheng in the film spoke to Movie Marker’s Rehna Azim about the success of the movie and her life as a ‘Dim Sum Dolly!

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At the time of writing Crazy Rich Asians has grossed $166,791,962 at the Us box office and $55,100,000 overseas for a Worldwide total of $221,891,962. Audiences are not only flocking to repeat viewings but also turning this movie with no big stars into something of a cultural phenomenon.

The film is being credited with reviving the near dead rom-com genre and boosting tourism to Singapore. Importantly, the film is also being celebrated for bringing to the Hollywood forefront an ethnic minority group that is not aggressively pushed by the media and in advertising.

Selena Tan, who plays Alix Young- Cheng in the film spoke to Movie Marker’s Rehna Azim about the success of the movie and her life as a ‘Dim Sum Dolly!

Q: You started your professional career as a litigation lawyer then moved into the entertainment world. That’s a brave leap. What made you make the change?

A: I had dabbled in theatre and singing since I was at school. From the age of 14 I had been involved in community theatre. It never occurred to me I could do it full time or make a living from it. So I did a law degree and qualified as a lawyer when I was 23 but I soon realised that I had been performing for 10 years and was a way more experienced actress than a lawyer. But law is demanding and it consumed all my time for the first 2 years. But after a while I began to get the itch to perform again. I started doing some theatrical work on the side but really it was like having two careers at the same time. I was constantly exhausted.
So I sat down with my parents and said, I can always go back to the law but I have a real passion for acting. It gives me room for expression the law doesn’t. They were supportive and that’s when I started thinking about what I could do in the entertainment field and how I could best connect with an audience as an artist.

Q: What is a Dim sum dolly?!

A: (laughs) It’s an idea I developed in 2012. Three very different girls performing together; different sizes with different talents and capabilities. I wanted to create a cabaret/comedy/musical act that was socially aware and politically topical. In particular I wanted to tackle taboo subjects. We put on a lot of makeup and that seemed to help us get away with controversial topics because we made people laugh. It was like being able to serve a fluffy cake with a raisin in the middle!

Q: Was Crazy Rich Asians as fun to make as it is to watch?

A: More so! I really lucked out with that movie. But you know, I initially turned down the audition. I’d just finished a big production with my company and had a holiday booked in Phuket. I really needed that break and took it over doing the audition. Fortunately, I was offered a second audition when I returned from holiday because they hadn’t found the right actress for the part. The stars aligned and it all worked out for me. I thought it would be great because I could just be an actor and not worry about the directing or putting the production together.

Q: What was it like on set?

A: Like a resurrection! A total new injection of zest and life. It was like I’d been jump started. I was surrounded by so much talent from around the world and everyone was so passionate about the project. I got to make wonderful new friends and show them my country, its places, its people, the food. Since the film came out I’ve been approached by so many people, including old friends from my past who have all been touched by this movie and what it’s done for our country. Young people tell me they now believe anything is possible. Tourism will go through the roof. It’s just a beautiful film about my country. It’s a love letter to the country actually. Until now people used to say, ‘Singapore? Which part of China is that?’ Now they know who and what we are.

Q: The film has been praised as a step forward for more diversity in cinema but it has also faced some criticism for focusing on one group in Singapore which is multi-ethnic. What do you think the film offers the push for diversity?

A: The push for diversity is a movement. A single film can’t do everything and yes, some people have asked, where are the Singaporean Indians and other groups in this film. Yet the spirit of representing minorities is being embraced by our film and by all those around the world who are going to see it. Certainly , there is a need for an ever more diverse Singapore to be showcased, including people on the fringes of society.
But, you know, the film has already inspired so many people around the world. I have a niece in the UK who suddenly feels that, yes, there might be opportunities for her now in the acting field which she didn’t feel before. She’s excited that maybe she could be like auntie Selena and that thrills me. Young people in India, Malaysia are watching the film and being encouraged in their ambitions. At the same time we’re reaching audiences in LA and New York. It’s mind-blowing!

Q: The success of the film has been tremendous. Of course fans want to know, will there be a sequel?

A: At the premiere in Singapore Warner brothers did say they want to do a follow-up. I certainly want to be in it!

 

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Interviews

Behind Closed Doors with Harley Di Nardo

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Movie Marker Magazine went behind closed doors with actor-musician Harley Di Nardo to talk about his latest movie ‘Dead Envy’.

Can you tell us about your early beginnings growing up, and how you transitioned to life in Los Angeles?

I am a New Yorker, born and bred. I got into hairdressing at a very young age, and it came in handy when it was time to style my bands hair. Their image was in my hands… literally. I always cut hair to make a living in between touring. Now I own a salon in Malibu, and I used to own salons in New York. All this added up. Movies, Hair Industry meets Music World. I had to come to Los Angeles, before it was too late. So about three years ago, I sold that salon in New York and drove West alone. It took me four days, and I documented the trip on Facebook. I just hit the ground running. I scraped together all the funds that I could, and we made a movie. Now it’s about to come out and here we are. I’m very excited… I now live in Silver Strand Beach, Oxnard. I love it… I just go into Hollywood for meetings and if I have an event there, it’s a reason to make a night of it and stay in town.

Harley Di Nardo

You have had a successful music career so far, what inspired you to take the writing-acting-directing journey?

Since I was a kid I always had my mom film me doing like Karate moves etc… hehe. Then I wrote a script when I was about ten years old. It was called the Golden Glove, a story about an Italian boxer who fights for his girlfriend’s honor. I still have it. Anyways, I loved making stories… until I got into high school and met a friend that was in a band. Rock and Roll took over.  I forgot all about movies. That turned into an obsession that saw me moving to New York City and making two albums for major labels. It was quite a ride. I wrote music every day for about five years. I knew that I would want to take a shot at filmmaking. I’ve always had a passion for it. Everyone tells me I’m a walking movie quote. When someone says, or does anything, I’ll relate it to a movie. It’s just the way I see the world. Through movies. It’s always had such an effect on me. About ten years ago I enrolled in the Lee Strasberg Institute. I studied Method Acting and Script Development. From there I started making short films, music videos, anything just to get some experience.

Your latest feature, ‘Dead Envy’, is set to release next month.  Can you tell us about the movie?

Sure. It’s an independent film filled with psycho stalker moments and some dark humor. It’s the tail of a musician/hairdresser (just like me) who enlists the help of a strange drifter to help stage a comeback… and then it all goes horribly wrong. I wrote what I knew. For one, I already knew how to look and behave like a hairdresser/rock n’ roller. I think that really comes across in the film. It’s all very natural. The script has been with me for some time. I had to get it all out. I had to get this hair and rock movie out of my system. The next one I’ll play a doctor or something…

Can you tell us about the music in the movie?

Yeah… There really isn’t any score exactly. I just used a few of my songs that fit into certain parts of the film and also used friends’ songs. Great songs that never got the proper push that they deserved. We just signed a soundtrack deal with Artisan Fire Records. They are excited, and I am excited. It’s been a while since I’ve released music. The soundtrack will be released the same day as the theater release, August 24th. Available on all digital outlets.

As the director and lead actor in the movie, how did you approach one over the other?

Well, it was a learning experience, that’s for sure. It’s hard to see the frame when you are in it. So, I think the next one I’ll take a much smaller role and direct the hell out of it! I always want to stick myself somewhere in the film. I want to be there like Woody Allen or Lena Dunham, but I think a smaller supporting role will be enough. I’m making the film… I just wanna be in it. I love acting.

How close is your character, David Tangiers in the movie to your own personality?

Well, it’s pretty much me. I am him, he is me.

What else can we expect from you over the next few months?

I am writing a paranormal thriller about a young, widowed mother of two, who is repeatedly sexually assaulted by an incubus. She takes matters into her own hands by hiring a YouTube ghost hunter that is pitching a show for Bravo. I might be playing some gigs to promote the film and the soundtrack.

Thank you, Harley for taking the time to chat to us at Movie Marker. We look forward to seeing more of you on the big screen!

To learn more about Harley Di Nardo visit: www.cine-museproductions.com
Follow Dead Envy: www.deadenvythemovie.com
Instagram: www.instagram.com/deadenvythemovie/
Facebook: www.facebook.com/DeadEnvythemovie/
Twitter: https://twitter.com/deadenvymovie

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