#Television production companies Sydney

[powwowstudio]

The Vibrant Hub of Television and Film Production Companies in Sydney

In the dynamic landscape of entertainment, Sydney stands as a beacon of creativity and innovation, particularly in the realm of television and film production. Home to a plethora of esteemed television production companies Sydney, film studios, and cutting-edge facilities like green screen studio, Sydney has cemented its position as a global hub for visual storytelling.

Television Production Companies: Pioneering the Small Screen

Television production companies Sydney, each contributing its unique flair to the small screen landscape. From riveting dramas to side-splitting comedies and everything in between, these companies are at the forefront of creating captivating content that resonates with audiences worldwide.

Leading the charge is a diverse array of production houses, including giants like Pow wow Productions, renowned for their groundbreaking documentaries and gripping investigative series. Then there's Luminary Studios, celebrated for pushing the boundaries of narrative storytelling with their compelling dramas and innovative formats.

Sydney's television production companies thrive on collaboration, often partnering with local talent and international creatives to bring their visions to life. With state-of-the-art facilities and a pool of skilled professionals, these companies continue to raise the bar, captivating audiences with their captivating storytelling and impeccable production values.

Film Production Companies: Where Big Screen Dreams Come True

Film production companies Sydney is no strangers to the glitz and glamour of the silver screen. With a rich cinematic heritage and a commitment to pushing artistic boundaries, these companies are instrumental in shaping the future of Australian cinema and beyond.

From indie darlings to blockbuster juggernauts, Sydney's film production houses cater to a diverse range of cinematic tastes. Iconic names like Blue Horizon Films and Silver Screen Studios have carved out their niche, consistently delivering visually stunning films that captivate audiences worldwide.

The bustling streets of Sydney serve as the backdrop for countless cinematic masterpieces, with production companies harnessing the city's unique energy and charm to create unforgettable stories. Whether it's sweeping landscapes or gritty urban settings, Sydney offers a wealth of locations to suit any narrative.

Green Screen Studios: Unleashing Creative Potential

At the heart of Sydney's production landscape are its cutting-edge green screen studios, where imagination knows no bounds. These state-of-the-art facilities provide filmmakers and content creators with the tools they need to bring their wildest visions to life, whether it's transporting characters to distant galaxies or placing them in the midst of fantastical worlds.

Equipped with the latest technology and manned by skilled technicians, green screen studios in Sydney offer unparalleled flexibility and versatility. Filmmakers can seamlessly integrate live-action footage with computer-generated imagery, blurring the lines between reality and fantasy with breathtaking precision.

Green screen Sydney studios have become synonymous with innovation, attracting filmmakers from around the globe eager to harness their transformative potential. From indie productions to Hollywood blockbusters, these studios have played a pivotal role in shaping some of cinema's most iconic moments, demonstrating the limitless possibilities of visual storytelling.

[scotianostra]

The respected Scottish actor Roy Hanlon passed away on June 30th 2005.

Throughout his career Roy Hanlon was a much loved and respected character actor. He appeared often on television, with many theatre companies in Scotland and Ireland and graced many productions at the Edinburgh Festival. Indeed he had the distinction of appearing in three productions of the epic Three Estaites in the same role. His well-known face, however, was seen in important supporting roles in a host of Scottish drama series, including Dr Finlay’s Casebook, Sutherland’s Law and The Borderers.

Roy Hanlon trained with the Scottish Royal Academy of Dramatic Art, graduating in 1960. He joined the Glasgow Citizens’ Company and was a member of the company at that year’s Edinburgh Festival in Durenmatt’s seldom-performed Romullus the Great. He was back two years later in an equally rare play - The Doctor and the Devils - with a host of leading Scottish actors.

In 1964 Hanlon made the first of several appearances in Dr Finlay’s Casebook and appeared as a menacing doctor in Edward Bond’s acclaimed radio drama Castles in Spain. In 1967 he was in two films. The first (Robbery), starring Stanley Baker, was about a gang who robbed the overnight Glasgow to London train. He then appeared in an espionage thriller, The Naked Runner alongside Frank Sinatra and Edward Fox. Critics greeted neither movie with much enthusiasm. Two years later, Hanlon was cast in several leading television dramas of the period, notably the underground spy drama Jason King, which made a star of Peter Wyngarde.

Throughout the 1970s, Hanlon appeared in a host of roles. These included BBC Scotland’s popular 1972 drama Sutherland’s Law, about a procurator fiscal, starring Iain Sutherland, and The Saint - the award-winning series on ITV starring Roger Moore.

It was in 1984 that Hanlon first came to the Festival to play Spiritualitie in Tom Fleming’s dramatic production of the Thrie Estaites. The production starred such actors as Andrew Cruickshank, David Rintoul, Edith Macarthur and Alec Heggie and was repeated the following year. Hanlon also returned to the same role in the 1991 production of the play. In 1985 it was performed at the Assembly Hall in tandem with Sydney Goodsir Smith’s The Wallace, in which Hanlon played John Mentieth. The Wallace demanded much of the huge cast: the opening scene alone was given in old Scots and contemporary English.

In the early 1980s, Hanlon became a regular visitor to Ireland and worked often with the Abbey Theatre of Dublin (including a memorable Doctor’s Dilemma in 1982). Two years earlier he had made a notable impression in the world premiere of Brian Friel’s Translations, in which Hanlon delivered an engrossing account of Jimmy Jack alongside the young Liam Neeson and Stephen Rea.

Hanlon was with the Abbey in 1995 for Patrick Mason’s production of Sebastian Barry’s The Only True History of Lizzie Finn. In 1998 Hanlon was nominated for a Barclay’s Theatre Award for his appearance in Juno and the Paycock.

Hanlon remained a fiercely proud Scot and was devoted to his profession and his family. He was still working up to 2004, when he was seen in BBC2’s Takin’ Over the Asylum.

[jewellery-box]

Sanitary Pads in Packaging, made by Johnson & Johnson Pty Ltd, Sydney, Australia, probably between 1960-1970.

Powerhouse Collection

The American company Johnson & Johnson commenced manufacturing sanitary napkins in the 1920s. Modess were introduced to the Australian market by Johnson & Johnson in 1932. A huge marketing campaign saw advertisements in newspapers and women's magazines emphasizing 'style and quality', expressed through illustrations of women in elegant evening gowns. Since then, developments in such technologies as nonwovens and plastics have seen many changes in the design of menstrual products. Absorbency and softness have improved, for example.

Menstruation has been a private and, until the recent advent of explicit television commercials, almost unmentionable subject. It is therefore not surprising that the artefacts of menstruation are not well represented in Australian museum collections, even though they are an intrinsic part of women's lives. When cupboards are cleared out or when the effects of elderly relatives are being sorted through, personal items like these are usually amongst the first things to be thrown away.

The Powerhouse Museum has a small but growing collection of items relating to menstruation. It includes manufactured products like this bag of Modess, home-made washable sanitary towels, advertising material, and advice booklets for girls. Written by Erika Dicker Assistant Curator, 2007.

[ncisfranchise-source]

Endemol Shine Australia, CBS Studios, Paramount Australia and Screen Territory are excited to announce that the internationally smash-hit series, NCIS: Sydney is coming to Darwin!

Produced by Endemol Shine Australia for CBS Studios and Paramount Australia, and distributed outside Australia by Paramount Global Content Distribution, production of the special 2 x 1 hour episodes which are part of the series, will commence in Darwin and surrounding areas later this year. 

Productions filmed in the NT make a significant contribution to the local economy through jobs and goods and services. They also highlight the magnificent Northern Territory both nationally and worldwide.

The first international iteration of the global NCIS franchise outside of the US, NCIS: Sydney is a brilliant and eclectic team of U.S. NCIS Agents and the Australian Federal Police (AFP) who have been grafted into a multi-national taskforce to keep naval crimes in check.  Having only just found their feet, in season two, the agents of NCIS: Sydney square off against a much more powerful adversary, threatening the very stability of the region…and the team itself.  

NCIS: Sydney is one of the most watched local series since the launch of Paramount+ Australia and premiered on CBS US as the #1 new series in the fall of the 2023-2024 season, with the series premiere reaching over 10.2 million viewers on linear in the U.S., including an encore episode. In its first season, NCIS: Sydney averaged more than 8 million multiplatform viewers per episode across all platforms, and has been nominated for a TV Week Logie Award for Best Drama Series.

NCIS is one of the world’s most successful television franchise with more than 300 million viewers globally across all platforms, including broadcast, cable, streaming and syndication (according to Nielsen and international Television Audience Measurement companies in key territories).

Director Screen Territory, Jennie Hughes said:

“Screen Territory is thrilled to see the Top End become a part of the NCIS legacy as one of the longest running and most successful TV franchises ever.

“NCIS: Sydney has enjoyed immense success with global audiences, and we look forward to the Territory not only showcase its unique locations to this beloved series franchise, but also to contributing the talents and abilities of our local screen production crews and creative talents.”

“We look forward to welcoming the NCIS team to the Northern Territory and look forward to the building and fostering this new production relationship with Endemol Shine Australia and Paramount.”

Endemol Shine Australia, Head of Scripted, Sara Richardson said:

 “Endemol Shine Australia and the entire cast and crew are extremely excited to be bringing NCIS: Sydney to the Northern Territory.”

“The rare beauty of Australia’s Top End will be showcased to audiences both around Australia and around the globe, as it is the backdrop for some compelling storylines resulting in high action for our brilliant and eclectic team of Agents.”

Paramount Australia, Creative Advisor Drama, Rick Maier said: 

“What better way to showcase the brilliant Northern Territory to the rest of the world. We are incredibly proud to celebrate each and every new milestone for NCIS: Sydney.”

This major screen production was brought to the Northern Territory through the Territory Government’s Screen Territory Production Attraction Incentive Program (PAIP). 

Territory screen professionals will have the opportunity to work alongside some of the best in the business on NCIS: Sydney.

The Production Attraction Incentive Program is open all year round and aims to attract footloose screen productions to film in the NT which will employ Territorians and utilise Territory services and businesses.

NCIS: Sydney Season Two is set to premiere on Paramount+ Australia later this year, with season one streaming now.

[nsjconstructionza]

The Benefits of Hiring a Rubble Removal Service

Organised homes and workplaces create an inviting atmosphere, but it can be challenging to achieve this without professional Rubble Removal Randburg.

Furniture, Building Sand Randburg debris, green waste, electronics and appliances can all be among the many household or commercial waste items you require removal assistance with, but who has time for that? By hiring experienced rubbish removal specialists in Randburg instead, you can enjoy many advantages including convenience and cost savings.

Why You Should Hire a Rubble Removal Professionals

Utilizing waste collection services can save both time and money when compared with doing it on your own. Not only can they safely dispose of all waste products, but they can also assist with organizing your space by sorting through objects before taking necessary actions such as moving them off-site if required.

Professional Rubbish Removal for Residential Waste

A professional Rubble Removal Benoni can efficiently haul away furniture like couches, chairs and tables; hiring the appropriate team with all of the right skills and equipment makes sense when transporting such heavy objects on your behalf. Mattresses, carpeting and household equipment such as refrigerators, washing machines and dishwashers should also be left in professional hands; many Sydney-area companies accept non-hazardous electronic waste such as televisions and computers too!

Green waste removal services in Randburg can assist with this aspect of household rubbish collection.

Renovation debris is another type of household rubbish that must be processed with special care, with separate collecting containers being utilized to collect hazardous items like asbestos before being transported offsite for disposal in accordance with local authorities.

Commercial Rubbish to Be Removen

Removing commercial rubbish requires just as much skill and expertise as residential Rubble Removal Midrand, if not more.

Industrial byproducts like petrol drums or paint containers require special consideration due to their toxic contents, as does construction debris such as broken bricks, concrete slabs, asphalt shingles or large pieces of metal from older buildings that must be cleared away safely and efficiently. Proper disposal is especially vital given that construction materials contain toxins which may harm the environment if handled incorrectly.

Rubbish removal services also provide bulk collection for organic waste generated by businesses, such as restaurants or hotels. This could range from food scraps to yard waste collection on a regular basis and ensure proper and eco-friendly disposal of organic material from your premises.

[casinositese]

Find the Best Explosion Site for Thrills

Few experiences can match the pure exhilaration that comes with a thrilling explosive site. Finding the perfect explosion site is a great way to transform an ordinary day into a memorable adventure. This guide will help you find the best sites for explosive excitement and breathtaking moments.

Explosion sites are attractive to many people

Explosion sites are a thrilling and dramatic experience that attracts people from all over the world. The appeal of these sites is their ability to combine science and spectacle. From high-octane safety demonstrations and live shows to controlled explosions on film and TV, they offer a dramatic and exhilarating experience. Explosive power combined with artistry and precision creates a thrilling experience.

Top Explosion Sites To Visit

Fireworks Festivals

Fireworks festivals are some of the most popular and accessible explosion events. These festivals are held in many cities around the world and feature spectacular firework displays. Notable examples include:

Sydney New Year's Eve: Famous fireworks show over Sydney Harbour.

Fourth of July fireworks displays across the United States.

Diwali is celebrated in India. It's a festival that celebrates the festival of light with a lot of firework displays.

Pyrotechnic Displays

These shows often incorporate complex themes and choreographies, which are an improvement over traditional fireworks displays. These shows are often featured at large-scale events, such as:

Cirque Du Soleil Performances : Many shows feature pyrotechnics that enhance the dramatic effects.

Music festivals: Festivals like Tomorrowland or Coachella have elaborate pyrotechnics that are synchronized to performances.

Sports Event: The opening ceremony of high-profile sporting events such as the Super Bowl and the Olympic Games often features pyrotechnics.

Controlled explosion demonstrations

Controlled explosion demonstrations are a great way to learn about the science of explosions. These demonstrations are usually conducted by:

Military and Law Enforcement Agencies : They demonstrate controlled explosions to train and educate the public.

Educational Institutions Universities and science centres may offer demonstrations in educational programs.

Specialized Companies : Firms handling explosives can provide controlled demonstrations at corporate events or public exhibits بهترین سایت انفجار.

Film and Television Studios

These sites allow you to see behind the scenes of major productions. These sites offer a chance to view behind-the-scenes of major productions. Popular studios include:

Hollywood Studios : Many Hollywood studios, such as Warner Bros. or Universal Studios, provide tours with demonstrations of the explosive effects that are used in film.

Action Film Sets : Some action movies include real-time effects of explosions as part their production. This provides a thrilling experience to visitors.

What to consider when choosing an explosion site

Safety

When visiting an explosion site, safety should always be a top priority. To protect participants and spectators, ensure that the site adheres to strict safety regulations and protocols. What to look for

Certified Operators: Make sure that explosions are handled only by certified professionals.

Safety briefings: Sites must provide attendees with clear instructions and safety information.

Accessibility

Take into consideration the accessibility of the website. Does it have a good accessibility and can it be accessed by visitors of different abilities? Some sites offer:

Transport options: Search for parking and transportation facilities.

Accessibility features: Search for websites that provide amenities for people with disabilities.

Timing

To fully enjoy the excitement of explosive sites, you must be able to time your visit. Be sure to:

Verify Schedules: Check the schedules of events or demonstrations in advance.

Arrive early: Arriving earlier can give you better viewing spots.

Cost

The cost of an explosion can vary greatly depending on its type and location. Consider:

Prepare for your Visit

Preparation is the key to making the most out of your trip to an explosion site. Here are some tips for enhancing your experience.

Do some research on the site. Look at reviews, videos and feedback from visitors to get a better idea of what to expect. Sites and forums provide insight from previous visitors.

Dress Appropriately Wear comfortable clothing and shoes suitable for the weather. Dress appropriately for an outdoor event and make sure you have the essentials, such as sunscreen or rain gear.

Bring the Essentials Depending on where you are going, you might need to bring a camera, binoculars or a blanket. Be sure to check the guidelines of the site for any restrictions on items.

Engagement with the Experience

Immerse yourself fully in the experience while at the site of the explosion:

The Best Viewing Spot Arrive early for the best viewing spot. Look for elevated areas or places with good sightlines when attending fireworks festivals.

Capture The Moment: Take photos or videos if allowed to document the event. Be respectful to others and refrain from using flash photography when it is prohibited.

Take part in Interactive Elements. Some sites offer interactive demonstrations or experiences. These opportunities will help you to understand the art and technology behind explosions.

Ticket prices: Find tickets that are within your budget.

Additional costs: Be alert to any additional charges for VIP experiences or premium experiences.

Conclusion

The best way to find the right explosion site is by combining excitement, safety and accessibility. There are many explosion sites to choose from, whether you want to experience the excitement and grandeur of fireworks shows, the precision and educational value of controlled demos, or even the thrill of the film studios. Consider factors like safety, accessibility and timing to ensure that you have a thrilling and memorable experience.

[culturekidfilms]

Video Agency Hong Kong

[commodorefitouts]

Sydney Smiles: Transforming Dental Practices with Smart Fitouts

Sydney's dental landscape is experiencing a revolution. Gone are the days of sterile, clinical environments. Modern dental practices are embracing a patient-centered approach, prioritizing comfort, efficiency, and a welcoming atmosphere. This transformation is driven by a growing demand for a more positive dental experience, and a key player in this shift is the concept of dental fitouts in Sydney.

Sydney Smiles: Designing Your Dream Dental Practice with Fitouts

Beyond Aesthetics: Unveiling the Benefits of Dental Fitouts in Sydney:

Dental fitouts go beyond renovations and aesthetics. They're strategic transformations of dental practices, encompassing design, construction, and the creation of a calming experience for patients. Here's how dental fitouts in Sydney benefit both patients and dental professionals:

Enhanced Patient Experience: Stepping into a well-designed dental practice with calming visuals, comfortable seating, and modern amenities can significantly reduce patient anxiety. This positive first impression fosters trust with the dentist, potentially leading to better cooperation during procedures and improved overall satisfaction.

Optimizing Workflow for Staff: A well-planned fitout streamlines the workday for dental professionals in Sydney. Designated areas for sterilization, consultations, and procedures, along with efficient equipment placement, allow staff to work more efficiently and effectively, boosting overall productivity.

Compliance with Regulations: Dental fitout companies in Sydney are well-versed in the intricate regulations governing dental practices. Their expertise ensures your space adheres to all safety and hygiene standards, protecting both patients and staff.

Building a Strong Brand Identity: The design of your dental practice reflects your brand values. Strategic use of design elements can create a visually appealing space that conveys professionalism and a commitment to patient comfort, fostering trust and attracting new patients to your Sydney practice.

Crafting the Blueprint: Key Considerations for a Successful Dental Fitout in Sydney:

Transforming your Sydney dental practice starts with a clear vision. Here are some crucial elements to consider during the design process:

Space Optimization: Every square foot counts. A carefully designed layout facilitates smooth patient flow, efficient staff movement, and optimal placement of dental equipment, ensuring everything is readily accessible within your Sydney practice.

Infection Control at the Forefront: Maintaining a sterile environment is paramount in dentistry. The fitout should integrate features like seamless, easy-to-clean surfaces, proper ventilation systems, and strategically placed hand sanitizer stations.

Prioritizing Patient Comfort: Creating a patient-centered experience is key. Utilize natural light where possible, incorporate calming color palettes, and provide comfortable seating areas in waiting rooms and treatment rooms. Consider amenities like televisions or music to further reduce anxiety and create a more inviting atmosphere.

Embrace Technology: Modern dentistry relies heavily on advanced equipment and software. The fitout project should ensure seamless integration of digital x-ray machines, computer monitors, and dental software, promoting efficient workflows and improved patient care in your Sydney practice.

Accessibility for All: Ensuring inclusivity is crucial. Wider doorways, ramps, and accessible restrooms cater to patients with disabilities, fostering a welcoming atmosphere for everyone in Sydney's diverse community.

Finding the Perfect Fit: Selecting the Right Dental Fitout Company in Sydney:

Choosing the right partner for your dental fitout project in Sydney is essential for achieving a successful outcome. Look for a Sydney-based company that possesses the following qualities:

Proven Track Record in Sydney: Experience in designing and constructing dental practices in Sydney demonstrates a strong understanding of the unique needs of the city's dental environment.

Regulatory Expertise: In-depth knowledge of Sydney's dental regulations and building codes ensures compliance and a smooth project flow.

Qualified Team: A team of skilled architects, designers, and project managers with experience in Sydney's dental fitout landscape is crucial for navigating the project's complexities.

Collaborative Approach: The ideal fitout company will work closely with you to understand your specific needs, vision, and budget, ensuring the final outcome aligns with your goals and reflects your commitment to patient care in Sydney.

Investing in a well-planned dental fitout in Sydney is an investment in the future of your practice and the overall experience of your patients. By prioritizing patient comfort, optimizing staff workflows, and adhering to regulations, you can create a space that fosters trust, efficiency, and a positive dental experience for everyone. Partnering with the right dental fitout company in Sydney ensures a seamless process and a space that reflects your commitment to exceptional patient care in the heart of the city.

For more information about dental fitouts sydney, dental fitouts, dental fit outs, dental design, medical centre fitouts, please visit the - Commodore Fitouts / Location.

Reference taken from here.

COMMODORE FITOUTS LOCATION:

Name: Commodore Dental & Medical Fitouts Address: 166 Arcadia Rd, Arcadia NSW 2159, Australia Phone Number: +61 2 9655 1919 Website: http://www.commodorefitouts.com.au/ 

[novumtimes]

Linden Productions Names Deanna Barillari SVP Development & Production

EXCLUSIVE: Linden Productions has hired veteran producer and executive Deanna Barillari as SVP of Development and Production, Deadline has learned. Barillari joins after consulting in Physical Production at MGM Features and serving as VP of Production and Development for Wishmore Entertainment. In her new role, she will continue to build out the Linden’s diverse slate across film and television. As part of the company expansion, Mia Samuels is also being promoted to Creative Executive. Most recently, Barillari produced Chelsea Peretti’s directorial debut, First Time Female Director, for Fox Entertainment Studios alongside Amy Poehler and her Paper Kite Productions. Other feature credits include Argyris Papadimitropolous’ Monday, starring Sebastian Stan, which received Greece’s Iris Award nomination in the category of Best Picture; Steve Basilone’s Long Weekend for Sony Pictures; and Phyllis Nagy’s Call Jane starring Elizabeth Banks for Roadside Attractions. Barillari has also worked closely with auteur Paul Thomas Anderson, including on his ’70s San Fernando Valley romance Licorice Pizza. Barillari is a member of the IAMA Theatre Company, the Ovation Award-winning non-profit organization where Shonda Rhimes has championed early-career playwrights as Patron of the Arts. Also a former Sundance Creative Producing, Catalyst and Film Independent Project Involve Producing Fellow, she started her career in television and has worked in Drama Development at both Universal Television and Tandem Productions. Since joining Linden Productions in 2022, Samuels has worked closely alongside producer Riva Marker on projects like the Peabody Award-winning HBO title Reality, starring Sydney Sweeney, and Peacock’s holiday fantasy comedy Genie starring Melissa McCarthy. Dedicated to discovering and championing new writers and filmmakers and to bringing subversive, unexpected, and thoughtful stories to screen, she’s previously worked for literary scout Marcy Drogin, Jupiter Entertainment, Big Beach, and WME in the literary department. Linden Productions is the production arm of Linden Entertainment, which was founded in 2020 by Nicole King and Stacy O’Neil. They lead the company alongside Partner JoAnne Colonna and Marker, who serves as CEO of Production. Most recently, Linden Productions produced David Adjmi’s play Stereophonic, which last month took home five Tony Awards including Best Play. Last season, they co-produced Alex Timbers and David Byrne’s Broadway musical Here Lies Love. In film, Linden has thus far produced the aforementioned Reality and Genie, as well as the Netflix family comedy Family Switch starring Jennifer Garner and Ed Helms. Projects in development include Jen Silverman’s feature adaptation of the Sarah Blakely Cartwright novel Alice Sadie Celine; the new Boondock Saints film, with Norman Reedus and Sean Patrick Flanery returning, on which we were first to report; a biopic of Mexican actress and singer Maria Felix starring Eiza Gonzalez; the sequel to Garner’s 2021 Netflix chart-topper Yes Day; and the Garner-produced and led Mrs. Claus, with Netflix and Hello Sunshine. Source link via The Novum Times

[influencermagazineuk]

From Talent to Temptation: Sydney Sweeney's Hollywood Journey

There is no denying that Sydney Sweeney has skyrocketed in Hollywood, not just for her aesthetic appearance but for her remarkable performance. She has become a known name quite soon in the industry, and one of the reasons she is attracting hot vibes relates to her appealing figure, which all are awed by. The combination of both talent and beauty has made Sydney Sweeney a considerable attraction, and her career seems to be on a constant rise with every new project. Sydney Sweeney's ascent in the competitive world of Hollywood has been nothing short of meteoric. While her captivating beauty is undeniable, it is her compelling performances that have truly set her apart. Sweeney's journey began with smaller, often overlooked roles, but her persistence and undeniable talent have earned her a prominent place in the entertainment industry. Born and raised in Spokane, Washington, Sweeney was drawn to acting at a young age. Her early experiences in local theater productions laid the groundwork for her future in Hollywood. However, her initial foray into the industry was marked by a series of small, supporting roles that, while not high-profile, allowed her to hone her craft and gain invaluable experience. Her breakthrough came with the role of Emaline Addario in the Netflix series "Everything Sucks!" This part showcased her ability to portray complex, relatable characters and quickly garnered her attention. Following this, she landed a significant role in the critically acclaimed series "The Handmaid's Tale," where she played Eden Spencer, a young girl in a dystopian society. This role demonstrated her range as an actress and earned her further recognition. Sweeney's portrayal of Cassie Howard in HBO's "Euphoria" was a pivotal moment in her career. The series, known for its raw and unflinching depiction of teenage life, provided Sweeney with a platform to display her dramatic skills. Her character, Cassie, is a deeply troubled young woman grappling with issues of self-worth and identity. Sweeney's performance was lauded for its emotional depth and authenticity, solidifying her status as a rising star. In addition to her acting prowess, Sydney Sweeney's physical appearance has undeniably contributed to her rapid rise. Her figure has become a topic of admiration and discussion, adding to her appeal. However, it is important to note that Sweeney's success is not solely attributable to her looks. She has consistently demonstrated a commitment to her craft, taking on roles that challenge her and showcase her versatility. Sweeney's dedication extends beyond her on-screen performances. She has been vocal about the importance of mental health, particularly in an industry that often places immense pressure on young actors. Her openness about her own struggles has resonated with many fans and has positioned her as a relatable and inspiring figure. Moreover, Sweeney has taken an active role in shaping her career. She founded her own production company, Fifty-Fifty Films, with the goal of creating opportunities for underrepresented voices in the industry. This move highlights her ambition and desire to influence the types of stories that are told in Hollywood. Despite her relatively short time in the spotlight, Sydney Sweeney has already amassed an impressive resume. In addition to her television work, she has appeared in films such as "Once Upon a Time in Hollywood," where she worked alongside industry giants like Quentin Tarantino and Leonardo DiCaprio. Her role in the psychological thriller "Nocturne" further demonstrated her ability to tackle a wide range of genres. View this post on Instagram A post shared by Sydney Sweeney (@sydney_sweeney) As her career continues to flourish, Sweeney shows no signs of slowing down. She has several upcoming projects that are eagerly anticipated by fans and critics alike. Her versatility as an actress, combined with her business acumen and advocacy work, positions her as a formidable force in Hollywood. We wish her the best and stay tuned for more updates on her career and life here at your Influencer Magazine UK! (Image Credits: Instagram / SydneySweeney) Read the full article

[diebullydie]

Cinema Australia: Interview with Nick and Nathan Lacey

Nick and Nathan Lacey’s excellent short film, Die Bully Die, has won the $7,000 Dendy Live Action Short Award at the 71st Sydney Film Festival.

Die Bully Die follows Max (Matthew Backer), who encounters his high-school bully, Adam (Drew Weston), 17 years later in a fancy restaurant, where Max’s grudge against Adam manifests in horrific ways. This LGBTQ+ comedy horror film explores the lasting effects of queerphobic bullying and the broader theme of overcoming trauma.

The film draws from screenwriter, producer, and actor Matthew Backer’s personal experiences of being bullied for being gay at his all-boys Catholic high school in Brisbane. The story gains depth from Matt’s real-life encounter with one of his bullies, now an openly gay man, which inspired the film. Matt collaborated with his best friend, Drew Weston, to write Die Bully Die, capturing the raw emotion and lasting impact of their experiences.

The film is directed by Nick and Nathan Lacey, who previously collaborated with Matt on the award-winning short film Ghosted, which you can read more about here. Produced by the Lacey Brothers, Matthew Backer, Drew Weston, and Nicole Thorn, Die Bully Die continues the team’s tradition of creating impactful films.

Nick Lacey has produced and directed for major Australian television networks and production companies, while Nathan Lacey has extensive experience in post-production for major studios. Their short films have been selected for numerous film festivals, with Ghosted receiving multiple awards and nominations.

Die Bully Die not only highlights the personal struggles of its creators but also resonates universally with audiences facing similar challenges.

Cinema Australia caught up with Nick and Nathan following their award win at the Sydney Film Festival.

Matthew Backer in Die Bully Die.

“Anyone who has been bullied before knows how nightmarish that experience can be and we wanted to depict that in a very visceral way.”

Interview by Matthew Eeles

What drew you to Matthew Backer and Drew Weston’s Die Bully Die script?

Nathan: The script appealed to us for a number of reasons. We thought it was a really interesting way to explore the effects of childhood trauma and the impact that has on you as an adult. We thought this was a very relatable theme and knowing it was based on Matt’s own experiences growing up made it even more important to us. We also really appreciated that although the film depicts a very serious subject, the script didn’t take itself too seriously. We thought the blend of horror and comedic elements throughout gave the script an original tone and we were really drawn to that as directors.

Nick: It was very exciting to read the script through the first time. I remember thinking there were so many areas where we as directors could expand creatively on and develop a strong visual and artistic through line to encompass the film, and even now a year on I still get excited thinking about the script. We felt the thematic elements and melding of genres really played to our strengths as filmmakers and was a great opportunity to put together a really exciting and thought-provoking piece.

Not only do Matthew Becker and Drew Weston star in the film, they also co-wrote and co-produced as well. As directors, what is it like to work with two other people who have so much creative investment in a film?

Nathan: We were fortunate to work with Matt on our previous film Ghosted, so there was already a good foundation there going into this film. Matt and Drew approached us with this script because they trusted our vision and we really appreciated that. We encouraged both of them to come on as producers early on and working with them from an early stage was very helpful as it meant we could spend a lot of time workshopping the script with them in pre-production which really paid off when we got on set.

Nick: We were delighted when Matt and Drew agreed to come on board to produce. We felt especially with the story being so personal to Matt, it was imperative to have them stay on in a producing aspect also. For first-time producers, they took to the challenge and were great at fitting into our working process alongside our other producer Nicole Thorn. Myself and Nathan believe the best way of getting great onscreen content is having a great atmosphere on set, and Matt and Drew really embodied this which made the on set experience very enjoyable.

Matthew Backer and Drew Weston on the set of Die Bully Die.

While Die Bully Die is not a direct horror film, you seem to enjoy injecting horror into real life situations. Why is that so important to you?

Nick: Horror as a genre is such a captivating and encompassing medium to work with as filmmakers. It is hardwired into us as creatures to be cautious, aware and prioritise self-preservation – thematically and tonally, horror is so relatable. Our minds are the best creatives when it comes to our fears and terrors – be it a bump in the night, or something seemingly normal that terrifies us on an individual level, to us it’s about how to engage that primal voice in your head that spells out WARNING. How fantastic is it to get to play with that notion, bend reality a little and dip into the dark recesses of the mind when dreaming up scenarios or scenes – What if this happened? What if that stranger is some kind of deranged psycho? How can we bring an audience on a journey here, inject a little of those emotions of terror into a seemingly normal environment or situation – the more normal or mundane, the more contrast for a horrific event or situation to move an audience.

Nathan: We both love horror, so integrating it into our work seems to come pretty naturally. For this film specifically, we saw opportunities to lean into this, particularly when we see young Max bullied in the school bathroom. We wanted this scene to feel like a nightmare so the audience would understand the sheer terror that Max experienced at school. Anyone who has been bullied before knows how nightmarish that experience can be and we wanted to depict that in a very visceral way.

I love the use of mirrors to reflect the past in Die Bully Die. Can you talk us through that creative choice, and the challenges of filming with so many reflections?

Nathan: The mirrors were definitely challenging! The restaurant and bathroom locations we used in the film were both lined with mirrors. We never originally planned to integrate mirrors so prominently in the film but once we saw these two locations we knew we could utilise them to great effect. It was something we spent a lot of time discussing and we felt helped to visually reinforce the power Max’s past has over him throughout the film. Our DP, Patrick Coe, and gaffer, Josh Lafou, did a great job to ensure switching setups was seamless and all lighting and camera gear was hidden from any reflections in shot.

Nick: I think that’s one big takeaway from making short films in the past, with independent films you are more often than not at the mercy of the factors and environments you’re working in, and often, with limited resources you need to decide which challenges to focus on and what to accept and move on with. I feel sometimes constraints can be massively helpful in forcing you to think creatively and differently in your approach to filmmaking – turning constraints into advantages. Rather than try and shy away from reflections, we embraced them and made them a focal point. It was a fun challenge to work out how to shoot everything in the way we desired in a very reflective location – myself and Nathan spent two weeks just discussing where best to seat our two leads. We decided to embrace the mirrors as a focal point to suit the story that focuses so much on the past and looking back on past events – with everything revolving around the decision from there we shotlisted the entire film in an afternoon.

Die Bully Die.

The visual effects in Die Bully Die are seriously impressive, and the film is all the better for it. It would be an injustice to talk about Die Bully Die without mentioning its visual effects artists Kyan Woodpower and Scott Brice who have worked on films like Monkey Man, Alien Covenant and Three Thousand Years of Longing respectively. What do these two bring to a project like this?

Nathan: We’re very fortunate to have worked with a team of amazingly talented individuals on this film and Kyan and Scott were a big part of that. Complex visual effects require a lot of careful planning to pull off successfully so we relied on their input early on in order to ensure the visual effects looked as realistic as possible. Their input was invaluable in how we approached filming certain shots. There were quite a few visual effects shots in this film, many of which you wouldn’t even realise.

Nick: We’ve worked with Kyan on every film we’ve made so far and he is probably the most likeable and easy-going person you’ll ever meet, alongside being extremely talented. A cohesive team coming together with a shared mindset requires so many intangible and unspoken factors happen to be successful, and aside from just being brilliant – he makes that creative and collaborative process so much easier by just being a joy to be around. Scott’s work is incredible, and he came with such a depth of experience and creativity. We live in a strange world with this film where you get excited over things like gore and blood being convincing and shocking, and the flair he brought to the film with little touches really adds to making the world feel real.

You both obviously share an incredibly creative synergy. What do you enjoy the most about working with each other?

Nathan: Being brothers, we already have such a shorthand with one another so that helps a lot when we’re working on a film, as there is usually a lot going on. We’re very aligned from a creative standpoint but we do try and challenge each other creatively and I think through that process we bring the best out in each other. Ultimately having that level of trust with a creative partner ensures we are united and focused on our goal of making the best film we can.

Nick: Our relationship has sustained every high and low you can imagine through just knowing each other for our entire lives, but being siblings is an unbreakable bond which helps when it comes to the practicalities of creating films. We share the high points and embrace the difficulties of filmmaking, which is important in the creative process. We’re not afraid of offending or trampling one another if we think an idea or angle may not work, and when a great idea is poised usually the other builds on that and we are able to elevate the idea into a fluid construct of a film. With each project we do together there is a greater understanding and synergy, which almost becomes like two bodies one brain at times – which is a really wonderful feeling, when you’re in your groove creatively and firing on all cylinders and your creative partner is in the exact same headspace. Nathan will often say something in creative meetings and the first words out of my mouth will be, “I was just about to say that” or vice versa.

Drew Weston in Die Bully Die.

I loved your previous film, Ghosted. How much have you both grown as filmmakers since that film?

Nathan: Thanks! Hopefully we’ve grown a lot as filmmakers. Every film we make is an opportunity for us to challenge ourselves both creatively and technically and Die Bully Die was no different. We worked with a bigger budget and crew on this film than Ghosted and had scenes involving a lot of sfx and vfx work as well, so there were many fun challenges for us to solve. Making films is definitely the best way to continue growing as a filmmaker and we certainly feel like we’ve grown even more since shooting this film.

Nick: I think with every film and every opportunity to hone our particular style and tastes, it’s just made us more confident with our decisions and direction. In each of our shorts we’ve taken calculated and well-thought out creative risks in our approach to aesthetic, character and story which I feel has been imperative in developing our skillsets as filmmakers and also readying us for long form films. Die Bully Die is another step forward for us in our storytelling careers and has built on what we’ve learnt so far and is a showcase of what we will continue to do in the future.

What does the future look like for The Lacey Brothers? Is there a feature film on the horizon? 

Nick: We’re currently developing our first feature film, a psychological horror. It’s our current focus and next project for us in our careers.

Keep an eye on cinemaaustralia.com.au for upcoming Die Bully Die screenings. 

[powwowstudio]

Television Production Companies in Sydney: A Hub of Creativity-

Sydney, with its vibrant cultural scene and picturesque landscapes, has emerged as a thriving hub for television and film production. The city is home to a plethora of television production companies Sydney that contribute significantly to the entertainment industry.

For more details visit: https://medium.com/@powwowstudiosau/television-production-companies-in-sydney-a-hub-of-creativity-d3f0556f65ed

[scotianostra]

Happy 58th Birthday to the multi-talented Scottish actor Alan Cumming born on January 27, 1965 in Aberfeldy.

Alan Cumming has an amazing volume of work under his belt, last year alone he was involved in 8 different projects and TV and Cinema, add to that he appears on stage, writes, produces, directs things, as you'd imagine there is a lot to go through in his bio.........

Born to Mary (Darling), an insurance company secretary, and Alex Cumming. a forester for Atholl Estate, Alanspent his infant years in Dunkeld before the family moved to Fassfern near Fort William, before moving to the east coast of Scotland in 1969, where Alan's father took up the position of Head Forester of Panmure Estate; it was there that Alan grew up. He went to Monikie Primary School and Carnoustie High School, where he began appearing in plays, and soon after that began working with with the Carnoustie Theatre Club and Carnoustie Musical Society, and never looked back.

In 1981, he left high school with some great exam results in several subjects, but because he was too young to enter any university or drama school he worked for just over a year as a sub-editor at D.C. Thomson Publishers in Dundee. There he worked on the launch of a new magazine, “Tops”, and was also the “Young Alan” who answered readers’ letters. 

In September 1982 he began a three-year course at the Royal Scottish Academy of Music and Drama in Glasgow. He graduated in 1985 with a B.A. (Dramatic Studies) and awards for verse speaking and direction. He also had formed a cabaret double act with fellow student Forbes Masson called Victor and Barry, which went on to become hugely successful with tours (including two Perrier Pick of the Fringe seasons in London and a month-long engagement at the Sydney Opera House as part of an Australian tour), records and many TV appearances throughout the British Isles. Before graduating Alan made his professional theatre and film debuts in Macbeth at the Tron Theatre in Glasgow and in Gillies MacKinnon’s Passing Glory. 

After graduating, Alan worked extensively in Scottish theatre and television, including a stint on the soap opera High Road before moving to London when Conquest of the South Pole, a play by German playwright Manfred Karge, transferred from the Traverse Theatre in, Edinburgh to the the Royal Court in London, earning him his first Olivier award nomination for Most Promising Newcomer of 1988. 

Alan performed with the Royal Shakespeare Company and then the Royal National Theatre, where he starred in Accidental Death of an Anarchist, which he also adapted with director Tim Supple. The production was nominated for Best revival at the 1991 Olivier awards and Alan won for Comedy Performance of the Year. His film career began with Ian Sellar’s Prague , in which he starred with Sandrine Bonnaire and Bruno Ganz. The film premiered at the 1992 Cannes film festival and went on to win him Best Actor award at the Atlantic Film Festival and a Scottish BAFTA Best Actor nomination. In the same year he made two films for the BBC. 

In the 1992 Olivier awards got his second nomination for Comedy Performance of the Year for La Bete. The next year he played Hamlet for the English Touring Theatre to great critical acclaim  going on to play the Emcee in Sam Mendes’ revival of Cabaret. He received a 1994 Olivier award nomination for Best Actor in a Musical for “Cabaret”, and for Hamlet he received the 1994 TMA Best Actor award and a Shakespeare Globe award nomination.

In 1994, he made his first Hollywood film, Circle of Friends then two films released in quick succession Emma and GoldenEye as a talented hacker, Boris Grishenko, these films brought him to be noticed by further American producers, and he appeared in several Hollywood films, such as Romy and Michele’s High School Reunion and Buddy.

Returning home briefly in 1997 to work with Stanley Kubrick and the Spice Girls before reprising his role in Cabaret on Broadway. The show and his portrayal were a sensation, and he received the many plaudits and awards  for his performance including a Tony  for Best Actor in a Musical

Since then he has alternated between theatre and films, and also between smaller independent films and more mainstream fare.His films include Julie Taymor’s Titus, the Spy Kids trilogy, X-Men 2, Son of the Mask and the Showtime movie musical Reefer Madness: The Movie Musical, and Battle of the Sexes. 

Cumming’s TV work includes Taggart, of course!  The short lived Scottish sitcom The High Life,  Travelling Man, Third Rock from the Sun, Sex and the City, Foyles War and Dr Who. He is probably best known for starring in the US  legal and political drama The Good Wife 

Alan lives in Manhattan  with his husband, illustrator Grant Shaffer, he has been nominated and won too many awards to mention here, and has champion causes for the  LGBT community worldwide. He published a novel,, Tommy’s Tale in 2002,  centring on the life of a bisexual guy living in London, and his biography  Not My Father’s Son, Cumming describes the emotional and physical violence his father inflicted on him in his childhood, he became estranged from his father in his early 20′s and it wasn’t until filming   Who Do You Think You Are in 2010 he spoke to him, his father telling him he suspected he wasn’t his biological father, Alan, along with his brother later had DNA tests which  proved they were indeed his biological children.

Alan today went up in my estimations when he announce he was sending back the OBE he was awarded in 2009 due to "the toxicity of empire".

He explained it in full on his Instagram account, posting;

Today is my 58th birthday and I want to tell you about something I recently did for myself. I returned my OBE. Fourteen years ago, I was incredibly grateful to receive it in the 2009 Queen’s birthday honours list, for it was awarded not just for my job as an actor but ‘for activism for equal rights for the gay and lesbian community, USA’. Back then the Defence of Marriage Act ensured that same sex couples couldn’t get married or enjoy the same basic legal rights as straight people, and Don’t Ask, Don’t Tell ensured that openly gay, lesbian or bisexual people were barred from serving in the military. (Incidentally both these policies were instituted by the Clinton administration). This is the statement I made at the time: ‘I am really shocked and delighted to receive this honour. I am especially happy to be honoured for my activism as much as for my work.  The fight for equality for the LGBT community in the US is something I am very passionate about, and I see this honour as encouragement to go on fighting for what I believe is right and for what I take for granted as a UK citizen. Thank you to the Queen and those who make up her Birthday honours list for bringing attention to the inaction of the US government on this issue. It makes me very proud to be British, and galvanised as an American’. The Queen’s death and the ensuing conversations about the role of monarchy and especially the way the British Empire profited at the expense (and death) of indigenous peoples across the world really opened my eyes. Also, thankfully, times and laws in the US have changed, and the great good the award brought to the LGBTQ+ cause back in 2009 is now less potent than the misgivings I have being associated with the toxicity of empire (OBE stands for Officer of the British Empire). So I returned my award, explained my reasons and reiterated my great gratitude for being given it in the first place. I’m now back to being plain old Alan Cumming again. Happy birthday to me!

If you want to see Alan let loose in oor ain land check out Channel 4’s Miriam & Alan: Lost In Scotland where we see the esteemed actor venturing around his native Scotland in a mobile home, with a new friend in tow – fellow thespian, the 80-year-old super Miriam Margolyes. The second series saw then explore the US.

I have to say I hope I look in as good shape as Alan when I reach my 58th birthday........but with just over 4 months left it's not going to happen is it!

[pristinegroupcleaning]

The Importance of Restaurant Cleaning Near Me

Cleanliness is one of the most important aspects of any restaurant. Not only will it impress customers and give them a positive first impression, but it will also ensure that your customers are safe from germs and other sicknesses. The cleanliness of your restaurant is also a critical aspect of compliance with health codes and other regulations. A restaurant cleaning near me that specializes in restaurants will understand the unique cleaning needs of your business. They will work with you to create a customized cleaning process that will leave both your dining room and kitchen sparkling and sanitized.

While it is crucial to have a clean front-of-house, the cleanliness of the back of your restaurant is equally important. Not only is a dirty kitchen a sanitary risk for your customers, but it can lead to fines and even closure if you do not comply with local, state, and federal regulations. A cleaning company that specializes in restaurants will have a deep understanding of the various kitchen tasks that need to be completed on a regular basis, including scrubbing ovens, refrigerators, and dishwashers; emptying and sanitizing trash receptacles; washing and sanitizing sinks and countertops; and disinfecting all food preparation surfaces.

Having a professional cleaning company to handle these tasks will also reduce the stress and strain on your employees, which can increase employee morale and help them focus on providing high-quality service to your customers. Cleaning companies often use specialized chemicals that are more effective in removing grease and other contaminants from the kitchen area than general cleaning products. They will also understand the importance of using the proper chemicals in a way that does not damage your restaurant equipment or contaminate the food that you serve.

Restaurants are often busy places with a variety of people coming and going throughout the day. This can make it difficult for staff to keep up with the demands of keeping all areas of the restaurant clean. A professional cleaning company can handle these tasks more thoroughly and quickly than your staff, which will improve customer satisfaction and the overall appearance of your restaurant.

With the popularity of reality television shows that showcase the different aspects of running a restaurant, diners are more aware of what makes a quality establishment. They want to be able to trust that the restaurant they are eating in will not only provide delicious food, but also has a hygienic kitchen and clean bathrooms. When you hire a restaurant cleaning service, you can be sure that your patrons will have an excellent experience and will return to your business again and again. Whether they are seated in your restaurant’s dining room, waiting for their table, or at the bar, they will enjoy being in an attractive and comfortable space.

Pristine Group Cleaning provides unrivaled quality cleaning services to Houses, Apartments, Townhouses, Estates, and Small Offices throughout Sydney. Hire our professional cleaning services in Sydney and transform the entire look and feel of your place with us! We are ready to sweep off your feet with cleaning services in Sydney. We are passionate about our work and keep up with technology and progress.

[ncisfranchise-source]

NCIS: Sydney has found its agents.

The decades-old franchise’s debut international version for Paramount+ and Network 10 will see Olivia Swann (DC’s Legends of Tomorrow ) play NCIS Special Agent Michelle Mackey and Spartacus: War of the Damned’s Todd Lasance lead as Sergeant Jim “JD” Dempsey.

The duo are joined by Sean Sagar (The Covenant, Mea Culpa) as NCIS Special Agent, DeShawn Jackson; Tuuli Narkle (Mystery Road: Origin, Bad Behaviour) as AFP Liaison Officer, Constable Evie Cooper; Mavournee Hazel (Shantaram, Halifax: Retribution) as AFP Forensic Scientist, Bluebird ‘Blue’ Gleeson and William McInnes (The Newsreader, Total Control) as AFP Forensic Pathologist, Dr Roy Penrose.

Produced by Endemol Shine Australia, NCIS: Sydney is currently filming in the Australian harbor city and will launch later on Paramount+ and the Australian broadcaster. It will follow the eclectic team of U.S. NCIS Agents and the Australian Federal Police (AFP), who are grafted into a multi-national taskforce to keep naval crimes in check in the most contested patch of ocean on the planet.

Paramount Australia and New Zealand Head of Drama Rick Maier said “one of the best-loved franchises in the world is in the hands of one of our best production companies.”

“NCIS: Sydney is exciting for all of us at Paramount and we hope one of the most eagerly anticipated commissions of the year,” he added.

Lindsey Martin, CBS Studios’ Head of International Co-Productions and Development, said: “We are thrilled to be expanding the NCIS franchise, one of our most powerful and iconic television IPs, across borders and into Australia.”

NCIS: Sydney was first floated last year and is produced for CBS Studios and Paramount Australia by Endemol Shine Australia, and distributed outside Australia by Paramount Global Content Distribution.

NCIS, which stands for Naval Criminal Investigative Service, launched 20 years ago and has since been expanded across the U.S. with versions in Los Angeles, New Orleans and Hawaii.

[lboogie1906]

Gaius Charles (born May 2, 1983) is an actor known for his portrayal of Brian “Smash” Williams on Friday Night Lights. He played Dr. Shane Ross on Grey’s Anatomy and a recurring role on Aquarius, as Black Panther leader Bunchy Carter. He played a role on NCIS’s ninth season as Jason King, an arson investigator for the Baltimore Police Department.

He was born in Manhattan and raised in New York City and Teaneck.

He attended Carnegie Mellon University’s College of Fine Arts, earning a BFA in Drama. He studied at the National Institute of Dramatic Art in Sydney, Australia. He earned an MA in Religious Studies from Drew University.

In 2017, he starred in Taken, based on the Taken film franchise. He made guest appearances on Marvel’s Agents of S.H.I.E.L.D., Blindspot, and Drunk History, in which he portrayed Muhammad Ali, NCIS, Pan Am, and Law & Order: SVU. His film credits include the independent features The Stanford Prison Experiment, Toe To Toe, and The Messenger. He’s worked on studio films like Salt and Takers. In addition to film and television, he starred in the Labyrinth Theater Company’s production of Othello. He received positive reviews for originating the roles of “EZ” in Beau Willimon’s play Lower Ninth and “Malcolm” in director Thomas Kail’s Broke-ology. #africanhistory365 #africanexcellence