With only one week for rehearsal and less than three weeks to film,
Yvonne Deutschman directed her outstanding cast and crew with skill, aplomb and nerves of steel.
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Mikolaj Jaroszewicz, our brilliant cinematographer and director of photography, made the micro budget The Power of Three movie look like a million.
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Ludovic Lasserre arrived from Cannes a few years ago and hasn’t stopped working since. That’s how in demand he is as an exceptional production sound mixer.
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Editing doesn’t wait for post production:
David Percy not only provided his camera, he was on set most days to avert continuity problems that could bedevil him later in the editing room.
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What does the First A.D. do on set? Answer: everything.
Stephanie Zari, a film maker in her own right, applied her prodigious talent and experience to The Power of Three...
(more)As one of England’s most talented costume designers,
Suzy Peters will tell you that her job on The Power of Three required more than making people look nice. Wardrobe helps define character.
(more)Three leading ladies, over 30 performers in total—all of whom wanted to look good. As head of Hair and Makeup,
Rebecca Wordingham had a daunting challenge.
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When
Isabelle Livingstone agreed to co-produce The Power of Three, she anticipated 24 hour days, endless location scouting, recruiting a “dream team” crew and constant monitoring...
(more)As if co-producing a low budget film wasn’t challenging enough,
Jessica Morris worked while pregnant with her son Nathaniel. Both productions were a huge success.
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How do you manage 31 actors, numerous extras, multiple crew members, worried location owners and do it all on time and under budget? Ask
Kimberly Weinreich, the production manager....
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In addition to acting as ringleader/co-ordinator for The Power of Three’s additional photography,
Ghandi owns an operates a film company and provides aspiring film makers with the training...
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Glenn Forsyth re-teamed with Mikolaj to work as The Power of Three’s chief lighting technician aka the “gaffer”. Glenn was the head of the electrical department, responsible for...
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Working closely with Mikolaj Jaroszewicz,
Canan moved quickly from camera assistant to camera operator. Staying in focus, walking backwards when required...
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Mitchell Wescott was “best boy” aka: assistant lighting technician. Since The Power of Three was a low budget production, Mitch also doubled as the “key grip”: responsible for camera mounting and support.
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Although
Saul Carbonaro worked as boom operator on The Power of Three, his skills include sound recording, sound design and post production sound editing.
(more)Aged 74,
Michael has been making films for more than 40 years starting in 8mm during the sixties, in 16mm from 1970, and now high definition (HD) video.
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Connie originally came to London three years to train in become a makeup artist but three months after graduating from the Delamar Academy. She found herself working with microphones and mixers...
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Beverley's whole career has been a mixture of fashion and music. She has worked as a Fashion Stylist/ Costume Designer on a range of projects from music videos to fashion shows, which have included, in the last five...
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Martha is originally from Caracas, Venezuela, which she left at the age of 18 to spend time in the USA and then the UK. Her main passion has always been costume and fashion, although she has studied acting...
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Jessie Hope-Weston trained at the London School of Media Makeup.
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Jennifer trained at The London School of Media Make-Up under Jeanne Richmond.
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Three to Tango (The Power of Three) sees a return to film for the first time for
Ryan since he won a U.K wide short film festival in 2001 for the 8 minute short "Redemption" which he wrote & directed.
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Eliot is a young Londoner with a passion for the arts which began at an early age. A colourful journey through various disciplines, including painting and sculpture, led him to focus eventually on photography.
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