Art Direction/Production Designer

  • The Holdout, Director Javier Augusto. 2016. Toronto.

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  •  Bro Binny short film by Nick Aska. 2014. Toronto.

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CUBA

  • -“Los cuentos de Nicanor”- The Nicanor’s Tales, by Eduardo del Llano, episode “Exit”. January, 2011.

Background: A medium-length film shot in 9 sets with one camera and involving seven characters and many “extras” (famous Cuban artists). It required 4 days of shooting. This last episode of the saga The Nicanor’s Tales, shot in December 2010 and released in 2011, was made with a very low budget, as it is customary for Sex Machine Productions.

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Role Description: I worked as an Art Director (referred to as Production Designer in other countries including Canada). I designed all sets, costumes and makeup (including digital make-up for over 40 images of renowned Cuban artists) and also did the decoration.

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Synopsis: A world famous Visual Artist arrives in Cuba to do his next big work, a large mural with images of artists displaying the physical pain that he claims it is inherent to the process of creation. Nicanor, an auto shop worker, is hired by the great artist to beat up all Cuban artists who wish to have their images be a part of the mural. Many artists come willingly, wishing to reach fame. Nicanor, a good man who is guilt-ridden about physically hurting people, including artists that he admires, women and elderly, will have his fate changed when he meets the 100th participant.

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Note: The Nicanor Tales is an absurd comedy that denounces the Cuban government. Because of it, the series lacked promotion yet it amassed great popularity, both inside as well as outside the country. Given the great public support, Cuban institutions had no other choice than to invite us to participate in upcoming editions of the Festival Internacional del Nuevo Cine Latino Americano (International Festival of New Latin American Cinema).

  • Tras la huella”-On the Track, episodes: “Estafa” -Scam & “Huella imborrable” -Indelible track. June-July 2012.

I worked as Art Director (Production Design) and Co-Director in the Tras la huella (On the Track) crime TV series, the only one of its kind in the country. It depicts factual events and it’s produced by the Higher Institute of Police Sciences of the Ministry of Interior.

This was my third time working in TV, spanning over 40 days in the production (pre-production and shooting). One of the series directors, my then Film History professor at the University of Arts of Cuba, had invited me to join the production. For the most part, the series was shot in location, with only a few exceptions. During every production, we shot two episodes. This time I worked on the episodes Estafa (Scam) and Huella imborrable (Indelible track).

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As Art Director (Production Designer) I designed and supervised the art work for the locations, as well as the costumes and the make-up. I also created a mock interactive, police-search database, spoken-portrait sequences, documents, etc.

In a crew composed of about 40 people, as Co-Director, I was in charge of the second shooting crew directing scenes, as well directing extras, and giving the Producers and Direction Assistants the updates and work-plans for the upcoming days of shooting. In pre-production I also did some of the casting

  • On the Track, episodes: “Ultimo aviso” I & II -Last warning I & II. January-February, 2012.

This was my second-time working in TV, and it again spanned over 40 days in the production (pre-production and shooting). One of the series directors, my then Film History professor at the University of Arts of Cuba, had invited me to join the production. For the most part, the series was shot in location, with only a few exceptions. During every production, we shot two episodes. This time I worked on the episodes Ultimo aviso I & II (Last warning I & II).

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As Art Director (Production Designer) I designed and supervised the art work for the locations, as well as the costumes and the make-up. In a crew composed of about 40 people, as Co-Director, I was in charge of the second shooting crew directing scenes, as well directing extras, and giving the Producers and Direction Assistants the updates and work-plans for the upcoming days of shooting. In pre-production I also did some of the casting.

  • On the Track, episodes: “Obsesion” -Obsession & “Tomografo” -Thomograph. March-April 2011.

This was my first work in TV, which spanned over 40 days for the production (pre-production and shooting). One of the series directors, my then Film History professor at the University of Arts of Cuba, invited me to join the production. For the most part, the series was shot in location, with only a few exceptions. During every production, we shot two episodes. I started working on Obsesion (Obsession) and Tomografo (Thomograph).

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As Art Director (Production Designer) I designed and supervised the art work for the locations, as well as the costumes and the make-up. I also created a mock interactive, police-search database, spoken-portrait sequences, documents, etc.

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In a crew composed of about 40 people, as Co-Director, I was in charge of the second shooting crew directing scenes, as well directing extras, and giving the Producers and Direction Assistants the updates and work-plans for the upcoming days of shooting. In pre-production I also did some of the casting.

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