Hollywood

Behind the Sci-Fi

Anonymous — Mon, 06 Nov 2023 07:00:00 +0000

Behind the Sci-Fi Anonymous (not verified) Mon, 11/06/2023 - 00:00

Patty Kaowthumrong

Astrophysicist Erin Macdonald (Math, Phys’09) has a way of explaining things. As a graduate student and postdoctoral candidate teaching introductory physics and astronomy classes, Macdonald realized she enjoyed the challenge of distilling complex topics, often without using math or equations, into easier-to-digest information for her students.

“Seeing how that resonated with people and how much more accessible it made science to them was what sparked that passion in me,” said MacDonald, who, in addition to her CU Boulder degrees, received a doctorate in gravitational astrophysics from the University of Glasgow.

Macdonald’s talent and expertise led her career to an unexpected destination: Hollywood.

Since 2019, Macdonald has been the science advisor for the Star Trek franchise. In the role, she helps creators figure out how to portray scientific topics on screen and use real and fictional STEM concepts to heighten plot lines. For instance, the first assignment she was given for the TV show Star Trek: �鶹��Ƶy was to write canons (fundamental principles) for dilithium, a made-up material that has existed in the series since the 1960s.

“Dilithium is totally fictional, but we were using it as a major plot point,” she said. “And so I had to, ‘Yes, and’ all the past stuff that we knew about dilithium and create new fictional science for it that now exists in that universe.”

While there are a lot of people behind movies and TV shows (including herself) who want the science featured to be accurate, there are more challenges to making that happen than figuring out where to draw the line between fact and fiction. From the set dressing to the visual effects budget and the on-screen time available to explain something, the film crew must consider many behind-the-scenes factors, Macdonald said.

One of her favorite examples of letting accuracy slide is Star Trek’s transporter, the iconic, fictional machine that teleports people and objects. In the real world, Macdonald said, it could not work because of Heisenberg’s uncertainty principle, which states that you cannot know the position and speed of particles with perfect accuracy — so you can’t move and rebuild them somewhere else at the transporter’s level of precision.

But in Star Trek, the transporter is equipped with a component called the Heisenberg compensator, which counteracts any problems caused by the uncertainty principle.

“We don’t know how it works. But it works very well,” she said. “And it’s really an example of acknowledging that we’re breaking physics but letting it slide anyway.”

While working as a science advisor is her dream job, Macdonald, who hails from Fort Collins, had other gigs before she landed the role, including working as an educator at the Denver Museum of Nature & Science. She began honing her speaking skills at science conventions and eventually moved to Los Angeles. Then she began presenting at conferences, breaking down the science behind science fiction and its interconnectivity with pop culture, which led to gigs as a science consultant and eventually breaking into the TV industry.

“What got me to the position I have now was just looking for all those little opportunities, taking those risks and continuing to perform as best I could”

“What got me to the position I have now was just looking for all those little opportunities, taking those risks and continuing to perform as best I could,” she said.

Macdonald said finding her voice and learning how to express herself authentically — which was challenging for her as a woman working in traditionally male-dominated STEM fields — was also key to her success. In 2022, her experiences and passion for filmmaking inspired her to establish Spacetime Productions, a company dedicated to elevating marginalized talent in front of and behind the camera. It released its first short film, Every Morning, last year and another, Identiteaze, is scheduled to be released in early 2024.

Founding Spacetime Productions taught Macdonald that individuals are sometimes more capable of achieving their goals than they think, whether that means writing a book, starting a company — or making a film.

“Just do it,” she said. “You’ll figure it out, learn along the way and make a lot of mistakes. But it’s fun.”

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Illustration by Ryan Olbrysh

Erin Macdonald, Star Trek’s science guru, sounds off on landing the role of a lifetime and what you don’t see on screen.

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CU Alum Is Executive Vice President of SAG-AFTRA

Anonymous — Fri, 29 Sep 2023 15:06:26 +0000

CU Alum Is Executive Vice President of SAG-AFTRA Anonymous (not verified) Fri, 09/29/2023 - 09:06

Kiara Demare

Ben Whitehair with partner Jess Hoover at the SAG Awards.

Ben Whitehair (PolSci, Thtr’08) has been busy.

As executive vice president of the SAG-AFTRA labor union, he has been working on behalf of actors and writers since July. But he upholds a greater goal that he’s championed for since his time as a CU Boulder student: social change.

It all started with an ad campaign 20 years ago.

Creating the Colorado Creed

Ben Whitehair, center, with other students involved with creating the Colorado Creed during Homecoming in 2003.

In 2003, as a student and member of the President’s Leadership Class (PLC) at CU Boulder, he and a group of other students created ads on campus that promoted social accountability among students to help advance the CU community. The campaign was a major success, and Whitehair helped turn the messages into a social responsibility code now known as the Colorado Creed.

“The Colorado Creed is an example that shows the amount of support that we had from administrators and staff for student-led initiatives,” Whitehair said. “We had this idea and the top administrators said, ‘Great, how can we help? What can we do to support you?’ It was incredible.”

Today, the creed lays out goals of acting with honor, integrity and accountability, as well as respecting others while a part of CU Boulder.

“It is incredibly gratifying to see the Colorado Creed, this thing that a group of us were like, ‘Let’s do this,’ still thriving a decade and a half later and making a difference,” Whitehair said. “To me, that is what leadership is. And I learned that at Boulder.”

D.C. or Hollywood?

After graduating, Whitehair couldn’t decide whether he should move to Washington, D.C., to continue in politics — he had interned with Colorado Congresswoman Diana DeGette in 2007 — or to follow his dreams of acting.

A friend and fellow PLC member, Teju Ravilochan (IntlAf’09), shared a quote with Whitehair from Howard Thurman: “Don’t ask yourself what the world needs. Ask yourself what makes you come alive and then go for that. Because what the world needs are people who’ve come alive.”

Whitehair made the move to Los Angeles, California. But acting wasn’t going to be his only calling.

While at CU, Whitehair co-founded his first business with Will Seamans (Econ’06). The entrepreneurial experience stuck with him, and he became co-founder of Working.Actor, an online business academy for actors. He also now serves as COO of TSMA, a consulting firm that helps businesses and individuals manage their Instagram accounts.

“Particularly in the arts, you often learn how to be an artist, but you don’t learn how to be a business person,” Whitehair said. “It’s called show business, not show art. Understanding that business is imperative.”

Getting Involved with SAG-AFTRA

“The entertainment industry adds a massive, financial, social and political value to our country and to the world. ... We would much rather be working.”

In addition to Whitehair’s business successes, he has also worked in more than 100 projects as an actor. He began serving on committees for the Screen Actors Guild-American Federation of Television and Radio Artists, known as SAG-AFTRA, which represents more than 160,000 media professionals and entertainers. Soon he was serving on the local and national boards for the labor union.

In 2021, he was elected executive vice president of SAG-AFTRA, the number-two elected position for the union. He helps govern the union and acts as a stand-in if the president is absent. He is also part of the negotiating committee that is currently negotiating the contract that covers TV, film and streaming.

In July 2023, SAG-AFTRA went on what became a months-long strike. The union joined the Writers Guild of America (WGA), which began its strike in May. This was the first time both unions had been on strike simultaneously since 1960, according to NPR. With the explosion of streaming services within the past few years, the landscape and business of producing movies, shows and art has changed completely, Whitehair explained.

“SAG-AFTRA members are asking for an update of the contract to match the business model that the corporations changed,” Whitehair said. “Actors have been doing the same things for hundreds of years, but the business model changed. None of the CEOs called us and said, ‘Hey, would it be cool if we switch this entire business model over to streaming?’ So now all we’re saying is, ‘Hey, we need to update the contracts accordingly.’

“The entertainment industry adds a massive, financial, social and political value to our country and to the world. Truly nobody wants to be on strike — a strike is painful. It’s challenging. People are losing work. They’re losing jobs. They’re losing their houses. They’re not able to pay rent. We would much rather be working.”

Negotiating a Future with

Whitehair, second from left, with union leaders during the 2023 strike.

Artificial Intelligence

The last week of September, the WGA settled a tentative three-year contract with the Alliance of Motion Picture and Television Producers (AMPTP), and SAG-AFTRA is planning to meet with the AMPTP Oct. 2 to continue its own negotiations.

The WGA contract reforms residential payments for streaming services and lays out a set of regulations on the use of artificial intelligence in the writing room, and SAG-AFTRA hopes for similar in its negotiations.

“AI is at the heart of a lot of what we’re fighting for,” said Whitehair. “SAG-AFTRA is not saying, ‘You cannot use this technology. We refuse to adapt with the times.’ All we’re saying is [we want] informed consent and compensation. People need to know if we’re being scanned and used to be fed into an AI model or if you’re changing what I’m saying. I need to know, I need to have informed consent and I need to get paid for my work.”

After a challenging summer, Whitehair is optimistic about the future.

“I’m a big believer in the power of organized labor. We’re stronger together,” Whitehair said. “Pretty much all of human history demonstrates that when people band together, they can accomplish more.”

Photos courtesy Ben Whitehair

Ben Whitehair was elected to the position in 2021.

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Q&A with Wakanda Forever Actress and Forever Buff Aba Arthur

Anonymous — Mon, 19 Dec 2022 20:26:06 +0000

Q&A with Wakanda Forever Actress and Forever Buff Aba Arthur Anonymous (not verified) Mon, 12/19/2022 - 13:26

Christie Sounart

Aba Arthur (PolSci, Thtr’05) of Atlanta is a performer, writer and owner of production company The Ohemaa Project. She caught her big break with her role as a naval engineer in charge of a ship in Black Panther: Wakanda Forever. Arthur filmed her role in October 2021 but shot into the spotlight a year later with the Nov. 11 release of the blockbuster, which spent five weeks at No. 1 in the box office and grossed more than $400 million in that time frame. Next year, catch her in the Oprah Winfrey-adapted film The Color Purple. Here she discusses her time at CU Boulder, choosing joy and, of course, Wakanda.

What brought you to CU Boulder?

I grew up in Colorado Springs, so I was a Colorado local. I have a sister [Ahoba Arthur (Comm’02)] who was a senior at the time. With that and in-state tuition, it seemed like the best idea. I didn't want to go to college, though, in general. I was ready to go to LA. So I was a little bit reluctant, but it was one of the best decisions of my life.

What were some of your favorite memories while at CU?

I lived in Farrand Hall, and I lived in Will Vill. And then I moved off campus my junior year. But there's so many memories — football games are some of my favorites. The gathering of friends and just going and having a blast. That's also where you get a chance to meet other students you wouldn't normally come in contact with. Also — welcome, Coach Prime! Can we throw that in there?

I served in the Black Student Alliance and the African Student Association. We used to have so many events. A lot of those memories have stayed with me.

Talk about BAM!, the dance group you started on campus.

A good girlfriend of mine, Stephanie King-Thompson (EthnSt, MA’07), and I were freshmen at the same time and we were both dancers. During our first semester, we were talking about what we wanted to do. We both had an itch to dance, but because that was not our field, we wanted it to be something that was extracurricular. We decided to start something on our own.

We didn't really know what to expect, but wow, it far exceeded our expectations. We had what I thought was going to be a random audition for a couple of people, and I ended up seeing the most talented people, some of whom I still know today. We performed at basketball games and so many other events — anywhere we had the opportunity to dance, we were there. We made our own outfits. It was so cool.

Aba Arthur on the set of Wakanda Forever.

In addition to performing, you also love writing. What are your favorite aspects of writing?

I took a summer class at CU that actually changed my life — and probably changed my writing style. We were instructed to not take the pen off of the paper for an hour. So we would go outside into nature, and literally the instruction was just to write. Even if what you're writing is, ‘I think this is stupid, I hate this exercise, I don't wanna be here’ — which, I didn't want to be there, because, remember, I said it was summertime.

But what it did was start my exploration into parts of my imagination that I normally wouldn't tap into. Much like other writers, I have a very active imagination. I can make a story about anything. At the time, I was picking and choosing what I was gonna write about, which is what I think normal people do. What that class taught me was to just pick something and create a story about it, and then pick something else and create a story about it, and then pick something else. So it activated that storyteller in me, and it forced me to create stories out of regular, random situations.

What ultimately motivated you to start your own production company?

After I was writing on my own in my own house, I was collecting scripts and stories and ideas and concepts. I was finding that of the things I was writing and that spoke to me, I wasn't seeing [them] on TV or on film. I was raised in an African home and I'm African, but I've grown up in America. So I carry both cultures. I also am a feminist womanist and very proud of the female body and form. And there are a lot of ways in which I wanted to see myself represented on camera that I wasn't seeing. So it was like, ‘Wow, OK, if I'm going to do this professionally, then the part of myself that's the type A that likes things in order, I can use that to push myself forward.’ So that's exactly what I did.

I was encouraged not to start it so many times. I actually don't remember having a conversation with anybody who told me it was a good idea. That is very important because that's happened a number of times in my life. But I had all of this content that I was creating. So after I had the skeleton in place and the purpose, which is the most important thing, I just Googled everything else.

What role has meant the most to you personally?

It sounds so cliche, but seriously, it's all of them. It really is. I don't take anything for granted. Every time I get the call, I'm so grateful. I worked in casting, and I know how hard it is. Perfect roles are like a needle in a haystack. I know that for someone to not only call me back because they liked my tape or they liked my audition, but to send me to producers and directors and for everyone to agree that this role is supposed to be mine — it's like, ‘Wow!’ So every role I've played, I have cried over and I have been very grateful for. Obviously some of them are more visible than others. But they all honestly mean the world to me. Every single one.

How did the Wakanda Forever opportunity come up?

I have an agent whom I love, and she is magnificent. At the time, I was getting an audition for an untitled project. Then I got another one maybe a month later. Then I got another one. And because I've been in the industry for a while, when that happens, you know that it's something big. So I just did my best. It was at the first fitting that I found out what the movie was. I didn't really have a lot of time to react then because I was there and it was just go, go, go, go, go.

From what I suspect, my role was supposed to be for a man. In the script, they referred to my character as ‘he’ a number of times. I take a lot of pride in that because I don't know the logistics of what happened in between. All I know is, I showed up!

What was your first day on set like?

Oh my gosh. My fitting was with Oscar-award-winner Ruth Carter. I feel very fortunate for that because I know she didn't fit everybody. When I showed up, I was in the waiting room and the woman said to me, ‘Are you ready to meet with Ruth?’ And my knees gave out. She was such a dream — very professional and very kind. She knew that it was a lot for me to take in. I'm standing there and there's people swarming all over doing their thing. She would whisper in my ear, ‘Relax your knees.’ Because obviously I'm standing at attention, and when you stand at attention for that long, you're gonna pass out. So you have to relax your knees. I will always be grateful for that.

The second person I met was Lupita [Nyong'o]. She was so kind and lovely from the beginning. As you can imagine, for someone like me coming into the second installment of this massive film, I'm walking in with all of my nerves. You won't see it on my face or my body, but inside, I was freaking out. So to have a veteran like Lupita welcome me meant the world, and it allowed me to exhale and relax a little bit before I entered the world of Wakanda.

By the time I got to set, I have a very clear memory of walking up onto the platform and it was Wakanda: all the characters, all the people doing their thing. And that was a lot to take in. I certainly got teary-eyed in that moment.

What was the experience like?

I'm still processing it. The logistical part of being on set I was familiar with and I was comfortable with. I had my own trailer. I knew how it worked. But, again, we're talking about Wakanda. Ryan Coogler is my director. He is a special human being. So being directed by him and him welcoming me to the set was really important and helpful for me to be able to process what was happening as it was happening. He didn't feel daunting at all. I was able to really hear what he was saying and take it in as he was giving direction in, say, a massive battle scene.

What has been the reception by those around you now that the film is out?

I knew that the movie was gonna be massive because, hello, obviously. But the way people have received me has been such a lovely surprise. I went and shot my little lines and did my little stunts, and I was thrilled. I didn't realize that the rest of the world, including my family and friends, were going to be so excited about this.

Right after I shot Black Panther, I booked a television show called Bad Monkey, which is coming to Apple TV next year and stars Vince Vaughn! Oh my gosh. And then right after that I booked The Color Purple!

Early this year, I was taking a lot of deep breaths throughout the day because there was a lot happening in my personal orbit. So certainly for me, during that period of time, there were a couple of days where I sat and I was like, ‘Oh, OK. We're here. This is it. It's happening.’ So now it's been exciting to watch the people around me catch up to what I've been feeling for this whole year.

What brings you the most joy in your work?

When someone can relate. That's the point. Acting is empathy. So when someone is able to connect to my character or something about the project that I'm in, I feel like I've done a good job. That means the most, and it's funny because when I write things on my own, people close to me always think what I’ve written is about them. I take it as a compliment because it means that it was so personal that they felt like I was telling their story specifically.

What do you do outside of your work?

I'm such a film nerd. I'm watching movies. That's what I do. Everybody that knows me, knows that's what I do. I watch movies and I watch television with 90% of my downtime.

Do you have a classic go-to movie or show that you've watched over and over?

Oh gosh, I'm so glad you asked. I have so many. On my birthday, I always watch Sister Act II. This is the most random thing I've ever told anyone. My Best Friend’s Wedding is a classic favorite of mine, but I have a really good reason for it too: It's not just that I love the movie, but specifically because it was the first film I saw where the protagonist and antagonist were the same person, and we were rooting for the villain. We love Julia Roberts’ character, but she was making very bad decisions. But we still wanted her to win. And then she didn't win in the end, and we were okay with it. I've recently added Schitt’s Creek to my favorites too. The comedy, it's just brilliant.

When I'm having a bad day, I watch the Care Bears. I like the colors and that everything is soft and fluffy. Oh! This will be my last one or I’ll keep going and going. I love Mahogany. I'm a huge Diana Ross fan. I watch Mahogany on my birthday too.

What else should we know about you?

I'm so silly. I know when to take things seriously, but I prefer to laugh, always. I have a lot of jokes in my mind all the time. I just know when it is appropriate to bring them out of my mouth. But I like to laugh through life. I like joy a lot, and I will always choose that.

Photos courtesy Aba Arthur

Aba Arthur of Atlanta is a performer, writer and owner of production company. She caught her big break with her role as a naval engineer in 2022's mega-hit Black Panther: Wakanda Forever.

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Life at Shondaland: A Conversation with Head of Production

Anonymous — Mon, 11 Jul 2022 06:00:00 +0000

Life at Shondaland: A Conversation with Head of Production Anonymous (not verified) Mon, 07/11/2022 - 00:00

Jessi Green

Over a 30-year career, Sara Fischer (Advert, Engl’78) has become one of the top female TV production executives in the country. She got her start in the entertainment industry as the “gal Friday'' at a sports agency before gaining valuable experience behind the camera working in live sports and commercials. One of the first women hired in the Sports Division at CBS, Fischer’s career has included time as an assistant director, unit production manager, producer and eventually executive positions at Showtime and ABC Studios.

In 2016, Fischer joined Shondaland as executive vice president and head of production. The Shonda Rhimes-led production company creates stories focused on people who have been historically overlooked. The company’s first venture, Grey’s Anatomy, is the longest-running scripted primetime series carried by ABC, and Bridgerton is one of the most watched English-language shows in Netflix history. With each successive role, Fischer has used her platform to empower others in front of and behind the camera.

What was the best part of your CU Boulder experience?

The friendships that came out of it. CU is a beautiful place. Two out of my three children are CU graduates also. They loved it and always heard about it from me.

How was your Hollywood journey unique?

I’ve never met anyone who started in live TV, and then moved to scripted TV. In live television, if you make a mistake, you can’t take it back. In scripted, there’s always a take two, take 10, take 20. So, once you work live, you become calm for everything else.

As head of production, what does your daily work look like?

From production issues to personality issues, every day is completely different when you’re responsible for hundreds of people. You have people under you producing individual shows, but you are still the bottom line and answer all of those people’s questions.

The film business is one of relationships, and you have to be kind to everyone. My best attribute is being a connector, remembering who does what, and staying friendly with people. It comes back in so many ways and helps professionally and personally.

What makes Shondaland different from other production companies?

We’re developing great material. It’s also our outlook, and how we try to make our sets look like the world today. It’s about the best character, the best actor for the role.

We have so many women working on our shows, and heads of departments who are women. But now it’s about training more people of color to be department heads and showing that our business is open to everyone.

Shows like Bridgerton and Inventing Anna center the stories of women and people of color. What’s the importance of telling these stories?

We get to tell the stories that should be told, and put our spin on it. In Bridgerton, we showed people of color in the English ton. And we changed people's lives. People who work on our show in the UK said it changed their entire family’s perspectives to see people of color being waited on in 1814.

Are there other ways you promote the advancement of marginalized people in production?

I’m a co-founder of 1IN4 — a coalition of working disabled professionals in Hollywood. I have MS (multiple sclerosis), but I covered it for years. A lot of people with visible disabilities can’t. The name 1IN4 comes from the fact that 25% of adult Americans are disabled in some way. We’re trying to normalize disability in front of the camera and behind the lens.

One of the other things we’re working on both in the US and England is a new job called access coordinator. Similar to how an intimacy coordinator is brought in to work with a director and actors during an intimate scene, an access coordinator comes onto the set and says, ‘Let’s look around: Oh you might need a handrail on this ramp,’ or ‘Your script calls for someone who is neurodiverse, we can help you find that person,’ or ‘Your script is referring to a wheelchair user not in the way that it should be addressed.’

We were also able to have Netflix fund a training program called The Ladder to train people of color, BIPOC and people with disabilities. It’s amazing to see the change from the first year to the third year on Bridgerton — what it’s looking like behind the camera. We also have the Shondaland/Netflix Producers Inclusion Initiative in the US to train up-and-coming line producers from underrepresented and BIPOC communities. This will change the way our sets look for future generations.

Anyone can do a show. When you get to this point in your career, you can open your mouth and say what has to be changed. And then change it! What I am able to give back to my industry has always been the most important part to me.

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Photos courtesy Jay Goldman and Barnaby Boulton

Over a 30-year career, Sara Fischer has become one of the top female TV production executives in the country.

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Former Disney Exec Jonathan Treisman on Finding Success

Anonymous — Fri, 02 Jul 2021 06:00:00 +0000

Former Disney Exec Jonathan Treisman on Finding Success Anonymous (not verified) Fri, 07/02/2021 - 00:00

Grace Dearnley

Jonathan Treisman (Comm’92) is the Sr. Director, Strategic Partnerships for the Television Academy/Emmy Awards. He works with Fortune 500 companies and innovative brands on sponsorship integrations within Emmy-Awards Season red carpet entertainment industry events. He has been the owner of Flatiron Films, produced several critically acclaimed movies, been Vice President of Development for The Walt Disney Company, and worked for companies such as Anschutz Entertainment Group and NBCUniversal Media.

How did your major in communication prepare you for a career developing film and television?

I majored in communication because I knew that I wanted to be a part of the Media & Entertainment industry in some way, shape or form after college, but I didn’t know which part. Communication gave me a tremendous skill set, ranging from interpersonal and business communications to the ability to write and express my ideas in a professional manner. It also helped to hone my public speaking skills, which has given me an edge at each of my jobs.

Do you often rub elbows with celebrities and do you ever get starstruck?

I started my career after college at Walt Disney Pictures working as a production and casting assistant, so from my very first job, I was fortunate to engage with celebrities and top entertainment industry executives in the work environment and at industry events. Having this early experience around celebrities gives me a sense of context when in those situations. Of course, I still get starstruck from time to time and can get tongue-tied when I finally meet someone who I’m a super-fan of — like Ron Howard or Denzel Washington.

How did you come to own the indie film company Flatiron Films?

After several years working at Disney in all facets of productions, I wanted to be a film producer. I started a production company — Flatiron Films — which was inspired by my love for the Flatirons in Boulder.

While working at Flatiron Films, you were a producer on two critically acclaimed movies. What was this experience like and what did you take away from it?

As an independent producer, my angle was finding great material that I thought would make unique films. I was fortunate to discover the then unpublished manuscript, Pay It Forward and I set it up at Warner Bros. Pictures before it became a New York Times bestselling novel. I also produced a short-film starring Academy Award-winning actor, Jack Lemmon, which won several awards on the film festival circuit.

What was it like to be involved in the creation of various popular Disney films?

My role in development at Disney Feature Animation was incredible. Just to be discussing character and story arcs with geniuses like Academy Award-winning producer, Don Hahn was an education unto itself. Some of the films that I worked on while I was there included Chicken Little, Tim Burton’s Frankenweenie and the early development of Wreck It Ralph.

What advice would you give to young people hoping to enter the entertainment industry?

My advice to anyone hoping to enter the entertainment industry, or any industry is relatively simple:

Always be networking, whether it’s hitting up alumni or doing as many meet and greets as possible. Your next job will probably come from one of these sources.
Leave your ego at the door, pay your dues and be willing to intern or be an assistant in the entertainment industry post-college to get your foot in the door. Have a positive attitude and make yourself invaluable to the team.
In the beginning of your career, money cannot be your primary goal. If you do well in your chosen field, success will follow.
And perhaps most importantly, cultivate mentors within your industry, whether directly or from afar with those who inspire you. Their advice will guide you when times get tough and you need a shot of inspiration.

What is your favorite memory from your time at CU?

I have way too many favorite memories from my time at CU. Whether it was painting our faces and going to Buffs games, to nights at The Sink, seeing Big Head Todd and Dave Matthews perform at the Boulder Theater or ski trips with my friends; to this day, CU was the greatest time of my life!

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Photo Alamy Stock Photo

A former Disney executive, Jonathan Treisman is now senior director of strategic partnerships for the Television Academy and Emmy Awards.

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Infinite: From self-published book to movie starring Mark Wahlberg and Chiwetel Ejiofor

Anonymous — Fri, 02 Jul 2021 06:00:00 +0000

Infinite: From self-published book to movie starring Mark Wahlberg and Chiwetel Ejiofor Anonymous (not verified) Fri, 07/02/2021 - 00:00

Helen Olsson

In 2010, Rafi Crohn picked up a paperback called The Reincarnationist Papers in a hostel in Nepal. On the first page, author D. Eric Maikranz (Russ’91) offered a cash reward to any reader who could help get the book made into a Hollywood movie.

As an assistant to a movie producer, Crohn was instantly intrigued by both the proposal and the book’s puzzle-box plot.

Part sci-fi thriller, part mystery and part historical fiction, the novel follows a shadowy society called the Cognomina made up of reincarnated individuals with total recall of their past lives.

“They’re very cosmopolitan and educated people who’ve led very enriched lives,” Maikranz said. “Some characters go back 10 or 20 lives.”

[video:https://www.youtube.com/watch?v=_WWEOCQGxSw]

How the self-published paperback found its way to Nepal remains a mystery. At the time, there were only a thousand copies in circulation.

“I had no idea if it would work,” said Maikranz. “It’s even more mind-blowing that Rafi found it halfway around the world.”

The idea sprung from Maikranz’s work as a programmer at Oracle, which often uses collaboration and customer input to improve its products. “Essentially, I crowdsourced my readers to become my agents,” he said.

And — it worked. Crohn and Maikranz paired up on a quest for a movie deal.

For the next nine years, Crohn championed the book in what would be a rollercoaster ride of emotions. They’d get a nibble from a production company one month, an option here, a producer interested there. Right when it seemed like a done deal, the project would get shelved. Finally, in 2017, it sold to Paramount. The film, titled Infinite, stars Mark Wahlberg and Chiwetel Ejiofor and was released on Paramount+ in June.

In 2019, Maikranz traveled to an abandoned Victorian mansion-turned-movie-set in England to see the filming of Infinite and to meet Wahlberg between takes.

“I was absolutely terrified. I speak in front of thousands of people for work; I don’t really rattle. But I couldn’t even hold a cup of tea,” said Maikranz. “Wahlberg said to me, ‘Eric, I hope to make you proud of my portrayal of your character.’ I was floating like a butterfly.”

Maikranz gained inspiration for this unique adventure through a combination of travel, historical study and personal experience.

After graduating from CU, Maikranz moved to Italy to serve as a foreign correspondent. On the side, he gave tours of the Coliseum and the Forum, bringing the past to life through historical characters.

“Every generation has its Kardashians and Clintons,” he said. “That was killer training for storytelling on the page.”

Maikranz also found inspiration for the novel through his own curiosity about reincarnation.

“I have three memories that don’t belong to me,” he said. “The oldest one is from around 1880. I’m a little boy holding a man’s hand as we watch huge black steam locomotives pull up to the tracks.”

Does he believe in reincarnation? “I don’t have a strong metaphysical stance on it. I don’t necessarily believe in it, but I don’t not believe in it.”

Maikranz also credits his time at the university.

“In a way, I’m equipped to write this novel because the 22-year-old version of me went to CU and studied the Russian giants.”

He is inspired by the idea that even in our current existence, we’re different people at different parts of our lives.

With the release of Infinite, Maikranz plans to take a six- to 12-month leave of absence from Oracle to focus on writing — and to take time for dropping in on Zoom book clubs. The second book in the series, The Cognomina Chronicles, is in the works.

“After 30 years, I’m finally getting to use my degree in literature to the fullest,” he said.

Connect with Maikranz on Facebook and Twitter.

Submit feedback to the editor

Photo courtesy Paramount+

D. Eric Maikranz propelled his book to the silver screen with guerilla marketing.

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Viola Davis Visits CU

Anonymous — Mon, 03 Jun 2019 17:22:46 +0000

Viola Davis Visits CU Anonymous (not verified) Mon, 06/03/2019 - 11:22

Oscar-winner Viola Davis spoke at Macky Auditorium about growing up poor, the value of big dreams and her experience of Hollywood as a black actress. Davis won the 2017 Academy Award for best supporting actress for her work in Fences, a film adaptation of August Wilson’s Pulitzer Prize-winning play about a working-class black family in 1950s Pittsburgh. “You have to ask yourself this question,” said Davis, also an Emmy- and Tony-winner. “Is there anything you are doing to make life better?”

Oscar-winner Viola Davis spoke at Macky Auditorium about growing up poor, the value of big dreams and her experience of Hollywood as a black actress.

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Zombies: A Success Story

Anonymous — Wed, 01 Mar 2017 12:14:00 +0000

Zombies: A Success Story Anonymous (not verified) Wed, 03/01/2017 - 05:14

Kurt Anthony Krug

Ross Marquand, far left, on the set of The Walking Dead.

Ross Marquand (Thtr’04) was about to give up on Hollywood.

“I was at the end of my rope,” said the 35-year-old actor (top left), reflecting on the summer of 2014. “After about 10 years of living in L.A. and trying to make it work, it just dawned on me that it might not happen.”

He’d appeared in independent and short films, had a role in Mad Men, playing Paul Newman in a 2013 episode, and done a lot of voice-over work. But a career-making role eluded him and he planned to try his luck in New York theater.

Then Marquand got a call about auditioning for a zombie apocalypse show, AMC’s The Walking Dead — the highest-rated TV series in cable history. �鶹��Ƶ a week later, on his birthday, he was cast.

“It’s really changed my life,” said Marquand, an Eagle Scout who grew up in Littleton, Colo., and also counts mountain climbing and firearms among his skills, some of which come in handy on the set of The Walking Dead.

The blockbuster show, based on a comic book series of the same name, is about regular humans trying to survive a zombie apocalypse. Marquand joined the cast in season five as Aaron, an openly gay former NGO worker in Africa who tries to recruit fellow survivors to a safe zone.

Now in its seventh season, with an eighth planned, the character-rich drama is conspicuously gory, a selling point for hordes of viewers: More than 21 million tuned in for the current season’s premiere.

So far, Marquand has appeared in more than 30 episodes. The resulting notoriety has expanded the audience for his spot on impressions of some of Hollywood’s most famous actors. After Vanity Fair magazine published a video called “Nanoimpressions with Ross Marquand,” in which Marquand impersonates Matthew McConaughey, Kevin Spacey, Al Pacino, Michael Caine and others doing everyday things, he found himself performing on “Jimmy Kimmel Live.”

Kevin Spacey himself has singled out Marquand’s impression of him as top-notch.

The impressions are funny, but The Walking Dead is primarily a drama — the sort in which heads are bashed, throats ripped out and entrails on display.

In the controversial seventh season opener, two beloved characters meet their end in a graphic scene at the hands of another (baseball-bat-wielding) human survivor named Negan, underscoring one of the show’s themes — that in the post-apocalyptic zombie world, survivors can be bigger threats than zombies.

“I certainly understand people’s feelings, and I think it’s good that they have strong feelings,” said Marquand. “It means we’re doing our jobs — people are actually feeling connected to these characters, and when two of their favorites are killed off, it affects them. I think that’s wonderful.”

Of fans who found the scene too much to stomach, “we hope we can win them back as the season goes on,” Marquand said, “because I will say that this season is the strongest yet.”

Outside The Walking Dead, Marquand has been sampling what else showbiz now has to offer. A fellow Walking Dead actor, Danai Gurira, cast him in her play, Familiar, for its 2015 world premier at the Yale Repertory Theater. He’s provided the voice of Han Solo for the video game Star Wars: Trials on Tatooine. (He does a mean impersonation of Harrison Ford, who plays Han Solo in the movies.) Other projects are in the works.

Marquand is meanwhile settling into his new measure of fame, “a bit of a shock” at first, he said. “Now it’s a part of my life and you just have to roll with it.”

Overall, success has been a welcome door-opener.

“It’s great to have to go from almost being $40,000 in debt to being on this massive behemoth of a show and having opportunities sent to you,” he said.

Freelancer Kurt Anthony Krug is based in Michigan.

Photos courtesy Ross Marquand

For actor Ross Marquand, a certain zombie apocalypse has been a career-maker.

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10 Hollywood Buffs

Anonymous — Fri, 22 Jul 2016 17:10:58 +0000

10 Hollywood Buffs Anonymous (not verified) Fri, 07/22/2016 - 11:10

Christie Sounart

Actor Christopher Meloni

Forever Buffs who made it in Tinseltown:

Heather Arthur (Bus’03) and Jonathan Arthur (Bus’03), Stunt Actors, Lost, Furious 7, Captain America
Adrianna Costa (Jour’03) Entertainment Reporter, E! Network, Access Hollywood, CNN
Sarah Siegel-Magness (Bus’95) Film Director; Producer of Precious
Trey Parker (A&S ex’93) and Matt Stone (Art, Math’93) Co-Creators and Executive Producers of South Park
Christopher Meloni (Hist’83) Actor, Law and Order: Special Victims Unit
Jim Doyle (Art’78) 1992 Academy Award winner, technical achievement
Howard Schultz (Comm’75) Reality TV Producer, Extreme Makeover
Larry Linville (Engr ex’61) Actor, M*A*S*H
Robert Redford (A&S ex’58, HonDocHum’87) Actor, Director and Producer; Founder of the Sundance Institute
Dalton Trumbo (A&S’29) Screenwriter

See which Forever Buffs made it in Tinseltown.

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How Lilibet Snellings Saw Los Angeles

Anonymous — Tue, 01 Mar 2016 18:31:15 +0000

How Lilibet Snellings Saw Los Angeles Anonymous (not verified) Tue, 03/01/2016 - 11:31

Jillian Arja

Performance Art

Lilibet Snellings (Jour'04)

It was July 18, 2007. Lilibet Snellings (Jour’04) put on a pair of white boy shorts and a white tank top and crawled into a 4-by-15-by-5-foot glass box suspended behind the concierge desk at the Standard hotel in West Hollywood.

Snellings would be the Box Girl for the night. And not just that night: For years it was her job one day a week.

As the key element in this provocative bit of performance art, Snellings could do just about anything she liked. She read and slept, checked email, even cried once. The only verboten thing was seeming to notice the people noticing her.

“I was doing all of these random, hilarious odd jobs to make ends meet,” says Snellings, who arrived in Los Angeles at 22 and describes herself in those early years as a stereotypical “LA slash” — waitress/performance artist/nanny/writer.

In time, she also worked as an on-camera reporter, an extra in a Smirnoff Ice commercial and a corpse in a music video and earned an MFA at the University of Southern California.

The job at the Standard seemed like it might lead to something bigger — a magazine article, maybe. One written by her.

The result was a book, Box Girl: My Part-Time Job as an Art Installation, published in 2014, which Dana Goodyear of The New Yorker called “one part Joan Didion, one part Holly Golightly” and an “utterly original account of coming of age in L.A.”

“Maybe it’s naïve, maybe it’s not, but I tried to convince myself that I was a part of a larger permanent art installation, which I thought was pretty cool,” says Snellings, who grew up in Connecticut. “However, as a woman understands and knows, there were times I would cancel and get my shift covered, because I felt kind of gross and I did not want to be in that outfit in front of a bunch of people.”

Whatever Snellings was to people outside the box, the box to her was an observatory. She took notes, and those notes became the book.

Reflecting on her experiences, Snellings likes to quote Didion: “Every evasion, every procrastination, every mistake, every word, all of it. It has counted after all.”

“I love the word ‘counted,’ because all of that stuff, even your mistakes, all of that stuff counts,” she says. “That all adds up to make you who you are.”

Snellings lives in Chicago now. But her days at the Standard in Los Angeles continue to yield new possibilities: A TV writer is now shopping the idea of “Box Girl” to various networks.

“No one is going to knock down your door to offer you a job,” Snellings says. “You have to create your own destiny.”

Photo courtesy Lilibet Snellings

When Lilibet Snellings (Jour'04) moved to Los Angeles, she served as the "Box Girl" at the Standard hotel in West Hollywood.

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