Costume Designer

Total Page:16

File Type:pdf, Size:1020Kb

Costume Designer Katherine Milne Costume Designer. Bio Katherine Milne is a Melbourne based costume designer and stylist with over twenty years of experience across film, television and commercials. Her design credits include Killer Elite starring Jason Statham and Robert De Niro, The Whistleblower, set in China and Africa, starring Tang Wei. Most recently she has just completed filming Liam Neeson’s latest film Blacklight, set in Washington DC. Originally from Auckland New Zealand, Katherine began her career on the cult classic TV series Xena and Hercules. Since then she has worked continuously in the film industry on numerous local and International film productions. Katherine excels at managing large scale departments and budgets. She has significant experience with executing speciality costumes and any stunt action costume requirements. Katherine thrives working in the collaborative creative ecosystem of film and television production , embraces each new design challenge and loves to create authentic characters and their worlds through costume. M: +61 (0) 404983147 E: [email protected] Katherine Milne W: katherinemilne.com Costume Designer. FILM & TV - Experience 1999-2020 BLACKLIGHT - COSTUME DESIGNER Feature Film 2020 Director Mark Williams | Producers , Mark Williams ,Myles Nestel , Paul Currie , Coco Ma | Budget: US$ 46M (est.) REEF BREAK - COSTUME DESIGNER (5 episodes) ABC T.V Series: Touchstone Productions Executive Producers: Poppy Montgomery, Steve Pearlman, Ruthanne Secunda Producer: Guy Louthan THE WHISTLEBLOWER - COSTUME DESIGNER Feature Film: Whistle Movie Productions Producers: Bill Kong - Greg Basser Executive | Producers: Matthew Tang - Li Hao Director: Xiaolu Xue | Budget: US$ 50M (est.) MORTAL ENGINES - ASSISTANT COSTUME DESIGNER Feature Film: Hungry City Ltd - Paramount Pictures - Universal Pictures 2017 Producers: Amanda Walker - Peter Jackson - Fran Walsh Director: Christian Rivers | Budget: US$ 100M (est.) PACIFIC RIM -UPRISING - COSTUME SUPERVISOR Feature Film: Legendary - Maelstrom Productions (2017) Producers: Thomas Tull - Mary Parent - Guillermo Del Toro Director: Steven De Knight | Budget: US$ 150M (est.) THE MEG - COSTUME SUPERVISOR Feature Film: Warner Brothers - Manu One Ltd 2016 Producers: Barrie Osborne - Colin Wilson - Belle Avery Director: Jon Turtletaub | Budget: US$ 130M (est.) PETE’S DRAGON - ASSISTANT COSTUME DESIGNER Feature Film: Walt Disney Studios - Tyndall Productions (2014) Producers: Jim Whitaker - Barrie Osborne - Adam Borba Director: David Lowery | Budget: US$ 65M (est.) I FRANKENSTEIN - COSTUME SUPERVISOR Feature Film: Lakeshore Entertainment - Hopscotch Features (2011-2012) Producers: Andrew Mason - Richard Wright - David Kern Director: Stuart Beattie | Budget: US$ 65M (est.) ANY QUESTIONS FOR BEN - COSTUME CO-DESIGNER Feature Film - Working Dog (2010) Producers: Michael Hirsh, Jane Kennedy Director: Rob Stich THE KILLER ELITE - COSTUME DESIGNER Feature Film: Omnilab (2010) Producers: Michael Boughen - Tony Winley - Sigurjon Sighvatsson Director: Gary Mckendry | Budget: US$ 75M (est.) ICBINB - COSTUME DESIGNER Pilot T.V Series: Foxtel (2009) | Producer: Rohan Timlock | Director: Erin White PREDICAMENT - COSTUME SUPERVISOR Feature Film: Novel Productions (2009) | Producer: Sue Rodgers w Director: Jason Stutter | Costume Designer: Lesley Burkes Harding THE REINCARNATIONS OF WILLIAM BUCKLEY - COSTUME DESIGNER Visual Portfolio Docu Drama: December Films (2009) katherinemilne.com Producer: Tony Wright | Director: Malcolm Mc Donald M: +61 (0) 404983147 E: [email protected] Katherine Milne W: katherinemilne.com Costume Designer. FILM & TV - Experience 1999-2020 HOME BY CHRISTMAS - EXTRAS COSTUME SUPERVISOR Feature Film: Doublehead Films 2008 Producer: Sue Rodgers | Director: Gaylene Preston | Costume Designer: Lesley Burkes Harding. SAVED - COSTUME SUPERVISOR Television Drama Series: Big And Little Films 2008 Producer: Michael Mcmahon | Director: Tony Ayers | Costume Designer: Cappi Ireland. VERY SMALL BUSINESS - COSTUME SUPERVISOR Television Drama Series - ABC 2008 Producers: Wayne Hope, Robin Butler | Director: Diana Reid | Costume Designer: Cappi Ireland. DYING BREED - COSTUME SUPERVISOR Feature Film: Ambience Concept Pty Ltd 2007 Producers: Michael Boughen, Rod Morris | Director: Jody Dwyer | Costume Designer: Katie Graham BURYING BRIAN - COSTUME SUPERVISOR Television Drama: Eye-Works Touchdown 2007 Producer: Julie Christie | Director: Peter Burger | Costume Designer: Bob Buck. FATAL CONTACT - COSTUME SUPERVISOR Television Film: Film Factory Untitled Productions Ltd - Sony 2006 Producer: Dennis Brown | Director: Richard Pearce | Costume Designer: Katie Graham. OUTRAGEOUS FORTUNE - STANDBY Producer: John Barnett | Director: Various | Costume Designer: Katrina Hodge. KING KONG - STANDBY Feature Film- Big Primate Pictures - Universal 2005-2006 Producers: Jan Blenkin, Carolynne Cunningham | Director: Peter Jackson | Costume Designer: Terry Ryan MADIGAN’S QUEST - STANDBY Producer: Simon Bennett | Directors: Various | Costume Designer: Tracey Collins KIDNAPPED - BUYER Producer: Diana Kyle | Director: Brendan Maher | Costume Designer: Lesley Burkes Harding PET DETECTIVES - ASSISTANT COSTUME DESIGNER T.V Series– Screen Time 2004 Producer: Christina Milligan | Directors: Various | Costume Designer: Katrina Hodge SERIAL KILLERS - COSTUME SUPERVISOR T.V Series– Landtry Ltd 2004 Producer: Judith Tyre | Directors: Various | Costume Designer: Sarah Voon MERCY PEAK (SERIES 1 &2) - BUYER | DRESSER T.V SERIES 2 & 3 Producer: John Lang Directors: Various | Costume Designers: Katrina Hodge| Sarah Voon BACK TO BACK (SERIES 1 & 2), JACK-OF-ALL-TRADES & CLEOPATRA 2525 - STANDBY ASSIST Producer: Eric Grunderman | Directors: Various | Costume Designer: Jane w Holland Visual Portfolio XENA AND HERCULES - EXTRAS DRESSER Directors: Various Producer: Eric Grunderman, Rob Tapert Costume Designer: katherinemilne.com Ngila Dickson M: +61 (0) 404983147 E: [email protected] Katherine Milne W: katherinemilne.com Costume Designer. TV COMMERCIALS - Experience 1999-2020 STYLIST TAC - Will O Rourke SPORTSBET - The Sweet Shop TAB - Rabbit Content NAB - Finch CROWNBET - Finch WESTPAC - Sidekick TAB - Finch CHINA HUISHAIN DAIRY - Land Of Auz Productions HAIRHOUSE WAREHOUSE - Ficton Films iSELECT - Famous By Tuesday BAKERS DELIGHT - Cherry Pictures IINET - Meerkats CROWN - Hub PHILIDELPHIA - Play Big Films K R CASTLEMAIN - Renegade AAMI INSURANCE - Guilty TOYOTA - Radical FOCUS ON FURNITURE - Colour Me Films WARDROBE VIRGIN - Revolver NAB - Revolver KMART CHRISTMAS - Airbag Produtions DAVID JONES - Flinders Lane MEDI BANK - Teir 2 JULLIET - The Otto Empire TOYOTA - The Pound HYUNDAI - The Sweet Shop KMART - Exit VIVID WIRELESS - Renegade FORD RANGE - Film Graphics M&M’S - Prime Cuts IKEA - Renegade MYER - Plush WORKSAFE - Renegade CHANNEL 7 AFL - Revolver KSWISS - Exit Films VIC ROADS - Chocolate THEATRE - Experience SWEET CHARITY - COSTUME SUPERVISOR (NZ) MUSICAL Auckland Theatre Company 2006 Director: Colin Mccoll Designer: Elizabeth Whiting w FASHION - Experience AIR NZ FASHION WEEK 2005 BEST OF FASHION SHOWS -HEAD STYLIST Visual Portfolio katherinemilne.com FASHION STYLIST FOR PRINT 1996 - 1998 M: +61 (0) 404983147 E: [email protected] Katherine Milne W: katherinemilne.com Costume Designer. REFEREES Line producer: Dean Hood Production Designers: Michelle McGahey / Chung Man Yee Contact details available on request. BOOKING AGENT Freelancers Promotions PH: +61 (03) 9682 2722 w Visual Portfolio katherinemilne.com.
Recommended publications
  • EXPLORING IDENTITY Emilio Sosa L Costume Designer Michael Griffo L
    EXPLORING IDENTITY Emilio Sosa l Costume Designer Michael Griffo l Author/Educator ELA, Life Skills, Character Studies Grades l 5, 6, 7, 8, 9, 10 FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY BACKGROUND ARTIST INSIGHT As a Latino, I’m influenced by the bright colors that’s evident in my Latin culture. I also grew up listening to great Latin music and being surrounded by aunts and uncles in their Sunday best. I can now look back and use those influences in a modern way. I think that style comes from within, not just the clothing you wear. Style doesn’t come with a price tag; it comes from knowing yourself and what works for you. I have a strong belief that hard work and dedication are the keys to success and that talent rises to the top. Any challenges I come across I’ve been able to overcome because of my strong will to succeed. My advice to anyone who aspires to work on Broadway or in the fashion field is to gain as much knowledge as possible. Whether it’s through formal education or internships knowledge is power. —Emilio Sosa, Fashion and theatrical costumer designer ABOUT THE EXPERTS SPECIAL GUEST: Emilio Sosa is a first-generation immigrant from the Santo Domingo, Dominican Republic, and a graduate of the Pratt Institute. He discovered his passion for design when he was 14 years old and has since achieved his goal of becoming an award- winning fashion and costume designer. In 2006 he was the recipient of the TDF’s Irene Sharaff Young Master Award and named Design Virtuoso by American Theatre Magazine in 2003.
    [Show full text]
  • Costume Designer Costume Designer
    COSTUME DESIGNER A Costume Designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions. The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other. READING THE SCRIPT The first step is to read this script, which can give direction as to what the characters are wearing. The script also gives an indication through the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character. The designer would then liaise with the director to determine the time period and location (as they may change this from the script) and if there is any other style or element they want to achieve. It is imperative that the costume and set design have a cohesive look. BUDGET As a designer you will need to know your budget as this has a big impact upon the design of a production. It is cheaper to produce a contemporary show, so you can op shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time intensive.
    [Show full text]
  • Costume Designer for the Youth Theater Ensemble
    Costume Designer for the Youth Theater Ensemble Job Title Costume Designer for TMC’s Youth Theater Ensemble Reporting to Director & Producer Stipend: $350 Hours/Schedule: Starts end of January with Director (See Rehearsal Schedule) Auditions: January 21st - 29th, 2020 Show Dates : May 1st, 2nd & 8th, 2020 The Organization: The Miracle Center's (TMC) mission is to use the performing and visual arts as a tool for personal and professional growth via self-expression for youth and adults. TMC nurtures and encourages the development of the next generation of professional artists by offering them opportunities to perform and exhibit their work. The Miracle Center is a theatre company on the border of the Logan Square and Hermosa communities. Our program is the Youth Theatre Ensemble, and we work with over 50 inner-city teens on three productions throughout the year. What we need is a costume designer is to take the choices our design teens make and compile costumes as close to that as possible.. In terms of the time commitment, we really would only need the costume designers for our initial production meetings, fittings, a few rehearsals to be with the costume students, production meetings and tech rehearsals. You are more than welcome to put more time and energy into the process as our teens could benefit from the mentorship. Job Summary: We are looking for a creative Costume Designer to create costumes and costume props for the actors on stage. As the Costume Designer, you must be very creative and well-versed in different garment types and styles. You should be talented at sketching and see creating clothes as art.
    [Show full text]
  • Costume Design: Key Questions
    Costume Design: Key Questions Costume designer and architect Gabriela Yiaxis worked with Whitechapel Gallery Children's Commission 2015 artist Rivane Neuenschwander on the exhibition The Name of Fear. Gabriela is an experienced freelance costume designer who works worldwide on feature films, advertisements, TV, fashion and music. In this resource she shares key questions and the process of taking a costume from script to screen. Rivane Neuenschwander: The Name of Fear 2015 Costume Design: Key Questions Costume designer Gabriela Yiaxis shares some of her key considerations when developing costumes for feature films. Think about how all of these questions effect what you see on screen, some of these questions can also be applied to developing costume for theatre, advertising campaigns and catwalk collections. Setting What is the story about? Is the film contemporary, futuristic, epic, period? Which exactly era? Does the storyline have a fantasy or realistic approach? How does the director wants to tell the story? Funny, realistic, surreal? Will the film be shot in black and white, sepia, colour? Who is the audience for the finished product? Costume Design: Key Questions Building a character Examples of questions you should ask yourself when they are not on a script . How old are they? Is the character rich or poor? What is their social status? Aristocracy, working class, middle class? What is the characters family background? Are they from a traditional family background, alternative family background, single parent household, grew up in care? What is the characters role in the story? Banker, waitress, doctor, athlete, writer, homeless, musician, salesman, criminal? Consider how the characters personality affects the costume.
    [Show full text]
  • 2021 Permittee Information Book
    IATSE LOCAL 856 500-332 Bannatyne Avenue Winnipeg, MB R3B 2M3 Phone: (204) 953-1100 FAX: (204) 953-1109 Website: www.iatse856.com Permittee Information Package For IATSE Local 856 International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada All Applicants must provide proof of successful completion of WHMIS & SET ETIQUETTE Please contact Film Training Manitoba @ 204-989-9669 www.filmtraining.mb.ca /Volumes/Server/Administration/Applications-Form Letters & Information/Permittee Information/2015 Permittee/Permittee Information Package.doc Revised April 2019 IMPORTANT INFORMATION FOR OBTAINING PERMITTEE STATUS WITH IATSE LOCAL 856 This is also an information resource for permittees who are new to I.A.T.S.E. Local 856 and who will be placed on the availability roster that is used for filling work positions. This infoRmation package will define the application pRoceduRe foR Permittee status with IATSE Local 856. Specific depaRtment qualification foRms aRe RequiRed to be completed and returned along with your application form. PREVIOUS EXPERIENCE IS A REQUIREMENT. YOU MAY SUBMIT UPDATED RESUMES AS YOU GAIN NEW EXPERIENCE. RESUMES AND APPLICATIONS ARE USUALLY REVIEWED EVERY THREE TO FOUR MONTHS. YouR chances of being considered for Permittee status and work will be greatly increased if you have curRent production experience – preferably television, theatRe, commercials, documentary, or independent production credits. IF YOU DO NOT HAVE ANY TRAINING OR DIRECT EXPERIENCE IN YOUR FIELD OF CHOICE: • FamiliaRiZe youRself with the job descRiption and the qualifications RequiRed of the DepaRtments that you wish to apply to. • Contact Film Training Manitoba at 989-9669 Regarding TRaining ProgRams.
    [Show full text]
  • FILM 5 Budget Example
    TFC Production Budget-DETAIL Title: My FILM 5 Movie Budget Dated: 22-Aug-18 Series: Medium/Format: Prodco: Length: 5 mins Location/Studio: Halifax 01.00 STORY RIGHTS/ACQUISITIONS Acct Description CASH 01.01 Story Rights/Acquisitions (0) 01.95 Other (0) TOTAL STORY 01.00 (0) RIGHTS/ACQUISITIONS 02.00 SCENARIO Acct Description # # Units Unit Rate/Amt CASH 02.01 Writer(s) 1 1 --- 0.00 (0) 02.05 Consultant(s) 1 1 --- 0.00 (0) 02.15 Storyboard 1 1 --- 0.00 (0) 02.20 Script Editor(s) 1 1 --- 0.00 (0) 02.25 Research 1 1 --- 0.00 (0) 02.27 Clearances/Searches 1 1 --- 0.00 (0) 02.30 Secretary 1 1 --- 0.00 (0) 02.35 Script Reproduction 1 1 --- 0.00 (0) 02.60 Travel Expenses 1 1 --- 0.00 (0) 02.65 Living Expenses 1 1 --- 0.00 (0) 02.90 Fringe Benefits 0.00 % 0 (0) 02.95 Other 1 1 --- 0.00 (0) 02.00 TOTAL SCENARIO (0) 03.00 DEVELOPMENT COSTS Acct Description CASH 03.01 Preliminary Breakdown/Budget (0) 03.05 Consultant Expenses (0) 03.25 Office Expenses (0) 03.50 Survey/Scouting (0) 03.60 Travel Expenses (0) 03.65 Living Expenses (0) 03.70 Promotion (0) TFC0208-0612 Page 1 of TFC Production Budget-DETAIL 03.95 Other (0) 03.00 TOTAL DEVELOPMENT COSTS (0) 04.00 PRODUCER Acct Description # # Units Unit Rate/Amt CASH 04.01 Executive Producer(s) 1 1 --- 0.00 (0) 04.05 Producer(s) 1 1 --- 0.00 (0) 04.07 Line Producer(s) / Supervising Prod.(s) 1 1 --- 0.00 (0) 04.10 Co-Producer(s) 1 1 --- 0.00 (0) 04.15 Associate Producer(s) 1 1 --- 0.00 (0) 04.25 Producer's Assistant 1 1 --- 0.00 (0) 04.60 Travel Expenses 1 1 --- 0.00 (0) 04.65 Living Expenses 1 1 --- 0.00
    [Show full text]
  • From Live Theatre; Do Not Involve Special Manipulation W/ the Camera; E.G
    17 Visual Special Effects 1. Stage Effects--from live theatre; do not involve special manipulation w/ the camera; e.g.: * makeup (e.g., latex bladders) * puppets * "men in suits" * mechanical devices/robots * rear-screen & front-screen projection * models/miniatures--(slightly optical??) 2. Optical Effects--optical equipment (i.e., cameras, optical printer) is used to manipulate images; e.g.: a. Motion effects-- * stop motion animation * manipulations of movement (slo-mo, fast-action, reverse motion, freeze frame) b. “In the can” (in the camera) shots-- * glass shots * forced perspective c. Composite shots-- * double exposure * mattes, matte paintings * greenscreening (or, bluscreening) 18 3. Digital Effects--computer required, e.g.: * computer composite shots * computer-generated images (CGI--images that never existed outside of the computer; including digital mattes) * morphing ALSO: * motion-control cinematography Note: Rear- and front-screen projection, matting (with and without greeenscreening), glass shots, forced perspective, and digital effects can have very similar results. Very often, even I can’t tell! 19 The Film Crew Roundup * Producer * Director * Screenwriter * Film editor * DP * Cinematographer * Camera Operator * Steadicam Operator * Production Designer * Art Director * Set Designer * Grip (like a stagehand--work with flats, dolly tracks, other carpentry) * Key Grip (head grip) * Gaffer (electrician/light set-up) * Best Boy (apprentice, to one of the various trades) * Set Dresser * Matte Artist * Greensman * ADR Editor * Foley artist * Visual Effects Supervisor * Location Manager * 2nd Unit . and the rest (e.g., Costume Designer, Casting, Makeup) . also, the role of unions and professional organizations: e.g., Screen Writers Guild, ASC (American Society of Cinematographers), ACE (American Cinema Editors), Teamsters, IATSE (International Alliance of Theatrical Stage Employees), SAG (Screen Actors Guild) 20 Avant-garde film Avant-garde means “leader of the movement”--these films are extreme .
    [Show full text]
  • Standard Operating Procedures
    THEATRE UCF PRODUCTION HANDBOOK UPDATED AUGUST 2019 Revisions to this Handbook All Departmental Handbooks are revised at the beginning of every academic year and occasionally during the academic year. If you would like to propose a revision to this handbook, please compose a letter to the Production Manager. In your letter, outline the change you propose and the reason for your proposal. UPDATED SECTIONS FOR 2019 While it is best to always review the entire handbook every year for small updates, returning students should pay special attention to these larger sections which have been substantially updated for 2019: No substantial changes have been made for 2019 UPDATED SECTIONS FOR 2019.................................................................................................................................. 1 INTRODUCTION ............................................................................................................................................................... 4 SPHERES OF RESPONSIBILITY FOR PRODUCTIONS ......................................................................................... 5 GENERAL PRODUCTION POSITION DESCRIPTIONS ........................................................................................... 5 Artistic Team: .................................................................................................................................................................. 7 Assistants for all areas:............................................................................................................................................
    [Show full text]
  • Who Makes a Film?
    Development Production management Casting Follow the Producer Director Screenwriter director Line Locations Assistant arrows to find producer manager director out how an idea becomes Turning an idea into a script Careful planning and organisation a film... Technical Craft Director of Gaffer Grip Sound mixer Script Production Costume Hair and make-up Construction Special effects photography supervisor designer designer designer manager designer Making sure it all gets captured perfectly Creating the look of the film Making sure it all gets perfectly captured Post-production Sales and distribution Distribution Marketing Editor Colourist Sound editor VFX Subtitler Programmer producer executive manager Audience Shaping and polishing the final product Selling the film and making sure people see it (you and me) Who makes a film? Production designer Editor How a fi lm is made Who makes a fi lm? The production designer decides how the fi lm The editor puts together all the rushes from will look, everything from the art on the titles the various scenes to tell the story in the Everyone likes watching a good fi lm whether they Producer to the props and the style of the sets. best way. see it at the cinema, on TV or on their phones. But The producer is the boss. Producers are not everyone knows how a fi lm is made. This is how a responsible for the whole production. They Costume designer Colourist raise the money and hire the director. The costume designer designs or buys the Films are shot in a way that makes it fi lm goes from being a thought in someone’s head to costumes.
    [Show full text]
  • ENEMY LINES Production Notes
    ENEMY LINES Production Notes On Demand: April 24, 2020 Directed by: Anders Banke Produced by: Tom George, Andy Thompson Screenplay by: Michael Wright Starring: Ed Westwick, John Hannah, Corey Johnson, Tom Wisdom Runtime: 90 minutes Rating: NR Synopsis: November 1943. A British commando squad is teamed with an American officer on a covert mission into Poland, deep behind enemy lines. Working with the resistance, they cross the harsh wilderness intent on kidnapping and extracting a sought-after Polish scientist, Dr. Fabian, from the Germans. Website: https://gooddeedentertainment.com/enemy-lines/ Key Still Set: https://www.dropbox.com/sh/m44kkitikk6o1f0/AABcuac3EG2NrPMWw4oUw5hga?dl=0 Instagram and Twitter: @enemylinesmovie You Tube Trailer Link: https://youtu.be/xyYcuvAaTDM For additional information please contact: Good Deed Entertainment Kristin Harris - [email protected] - 310.795.7631 About the Film November 1943. A British commando squad is teamed with an American officer on a covert mission into Poland, deep behind enemy lines. Working with the resistance they cross the harsh wilderness intent on kidnapping and extracting a sought-after Polish scientist, Dr. Fabian, from the Germans. Fabian is known to hold information on secret innovations that would prove vital to the Allied efforts. With a German hunter unit on their tail and a Russian squad also intent on kidnapping Fabian for their own ends, it becomes a race against time, that for the winners, will change the shape of the war. Director’s Statement I'm a lifelong military history buff with a special interest in WW2, and so this wintery classic adventure tale, behind Enemy Lines, about a subject rarely covered was impossible for me to say no to.
    [Show full text]
  • Download Pdf Version
    CARMENArtist, Costume Designer THOMPSON & Builder, Producer, Writer Multi talented and highly creative Indigenous professional with over 20 years of onset film experience. Cultural Liaison, Costume Designer and Costume Builder, Creative Director responsibilities with three of the top Indigenous production companies in North America. Inventive and passionate creator specializing in costume building and design, marketing and graphic representations. Exceptional collaborative and interpersonal skills able to work with Directors, Producers and Actors and diverse teams to bring creative concepts to life. Accustomed to performing in deadline-driven environments with an emphasis on working within budget requirements. AWARDS & ACHIEVEMENTS CONTACT Inheritance: a pick-the-path experience- Jessie Award for Significant Artistic Achievement Based in Victoria/Vancouver, BC Red Snow- Nominated for 10 Leo Awards including Best Costume Design Valid Passport, Green Card for U.S. 1491: The Untold Story of the Americas Before Columbus- won 3 Leo Awards Super Bingo- Nominated for Leo for Best Costume Design Short Drama Christmas Calendar- Nominated for Leo for Best Costume Design Drama [email protected] Legends of the Hidden Temple- Nominated for Leo in Best Costume Design in a Television Movie www.tlakwadesigns.com Rolling- Prism Award and a San Fransisco Audience Award COSTUME DESIGNER www.imdb.com/name/nm1977419 What’s The Matter With Alice - Television Movie - Nick Humphries, Director. Thriller Under A Lovers Moon - Television Movie - Danny Boyle, Director SKILLS Kiri And The Dead Girl - Short Film - Grace Dove, Director. 1980’s, Pow Wow Love On A Vine - Television Movie - Lucie Guest, Director Highly skilled Indigenous Costume Builder Inheritence - Theatre - Herbie Barnes, Director - Documentary Theatre - Britt Small, Director Educated in several Indigenous cultures in God’s Lake North America/Canada/US, Mexico, Peru & Missing - Opera - Marie Clements, Playwright, Peter Hinton, Director.
    [Show full text]
  • Production Handbook
    PRODUCTION HANDBOOK Department of Theatre and Dance Winona State University 2012 To the Student: This handbook is the official guide to the policies, procedures and responsibilities associated with productions sponsored by the Department of Theatre & Dance at Winona State University. It contains guidelines, not rules written in stone. In order to work effectively on these productions, you should become thoroughly familiar with its contents. The three basic rules of theatre at WSU are: (a) If it isn't clear, ask! (b) Do what you promised to do, and do it on time! (c) Have fun! TABLE OF CONTENTS Section Title Page 1 The Department of Theatre & Dance ………………… 1 2 The Company …………………………………….… 3 Company Rules ……………………………….. 6 Guidelines for the Six-Week Rehearsal Period … 8 Principles of Season Selection ……………… 10 3 Guidelines for the Performer ……………………………. 12 Notes for the Acting Audition …………… 15 4 Guidelines for the Stage Manager ……………………… 17 How to Call Cues ………………………… 20 Pre-Show Checklist ……………………… 20 5 Guidelines for the Assistant Stage Manager ……………. 23 6 Guidelines for the Student Scenic Designer ……………. 25 7 Guidelines for the Assistant Technical Director ………… 27 8 Guidelines for the Scenic Artist …………………..…… 29 9 Guidelines for the Properties Designer ………………… 31 10 Guidelines for the Props Supervisor …………………… 34 11 Guidelines for the Lighting Designer ………………….. 36 12 Guidelines for the Master Electrician ………………….. 38 Troubleshooting Procedure ……………… 40 13 Guidelines for the Light Board Operator ……………….. 41 14 Guidelines for the Sound Designer ……………..……… 42 15 Guidelines for the Sound Board Operator ……………. 44 16 Guidelines for the Student Costume Designer …..…….. 46 17 Guidelines for the Wardrobe Supervisor ……..………… 48 18 Guidelines for the Makeup Designer ………………….
    [Show full text]