Sami Mustonen was born in 1988 in Oulu, Finland. Mustonen is a film director and cinematographer while working also as a 3D visualization specialist. He has worked for one of the biggest advertising agencies in Finland and been involved in countless commercials, along with making visual effects for several shorts and full feature films. ‘Marras’ is his debut short film.
Manager, writer, producer, director, Chris Roe entered the entertainment business in 1996, after starting his own talent management agency, Chris Roe Management. Since then, his company has become well respected in the entertainment industry, managing such clients as directors George A. Romero, Clive Barker, and actors Bruce Davison, Meg Foster, Mariette Hartley, and Malcolm McDowell, to name a few.
In 2007, he wrote, produced and directed the award winning documentary feature, “One for the Fire,” released in May of 2008. He also produced and co-directed a pilot for television called, “Soul of the City,” and has acted as producer or executive producer on such films as “Suing the Devil,” “The Employer,” and most recently, “Bereave,” starring Malcolm McDowell, Jane Seymour and Keith Carradine.
Roe continues to manage and produce. In 2018 he launched his production company, Tea Time Productions, Inc. Cemetery Tales: A Tale of Two Sisters, has been the company’s first production. He currently has multiple projects in development, as well as several properties optioned. All projects are designed on a multi-platform structure.
He resides with his family in Los Angeles, CA.
A Tale of Two Sisters was a great joy to do. I used the people I wanted, and shot it the way I wanted. I had no outside interference! It’s a tribute to the great black and white thriller/suspense/horror/noir films of the ’30’s, ’40’s and early ’50’s.
Most of all, it was great to create a story that leaves the audience wondering what really happened.
With both a passion for film and science, now Physics graduate and secondary school science teacher. I continue to indulge in my passion for film.
Ever since the age of 7 years old, I have not stopped making emotionally driven art as well as exploring the world in a mathematical side.
Self studying film has lead to a lot of experimentation, Tide of Ghosts is a continuation of this. In the film, I wanted to experiment with character connection, focusing more on characters beyond the overall story.
In turn, having a theme and letting the characters write the story for us.
Tide of Ghosts is an exploration in emotional connection between characters which was co-written with lead actor John Black to explore fears, death and friendship and how these are affected in times of complex and emotional decision making.
Lucas Longacre’s extensive technical expertise was earned through over 20 years in the industry; dangling from the rafters as a grip for Nickelodeon, shining a light into Paul McCartney’s face as PA for MTV, running tapes and batteries for cable news at ground zero during the 9-11 attacks, capturing location audio for Extreme Makeover Home Edition, interviewing celebrities on red carpet events, recording audio for Rockstar Games at their motion capture studio. Directing Alec Baldwin for US Open spots (more like being directed by Alec Baldwin); Lucas has worked professionally in almost every position in almost every format. Buy him a beer and he will chew your ear off for hours with his weird adventures.
He’s THE one-man band, producing and directing from behind the camera with audio gear dangling from his belt. And as he will remind his students at the Art Institute of Portland (where he teaches part time), “Audio is the 50% of your product, and the most underappreciated part.”
Lucas’ skills allowed Iron Way to capture our feature length documentary, Big Dream, in 4 countries on a limited budget and even smaller timeline, and created the visual narrative for the first food series of its kind, now on it’s 5th season at PBS.
His short films have been accepted into festivals and won awards. Once upon a time he won 2nd best fight choreography for his short, Beat, at the Action on Film Festival. He’s been profiled in the Oregon Business Journal. He is currently wrapping post production on his latest short film Food Cart, a lampoon and celebration of the Portland food scene.
For the past 10 years I have been working in verité documentary. I missed working in the fiction narrative space and was looking for a project to leverage my resources in both the food world and the film world, bridging these two communities together that rarely intersect. When my friend Damian approached me with his idea to simultaneously poke-fun at and celebrate the Portland Food scene, I knew I found my next short film.
Writing the script gave me an opportunity to add in a lot of the issues and frustrations I’ve had covering food stories with the show and do so in a humorous and creative way. Like any industry (I’m looking at you, Hollywood) the rhetoric rarely matches the reality. I think factory farming is one of the greatest moral stains on our food system and future generations will look back in horror at what we’ve created. Outsourcing the moral hazard and turning a blind eye to how we treat sentient beings is horrific. At the end of the day, the fault lies with the consumer. To paraphrase Joseph Stalin: “A single death is a tragedy. A million deaths is a statistic.” I also enjoyed poking fun at the self-seriousness of the food world. I adore the food scene in Portland (it’s one of the reasons I moved there) and I hope the film is received as a lampoon and not an attack. The people we are satirizing are my friends and I really wanted them in on the joke, hence the cameos and casting decisions. The only way we improve is by taking a serious, unabashed look in the mirror and that was our intention with making this film. Well, first to entertain. Then to hopefully educate, just a little.
Eveline Grassman, director, born 1982 in Stockholm. She writes, directs and produces her own pieces on low budget, lots of patience and creative space. Strong attraction to poetic expression and the mystery of humanity triggers her filmmaking.
Filmography (in selection)
Till andra sidan (short 2017)
Stalker (short 2017)
Lili ser dig (short 2019)
“Modern technology opens the private sphere to the outside world trough cameras and sound equipment. It has become so normalized that we don´t even think about who is sitting on the other side or if there’s someone there”
Though I have worked on various short films at college and university, I was aware that making an ambitious short, such as Hideous, would be a considerable jump. Despite the films relatively modest setting of a flower shop, there were still inevitable complications in finding legal areas of Glasgow to film in, undertaking the correct legal procedures to safely film with firearms, managing large groups of extras and even securing the perfect florist that would, not only meet the criteria aesthetically, but also shelter a cast and crew of over ten people. Everyone is praying that you’ll be able to manage it all without having a mental breakdown, including yourself. It’s funny how you want your film to be this completely mind blowing experience for audiences, and on set it becomes that, but for all the wrong reasons. You learn very quickly that you have to get your shot in the can and move on to the next one and that there is no time to linger on perfectionist details. You just pray that it won’t turn out garbage and sometimes you’re pleasantly surprised. I had a completely exhilarating experience on this project and with each film I remember why I love the medium so much.