Lady Filmmakers Festival honoree Risa Bramon Garcia is a leader and a living example of excellence for women in the world of film. Her experience and wisdom comes from 35 years as a director, producer, casting director, writer and teacher. Her open mind, hard work and versatility has resulted in an amazing career in film, television, theatre, and explorations in new media.
Her seemingly endless list of accomplishments span from directing dozens of plays in New York and Los Angeles, “200 Cigarettes” and “The Con Artist”, to casting for more than 65 films including “Desperately Seeking Susan”, “Fatal Attraction”, “The Doors”, “Benny and June”, and shows including “CSI: NY” and the new Showtime series “Masters of Sex.”
Risa’s newest and exciting endeavor is The Bgb Studio - in partnership with Steve Braun – a home where actors train, workout and evolves their careers in transformative ways.
Risa shares her journey and perspective on how to approach mentorship as a filmmaker.
How did you begin your film career?
I came to film later than most filmmakers do, because I came via my theater life. I always dreamed and imagined that my life as a director would be in the theater. What was interesting is that I started casting in film while I was directing theater – casting was my waitressing job and frankly, it still is. It’s something I’m good at, and it helps me to make money. It allows me to stay a part of the business, so I can support myself and do the things that I love - which is really directing and running my studio. The studio makes me much happier than I ever imagined would be possible. I always thought that if you teach, you’re at the end of your career and it has failed. That’s what I always believed it, but it’s not at all true.
Regarding film, I studied theater in college, dipping my toe in film, but devoted myself to the theater. I ran to New York for the theater. In my early New York days I realized that a number of people I worked with were casting movies, and that seemed like a good way to make money. And I wouldn’t have to tough it out all night at a rock and roll club called The Bottom Line in the village anymore. I could actually support myself in the business. Things started working with “Desperately Seeking Susan”, the first film that Billy Hopkins and I cast. It didn’t fall in our laps, but it was one of those “put it out to the universe and the universe answers” kinds of things.
We knew some people who were big casting directors in NY who relied on us for fresh ideas. They recommended us for “Susan” when they couldn’t do the film. That was a real break and my entrance into the film business.
In the beginning of my casting work I was lucky enough to be mentored by some big filmmakers who allowed me to be on set and to be in process with them in a way that most casting people aren’t allowed. I didn’t know anything different. I didn’t know that you weren’t supposed to go to the set everyday. I didn’t know that you weren’t supposed to be in rehearsal and work with actors on the script, but that’s what I did because that’s what I did in the theater as a director and producer.
I was lucky in that they allowed me to do that, and it taught me everything about movies.
The thing that I didn't develop as quickly was visual storytelling. I'm incredibly intrigued by it, but because I worked with actors and new scripts in the theater, those areas were my first strengths. I learned to tell stories through people and words.
How did you find your mentors?
I always found mentors because I went to the work first. For me, if you’re the last one standing and working incredibly hard, if you are willing to put in 150% and do what no body else will do, and be smart about it, mentors will find you. Because you’re the one doing the work, and often strong work.
That’s what happened to me. I just showed up, worked hard, and was always the last person to leave. The mentors found me. I never really thought, “Oh, you’ll be my mentor.” That’s what happened at the Ensemble Studio Theater, which was the theater at which I came up in New York. The artistic director there saw something in me and decided to mentor me. I didn’t know he was mentoring me - I just knew that he believed in me, schooled me, challenged me to do my best work.
My mentors were mostly strong-minded, somewhat misogynistic men, but I just felt like they were giving me an opportunity. They were taking me seriously. They were willing to teach me, and they all gave me the same message – don’t wait for someone to hire you. Go out and make your own work. That’s how I’ve done it, and that’s what I’m doing now. It was always the way that I found success. I created it.
When I was casting, directors like Oliver Stone and Adrian Lyne were really generous. They allowed me to be on set and learn from them. They took me seriously and asked for my input. I was able to watch and learn from amazing cinematographers at work like Bob Richardson. Funny enough, when I did Desperately Seeking Susan, it was Ed Lachman, the cinematographer, who I watched and learned from. I so crave that mentorship still.
I don’t know what that means when people come to me and ask me if I’ll be a mentor. Show up and work hard. Show yourself and rise up to it, and when we’re in a working relationship, then I can mentor you. I don’t know what it means otherwise. I think young people make the mistake of thinking they’re going to go out and find a mentor. Do the work, and a mentor will find you.
Is there any other advice you have for new filmmakers?
Just keep making your own stuff, but also make things that are also going to be commercial. I don’t mean commercial in a slick way. Tell a story that you think the world wants to see. Be provocative; be commercial in that you’re trying to reach an audience - even if it’s a specific audience – work that’s going to be both provocative and entertaining. Entertaining doesn’t have to be ‘fun’. It can be something that’s emotionally challenging, but get in there and don’t be afraid to do something really thought-provoking. Many people either play it safe, or do something that nobody is interested in. Just keep making stuff, over and over… because every good filmmaker made a lot of crap before they got here.
What are you working on now?
I’ve been casting, which has been great. I have a few films that I’m developing as a director, but the thing that I’m most interested in is the work I’m doing with my partner, Steve Braun, in the studio that we have – The Bgb Studio (see website here). It started off with just a few acting classes, but now we’re doing a lot more. We’re creating an artistic home, a safe haven for actors in Los Angeles, where they can come and explore their artistry in a number of ways. A lot of our actors are taking our writing classes. We’re doing everything from yoga, writing classes, intensive Meisner workouts, to high-end rehearsal and audition classes. Steve and I are writing a book and have launched an online training business. It’s exciting and very rewarding. Really, for the first time in my career, I’m my own boss. Writing is really interesting to me now, and that’s where my heart is. And being able to be in the work with fellow artists every day.
Her seemingly endless list of accomplishments span from directing dozens of plays in New York and Los Angeles, “200 Cigarettes” and “The Con Artist”, to casting for more than 65 films including “Desperately Seeking Susan”, “Fatal Attraction”, “The Doors”, “Benny and June”, and shows including “CSI: NY” and the new Showtime series “Masters of Sex.”
Risa’s newest and exciting endeavor is The Bgb Studio - in partnership with Steve Braun – a home where actors train, workout and evolves their careers in transformative ways.
Risa shares her journey and perspective on how to approach mentorship as a filmmaker.
How did you begin your film career?
I came to film later than most filmmakers do, because I came via my theater life. I always dreamed and imagined that my life as a director would be in the theater. What was interesting is that I started casting in film while I was directing theater – casting was my waitressing job and frankly, it still is. It’s something I’m good at, and it helps me to make money. It allows me to stay a part of the business, so I can support myself and do the things that I love - which is really directing and running my studio. The studio makes me much happier than I ever imagined would be possible. I always thought that if you teach, you’re at the end of your career and it has failed. That’s what I always believed it, but it’s not at all true.
Regarding film, I studied theater in college, dipping my toe in film, but devoted myself to the theater. I ran to New York for the theater. In my early New York days I realized that a number of people I worked with were casting movies, and that seemed like a good way to make money. And I wouldn’t have to tough it out all night at a rock and roll club called The Bottom Line in the village anymore. I could actually support myself in the business. Things started working with “Desperately Seeking Susan”, the first film that Billy Hopkins and I cast. It didn’t fall in our laps, but it was one of those “put it out to the universe and the universe answers” kinds of things.
We knew some people who were big casting directors in NY who relied on us for fresh ideas. They recommended us for “Susan” when they couldn’t do the film. That was a real break and my entrance into the film business.
In the beginning of my casting work I was lucky enough to be mentored by some big filmmakers who allowed me to be on set and to be in process with them in a way that most casting people aren’t allowed. I didn’t know anything different. I didn’t know that you weren’t supposed to go to the set everyday. I didn’t know that you weren’t supposed to be in rehearsal and work with actors on the script, but that’s what I did because that’s what I did in the theater as a director and producer.
I was lucky in that they allowed me to do that, and it taught me everything about movies.
The thing that I didn't develop as quickly was visual storytelling. I'm incredibly intrigued by it, but because I worked with actors and new scripts in the theater, those areas were my first strengths. I learned to tell stories through people and words.
How did you find your mentors?
I always found mentors because I went to the work first. For me, if you’re the last one standing and working incredibly hard, if you are willing to put in 150% and do what no body else will do, and be smart about it, mentors will find you. Because you’re the one doing the work, and often strong work.
That’s what happened to me. I just showed up, worked hard, and was always the last person to leave. The mentors found me. I never really thought, “Oh, you’ll be my mentor.” That’s what happened at the Ensemble Studio Theater, which was the theater at which I came up in New York. The artistic director there saw something in me and decided to mentor me. I didn’t know he was mentoring me - I just knew that he believed in me, schooled me, challenged me to do my best work.
My mentors were mostly strong-minded, somewhat misogynistic men, but I just felt like they were giving me an opportunity. They were taking me seriously. They were willing to teach me, and they all gave me the same message – don’t wait for someone to hire you. Go out and make your own work. That’s how I’ve done it, and that’s what I’m doing now. It was always the way that I found success. I created it.
When I was casting, directors like Oliver Stone and Adrian Lyne were really generous. They allowed me to be on set and learn from them. They took me seriously and asked for my input. I was able to watch and learn from amazing cinematographers at work like Bob Richardson. Funny enough, when I did Desperately Seeking Susan, it was Ed Lachman, the cinematographer, who I watched and learned from. I so crave that mentorship still.
I don’t know what that means when people come to me and ask me if I’ll be a mentor. Show up and work hard. Show yourself and rise up to it, and when we’re in a working relationship, then I can mentor you. I don’t know what it means otherwise. I think young people make the mistake of thinking they’re going to go out and find a mentor. Do the work, and a mentor will find you.
Is there any other advice you have for new filmmakers?
Just keep making your own stuff, but also make things that are also going to be commercial. I don’t mean commercial in a slick way. Tell a story that you think the world wants to see. Be provocative; be commercial in that you’re trying to reach an audience - even if it’s a specific audience – work that’s going to be both provocative and entertaining. Entertaining doesn’t have to be ‘fun’. It can be something that’s emotionally challenging, but get in there and don’t be afraid to do something really thought-provoking. Many people either play it safe, or do something that nobody is interested in. Just keep making stuff, over and over… because every good filmmaker made a lot of crap before they got here.
What are you working on now?
I’ve been casting, which has been great. I have a few films that I’m developing as a director, but the thing that I’m most interested in is the work I’m doing with my partner, Steve Braun, in the studio that we have – The Bgb Studio (see website here). It started off with just a few acting classes, but now we’re doing a lot more. We’re creating an artistic home, a safe haven for actors in Los Angeles, where they can come and explore their artistry in a number of ways. A lot of our actors are taking our writing classes. We’re doing everything from yoga, writing classes, intensive Meisner workouts, to high-end rehearsal and audition classes. Steve and I are writing a book and have launched an online training business. It’s exciting and very rewarding. Really, for the first time in my career, I’m my own boss. Writing is really interesting to me now, and that’s where my heart is. And being able to be in the work with fellow artists every day.
- 11/3/2014
- by Erin Grover
- Sydney's Buzz
You're an actor—you already know that the going can get tough. And if you live in L.A., you're familiar with seeking out the tiniest edge that will slip you ahead of your competitors. To help you find that edge, we've compiled a list of 23 must-follow casting directors on Twitter (listed alphabetically below). Whether they're tweeting about audition tips or just reacting to what they're watching on TV, their insights can be beneficial. Besides, it doesn't hurt having your name pop up as a notification in their Twitter account. 1. Amy Jo Berman Amy Jo Berman is former Vice President of Casting at HBO and for 14 years has overseen the casting of over 150 films, mini-series, and series. She is the founder of Audition Polish, a membership-based audition coaching program that has helped actors around the globe nail their auditions on the first take. 2. Risa Bramon Garcia Risa Bramon Garcia is...
- 9/18/2014
- backstage.com
Machinima released the first episode of their new web-series Enormous, which deals with a world overrun with giant monsters and a group of surviving humans who are dedicated to fighting back. This is a fun series with an old-school movie kind of vibe to it, and I think a lot of you will enjoy what it has to offer.
It's based on the graphic novel of the same name by Tim Daniel and Mehdi Cheggour. This first episode was directed by Ben David Grabinski (Cost of Living short) from a script by Trollhunter director Andre Ovredal.
The film picks up years after E Day, the worldwide attack of massive insect like beasts, as the remaining humans from all walks of life must band together to survive and fight back against the monstrous invaders. Viewers are introduced to Ellen (Ceren Lee), a mother who has lost her child, and watch as...
It's based on the graphic novel of the same name by Tim Daniel and Mehdi Cheggour. This first episode was directed by Ben David Grabinski (Cost of Living short) from a script by Trollhunter director Andre Ovredal.
The film picks up years after E Day, the worldwide attack of massive insect like beasts, as the remaining humans from all walks of life must band together to survive and fight back against the monstrous invaders. Viewers are introduced to Ellen (Ceren Lee), a mother who has lost her child, and watch as...
- 3/21/2014
- by Joey Paur
- GeekTyrant
Well, now. Here are a couple of our favorite people ending up in the same place at the same time. Trollhunter director Andre Ovredal has penned the script to Enormous, a new web series based on the comic by Tim Daniel and Mehdi Cheggour, with directing duties falling to BenDavid Grabinski who won much love here with his horror-action-comedy short film The Cost Of Living a few years back.Ceren Lee stars as Ellen, a mother who scavenges a post-apocalyptic world in search of missing children before something ... bigger finds them. The cast also includes Steve Braun (Wrong Turn 2), Erica Gimpel (Veronica Mars), Joe Swanberg (Drinking Buddies), Todd Farmer (My Bloody Valentine) and Simon Barrett (You're Next).The first full episode of Enormous will arrive...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 3/18/2014
- Screen Anarchy
Looks like Godzilla won't be the only form of giant monster entertainment we get to see this year. This is the trailer for a cool-looking new web series called Enormous. The series focuses on a world that has already been overrun by giant monsters. The few humans that remain are fighting the monsters and trying survive.
The series will be shown on Machinima, and it's based on the graphic novel of the same name by Tim Daniel and Mehdi Cheggour. The first episode was directed by Ben David Grabinski (Cost of Living short) from a script by Trollhunter director Andre Ovredal.
Enormous will be released online on March 20th. Here's the synopsis:
The film picks up years after E Day, the worldwide attack of massive insect like beasts, as the remaining humans from all walks of life must band together to survive and fight back against the monstrous invaders. Viewers...
The series will be shown on Machinima, and it's based on the graphic novel of the same name by Tim Daniel and Mehdi Cheggour. The first episode was directed by Ben David Grabinski (Cost of Living short) from a script by Trollhunter director Andre Ovredal.
Enormous will be released online on March 20th. Here's the synopsis:
The film picks up years after E Day, the worldwide attack of massive insect like beasts, as the remaining humans from all walks of life must band together to survive and fight back against the monstrous invaders. Viewers...
- 3/15/2014
- by Joey Paur
- GeekTyrant
The live-action pilot for an adaptation of Enormous, in which the world as we know it has ended, launches next Thursday (March 20th) on Machinima; and we have a look at its trailer and artwork right here.
The pilot/short film is based on the critically-acclaimed graphic novel of the same name that launched last year. Written by Tim Daniel and drawn by Mehdi Cheggour, Enormous tells the story of a post-apocalyptic world in which massive insect-like beasts have taken over the world and humans are now the bottom of the food chain.
The creative minds of director BenDavid Grabinski (short film Cost of Living), writer Andre Ovredal (Trollhunter), and producer Adrian Askarieh (Hitman, Agent 47) are taking Enormous from the page to the screen.
You'll find the goods below plus synopses of both the film and the graphic novel. Be sure to check back in a week for the full video.
The pilot/short film is based on the critically-acclaimed graphic novel of the same name that launched last year. Written by Tim Daniel and drawn by Mehdi Cheggour, Enormous tells the story of a post-apocalyptic world in which massive insect-like beasts have taken over the world and humans are now the bottom of the food chain.
The creative minds of director BenDavid Grabinski (short film Cost of Living), writer Andre Ovredal (Trollhunter), and producer Adrian Askarieh (Hitman, Agent 47) are taking Enormous from the page to the screen.
You'll find the goods below plus synopses of both the film and the graphic novel. Be sure to check back in a week for the full video.
- 3/13/2014
- by Debi Moore
- DreadCentral.com
Below is an article originally published in Backstage that gives actors perspective on working with an agent or a manager. It's also pretty important advice for filmmakers to be aware of when they're trying to figure out why agents and managers are acting the way they are. The original article, written by casting director Risa Bramon Garcia and actor Steve Braun, can be found here. If you're interested in more information about finding an acting agent, check out Backstage's "How to Get an Agent" feature. Conventional wisdom suggests that you need an agent and/or manager to make your acting dreams come true. They sign you and introduce you to casting directors who then introduce you to the decision-makers, and the result is champagne and red carpets. Well, conventional wisdom is all kinds of wrong. Agents are human beings with human limitations who require some understanding. Whether you're looking for...
- 7/17/2013
- by Risa Bramon García and Steve Braun
- Indiewire
Brace yourselves. This list of the Top 100 Greatest Gay Movies is probably going to generate some howls of protest thanks to a rather major upset in the rankings. Frankly, one that surprised the hell out of us here at AfterElton.
But before we get to that, an introduction. A few weeks ago we asked AfterElton readers to submit up to ten of their favorite films by write-in vote. We conducted a similar poll several years ago, but a lot has happened culturally since then, and a number of worthy movies of gay interest have been released. We wanted to see how your list of favorites had changed.
We also wanted to expand our list to 100 from the top 50 we had done previously. We figured there were finally enough quality gay films to justify the expansion. And we wanted to break out gay documentaries onto their own list (You'll find the...
But before we get to that, an introduction. A few weeks ago we asked AfterElton readers to submit up to ten of their favorite films by write-in vote. We conducted a similar poll several years ago, but a lot has happened culturally since then, and a number of worthy movies of gay interest have been released. We wanted to see how your list of favorites had changed.
We also wanted to expand our list to 100 from the top 50 we had done previously. We figured there were finally enough quality gay films to justify the expansion. And we wanted to break out gay documentaries onto their own list (You'll find the...
- 9/11/2012
- by AfterElton.com Staff
- The Backlot
Restored Archive Review, Originally Posted on 8/17/07
Director Joe Lynch has said that he intended Wrong Turn 2: Dead End as a homage to the early-’80s splatter sequels, but he has one advantage today that the makers of those films didn’t back then: the unrated DVD release. That has given him license to enthusiastically throw around blood by the bucketful, easily outdoing the original film on the splatter score; Lynch and his cohorts (including makeup FX supervisor Bill Terezakis) even find a way to top the first Turn’s arrow-in-the-eye highlight gag. The material may be familiar and none too surprising, but Lynch punches it across with all the energy of a longtime hardcore horror fan getting the chance to let it all hang out in his debut feature. You can tell he loves this stuff.
The narrative framework for all the bloodshed is the latest in the long recent line of reality-shows-gone-bad stories,...
Director Joe Lynch has said that he intended Wrong Turn 2: Dead End as a homage to the early-’80s splatter sequels, but he has one advantage today that the makers of those films didn’t back then: the unrated DVD release. That has given him license to enthusiastically throw around blood by the bucketful, easily outdoing the original film on the splatter score; Lynch and his cohorts (including makeup FX supervisor Bill Terezakis) even find a way to top the first Turn’s arrow-in-the-eye highlight gag. The material may be familiar and none too surprising, but Lynch punches it across with all the energy of a longtime hardcore horror fan getting the chance to let it all hang out in his debut feature. You can tell he loves this stuff.
The narrative framework for all the bloodshed is the latest in the long recent line of reality-shows-gone-bad stories,...
- 7/19/2009
- by no-reply@fangoria.com (Michael Gingold)
- Fangoria
Alex Boling and Larry Sullivan
Up until now most of us probably knew ABC Family's The Secret Life of the American Teenager as "that one where Molly Ringwald has the pregnant kid". But we just got word that tonight's episode features two gay characters as a part of the central episode plot.
In tonight's episode, pregnant teen Amy Juergens (I'm not even kidding - I swear) is presented with a couple to potentially adopt her unborn kid. Apparently Brad and Angelina were unavailable, but Amy's father, George Juergens (sorry, I can't get over that name!) thinks that his gay coworker and his hubby might be the perfect adoptive 'rents.
As far as the gays go (who are Not named Juergens, from what I can tell), they're played by Alex Boling (who plays Donovan) and Larry Sullivan (who plays Leon), whom you may recognize from the gay flick The Trip.
- 2/2/2009
- by brian
- The Backlot
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