crew

another big step was securing the best crew and still keeping on budget. except for a couple of fellows, our crew did not get financially compensated to work on this film. everyone listed bellow is a filmmaker with his or hers own projects, and we really appreciate them taking their time to help angelito to become the film it is.

again, all we can do is thank these amazing artists for lending us their talent and embracing this project with such love.

here comes the gang.

director of photography
harold escotet is from venezuela, and he was living in san francisco while getting his mfa. he is a f***** talented and fearless dp, and we could not be happier with our choice. harold lives in la, and his current work can be seen on his website.

editor
celia marais is french, and an amazing fine artist. angelito was the first narrative she edited. we invited her for the job because we believe she is not only ultra-multi-talented, but she also has a great filmmaker's vision. more of her work here. she lives in san francisco with her husband and "our production baby", her son liam.

production designer
j.m.hall's great work was already recognized on a previous post. she has many of her own films uploaded for you to check out. penny is american, she lives in la, and works as a freelancer.

gaffer / electric
luis montijo / raman ravindran / bk kim
harold put together an amazing group of lighting magicians, from mexico, china and the us. they used our limited equipment (and limited crew) beautifully and very efficiently. they are still making movies, both in mexico and in the usa.

camera operators and assistants
dylan glockler / karen abad / mark austin heim
three amazing american cinematographers who took turns and came help on a few days. they also helped us prior to the shoot assembling a curious hand held mount, lending equipment, dumping footage and whatever else they could. they are now spread around the us, making amazing movies.

assistant director
tanyluz sciortino is a great and dear friend. with her charismatic approach, she kept everything moving and everyone happy. we have no idea how she did that. after a year working in nyc, tany has just returned to venezuela. we are anxious to see her new projects coming from within her culture.

script supervisor
juan gil garcia not only allowed us to photograph his home, he also provided us with the certainty that everything was exactly where they should be. juan just directed a beautiful short film called un buen hijo (in which our gaffer luis rocked as the director of photography).

upm
kate selzer came for most of our shooting days, and made sure everything was running smoothly. whatever wasn't, she'd put it right back into place. she is american, lives in san francisco  and works for ilm.

still photography/set pa
kevin yuille, a great vfx artist working long hours in la, did our still photography and helped the boys with the lighting. pablo russek, mexican, did all and a little more. he helped a lot on production design, lighting, camera, etc. he is a key figure who just moved to la.