Arcade Edit has brought Nicole Visram on board as executive producer. She previously served in the same capacity for seven years at Cutters. Her experience spans TV, film, TV commercials and news media.
British-born Visram began her career as a producer with the BBC in London before moving to the U.S. to work in commercial production. It was the role of producer for The Three Tenors that traced her path to Los Angeles. Visram then chose to take a role with director Tony Kaye–who was working on American History X at the time–producing for his company TONY K, working on commercials for brands including IBM, Volvo and MasterCard.
She later became a sr. producer with Ogilvy & Mather in Los Angeles, producing spots for such clients as Motorola, IBM, Mattel and the Anaheim Angels baseball team.
Recently Visram was an associate producer on the short film entitled The Tsunami and the Cherry Blossom, directed by Lucy Walker and produced by Supply & Demand Integrated. Tsunami earned an Oscar nomination this year in the Documentary Short Subject category. The short was edited by Aki Mizutani, Visram’s colleague at Cutters.
Some of Visram’s other notable achievements include serving as a producer on the critically acclaimed documentary film, Earthlings, narrated by Joaquin Phoenix, as well as the 2001 film Bad Actors, which premiered at the Cannes Film Festival.
Visram was the creative lead and producer of Jared Leto’s band 30 Seconds to Mars–a tribute to Japan’s relief for the tsunami disaster.
Arcade Edit is an editorial collective and partnership between managing partner Damian Stevens and editors/partners Kim Bica, Geoff Hounsell, and Paul Martinez. Arcade’s roster of talent also includes editors Christjan Jordan and Greg Scruton. Alongside Arcade, the partners have also launched Airship, an integrated creative arm specializing in online, graphics, design, and visual effects headed by directors/artists Chris Homel and Matthew Lydecker.
Karla SofÃa Gascón Could Make Trans History For Role In “Emilia Pérez”
Karla SofÃa Gascón's performance in "Emilia Pérez" as a Mexican drug lord who undergoes gender affirmation surgery to become a woman has brought her global acclaim and set Gascón on a path that may make her the first openly transgender actor ever nominated for an Oscar. But on this morning, she's feeling contemplative. "I woke up with such a philosophical streak," Gascón says, smiling. "In life, everything can be good or bad. We are a mix of so many things. There are things that make you happy and instead they make you sad, or the other way around." The dichotomies of life are a fitting subject for Jacques Audiard's "Emilia Pérez," a film that puts just about every genre — musical, crime thriller, melodrama — into a grandiose mixer, and, by sheer nerve, manages to coalesce into one of the year's most memorable movie experiences. "Emilia Pérez," which began streaming Wednesday on Netflix, is widely expected to be a best picture nominee. At the center of the "Emilia Pérez" phenomenon – which began with a barn-storming premiere at the Cannes Film Festival — is Gascón who plays both the menacing cartel kingpin Manitas and the woman who emerges after Manitas fakes his own death, Emilia Pérez. Years later, Emilia contacts the lawyer who facilitated her transition (Zoe Saldaña) to her reunite with her wife (Selena Gomez) and their children. The wild swings of "Emilia Pérez" – a movie that has earned comparisons to both "Sicario" and "Mrs. Doubtfire" – wouldn't be possible without Gascón. In Cannes, she and her co-stars shared in the best actress prize, which Gascón accepted. "We've been insulted, denigrated, subjected to a lot of violence without even knowing why," Gascón said that evening. "I think this is award is so much more... Read More