"Big" Ted Robinson
Ted Robinson, a.k.a. “Big Ted Robinson,” is a product of America’s public school system. But from an early age, Robinson —young and spry—had no use for schoolbooks, pencils, blackboards, getting stuffed into a double-sized lockers, and the other bric-a-brac of a so-called “formal” education. He’d be more likely to be found staring out the schoolhouse window, daydreaming some wild adventure, images flitting through his head, impressing themselves on the soft clay of his mind. “Ted Robinson, stop staring out those windows!” his teachers would snap. “Call me ‘Big Ted Robinson,’” he’d reply. “OK, Big Ted Robinson,” they’d say. For Big Ted Robinson, life was all about sound and images. Others take life’s noises, its particular snaps, crackles and pops, for granted. Ditto the images, which Robinson likes to call “the sounds of the eyes.” Robinson saw things cinematically: in widescreen, CinemaScope, IMAX DVD digital, 4K, etc. He also heard things that way. As a boy, he couldn’t shower without hearing the shrieking strings from the Psycho score. He couldn’t bathe without being reminded of the ominous “da-dum, da-dum” from Jaws. As a result, he went un-showered and unbathed for years. His filthy hair matted in thick layers. He was cleansed only by the purifying sheets of falling rain. Eventually he got over this. In his teens. Then he started showering daily. And making movies. First Big Ted Robinson made commercials, advertising his own work a film maker. Then he made some shorts: one about the Christian holiday of Christmas, another other about a robbery that takes place at christmas. This earned Robinson the nickname Big Ted “The Guy Who Only Makes Movies About Christmas” Robinson. He didn’t like this. So he made a few music videos. Now Big Ted is known as a talent of bottomless potential, helming series, shorts, music videos, commercials, you name it. When faced with a challenge, Big Ted Robinson likes to tap into his gurgling wells of creative energy and remember a line from John Muir which he once read on the website BrainyQuotes.com: “The power of imagination makes us infinite.” Indeed it does. But for Robinson? Infinity is just the beginning.
Director of Photography
Fletcher Wolfe is a cinematographer based in Brooklyn, NY. She received a BFA in film production from NYU's Tisch School of the Arts in 2007, and has committed her life to telling stories with images ever since. Sugar! the feature film she shot, starring Tony Award winner Alice Ripley, won Best Cinematography at the 2016 Glendale International Film Festival. Shorts she has shot have screened at Cannes 2006 (Off Course) and Sundance 2011 (Close) and 2016 (Puppet Man). She received the Nestor Almendros award for cinematography in 2011 for the short Rustic Dunes. The music videos she directs and DPs have premiered on Vice and Stereogum, and one, Emilyn Brodsky's Born Again, won the 2015 Silver Sound Showdown music video festival. BROOKLYN/ALASKA, the feature documentary she has been shooting since 2016, was voted IndieWire's December Project of the Month, and Canon asked her to speak about it on a panel at their NAB 2017 stage.
Reed Adler's credits include Long Shot, Salesmanship, Vice, Vice News, The Legacy Project, and Big Country Blues.
Having studied at New York University, Hunt Beaty has multiple awards to his name, including a Daytime Emmy for Outstanding Sound Mixing and a Telly for Sound Design for Born to Explore. In addition to Born to Explore, his credits include Long Shot, The Death and Life of Marsha P. Johnson, and Game Changers.
Jon Saks' credits include Binge, Wink, and Gutter.
With a passion for the creative and a career in front of and behind the camera spanning 20 years, Toni D’Antonio has filled every role in entertainment. From actor to director, producer to location scout, consultant to scripty, and more. Toni has voiced AT&T, Blue Cross/Blue Shield, Fidelity, Crestor, Humira, Walmart, Cumberland Farms, and more. Her theatrical TV credits include Law & Order: SVU, The Blacklist, Mysteries of Laura, Taxi Brooklyn, Blue Bloods, and more. Film credits include Nasty Baby with Kristen Wiig, Alto with Diana DeGarmo and Annabella Sciorra, Where God Left His Shoes with John Leguizamo, and Riding In Cars With Boys with Drew Barrymore, among others. Recent producing credits include scripted TV pilots Sober and Staff, unscripted TV pilots Whacked, Family Lot, Goodfellows, the award-nominated music video That Was The Whiskey, and the multiple festival award-winning feature film Alto.
Lou Martini, Jr.
Acting in film and television since 1964, Lou’s early film roles include What’s So Bad About Feeling Good opposite Mary Tyler Moore and The Godfather opposite James Caan. After Lou’s father, notable character actor Lou Martini, passed away in 1971, Lou’s mom decided it was best for him to take a break and concentrate on raising her son. It wasn’t until college at the University of Houston that Lou took up acting again. Soon after graduating with a BA in Communications, Lou landed a leading role in the smash Off-Broadway show Tony and Tina’s Wedding. Since then, Lou has appeared consistently on stage and in film and television. Lou’s latest TV credits include guest and recurring roles on such hit shows as Crashing, Vinyl, Orange Is The New Black, The Americans, Law & Order: SVU, Mysteries of Laura, Nurse Jackie, Girls, Show Me A Hero, Unforgettable, amongst others. Notable credits include optometrist Anthony Infante in HBO’s The Sopranos and host of E! Network’s The Gasteneau Girls, one of the first network reality shows. Lou’s latest film roles include Alto opposite Annabella Sciorra, West End opposite Eric Roberts, and To Redemption opposite James McCaffrey.