Interviews / Articles

TMFF - Review of 'Big Break'
7/29/2020

Written by Andrei C. Serban
Read the article here.

It’s difficult to say what’s harder to accept: the fact that the American Dream disappeared once with the era evoked in Fitzgerald’s novels or that the American Dream still exists, but it is it, in fact, a pact with the devil. The short film ‘Big Break‘ talks about such a pact, but not addressing the classic formula of the Faustian story.

The devil depicted by Dicle Ozcer is, however, just as tempting and destructive: the celebrity of American spotlights, in exchange for giving up your own artistic ideals. In other words, this project, built on the structure of a social critique, presents a micro-radiography of contemporaneity that replaced the veritable catharsis provided by great art with the recipe of the entertainment. Hence, the director opposes the sensitivity of a young actress who wants to conquer the big screen with the demands of an audience and of those behind the camera for whom it is not the artistic emotion that is important, but the easy success that responds to the “bread and circus” principle. The incisiveness of the director’s perspective is doubled by a comic interface, presenting a series of alert interactions to capture, sometimes with painful sarcasm, the social jungle of those who make the law in the area of film and entertainment today.

Deena is absolutely convinced that the part she received in the most recent film of an acclaimed actor will ensure her the popularity she wants. However, the director’s cut is ruthless, and Deena is fully confronted with the real face of the “great creators” of the moment. However, the chance offered by one of the famous producers could give her the fame she is looking for, as long as she gives up her illusory ambitions.

The short film is an intelligent contextualization of what Mario Vargas Llosa called the “civilization of the spectacle”, as a representative emblem of modern times, in which consumerism coincided with a decline in value hierarchies. Dicle Ozcer tackles one of the many scenarios of artistic “prostitution” specific to the mechanism of contemporary showbiz, condensing in a few minutes the decline and the pseudo-celebrity of a young woman who realizes that success can only be achieved through a loss of total self-sincerity. Likewise, the project addresses the false relationship between popularity and quality, illustrating with sharp irony the fragility of the moral and artistic integrity of those who accept the compromises of the spotlight. ‘Big Break’ is a smart, extremely well-crafted project that offers us not only a dynamic dramedy, but also a sore and pertinent social critique of the truth behind the screens we watch.

In Their Own League - Review of 'Big Break'
7/25/2020

Written by Georgia DeSouza
Read the article here.

In the time of the Coronavirus and the industry being at a halt, it was refreshing to watch Dicle Ozcer’s short “Big Break” as it comically and satirically told the story of a young woman (Brianna Ripkowski) trying to break Hollywood.

To build up a character’s depth in the space of 13 minutes is challenging, however the excitement reflected through Ripkowski’s characterisation effortlessly brings Deena to life. Ozcer’s film takes us through the many stages of emotions within a 13-minute duration, from the excitement Deena shows as she thinks she has finally made move in the film world, to the nerves of meeting film producer Todd Ryder (James C. Burns), and then the utter heartbreak of finding out her role is cut short.

“Big Break” is an example of how women truly are a power to be reckoned with.”

Despite the inevitable predictability of Ozcer’s film, she offers a short that is relaxing to watch. At first it may seem like another short about another wannabe actress, but by introducing a satirical element, revealing the truths of the film industry, Ozcer writes in the lengths one would go to, to make sure they get their big break. However, it is the surprising ending to the film which augments the comedy of the short. Revealing a different side of Deena and posing the question if she truly was doing acting for the love, or for the fame.

What makes this short so special is the crew behind the cameras. In Their Own League prides in promoting the female involvement in the film industry, and “Big Break” is an example of how women truly are a power to be reckoned with. “Big Break” is not only directed by Dicle Ozcer, but also written and produced by the young woman, whilst circulating the narrative around a female.

Rightfully “Big Break “has been nominated in many film festivals, bagging a few already. The careful precision of details from the Jazz music introduction to the handheld camera movement and warm color grading has all supported the success of this short film. An easy watch that I believe many would enjoy.

Film Threat - Review of 'Big Break'
7/4/2020

Written by Alan Ng
Read the review here.

One thing I’ve learned about acting, after listening to one “big break” story after the other, is that they all have luck on their side—being at the right place at the right time. Making it in Hollywood is not something you can always plan… unless you’re really hot.

Dicle Ozcer’s short film, Big Break, is the story of one such emerging actor, Deena (Brianna Ripkowski), who is attending the premiere of the war epic, “The Rightful Wrong,” with her friend, Simon (Christopher Tedrow). Deena may only be in one scene, but it’s a good one, sort of. She plays a nurse and shares the screen with the film’s star, Harrison Clooney (Pourya Rahbar), and for artistic reasons, he needs to be completely nude. Deena’s front-and-center in this controversial scene which ends with an impassioned monologue from her.
Seizing the opportunity, she uses the buzz generated from Clooney’s scene in the tabloids to get herself face-to-face with uber-producer Todd Ryder (James C. Burns), who is also attending the premiere

“Deena may only be in one scene, but it’s a good one, sort of.”
Dicle’s Big Break draws us into the working actor’s struggle, who knows that it’s less about the performance and more about how one markets oneself. To propel her career, Deena strikes gold being in a scene that the world is talking about well ahead of the movie’s premiere. She also learns the valuable lesson of editing.

Overall, Big Break is an excellent short film and worth watching. Dicle Ozcer has an exceptional grasp of the story and understands what it’s like to be in the trenches for actors. Lead actor Brianna Ripkowski is terrific and stands out as the straight person surrounded by various caricatures of the Hollywood elite.

One thing that keeps Big Break from reaching greatness is how tame it feels at times. I know this is all subjective, so take it with a grain of salt. While Deena is interacting with the producer Ryder, her director, and the film’s star, there are subtle hints of either misogyny toward her or the dismissive attitude of “why should I care” about you. It would have been great to raise the stakes higher and build more sympathy for Deena. Push the limits on the “controversial” nude scene, make her feel like more of a small fish, and go a little over-the-top with the “viral” moment of the film. I liked where the final punchline to the short went, but again it felt tame.

Big Break tells a good story, but as filmmakers, you want to push the tentpole moments of the story and literally burn an image into the audience’s memory. It injects a boost of energy to volatile moments and raises the stakes for the main characters. It forces viewers to remember not only that moment but the short film as well.

Film Daily - Everything to know about Dicle Ozcer and her movie ‘Big Break’
6/17/2020

Written by Frankie Stein
Read the article here.

Moving to LA is a big jump to get you in the spotlight and make a name for yourself, but of course, it takes a lot to get past just that step. Heck, even if you do get cast in a project, that doesn’t mean something will come up that gets you or the entire project canned. Director Dicle Ozcer is no stranger to the process.

So when she was writing her next short film, she knew she wanted to get some laughs out of everyone who knows that struggle of rejection after rejection. Thus, Big Break was born. Also directed by Ozcer, the film takes a comedic approach to the battle to make a name for yourself in Hollywood.

Desperate and willing to do everything
Deena (Brianna Ripkowski) thinks she finally is going to become a star when she gets a small role in a Clooney led picture. But when her scene gets cut due to “controversy”, she’s not ready for the rejection. In fact, she’s willing to go to extreme lengths to finally get the spotlight on her.

Ozcer knew she wanted to shine a light on the constant rejection up and coming actresses have to face. She noted, “People tell you that it’s a cut-throat business and it’s really hard, but they don’t do it justice. Dealing with rejection day after day, trying to stay motivated for your craft and keeping your head up high when you work multiple jobs is difficult.”

Getting her chance
Even as a filmmaker, Ozcer fought to get to where she was. Originally from Turkey, Ozcer moved to LA and got her BFA in acting at the AMDA College and Conservatory of Performing Arts in 2016. While she worked as an actress, Ozcer got a hankering to write, and wrote up her first play, The Jump. Picked by the Santa Monica Theater, Ozcer was able to direct the play and even got a second run after the huge success of The Jump’s first run. She stuck with directing, putting on several other productions including a performance of Romeo & Juliet. Attending the New York Film Academy to learn the ins and outs of direction, Ozcer shifted towards short filmmaking instead of play direction. Creating four short films prior to Big Break, the praise around her latest comedy has been like no other.

Still running strong
Between showings at the Florence Film Awards, the Independent Short Awards, the Portland Comedy Film Festival, and many more, Big Break has been snatching up awards like no other. From Best Comedy to Best Director, the praise for Ozcer has been non-stop.
Even outside audiences are reaching out to Ozcer. Recently, the director spoke at Newport Harbor High School for the TV & Film Production program about the film as well as host a screening, and Ozcer was also interviewed by Film Festival Report about her experiences.

Interview with Award Winning Director Dicle Ozcer
5/22/2020

Written By Film Fest Report

We were lucky to interview LA-based, Turkish Film Director Dicle Ozcer after she received Best First Time Director at the Independent Shorts Awards and Top Shorts Film Festival.Dicle Ozcer moved to Los Angeles in 2013 from Ankara, Turkey.

She obtained her Bachelor's degree in Acting at AMDA College and Conservatory in Los Angeles and shortly after attended New York Film Academy to get her Master's degree in Filmmaking. Since then she's been writing and directing theatre plays and short films, Big Break is her thesis film.

“My short comedy ‘Big Break’ is a satire about the film industry.”
— Dicle Ozcer

Director Dicle Ozcer completed her comedy film Big Break in December 2019 when she started submitting it to film festivals. Big Break follows the story of a young actress going to her first movie premiere, only to find out that her scene was cut off from the movie…

“It’s a hyper-realistic comedy about trying to make it in LA.”
— Dicle Ozcer, 'Big Break' Director

As of now, Dicle Ozcer’s Big Break has already received a lot of traction in the independent cinema circuit with official selections at Women’s Comedy Film Festival, Portland Comedy Festival and Independent Shorts Awards, a “honorouable mention” at the London-Wolrdwide Comedy Short Film Festival, the “Best Comedy” Award at Top Shorts Film Festival and Florence Film Awards, as well as the “Best First-time director” Award at Independent Shorts Awards and Top Shorts Film Festival.

In her interview, Dicle Ozcer provides young filmmakers with tips from her own experience on how to tailor their festival strategy for their films and encourages them not to put too much judgement on their work so they keep creating, trying and experimenting.

For more information about film festivals and talented filmmakers such as Dicle Ozcer, make sure to connect with us on Instagram!

Dicle Ozcer’s Big Break poster.

Voyage LA Magazine - Meet Dicle Ozcer
5/7/2019

Read the full interview here.

Today we’d like to introduce you to Dicle Ozcer.
...
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
I think “making it” as an artist is always hard. I’m at the start of my journey, and I’m learning it’s all about the connections you make in this city. Film directing is still a very male-dominated industry. The change has started, and I’m seeing more and more female filmmakers working on productions. It’s a new age for us, especially with the bloom of streaming services and social media, it is somewhat easier to get your work out there.
This reality also gives way to a lot more people going after their dreams as filmmakers, so the competition is still there. Being a female director, who is also an immigrant, is challenging but I believe in proving myself through my work as a creator and a director. I think the most important thing is to be able to pick yourself back up and have the stamina and ambition to keep moving forward.

We’d love to hear more about what you do.
My mission as a director is to tell stories that represent our true human nature. I want to create female protagonists with real passions and goals, who are intellectual and strong.
I want young girls to be inspired and motivated by the stories I tell. I want them to think “That could be me.” That’s all there is. The movies and characters that have affected me the most in my life have been the ones I could see a part of myself in.
My education and background as an actor really helps me in my directing. Understanding how actors work and finding the best way to communicate my thoughts to them is crucial.
I would rather help my actors go on the emotional journey of the character rather than limiting them by dictating their every move. I like using the techniques and exercises I’ve learned in acting school to bring out deeper emotions and create a bond with my actors.
...
Read the rest of the interview here.

LA Weekly - MEDEA
9/9/2016

www.laweekly.com/event/medea-7361003
By Deborah Klugman
Performer Jonica Patella is a petite woman but she packs a powerful punch. Her work is on display for one more weekend at Zombie Joe’s Underground Theatre, where she appears as Medea in Euripides’ tragedy of the same name. Under an hour, the show has been compressed, adapted, choreographed and staged in a remarkably small space by director Denise Devin.

When I was a kid and first heard the story, I thought of it as a far out myth of a monster lady who murdered her own children. Now I see it as the tale of a cruelly betrayed woman driven to extreme acts by the lack of options available to her in a society where women have no rights and can be discarded by a man as easily as an unwanted garment (Too many of these places still exist today.) Medea even states in the midst of her rant that divorce is not an option for her, that it’s a “dishonorable” choice for a woman.

In order to exact her revenge, Medea must beguile both Creon (Dale Sandlin), the ruler of Corinth, whose daughter is marrying Medea’s husband Jason (Alex Walters), and Jason himself; both men are naturally disinclined to trust her, but she manages to secure their confidence long enough to engender the murder of her rival, the young princess (Dicle Ozcer), and Jason’s children (who do not appear on stage in this adaptation).

One of the most effective scenes directorially takes place between Medea and Jason, who tries to convince her that leaving her for another woman is in everybody's best interest: His status will be upgraded, and with plenty of money he can take care of her and the kids. Medea isn’t buying it, of course, but it’s laughable to see to what degree Walters’ dissembling betrayer believes his own excuses – it really is classic. Both performers are neatly on target.

Not everything works: The biggest flaw in the production is the inconsistency among the supporting players, some of whom aren’t adept handlers of the literary language.

But Patella is magnetic, and the tiny venue elevates rather than detracts from her intensity. Devin’s inclusion of a hypnotic song (composed by Elif Savas), along with Taiko drums and other percussionist instruments, brings a haunting quality to the drama.

Night-Tinted Glasses - MEDEA
9/4/2016

zahirblue.blogspot.com/2016/09/medea-review.html
Sunday, September 4, 2016Medea (review)
Spoilers ahoy!

In the last year or so I've seen a resurgence of Greek tragedies, the latest being Medea by Euripedes at Zombie Joe's in North Hollywood.
A word here about tragedy. We tend to think of that word in terms of Shakespeare, the hero with a tragic flaw, etc. No so the Greeks. They saw the universe itself as inherently tragic, and all who live in it ultimately doomed. Heroism and drama lay in how one meets their doom.
Medea proved ground-breaking, because it turned the usual interpretation of this myth around. Different versions of Medea tended to see her husband Jason as the hero, the man whose attempts to do right are thwarted by the madness of his wife.
Euripides, however, took Medea's side. He saw Jason's betrayal of his bride as the doom with which she had to cope.
Yeah, Euripides was not unlike the Lady Gaga of his day.
Jonica Patella plays the title character, and as fans of this local actress might expect, she turns in a powerhouse performance. Here is a woman who fell in love, committed treason for her husband, even killed her own brother for his sake--only to have Jason dump her (and their children) to marry the daughter and only heir to the King of Corinth. In the face of this, she literally screams to the heavens and decides to enact a most terrible revenge.

Denise Devin directed and adapted this play, over twice the age of the language in which we experience it. Think about that for a moment. About what it takes for such a work to last! Its style should feel archaic and difficult to grasp, yet in fact in the tiny black box on Lankershim the story very much comes alive. A chorus of three women (Cristina Brunet, Dawn Davis, Dicle Ozcer) become Medea's confidants as the Nurse (Louise Claps) explains to them the situation. Eventually Creon (Dale Sandlin) King of Corinth enters to banish Medea and her children--turning them into stateless refugees.
All this plays out vividly and with precision, but what really brings out the drama of it all is when Alex Walters enters as Jason. Because Jason and Medea as a couple remain the beating heart of this tragedy. Not until we see them together do we understand how these events were inevitable.
No small feat!
Personally I'm a big fan of both these actors, and while the whole cast (including Larray Grimes in a multiple role as Aegeus, a Messenger and a Dragon) do fine jobs, with nary an off note or wrong gesture, it is Patella and Walters who carry the weight of this tragedy--carry and run with it. We can see the passion that burned between them still! More, we see not a deliberate cruelty but an all-too-common myopia on the part of this hero (he is after all the leader of the Argonauts, whose quest for the Golden Fleece proved successful--think of him as a combination of Frodo and Aragorn). He feels some guilt for his so-called betrayal (that is how he would describe it) but mostly he judges his wife for daring to judge him. But hatred and love are not opposites. They are two sides of the same coin, and we can see that in Patella's Medea. Once wronged so terribly, her seething and ruthless hatred becomes terrible. She loved Jason. Maybe part of her loves him still. So she totally destroys him. And destroys part of herself in the process.
A fascinating piece of theatre, a horror story not about monsters or serial killers but about the darkness petty and grand of the human heart.
Medea plays Fridays at 8:30pm and Sundays at 7pm until September 11, 2016 at ZJU 4850 Lankershim Blvd. (just south of the NoHo sign) North Hollywood CA 91601.
Posted by Zahir Blue at 8:31 PM

STAGE RAW - MEDEA
8/26/2016

stageraw.com/2016/08/26/medea-theater-review/
MEDEA Reviewed by Paul Birchall
Zombie Joe’s Underground Theatre
Extended through October 9
RECOMMENDED

The stage at the Zombie Joe Underground Theater is really extremely small. While at times it feels like the size of a large conference table or a front counter at Starbucks, the electrifying power that erupts from this tiny postage stamp is really quite amazing.
Shows put on here are a throwback to that earlier era of local theater when edginess was king and the stage was slightly dangerous and a little unpredictable. Denise Devin’s adaptation of Medea, about a scorned woman gaining unholy vengeance against those who wronged her, could very well be the perfect fit for the Zombie Joe’s Underground brutalist ethos.
In Euripides classic, Medea (Jonica Patella), the witch princess of Colchis, forsakes her country to marry the hero Jason (Alex Walters). They have two kids, but after his return to his native home of Corinth, Jason dumps her to marry the daughter of King Creon (Dale Sandlin) who, fearing Medea’s reputation as a sorceress, orders her and her children exiled. This fear is not without basis in fact, as Medea uses the single day Creon grants her to prepare for her departure to kill her romantic rival with a poisoned dress, then slaughter her own children in a fit of rage.
In Devin’s startling staging, the action all takes place within an approximately ten-foot square area, crafting a haunting mood that’s artfully claustrophobic and intimate. With a play like Medea, one often feels like there must be a “reason” to stage it; here, it is the ferocity and rage of Patella’s suffering and vengeance-driven Medea that provides the raison d’etre. The tiny venue in effect turns the show into one prolonged close-up of Patella’s face as she rages, schemes, and enacts her terrifying justice.
The other performers orbit around her, but seem almost ancillary, as our focus, again and again, is drawn to Patella’s face, even when she’s silent. When her Medea feigns gentleness, to lure Creon into giving her an extra day in town, glints of madness seep through — but just for a moment. (You have to be paying attention to be sure you saw them.) It’s a cinematic performance — not technicolor or huge in scope, but the opposite: a nonstop close-up, reminiscent perhaps of a Bergman movie by way of Grand Guignol. You almost can’t look away.
Devin’s production boasts a calculatedly tribal quality: Patella’s face is covered with occultish tattoos; the other characters enter and exit to a sort of metronomic rhythm, while recorded taiko drumbeats thump like a headache, as if echoing what must be the frenzied throb of Medea’s escalating insanity. The play ends with a jaw-dropping tableau of witches and demons, connoting how hatred corrodes into something unholy and foul — it’s quite compelling. Good solid turns are offered by Walters’s oily and self-justifying Jason and by Sandlin’s haughty Creon, but the heart of the show is Patella’s towering performance as the murderous mother.
Zombie Joe’s Underground, 4850 Lankershim Blvd, North Hollywood; Sun., 7 p.m.; Extended through October 9 (no performance 9/18). (818) 202-4120 or zombejoes.tix.com. Running time: 1 hour

HorrorBuzz - Brave the Dark
7/12/2016

"Brave The Dark at Zombie Joe’s Underground Theatre a Waking Nightmare"

It’s not Halloween season yet, but I think I just went through a really creepy haunted house. Well, it’s not exactly a haunted house. But it certainly isn’t your typical play either. Zombie Joe’s Underground Theatre in North Hollywood’s latest original production, “Brave The Dark,” sends guest wandering through the black box theater with the lights out–completely out. The show runs every Friday and Saturday night through July 23, with showtimes every twenty minutes from 11 to 12:20.
If you’re familiar with Zombie Joe’s signature horror show, “Urban Death”—or similar incarnations that have been produced at the theater such as “Blood Ally”—you have a sense of what you’re in store for when entering the dark theater. The scenes encountered are similar in nature to the stylized vignettes of “Urban Death.” In fact, one of my first thoughts upon exiting was that I had just experienced an immersive version of “Urban Death”—instead of sitting in a theater viewing horrific scenes, I was walking directly into them. That said, this show has certainly set itself apart from the former with its own style and language.

Brave the dark featured immersive horror.

Don’t go in expecting a traditional narrative. The scenes in “Brave The Dark” are more like explorations of anxieties and emotions. In some moments you feel as if you are paying witness to the events happening around you, in others you are being directly addressed. Overall the show is a morbidly intriguing examination into feelings, thoughts and actions that we tend to figuratively (and now in this show, literally) keep in the dark, hidden, obscured from public view. Like most Zombie Joe’s productions, director Zombie Joe and his cast are not afraid to shock us, creep us out and “go there” when exploring the darker sides of human nature.
The show begins with the audience in blindfolds, enveloping them in darkness before they step foot into the dark rooms of the theater itself. And this tour takes the audience through the entirety of the theater—seeming to leave no crevice of the building unexplored, and upon re-entering a room guests are likely to find themselves in a completely different scene from the last one they had found there.

And in all of this darkness (again, literal and figurative), the use of light to guide the audience and highlight specific moments and actors is often a particularly strong effect. Lights flicker, dance, fade in and out, obscuring your view of the events throughout the experience. One moment in particular highlights the actors as well as the music with its clever use of lighting effects. It’s minimalistic and effective and serves the show well.
Similar to a haunted house, this tour is somewhat guided, leading the audience from one area to the next and showing them various disturbing, dimly-lit horrors. But unlike the usual haunted house, this production emphasizes its emotional impact and unsettling concepts more than jump scares or scenery. It’s a fascinating, surreal slice of Halloween fun in the middle of summer.
Tickets are available here. By Anna Mavromati|July 12th, 2016

My Haunt Life - Brave the Dark
7/8/2016

“This was like a haunted house on crack that was created by David Lynch”

Brave the Dark at Zombie Joes – Haunted In JulyEvery once in a while, you come across something that you know nothing about. You’re the test pilot. You have no reviews to read and no word of mouth to listen to. Also, every so often, you come across something so special that it just hits you and you just know that this is going to be something people will want more of and will be talking about a lot. More often than not, these “somethings” are not one in the same, but then, sometimes, they are. Last night I attended something that was brand new, that I had no idea about AND something that was so incredible to me that I immediately started texting people and telling them to get a ticket.
Brave the Dark, the newest creation from Zombie Joe’s Underground Theatre, is described as “all-new fun n’ freaky immersive-production that delightfully challenges the thrill-seeker to take a journey through a bleak and blackened-realm of mysterious characters and the strange terrors that await the mind, body and spirit!” This is Zombie Joe’s first venture into immersive theatre…and it works….SO well….on so many different levels.

If you’ve been to things like Urban Death or Blood Alley at Zombie Joes, and enjoy them, you DEFINITELY need to see this. Imagine seeing Urban Death, but walking through the scenes. That’s what Brave the Dark felt like. My initial impression of Brave the Dark after it ended was that this was an unintended haunted house in July. I say “unintended” because they put this on as creepy immersive theatre and I don’t think they realize how special this is and that they’re onto something here. My first comment about what I had just experience was: “This was like a haunted house on crack that was created by David Lynch”. I was creeped out, I was smiling, I was nervous, I had my emotions toyed with, but most importantly, I had an amazingly fun time. This is a game changer for the Zombie Joe crew.
The show lasts between 20-25 minutes. You will be in the dark. You will be touched. You will see things that will scare you and even terrify you (in a good way). You will hear things that will scare you. You will be disturbed. The fact that they can cram that much feeling and emotion into that short time span is such a compliment to everyone involved.
Please know, this is not a typical production. You will be walking around and not just sitting in a crowd and watching. You are experiencing this.
Since this is their first immersive experiment, the run of the show is only 3 weeks, starting tonight. There is so much potential here and I think the regular Zombie Joe fans will love this and the casual Zombie Joe fan will love it as well, but only after they’ve stopped screaming.
For more information, check out Zombie Joes website, Facebook, Instagram, Twitter, and the Brave the Dark event page.