Photo Courtesy of Bruce Luetters/3Sixty Photography

Converging Paths

For Chloe, work in film has always been on course, and a matter of time. As a child, she was inspired by the work of her grandfather, Charles B. Pierce - a pioneer filmmaker of low budget, horror and mocumentary style pictures. And her aptitude for crafting photo-shoot scenery and content was nurtured early on by her creative parents until she inevitably blossomed into the imaginative and resourceful fine art, fashion and fantasy designer/stylist she is today. Ever craving the next fantastic theme to explore, she produced shoot after shoot, year after year, until her body of work was noticed by first-time filmmaker Hooroo Jackson, who would hire Chloe to art direct her first feature film in 2014, Aimy in a Cage.

Myself - myself being Brandon, you’ve no doubt deduced by process of elimination - my debut into entertainment was a little less than planned. Though my convoluted career began with carpentry, the hasty pace and uniform design of most modern construction was not what I dreamed it would be as a child and my path strayed. In the years that followed vocational school, I pursued other paths too disparate to concisely describe here, and my tools mostly collected dust. But Chloe’s shoots were becoming ever more elaborate, and it started to become clear that my particular skills could prove useful. Little by little, we began to work more as a team. So when Chloe was hired to art direct Aimy in a Cage, the next logical question was, “Who should we get to build the set”? Presto. A production company was born. 

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For their work as set designers, they’re asked to create entire worlds on minuscule budgets. ‘Can you make something that’s totally out of this world, that would not exist on Earth, that aliens built for . . . three thousand dollars?’ Barcelou throws her hands in the air. “And we’re like, ‘Okay! Sure’”. That resourcefulness is their secret weapon.
— Take Magazine