The Last of the Winthrops
Viviane G. Winthrop
Director, Writer and Executive Producer
Dr. Viviane G. Winthrop was born in Montreal. Her parents moved to Sedona, Arizona when she was a teenager. Although her father was a professional actor and her mother a piano teacher, Viviane chose a career in dentistry. After 25 years as a dentist, she has recently retired to pursue her dream as a film director. THE LAST OF THE WINTHROPS is her directorial debut.
Adam K. Singer
Producer, Co-Director and Writer
Adam works primarily in narrative and documentary film. He began his career in worldwide film distribution as an acquisitions executive for Cinemavault Releasing in Toronto, Canada where he was instrumental in acquiring the Shooting Gallery Library which included the Academy Award winning film, SLING BLADE. After spending 10 years working for various distribution companies such as Content Media Corp and American World Pictures he turned his focus to producing. His producer credits include the feature documentary, FREE WHEELS EAST narrated by Peter Coyote about the first two men to bicycle the world. He then went on to produce, THE REALITY OF TRUTH about the relationships between religion, spirituality and psychedelics featuring actress Michelle Rodriguez, spiritual guru Deepak Chopra, film director David Lynch and the David Lynch Foundation. THE LAST OF THE WINTHROPS is his first film as a co-director, writer and producer.
Editor and Co-Producer
Sergio has over a decade of experience as an editor and producer. He has edited a wide variety of television shows, commercials and feature films for major networks and production companies. He considers himself a creative storyteller with a big passion for content that inspires.
Eduardo R. Servello AMC
Eduardo is a graduate of the prestigious CUEC film school in Mexico. He has over 12 years of professional experience in feature films, short films, music videos and advertising. Some of his feature film credits include the critically acclaimed zombie horror film, INFECCION, an official selection at the Sitges Film Festival, MALVERDE, and 21 DAYS. Eduardo recently completed the mixed martial arts documentary series, BUSHIDO BATTLEGROUND for Robert Rodgriguez’s El Rey Network. He currently works as a partner at the Los Angeles based production company, REMA FILMS LLC.
Composer and music editor Shie Rozow (pronounced shy ro-zov) has taken a different path than most, leading him to work on over 100 feature films including major international blockbusters like AVENGERS: AGE OF ULTRON, OZ: THE GREAT & POWERFUL and HUSTLE & FLOW. As music editor, Shie has earned 17 Golden Reel Award Nominations, winning for his work on CHICAGO (as assistant music editor), IMAX: DEEP SEA, and WU TANG: AN AMERICAN SAGA. Equally comfortable working in film & TV, Shie has contributed his talent to approximately 1,000 hours of TV including DESPERATE HOUSEWIVES, and most recently The CW’s STARGIRL, along with Amazon’s anthology series WELCOME TO THE BLUMHOUSE and Shudder’s CREEPSHOW.
You can hear his music on Netflix’s documentary SHAWN MENDES: IN WONDER as well as award-winning indie features like JASMINE, CAMP ARROWHEAD & CAPTAIN HAGEN’S BED AND BREAKFAST. His scores to MATT & MAYA and LOST TIME have both won Telly Awards. In addition to film scoring, Shie also composes concert music, which has been performed from coast to coast, and released his first concert album MUSICAL FANTASY in 2016.
Shie is a graduate of Berklee College of Music.
Production Sound Engineer
With over 35 years of color grading to his credit, there isn’t any genre that Brian doesn’t feel comfortable in. From his early years in sitcoms, such as “Frasier”, to the Oscars with Billy Crystal, to the Oscar winning documentary “Twenty Feet From Stardom”, you will find Brian’s contributions throughout film and television. Including this years Oscar nominated film, “Crip Camp”, Brian has five Oscar nominated films that he’s excited to be a part of.
“I love the process of taking the filmmaker’s vision, applying some visual polish, and help bring the filmmaker’s interpretation to reality. The process is not about me. It’s about listening to the filmmaker. It’s about bringing the visual loose ends together so that the viewer is drawn into the storytelling. The audience has gotten more sophisticated through the years, and likewise, we as colorists have to rise to meet that challenge by providing the highest quality color grading possible.”
“In the process of making a film, everyone must bring their best. It’s a challenge which is different with each film. It’s that challenge that continues to make me want to rise to the challenge.”