​​​Jacek Laskus, ASC, PSC -

Cinematographer

Jacek Laskus graduated from Polish National Film Academy in Lodz. He has worked with directors like Robert Altman, Michael Tolkin, Jonathan Demme and was nominated twice by the ASC for his work on The Caine Mutiny Court-Martial (1988) and Garden Of Redemption (1997). Laskus is a Senior Lecturer at the AFI in Los Angeles. Member of the American Society of Cinematographers since 2000. Member of the Academy of Motion Picture Arts and Sciences since 2025. On his work on Schindler Space Architect, Jacek reflected: "When thinking about the task of photographing multiple houses designed by Rudolph Schindler I understood that it will be a challenging task. Each house is a bit different, placed in its surrounding in a very connected and organic way. The cinematography had to find the way to be able to do the same, Explore the indoor - outdoor relation. Explore how the light travels through the interiors, and how it shapes them. I also tried to understand what part of a day I would love to spend time in different corners of each house if I would be living there. What fascinated me how well the architectural lines provoked the moving camera, exploring the connections between different rooms and then connecting all to the exteriors. For this I needed a camera with wide rage of exposure, and finding the right time to film there. Some of the spaces were small and required wider lenses, but had to be framed so the lenses would not distort the lines. It was necessary for me to study those interiors and in conversation with Valentina design the proper angles and camera movements. It felt to me like I was always in conversation with the houses through the choices of camera placement and movement and the presence of the light coming through multiple windows. It was discovering those impressions that help me to capture each house with a specific set of imagery defining their beauty. "
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Danny Ducovny -

Executive Producer / Co-cinematographer 

 

Considered one of the finest commercial directors and

cinematographers, famous for launching with his company Cucoloris worldwide successful campaigns.  He is recipient of countless award and the only person to win the Kodak Cinematography Award twice. Danny's work on "Schindler Space Architect" as a cinematographer was re visualized stills and archival elements as well as creating new "vintage" footage. In his own words: "I wanted the viewer to be there. to feel it, not to just observe from a distance. With the use of Super 8 and 16 film and vintage lenses on modern digital cameras, I tried to create the illusion of antique footage from the eras. I'm old enough and I've done it long enough for some of these techniques to have been current in my time. I researched looks and methods from the times before me to reenact them in the proper style. "Mistakes" were added, emotion was injected through light plays, mirrors, different backgrounds and styles. trying to always keep it moving, keep it alive. The use of a 50/50 mirror allowed the superimposition of Schindler in print form with other images to put him in "there", in his own environment. LED light that color changed and dimmed, allowed for experimentation of light plays on stills to make them seem animated. It was a deep bag of tricks - toy cars, miniature trees. An iris shutter helped realize Schindler's own photographs along with purchasing an old Kodak graflex much like the one he used. I wanted to go on his journey with him. Experience it with him. All of it was done just Valentina and me, mostly at my makeshift studio at the beach.  Here we were surrounded with background surfaces, colors, sunset and water, reflective mirrors and sparkly elements to recreate the California experience that he had. There was no bosses, no crew, no time limits. I, in all my years had never worked like that. It was experimentation and much on the day in real time. It was very rewarding and I hope I helped to bring you the viewer into his world".

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Gerald V. Casale - Co-writer​

Founder, co-principal songwriter and a vocalist for the new

wave band, DEVO. Gerald is also an award-winning music

video/commercial director and avid art collector. He was part of the creative team behind the restoration of Richard Neutra’s Kun House in Los Angeles built in 1933. On his contribution to the narration for "Schindler Space Architect", Gerald said: "Long a student of mid-century modern architecture, my writing and research contributions for Valentina Ganeva's definitive documentary on the life and work of RM Schindler were a labour of love. Her compelling study on Schindler's overlooked genius establishes his rightful place in the history of modern architecture and the cultural revolution his vision spawned. I was honored to be part of her epic creative journey." ​

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Mark Tschanz - Composer

LA based composer, Songwriter and Guitarist. After some year as a Songwriter with EMI publishing UK in London and then as a composer for a number of independent motion pictures and 2 contemporary Ballets and numerous commercials, Mark moved back to Los Angeles where contributed some guitars to Danny Elfman's score for "50 Shades of grey". He has featured songs and additional music in "Stealing Beauty", "Waltzing with Brando" to mention a few. On his score for "Schindler Space Architect" , Mark reflects: “I felt that, the function of the score was to keep a cohesive flow and pace to the story in spite of the different periods represented  yet giving each building its own musical space. The omnipresence of voiceovers also meant that the score would essentially need to remain at a certain level. The score had to avoid the “background music” trap as well as an overly “patchy” sequence of individual themes. Whenever possible, I allowed elements of one building’s music to partially overlap into the next one before disappearing by the time the subsequent building appeared.…and kept that cycle going organically as much as possible.”​​​​​​​​