LUMINA director Gino McKoy discusses UFO abductions and his new film with Tony Tellado. Click here to listen to the full interview on
 McKoy is a writer, musician and filmmaker. A bit of an auteur, you might say. He’s working on his new sci-fi film LUMINA, shot in Morocco.
Well, you know, I’ve always been into sci fi. Because I grew up – actually, my first – I was three years old when I first started reading the Star Wars books.


And my mom has me on cassette reading all the Star Wars books at that time, you know, three and a half you know, stuff. So like, you know, people are amazed at that, that I was actually reading Star Wars books at that time.
I think my inspiration started there, but for the movie LUMINA, I wanted to do a movie where you could see how someone is affected psychologically by a member of their family or someone that they love being abducted by aliens.
Ah, wow. Wow. That’s interesting. So you went for the psychological aspect of it.
Yeah, yeah. So you see that their friends, what the person they’re in love with, is affected by it. And its seeing how the – they own – the entire ensemble of cast – would react to something like that, and what they would do, and how it would affect their journey, and stuff like that. Just seeing the whole entire character arc.
I think I wanted to something like that because X-Files explored like, you know, abduction and stuff like that as well, but it was only really like one person really being affected by it in their entire journey, so I wanted to see how like, a whole group of people, like an ensemble, like how they would be affected psychologically by an abduction and how they would deal with it and their journey.
As I understand, this was shot in Morocco?
Yes, the entire film was shot in Morocco.

You get to Morocco and I mean, we’re both Caribbean guys, we like the warm weather. That’s the way it is. And, what was it about Morocco that said, hey, this is where I wanna make my movie?

You know, it’s interesting. Um, at first I was going to shoot in um, Malta, actually.

Oh, wow.

Yeah, because our good friend, who is a producer on the movie with us, he’s Maltese. And um, he’s very close to us. He works with Lynda McKoy, my mother, who’s a producer on the film, with the financing and all that stuff. And we wanted to shoot in Malta, but as you know, Malta doesn’t have any desert. And Tunisia came up in the picture, because you know, George Lucas shot there, you know, and Tatooine is there and everything else, and like I’m a huge Star Wars fan. For me, I thought it was that was great, but they didn’t have the studio space.


We had to build all the interior sets and everything else, you know, the sound stages, so Morocco came into the picture. And Morocco has such a rich history of filmmaking, you know, they’ve done so many great films with Ridley Scott and everything else, you know, and all the sword and sandal stuff. So I said, okay, they have the stages, they have the breadth of locations, a wide range of locations, and they’ve got great crews that are equivalent to the crews I work with in Los Angeles. We went, and that’s ultimately why I decided to shoot in Morocco.
The interesting fact about that is, it’s actually the first science fiction movie to be shot in its entirety in Moroccan cinematic history.

Wow. It’s about time then! (Laughs)

Because they’ve got all the exteriors, and sword and sand and stuff, from Gladiator and everything else and Kingdom of Heaven. Because the studio we were at was Cloud Studios in Ouarzazate. And, um, behind the studio is the big Kingdom of Heaven set. They’re known for doing those type of big historical movies. But it was their first science fiction movie, and the biggest, ever done in Moroccan cinema history. You know, the biggest stages ever built – and sci-fi stages – and the only sci-fi stages ever built – sci fi sets, actually, ever built on the sound stages in Moroccan cinema history.
So we created history with this. I didn’t even know that until about three weeks into pre-production and the art director comes to me, because he’s worked on some very big movies. You know, he worked on Old Guard, with Charlize Theron, and a number of other films there, and he was like, yeah. These are the biggest sets I’ve ever built in my life, and the only ones for science fiction. So we created history in Morocco and I didn’t even know I was doing that. (Laughs) So I guess it was divine, that we got led there basically to do that, you know?
I thank God for that opportunity and stuff, and I thought it was really great to see see um, us bringing something new to the country that is known for doing sword and sandal and historical pieces, and not sci-fi.

Yeah, yeah….

Because everyone really goes to Australia, New Zeland, you know they shoot…Europe, Canada, the US like you know, I come originally from Toronto. That’s where most of the sci-fi sets are built. You never hear of people building sci-fi sets in like, Morocco and stuff, so you know, I thought that was really, really unique. But yeah, that’s why we chose Morocco, and I realized that, you know, we created history while we were there.

Watch or listen to this space for more about LUMINA. For Byte, this is Tony Tellado.

MARCH 26, 2021
Written by ANAIS ROBIN,  Editor

This article originally appeared in Made in Marrakech

MARRAKCH – Morocco continues to seduce crowds and attract foreign film shoots. The shooting of Lumina, the very first science fiction film in Morocco, has just ended. The team of this feature film chose to put their bags down at the Kech Boutique Hotel & Spa during their stay in Marrakech.

Who is behind this film? Gino Justin Hudson McKoy, a multi-hat man: Canadian singer-songwriter, director, film producer, screenwriter and music producer.
He has set his sights on the regions of Marrakech and Ouarzazate, between mountain and desert, for the shooting of his first feature film for which he is writing and directing.

Lumina is the very first sci-fi film to be shot in Morocco, slated for release this summer. The cast includes renowned actors: Eric Roberts (Julia Roberts’ brother), Ken Lawson and Eleanor Williams. During their stay in Marrakech, the film crew stayed at the Kech Boutique Hotel & Spa .

And to be patient while waiting for its release, here is a brief taste of it  : at the center of the story,  

the exploits of an amateur videographer, a conspiracy theorist and a manipulative vixen who set out in search of the lover of their friend who disappeared in a flash. A journey that will change some lives and take others!

Article originally published in L’Observateur on March 14th, 2021.
English translation provided by Google Translate

MARRAKECH – Morocco continues to attract foreign directors. Canadian filmmaker, screenwriter and producer Gino Justin McKoy has chosen to shoot his semi-fiction film “Lumina” between Los Angeles, the sumptuous desert of Agafay, the Atlas mountains and the majestic backdrops of Ouarzazate.

A first in Morocco. Marrakech will host its first science fiction film and it is signed Gino Justin Hudson McKoy. Supported by a prestigious cast including Eric Roberts, Julia Roberts’s brother, Ken Lawson and Eleanor Williams, the film “Lumina” features a young college graduate whose girlfriend disappears in a blinding flash. Set off on his quest, he plunges into a dangerous network of otherworldly distortions … Note that most of the scenes alternate between the Atlas Mountains and the Agafay Desert.

Falling under the spell of the ocher city and the diverse landscapes of southern Morocco, the Canadian director, screenwriter, musical producer and singer confides that the choice of Morocco was “symbolic” for him, because being from the Caribbean, his country shares according to him. several similarities with Africa. “Morocco has a diversity of landscapes and a strong cultural heritage which are specific to it and which make it a blessed land for directors, without forgetting the human potential,” confides Hudson McKoy who admits to having “found in this country the landscapes and places I dreamed of for my film, between Ouarzazate and Marrakech (Agafay desert, Agdz road…). I find that the landscapes of this country have a gargantuan potential worthy of the greatest productions of the genre, like Alien and Predator “.

Deeply touched by Moroccan hospitality, the Canadian director plans to shoot another film in the ocher city “I have a film in preparation that I wrote with the American-Canadian screenwriter Michael Sloan who is also the producer of the film Equalizer with Denzel Washington. I would like to shoot it in Morocco, in Marrakech more precisely! », He concludes.

Article originally published in Grazia Maroc on March 5th, 2021

MARRAKESH, MOROCCO – Despite the still raging health crisis and more or less closed borders, resilience is more relevant than ever. We learned in particular that Morocco was recently the scene of a new American film shoot. But not just any: it is the very first foreign science fiction film made in the country, more particularly in Marrakech and Ouarzazate.

Gino McKoy's LUMINA in Grazia magazine

Signed Gino Justin Hudson McKoy, the film “Lumina” unveils a nice cast, including renowned actors like Eric Roberts, the brother of Julia Roberts herself, Ken Lawson or Eleanor Williams. Crisscrossing the districts of the ocher city for weeks on end, the entire film crew benefited from the local hospitality and in particular from the Kech Boutique Hotel & Spa where she stayed. Scheduled for next summer, this “made in Morocco” film is the new gem of the talented Canadian director & screenwriter. Note that the sparkling and dynamic Gino McKoy is a complete artist. Because, he is not only a filmmaker, he is also a singer and musical producer of talent. A true enthusiast who says he is very excited to present his first feature film to the world.

At just 40 years old, it was as a family that he decided to put down his suitcases in Morocco to embark on this exciting adventure. Brilliantly mixing drama, science fiction and action, McKoy was largely inspired by the sumptuous landscapes of the Kingdom, especially in the desert for the frame of his film. To give you a taste: the story features a young college graduate whose girlfriend disappears in blinding lightning. Set off on his quest, he rushes into a dangerous network of distortions from another world… Note that most of the scenes alternate between the Atlas mountains and the Agafay desert. As a bonus, the director has surrounded himself with an essentially Moroccan team for the realization of his project. Apart from the cultural heritage, he was also very touched by the Moroccan hospitality, even forging beautiful friendships with some locals. Following his big heart for Marrakech, which he discovered for the very first time, he even plans to return there for his next shoots. In the meantime, we can’t wait to discover our red city in science fiction mode with the first images of this famous “Lumina”…

Article originally published in La Tribune De Marrakech on Feb. 27, 2020
Written by Fadili Majda
Translation provided by Google Translate

MARRAKECH MOROCCO – Morocco has not finished making a name for itself in the world cinematographic sphere! The kingdom is put back on the front of the stage by the Canadian director and screenwriter Gino McKoy who has chosen Morocco, the regions of Marrakech and Ouarzazate more precisely, for the shooting of Lumina, a science fiction film of a new genre with American actor Eric Roberts headlining. While waiting for the release of this new “made in Morocco” production scheduled for this summer, La Tribune de Marrakech spoke with the young director over a cup of coffee at the Kech Boutique Hotel, where the film crew was staying.

While waiting for the release of the trailer, can you give us a taste of the film Lumina?
Lumina is a mixture of drama, action and science fiction. I wanted to write something unique that stood out from other forms of science fiction that we know. Usually in sci-fi movies you don’t learn much about the characters and you know they’re going to die before you really know them. So I wanted to make a film that allows audiences to relate to the characters and their stories.

Why did you choose Morocco for the shoot?
I had a number of locations to choose from to shoot the film, but decided on Morocco. It was really a symbolic choice for me to make it here. I am from the Caribbean which shares so many similarities with Africa. I also opted for Morocco for its history with cinema and the various films that have been shot there. I found the landscapes and places I dreamed of for my film there, between Ouarzazate and Marrakech, because I absolutely wanted to shoot in the desert. Some scenes were thus taken in a villa in the Palmeraie, the Agafay desert, the road to Agdz and the mountains of the region.


What was your challenge?
I did not realize that it was going to be the first sci-fi film set built in Morocco, because I find that the landscapes of this country have a gargantuan potential worthy of the greatest productions of the genre, like Alien and Predator. We then edited everything on site, working mainly with Moroccans who greatly contributed to the making of this film, the shooting of which ended after 2 years of preparation.

What are Morocco’s strengths as a film destination?
Morocco has a diversity of landscapes and a strong cultural heritage which are unique to it and which make it a blessed land for directors, without forgetting the human potential. I fell in love with this country where I made strong friendships during filming; I feel at home as this is my first visit to Morocco and Africa and it will certainly not be my last. I already know that I will take pleasure in coming back to it for my second feature film. I have a movie in the works that I wrote with American-Canadian screenwriter Michael Sloan who is also the producer of Equalizer with Denzel Washington. I would like to shoot it in Morocco, in Marrakech more precisely!

Why do you absolutely have to see the film “Lumina” when it comes out?
Because it’s unique and it’s unlike any movie you’ve seen. Unlike classic sci-fi movies, which start with action from the get-go, Lumina offers a different take. The first twenty minutes allow you to discover the different characters and to become attached to them, as one might do while watching a drama. What is on offer in the image is to follow the story of the protagonists, from Los Angeles to Morocco, knowing that the entire film was shot here! We have therefore planned two previews, one in Los Angeles and one of course in Marrakech. Patience!

LUMINA Director Gino McKoy

Day 1 in the can, blessings to the King of Kings and Lord of Lords for a successful and great first day.. Dune Films and our amazing cast and crew… Some thought we wouldn’t get here but we are.

Keep up to date on all the latest news, trailers, and release dates for the upcoming feature film LUMINA, written and directed by Gino McKoy, at the movie’s official website:

This article originally appeared on
Written by Randy Radic

HOLLYWOOD: Gino McKoy is a rarity, a multi-talented visionary with the innate gifts to make an impact on not only music but also on Hollywood. He’s a singer-songwriter, screenwriter, film director, and producer.

McKoy’s latest music video, “Sensy Girl,” featuring Diamond, was produced by David Kershenbaum and McKoy, and mixed by 15-time Grammy-winner Mick Guzauski. According to McKoy, the song is a “celebration of women and music everyone can listen and dance to.”

His forthcoming sci-fi horror film Lumina, distributed by Entertainment Studios Motion Pictures/Freestyle Releasing, will be appearing on 2,500 theaters across North America, followed by Little Mizz Innocent, both films written, directed, and produced by McKoy.

If that’s not enough, McKoy is funneling 20% of the merchandising revenue from “Sensy Girl” into his crisis charity for women and children, Kinder Krisis, a reflection of McKoy’s motto: “God put you here, not only to help yourself but to help others.”

CelebMix sat down with Gino McKoy to find out how someone from Trinidad and Tobago forges a path to success in music and feature films.

How did you get started in music? What’s the backstory there?

Been surrounded by it for my entire life. My first musical memory was the world steel band competition aka Panorama in Trinidad and Tobago at the age of three. My father is a musician/composer and a big music and steelband enthusiast and my mom was a singer and sang in school and church, she also has a great ear for music. But back to what I was saying, we parked up at night outside of Queens Park Savannah in Port of Spain during the Trinidad and Tobago carnival season and listened to the competition. The notes echoed with that slight island breeze. One of my earliest memories of music.

Of course listening to my South American Jewish grandfather (dad’s dad) play classical or listening to Michael Jackson at the age of four, turned me onto music. Not to mention my mom was a singer and also came from a musical family, my father also had a band in Halifax, Nova Scotia when we first moved to Canada from the age of four and up. So I constantly heard music. Started mimicking opera singers around 7, while still listening to classical (favorite was Bach, on harpsichord) Michael, Madonna, GNR, U2, Rakim and local artists from the Caribbean.

But my real start came when I was in my late teens when I sang covers and hooks for local artists looking for R&B artists to sing on their hip-hop tracks or dancehall tracks. In between those years I couldn’t really find a vocal coach I liked or trusted, so it was just my raw talent tbh. Until around 12th grade I enrolled in music class at high school and the teacher said I was talented and should pursue singing professionally. After that I went on to sing at work events, weddings, talent shows at University of Toronto where I graduated from, etc. Eventually I found a vocal trainer, Marat Maxutov, a very talented Russian vocal coach out of Mississauga school of music. He trained me for the next 7-8 years and I refined my raw talent. That really prepared me for the next step into mainstream music.

When I met Nick Blagona at Metalworks Studios in Mississauga (some of the biggest artists in music history have recorded out of there), I was mastering an album with covers to present to labels. He heard my voice and said he wanted to work with me as he was also a mastering engineer out of that studio. He was excited when he heard we had original material my father had composed going back to the 80s. So the strong melodies were there in the original compositions, but it needed a Producer to arrange and really bring out the best of it. We recorded the album at Ocean Studios in Burbank but Nick fell ill shortly after. He said I needed to be in LA and once I was in LA, I knew God led me there – that was my path. David Kershenbaum eventually took over the music and re-produced it after I wasn’t satisfied with the mixes done by Grammy-award winning Mixing Engineer Dexter Simmons. I met David through his friend Rick Stone, a well-known radio promoter in LA, because his former assistant who I met crashing a red carpet event in Beverly Hills’s heard my songs and referred me to Rick. After Rick heard the songs, he put me on to David. David eventually incorporated legendary talents like Greg Phillinganes (Michael Jackson’s former Arranger and musical director, whose mother happens to be from Tobago, surprisingly), Bernie Grundman, Mick Guzauski and Bob Clearmountain involved along the way. That took the music to the next level and set me up for this EP release. Of course it doesn’t hurt to have a great attorney that also believes in my talent be there as well, in Lee Phillips, who some may know as the attorney who repped Michael Jackson, the Eagles and Irving Azoff to name a few. Lee heard my talent and saw my ideas to amalgamate film and music and chose to represent me going forward. Lee helped us secure worldwide publishing with BMG from the Global Head of BMG in Berlin. We hope to have a great partnership going forward in the future. However, there’s a story between all of this which you will see below.

What is the most trouble you’ve ever gotten into?

If I tell you, I will have to kill you, LOL. Just kidding. But let’s just say this, had I not had strong parents who were there for me and my grandmother (mom’s mom, I released my EP with the “Sensy Girl” music video on her bday, June 14th) who was like a mother to me was also there for me, I probably would not be where I am right now; thank God I am and I’m happy I chose the right path.

What are the three things you can’t live without?

God. My parents. Music and film.

What’s your favorite song to belt out in the car or the shower?

Tough one, “Human Nature” – Michael Jackson and “Mysterious Ways” – U2.

What musicians/vocalists influenced you the most?

Michael Jackson, I had the doll, lol. Whitney and Madonna – the songwriters, melodies everything really, just like Michael. U2- one of my first music DVDs was “Rattle and Hum.” U218 is always on repeat for me. GNR – Appetite For Destruction, Use Your Illusion, both volumes, Slash on guitar, Axl’s unique vocals. Phil Collins and Elton John – between the two of them, it’s hard not to love ballads. Rakim – changed the rap game, his style was so unique and his message. Billy Ocean – Suddenly to “Caribbean Queen.” Super Blue – Trinidadian artist (calypso and soca) the rhythm and vibe. Super Cat – dancehall. Pearl Jam – Ten and Vs. “Alive” spoke to me. Bach, Mozart and Beethoven.

How did you go from singer-songwriter to screenwriter/film producer?

Before we met David, we met a number of people in the music and film industry, when we moved to LA. Sadly most were not honest and didn’t appreciate my vision of doing live music. Some label executives said it was too alternative, some said you need to sing R&B or Euro-pop and go all synth music. I personally loved the old school strong melodies my father and I wrote and as Michael Jackson has said, “Melody is king …” I wasn’t going to drop our great songs. It was a real struggle after that as many tried to push me into a corner despite seeing my talent. I didn’t give up, we as a family didn’t give up. We gave up everything in Canada to move to LA to pursue my dream and our dream to do music. We put all of our money into it and lost a lot of it, at a time we hit rock bottom, with a lot of our family turning their backs saying we should leave the entertainment industry. Despite the fact we supported them unconditionally in what they pursued. Our backs were against the wall, so I came up with an idea. And we built ourselves back up in the process to get to this point.

Growing up, I always wrote poetry and short stories, despite never really loving English class. Yeah it’s quite the contradiction. But I came up with an idea: I will write my own movie and put my songs in the movie soundtrack, so I won’t have to be subjected to others trying to get me to sing something else and I’m in control of my music career and the music I choose to put out. Plus I won’t have to worry about labels not signing me because they didn’t believe in the music, despite some notable producers saying it takes time and money to release that quality of music that we made.

So I wrote, Little Mizz Innocent, based on our song by the same name that will be released at a future date. Wrote it in 2 weeks, I never wrote a script before but I read a lot of James Cameron, Michael Mann and George Lucas’s scripts before I wrote LMI. Sadly, a lot of what I wrote was stolen and used by other films in the industry because the movie went into development hell, as they refer to it in the film industry. A few examples of that were when I was the first writer in Hollywood to write about the deep web and bit coin. That circulated throughout Hollywood for many years, so contrary to popular belief, I was the first to write about it in a feature film script, which of course I have proof of because it was registered with the Writers Guild of America. But you live and learn and get stronger and avoid trying to get blacklisted, despite the discrimination and the other fun stuff that comes with it. And once your film doesn’t release right away, ideas get taken. However, that did not stop me, delayed but not discouraged, it was a baptism of fire I had to pass through and learn about to get to this point. The sacrifices artists make to get their music heard and appreciated. It turned out that I was the only music artist to do this and play so many roles. You see artists like Donald Glover now, but I was ahead of the curve by many years, as I’ve been told. Because I created the film as a vehicle for my music and wanted that autonomy. The idea was born out of wanting the music to have a fair chance to be heard by the world.

What was the inspiration for your forthcoming Sci-fi horror movie Lumina?

I grew up a Star Wars fan, huge Stars Wars fan, still am a Star Wars fan and George Lucas fan, so much so, my grandfather (moms dad) called me The Jedi. Simply because I watched all the episodes every day since I can remember myself. I was also reading the Star Wars books at around the age of 3 and a half, my mom made sure to record me on cassette. She still has that cassette.

I wanted to experiment with alien abductions, and chase sequences.

Well after the delays on LMI, I was in Florida visiting my uncle who is a vet out in Bradenton, I decided to write Lumina and see if I could keep the storyline really contained, the polar opposite of LMI. I managed to do that. I’ve always had inspiration for sci-fi, it’s my niche genre which I love, I wrote a trilogy many years prior to Lumina, I hope to produce in the near future. It’s a topic that sci-fi movies haven’t explored yet and I hope to explore it and get it on the big screen. Lumina will also be my first feature film that I will be directing, so I will be making my directorial debut. As I did on both “Sensy Girl” and “The Everything To Me” music video which will be released later this year. No to mention we have secured a wide release in North America with Entertainment Studios Motion Pictures/Freestyle. Releasing with Byron Allen’s company to 2500 plus screens to all major theaters in 2020. Something that was termed a watershed moment in their history and maybe less than 1% of producers secure this type of theatrical distribution. So our hard work and struggles did pay off after all.

Your new music video – “Sensy Girl” – is hella-cool. How did you hook up with Diamond?

Thank you, that means a lot. Diamond and I have been friends since my first year of university, we actually did another collab together which is equally as great but needs to be re-produced, it got traction in Toronto and the Caribbean but never broke through. I think we want to change that after “Sensy Girl,” God willing it blows up internationally. Diamond is originally from Tobago, so we have an understanding and have been friends for quite some time.

What’s the story behind the title, “Sensy Girl?”

Diamond and I were hanging out or as we say in Trinidad (limin) one day in Toronto and we talked about that no songs had women and ganja, Diamond said why not “Ganja Girl.” I said that’s too on the nose, not catchy enough, “Sensy Girl” sounds better and is catchier, he loved it. We wanted to highlight the ladies because too many songs were focused on men. Sensimilla as you know is the female strain of the ganja plant, but has no seeds and is the feminine strain. So it worked perfectly and Sensy is a slang word used in Trinidad and Tobago to identify marijuana.

What is your songwriting process? Does the music come first and then the lyrics?

Depends, my dad and I like to joke that we are a Bernie Taupin and Elton John combo because Elton is one of his all-time favs. We compose together and I do a lot of the lyrics, unless dad already has lyrics, I make changes and also work with him and the producer and musicians. We don’t have a set way as such but a lot of the songs originate from the piano. “With Sensy Girl,” I was playing with guitar riffs with my uncle who’s a drummer and that gave me the melody for the hook. I produced a rough track in Toronto and then went to David Kershenbaum and we produced it together in two studios in LA. Dad also had input and worked on that track but it was mainly myself. We like experimenting in the studio and with different mixes and also prefer the minimalist approach but sometimes you need those layers for that full sound. I also never use auto-tune on my voice. We prefer going live and some mixtures or synth, but with “Sensy” it’s a different vibe.

I write poetry, so at times once I hear the harmonies and melodies words come to my mind, or vice versa. I hope to be recognized for my versatility because we write everything, as you can see the singles on the EP are three distinct genres.

You founded Kinder Krisis, a crisis charity for women and children. What is the charity’s primary objective?

Getting kids and women out of dangerous and impoverished situations. Lynda, who’s my mom and President of Goldove, volunteered a lot throughout her life, orphanages etc. I got a good example from her growing up. My motto is “God put you here, not only to help yourself but to help others.” So we started KK, and we are hoping to do an official launch with money raised by the end of this year to start helping kids, women and give back. For us it’s not about image or anything else superficial, we just want to know we can make a positive difference and we know the money is going to the people we need to help. The legendary Christopher Plummer also said he supports our charity, which was great as well.

What’s next for you? More music? Another movie?

Where do I begin. Securing radio play for “Sensy,” and “ETM” and “Runaway.” Releasing those music videos, “ETM” is shot and looks amazing as well. “Runaway” I’m still planning. Securing TV performances and also heading into shooting Lumina in Greece. Once that’s complete we will be finishing the album for release, with all music videos to follow. Tour etc., and then comes my slate of films. After Lumina is Spidersweb, a sci-fi film I wrote with Michael Sloan, who is the EP, producer and creator of Equalizer and Equalizer 2 with Denzel Washington. I will be directing his next feature and doing title tracks and the score, etc. for that. Then LMI and a number of other secret projects I can’t reveal as yet. Some will definitely catch the eye of the top media sources. All in all, I am excited to tour eventually and we have 40 more songs ready to be produced and released, plus I have a lot of writers pitching to me. So we want to unleash the music catalogue because streaming as everyone knows has changed the way music fans consume music.

Sensy Girl Music Video


By: RJ Frometta
This article originally appeared in Vents Magazine

Any artist looking to change the game knows you’ve got to have an eye for the big picture and maintain a constant lay of the land. Gino McKoy has made big moves within the music and movie industries, beginning with his first-ever original composition getting played at the 2006 FIFA World Cup. He’s turned Goldove, his music, film & fashion conglomerate, into an international force to be reckoned with. He’s not only a singer/songwriter but also a talented film and music video director, screenwriter and film producer.

Rarely does a combination like this come along in the entertainment industry – Gino McKoy is the exception to this rule. His upcoming independent sci-fi horror film LUMINA will be released Nationwide to 2,500-plus screens in North America. The feature film is being distributed in US by Entertainment Studios Motion Pictures/Freestyle Releasing and Worldwide theatrically with Filmnation. This will be followed by a release on all streaming video on demand platforms like Netflix.

Gino McKoy’s latest video is for “Sensy Girl,” one of three original tracks on the LUMINA soundtrack. It’s the perfect embodiment of how this son of Trinidad and Tobago and Toronto thinks huge while keeping a lock on the tiniest of details. Not to mention it was Produced by the legendary music producer, David Kershenbaum with Gino McKoy and mixed by the legendary Mick Guzauski, a 15 time Grammy award winner, who has mixed over 25 #1 Billboard hits in his musical career. Also to note, Gino McKoy’s father and mother are seasoned performers, whose combined pedigree includes everything from Caribbean music to Classical.

Last we checked, there were roughly one million songs about guys getting lifted. Gino McKoy isn’t one to walk well-beaten paths, so he and collaborator Diamond thought, Why isn’t there a positive, soulful anthem about women and weed? It started with a guitar riff and ended with a classic yet modern R&B track that showcases Gino McKoy’s natural songwriting talent, classical voice training, and Diamond’s lyrical flow. It only made sense to write a song about these goddesses in the context of Sensimilla – the female strain of the weed plant, and specifically, its Caribbean nickname. Gino McKoy makes “Sensy” his own, in this sexy, uplifting jam that’s heavy on the bounce, with a killer synth line and intricate, hooky beat. In his own words, it’s a “celebration of women and music everyone can listen and dance to.”

A man who has always put his money where his mouth is, Gino McKoy is putting 20% of the merchandising revenue for “Sensy Girl” into his new women and children’s charity, Kinder Krisis. The track is also something of a theme song for one of the strong female leads in LUMINA, who definitely matches that positive description of a Sensy Girl.

The song’s unique angle, with its focus upon women, required a careful, cinematic approach to shoot. He and his team used vintage lenses, for a grainy, classic look. The raw, industrial, urban space is bare, so all eyes stay on the women and the generous clouds of silky smoke that envelop them as they exhale.

It’s Nouveau Chic, but with old-school visual effects, akin to the approach he took with LUMINA. To make the visuals even more striking, Gino McKoy not only Directed and wrote the treatment for the music video but he also recruited Chris Jensen, the mind behind the color grading for the live-action Aladdin, M. Night Shyamalan’s Glass, Spielberg’s Bridge of Spies, and Ready Player One. Check out the stunning video for “Sensy Girl,” and see if you catch a little otherworldly nod to LUMINA in there.

Sensy Girl Music Video