Neal Weisman with Richard Hankin

A standing room only crowd welcomed The Jinx Supervising Editor Richard Hankin to New York Film Academy Producing Department’s latest Industry Speaker series session. After screening Episode 3 of HBO’s groundbreaking series, Richard participated in a “Conversation with…” and Question and Answer session with Producing Department Co-Chair Neal Weisman. NYFA students from various departments heard Hankin discuss his early career, learning the Avid editing system (now the industry standard, used by NYFA students school wide), and parlaying his technical expertise to gain employment on a number of important documentary projects. He went on to describe his role working with various directors and producers, including editing and co-producing Andrew Jarecki’s Academy Award nominated film Capturing the Friedmans.

The Jinx garnered unprecedented media attention, thrusting it into the limelight. Richard Hankin gave great insight into the development, production, and most notably, the post production of Jarecki’s six part documentary series exploring the strange case of Robert Durst.

Various production, legal, and ethical issues confronted by the filmmakers were discussed; especially noteworthy as the filmmaking process revealed incriminating evidence used to reopen murder charges in Los Angeles.

The Jinx is currently available on HBO GO.

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Actor Joe Mantegna with NYFA veteran students

Today, military veteran students enrolled at the Los Angeles campus of the New York Film Academy produced a Public Service Announcement for partnering organization, The Soldiers Project. The PSA featured award-winning actor Joe Mantegna, who is a dedicated supporter of veterans and their families. The Soldier’s Project, a non-profit organization that offers counseling to service members, veterans and their families, has been a long time collaborator with The New York Film Academy, offering counseling and support to Veterans making the transition from military service to pursuing their dreams in the creative arts industries at NYFA.

The PSA shoot was staffed by an all veteran film crew featuring veteran students from all branches of the military and studying various disciplines including filmmaking, producing, cinematography, and photography. The shoot offered a unique opportunity for Veteran students to come together and create a high quality video that will support their fellow veterans.

Ruddy Canohernandez, a BFA Producing student who produced the PSA, did so with the hope that his work would “open doors for other service members that he has been so lucky to take advantage of.” As a Marine, Mr. Canohernandez holds strong to the idea of never leaving a man behind, and sees his work as a producer as part of supporting his fellow service member. The PSA was directed by first year student and Army veteran Eric Milzaski, who was thrilled to have the opportunity to direct such a well known actor. In his own words, “this was a tremendous experience for me as a filmmaker, and we, as veteran students here, appreciate the opportunity that the NYFA Veterans Office was able was provide us with.”

Mr. Mantegna was impressed by the hard work and professionalism of the veteran students and shared a desire to see more veterans working in the entertainment Industry. We will all be keeping our eyes out for this exciting PSA and the futures of these talented young filmmakers.

-John Powers & Kelly Gardner

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Last week New York Film Academy students received a special invitation to the Los Angeles premiere of Russell Crowe’s directorial debut film The Water Diviner at the historic Chinese Theater. Students from all departments and programs attended and got a rare, first-hand Hollywood red carpet event experience.

NYFA producing student Emilio Madaio and acting student Tania Martínez where there and recounted the night’s events for us in an interview:

What were your initial impressions of the event?

Emilio: It was my first time at the Chinese Theater so I was really excited about it. With its (decorative) entrance it’s definitely a classy place. I saw some of the red carpet events before Russell Crowe arrived. It was fun to see it executed in real life—the interviewers behind the ropes courting the stars and trying to get there attention, the celebrities getting interviewed and posing for pictures with their best angle—that was interesting. I actually ended up sitting near the very front of the theater. Some of the movie’s cast like Yilmaz Erdogan and Ryan Corr sat close to me.

Did you go with other NYFA students?

Tania: I was with my whole class, except one person. There were 12 of us. And there were lots of people from other programs and classes too. Even one of my teachers was there. The whole theater was full and they had free popcorn and drinks for everyone.

Did you get to see Russell Crowe?

Tania: I was seated little further back. But it didn’t matter because before the screening someone started talking (over a loudspeaker) saying, “Everyone please be seated…” and I didn’t realize who was talking but then I looked to my left and it was Russell Crowe. He was talking to the audience and making jokes. He didn’t even go onto the stage he just stayed upstairs (on a balcony) in the middle of the theater. Nobody realized it was him talking at first, then people started pointing and taking pictures.

Emilio: Yes, he spoke from the back of the room and explained that usually at a premiere like this you will see the director talking at the front of the theater discussing why he wanted to make this movie, what happened on set, and what his influences were, but that he wasn’t going to do this. He just wanted to cut to the chase and let movie speak for itself. And he did it in a very funny way. He joked with the audience that after the screening they could trade in their ticket stubs with the Australian government to receive a free kola in the mail. After hearing Russell Crowe speak I decided he was a class act. He seemed like someone who had reached the top and wanted to give back. He supported the other actors in the movie, announcing who was in the audience and giving them a nice push, so to speak. He didn’t want to be the star that night; he wanted the movie to take the lead.

What did you think of the movie?

Tania: Russell Crowe’s acting was great, as well as all the other actors. It’s the kind of movie that keeps you “in the movie” and engaged, and impacts you emotionally. And I’m a really family-oriented person and this movie has a great sense of family. I definitely recommend the movie.

Emilio: I was very interested to see the directorial debut of an actor. The movie really delivered and exceeded my expectations. (As a producer) I was paying attention to the producing aspects of the movie and it’s much more than you would expect from a first time director. Would I recommend the movie to my friends? Yes!

What happened after the screening?

Tania: Afterwards many of the actors were talking to the crowd. People were congratulating them and taking pictures with them. I got to take pictures with a few of the cast members. It was interesting and nice. Walking through Hollywood you always see premieres and stuff going on, and normally you’re on the other side. And it was nice to be inside and to see it from another perspective. I really enjoyed it and want to go to another one!

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“Interstellar” VFX Supervisor Ian Hunter

New York Film Academy students in Los Angeles had a glimpse into the new dimensions of filmmaking with a screening of Interstellar and the subsequent presentation by VFX supervisor and Oscar winner Ian Hunter, co-owner of New Deal studios. The film event was reminiscent of Star Wars screenings in the 70s with a line stretching out down the long hall in front of the NYFA Theater and around the corner!

After the screening, Ian gave a brilliant PowerPoint presentation giving a rare behind-the-scenes look at the making of the epic film. He related that the models were built at a massive 1/5 scale and shot with high resolution Vista Vision film cameras running at 72 frames per second to create the majestic imagery. Miniature explosions, rotating rigs, special light sources and tons of in camera VFX work were the primary techniques. Only one green screen shot was used in the entire film.

NYFA LA Chair Mark Sawicki with VFX Oscar Winner Ian Hunter

At the end of Ian’s presentation, chair of animation Mark Sawicki spoke with him to reflect on the modern shooting methodology used for the tentpole picture. Ian shared that unlike many productions, the pre viz of the film was used as a starting point and not a locked down template. Director Christopher Nolan, in his wisdom, knew that the final models photographed in real light would give rise to different and better ideas spring boarded from the pre viz. As a result, shots were not shot to the frame but as full takes, as if shooting live action, giving editing options later on. The process points out the proper use of pre viz as a starting point, thereby allowing the iterative filmmaking process to continue yielding happy accidents and lightning in a bottle. Mr. Hunter shared that pictures done in the 90s such as From the Earth to the Moon had 10% miniature and 90% digital effects, whereas Insterstellar reversed the equation with 90% of the imagery executed with real world miniatures to a stunning effect.

At this time Mark pointed out Ian’s groundbreaking involvement as a director in the new immersive cinema experience of Cinema VR where audiences witness the photoplay in a full 360 degree panorama. This new miracle of the screen is tantamount to adding to the cinema language itself. Ian made note that while takes are much longer when using this process, cuts are possible and sound cues and other techniques can be used to direct the audience’s attention. Mark could not think of a better person than Ian to take on and develop this exciting new art form. Ian’s film Kaiju Fury was shown at Sundance’s new frontier category launching the spectacular screen spectacle.

Thank you, Mr. Hunter, for shedding light on your process and guiding us to the next dimension of movie making!

NYFA LA Chair of Animation Mark Sawicki with Ian Hunter

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One of the many enticing aspects of attending one of the New York Film Academy’s programs is the ability to learn hands-on from professionals who have and continue to have such a strong grasp of the professional entertainment business. The best teacher is someone with real life experience in his or her field. Our Los Angeles Acting for Film Chair, Lynda Goodfriend, overseas the acting for film school with a tremendously versatile and impressive background, having performed and acted in both New York City and Los Angeles.

After college, Goodfriend started her career as a professional dancer and singer on Broadway, Off Broadway and, as she puts it, “Way-off Broadway.”

“It was everything I’d dreamt of! One of the highlights was to work with a young performer just starting his career as well, John Travolta” recalls Goodfriend. “When I started to take my acting more seriously, I began studying with the master teachers Lee Strasberg and Sandy Meisner, which made me believe that my ultimate goal as a performer was to be a ‘dramatic actress.'”

After being in a couple of very small roles in Martin Scorsese’s Taxi Driver with Robert De Niro and The Front with Woody Allen, Lynda drove to Los Angeles with ambition and her SAG card. To her surprise, Goodfriend booked a variety of sitcom roles, rather than the dramas she was accustomed to.

“I started classes at Harvey Lembeck’s comedy workshop and would come home crying after every class—it was so hard! But now I love comedy and appreciate the actors who do it well. Among my classmates was a young comedian who could not get work as an actor because he could not stick to the script, but he was brilliant at improv. A role came up on the series I was doing (Happy Days) and they could not cast the character, so I mentioned this guy from my class. He came in to audition, got the role, and the producers liked him so much they created a series of his own—it was called Mork and Mindy, and the actor, Robin Williams, became a huge star.”

Lynda Goodfriend as Lori Beth Cunningham with Ron Howard as Richie Cunningham on ‘Happy Days’

Lynda is most well known for her role as Lori Beth Cunningham in the hit TV series Happy Days. Along the way she did two other sitcom series, many guest star roles, and several roles in feature films working with such actors as Tom Hanks, Bette Midler, and Julia Roberts. One of her fondest moments, as she recalls, was working with Jack Haley, the ‘Scarecrow’ from the Wizard of Oz, on an episode of Fantasy Island.

Taking a break from television, Goodfriend started her own acting school, The Actors Workout in NoHo (North Hollywood, the Theatre District), and developed two schools and a Theatre. She was also the head of a management company, Young Artists Management for many years, working with clients from top talent agencies such as CAA, ICM and William Morris.

She came back to teaching in 2006 at New York Film Academy, teaching Acting for Film and Scripted TV classes. In 2011, Lynda took on the position as Chair of the Acting Department, where she currently sits. “I feel like working in this position pulls together all that I’ve learned from my acting career, teaching and managing careers. And fortunately, since my daughter is a talent agent at one of the top agencies in LA, it’s easy to still keep up with the current trends in the industry, so I can help guide our students.”

“My goal for the Acting Department at NYFA is to continue to find more techniques and approaches to help actors learn their craft, as well as to expand our students’ opportunities to be involved in the industry after graduation. I love our program and have the honor to work with so many gifted instructors. Since becoming Chair, I have had the opportunity to add the Student Directed Plays, the Studio Classes (advanced “extra” courses in Meisner, Method and Chekov), Alumni Scene Study classes, as well as our extensive list of Drop In Classes—Auditioning, Stage Combat, Improv, Yoga, Meditation, Dance, Accent Reduction, Singing and Ballroom Dance—to support their training.”

“This program is an amazing gift for students who want to learn everything as an actor. When you graduate from this program you can hit the ground running! I believe that everything you do in life teaches you something about acting, so in my personal life I’ve always tried to do things that challenged me—I’ve raced airplanes, climbed mountains in the Himalayas, and am a competition rider along with my Swedish Warmblood horse, named ‘Othello.’ No matter what you do or pursue it’s all about the same thing—focus, hard work and commitment.”

The most important words of advice Goodfriend can give any actor that is pursuing a career are:

1. Work harder than everybody else
2. Don’t burn bridges
3. Do something every day to become a better actor: read scripts, plays or anything you can get your hands on, go to the theatre, watch great films, go to class
4. Never, ever quit

The post New York Film Academy Highlights Acting Chair Lynda Goodfriend appeared first on New York Film Academy Blog.

Immediately after graduating from New York Film Academy Photography School, Luc-Richard Elie began assisting full time for several Commercial Advertising and Editorial photographers while also interning at Sync Photo Rental. Six months later he opened his own Film and Photo Rental Studio called Concrete Studios LA in the Downtown Arts District. Luc-Richard’s work has been published several times both domestically and internationally, including photography work for the Australian Consulate.

Most Recently, he collaborated with fellow NYFA Alumnus and Army Veteran Liam Jager for the behind the scenes film to his Backstage shoot with actor Chris Messina from The Mindy Project.

The New York Film Academy caught up with Luc-Richard following his recent shoot for Backstage.

Luc-Richard Elie

How did you become involved with Backstage?

The Chris Messina shoot is actually my 6th cover for Backstage. My first involvement with the magazine came by way of another Photographer, Stephanie Diani, whom I’ve assisted on a number of editorial shoots with Backstage and at my studio in Downtown Los Angeles. During that process, I became acquainted with the Creative Director of Backstage, who by chance happened to see a glimpse of my portfolio. In October of last year, the magazine scheduled a shoot at my studio, but due to some last minute complications, lost the photographer the night before the shoot. The creative director, having seen my work, gave me a call and asked if I might be interested in shooting for the cover. That cover was for Gina Rodriguez (also her first cover) the star of the hit show, Jane the Virgin and now a Golden Globe Winner. I’ve been shooting for them ever since.

What were some of the challenges of this specific shoot with Chris Messina? 

With Chris there weren’t many challenges. He is very laid back and takes direction extremely well. He even offered suggestions, which made the shoot a collaboration and brought more energy into the overall experience. When we were moving between sets, Chris suggested we shoot in the staircase hallway. The lighting in the area was actually pretty bad, and the narrowness of the staircase didn’t really offer a lot of options to be creative, especially with the talent waiting and ready to go. So I gave some direction to my team and kept Chris entertained while all the lighting was being placed. It was important to stay loose and flexible in a situation like that. I pride myself on preparation, and staying cool when I’m thrown a curve ball. We were set up in about 10 minutes, and spent about 5 minutes shooting on the staircase before we wrapped for the day. Although it wasn’t originally planned, that shot ended up being the one used for the cover.

Would you say your training at NYFA was useful in terms of being prepared for a shoot like this one?

I’ve never used a DSLR or was actively in photography prior to NYFA. So, of course, just learning the basics of lighting and exposure is given. But it was the other intangibles that NYFA’s instructors prepared me for that have made all the difference. Always make sure you do preproduction prior to every shoot, and always be prepared to go off script.Very few things ever go as planned, but the better prepared you are the more success you’ll have in tackling obstacles. And most importantly, always display confidence and keep a cool head. Nothing can really prepare you for the feeling of having the creative director, the client, the publicist, make-up and hair, random assistants and especially the talent huddling around the computer and critiquing every shot you take as it come in.

How do you feel about the final results from the shoot? Did you get any feedback from Backstage?

I felt great about the shoot and the Art Director was pretty happy with the final results. I of course would have picked a few different pictures for the actually spread lol, But that’s just me being an artist and having an emotional attachment to some of my work. The magazine had a direction and voice they wanted for this particular article and I was able to provide the photos to support that vision.

Do you have another project or shoot in the works?

I just had some photos published in the New York Times and have some new work coming out in Angeleno Magazine this upcoming May. Aside from that, I’m gearing up to shoot a lot of personal projects for the summer. My goal is to shoot more Ad work for sports and lifestyle brands, so I’m spending a lot time working to revamp my portfolio to reflect that.

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As part of our on-going collaboration with the wonderful Young Storytellers Foundation, New York Film Academy students and alumni recently got the chance to film “THE FINAL GLEE BIG SHOW.”

Glee cast members Mark Salling, Dot Marie Jones, Harry Shum Jr., Max Adler, and Alex Newell along with Chrissie Fit (Teen Beach Movie, Pitch Perfect 2) performed four different short screenplays written by a group of inventive middle schoolers.

The connection between Glee and Young Storytellers dates back to the organization’s very beginnings when Glee co-creator Brad Falchuk helped create what is now YSF. Since then, Mr Falchuk has regularly brought the cast of Glee to perform the student’s material as part of YSF’s “Big Show.” With Glee now coming to a close after six seasons, this performance truly marked the end of an era.

NYFA was honored to be part of the experience, and congratulates the cast and crew of Glee as well as all the Young Storytellers Writers.

The post NYFA Covers Young Storytellers’ Final ‘Glee’ Big Show appeared first on New York Film Academy Blog.

Dean of Students Eric Conner with Valley View Elementary students

Each year, Hollywood seems to get younger and younger. Just ask the ten writers from Valley View Elementary, who witnessed their original screenplays performed live in front of a packed audience.

As part of the Young Storytellers Foundation, a group of New York Film Academy students and alumni have been mentoring these fifth grade writers, helping them to realize their unique visions and commit their words to the page.

After eight weeks of zip zap zop, three-act breakdowns, NASA shakeoff, story games, lectures on theme, character, tone & conflict—not to mention a whole lot of writing—our talented young auteurs created ten original screenplays.

Featuring power-absorbing banana bread, transforming robots, sibling rivalries, magic fairies and talking New Jersey lions, these scripts were worthy of a world-class show. And thanks to the tireless work of our NYFA & Young Storyteller actors, the scripts were brought to vivid life.

Congratulations to our budding writers from Valley View. Look for them all to get their first studio deals by age 13!

If you’re a kid who is interested in learning screenwriting or another creative discipline, be sure to check out the New York Film Academy Summer Camps.

The post You’re Never Too Young to Become a Screenwriter appeared first on New York Film Academy Blog.

“Abdullah”

Given the various locations of the New York Film Academy all over the world, often students have the opportunity to explore multiple locations while studying for a certificate or degree. Former AFA Filmmaking student Humaid Alsuwaidi studied his first year in Abu Dhabi and moved to Los Angeles to complete his degree his second year.

Since his graduation, Alsuwaidi has been hard at work on his first feature film Abdullah, which he directed with fellow NYFA students, including:

• Jack Elliott: Director of Photography
• Fatima Al Taei: Main Actress
• Malik Zenger: Gaffer
• Shih-Yao Huang: Key Grip
• Aiham Alsubaihi: 1st AC
• Effendi Edris: Cam Op
• Stuart Matthews: Grip

His film tells the story of an Emirati boy (Abdullah) who develops a fascination with music from an early age, but struggles to hide that over the years from his very conservative family—where many things are “haram- forbidden/prohibited.”

Alsuwaidi shot the film in the emirates of Ajman, north of UAE, despite all of the difficulties in location and funds. The task of finding the right crew came naturally, as he found NYFA alumni are the best to work with, as they have a high standard of understanding the demands of a film production.

Humaid’s risk paid off, and he feels very satisfied on the results of his production. He is currently in the middle of post-production.

We look forward to viewing the finished product!

The post Emirati Graduate Directs First Feature “Abdullah” appeared first on New York Film Academy Blog.

NYFA LA Instructor Kenneth Johnson on “The Mike Douglas Show”

The New York Film Academy believes that a crucial element toward maintaining its intensive hands-on programs is having instructors with industry access and real life experience in the field he or she teaches. Los Angeles Filmmaking instructor Kenneth Johnson knocks those requirements out of the park. Johnson has been a successful writer-producer-director of film and television for over 40 years. Creator of the landmark original miniseries V, he also produced The Six Million Dollar Man and created such iconic, Emmy-winning series as The Bionic Woman, The Incredible Hulk and Alien Nation.

Referred to as Kenny by those who know him well, Johnson trained in classic theater at Carnegie Mellon University, and had early success as a producer-director of live TV in New York. At only age 25, he became Executive Producer and Showrunner for the legendary, talk-variety program The Mike Douglas Show, which won an Emmy under his leadership.

Kenneth Johnson with Bill Bixby

Moving to California, Kenneth produced and directed several TV specials including Vincent Price in an Evening of Edgar Allan Poe and two top-rated documentaries for ABC: Alan King in Las Vegas. He became the youngest writer-producer-director at Universal Studios when he joined The Six Million Dollar Man where he created the Emmy-winning Bionic Woman. He was Showrunner of both Top Ten bionic series simultaneously. He then created The Incredible Hulk, yet another iconic, long-running Emmy-winner for which he penned Bill Bixby’s now-famous line, “Don’t make me angry…you wouldn’t like me when I’m angry.”

In the 1980s, Kenneth continued to cement his place in television by unveiling his epic alien invasion miniseries V. It was critically acclaimed and he received a Writers Guild Nomination. His original miniseries V stands as the highest-rated work of science fiction in television history.

In the 90’s Kenneth created the Alien Nation TV movie-pilot which became an Emmy-winning series and five subsequent Emmy-nominated TV movies. Throughout his career, Kenneth has directed notable television movies for all the major networks including the top-rated Zenon: Girl of the 21st Century and Don’t Look Under The Bed for Disney.

Johnson on the set of “V”

Other TV movies include Sherlock Holmes Returns for CBS, which brought him a nomination for the Edgar Allen Poe Award from The Mystery Writers of America.

Kenneth also directed the feature films Steel and Short Circuit 2. Beyond his film and television work, he has written the novels An Affair of State, V The Original Miniseries and V The Second Generation, published in four editions.

Needless to say, it’s an honor to have Mr. Johnson teach filmmaking at the New York Film Academy Los Angeles for the past six years—his insight is invaluable.

“Having had the opportunity to present my seminar at numerous other film schools and universities, I have continually been most impressed by the students at NYFA” says Johnson. “The majority of them have a strong desire and determination to succeed in this very tough business. Their attentiveness is always good and their questions probing and thoughtful. Plus we have fun together.”

Johnson initially contacted NYFA Los Angeles Director Dan Mackler about being a resource for NYFA LA because he believed he could provide students with something that is often missing in academic settings: what it’s like to actually be in “The Trenches” of filmmaking. As Johnson puts it, he can provide, “What it’s like to be boots-on-the-ground doing the work. Including the prep necessary, a wealth of smart insights from my career producing and directing TV and features, plus useful tools I’ve created over the years that can benefit them. And I do it with gusto, laughs (often at myself) and a gazillion visuals: miles of behind the scenes footage, storyboards, etc., to show exactly how we accomplished the finished work.”

Johnson’s advice begins as soon as you walk into his first class. The very first thing he asks his students is if they love this business. Of course, every student will nod affirmatively, but then he makes it clearer: “Do you REALLY LOVE IT?! —because if you don’t love it like breathing, you can’t succeed and you’d be wise to step away.” At the end of the final session, Johnson gives his students a multi-page handout called “Getting a Gig,” which contains every bit of advice he’s amassed on that important subject over the span of his career.

When asked about today’s landscape, Johnson says, “I think there are more opportunities in TV simply because there is far more product necessary to feed the TV (read cable, web, streaming, etc.) audience’s infinite appetite. Far more TV and video projects get made every year than features. They also happen faster. TV is also a great place to learn your craft. When I started producing, writing and directing on the Bionic shows at Universal it was like grad school…with pay. TV is the greatest training in the world for making movies — or for waging war. If you can survive through the making of under-scheduled, under-budgeted, restrictive TV schedules, making a theatrical movie becomes a piece of cake. Just ask Joss Whedon or Steven Spielberg.”

Johnson admits that the biggest challenge in our business is the constant rejection. “All of us in the arts get told no far more often than yes. Or even worse, we get told yes and then no — when the studio or network management changes while you’re in the midst of writing, prepping or even sometimes shooting. Francois Truffaut said he always tried to have at least three to five projects in development simultaneously —because he knew the odds were against more than one ever happening— and that one only if he was lucky.

A filmmaker has to develop a thick skin and a determination (as Fred Astaire sang) “to pick yourself up, dust yourself off and start all over again.”

Those who are true survivors will indeed survive to try another day. Where there’s life there’s always hope.

Johnson has three upcoming guest sessions for the MFA Producers group on July 9, 16, and 23 of 2015.

The post NYFA’s Kenneth Johnson Provides Students with 40 Years of Film & TV Experience appeared first on New York Film Academy Blog.

On Thursday, April 9th, the New York Film Academy, in cooperation with Final Draft, hosted a “Life In Transmedia” Panel. The panel was arranged as part of NYFA’s Final Draft Fellowship, a 12 week Writing Fellowship for the finalists and winners of Final Draft’s Big Break Contest. The fellows were in attendance at the panel, as were NYFA students and alumni. The Panel, the first in a series, will soon be followed by a “Life In Television” Panel and a “Life In Features” Panel.

The “Life In Transmedia” Panel, moderated by Adam Finer, NYFA’s Associate Chair of Screenwriting and architect of the school’s groundbreaking Transmedia track and Media Studies Program, explored the life of content creators, writers and producers in the new and expanding field of Transmedia. Also examined were the individual mediums that play a role in Transmedia, such as comics, videogames, podcasts, blogs, and webseries.

Some notable words from the panel included:

“Whatever your platform is: if it’s the web, if it’s comics…write every day. Even if you’re posting it, even if it’s garbage, just something, write something every day. And keep doing that and you will have something.” – Josh Eiserike

 

“Transmedia, or multi-platform narratives, it’s telling a story in a way that asks the audience to lean in as opposed to just leaning back for the story. It’s asking the audience, hey, we’ve got a bigger world here. You don’t just have to watch it you can poke your head in and interact with it a little bit.” – Margaret Dunlap

 

“I think transmedia takes you beyond ‘but’ and ‘so’ as solutions, and it’s much more ‘this happens, and then over here this other thing happens’. When you’re in transmedia, you want us to ask ‘what’s behind that door? What’s in that safe?’ …You want the fans to ask ‘what’s the combination to the the safe?’ And you want the fans to find out what’s in it.” – Nunzio DeFilippis

 

Adam engaged the panelists in a spirited discussion of the avenues that led them to the Transmedia world. The panelists explored what makes a Transmedia project and debated the definition of Transmedia. Panelists ultimately defined Transmedia story telling as building story worlds that have unique story components in various different storytelling platforms. The panelists delved into the growing nature of Transmedia itself, how to build and engage an audience in various media forms, the virtues of each respective medium, and storytelling across all media. Panelists discussed the unique ability of Transmedia storytelling to truly engage an audience and even have the audience expand the story world.  A conversation about how to use crowd-funding to activate an audience to support a project examined how to access the community to finance projects and even a career.

“You need to be able to embrace the chaos. You kind of have to hug it and expect it and if you’re not rattled by it then you can look at it as something kind of amazing. And really cool stuff happens.” – John Zuur Platten

 

“I’m not sure you can always start out with a transmedia project. It’s really big and complicated and overwhelming. You have to start with the story you want to tell, the character you want to explore, a thing you want to do and figure out which is the best medium for it.” – Christina Weir

 

“For everyone here there’s a pinpoint moment, maybe five, that lead down the road to whatever amazing thing they’re doing today.” – Jennie Josephson

The Transmedia panelists (all of whom teach, or have guest lectured, at NYFA) included:

• John Zuur Platten, writer/producer of video games (Google’s INGRESS, THE CHRONICLES OF RIDDICK, FEAR EFFECT) and co-author of the book THE ULTIMATE GUIDE TO VIDEO GAME WRITING DESIGN
• Jennie Josephson, producer, blogger, and podcaster (CBS Interactive, Yahoo!, Daily Tech News Show with Tom Merritt)
• Margaret Dunlap, writer on the Emmy Award Winning webseries THE LIZZIE BENNET DIARIES, Executive Producer of the webseries WELCOME TO SANDITON, and writer on the TV series EUREKA and THE MIDDLEMAN
• Josh Eiserike, writer/artist for MAD MAGAZINE, and the comics (ANYONE BUT VIRGINIA, ANNA AND PAT)
• Nunzio DeFilippis (chair of the Screenwriting Department) & Christina Weir, writers of the comics X-MEN, BATMAN CONFIDENTIAL, BAD MEDICINE, FRENEMY OF THE STATE, as well as the TV series ARLISS and KIM POSSIBLE.

At the end of the discussion, the audience was invited to ask questions, which ranged from how-to advice to specific questions about the writing work and preferred medium of each panelist. The ultimate message imparted was to find the medium that works best for the story you want to tell and go out and do it. Create. Write.

Adam Finer left the audience with these final words of inspiration: “You guys can create content. You guys have access to an audience. You can steer the ship easily and not have to worry about having a giant battleship block you. You have the ability to create these worlds and engage that audience in a way we’ve never had before.”

Led by DeFilippis, Finer and Weir, New York Film Academy’s Screenwriting Department offers a cutting edge Transmedia Track in the MFA and BFA Screenwriting Programs.

The post NYFA Hosts Transmedia Panel with Final Draft appeared first on New York Film Academy Blog.

Continuing its collaboration with New York Film Academy, HollyShorts dedicated a screening exclusively to the films of NYFA students and alumni.

From HollyShorts‘ website: “HollyShorts is an organization devoted to showcasing the best and brightest short films from around the globe, advancing the careers of filmmakers through screenings, networking events, and various panel and forums.”

For the past eight years, the HollyShorts annual festival and monthly screenings have become a Hollywood staple. Playing to a sold-out house at the TCL Chinese Theater in Hollywood, these eight films were a terrific showcase for our talented filmmakers and performers.

• FREE REFILL – Luca Brinciotti
• MONSTER IN A HOUSE – Christiano Dias
• SUCCUBUS – Michelle Sainz Castro 
• LOST – Xiaoxiao Chen
• THE RED HOUSE – Maggie Lin
• HEART OF HATE –  Daniel Witkowski
• THE PERFECT SACRIFICE – Tiffany Ora Littlejohn
• A CHRONICLE OF TAHIR SQUARE – Nour El-Din Zaki

The post HollyShorts Presents NYFA Night appeared first on New York Film Academy Blog.

Today, the New York Film Academy (NYFA) welcomed Rachel Maddow, the popular American television host, political commentator, and author, as a guest speaker at NYFA’s New York City campus.

Ms. Maddow hosts the nightly television show, The Rachel Maddow Show, on MSNBC. Her syndicated talk radio program of the same name also aired on Air America Radio.

Rachel Maddow at New York Film Academy Battery Place

NYFA’s Senior Executive Vice President, David Klein, led the lively and informal discussion with Ms. Maddow to a standing room crowd of more than 100 NYFA students, including those enrolled in the broadcast journalism, documentary filmmaking, producing, and directing departments.

The educational setting allowed for the unique opportunity for students to engage with—and learn from— an industry luminary in a wonderfully unfiltered way. Ms. Maddow described her rather circuitous route to her current place in broadcast history and brought laughter by telling the audience about the roster of myriad jobs that she took to survive after earning a doctorate at Oxford in political science.

She sympathetically gave the American paleoconservative and politician, Pat Buchanan, just-dos for helping to launch her career when he chose her to be his on-air adversary for primetime political debating. She shared with the broadcast journalism students the ingredients that she feels helped her to build her career and gave an honest appraisal of the current state of the television news industry.

“I think in broadcast journalism, the camera is a little bit like an x-ray,” said Maddow. “And you can tell if the person on camera has done their own work, has done their own reading, has come up with their own ideas or if they are just reading something that somebody else wrote for them.”

Of keen interest to many is Ms. Maddow’s engagement in current political and societal issues from her perspective as a longtime activist, and her passion for numerous causes shone through in today’s discussions.

Ms. Maddow provided students with invaluable professional and personal wisdom, and the New York Film Academy is grateful to her for taking the time out from her busy schedule to impart it to our students.

Before departing, Ms. Maddow left our students with some words of advice: “You have to block yourself off from your audience in a way so you make sure you do a good job. But don’t tell people how you feel, create a feeling in them and let it be their own experience.”

The Rachel Maddow Show airs on MSNBC at 9:00 pm Eastern, Monday through Friday, and is rebroadcast at midnight Eastern.

The post MSNBC’s Rachel Maddow Speaks at NYFA Battery Place appeared first on New York Film Academy Blog.

Executive Producer Michael Rauch

A packed room welcomed successful Television Showrunner Michael Rauch to New York Film Academy’s Producing Department’s latest Industry Speaker Series session. Mr. Rauch participated in a “Conversation with…” and Question and Answer session with Producing Department Co-Chair and Screenwriting instructor Nick Yellen.

Rauch has been an executive producer on a number of television series, including Love Monkey, Beautiful People, Life is Wild, and most recently, Royal Pains.

Royal Pains has been one of the USA cable networks most successful shows the past six seasons as well as one of its most expensive — $3 million per episode.

NYFA students from various departments heard Rauch discuss his early career. He advised students how to break into TV as both a writer and producer. He broke down the responsibilities of various TV producers on set, and took us through the day of a Hollywood Showrunner.

Mr. Rauch also shared how students breaking in can expand their industry networking. Michael explained in great depth how a scripted TV show’s writer’s room works, and the fast paced schedule and steps to creating each episode. He guided students with what to do with their original pilot ideas and how to get them into the right hands and what a Showrunner looks for in a writer. He spoke of how important product integration has become to television and the challenges that presents to a TV producer.

Rauch’s Royal Pains has been renewed for a 7^th and 8^th season and can be currently seen on the USA Network as well as 50 other countries worldwide.

The post A Conversation with ‘Royal Pains’ Producer Michael Rauch appeared first on New York Film Academy Blog.

As we all know, networking is an essential element in becoming a success in the entertainment business. But how do you begin networking when you have no connections or resources to begin with? That’s often where the New York Film Academy comes into play. Many of our students come from locations all around the world and end up establishing and maintaining lifelong relationships, both personally and professionally. Juan (JMR) Luna and Kane Senes met in their MFA Filmmaking program in 2008 and became very close friends. They began supporting each other’s writing and producing each other’s directorial works. Since graduating less than five years ago they have earned immense success. Their latest feature film, Echoes of War, starring Ethan Embry, William Forsythe, James Badge Dale and Maika Monroe will be released May 15, 2015. Their future is limitless.

We had a chat with these two graduates about their film, and how they have successfully navigated the industry thus far.

Can you tell me what Echoes of War is about?

Kane: Echoes of War is about a soldier returning from the Civil War to his family in the remote Texan countryside. There he discovers that the neighbors have been stealing from his family while he’s been gone and so he takes matters in to his own hands, sparking another senseless and tragic war. It’s a film about loss, really.

Where did the idea for Echoes of War come from?

Kane: My thesis short film at NYFA in 2010 was called A Relative Stranger. Juan was the cinematographer and co-producer. Echoes of War began as a feature adaptation of that short and grew into something else. The short came from my own relationship to my family, coming home every now and then from living in the States and feeling like things have changed while I’ve been gone. Obviously coming home from war is a whole other matter that I have never experienced and would never pretend to understand, but we spoke to as many veterans as we could and tried to ground it in a universal, human story that we can all understand and relate to — no matter our experiences.

When did you two first start collaborating, and ultimately begin writing the script for Echoes of War?

Kane: Our directing instructor was Adam Nimoy, who taught me everything I know. Juan directed some of his own stuff but gravitated towards cinematography, so he began shooting most of my projects, starting with my Year One Film and then my thesis. From there, we worked on each other’s films throughout school.

The script I began writing with my writing and producing partner John Chriss, who produced my thesis. He didn’t go to NYFA but he was basically an honorary student as he worked on a lot of our films. I graduated NYFA at the end of 2010, and we were writing by mid-2011. A year later the script was done and Juan came onboard to help produce.

Juan: My relationship with Kane can’t just be contained on Echoes of War. We have been friends all throughout, and we support each other constantly. When I was directing my movie Kane was there helping out too — emotionally and giving me notes and helping out with whatever he could.

Can you tell me a little bit of how this film came together? Raising funds, attaching talent, etc.

Kane: Juan and I were going door to door in Australia, meeting with film investors I knew there and trying to raise funds. It didn’t go as well as we were hoping, and Juan brought in some producers he knew from LA who graduated from AFI the same year we graduated NYFA. They had a connection to Emily Schweber, a wonderful casting director. A few weeks later, I was flying back to LA and meeting with actors every day for six months. We were fortunate enough to put together a great cast, which Juan was able to use to land the rest of the money we needed, and we shot the movie.

JMR Luna and Kane Senes

Would you say your training and education at NYFA was useful in terms of writing / directing / producing this film?

Kane: 100%. People often ask whether or not to go to film school. I always say the same thing: for me, I needed to know I could do this and school gave me the confidence by encouraging me to make films and seeing that they worked. They started bad and got better and I could see the pieces coming together. I could see I was improving and that was a direct result of film school: being in that environment, with good teachers and a great class room of participating students.

Juan: I always felt that film school is what you want to make out of it. I feel being in class with Kane defined our careers. We both realize very early on that we had similar objectives, and the same passion for movies. I believe we always had a healthy competition going on. And it has been very stimulating and we both challenged and encouraged each other. We are better filmmakers because we both grew together. I feel film school gave us that safe environment and working structure to achieve it.

Are you currently working together on another project?

Kane: We’re always throwing ideas around but nothing is in place just yet. Maybe Juan thinks I’m one of those crazy directors he doesn’t want to work with again. You should ask him!

Juan: I am working on different things right now. The Runaround, which will star Emile Hirsch and J.K. Simmons (two former NYFA Guest Speakers) was announced yesterday on The Hollywood Reporter, and it’s my next movie.

JMR and Kane will be hosting a special “How to Make it in Hollywood” lecture at the New York Film Academy Los Angeles on May 14, 2015.

The post MFA Filmmakers Bound for Greatness appeared first on New York Film Academy Blog.

This Tuesday, the New York Film Academy in Union Square New York City welcomed Hollywood screenwriter Russell Gewirtz. Gewirtz is best known as the screenwriter of the Universal Studios hit film Inside Man, starring Denzel Washington, Jodi Foster and Clive Owen, and directed by Spike Lee. He also wrote the Lionsgate film Righteous Kill, starring Robert De Niro and Al Pacino.

Producing co-chair Nick Yellen with screenwriter Russell Gewirtz

Moderated by Producing co-chair Nick Yellen, Gewirtz discussed his life as a screenwriter and his unorthodox way of breaking into the business. Originally, Gewirtz was working for his father’s clothing business in New York, but had a movie idea gelling in his head for so long that he “couldn’t take it anymore.” After reading a few screenplays of his favorite films, Gewirtz spent a year fleshing out his idea into a properly formatted screenplay. Once he had the draft ready to go, he was able to get it to the top 5 agencies at the time. Three of the agencies passed. However, CAA saw promise in the story and decided to work on selling his screenplay. After flying out to Los Angeles for a few meetings, Gewirtz discovered that his screenplay had been passed on by all of the major studios — except Universal. They bought it and eventually turned it into the smash hit we know as Inside Man.

His story is proof that talent and a great idea could lead to anything. However, he admits how fortunate he was at the time, which he hadn’t realized until later in his career. “Eighty percent of what I wrote made it to the screen,” said Gewirtz. “You have to be very lucky for that to happen. I was lucky.”

Gewirtz seemed to recognize and appreciate the success he’s garnished thus far in his career, but understands that the business never gets any easier. With tent-pole and comic book features hogging studios’ slates, it’s very difficult to get a film like Inside Man made again. In fact, he already wrote the sequel to the film, but it has yet to see a green light.

In the end, Gewirtz left our students with a piece of advice that seems to have worked with so many screenwriters who have made it in the industry: “At the end of the day, you have to write what you love.”

The post ‘Inside Man’ Screenwriter Russell Gewirtz Talks Inside Hollywood appeared first on New York Film Academy Blog.

Often creative individuals are afraid to take the necessary steps toward becoming a working artist, especially those who have found a comfortable life in another professional industry. One of our newest students put fear aside and decided to pursue his passion for acting. As a doctor in Saudi Arabia, Abdulhakeem Jomah still felt that something was missing in his life. After learning about a friend who had taken up filmmaking at New York Film Academy and another in the producing program, Jomah became more and more interested in our hands-on programs. Ultimately, his decision was to enroll into NYFA’s MFA Acting for Film Program in Los Angeles — stark contrast from being a doctor. We decided to have a brief chat with the new student, as perhaps his story could pave ways for others looking to break into a creative pursuit.

What ultimately made you decide to go from being a doctor to pursuing acting at the New York Film Academy?

I’ve always been into acting as more of a hobby — coming from a militarily academic family very much eliminates an academic pursuit of the arts right off the bat.

I suppose my tipping point was when a group of amateur actors, led by an ambitious director, took a pretty daring chance (considering the highly traditional playing field) in staging an all English, localized adaptation of One Flew Over the Cuckoos Nest. In which I would play the lead, McMurphy.

It was a hectic eight months of rehearsal at one of the local college auditoriums where we were meant to stage it. And not three weeks before opening night we were shut down by the government.

We were in shambles for a good while, but a private benefactor took up our cause. He gave us his estate to use for our play.

And for one night, we did two shows, to two explosive standing ovations. The energy was electric. The aftermath very positive, and the pleads for more thrummed through the following year.

Seeing that energy, that positivity, the fruits of our near nine month struggle come to fruition, we weren’t paid, we did it because we loved it and it was ALL worth it, and I’d do it again, a million times over.

That, is what made me realize that this is what I needed to do.

Have you acted in anything prior to the play: professional or otherwise?

Aside from the play I mentioned earlier, nothing professional.

Abdullah Kurashi, the aforementioned production student, and I have done a lot of shorts together back in Saudi. Ranging from Joker impersonation videos for local competitions, to completely random, often psychotic shorts. Only because we loved doing it.

Is there an actor who inspires you?

I can mention oldies all day, but there are actors that have a deep, personal methodology that I respect and one day hope to attain that discipline.

Christian Bale, is at the top of that list. His methodology is absurdly dedicated and there’s nothing I didn’t love him in.

Jake Gyllenhaal was the star of the first movie I ever called my favorite (Donnie Darko), and has ridiculously come into his own recently with Nightcrawler and Prisoners.

But most recently, Oscar Isaac has really won me ove with Inside Llewyn Davis, and Ex Machina — he’s just a cool guy.

What do you hope to achieve with your training at NYFA?

I’ve no illusions of living the American dream and making millions. I have a genuine, embedded love for the craft. If it were about the money, doctors make tons of it. I’d stick with that and call it a day.

There are artists in the Middle East that CAN’T go public with their art out of fear or scrutiny, it’s a taboo. And I want to change that. We can only perform after jumping through a million and one hoops, and even then with restriction.

If nothing else, I’m hoping this move will inspire my fellow artists in the trenches and foxholes to come out and show the world what we have, and perhaps in doing that, shed light and awareness on all other issues that, if addressed and abolished, could better our home.

And I’d love to say I was at the vanguard of that movement.

The post From Doctor in Saudi Arabia to Acting Student in Los Angeles appeared first on New York Film Academy Blog.

Founder, editor in chief, Alexandra Niki and managing editor Billy Murray

The team brought gifts of photo accessories from Fujifilm, Vanguard Photo and Joby. There were free copies of Resource Magazine for all.

“These two really connected with our students, and the timing with three sections graduating in a few weeks was perfect,” said NYFA Photography Co-chair, Paul Sunday.

The post Photography Lecture from Resource Magazine appeared first on New York Film Academy Blog.

The New York Film Academy partnered with acclaimed author Janice Kaplan, whose upcoming book The Gratitude Diaries is an inspiring memoir backed by pioneering research. What started as an intriguing idea—to spend a year living gratefully—became a life-changing experience. Getting advice at every turn from psychologists, academics, doctors, and philosophers, Janice used gratitude to improve her marriage and get a new outlook on money, ambition, and career. She discovered why the stuff we buy doesn’t make us grateful and learned how to raise grateful kids.

Through interviews with experts, friends, and celebrities like Matt Damon and Daniel Craig, Janice learned the role of gratitude in everything from our sense of fulfillment to our children’s happiness. Research proves that gratitude makes us healthier and happier, improves sleep, lowers stress, and lessens depression. With warmth, humor, and appealing insight, Janice’s journey will empower you to think positively and start living your own best year ever!

In alliance with her initiative to help spread this positive outlook globally, Kaplan approached the New York Film Academy to produce a short video that asks the question “Why don’t your kids say thanks?” While the kids in the video are adorable, their message is also a reminder that children need to be taught about gratitude. The children’s attitude toward their moms is amusing—but likely hits home for many mothers watching.

To further the conversation even more, the New York Film Academy and The Gratitude Diaries is opening up a worldwide Father’s Day Competition to students, alumni, faculty and filmmakers in general to show how they truly appreciate their fathers.

While there are no restrictions on the videos, we expect submissions to be thoughtful, professionally shot, and most of all – expressing your gratitude in an entertaining way!

Want to learn more about the contest? CLICK HERE to get started!

The post ‘The Gratitude Diaries’ Partners with New York Film Academy appeared first on New York Film Academy Blog.

The New York Film Academy had the unique opportunity to host injured service members and their families from the Wounded Warrior Project for a daylong event at its state-of-art Burbank facilities. The events featured a tour of the New York Film Academy’s campus, a filmmaking and acting workshop taught by the Film Academy’s esteemed faculty. In addition to the workshops, NYFA screened True Romance followed by a Q&A with award-winning actor Tom Sizemore. In addition to his role on True Romance, Sizemore has appeared in such films as Heat, Saving Private Ryan, Black Hawk Down and more.

The warriors and their families had the opportunity to participate in an acting or filmmaking workshop. Those interested in the acting were put in front of a camera, and directed by a NYFA instructor on simple scenes while learning the fundamentals of acting. Many of them shared personal stories, which applied to being emotionally available in their work. They learned essential tools of the industry and how to translate their life experiences within their craft.

Warriors interested in filmmaking learned about the aspects of a film set, the qualities that make a good director and employment in the film industry. They also had the opportunity for intensive hands-on experience working with state-of-the-art cameras and equipment. They were asked to work as a team to direct, operate cameras, act, and shoot a scene from an existing film.

Actor Tom Sizemore at the New York Film Academy

After the workshop, NYFA screened True Romance followed by a Q&A with award-winning actor Tom Sizemore. During the Q&A, Mr. Sizemore spoke to the more than 70 NYFA veterans and wounded warriors in attendance about his upbringing, the importance of his family, and military service as he has two brothers currently serving in the military. He was open and honest about his experiences as an actor, and the personal struggles he has endured throughout his career. Veterans in audience were able to ask Mr. Sizemore questions as well as those students attending classes at the New York and Australian campuses as it was live streamed. Mr. Sizemore stayed afterwards to take photos with many of the veterans and their families. They were extremely excited to meet him, and expressed their sincere gratitude for his attendance and his support shown to the veteran community.

The New York Film Academy is appreciative of the Wounded Warrior Project and Tom Sizemore for collaborating on this event to support injured service members and their families.

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