Academic Programs
Category

  • “Acts of Desperation” Provides New York Film Academy (NYFA) Alumni Credit & Experience Opportunity

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Acts of DesperationThe Industry Lab of New York Film Academy-Los Angeles (NYFA-LA) has announced the completion of the feature film, Acts of Desperation, starring veteran actors Paul Sorvino (Goodfellas, The Rocketeer) and Jason Gedrick (Backdraft, Dexter.) 

    The quirky thriller was sponsored by the Academy, but involved members of NYFA community as well. Faculty members Richard Friedman (director), Leslie Bates (producer), Neil Casey (director of photography), and Toi Juan Shannon (editor) were the forces behind the film, which afforded opportunities to NYFA alumni.

    Acts of Desperation starts with a woman on a bridge, desperate and considering jumping. But the real action begins when we meet Alan Grillo, a cop on the edge, obsessed over the fact that his wife is having an affair. At the same time, he is tracking a shrewd bank robber who is falling in love with the desperate and obsessed woman whose life he saved on the bridge. As if that’s not enough, the bank robber is also being blackmailed by two unhinged street criminals who will stop at nothing to get their money. Time is running out for all of them as their worlds collide in this unpredictable and compelling thriller centering on six individuals and their treacherous “acts of desperation.”Acts of Desperation

    Shot exclusively in Los Angeles, Acts of Desperation is the first feature credit for over 20 NYFA Filmmaking alumni through Industry Lab, a program designed to facilitate such opportunities. The production companies Scars of the Mind Picture Company and UnicVisions plan to produce many more films through the NYFA Industry Lab, offering even more occasions for our alumni to receive both experience and feature credits to add to their resumes. 

    A special screening will be announced later this month.

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 19, 2018 • Filmmaking, Industry Lab • Views: 161

  • New York Film Academy (NYFA) Student and Faculty Work to Screen at DOC NYC 2018

    Facebooktwittergoogle_plusredditpinterestlinkedinmail
    For the fourth consecutive year, the New York Film Academy (NYFA) Documentary School has been selected to screen a slate of exceptional student documentaries as part of the prestigious DOC NYC film festival.

    Screens from DOC NYC 2018 films

    The largest documentary film festival in America, DOC NYC is also among the most consequential. One of the most respected programmers in the documentary world, Artistic Director, Thom Powers has a track record for programming Academy Award winners and nominees. Thanks to Executive Director (and Academy Award-nominated NYFA alum), Raphaela Neihausen, the festival has also become one of the most important annual gatherings of the worldwide documentary community.

    The festival will premiere four NYFA DOCS shorts, curated by the Documentary program. NYFA was invited by noted Shorts Programmer, Opal H. Bennett.

    Save the Date: November 9th at 11:45 a.m. 
    IFC Center
    323 6th Ave
    New York, NY 10014

    Tickets are just $12 and you can buy them here.

    NYFA’s Showcase features just the tip of the iceberg of remarkable NYC student work:

    Cricket Liu
    Cricket Liu (China, 18 min., Julia Cheng), an aging Cricket Fighting master uses his ancient art to earn all he can for the grandson he is barely allowed to know. Matt struggles daily to remember what happened even minutes ago in I Love You, Wally (USA, 19 min., Simona Kubasova Prakash). In Keliling Bali (Bali, 4 min., Gary Bencheghib, DP Aitor Mendilibar), Gary and Sam attempt to circumnavigate the plastics-filled ocean surrounding Bali. On a rocky Danish island, five-year-old Tobias sets out on a quest to find its famed mythological creatures in The Trolls & I (Denmark, 19 min., Charlotte Madvig Schmidt).

    EXPECTED TO ATTEND: Directors Julia Cheng (’18), Simona Kubasova Prakash (’18) and Charlotte Madvig Schmidt (’18); DPs Braulio Jatar (’18) and Aitor Mendilibar (’13) and Producer Sam Bencheghib

    Cricket Liu

    Cricket Liu

    Also taking place during the course of the week:

    To Kid or Not to Kid

    The World Premiere of NYFA Doc prof Maxine Trump’s To Kid or Not to Kid on Sunday, November 11, 2018, 2:15 PM at the IFC Center.

    EXPECTED TO ATTEND:  Director Maxine Trump, Producer/NYFA DOCS Master Class prof, Josh Granger and PA/Production Coordinator and NYFA DOCS graduate Marie Vanderusten (’16).

    Grit
    The NYC Premiere of the NYFA Doc prof Tracie Holder-produced Grit on Sunday, November 11, 2018, 5:15 PM at Cinepolis Chelsea and onThursday, November 15, 2018, 12:45 PM at the IFC Center

    EXPECTED TO ATTEND: Producer Tracie Holder; Director Cynthia Wade, Sasha Friedlander; Executive Producer Abigail Disney

    RBG

    RBG 

    And screening as part of Thom Powers’ Short List:

    RBG – shot by NYFA DOCS instructor, Cinematographer, Claudia Raschke

    Free Solo – edited by NYFA DOCS instructor, Editor, Bob Eisenhardt

    Breslin and Hamill: Deadline Artists edited by NYFA DOCS Master Class prof, Geof Bartz – World Premiere/Closing Night Film

    DOC NYC has also tapped several of NYFA DOCS’ venerated faculty for panels and special sessions throughout the week, which will be announced shortly.

    Facebooktwittergoogle_plusredditpinterestlinkedinmail
  • New York Film Academy (NYFA) Broadcast Journalism Update – October 17, 2018

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Everyone knows how much I enjoy writing about New York Film Academy (NYFA) Broadcast Journalism graduates. But usually I only “talk” with them via email and Facebook. Recently, however, two of them were actually able to stop by!

    Ibtisam (“Tisam”) Karaasian had already graduated from the Broadcast Journalism 1-year Conservatory Program when I arrived at NYFA in September 2013. But she was still “here” as a TA. Much of what I initially learned about the “student’s perspective” of the program I first heard from Tisam. Later she returned home to Germany, and has worked on a number of different things including a long-term project for the United Nations. And she shared all of this with the current students… and instructor Evgenia Vlasova.

    Broadcast Journalism
    As all current and former NYFA Broadcast Journalism students know, we have a “skills-based” curriculum. And while those skills are essential to the practice of conventional journalism, they can be used in a wide range of media genres and forms.

    I say that because last week I saw someone else who I first met when I arrived at NYFA, Ljubica (“Lubi”) Popovic. She was part of the very first class I taught at NYFA, the 12-week Evening workshop. Currently she is working at the production unit of the City University of New York (CUNY), but that’s just the start. For Fashion Week New York she was a casting director assistant and worked on all the runway preparations for Tadashi Shoji and Bosideng. That meant working with top models, and A-List Hollywood celebrities like Jeremy Renner and Anne Hathaway.

    Next up she is producing a Comedy Special for Sasha Srbulj, which will be filmed in mid-November at the BRIC theatre in Brooklyn.

    ###

    So, did I ever tell you how I studied French for four years… three years in high school, one year in college? Probably not, since almost everything I learned was long ago forgotten. But I am glad to know that NYFA grad Delphine Darmency is still contributing to francophone culture. She recently posted a nice multimedia piece about the Women’s March in New York for French media giant TV5Monde.

    Fabulous work, Delphine…

    Finally, the two great “secrets” behind incredible human interest stories aren’t secrets at all. Everybody knows them… little kids and animals, neither of whom will do what you want them to do, when you want them to do it.

    NYFA alum Livia Fernanda creates online video content at Somar Meteorologia in Brazil. Last week she posted a gem of a story about little kids, climate, and TV weathercasting. I don’t even understand what the children are saying — my Portuguese language skills being worse than my French — but it is still cute. Take a look for yourself… (BTW, that’s the green screen effect that every 1-year NYFA Broadcast Journalism student learns about.)

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 17, 2018 • Broadcast Journalism, Student & Alumni Spotlights • Views: 226

  • Q&A with New York Film Academy (NYFA) Alum Sabrina Percario

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Sabrina Percario has been very busy since graduating from New York Film Academy’s MFA program in Acting for Film. She has worked in multiple positions in film productions and has produced and acted in numerous multi-award-winning films, with several more on the horizon.

    Sabrina Percario

    Sabrina Percario

    Her journey to becoming a prolific and decorated actress and producer had an unconventional start. Born in Brazil, Percario originally worked for nearly a decade in medicine before gradually becoming immersed more and more in the world of drama. Her deep passion for the art and craft of filmmaking matches both her talent and her incredible work ethic.

    The New York Film Academy recently spoke with Sabrina Percario about the many hats she wears in the film industry, as well as what keeps her motivated and moving forward:

    New York Film Academy (NYFA): First, can you tell us a bit about yourself and what brought you to New York Film Academy?

    Sabrina Percario (SP): I was born in São Paulo, Brazil, and I have dual Brazilian and Italian citizenship. In college, I majored in biomedicine and for almost 10 years I worked in the field of Chinese traditional medicine. 

    I used to lead a lot of workshops in this field in front of large audiences of around 200 people — yet I was very shy. I decided I needed to do something to improve my effectiveness as a speaker. So in 2009 I went to an acting school called the Celia Helena Acting School. I immediately fell in love with acting. Acting is very fulfilling to me because I was always fascinated with human behavior. When you study a character, you put yourself in the place of that person. When you step into another person’s shoes, you suddenly understand why someone would act in a particular way. You stop judging people and, in the process, you learn more about yourself.

    I.C.E. CREAM at LAIFFA wins Best Producer - Sabrina Percario

    I.C.E. CREAM at LAIFFA wins Best Producer

    From 2011 until 2014 I worked as a drama teacher for children ranging in age from six to sixteen. Working with kids was one of my most satisfying life experiences. I learned to be more flexible and open to changes, more willing to let others lead the narrative, and more honest with myself about my feelings. During that period in my life I worked two jobs: I was an acupuncturist as well as a drama teacher.

    In November of 2013, I decided to enroll in NYFA so I could study my craft and improve my knowledge about acting for film.

    From 2014 to 2016 I worked on NYFA’s MFA program in Acting for Film. My thesis film Julia won several awards, including Best Leading Actress at the United International Film Festival (UIFF). Julia is a tribute to my mother, who died four years ago. I used the film to talk about grief and express my gratitude to my mom. She taught me to pursue my dreams — and that’s exactly what I am doing.

    NYFA: Your IMDB page is filled with all sorts of roles — actress, producer, writer, composer, to name just a few — do you feel it is important to learn as many trades in the film industry as possible?

    SP: Yes, it is very important. Everyone should learn as much as they can about the business, especially in the beginning of your career, so you have a holistic view of how a film is made. 

    It was important for me to wear many different hats on set. Having done these jobs, I have so much respect for all the departments. I know how physical and challenging the grips and electrical (G&E) department can be, and how essential they are in contributing to the director of photography’s view. 

    As an actress, I’m much more consistent and self-aware about continuity. That happened only after I was a script supervisor and had to take note of how full the wine glass was or its exact position on the table for every take. I learned similar things as a production designer and when I worked in the wardrobe department. All of this knowledge is tremendously helpful to my performance when I’m in front of the camera.

    For a year I explored all the different jobs on film sets and I realized I had to choose which department I liked the most and wanted to work with. I decided to be an actress and producer.

    As a producer I’m able to produce my own projects and cast myself in them. This gives me a certain amount of control over my career as an actress. I can also create my own voice with stories I think will inspire people. Being a producer has enabled me to meet a lot of people in different departments in the industry. The breadth of my extended network has helped me enormously as a producer when I’m casting my crew.

    As an actress, I want to be in a feature film. To that end I’m writing a feature film (In Search Of) inspired by my life. I want to say to all my international friends that it doesn’t matter where you are located as long as you keep doing what you love. I’m writing in collaboration with other screenwriters, both here in Los Angeles and internationally.

    Sabrina Percario in "Tell"

    Sabrina Percario in “Tell”

    I recommend trying out different departments if you still don’t know what you want to be. Become familiar with the universe behind the camera and then choose a route. Once you decide where you fit in, people will begin to associate your name with that specific department.

    NYFA: Is there something you haven’t done on a film yet that you’d like to try?

    SP: I would love to direct a film one day, but right now I want to have more experience producing one.

    NYFA: You’ve won a litany of awards for your work already. Your projects Tell, I.C.E. CREAM and Breaking are the latest to gain recognition. Can you talk a little about these projects and your roles in them?

    SP: My recent projects that I produced are still in the film festival circuit. My latest films are Breaking and I.C.E. CREAM. Breaking is a fable — it’s the inspiring story of a porcelain doll who overcomes her fears and breaks out of her snow globe. Our purpose was to bring awareness about those who have suffered from sexual harassment. So far, we have won three festivals, two finalists, seven semi-finalists, and seven official selections.

    I.C.E. CREAM is another project I had the honor of producing. This film portrays the life of an immigrant family in this new Trump era. Our purpose was to bring awareness about the collateral lives affected by the immigration policies in place. So far, we have won nine awards. 

    My overall purpose in my films is to touch people’s hearts, inspire them, and spread a good, positive message through the characters I play and the films I produce.

    Tell is a film in which I played the lead actress. Its logline reads: Expecting a visit from his ex, a once-famous alcoholic writer decides to play a game of shoot the apple, until the truth of tragedy unveils the outcome of his intentions. For that film I won three awards as best leading actress.

    "Breaking" produced by Sabrina Percario. Actress/ writer/Executive Producer: Alessandra Hajaj - Sabrina Percario

    “Breaking” produced by Sabrina Percario. Actress/ writer/Executive Producer: Alessandra Hajaj

    NYFA: Which of your many projects was the easiest for you to work on and why? Which was the most difficult?

    SP: Breaking was an easy project to produce because it was shot entirely in one location and the crew and cast had an amazing professionalism and respect for each other. Everything went smoothly. Julia was very challenging for me because I was doing the film as a tribute to my Mom, who died four years ago. When I made the film I was still grieving, and it was very hard for me at that time to accept the loss. I was playing myself in the film, so I channeled all my pain and feelings through the character. It was therapeutic to write, produce, and act in that film, and it helped me to accept loss. It gave me the opportunity to express my love in a poetic way.

    NYFA: What other projects are you working on?

    SP: I’m currently working on Mojave Shadows, in which I play the lead. Its logline reads: A woman named Susan hikes in the middle of the Mojave Desert while coming to terms with guilt about the death of her son. One night she is attacked by a rattlesnake, and in the harrowing process, finds herself. 

    I’m also producing another project called El Fred. Its logline reads: A not-so-imaginary childhood friend returns as an unusual vigilante to protect a struggling single mother and her bullied son. And in December I’ll produce my first documentary, about self-healing and self-knowledge.

    NYFA: What did you learn at NYFA that has applied directly to your career?

    SP: I’m very grateful to NYFA. Thanks to a very hands-on program, I was able to learn how a film works from script to final editing. I also learned that producing a film is a group effort, and each department is essential in creating a coherent film. There are no small roles. I learned that it’s very important to respect your co-workers.

    NYFA: What advice would you give to students just starting out at NYFA?

    SP: Be professional. It doesn’t matter if it’s just a class assignment or a student project, you will graduate with your friends and they will be in the film industry with you. Instead of just making a connection, work on building relationships. Be responsible and reliable. Most importantly, ask yourself every day why you’re doing what you are doing. Remember what it’s all about: this is your passion. It’s important to have a goal, a purpose. Pursue your dreams. Don’t let anyone say no to you. Believe in yourself and trust your instinct.

    I just want to say that I’m very grateful for NYFA. In less than a year I was already working in the film industry. That would not have been possible without the kindness and expertise of the wonderful and talented people at NYFA.

    The New York Film Academy thanks Sabrina Percario for her generous time and looks forward to following her continuing success! 

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 16, 2018 • #WomenOfNYFA, Acting, Producing, Student & Alumni Spotlights • Views: 1267

  • “Sympathy for the Devil” at 50: New York Film Academy (NYFA) Los Angeles Chair of Cinematography Tony Richmond Presents Restored Godard Film 

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Fifty years ago, Jean-Luc Godard filmed an intimate, groundbreaking documentary about the Rolling Stones, capturing the recording of one of their most seminal tracks: “Sympathy for the Devil.” The 1968 documentary shares the same title, though it was originally titled One Plus One before its producers controversially took final cut away from Godard. sympathy for the devil

    The Museum of Modern Art (MoMA) recently held a limited theatrical release for the 50th anniversary of Sympathy for the Devil, which was kicked off with a Q&A with New York Film Academy-Los Angeles (NYFA-LA) Chair of Cinematography Tony Richmond, A.S.C., B.S.C. Richmond served as Godard’s director of photography on the documentary, and supervised the color grading of the newly restored, 4K version of the film.

    The restoration was done in London by Arrow Films, working off the still-preserved original 35mm negative. “It’s just wonderful,” says Richmond of the project, adding it was “such an honor to go back to a film I shot fifty years ago and give it another life.”

    Sympathy for the Devil was one of Richmond’s earliest films as director of photography. He has mostly worked on narrative features since then, including Don’t Look Now, The Man Who Fell to Earth, The Sandlot, and Legally Blonde. The London-born, BAFTA-winning cinematographer has resided as Faculty Chair of NYFA-LA’s cinematography school since 2015, where students receive hands-on training in the unique visual language of film with state-of-the-art equipment they can use on their classmates’ productions. 

    Sympathy was a landmark moment in rock and roll documentaries, preceding other films like Gimme Shelter and The Last Waltz. Along with a strong political message, the film captured the birth of one of the Rolling Stones’ most famous hits. It was also a turbulent shoot, with legendary French filmmaker Jean-Luc Godard butting heads with his producers, who changed his original ending. As an infamous story goes, at a screening of the film, Godard attempted to screen his original ending outside in the parking lot, and when one of the producers intervened, he punched him in the face. 

    Additionally, some of the film was shot on the streets guerilla-style, without permits. Some shots included jumping out of Godard’s car to film his wife, Anna, spray-painting walls, roads, and vehicles, and then hopping back in the car and taking off before the police arrived.

    With an incredible story told by the film and another one around the making of it, it was no surprise that MoMA would host a limited release on its 50th anniversary. The Q&A with Tony Richmond was held after the September 13 screening, which Richmond told NYFA was “a great success. I enjoyed the Q&A, telling them how much in awe I was with Jean-Luc Godard and what an honor it was to shoot a film for him at such a young age.”

    In a recent profile by Rolling Stone magazine, Richmond went into further detail about the shoot, describing how they would pre-light for each member of the band before they would stroll into the studio after a late night of recording and maybe some hard partying: “We knew where Mick was gonna be, where Keith was gonna be, where Brian and Charlie were gonna be, and it was lit in such a way that we never had to touch anything between takes or disturb the Stones in any way…

    “And then the guys would come in, and they’d get down to work, and we would shoot. We were very quiet, and we had a very, very small crew — just a guy pushing the dolly, a focus-puller, Jean-Luc and I, and everybody else was way in the background.”

    Speaking with NYFA, Richmond added, “I wouldn’t know what we were going to shoot until [Mick Jagger] arrived on the set. I can’t tell you how exciting and frightening that was.”

    All told, the new 4K restoration and MoMA’s limited release of Sympathy for the Devil went very well, and included both the theatrical and Godard’s original ending. Richmond told Rolling Stone, “I hadn’t seen it again on a large screen until recently. And I have to say, I think it’s really fantastic… You really see how they’re putting the music together.”

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 15, 2018 • Cinematography, Documentary Filmmaking, Faculty Highlights • Views: 224

  • New York Film Academy (NYFA) Broadcast Journalism Update – October 12, 2018

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Last week, we featured the new class of New York Film Academy (NYFA) Broadcast Journalism students learning the fine points of video editing. This week, it is camera class. Graduates will recognize Classroom #505, where many of our students first learned how to shoot with a Canon C300 camera. And as the pictures show, at first it was a lot of fun.

    Broadcast Journalism Update


    But out in the field, shooting your first story (30-second Voiceover) is always challenging. However, things seemed to work out pretty well in the end. (How many of you shot on Stone Street for that project?) I don’t remember the “lion” ever being interviewed before. And with a reflector to even out the light!

    Broadcast Journalism Update

    Broadcast Journalism Update

    The big news last week was New York Film Academy grad Sergei Ivonin winning a Primetime News & Documentary Emmy Award. (That is the highest honor in American television.) Sergei was a member of one of the first NYFA Broadcast Journalism classes, and after graduation he went to work at NBC News. For many years he was an MMJ (multimedia journalist) for the magazine show Dateline NBC. That meant lots of travel. He also played an important role in NBC’s coverage of the 2014 Sochi Winter Olympics. In fact, his Russian language skills made him irreplaceable.That meant he didn’t get very much sleep, as stories had to be generated around the clock for various NBC programs.   

    Sergei is now a producer on the Today show, working on the 9am hour with Megyn Kelly. But it was as a field producer on the Dateline NBC team that he won his Emmy, for a segment in which former U.S. President Barack Obama was interviewed.

    Congratulations, Sergei!sergei ivonin

    Also last week, 2011 Broadcast Journalism graduate Alana Blaylock was profiled in Forbes magazine. Alana used the skills she gained at NYFA as the basis for her development as an innovative content creator. She also has some insightful things to say about the arc of her career, as well as the creative process. Underlying it all is a belief in hard work, adapting to the demands of a project while retaining your integrity, and the enduring value of curiosity and an open mind…

    Alana Blaylock

    Finally, Summer Workshop graduate Varvara Makarevich is still working in Russian language television… Only here in the United States! She is working with Voice of America (VOA), which is a U.S. government-funded broadcast service that distributes journalistically balanced programing in a variety of languages around the world. I know it sounds like a contradiction — a government agency providing unbiased programming — but it’s true. A long-time friend and former colleague in Tokyo is now head of the VOA White House bureau. I think he has one of the toughest jobs in the world. (But that’s just my opinion…)

    Great work, Varvara!

    You can find more information on classes offered at the New York Film Academy Broadcast Journalism School here.

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 12, 2018 • Broadcast Journalism, Student & Alumni Spotlights • Views: 377

  • New York Film Academy (NYFA) Congratulates Producer Dana Lustig on the Release of Feature Film “Look Away”

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    The New York Film Academy (NYFA) encourages everyone to check out the new psychological thriller Look Away, which releases this October 12, 2018 on VOD and in theaters nationwide. In a Hollywood culture currently dominated by epic franchise films and sequels, Look Away is an independent film crafted by passionate filmmakers and actors looking to tell an exciting, new story without the luxury of a $200 million budget. The film was directed by Assaf Bernstein — known for the hit Netflix series Fauda — and produced by prolific filmmaker and celebrated New York Film Academy (NYFA) lecturer Dana Lustig.

    Look Away is a thriller-horror about an alienated teenager who switches places with her evil mirror image. It stars Oscar-winning actress Mira Sorvino (Mighty Aphrodite), Jason Isaacs (Harry Potter, Star Trek: Discovery, The Death of Stalin), and India Eisley (The Secret Life of the American Teenager). Eisley is starring next in the television miniseries I Am the Night with Chris Pine (Star Trek, Wonder Woman), produced and directed by Patty Jenkins (Monster, Wonder Woman).

    Lustig was born in Israel and has directed five feature films and produced over twenty independent features, working with many high-profile actors, actresses, and filmmakers. Embodying the modern female filmmaker archetype that is finally getting the recognition it deserves in Hollywood, Lustig balances her career in the industry with her occasional lectures at New York Film Academy and other institutions, as well as with being a full-time mother.

    “Filmmaking is a 24-hours-a-day job, it never stops,” Lustig tells NYFA, continuing, “You might find your next story at the dinner table or dreaming at night. It is a lifestyle.”

    As for the types of narratives she pursues, Lustig says that she looks for stories that are “diverse, creative, and moving. Even if it’s a period film, it needs to be current and relevant to today.”Dana Lustig

    The true survival story Jungle, starring Harry Potter lead Daniel Radcliffe, was produced by Lustig and released earlier this year. The film shot both in Colombia and Australia’s Gold Coast, where NYFA has another location with access to the Village Roadshow backlot.

    Lustig directed the dark love story A Thousand Kisses Deep starring Dougary Scott (Mission: Impossible 2) and Jodie Whittaker (Attack the Block, Broadchurch). Whittaker herself has been making headlines this week as she debuted as the Thirteenth Doctor — and first female Doctor — in the long-running smash British series Doctor Who. A Thousand Kisses Deep was nominated for a British Independent Film Award.

    In addition to A Thousand Kisses Deep, Lustig also directed the comedy Wild Cherry starring Rob Schneider, Kill Me Later starring Selma Blair, Confessions of a Sociopathic Social Climber starring Jennifer Love Hewitt, and Wedding Bell Blues starring John Corbett. Additionally, Lustig was a partner at Berman Lustig Productions for ten years, along with producer Ram Bergman (Looper, Star Wars: The Last Jedi.) BLP produced the hit Rian Johnson indie Brick as well as Dancing at the Blue Iguana, directed by Oscar nominee Michael Radford.

    Dana LustigLustig tells NYFA that she feels the urge to always keep moving and looking forward to the next project, saying “We can never really be satisfied as storytellers.” She is currently executive producing Spider in the Web with Ben Kingsley and Monica Bellucci and has just wrapped filming the second season of Israeli hit series Very Important Man. She is scheduled next to direct the remake of the Israeli film The Man in the Wall.

    And still Lustig finds time in between projects to speak with film school students at NYFA. One piece of advice she gives to aspiring filmmakers that comes from her roles both as a director and as a producer is to “Find the next great story to tell — one that is financially viable in the current market, both commercially and artistically.”

    The New York Film Academy congratulates producer, filmmaker, and lecturer Dana Lustig on her long list of successes and looks forward to the many still to come! Look Away releases nationwide this October 12.

    Dana Lustig Look Away

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 11, 2018 • Faculty Highlights, Filmmaking • Views: 493

  • New York Film Academy (NYFA) Sits Down with South Beach Director Maylen Dominguez to Discuss Women in Film

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    The New York Film Academy (NYFA) has announced that Maylen Dominguez is the new Campus Director of the South Beach location. Dominguez will also continue in her previous role as Chair of Filmmaking in South Beach.

    Maylen has spent the last three years as Chair of Filmmaking, having helped the fledgling South Beach campus establish itself as a force in the South Florida film industry. NYFA South Beach was the only Florida institution featured in Variety’s Best Film Schools of 2018 list. Additionally, the South Beach location was one of only three Florida schools featured in Hollywood Reporter’s Top 25 American Film Schools.

    NYFA South Beach Campus Director Maylen Dominguez


    Recently, NYFA had the pleasure to sit down and chat with the new NYFA South Beach Campus Director about her career, her time at NYFA so far, and her plans for the future:

    New York Film Academy (NYFA): What does it mean to you to be the new Director of NYFA South Beach?

    Maylen Dominguez (MD): I have a very special connection to Miami, this is the place where my father landed when he was 12 years old and exiled from Cuba. It’s the place where my grandfather, in his mid 50s, re-studied for his medical license and became a doctor again. They ended up moving to Puerto Rico, which is where my father met my mother, and where I was born.

    When I was two weeks old we moved back to Miami, and then my father, who was a doctor in the navy, moved all over the US. I moved to Miami three years ago to be the Chair of the Filmmaking Department, but have been blown away by the experience of living in a place that is so culturally diverse. I love that I get to speak Spanish again. I love that a cortadito (espresso shot) gets passed around periodically in the middle of the day at the office. And I love being back near palm trees and the warm ocean. So, it is an understatement to say how proud and grateful I am that I get to mix the three things I love: Miami, film, and education. The chance to inspire students from all over the world to tell their very unique and beautiful stories is a gift.

    NYFA: Can you elaborate a bit on your background and experience in the film industry?

    MD: I spent nearly ten years in LA hustling through all sorts of jobs in the film business. It was a real eye opener that no one cared about my academic accomplishments, and when I was in the agent trainee program at Endeavor (which is now William Morris Endeavor) the other four people in the mailroom were lawyers. But it was a great learning experience, I read 40 scripts a week and learned what made a story get through the system — and it taught me humility.

    Working with Nely Galan exposed me to producing and how to develop something from the seed of an idea into a television show. Working with Minnie Driver in her production company, I got to see the process of developing a film project. It was interesting to see, not only her acting process, but why she picked the projects she picked. During this time I learned how to produce movies independently. I also got invaluable set experience working with her. I had written and directed a few short films, a documentary, written a couple of features and TV spec scripts, and from this work received a scholarship from NBC to work in TV, but I soon became pregnant and put the crazy hours and lifestyle on hold. Now that my daughter is older, I’ve been writing again and am in the process of producing a short film and feature.

    NYFA: Can you talk about being an Hispanic woman in this industry?

    MD: One of our recent graduates is Cuban and he said to me, “I feel honored that I’ll be receiving my diploma from a fellow Cuban.” It really touched me because it reminded me that everything that I do is not just as me but also as the half Puerto Rican, half Cuban me. It’s inspiring when you can see someone of a similar background in a position of influence. The same is true in film and TV. If you are a little girl and you see a complex representation of different cultural backgrounds on screen, it allows room for that possibility to exist in your life. If all you ever see are women of color in subservient and service careers, as a little girl, you begin to believe that that’s as far as you can go. Film and television are such powerful media, and we must use it to make impactful positive changes in our culture.

    NYFA: Can you speak to being a woman in the film industry during the #MeToo movement, what has changed, and what still needs to be improved upon?

    MD: The only way to make changes in a broken system is to bring the bad stuff to light, the stuff that we don’t really want to talk about. And that, to me, is what this whole movement is about, understanding that as much power as was used to control women, leading them to be ashamed and hide things away, can now be turned into power as they break silence and help this not happen to the next generation of women in the film business. It’s led to some hard, but good conversations with film colleagues. And it’s something we talk about in our classes here. Both men and women need to talk about it with depth, empathy, and understanding in order to make real changes. I’m grateful that we have a smart, creative, open student population that is listening and ready to demand change and equality in the film business.

    NYFA: What do you think are the advantages to filming and studying film in Miami?

    MD: Miami is a vibrant, artistically rich, and diverse city, so location-wise it has endless potential. And the film community is still relatively small, so once you get your foot in the door everybody helps support you. Our campus is like a true family/small production company. We help each other through personal issues as well as all of the acting and filming struggles that happen. We also have fun together; we have small get-togethers for holidays and support each other’s successes. When our students graduate, it feels like a family member is leaving, you’re so proud of them but you miss them.

    NYFA: What is your vision for the future of NYFA South Beach?

    MD: I have a very clear image of NYFA South Beach being this large vibrant campus that becomes a center point for film and acting education in the Southeast. I see us continuing to be a creative hotbed where people in the local community, as well as the film community at large, want to partner and do projects with us.

     

    The New York Film Academy would like to congratulate Maylen Dominguez on her new position and thank her for her hard work and service to the community!

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 10, 2018 • #WomenOfNYFA, Faculty Highlights, Filmmaking • Views: 981

  • Recap: New York Film Academy (NYFA) at IFP Week 2018

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    This year, New York Film Academy (NYFA) was honored to help IFP Week celebrate its 40th anniversary. A leader in the independent media community, Independent Filmmaker Project (IFP) champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. NYFA was a co-sponsor for the second consecutive year. The week-long event took place at IFP’s state-of-the-art Made in NY Media Center in DUMBO, Brooklyn. A leading voice in the independent film industry, IFP also runs Filmmaker Magazine and the prestigious annual Gotham Awards.

    Andrea Swift moderated an essential #MeToo panel on Saturday. The all-women panel took on difficult but necessary questions about the present and future of the industry in the wake of the #MeToo movement. The panelists discussed what needs to be done both on screen and through media activism. Filmmaker and panelist Shruti Rya Ganguly perceptively said, “The #MeToo movement is not necessarily something new, but a different way of having that conversation.”

    The #MeToo Panel at IFP Week (photo provided by IFP)

    The panel discussed the power of strong journalism and the exact role of social media. They also emphasized the importance of women of color in the aftermath of the #MeToo reckoning. Adding to that, Anne Carey, President of Production at Archer Gray said, “I would hope that the takeaway from this conversation is create a space of safety so people who feel threatened have a place to talk, push to tell the best stories with the best people telling them.”

    NYFA Producing Instructor Krysanne Katsoolis moderated the Looking Abroad panel. This panel discussed the how-to’s and why-not’s of utilizing international co-productions and tax incentives. Katsoolis has significant multi-platform experience in content creation, financing, and distribution. She has produced over 60 films and series, and has worked with Academy and Emmy Award-winning directors. Recently Katsoolis built a media venture (Liquid Media Group) with actor Joshua Jackson, which is now public on NASDAQ.

    NYFA Documentary Chair Andrea Swift (photo provided by IFP)

    In addition to panels and screenings, IFP Week presented Spotlight On Documentaries, a mix of 72 documentary features, non-fiction series, and audio stories ranging from an early financing stage to those nearing completion. NYFA Screenwriting Chair Randy Dottin’s work-in-progress film The Chicago Franchise was selected for a prestigious slot in the Spotlight. The unfinished film was produced

    Veranika Nikanava, NYFA Screenwriting Chair Randy Dottin, and Revital Iyov at IFP Week

    by Randall Dottin and Angela Tucker, and executive produced by Cynthia Kobel. After the city of Chicago tore down its high rise public housing towers in 2011, the murder rate continued to climb. The documentary explores the complicated relationship between gun violence, poverty, and residential segregation — and how they’re all interconnected.

    The New York Film Academy would like to thank IFP and the Made in NY Media Center for inclusion, yet again, in such a fantastic and thought-provoking week. We look forward to IFP Week 2019!

    Facebooktwittergoogle_plusredditpinterestlinkedinmail
  • Photographer Amy Arbus Gives Master Class to New York Film Academy (NYFA) Photography Students

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Acclaimed photographer Amy Arbus visited the New York Film Academy’s Battery Park campus to speak to Photography school students. Arbus’ work has been featured in many periodicals such as Rolling Stone, Village Voice, and New York Magazine, and is featured in many collections including The Museum of Modern Art, The Metropolitan Museum of Art, The Morgan Library, and the New York Public Library. Amy’s family has been renowned for their photography — she is the daughter of legendary photographer Diane Arbus, and is also the sister of famed Doon Arbus.

    Amy Arbus at NYFA

    Amy Arbus at NYFA

    Her 80s street style column for Village Voice On the Street is considered one of her seminal works. “Photographers‘ first stuff is what sticks,” Arbus told NYFA students. She captured celebrities on the streets of New York City, including a young Madonna just before the release of her debut album. Her column also included British punk rockers, The Clash, in their prime.

    Of her project, Ladies of the Night, Arbus said, “I broke every rule that I was ever taught.” These photos were taken in secret, from afar, without comprising
    the subjects’ anonymity. Throughout the lecture, Arbus repeatedly referenced the romanticism of those photographs. Her influences also include Film Noir and Modernist Art.

    During a master class with Richard Avedon in 1992, Arbus resolved some of her emotions surrounding her mother’s death (Diane Arbus died by suicide in her bath when Amy was 17). Her Tubs Pictures is a series of nude self-portraits taken in a bathtub and were featured by Avedon in his article on Amy Arbus in Aperture’s Photographers on Photographers issue 151.

    One specific piece of Avedon’s advice that still motivates her to this day was a fitting message to the students in attendance: “You’ve got to contribute something to the medium… you have to do something unique.”

    Arbus is in the midst of her new series Outsiders, seen below, via her Instagram.

    View this post on Instagram

    He’s a heartbreaker

    A post shared by Amy Arbus (@amyarbus) on

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 8, 2018 • #WomenOfNYFA, Guest Speakers, Photography • Views: 328