• NYFA Australia GC Grad’s Music Video Featured on MTV

    Damian Lang is a graduate of the New York Film Academy Australia, Gold Coast. His digital dialogue, “Diamond In The Rough,” has just come off its festival run, screening at four festivals and winning Best Student Short at the Colorado International Film Festival. Damian’s music video production for Gold Coast based DJ duo “Bombs Away” is also currently featured on MTV.

    Damian Lang

    Damian says that NYFA helped prepare him for the real world of the industry through its hands-on approach. “As a filmmaking student, we were constantly creating and learning while performing multiple rolls in a film like environment,” he explains.

    Currently working as a Locations Production Assistant on the latest Marvel feature shooting at Village Roadshow Studios on the Gold Coast, Australia, Damian is also in post production for his latest music video produced for New Zealand rock-band “Mi-Sex”, as well as for his latest short-film entitled “The First Step”.

    damian lang

    His advice to aspiring filmmakers is that “no one gets a free ride, the choices you make will define you.”

    Check out Damian’s work on the latest music video for “Bombs Away” on MTV Australia’s website, by clicking here

    October 26, 2016 • Entertainment Australia, Filmmaking, Student and Alumni Spotlights • Views: 885

  • Guest Lecture from Director Bruce Bilson

    On Thursday, October 13th prolific director Bruce Bilson brought more than just a lecture to the BFA Filmmaking students on the New York Film Academy’s Los Angeles campus, he brought the history of Hollywood with him. Mr. Bilson took over David Newman’s class for the day and spoke with the students about the “nuts and bolts” of directing.

    bruce bilson

    Bilson’s notable credits include: The Flash (1994), Hogan’s Heroes, The Love Boat, The Six Million Dollar Man, Sanford and Son, Mary Tyler Moore, Get Smart, The Patty Duke Show, Bewitched, Dynasty, The Fall Guy, and Dinosaurs; to name just a few.

    Bilson recounted the tale of filming The Andy Griffith Show title sequence. A six-year-old Opi, played by Ron Howard, would stroll in next to Griffith. They hit their mark as they walked down the dirt road, but when Howard had to throw the rock he couldn’t quite make the lake. After several failed attempts, Bilson decided to have the prop guy sit behind a bolder and throw the rock. Bilson said if you watch the opening the timing of the rock hitting the water is visibly off. But, that’s the only tell.

    bruce bilson

    Bilson had some advice for the students. “Learn as much as you can about anything that interests you.” He credits his two years in the Air Force helped him direct an episode of Pensicola. “Nothing’s wasted,” he continued, “Lessons will come back to you.” He expanded by saying he hated taking the class that was most helpful to him, playwriting. Even though he never became a writer, being able to understand what made great storytelling was indispensable.

    His final bit of advice was to, “Research your project.” The obvious job is to watch the show and knowing the stats on the most popular episodes. “Do the show you were hired to do.” Perhaps not so obvious is to know who all of the people involved in the show from the Executive Producer to the Office Production Assistant. Bilson encouraged his students to “Get to know the secretary. They control everything.”

    New York Film Academy would like to thank Mr. Bilson for taking the time to come speak with our students. You can continue to watch Mr. Bilson’s work in syndication everywhere.

    October 25, 2016 • Filmmaking, Guest Speakers • Views: 1004

  • Victor Okoye Frank’s Award-Winning “Purpose”

    Victor Okoye Frank came to the New York Film Academy from Nigeria to further pursue his passion for storytelling. “After college and research, I knew there was no better place to learn the precious art of storytelling than the prestigious New York Film Academy,” said Frank.
    victor frank

    His first semester in the 1-Year Filmmaking Conservatory has been selected into a couple of festivals and won six awards including two from “My Rode Reel,” a competition that included over 1,500 submitted films from around the world. Recently, “Purpose” was nominated for Best Short Documentary and Best Director in a Documentary Award at the New York Short Film Awards (SOFI). The winners will be announced in December.

    “I was thrilled to receive the announcement from Rode,” said Frank. “Being such a big company and having over 1,500 movies to sort through — mine came in the top 2 in the Judges’ best films. Also, from the SOFI awards, I’m hopeful for the best overall film, but I will find out in the coming month.”

    victor frank purpose
    “Purpose” is a personal film, not just of his story, but of countless people around the globe who struggle through daily activities, doing things that barely make them happy. “It’s a story of hope and of a revelation that ultimate happiness can be found in doing what you love, and there’s no better time to get to it than now,” the director says.

    “I remember discussing the movie with my directing teacher [at NYFA],” Frank recalled. “He gave me tips of how to propel the story. Overall,  my training at NYFA gave me a good boost toward perfecting the film.”

    Frank is currently in pre-production on his first feature film “365.” He also runs a vlog about filmmaking, “Fourth Film,” which he says he attributes to the knowledge he received from NYFA.

    October 25, 2016 • Filmmaking, Student and Alumni Spotlights • Views: 1625

  • Comedy Director Paul Feig Screens “Bridesmaids” at NYFA Los Angeles

    On Wednesday, October 19th, 2016, famed comedy director, Paul Feig, came to the New York Film Academy’s Los Angeles campus to celebrate the fifth anniversary of his beloved film Bridesmaids. Feig’s prolific film and television directing credits include Spy, Ghostbusters (2016), The Heat, The Office, Nurse Jackie, Freaks and Geeks, and Arrested Development. NYFA’s Director of Industry Lecture Series and successful Hollywood producer, Tova Laiter (Varsity Blues, Glory) hosted the event.

    Paul Feig

    Feig began the conversation by talking about his relationship with Judd Apatow. As the saying goes, “it’s not what you know it’s who you know.” A lot of Mr. Feig’s career has been closely tied with Apatow’s career. “I’ve known Judd since he was seventeen. If he produced something, I’d act in it.” When Feig made a short film, Apatow liked it so much he helped him to get Freaks and Geeks green-lit. And in 2007, Apatow once again called Feig, this time for a table read of an untitled female comedy about a wedding.

    Feig said of that first table read, “I remember thinking ‘my gosh this is such a great vehicle for a bunch of funny women.’ Now, of course, this was the early days and the script needed a lot of work so I gave a bunch of notes. I called Judd (several months later) and asked him what happened. He said it was dead, so that was the end of that.”

    Three years later Feig got a call from his agent saying they were trying to revive the “bride movie.” The first name Feig thought of was Kristen Wiig. He had cast her in her first film role, “Unaccompanied Minors,” a few years before and “instantly fell in love with her.”

    laiter and feig

    When he started looking at how he was going to approach filming the script he used a standup comedy trick; write a bunch of jokes and then test them on audiences. The jokes with the best laughs stay in the movies, everything else is left on the cutting room floor. “I like doing action stuff. How can I make it physical and suspenseful so you’re scared and screaming at the same time? To get that kind of reaction out of the audience is a good time,” Feig said.

    One student asked, “When it comes to directing is there a difference between working with stand-up comedians as apposed to straight actors?” Feig responded, “Most of the funniest people I work with are really funny. If they’re going all out I usually tell them to pull back. [Directing] it’s really kind of guiding them. That safe environment is really important. Actors need to feel they can make mistakes. Let them try everything and don’t ever be punitive with them.”

    New York Film Academy would like to thank Paul Feig for taking the time come speak to our students. Ghostbusters is now available on DVD, and look out for his next film Song of Back and Neck coming out in 2017.

    October 24, 2016 • Filmmaking, Guest Speakers, Producing • Views: 894

  • Drone Presentation at NYFA Los Angeles

    On Thursday, October 13th, 2016 representatives from DJI came to the New York Film Academy’s Los Angeles campus to talk to the producing students about the opportunities drones bring to novice filmmakers.


    The event began with a presentation exploring the different types of drones available for sale and to rent. After explaining the differences between a Mavic and a Phantom 4 it was time to explore how to use a drone in your film. Many think of the aerial helicopter shots being done for less. But, the presentation explored using a drone to replace everyday film equipment like a dolly track, steady cam, and a crane. Individually each piece of equipment could cost thousands of dollars to buy or rent.

    After the presentation, the students went to the parking lot to try their hand at flying the drones. Before the test flights began, the importance of contacting local law enforcement and air traffic controllers prior to filming was stressed to the students. Newest drone on the block, the Mavic, was the first out the gate. The stats on the Mavic are impressive: 24 high-performance computing cores, an all-new transmission system with a 4.3 mile range, a five vision sensors, and a 4K camera stabilized by a three-axis mechanical gimbal can be controlled with just a thumb.

    drone test

    Next, students flew the Phantom 4. The drone is controlled by an iPad and attached controller. It was Sherdell Turner’s, 2016 BFA Filmmaking, first time flying a drone. “I want to shoot a movie with nothing but drones. I’m putting my vision together now.” Aysha Radwan, 2014 BFA Filmmaking, said, “I would want to shoot a movie with this. I could replace a crane and a dolly for the interiors of my next film.”

    Filmmaking professor, Richard Freidman, originally conceived the idea of bringing DJI to come speak to the students after using one of their drones on his own project. “Drones are an important tool for filmmakers,” he stated. “Not enough people use it. Drones are revolutionizing how people make movies. Any film I’m shooting will have a drone on set at all times.”

    New York Film Academy would like to thank DJI for presenting their drones to our students. If you’d like to learn more about the products and services DJI provides you can find more information by clicking here.

    October 24, 2016 • Community Highlights, Filmmaking, Producing • Views: 642

  • Award-Winning NYFA Filmmaking Alumnus Talks “Money”

    Martin Rosete came to the New York Film Academy in 2007 thanks to La Caixa Fellowship Program in Spain. “At that time I could not even dream everything what I was about to learn at NYFA and all the opportunities it would provide me in the professional world,” said Rosete.

    martin rosete

    After attending the Two Year Filmmaking Program, Rosete went on to direct the short film “Voice Over,” which won numerous awards at festivals all across the world.

    From there, Rosete went on to direct the feature film, “Money,” which continues to gain buzz on the festival circuit. The movie stars Kellan Lutz (“Twilight saga,” “The Legend of Hercules”) and Jesse Williams (“Grey’s Anatomy,” “The Cabin in the Woods”).

    On November 5th, the film will premiere in NYC at the Big Apple Film Festival, and on November 4th it will play in LA at the Egyptian Theater as part of the Arpa International Film Festival. Next year, the movie will be commercially distributed worldwide.

    We had the opportunity to speak with the award-winning director and NYFA alumnus before his upcoming premieres in NYC and LA.

    Congrats on all of your success! Can you tell us about your new film, “Money”?

    “Money” is an elegant thriller that talks about human greed and how money (and the lack of it) can affect different individuals from different backgrounds. We tried to do it as universal and commercial as possible, and we are really happy with the final movie.

    VOICE OVER (English subtitles) from Kamel Films on Vimeo.
    How did this film come about?

    After directing my short film, “Voice Over,” which won over 100 awards in film festivals and got a nomination for the Spanish Academy Award (Goya), I felt that I was ready to jump and direct my first feature film. I started to read a bunch of scripts that my agent (at WME at that time) sent me and, in the end, I found the script for “Money.” I felt it was perfect for my first feature. It was contained, commercial, fun, with great characters and dialogue. I fell in love with it.

    I teamed up with Atit Shah, an American producer based in NY, and we decided to produce it together. It took us a little bit of time to put all the pieces in place, and I have to say that it is been an exciting and fun process, and we are already planning to repeat the team for our next film.

    What was the most rewarding aspect of the production?

    Probably the cast we got. It was amazing to have the opportunity to work with so many talented actors such as Jesse Williams, Kellan Lutz, Jess Weixler, Jamie Bamber and Lucia Guerrero. And besides the talent they have, I will be always thankful for the professionalism and commitment they showed on set. It was a dream to work with all of them.

    on set of "Money"

    How did your NYFA education prepare you to direct “Money”?

    I am from Spain, and the time that I spent at NYFA helped me a lot in understanding the way things are in the industry, in the US; and the fact that we were literally shooting every week also helped in having the opportunity to try different things without any fear of failing. That is really important to be prepared for the real world after your studies are over, and I am really happy to have had that opportunity.

    You’ve had tremendous success at the film festivals. Can you provide any advice to students about to enter their films into festivals?

    Film Festivals are the main door to the professional world. Being in the big ones and winning awards gives you the visibility that you need to find the right producer, agent, or investor interested in your work. My work has been selected in more that 500 film festivals, winning over 200 awards. The only secret is to have something good to show out there and to have the energy to find the resources to distribute your work in order to get as much as possible out of it.


    Is there anything you can tell us about distribution for “Money”?

    The movie was completed in April 2016 and it is doing great in film festivals. About the commercial life of the movie, it has been sold to many territories and we are negotiating a deal with a studio right now. I would love to be more specific, but unfortunately I cannot reveal more yet. All I can tell you is that in 2017 “Money” will have worldwide distribution.

    What kind of advice would you give to aspiring filmmakers and NYFA students looking to direct their first film?

    Whatever you do, do it right. Even if you are doing a small practice with no budget. Try your best. Put all the energy and passion to get the best out of it. Sometimes the result won’t be great but you may get a good lesson that you can apply in the next shooting. I always joke with my crew, even on low budget sets, telling them that we have to face the shoot as if we were doing “Ben-Hur,” because that kind of commitment from everyone makes the difference. And besides all that, for me, it is very important to do things this way to show the respect for the profession and for the professionals involved.

    Are you currently working on any other projects that you’d like to share?

    Yes, as I said, Atit and I are working on a wonderful dark comedy called “Remember Me” written by Rafa Russo. The script was one of the top scripts of the year on The Black List, and it is one of the best scripts that I have read in my life. We are super excited because we know we have another winner on those pages. I cannot wait to start shooting!

    October 21, 2016 • Filmmaking, Student and Alumni Spotlights • Views: 1433

  • Golden Globe Winner Jacqueline Bisset Brings “The Last Film Festival” to NYFA

    On Thursday, October 13th, 2016, Golden Globe winner Jacqueline Bisset brought her film The Last Film Festival to New York Film Academy’s Los Angeles campus. Bisset’s credits as an actress are wide and varied from her premiere role in Roman Polanski’s Cul-De-Sac, Casino Royale, Welcome to New York, Two for the Road, Murder on the Orient Express, and Nip/ Tuck. NYFA’s Director of Industry Lecture Series, Tova Laiter, and Acting for Film Professor, Phil Kaufman, led the Q&A discussion after the screening.


    The Last Film Festival was a big hit with the students, who laughed from the first scene on in recognition. Dennis Hopper’s last movie holds a bit of bittersweetness amongst the hilarious nature of the film. Director Linda Yellen’s crafted a film about passion and hope when everything is going wrong for your movie.

    Bisset had this to say about working with female directors, “Women directors have to adjust, particularly to the men. That was a big lesson to me. Female directors can’t behave like me. Their voice level, their tone, their gestures all have to be controlled at all times. The minute she gets a bit wobbly, everyone jumps on her and tries to seize control.”

    Laiter kicked off the conversation by asking Bisset the age-old question, “How’d you get your first break?” Bisset responded with, “The biggest break was me going, ‘well I might give it a try.’”

    jaqueline bisset

    Two comments she received in her youth helped define the direction of her career.

    “My Latin teacher told me once, ‘You’re such a chatterbox. You might make a good actress.’ Then I went to a dinner party; I was fourteen at the time and Roman Polanski was there. He said to me, ‘You’re quite the introvert. You might make a good actress.’” She tried her best to bring these two separate thoughts together to envision what kind of actress she would become.

    After making her decision, she had one fear. “I was very nervous about telling them [her parents] because I knew my father wasn’t going to pay for anything.” So Bisset began to work as a waitress in her spare time after school. She was cast in a Polanski film and did a few other projects before being offered a multiple picture deal with 20th Century Fox. She joined a talent pool and legendary director George Cukor (My Fair Lady and Philadelphia Story).

    jacqueline bisset
    But, coming to America wasn’t a waltz for Ms. Bisset. She was accustomed to English tradition, which stipulates one give up their chair to an elder and say “yes, sir” and “yes, ma’am.” “People in Hollywood want to be treated with respect, but they don’t want to be treated as if they’re older. It took me a little time to figure it out.”

    Bisset went on to answer some questions from students. One asked, what advice Bisset would give to women entering Hollywood, “Don’t do anything that you don’t want to do. I mean anything sexual you don’t want to do. I think a lot of people get caught up in the seedy part of life. How you dress has a tremendous effect on how men treat you. When I hear some of the tales people tell, particularly in books, I’m mortified. You’ve got to be very sure what you want. Never do any of that to get the job. It won’t guarantee the job. Absolutely not.”

    Another question asked was, knowing what you know now, what advice would you tell your younger self? “Educate yourself. We are the breath of other people. We have to empathize with the world and people around us. What you have in your eyes will tell a story. You emanate in your energy and passion. It’s about the make-up and the costumes, of course, I think if you educate yourself you become a more interesting person which means you have more to give. Don’t have a silly life. Try to have a deep relationship soon. All of that stuff.”

    New York Film Academy would like to thank Ms. Bisset for her time. You can see Bisset in her upcoming films Nine Eleven and Backstabbing for Beginners coming out in 2017.

    October 20, 2016 • Filmmaking, Guest Speakers • Views: 1089

  • “Star Trek II: Wrath of Khan” Screening with Director Nicholas Meyer

    Famed writer and director, and the man credited with saving Star Trek, Nicholas Meyer came to New York Film Academy to screen Star Trek II: Wrath of Khan. New students filed onto the historic Warner Bros lot to discuss his classic film as part of the New York Film Academy’s exclusive Guest Speaker Series for students and alumni. Meyer sat in for an informative Q&A with Producer, and moderator, Tova Laiter of Varsity Blues and Glory.

    nicholas meyer

    Meyer hadn’t been a fan of Star Trek before he was asked to direct. “When I saw it on TV, I saw the guy with pointy ears and I just kept going,” Meyer said. But then Harve Bennett, a friend of Meyer’s and one of the film’s producers, handed Meyer the script.

    “There were a lot of things I didn’t understand… But, I was aware later, that it did remind me of something I rather liked. It took me a while to figure it out what it was. Then I remembered the books I read when I was twelve or thirteen about Captain Horatio Hornblower from the C.S. Forester novels. He was a British sea captain during the Napoleonic Wars and he has a girl in every port.”

    From those naval stories, Meyer simply placed the navy in space. He spoke to James Horner, the film’s composer, about including the sounds of famed naval composers such as W.C. Handy and Jean-Baptiste Lemire.

    star trek

    Other essential changes Meyer made to the series was setting a time period. “I put at the beginning: In the Twenty-Third Century because I thought my father wouldn’t have a clue what he was seeing if it didn’t say something. Then, I realized… I was really putting it in for myself because I was trying to explain it. People say it’s science fiction, but it’s really rather Earthbound in terms of its subject matter.”

    Once the naval themes were cemented in his mind, Meyer knew what the story needed to be. And he let NYFA students in on a secret, “I wrote the script. There were five drafts, but they were really five different attempts to get a second Star Trek film.”

    There was a fifth draft coming in and Meyer was getting excited. Five months went by and he hadn’t heard anything. Meyer called Harve Bennett and asked him to send each draft over. After a long discussion, they decided to make a list of everything they liked in each draft. Then Meyer would make a final script with one caveat; he had to have the script finished in twelve days.

    So then Meyer made what he called a “big mistake.” Producers told him they couldn’t even write his deal in twelve days, so he fell on the sword. He said to forget the deal and wrote the script for free in twelve days.

    When it came time to film, money was in short supply. The first film went way over budget, had multiple script changes daily, and never found its footing with audiences. A second splurge wouldn’t be allowed, so they recycled set, reused special effects, and reduced the number of sets and costumes. Because of these restrictions, the story of Khan was allowed to thrive.

    On this note, he gave the students some advice, “All great artistic media rely for their success on something they leave out. Paintings do not move. Music has no intellectual content. Words are just code on a page. It is only when they intersect with the auditor, the viewer, the listener, that it comes alive. When you bring your imagination to it, the painting moves when it meets your eye. Beethoven’s Fifth becomes profound when it hits your ear. Otherwise, it’s just catguts and tubing. And the words that make you laugh or cry on the page is when you decode them. Movies alone… have the hideous capacity to do everything for you.”

    Meyer put this thought into practical application, “So, as a director, not only am I working to make a little money go a long way by invoking people’s imagination, I am also at pains to leave things out of the movie to make your imagination kick in as opposed to simply presenting you with two hours of eye candy. When you’re making your movies, you have to look for ways to do things that may be counter-intuitive in order to get the audience to exercise their imaginations. Every time somebody points to something in a movie, you don’t have to show what they’re pointing to. When someone asks a question, the other person doesn’t have to answer it. You can leave things out, because the audience participates.”

    New York Film Academy would like to thank Mr. Meyer for speaking with our students. You can read more about Meyer’s adventures and his thought on art in his books Views from the Bridge and The Seven Percent Solution.

    October 18, 2016 • Filmmaking, Guest Speakers • Views: 1080

  • NYFA Instructor Joe Burke Stars in Romantic Dramedy “Dependent’s Day”

    With gender equality being ever more present in today’s modern relationships, the upcoming film, “Dependent’s Day,” tackles this theme after the leading woman claims her boyfriend as a dependent on her tax returns. Directed by Michael David Lynch, the romantic dramedy stars New York Film Academy Los Angeles Directing instructor Joe Burke, along with actress Benita Robledo. Outside of his teaching, Burke has appeared on the critically acclaimed Showtime series “Ray Donovan,” as well as the popular Disney show “Dog With A Blog.”

    depedents day

    We decided to have a little chat with the actor, filmmaker, and NYFA instructor, to find out more about his upcoming film, which recently received a glowing review in the LA Times.

    Congrats on the film! How did this role come about for you?

    The role of Cam in “Dependent’s Day” came about through a mutual friend. Writer/Director Mike Lynch was preparing to make a new short film and was looking for a lead actor who would be perfect for his project; and our mutual friend Josh Staman (also in the movie) recommended me to Mike. At the time, Mike knew me more as a filmmaker, not as an actor, but still invited me in for a table read after Josh’s recommendation. So I met with Mike, and actor Benita Robledo, and we did a table read of the short film Mike had written. We ended up improvising on top of the short film script and exploring the material a bit (which was a lot of fun). After one thing led to another, Mike quickly decided this idea was not meant to be a short film, but something bigger.

    After exploring the idea of making a web series, we landed on going out and making a feature film two months later. I personally knew Mike Lynch before “Dependent’s Day,” and was actually an extra in his student thesis film yeas ago. But I think that’s a great story, and one I always share with my students, because you never know who you might meet in film school and later collaborate with down the road. And to go from being an extra in one project to the lead in the next (10 years later), just shows how much you need to trust the process and stick with it.

    Dependent’s Day Trailer from Michael Lynch on Vimeo.
    Can you tell us a little bit about your character and his role in “Dependent’s Day”?

    I play the role of Cam in “Dependent’s Day.” He’s our hero character that we follow through the film (as flawed at times as he may seem). But he’s a dreamer. And a guy going after his dreams in Hollywood. Something I can certainly relate to…we all can. And he struggles on finding the balance of how to both go after his dream while stepping up his game in his relationship with his girlfriend, Alice (played by Benita Robledo), who is the breadwinner of the relationship. Cam is a very sweet character with a big heart, and though he doesn’t always make the best decisions at times, he is certainly trying to do his best in life and figure it out. It’s a really hilarious and heartfelt role, and I had a blast playing it.


    behind the scenes of “Dependent’s Day”


    You seem to have such a camaraderie with Benita in front of the camera? What’s the secret?

    Working with Benita Robledo was great. We hit it off early on at the table read and found a great rhythm for these two characters. I think the key to developing a great chemistry with your co-stars is to really allow yourself to dive deep into the world of the character. To really feel like you’re in the characters shoes and to be grounded in all your decisions. Even for a comedy like “Dependent’s Day,” we always wanted to play it ‘real and honest.’ And another big key factor is to truly listen. The art of ‘listening’ as an actor is super important. It keeps you on your toes and allows you to react naturally in the moment to what’s going on. I always say keep it authentic. Mike, Benita, and I had a really fun time bringing these characters to life.

    Do you consider yourself primarily a filmmaker or actor? Or both?

    I definitely consider myself both a filmmaker and an actor. I have been doing both since I was a young kid. I did focus a bit more on filmmaking in college, but I truly enjoy both so much that I wouldn’t be able to do just one. And on “Dependent’s Day,” I was still in a position to bring my filmmaker side to the project, collaborating closely with director Mike Lynch. I am co-producer on the film, and also had fun helping develop the story and edit the movie.

    HOUSE SITTING from Joe Burke on Vimeo.
    I write and direct a lot of my own films as well, and most recently I wrote/directed a new short film titled “House Sitting,” which I also starred in. So working behind the lens and in front of it at the same time was really an exciting challenge and something I look forward to doing a lot more of — as well as looking forward to more awesome opportunities to play great characters and collaborate with other talented filmmakers on their projects.

    Do you believe it’s important for young filmmakers to understand and perhaps get some hands-on experience as an actor?

    I think it’s so important for a young filmmaker to understand the process of acting. I think the more you understand acting, and have some experience being an actor, the better director you will be. Also, having directing experience will make you a stronger actor. It all goes hand-in-hand. But I think getting strong performances is the most important part of making a movie… and in order to really achieve that, you have to have a really strong grasp and understanding on what the process of acting is all about. You have to really know how to communicate well with your actors. I would encourage every young filmmaker to take a couple of acting classes and learn that side of it. It’s very valuable and will make you a much better director.

    So when can we see it?

    We put a lot of time and energy into making “Dependent’s Day” and we can’t wait for everyone to see it as soon as it releases on VOD October 18th.

    October 13, 2016 • Acting, Faculty Highlights, Filmmaking • Views: 941

  • NYFA Australia Alum’s “Ice Cold” Wins Best Foreign Short at Action on Film Festival

    Jonathan G wins awardWriter, Director, Producer and Editor Jonathan Gesthuizen’s short film “Ice Cold,” which he produced while attending the New York Film Academy Australia, Gold Coast, officially won Best Foreign Short Film at the 2016 Action on Film (AOF) International Film Festival Los Angeles.

    “It was great to be recognized by the judges and our film peers,” said Gesthuizen. “The competition was fierce, and I enjoyed watching some really great films. The atmosphere was surreal, prestigious, exciting and intimidating all at the same time.”

    A glitzy red carpet formal awards evening concluded the festival last month in Hollywood, where Gesthuizen was awarded his prize.

    “I feel honored and excited about winning this award and how it will assist us in gaining the traction we need for the making of the feature, which has recently been written with help of co-writer Paul Gough,” added Gesthuizen. “Most people associate a film’s success with the budget the producer and director have to work with, but this is not always the case, as a $70,000 film won an award at the festival in the same category over another with a $20 million budget. It’s all about getting the story across and how well you can engage your audience with the characters.”

    Gesthuizen aims to have a feature version of “Ice Cold” completed and entered into next years AOF.

    He will begin casting in late October in both New Zealand and Australia. Filming will begin shortly after that with a release date set for late July 2017.

    If you would like to support this project please check out their Facebook page “Ice Cold” for further information.

    October 7, 2016 • Entertainment Australia, Filmmaking, Student and Alumni Spotlights • Views: 1373