• VFX Oscar Winner Ian Hunter Speaks on “Interstellar” at NYFA

    ian hunter

    “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.

    hunter sawicki

    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.

    mark sawicki

    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!

    sawicki hunter

    NYFA LA Chair of Animation Mark Sawicki with Ian Hunter

    April 27, 2015 • 3D Animation, Filmmaking, Guest Speakers • Views: 844

  • How Do You Define ‘Making It’ in the Art World?

    Often the definition of what it means to be successful will vary from person to person. Is there a real point in an artist’s career where he or she can announce “I’ve made it”? New York Film Academy 8-Week Filmmaking graduate Anthony Moorman explores this topic in his documentary Making IT by focusing primarily on artists Eric Fortune, Andrew Bawidamann, and Brian Ewing’s daily struggles of making a living while staying creative.

    making it

    Making IT is an idea that came about with my friendship and creative collaborator Woodrow Hinton,” recalls Moorman. “Woody is an illustrator and artist. He was pitching an idea to me about making an art documentary about illustration. I wasn’t sure how to go about that, but over a two year process we figured out the logistics and strategy about telling a story about three working illustrators in the middle of their careers. We told that story through Woody’s eyes. It’s a personal journey about Woody, through his three friends. When Woody came to me with the title Making IT, and said the film is about how artists define success — are they or are they not ‘making it’? I was sold on the idea and knew we could tell an honest and fresh story.”

    The film ultimately came together from late 2012 to 2014 with pre, pro, and post, over a three year period on a shoe string budget. Andrew Bawidamann, Brian Ewing and Eric Fortune are three excellent artists who are in the middle of their careers. This stage of their journey is the toughest because they’re on the edge of success, “Making it.” As most of us are aware, the road to success can be very arduous, and in this film, Moorman explores that path through the eyes of students, working professionals, and artists who are working at the top in their field.

    Andrew Bawidamann

    Andrew Bawidamann

    One of the topics in the film is something that prospective students asks themselves all the time before enrolling at the New York Film Academy: is art school worth it? “We all agree that it’s expensive,” says Moorman. “But we can’t imagine our careers without art school or film school. Film school can be a place where you fail and it’s okay. As long as you learn and grow from that failure, your work or craft can only improve. I do wish I would have been more open to my instructors at NYFA. Sometimes as a film student you think you have it all figured out and you’re awesome. I kind of fell into that trap. Instructors are great people, and they are there to help you to improve. But I would say that if I hadn’t had my 8-Week Workshop experience at NYFA, I’m not sure I’d be where I am today. Furthering your education in any field can really be the key to success. You can’t discover the journey of an artist by living inside your own little world. You need to get out there, experience life a bit, and be okay with failing. Being a filmmaker is all about taking risks.”

    Teaser Trailer from Tony Moorman on Vimeo.

    Through his honest observations of students, recent grads, and art legends about the struggles and the dark times, Moorman hopes his film will not only inspire artists, but also spark an honest conversation about what it really takes to be a success. “We didn’t want to just say how cool it was to be an illustrator. Making that kind of film isn’t helpful,” said Moorman. “But really explaining to people that they need to work really hard for 10 years before they’ll actually make a living was the key message. I believe that also the message of the film industry. You’re not going to graduate and start working in the business and make a ton of money. No. You’re going to struggle, suffer, and crawl for a while. And if you’re lucky, you will make it out on the other side. So the goal was to make sure we prepared people and be honest to them about how hard it is to get in the business of the art world.”

    Moorman is currently in production with Hinton on another art bio documentary on famed local artist C.F. Payne: an American Illustrator.

    Making IT is now available on iTunes, Amazon, X-Box, and Google Play.

    April 23, 2015 • Documentary Filmmaking, Filmmaking, Student and Alumni Spotlights • Views: 1095

  • NYFA Chinese Student Club Invites Filmmaking Alumna Jing Wen for Screening and Q&A

    jing wen screening

    New York Film Academy Chinese Student Club invited one of our MFA Filmmaking graduates, Jing Wen, a Chinese filmmaker who studied at the New York Film Academy Los Angeles to screen her short film A, B, C or D? followed by a Q&A last week.

    “I like to observe people’s facial expression, voice, and body language in order to understand them,” says Jing. “That’s one the most important skills a director needs to learn and practice because film ideas are inspired by observations from life and they are a reflection of reality.” As a writer and director with a record of success, Jing Wen is never satisfied with her own films and always believes that there is something she could do better.

    jing wen film

    Inspired by the story structure of Run Lola Run, Rushmore and the 2006 Chinese comedy Crazy Stone, Jing wrote the short film A, B, C or D? as her thesis project. Her final shooting script came out after workshops during her thesis committee meetings and was rewritten seven or eight times during her study at the Academy. “The production only took about two days and in fact we shot for one and a half days.” Jing described, “it saved us a lot on budget, but the biggest challenge we face, like many young filmmakers doing student films, is that we lost one of the main cast a few days before the principle of photography started.” It helped that three quarters of the crew working on her short film were friends who she met on classmates’ sets and were doing her a favor. She suggested that our current students at New York Film Academy begin coming up with ideas no later than March if they want to start shooting between May and July. “It’ll give you enough time to absorb others’ opinions and achieve a more mature storytelling,” she said.

    Jing not only shared her production experience but also gave important lessons she learned along the way. “It is extremely difficult for an Asian director to climb up the ladder and direct a major hit feature in Hollywood. Your experience and networking are equally important whether you want to stay in Hollywood or go back to China,” she says. In addition to filmmaking, Jing has a strong background working in the Television Industry in China. She started interning at major Chinese TV station at a young age and participated in productions of hit variety shows and games shows when she was only 19 years old. Her advice to those seeking a career in the industry was to build a relationship with people. “The most important lesson I learned is that you can’t work alone as an individual but need a team that supports one another no matter what you do or where you are,” Jing explained. “Teamwork in this particular industry together with the network you built is a weapon that will get you far.”

    Wen Jing

    Jing Wen has been selected to direct a forthcoming feature comedy The Disappeared Fish later this year. The film is scheduled to release theatrically after premiering at 2016 film festivals in China. Jing is currently working with Chinese financiers on a second feature written by her. She’s working in development with a production company and is considering a TV platform release. Our Chinese students at the New York Film Academy Los Angeles campus had a blast listening to Jing Wen’s unique experience and we sincerely thank Jing Wen for taking the time to openly share her insight with us. We also look forward to seeing the Chinese Student Club host more events in the future to benefit NYFA students.

    – Wanyin Bo

    April 22, 2015 • Filmmaking, Guest Speakers, Student and Alumni Spotlights • Views: 845

  • MFA Filmmaking Grad Developing Female-Empowering ‘Daughters of Abdul-Rahman’

    daughters of abdul-rahman

    One of our MFA Filmmaking graduates, Zaid Abu Hamdan, a Jordanian filmmaker who studied at the New York Film Academy Los Angeles, is generating buzz with his newest project Daughter’s of Abdul-Rahman. The film, which raised more than $23,000 on indiegogo, is a dramatic comedy about four estranged and very different sisters.

    Following the mysterious disappearance of their father, the eldest sister, Zainab, must now reunite with her three sisters at the family home to find their patriarch. Only by coming together will they be able to locate their missing father, and, in the process, overcome their differences and realize who they truly want to be. A drama with a unique, Jordanian sense of humor that is full of light heartwarming moments, Daughters of Abdul-Rahman is natural and organic. Yet, the screenplay tackles serious issues and taboos in a poetic, dark, but still comedic style.

    The four female leads of Daughters of Abdul-Rahman loosely represent the wide spectrum of women in Amman while their old traditional father represents the patriarchal structure in Jordan. Given the endless list of differences between them and their divergent social lives, the four sisters do not choose to embark on a journey together to find their missing father, but they must. The sisters’ journey creates a whirlwind of fear, tears, new discoveries, and laughter. Through difficult times, the daughters find their inner voices, not only as individuals, but also as a union of women—sisters.

    “I am a strong believer in the voice of women, the strength of women, the freedom of women, and the much-needed intellectual liberty of women and men in the region,” states Abu Hamdan. “If I wish for something, it would be that this film contributes to a larger movement for women’s liberation in my own country, or even in the Middle East. And when that happens, I will be there, with my mother.”

    Abu Hamdan has proven to be a very prolific and successful filmmaker since leaving the Academy. The Jordanian filmmaker has directed a number of short films including Bahiya and Mahmoud, which won the Best of Festival Award at the 2011 Palm Springs International Film Festival and Shortfest, and was shortlisted for an Academy Award in 2012.

    You can view his award-winning film below.

    If you’re interested in donating to Daughter’s of Abdul-Rahman, click here.

    April 15, 2015 • Filmmaking, Student and Alumni Spotlights • Views: 853

  • MFA Filmmakers Collaborate to Develop Klaus for PS4 and PS VITA


    In addition to film and television, games have become one of the most prominent platforms for artists and writers to tell their story. We’ve seen films adapted into games and games adapted into films. Either way, the multi-billion dollar gaming business continues to grow and allow filmmakers another avenue to reach their audience.

    We recently heard from MFA Filmmaking students, Victor Velasco, Aleksandar Cuk and Kshitij Bal, who are currently all studying at New York Film Academy Los Angeles. The team is in the process of developing a 2D puzzle based platformer for Playstation 4 and PSvita. The game, Klaus, which was the brainchild of game designer and creative director Victor Velasco, aims to provide an experience that is narratively innovative and extremely self aware. Klaus is an office worker who wakes in his basement with no recollection of who or where he is. Almost reminds us of the classic Chris Nolan film Memento.


    His only clue is the word Klaus tattooed on his arm — forcing him to find his way out of the mechanical and constructivist world that he finds himself imprisoned in. It his search for these answers of where and who that lead him to the larger question, Why.

    During the course of the journey, Klaus encounters a second playable character – K1, a friendly brute who has been damaged by his prolonged imprisonment. Together the two embark on an existentially definitive journey that explores the idea of the 4th wall and a self awareness of the player playing the game. Will Klaus discover his truth? Will he find a way out? These are questions that are at the core of the narrative that the game presents.

    In terms of gameplay, Klaus is an organic and reflexive 2D platformer, with 2 playable characters, Boss fights and interactive environments. The focus of the gameplay will be on tight controls, environmental puzzles, exploration and a complex yet accessible interaction of the player with not only the characters, but also movement and rotation of objects, jump pads, platforms etc. The game is best designed for the PS4 and uses the touch pad as an integral part of the gameplay.

    “It is an extremely exciting game that allows us to bring our passions and our talents together to collaborate to create a cohesive, creative yet marketable product,” says Bal. “This is a project that is extremely close to our heart.”

    Klaus was awarded the 2012 Square Enix Excellence Prize and was recently showcased at the PS Dev Summit 2014 where it received a lot of welcome attention for its unique approach and narrative techniques. It is also the first game to be developed out of Venezuela for the PS4 and PSVita platforms and has received positive media reception from Media outlets within the country. However, it is targeted to audiences worldwide, as it has a universal feel and story.

    Bal and Klaus have already been featured on the PlayStation blog, as well as HardcoreGamer, GeekBinge, and other gaming publications.

    Klaus is set for release on the Sony Playstation 4 and Playstation Vita platforms that is releasing in August – September 2015. For more information, visit

    April 14, 2015 • Filmmaking, Game Design, Student and Alumni Spotlights • Views: 915

  • NYFA Instructor William Dickerson Breaks Down Microbudget Filmmaking in “DETOUR: Hollywood”

    william dickersonIt’s a great time to be a filmmaker. With old models of film financing and distribution breaking down and increasingly cost-efficient and easy-to-use film production equipment available, filmmaking has become democratized. A handful of studio heads no longer stand between you and success in the entertainment industry. Now more than ever, the power to shape your career as a director is in your hands. This is the realization that film director and New York Film Academy instructor William Dickerson had a few years ago when a few of his scripts were seeing interest from studio development execs, but nobody was seriously considering him to direct any of them because he had never made a feature length movie. Dickerson and his writing partner decided to write a screenplay that could be made with a “microbudget” for William to direct outside the studio system. The film William directed was Detour, which centers around a man trapped inside of a car during a mudslide. The Hollywood Reporter declared Detour a “tautly efficient thriller that fully succeeds.” Dickerson established himself without waiting for anyone’s blessing and his directing career was underway.
    william dickerson

    NYFA Instructor William Dickerson

    To share the knowledge he gained from his experience of making Detour, William wrote the book DETOUR: Hollywood, How to Direct a Microbudget Film (or any film, for that matter). The book explains how to sidestep, or detour around, the Hollywood system and make a microbudget film by giving a detailed account of how Dickerson literally made Detour, thus DETOUR: Hollywood. This has to be the most clever film education book title in a long while. The book also contains some of the most meaningful and practical instruction on film directing ever provided in a text. For instance, Dickerson breaks down the concepts of Subtext and Point of View, the two most important yet neglected ingredients in filmmaking, in such a complete and digestible way that even directors already well-versed in story will have much to learn from it.

    Within DETOUR: Hollywood, William Dickerson analyzes all the hurtles he faced over the many years he spent trying to direct his first feature and the trial and error process that led him to what eventually DID work for him and will for you too. The obvious benefit to the reader is saving you time, money, and from unnecessary headache so that you can start your directing career sooner rather than later. Since making Detour, William Dickerson has experienced increasing success in film directing. Most recently William directed Don’t Look Back, a feature-length thriller that aired on Lifetime Movie Network and exhibits a level of craft in directing that is rarely achieved.

    William Dickerson’s book DETOUR: Hollywood, How to Direct a Microbudget Film (or any film, for that matter) comes out April 14th and can be ordered through Amazon at:

    April 8, 2015 • Community Highlights, Filmmaking • Views: 2426

  • BFA Filmmaker Introduces Khachaturian to Dali in ‘Sabre Dance’


    Greg Louganis as Salvador Dali

    One of our BFA Filmmaking students from the New York Film Academy Los Angeles, Ilya Rozhkov, is already making his rounds at the festivals and experiencing critical acclaim with his film Sabre Dance, which imagines a meeting between two historic artists, Salvador Dali and Aram Khachaturian. The story starts with Khachaturian giving a performance to the people of Spain. After the show, the world-famous composer is showered with praise and given the opportunity to meet Salvador Dali. From this meeting, Aram learns that artists can be completely different in their attitude toward life, art and etiquette.

    Rozhkov’s film premiered at the San Louis Obispo Film Festival, and has already won a Best Performance Award at the Sierra Canyon Film Festival. Next up for Rozhkov on the festival tour are the Sacramento Film Festival, the USA Film Festival (Academy Award Qualifying Festival), Madrid Film Festival (European Premiere), Cannes Film Festival (Short Film Corner), and the Other Venice Film Festival.

    We had the opportunity to ask Mr. Rozhkov a few questions about his film and his experience thus far at the New York Film Academy.

    NYFA: Congrats on the success you’ve had so far with your film Sabre Dance! Can you tell us where the idea for your film originated?

    Sabre Dance is based on a great story that I’ve known for a long time, but I felt a real connection to it after I read Mikhail Veller’s novelette Sabre Dance, which describes the same events. After reading the novelette, I connected to the story on a personal level.

    sabre dance

    BFA Filmmaker Ilya Rozhkov working with his actors

    Could you describe some of the challenges of working with the actors in your film?

    I think one of the biggest responsibilities of a film director is to provide the best guidance for actors to portray the characters of the story. In the case of Sabre Dance, some of these characters are also real historic figures, which gives a responsibility of historical accuracy.

    Working with Armen Babasoloukian (who portrayed Aram Khachaturian) was an incredible journey, which required a lot of preparation. Since Aram is not only a composer, but also a conductor, we worked with a conducting coach so Armen could really conduct in front of the camera. He did a fantastic job preparing, and when it came to shooting the orchestra scene, Armen was actually conducting the orchestra. I felt incredibly happy when one of the orchestra players, who actually worked with the real-life Aram Khachaturian, approached Armen and told him that he was looking and conducting just like the real Aram. I’m extremely glad that he received the Best Performance Award at Sierra Film Festival— he absolutely deserved it.

    Working with Greg Louganis (who portrayed Salvador Dali) was a very enjoyable experience. I had no idea about his Olympic successes until we started preparing with him for the part. When we cast him, I just saw an incredibly talented actor. And on set Greg proved to be extremely professional, talented, creative and dedicated. His portrayal of Salvador Dali is incredibly authentic and one of my very favorite Dali portrayals.

    Working with all the cast members of Sabre Dance was a huge pleasure.

    Backtracking a bit — you grew up in Russia. What made you decide to enroll in the BFA Filmmaking Program at the New York Film Academy Los Angeles?

    For as long as I can remember, I wanted to direct films. Following advice from a director I know, I first decided to take diplomacy education in Russia to get a broader view on the world, and have an in-depth study of History of Religions, Philosophy, History of Literature, Ancient Cultures, Anthropology, Psychology, Sociology, and more. This knowledge I obtained helps me every day while making films and studying at NYFA.

    In the summer of 2012, I took an 8-week Filmmaking course. The workshop made me realize that I was ready to start the journey I was preparing for all my life. All the general education classes in my university in Russia were over, and it was time to focus on filmmaking. So as soon as the 8-week course was over, I transferred to NYFA’s BFA Filmmaking Program. I’m incredibly happy that I took that choice and went to NYFA.

    sabre dance set

    Has your training and education at NYFA thus far been helpful in terms of producing your film Sabre Dance?
    NYFA education was an essential part of Sabre Dance’s creation.

    In terms of producing, Sabre Dance was a challenge. It’s a period piece taking place in Spain, involving a palace, theatre, and a whole symphonic orchestra. All of these things are a challenge to obtain when creating an independent film with a limited budget. Both New York Film Academy administration and instructors who were supervising the creation of the film—Saga Elmotaseb and Will Dickerson— were always incredibly supportive and helpful, always giving the right advice on all of the complicated aspects of the film.

    Moreover, I met most of my collaborators at New York Film Academy. We worked together with my cinematographer Egor Povolotskiy on all the films since Mise-en-Scene, the first film we get to shoot in the very beginning of the program. It was an enjoyment collaborating with producers Radhika Womack and Janek Ambros, who are both 2011 NYFA graduates.

    I’d love to highlight that the most helpful side of NYFA is the hands-on experience. There is some knowledge you can only learn on set. NYFA provides a lot of practice to master that knowledge, along with the theory to support that practice.

    So you’re screening at festivals around the world. What is the overall goal with Sabre Dance?

    First and foremost, to tell audiences a story about these legendary artists—explore the theme of artistic ego and the difference in their attitude toward art. Also, reaching the audiences through the festival circuit.

    Ilya Rozhkov

    What do you hope to achieve overall as a filmmaker?
    Through feature-length films, I want to tell important and interesting stories to audiences worldwide.

    Are you working on anything else at the moment or just focusing on Sabre Dance for now?
    Currently, I’m in development on an action-adventure feature film, and also writing a family drama. And of course, I’m preparing for my thesis film at NYFA.

    Have a look at the trailer for Sabre Dance below!

    Sabre Dance Trailer from Ilya Rozhkov on Vimeo.

    April 6, 2015 • Filmmaking, Student and Alumni Spotlights • Views: 5114

  • NYFA Abu Dhabi Student’s Script Accepted to Oscar Library


    The New York Film Academy Abu Dhabi is pleased to announce that one of its 8-Week Filmmaking students, Arkus, has had his script Pink accepted into the Oscar Library, and the short Arabic film he created from the script has already screened at more than 10 international short film festivals around the globe.

    Pink is a story of Khadijah, a middle aged Arabic woman suffering from depression and low self-esteem after her divorce. The divorce has scarred her and led her to believe that she is no more attractive. Therefore, she begins a quest to look beautiful once again.



    “I am honored that Library of the Academy of Motion Picture Arts & Sciences popularly known as the Oscar library has accepted the screenplay of Pink,” said Arkus. “It gives me a great sense of joy to know that my screenplay will share a room with some of the best screenplays in the world.”

    Arkus describes the New York Film Academy Abu Dhabi as his second home.

    “I had amazing teachers and staff who took the pain to guide me even after the lectures at pretty odd hours, and my batch mates who made extra efforts to ensure that the film is what it is today. Specifically for the screenplay — maximum credit goes to my two teachers, Norman B. Schwartz and Scott Hartmann, who poured their heart out. I just feel that if I would have listened to them more, the screenplay would have been better.”

    Arkus continues to screen his film at festivals around the world. After making Pink, Arkus teamed up with a few close friends to create a paper-cut stop motion animated short film Dubai LoveScape, which screened at Dubai International Film Festival, 2014.

    He is also working on a feature film script, which he hopes to find the right sponsors who can someday make it a reality.

    March 31, 2015 • Abu Dhabi, Filmmaking, Screenwriting, Student and Alumni Spotlights • Views: 1672

  • ‘X-Files’ Alumnus Paul Brown to Teach Workshop at NYFA South Beach

    Paul BrownAfter a thirteen year hiatus, Fox has officially let fans know that the popular 90s TV show, The X-Files, will be returning for a brand new season. Series creator Chris Carter says the series will pick up right where it left off with stars Gillian Anderson and David Duchovny all on board to reprise their roles.

    The six-episode season is set to begin production this summer.

    In the meantime, X-Files alumnus Paul Brown will be teaching a workshop at the New York Film Academy’s South Beach campus.

    The Secret of Great Stories
    Workshop Featuring award-winning writer, director and producer, Paul Brown
    SATURDAY, APRIL 11th, 2015 at 12pm

    If you’re interested in attending the workshop, email

    Instructor Paul Brown is an award-winning writer, director and producer, having worked in film and television for over twenty-five years. He has produced over one-hundred television dramas, pilots, and movies, working on such series at The X-Files, Quantum Leap, The New Twilight Zone, Star Trek Voyager and Enterprise.  He has received nominations for three “Emmy Awards” and three “Golden Globes” as well as winning the “Edgar Award” from the Mystery Writers of America for Best TV Drama. He has also received the “Genesis Animal Rights Award.”

    He co-created Disney’s world-wide smash hit Camp Rock.  Most recently, he directed and co-wrote the dramatic feature film Heaven’s Rain in Brazil’s Amazon rainforest.

    As a teacher for the New York Film Academy, he also gives lectures on writing, acting, and filmmaking throughout the year in Latin America, Europe, and Russia.


    March 25, 2015 • Community Highlights, Filmmaking, Student and Alumni Spotlights • Views: 608

  • NBC Visits NYFA in Search of Diverse Talent

    nbc diversity

    NBC’s Grace Moss presenting NBC’s Diversity Initiative Programs

    This past Thursday, March 19th at the New York Film Academy in Union Square, our students, alumni and faculty were treated to an informational session on NBC’s Entertainment Diversity Programs hosted by Grace Moss.

    The goal of their initiatives is to increase diversity on the network through programs like Writers on the Verge, the Directing Fellowship Program, NBCU Short Film Festival and Scene Showcase.

    Grace was able to break down each program with her informative presentation, and answered questions from the audience. She even answered specific one on one questions for students after the presentation.

    nbc diversity

    The New York Film Academy strongly recommends its students of diversity apply to these programs, as it is an amazing opportunity to break into the industry on a serious level.

    Below are just a handful of the programs Grace highlighted in her presentation:

    DIRECTING FELLOWSHIP PROGRAM The Directing Fellowship Program is designed to take directors accomplished in their respective fields (features, commercials and/or music videos) and give them the opportunity to work alongside episodic television directors. The selected directors will foster relationships and fine-tune their art to fit the television format.

    NBCUNIVERSAL SHORT FILM FESTIVAL The Short Cuts Film Festival is an initiative to discover diverse voices both in front of and behind the camera. It provides creative individuals of diverse backgrounds an opportunity to get their materials in front of key decision makers from the entire NBCUniversal family, as well as agents, managers, producers, and other industry players.

    WRITERS ON THE VERGE Writers on the Verge is a 12-week program focused on polishing writers and readying them for a staff writer position on a television series. We are looking for writers who are “almost there,” but need that final bit of preparation with their writing and personal presentation skills.

    LATE NIGHT WRITERS WORKSHOP The NBCUniversal Late Night Writers Workshop is a program focused on exposing talented joke, sketch and comedy writers to NBCUniversal’s late-night & alternative lineup and readying them for a staff writer position.

    NBC SCENE SHOWCASE A 6-8 week workshop of original scenes by diverse writers, cast with up-and-coming actors and guided by directors of diverse backgrounds presented in a one-day showcase for executives, producers, casting directors, and other industry professionals.


    March 20, 2015 • Acting, Filmmaking, Screenwriting, Student and Alumni Spotlights • Views: 1062