Legendary producer, director, and editor Sam Pollard led a spirited “Conversation with…” and Q&A session after a rousing screening of his latest documentary Sammy Davis Jr.: I’ve Gotta Be Me at New York Film Academy (NYFA). A capacity crowd at NYFA’s Theatre in New York City was captivated by the film, which traces the iconic entertainer’s life from his youth in Harlem to international stardom— from Hollywood to Broadway to Las Vegas and beyond.
NYFA students were inspired by Sam Pollard’s recollection of his early career, when he gravitated towards an editing career after a Public Broadcasting internship program. He went on to cut narrative features as well as documentaries, most notably working with Spike Lee on films including Mo’ Better Blues, Jungle Fever, Clockers, and Bamboozled. In 1998, Pollard and Lee were nominated for the Academy Award for Best Documentary Feature for 4 Little Girls.
Pollard moved into producing and directing while working on Eyes on the Prize, still considered the seminal work on the American Civil Rights Movement. Sammy Davis Jr.: I’ve Gotta Be Me capped NYFA’s celebration of Black History Month. Made for American Master/PBS, other Sam Pollard projects made for the series include works about August Wilson and Zora Neale Hurston.
“Filmmaking is hard work but it’s like magic when it works. Now it feels seamless, and that to me is that magic of filmmaking,” Pollard explained to the audience.
The evening was a co-production of NYFA’s Producing, Screenwriting, and Documentary departments. Pollard told the students in attendance, “If you’re here because you love to create, be compassionate, committed, and willing. Learn the craft and be proud of what you’ve done.”
He added, “As aspiring filmmakers, you should be committed to making the best possible film you can make, and if you hang in there, you will be rewarded.”
The New York Film Academy thanks Oscar-nominated producer, director, and editor Sam Pollard for sharing his experience and wisdom with our students and encourages everyone to check out Sammy Davis Jr.: I’ve Gotta Be Me.
On Monday, February 18, the New York Film Academy (NYFA) partnered with the African American Film Critics Association (AAFCA) and the African Black American (ABA) Film Society to present a special discussion exploring the past, present and future of Black creative excellence in Hollywood through an inaugural learning lab, Celebrating Black Excellence in Cinema at its Los Angeles campus. The event featured Outlier Society’s Alana Mayo, and was moderated by AAFCA Founder and President Gil Robertson.
Gil Robertson said, “AAFCA is thrilled with our partnership with NYFA as we celebrated Black excellence in the industry during BHM. Our panel with Alana was excellent. She was very generous in sharing her experiences with the students as a Creative Executive, as well as providing them with inspiration on how they can follow in her path.”
Alana Mayo was Vice President of Production at Paramount and Vice President and Head of Originals at Vimeo before becoming Head of Production and Development for Michael B. Jordan’s Outlier Society Productions. At Paramount, Mayo helped develop the cinematic adaptation of Fences starring Denzel Washington and Viola Davis.
Mayo discussed her background, how her parents influenced her career, and navigating her trajectory as a Creative Executive for three of the top studios in the industry.
Three students who attended the event gave NYFA their thoughts on the experience. Folake Kehinde, recent NYFA MFA grad and ABA’s Events Chair and Interim Communications Chair, had this to say:
My favorite things about this event were the access. Alana was welcomed by one of the ABA members who is also queer. I had no idea of this connection when I was scheduling volunteers and was so happy to be able to give Jamie the opportunity to meet and welcome Alana. Alana has greatly inspired Jamie and she was thrilled for the opportunity to meet and welcome her.
Alana attended the pre-reception briefly. She took pictures with the ABA and was so polite and happy to be with us. Her humbleness was so sweet and unexpected. Then during the event I appreciated her learnedness. It was so wonderful to hear from a production executive with a degree in film studies. So often production executives studied English or something slightly unrelated to filmmaking—it was nice to hear from someone with an extensive study of cinema as well as years of employment with various studios and production companies.
It was interesting to watch her talk so passionately about her favorite films, Polish Cinema, and the discussions she has while watching TV with [her fiancee] Lena Waithe. They’re very different in how they communicate but both have obtained vast success.
I also loved hearing how nice Michael B. Jordan is. I was so moved by her saying that Michael will give out her email at various places around town to people who have an idea and that they’re even going to make one of the ideas a person he met on the street wrote. I love that Michael is so kind, contemporary, and cutting-edge. The fact that he cares about people and is interested in talking with them and helping them to make their work blows me away. I also love that he is starring in several projects his company is making as well as other projects outside of his company. It’s inspiring to watch his career as an actor and now producer unfold. As an actress and producer myself this helped to confirm for me that I can achieve my dreams!
My final favorite moment was when Jamie told Alana that she is also a queer woman and that she has been so inspired by Alana’s career and bravery to be heard and make a path in the entertainment industry.
After the Q&A, legendary casting director Tracy “Twinkie” Byrd (who cast Michael B. Jordan and others in the film Fruitvale Station and so many other projects) stayed and did an impromptu Q&A with actors and filmmakers. It was fantastic! She had a very frank conversation with us where she challenged us to tell our stories! She talked about being on a panel that read scripts for a Festival and how so many of the ideas were so similar. She knows that all black people didn’t grow up in ‘the hood’ and she wants creators to be unafraid to share their middle-class or wealthy upbringing. She advised actors to look their best at all times—even at the gym. She also told actors to put our pictures on our business cards, and avoid putting too much of another actor on their reels.
It was an extraordinary evening. I’m very grateful to New York Film Academy, Professor Kim Ogletree, and the founder of AAFCA for putting the event together.
Toyin Adewumi, 8-week Producing student, learned a few lessons from the event as well. The first was to take risks! A former HR professional, Adewumi loved that Mayo talked about leaving her comfortable job at a studio she had been at for years: “Having that clarity of there’s more out there. Yes I’m here… but… not being connected with the culture there.” Adewumi was impressed that Alana was brave enough to leave and find her ideal job.
She also loved that Alana isn’t ashamed of her personality. “Her acknowledgement that she needed to change some things. Her boldness to be humble… being willing to drop some things I (she) learned when I’ve (she) grown up. Her being humble helped lead to her breakthrough….Taking risks, knowing when to work on herself, being humble” are lessons Adewumi will treasure for a long time to come.
Brianna Dickens (AFA Acting For Film ’18) was moved by the ABA events held during Black History Month. Dickens had a wonderful chat with Twinkie Byrd and at the ABA Careers in Television event, she was invited to visit a set for a day with some friends. She tells NYFA:
I’m so thankful I found the ABA. I didn’t even know they existed. Luckily my class was invited to a screening event of theirs (the Q&A with Chuck Hayward). The second I arrived, the leaders of the group welcomed me and introduced themselves to me. In less than a month of being an ABA member, I’ve attended three events that have truly inspired me, opened my eyes, taught me things no one else has, and even opened the doors for me to have real on-set experience!
Everyone in this group is focused, supportive, kind, and encouraging. They uplift each other. I think we will do great things for one another and together. I’m thankful to have them.
The New York Film Academy and ABA Film Society thank Alana Mayo and Tracy “Twinkie” Byrd for sharing their experience and advice with our students!
On Wednesday, February 13, as part of celebrating Black History Month, New York Film Academy (NYFA) and the NYFA African Black American Film Society hosted a screening of two episodes of Netflix’s Dear White People, followed by a Q&A with writer and producer Chuck Hayward.
One of the episodes was directed by Academy award nominee Barry Jenkins (Moonlight, If Beale Street Could Talk), which was a real treat for the filmmaking students. It was moderated by NYFA Director of the Q&A Series, Tova Laiter, and co-moderated by NYFA directing student, Nicole “Soul” Creary.
Hayward landed his first staff writing gig on the NBC series Bent. His feature film script, Potluck, won the WGA’s 2012 Feature Access Project. He then sold an untitled baseball project to Nickelodeon, after which he wrote for the Nick at Nite sitcom Wendell & Vinnie. In 2014, Hayward became a staff writer on the new NBC series One Big Happy, followed by Fox series Cooper Barrett’s Guide To Surviving Life.
In 2016, he had two movies produced—Fat Camp and Step Sisters—and sold the Untitled UrbanPitch Perfect Project to The Firm and PepsiCo. Hayward is currently a writer and co-producer on the Netflix series, Dear White People, and a producer on Marvel’s upcoming untitled Scarlet Witch and Vision series.
Many students in the audience were curious about how Hayward started his career as a writer. “For me, personally, it was the contacts I already had,” said Hayward. “It was reaching out to all of them saying, ‘Can we meet for an informal meeting? Here’s what I’m interested in doing… can you introduce me to anybody else who might be able to help me in that?’… And then it’s just all about following up…You don’t want them to forget about you, although not bug them too often… A lot of times, offering to work for people for free on a project is a good way to show, like, ‘Hey… I’m not looking for anything from you financially; I’m just kind of looking for you to help me get my foot in the door and I’m looking for a chance to show what I’m capable of.”
Other students wanted to know about Hayward’s writing process. “I’m a big pre-writer so I’ll sit down, I’ll write my character sketches, I’ll write my outline; I’ll do as much as possible before I open up Final Draft because I don’t want to look at a blank page and freak out,” Hayward said. “It’s also knowing if your idea is better suited to television or film.”
One of the students asked how Hayward and the other writers on Dear White People navigate the complexity of the topics discussed on the show. He replied, “Most of the blowback that we’ve gotten about Dear White People happened before the show came out because people were like, ‘Dear White People? How dare you … address us as a group!’ And we were like, ‘Oh that happens to us all the time, oddly, so it’s not that big of a deal’ … But I think once people started to see the show and see what it was about and see that we weren’t just ‘coming for’ white people and taking out … aggression on them; we weren’t blaming them for stuff; it was just like, ‘Hey, here’s some of the shit you do that bothers us; like, maybe don’t do that anymore; it’s super easy!’ And we also take as many stabs at, you know, black folks and the things that we do that are problematic or that are not beneficial to us all as a group.”
The New York Film Academy would like to thank writer and producer Chuck Hayward for sharing his entertainment industry and writing advice with our students!
On Monday, February 11, the Producing Department Industry Speaker Series welcomed producer Mollye Asher to the New York Film Academy (NYFA) for a “Conversation with” and Q&A session following a screening of Chloé Zhou’s The Rider. Also participating in the session was sound recordist on the film, Mike Wolf Snyder.
This is the second Chloé Zhou film produced by Mollye Asher. The Rider was shot over five weeks, with non-actors playing roles very much based on themselves. Writer-director Zhou spent close to two years researching the story and developing the film before the shoot. The story follows a young rodeo star recovering from a serious head injury suffered when thrown by a horse in the midst of the rodeo.
A good amount of the time Zhou spent researching the story was an investment in gaining the trust of the non-actor cast. The film was made mostly by a six-to-eight person crew, who also needed to gain the trust of the cast. Snyder, the sound recordist, does not like to use wireless, lavaliere microphones that can be hidden underneath an actor’s shirt. He uses a boom microphone for every shot. However, he says, he was very sensitive to not wanting to come off as intrusive towards the actors.
The Rider premiered at the Directors Fortnight at the Cannes Film Festival, where it was acquired for North American distribution by Sony Classics. At Cannes, Zhou also won the C.I.C.A.E. Award.
The film has won numerous other awards, including Best Feature from the National Society of Film Critics Award, Best Picture at the Athens International Film Festival, and Best Feature at the Gotham Awards. It was also named one of the National Board of Review’s Top Ten Independent Films of 2018, and received multiple nominations at the Independent Spirit Awards, including Best Feature and Best Director.
The team recently wrapped production on a 50-day shoot on a “below the radar” project to be announced very soon.
The New York Film Academy thanks producer Mollye Asher and sound recordist Mike Wolf Snyder for sitting down with students as part of the Producing Department Industry Speaker Series!
Producer and director Irene Méndez has been incredibly busy since graduating from New York Film Academy’s producing school, working on multiple films that have made several festivals and garnered a great deal of press and attention from the industry.
Méndez originally hails from Madrid, Spain. In 2016, she enrolled in the 1-year Producing conservatory at New York Film Academy (NYFA). While studying at NYFA’s New York city campus, acquiring strong project management skills as well as a hands-on filmmaking education from experienced industry professionals, Méndez completed production on several films in multiple roles.
This included her own film Tinnitus, which she wrote, directed, and produced, as well as several NYFA thesis films—From Me to Me, directed by Moe Myat May Zarchi; Lighter and Cigarettes, directed by Rafael Cintra; and Almost, directed by Mahair Kahn. These projects, as well as other films Méndez produced, have accrued numerous awards and Official Selections from film festivals around the world.
Almost (2017), which Méndez worked on as 2nd Assistant Director and Script Supervisor, was an Official Selection in the New York Indian Film Festival. From Me to Me (2018), which she co-produced, won Best Woman Filmmaker at the Barcelona Planet Film Festival and was an Official Selection in Myanmar’s Wathann Film Festival.
Lighter and Cigarettes (2017) was produced by Méndez and was a Semiinalist at Los Angeles CineFest and an Official Selection for both the Los Angeles SR Film Festival and Hope Film Awards. Additionally, it was part of the Short Film Corner at the world-renowned Cannes Film Festival.
Tinnitus (2017) was a Finalist or Semifinalist at multiple fests, as well as an Official Selection of New York Film Screenings, Women’s Only Entertainment Film Festival, Bridgwater and Taunton College Film Festival, Hope Film Awards, Barcelona Planet Film Festival, and the Los Angeles SR Film Festival.
After graduating, Méndez also produced Obini Bata (2018) which was directed by Damian Calvo. The short documentary profiles the first women to perform with Batá drums in Cuba, drums traditionally forbidden for women. The film has won the Audience Award for Best Short Film Documentary at the Edmonton International Film Festival and has been an Official Selection at Lady Filmmakers, Women in Film and Television Atlanta, The Pan African Film Festival, and The Chicago Feminist Film Festival.
Méndez is also in postproduction for Agua Desgasta Roca, a documentary short about a rock climber diagnosed with multiple sclerosis. The film has already won the Premios Solidarios from Fundacion Merk.
Currently, she is working on two additional documentaries, Los García, and Costus. Los García, a feature film, was featured as part of the Focus CoPro pitching event at the Cannes Film Festival. It was also one of five winners at the La Incubadora competition, and was featured at Abycine.
The New York Film Academy congratulates Producing alum Irene Méndez on the multiple successes of her films to date, and looks forward to following her career as it develops!
On Monday, January 7, New York Film Academy (NYFA) hosted a guest lecture by NYFA Producing alum, Alex Lebovici. Lebovici was executive producer on the Academy Award-nominated Denzel Washington drama, Roman J. Israel, Esq. (2017), Mom and Dad (2017), Who We Are Now (2017), The Clapper (2017) as well as an unofficial short fan film based on hit video game Uncharted, starring Nathan Fillion and which garnered rave reviews and Internet buzz.
Lebovici began the lecture by discussing his beginnings: “I started making short films [when] I was 13 with my closest friends … and I always wanted to be part of the movie business.” Lebovici moved from Canada to the United States and studied directing at New York Film Academy, where he made 12 short films during his academic career. After he graduated, Lebovici was an intern at Original Film, the company that produced the Fast and the Furious film franchise, but, unfortunately was laid off.
After moving back to Canada, Lebovici became a door-to-door salesman, working six days a week, 12 hours a day, for six years. “I prepared myself [by] doing something very challenging … of the people that opened the door, 95% of them said no but the 5% that said yes [were] more than enough to earn a living.” Despite his success, he still ached to return to the entertainment industry.
Lebovici was inspired one night after being denied entry to a fancy nightclub in his native Toronto. The next day, he purchased an American pay-as-you-go mobile phone, registered it to a Beverly Hills zip code and called the nightclub as his own fake assistant; he told the nightclub that he was an assistant to a producer from Los Angeles that wanted to produce a television show about “bodyguards who protect A-list celebrities when they come to Toronto.”
That phone call got Lebovici introduced to all of the nightclub owners, bodyguards, and doormen in Toronto. Word got to movie star Steven Seagal that Lebovici owned a bodyguard company; he didn’t, but he made sure Seagal and his guests were taken care of during their visit to Toronto free of charge. Seagal knew that nothing comes for free and asked Lebovici what he wanted in return; Lebovici asked if he would star in a pilot for a show about bodyguards. Seagal agreed.
In a matter of months, Lebovici went from being a guy who couldn’t get into a nightclub to a guy that was known and welcomed by all of the nightclub owners in Toronto, with a potential television show pilot starring Steven Seagal. Lebovici called all of the production companies in Toronto, pitched his pilot to them and started a bidding war between two companies for the rights to produce the show. Lebovici was then contacted by various Hollywood actors’ representatives and the show’s cast started to grow.
Lebovici learned from this experience how to be a producer and went on to produce a number of projects in the United States; he continued to make valuable contacts through networking with nightclub promoters and owners and he carefully gauged when it was appropriate to ask his contacts for favors, “You’ve got to build them up to it by playing a slow game,” said Lebovici, “…you don’t want to be too thirsty in this business.”
The New York Film Academy would like to thank Producing alum Alex Lebovici for sharing his experiences and honest advice with our students!
Last night, movie and TV fans around the world watched the 76th Golden Globe Awards, where award winners were announced and presented with the famed statuettes at a televised dinner ceremony hosted by Sandra Oh and Andy Samberg.
The Golden Globe Awards are voted on by the Hollywood Foreign Press Association and have been given out to cast and crew of film and television productions since 1944. The awards show is typically looser and more casual than other ceremonies like the Emmys and Academy Awards, with Hollywood stars drinking and mingling in a dinner atmosphere.
Highlights of the evening include Jeff Bridges winning the Cecil B. DeMille Award for outstanding contributions to the entertainment industry and the subsequent, seemingly off-the-cuff speech he gave that ranged from heartfelt thanks to his family and collaborators to the invention of ship rudders called trim tabs. Among many other feelings, Bridges referred to his role in The Big Lebowski: “If I’m lucky, I’ll be associated with The Dude for the rest of my life.”
Other memorable moments from the evening included host Sandra Oh speaking to her parents from stage and winning a Globe herself for Best Performance by an Actress in a Television Series – Drama for her role in Killing Eve, and a surprise appearance by Taylor Swift, who presented the awards for Best Original Score and Best Original Song. The latter award went to Lady Gaga for “Shallow”, seen here being covered by New York Film Academy (NYFA) student Amanda Jerlov:
Additionally, the second Golden Globes ceremony since the start of the #MeToo movement contained multiple nods, references, and calls to action for more diversity in the entertainment industry for women and people of color.
The big winners of the night was an eclectic mix of expected wins for favorites, mild surprises, and upsets. The Americans won Best Television Series – Drama for its final season, while The Kominsky Method won Best Television Series – Musical or Comedy for its inaugural first season. In a year of genre-bending films, Green Book won for Best Motion Picture – Musical or Comedy while Bohemian Rhapsody took home the prize for Best Motion Picture – Drama.
Veteran actress and previous New York Film Academy guest speaker Glenn Close also surprised many with her win for Best Actress in a Motion Picture – Drama, for which A Star is Born lead Lady Gaga was considered a favorite. Close seemed genuinely surprised and gave a powerful, tearful speech that touched on her mother and gender roles in both the industry and society as a whole.
After describing how her mother regretted not doing more with her life, Close told the audience, “Women — we’re nurturers — and that’s what’s expected of us… but we have to find personal fulfillment. We have to follow our dreams. We have to say, ‘I can do that’ and ‘I should be allowed to do that.’”
Other NYFA guest speakers were at the Golden Globes too, as well as several alumni. New York Film Academy Acting for Film alum Manuel Garcia-Rulfo (Widows, The Magnificent Seven) was in attendance, as was NYFA Camp alum Lana Condor (To All the Boys I’ve Loved Before, X-Men: Apocalypse.)
Former Saturday Night Live star and NYFA Workshop Alum Bill Hader was also present last night. Hader earned five Emmy nominations last year for his work on Barry, a dark comedy about a midwestern hitman who moves to Hollywood to become an actor. At that awards show, Hader picked up the Emmy for Outstanding Lead Actor. The Golden Globe nomination for Best Performance by an Actor in a Television Series – Musical or Comedy was the latest achievement in the comedic actor’s evolving career.
The show itself was nominated for Best Television Series – Musical or Comedy, an impressive feat for a new series with only one season of episodes to date. Barry has received glowing reviews since its 2018 debut, with Hader’s performance being an obvious standout.
Hader’s Barry co-star, Henry Winkler, was also nominated for a Golden Globe, for Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television. The veteran television actor has previously been a guest speaker at New York Film Academy.
Other guest speakers and lecturers at New York Film Academy have also worked on several Golden Globe-nominated works this year, including Adam Driver. Driver spoke with NYFA students in New York City earlier this year, and has a featured role in BlacKKKlansman, nominated for Best Motion Picture – Drama.
Guest speaker for NYFA Los Angeles Amy Smeed served as an animator on Ralph Breaks the Internet,Golden Globe nominees for Best Motion Picture – Animated. Lin-Manuel Miranda, whose agent Andrew Finkelstein spoke with NYFA students in a productive Q&A at our Los Angeles campus, was a nomineefor Best Actor in a Motion Picture – Musical or Comedy for his role in Mary Poppins Returns.
Additionally, Francesco Panzieri, an alum of New York Film Academy’s animation school, worked on the HBO series Westworld, whose star Thandie Newton earned a Golden Globe nomination for Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television. Panzieri is a Visual Effects artist whose other credits include Spider-Man: Homecoming, Star Wars: The Force Awakens, and Avengers: Infinity War.
Eric Demeusy, who attended the 1-Year Filmmaking program at NYFA’s film school in Los Angeles, also worked on Westworld, having helped create its famous and evocative title sequence. Demeusy has previously won the Emmy for Main Title Design for his work on Netflix smash hit, Stranger Things.
The New York Film Academy is proud to see its alumni and other members of its community involved with such highly regarded, award-winning productions.
Congratulations to all of this year’s winners and nominees! Here is a full list of the winners and nominees for the 2019 Golden Globe Awards:
Best Motion Picture, Musical or Comedy
Green Book The Favourite Vice Mary Poppins Returns Crazy Rich Asians
Best Motion Picture, Drama
Bohemian Rhapsody BlacKkKlansman If Beale Street Could Talk Black Panther A Star Is Born
Best TV Movie or Limited Series
The Assassination of Gianni Versace: American Crime Story The Alienist Escape at Dannemora Sharp Objects A Very English Scandal
Best TV Series, Musical or Comedy
The Kominsky Method The Good Place The Marvelous Mrs. Maisel Kidding Barry
Best TV Series, Drama
The Americans Bodyguard Homecoming Killing Eve Pose
Best Foreign Language Film
Roma Capernaum Girl Never Look Away Shoplifters
Best Motion Picture, Animated
Spider-Man: Into the Spider-Verse Incredibles 2 Isle of Dogs Mirai Ralph Breaks the Internet
Best Director – Motion Picture
Alfonso Cuaron, Roma Bradley Cooper, A Star Is Born Spike Lee, BlacKkKlansman Adam McKay, Vice Peter Farrelly, Green Book
Best Screenplay – Motion Picture
Peter Farrelly, Nick Vallelonga, Brian Currie; Green Book Alfonso Cuaron, Roma Deborah Davis and Tony McNamara, The Favourite Barry Jenkins, If Beale Street Could Talk Adam McKay, Vice
Best Original Score – Motion Picture
Justin Hurwitz, First Man Marco Beltrami, A Quiet Place Alexandre Desplat, Isle of Dogs Ludwig Goransson, Black Panther Marc Shaiman, Mary Poppins Returns
Best Original Song – Motion Picture
“Shallow,” A Star is Born “All The Stars,” Black Panther “Girl in the Movies,” Dumpling “Requiem for a Private War,” A Private War “Revelation,” Boy Erased
Best Supporting Actress in a Motion Picture
Regina King, If Beale Street Could Talk Amy Adams, Vice Claire Foy, First Man Emma Stone, The Favourite Rachel Weisz, The Favourite
Best Supporting Actor in a Motion Picture
Mahershala Ali, Green Book Timothée Chalamet, Beautiful Boy Adam Driver, BlacKkKlansman Richard E. Grant, Can You Ever Forgive Me? Sam Rockwell, Vice
Best Actress in a Motion Picture, Musical or Comedy
Glenn Close, The Wife Lady Gaga, A Star Is Born Nicole Kidman, Destroyer Melissa McCarthy, Can You Ever Forgive Me? Rosamund Pike, A Private War
Best Actor in a Motion Picture, Musical or Comedy
Christian Bale, Vice Lin Manuel Miranda, Mary Poppins Returns Viggo Mortinson, Green Book Robert Redford, The Old Man and the Gun John C Riley, Stan And Ollie
Best Actor in a Motion Picture, Drama
Rami Malek, Bohemian Rhapsody Bradley Cooper, A Star Is Born Willem Dafoe, At Eternity’s Gate Lucas Hedges, Boy Erased John David Washington, BlacKkKlansman
Best Actress in a Limited Series or TV Movie
Patricia Arquette, Escape at Dannemora Amy Adams, Sharp Objects Connie Britton, Dirty John Laura Dern, The Tale Regina King, Seven Seconds
Best Actor in a Limited Series or TV Movie
Darren Criss, The Assassination of Gianni Versace: American Crime Story Antonio Banderas, Genius: Picasso Daniel Bruhl, The Alienist Benedict Cumberbatch, Patrick Melrose Hugh Grant, A Very English Scandal
Best Supporting Actress in a Series, Limited Series, or TV Movie
Patricia Clarkson, Sharp Objects Alex Borstein, The Marvelous Mrs. Maisel Penelope Cruz, The Assassination of Gianni Versace: American Crime Story Thandie Newton, Westworld Yvonne Strahovski, The Handmaid’s Tale
Best Supporting Actor in a Series, Limited Series or TV Movie
Ben Whishaw, A Very English Scandal Alan Arkin, The Kominsky Method Kieran Culkin, Succession Edgar Ramirez, The Assassination of Gianni Versace: American Crime Story Henry Winkler, Barry
Best Actress in a TV Series, Musical or Comedy
Rachel Brosnahan, The Marvelous Mrs. Maisel Kristen Bell, The Good Place Candice Bergen, Murphy Brown Alison Brie, Glow Debra Messing, Will & Grace
Best Actor in a TV Series, Musical or Comedy
Michael Douglas, The Kominsky Method Sasha Baron Cohen, Who Is America? Jim Carrey, Kidding Donald Glover, Atlanta Bill Hader, Barry
Best Actress in a TV Series, Drama
Sandra Oh, Killing Eve Caitriona Balfe, Outlander Elisabeth Moss, The Handmaid’s Tale Julia Roberts, Homecoming Keri Russell, The Americans
Best Actor in a TV Series, Drama
Richard Madden, Bodyguard Jason Bateman, Ozark Stephan James, Homecoming Billy Porter, Pose Matthew Rhys, The Americans
On Friday, November 18, New York Film Academy (NYFA) hosted a screening of IFC’s DriverX (2018), followed by a Q&A with director/writer and NYFA instructor, Henry Barrial; producer, Mark Stolaroff; and star, Patrick Fabian; featuring and moderated by NYFA Acting Dept. Associate Chair, Anne Moore.
Barrial is a writer, director, and filmmaking/acting instructor at New York Film Academy’s Los Angeles campus. DriverX marks Barrial’s fifth feature. His previous credits include The House That Jack Built, Pig, and Some Body,which premiered at the Sundance Film Festival. Stolaroff is a producer with 25+ years in the business, and is considered to be an expert in micro-budget filmmaking. He has produced all five of Barrial’s features.
Fabian has been a working actor for over 25 years, with 115+ credits to his name. He currently stars as Howard Hamlin on AMC’s Emmy-nominated Better Call Saul. His other credits include Friends, Grey’s Anatomy, The Newsroom, Criminal Minds, and Will & Grace, to name a few. Film audiences may know him best as Reverend Cotton Marcus in The Last Exorcism, and he is also fondly remember as “Professor Lasky” in Saved by the Bell: The College Years. Fabian has also starred in NYFA alum Aymen Khoja’s Arabian Warrior, the first ever Saudi-American feature.
Moderator Anne Moore opened up the Q&A by asking Barrial about the collaboration between Fabian and himself on the script, as Barrial wrote the part of Leonard Moore specifically for Fabian. “I had the outline of the script worked out before I brought it to Patrick, and from there we worked on the character development,” says Barrial. He added, “In terms of the actual writing of the script, that was all me.”
Barrial went on to discuss the importance of collaboration and community in this business, with Fabian chiming in by asking, “Who on this stage has been playing beach volleyball for the past 15 years together?” Barrial, Fabian, and Moore all raised their hands and it was revealed they have been friends and colleagues for a very long time.
Barrial went on to talk about the personal nature of this project and his collaboration with producer Mark Stolaroff. “Most producers won’t tell you what their budget was, but I will!” exclaimed Stolaroff. Immediately a Filmmaking student asked what the budget was, with Stolaroff answering, “We started with a budget of $100,000 which got us through production. From there we did a Kickstarter campaign to raise the funds we needed for Post, so all in the budget is $140,000.”
Obviously the movie is a labor of love as many of the cast and crew have worked on Barrial/Stolaroff films before.
When asked about how Fabian worked around his Better Call Saul shooting schedule, Fabian replied, “First off, I have to say how happy I am that I have a job that needs to be worked around. Henry and Mark were great about my schedule, but that’s what you do, you make it work.”
Fabian went on to talk about his longevity in the business, and the importance of being prepared: “You need to show up, be ready, and be early. And take care of yourselves when you don’t get the part. Go hiking, drink juice, do whatever you need to get you through the tough times, because if you stay focused and committed, things will go your way.”
The New York Film Academy thanks Patrick Fabian, Mark Stolaroff, and Henry Barrial for sharing their insights about making an independent film on a micro budget with a challenging schedule.
DriverX opens November 30th in theaters and on demand.
New York Film Academy (NYFA) Alum Alana Blaylock has had a productive career since finishing the 8-week Broadcast Journalism workshop at NYFA’s New York City campus in the summer of 2011. It’s no surprise then that many in the industry have taken notice of the Emmy Award winner, including Forbes Magazine, which recently published a profile on and interview with the up-and-coming producer.
Blaylock has amassed an inspiring roster of credits since finishing her workshop at NYFA’s Broadcast Journalism school, which teaches aspiring reporters a well-rounded understanding of all aspects of the production process, including researching, writing, shooting, producing, and editing. This is important in the modern digital landscape as contemporary broadcast journalists are expected to be multimedia journalists, marrying their technical skills with their creative ones.
This is exactly what Blaylock has excelled at, and why she has already won an Emmy and why her career is taking off even as her path winds between both traditional roads and outside-the-box ones. Her credits include work on CNN, HBO, NBC News, National Geographic, and the ID Channel, including popular programs Deadline and United Shades of America. However, her work on newer streaming models like Amazon and YouTube is what has been generating a lot of buzz.
One of her latest projects is producing for Best Shot, a YouTube Originals docuseries executive produced by Lebron James and Maverick Carter for the NBA. The show follows the student basketball players of Newark Central High School as well as chronicling the life and career of their mentor, former NBA player and sports television personality Jay Williams.
In addition to working in both traditional and digital media, Blaylock curates a strong online presence on social media, further highlighting her smart instincts in an ever-changing media landscape.
“I love the visual storytelling that happens on Instagram,” Blaylock tells Forbes. “That’s the platform I probably use the most [in my personal life]. And I am inspired by movies, set design, museums, exhibits and artists.”
She continues, “I try to take in as much new culture as possible and then decide what I want to do with it or how it fits into my process as a creative.”
What lies ahead for Blaylock remains to be seen, but it’s clear whatever she does next will be insightful and successful due to the work she puts in and the philosophy that keeps her driven. When asked about keeping her own personal voice while working on other parties’ projects, Blaylock tells Forbes, “My brand evolves as I attain more world experience. I have to remain authentically Alana, and the projects that I take on are continuations of my career journey.
“I can adapt to the demands of a project and still be the best version of myself. I remain steadfast in my goals while producing every show, documentary or collaboration. As a result of working on many projects, there’s always new information and experiences. It keeps me well-rounded.”
The New York Film Academy congratulates Alana Blaylock on her career and looks forward to her future successes sure to come!
On Tuesday, October 16th the New York Film Academy hosted a screening of Look Away with director, Assaf Bernstein, and producer and NYFA instructor, Dana Lustig, moderated by Director of the Los Angeles NYFA campus, Dan Mackler.
Bernstein is the critically-acclaimed director of Netflix’s massive hit series, Fauda (2015). He recently directed the pilot episode of Warrior, the Bruce Lee-inspired series created for Cinemax. Prior to that, Focus Features released an English-language remake of Bernstein’s film, The Debt (2007), which he co-wrote and directed. Look Away is Bernstein’s first U.S. feature.
Lustig was the executive producer on Spider in the Web (2019), starring Ben Kingsley and Monica Bellucci, and the Israeli hit series, Very Important Man (2018). Prior to that, Lustig produced Jungle (2017), starring Daniel Radcliffe; The Frontier (2015); Rian Johnson’s Brick (2005), nominated for the Independent Spirit Award; and Dancing at the Blue Iguana (2000), directed by Academy Award nominee, Michael Radford.
Lustig also directed A Thousand Kisses Deep (2011), which was nominated for the British Independent Film Award; Wild Cherry (2009) with Rob Schneider; Confessions of a Sociopathic Social Climber (2005), starring Jennifer Love Hewitt; and Kill Me Later (2001), starring Selma Blair. Lustig is set to direct the remake of Israeli film, The Man in the Wall.
After the screening, Dan Mackler opened up the conversation by asking Bernstein about the inspiration behind Look Away. Bernstein replied, “It started when I was 10 years old and… this film is kind of the sum of all my fears… I had this idea of my own reflection not quite reflecting me, and I think there’s something there — if you really look at yourself in the mirror, you always make a face, or, you know, you never actually just look at yourself, you always look away from what you see. I think the idea that your reflection is a stranger to you is something that has some truth in it… so that sort of fear that made me not look in my mirror in the bathroom… I remember as a kid I always thought would be the first film I would make.”
Mackler inquired as to why — since the idea seemed to stem from an autobiographical perspective — Bernstein chose to make the protagonist a girl instead of a boy. “I think women are more repressed, traditionally, than men,” said Bernstein, “there’s more pressure on them to behave a certain way, to look a certain way… when a woman… becomes sexual, there’s something dramatic about it.”
Bernstein added that making the protagonist female also played into primordial parental fears about their teenage daughters being sexually active, fears of both their daughters’ agency and potential victimhood.
Later, the Q&A opened up to questions from students in the audience; one student asked Bernstein and Lustig what they wish they knew when they first started out. “Don’t make [this] mistake,” said Lustig, “You make your movie, you put everything into it, you go to a film festival; everybody’s asking you, ‘So what’s your next project?’ and you’re like, ‘Um…’ and you don’t have it and you kind of miss the opportunity, miss the timing…The other thing that I encourage my students [to do]…is to keep doing.”
Lustig then encouraged all students in the audience to make their films with whatever resources are available to them and to never stop learning.
The New York Film Academy thanks Assaf Bernstein and Dana Lustig for sharing their creative processes and entertainment industry advice with students!