• Discussion with “Better Call Saul” Writer Gordon Smith

    Gordon Smith began his career as an assistant to creator and showrunner Vince Gilligan, during his Breaking Bad run. He was promoted to full-time writer on the Breaking Bad spinoff, Better Call Saul. Smith wrote the episode “5-0”, about how Mike Ehrmantraut (played by Jonathan Banks) became an officer of the law. The episode was nominated for an Emmy for Outstanding Writing for a Drama Series, and helped earn Banks an Emmy nomination for Outstanding Supporting Actor in a Drama. New York Film Academy instructor, and screenwriter, David O’Leary hosted the event.


    Smith attributes most of his success to luck. While in college, he wrote a script that would become Gennifer Hutchison’s directing thesis. Hutchison went on to be a writer’s PA on Mad Men before moving to Breaking Bad. During season three, Gennifer was getting freelance work and that created a need for a new writer’s P.A. She called up Smith. Gennifer was hired on as full staff and Smith was able to fill her space.

    The transition from being Gilligan’s assistant to becoming a staff writer was mostly an easy one. The one challenge was being out of the know. As the assistant to the showrunner, you have to know every little bit of information including, who’s on set that day, what chemical they used three seasons ago to blow out a window, which outlet are coming to do interviews. That goes away when the staff is locked in the writer’s room trying to churn out the best possible material. But, soon he was happy to be just writing and didn’t miss the chaos.

    gordon smith

    “We work very slowly,” Smith said of the writer’s room. He commented that it was nice to move at a speed that wasn’t breakneck. The first two weeks of production are focused on what that season’s story will be. “We will lay them (ideas) out on a board. But big guiding light stories will move around a lot.”

    He continued, “This is a virtue of the way we work. We have ideas and if wherever we think we want to be and where we are don’t match up we’re just like, well this is what we do. We don’t say, ‘Well we have to get to here by episode five so we have to do this and this and this to get to that.’ It’s almost always backward looking. What have we done and where should the characters most logically go next? That has served us in good stead because it allows us the opportunity to investigate things. It feels like we’re planted to something.”

    “We break everything together. For a show as serialized as Better Call Saul, you kind of have to. If a person leaves to write his or her script everyone knows what’s happening in that scene. We usually get a couple weeks out of the room to write, but the rest of the time you have to write at lunch or on the weekend.”

    gordon smith

    As demanding as the workload is Smith joked that he still has struggled. “My process tends to be… I have to trick myself into it because I want to procrastinate so badly. I’ll go in and slug everything.” Slugging is placing in the scene headings as a way of outlining the script. Once the scenes are placed in order Smith said he knows he’ll, “…just keep going back to write more and more.” It never feels like writing.

    Smith went on to describe the writing room as liberating. For example, in most visual writing it’s considered in bad taste to call a shot. Shot lists are for the directors to make not the writers. But, in Breaking Bad and Better Call Saul, they’re allowed to call a shot. They know they’re going to talk to the director. The shot can be cut if the director doesn’t think it will work or if they have another shot in mind. The freedom to try things and switch at the last minute give a sense of freedom.

    One student asked, “Since Saul and many of the characters already existed did you use pre-conceived backgrounds or create new ones, and how did you decide what history to go with?” Smith described going back to Breaking Bad and trying to determine whether or not the things Saul said were true or false and to what degree. Mike didn’t have too much of a background story. Banks pitched an idea that Mike’s son was a boxer who died in the ring. It was a theory Banks had been working around as he tried to dive into the character of Mike. The writers loved it and picked up the story from there.

    The New York Film Academy would like to thank Mr. Smith for stopping by and sharing his work. Catch Smith’s next writing assignment on season two of Outsiders returning to WGN in 2017.

    October 10, 2016 • Guest Speakers, Screenwriting • Views: 1172

  • Screenwriter Tim Tori Joins NYFA’s Biz of Screenwriting Class

    tim toriRecently, the ultra-talented Tim Tori dropped by our Business of Screenwriting class at New York Film Academy Los Angeles to discuss everything from writing independent horror movies to penning the #1 smash hit Vietnamese romantic comedy and everything in between.

    Tim Tori kicked off his career as a writer/producer by penning the surf-horror movie “Trespassers,” which was released in 2006 by Image Entertainment.

    Tori then went on a tear, selling his creature feature spec “Prowl” to After Dark Films. The film was shot in Sofia, Bulgaria, and released in the U.S. in 2011.

    After Dark continued hiring him to write, produce and consult on multiple projects, including the science-fiction horror movie “51” starring Bruce Boxleitner and Jason London (released in 2011), and he continued his After Dark collaboration by writing the Joel Silver-produced action film “Dragon Eyes” starring none other than the legendary Jean-Claude Van Damme and Peter Weller (released in 2012).

    Tori discussed how he broke into the business and answered student questions on everything from how to “write scary” to tips for getting representation.

    Tori discussed his recent departure from genre fare with the Vietnamese-language romantic comedy “How To Fight In Six Inch Heels,” which he wrote and executive produced in collaboration with producer Timothy Linh Bui and producer/star Kathy Uyen. The Galaxy Studio film was a smash hit in Vietnam, spending two weeks at #1. It was released in the U.S. in 2015…

    Currently, Tori is also co-writing and co-producing the action thriller “Die Laughing” with director/producer/co-writer Bui for Sony’s Stage 6 Films.

    The latest project on Tori’s slate is “Legacy,” a dark, unique thriller to be produced by Bellevue Productions, yours truly, and Davis Entertainment, who has a first-look deal at Fox. Tori is repped by The Agency For The Performing Arts (APA).

    NYFA thanks Tim Tori for a great guest lecture!

    September 28, 2016 • Guest Speakers, Screenwriting • Views: 1498

  • NYFA Screenwriting Graduates Celebrate with an Industry Pitch Fest

    Graduating MFA, AFA and BFA New York Film Academy Screenwriting students recently attended their culminating Industry Pitch Fest Event, held at the penthouse ballroom of the Andaz Hotel up on Sunset Boulevard in West Hollywood.

    screenwriting dept

    A catered event and mingling opportunity for the students, executives, and faculty alike, this capstone evening celebrated the New York Film Academy’s graduating screenwriting students, offering them a professional outlet to jumpstart their careers by pitching their film and TV thesis projects to industry executives.

    These writing students spent their final semester in their Business of Screenwriting classes working with Business of Screenwriting Instructors David O’Leary, Jerry Shandy, and Dirk Blackman, in conjunction with Faculty Chair Nunzio DeFilippis and Associate Chair Adam Finer, preparing and fine-tuning their pitches.

    nyfa screenwriting

    They shined on this pinnacle evening, leaving with new professional contacts and a wave of interest in the scripts they’d worked so hard on all year.Considered by the school to be their first night as professional screenwriters, this group of bright students brought their A-game, as they pitched agents, managers and production company representatives in a relaxed, round-table environment. Organized and hosted by David O’Leary, the event featured representatives from various Hollywood companies, including literary agencies, management companies, and TV and Film production companies.

    Attendees included: Blumhouse, Closed on Mondays, Elevate Entertainment, Good Fear Film + Management, ICM, Imagine Entertainment, International Film Trust, Mad Chance, Madhouse Entertainment, Magnet Management, Management 360, Marc Platt Productions, Moresco Productions, Nightshade Entertainment, Original Film, Quadrant Pictures, RatPac Entertainment, Triple Threat Pictures, and Walden Media.

    NYFA wishes to thank all of its participants, particularly our industry guests, without whom this evening could not have been possible. Also, we’d like to extend a big congratulations to all of our MFA, BFA and AFA graduates!

    September 20, 2016 • Community Highlights, Screenwriting • Views: 1260

  • Spring 2016 Screenwriting Students Complete Second Semester

    What’s it like for a screenwriter to hear his or her work read aloud by actors for the first time? Thrilling and nerve-wracking all at once, as LA’s Spring 2016 MFA, AFA, and One Year students discovered when they saw their work performed in a staged reading at the New York Film Academy Los Angeles Theater last Saturday night. Rounding out the second semester of their program, students chose 4-6 page scenes from their original screenplays and TV pilots, then event coordinators Terah Jackson and Crickett Rumley cast the roles with professional actors, including NYFA grads Dijon Delonte Hawkins and Heather Hult.


    Screenwriter Queenian Okagu was excited to hear the actor playing the father in her feature Culture Clash do a Nigerian accent. “He sounded just like my dad,” she said. For Lindsey Lauren Hall, hearing her TV script And Then There Were Three read out loud was a real learning experience. “I heard some lines fall flat, so I’m going to have to go back through the script and work on them.”

    screenwriting grad

    The audience of friends, family, and faculty, including Screenwriting Department Chair Nunzio DeFilippis and Associate Chair Adam Finer, were drawn into a futuristic Los Angeles in David Castillo’s pilot The Crimson Samurai, met an ambitious young race car driver in J.B. Hakim’s The Formula, and got creeped out by the mysterious town in AJ Kunkel’s October. The bros of Adam Zagri’s Dungeons and Daily Life and the potential lovers in Robert Styles’ Friend Zone Jones had the audience in stitches, while Rachna Sukura’s Indira and Hamidreza Khorsanizadeh’s Motherhood explored complex relationship dynamics and family situations.

    Following the reading, the screenwriters networked with their actors and enjoyed a reception with faculty and guests. Congratulations to the Spring 2016 MFA and AFA students on finishing their first year, and best of luck to the Spring 2016 One-Year students who just completed their program!

    September 15, 2016 • Community Highlights, Screenwriting • Views: 436

  • Screenwriting Instructor’s “Bookburners” Novel to be Released in Print

    The New York Film Academy is excited to share that the popular series, “Bookburners,” is coming to print through SAGA Press. “Bookburners” is a collaborative novel featuring the talents of Screenwriting Instructor Margaret Dunlap, Max Gladstone, Mur Lafferty, and Brian Francis Slattery. Previously released in 16 online installments by Serial Box,”Bookburners” is a critically acclaimed urban fantasy about a secret team of agents that hunts down dangerous books containing deadly magic.


    The savvy pitch is Supernatural meets The Da Vinci Code in a fast-paced, kickass character driven novel chock-full of magic, mystery, and mayhem, written collaboratively by a team of some of the best writers working in fantasy.

    The cover was designed by artist Marko Manev and designer Michael McCartney.

    “I’m very excited that ‘Bookburners’ is coming to print,” said Dunlap. “We have a great team of writers, and it’s been a wonderful opportunity to take the skills that I learned as a screenwriter and apply them to a new medium.”

    The print version of “Bookburners” will be available on January 10, 2017 from SAGA Press!

    August 24, 2016 • Community Highlights, Screenwriting • Views: 1323

  • Seth Rogen Screens “Sausage Party” at New York Film Academy

    Actor, writer, producer, and director Seth Rogen dropped by the New York Film Academy Los Angeles campus on Wednesday, August 17th to show his new R-animated movie Sausage Party and talk about his long acting career. Hollywood Producer, NYFA Director of Industry Lecture Series, Tova Laiter, hosted the evening.

    seth rogen at nyfa

    photo by Kristine Tomaro

    The auditorium crescendoed into a roar when Rogen took the stage. And he didn’t disappoint, making the students laugh all throughout. Laiter began the conversation with Rogen’s beginnings: Rogen began his stand-up career at just thirteen. He had the usual plan: become a stand-up comedian, land a sitcom, and then make movies for forever. The goal was always to make movies.

    From his stand up, Rogen was able to land an agent. He auditioned for, and landed a role in, Judd Apatow’s Freaks and Geeks when he was just sixteen. Then he began writing and acting on Undeclared. Next, he was hired on The Ali G Show, for which he was nominated for an Emmy. After conquering film in The 40-Year-Old Virgin he continued for two pictures with Judd Apatow: Knocked Up and Funny People.

    He then began working with his childhood friend and partner, Evan Goldberg. Their work includes This is the End, Superbad, Pineapple Express, and The Interview. He’s lent his voice to Horton Hears a Who!, Monsters vs. Aliens, Paul, and Kung Fu Panda. He’s recently turned his attention back to TV with AMC’s Preacher.

    tova and rogen

    photo by Kristine Tomaro

    Asked how the idea for the uniquely clever and funny Sausage Party came about he quoted two inspirations

    “Honestly,” Rogen said, Home Alone is one of the movies that made me want to make movies. Seeing a kid just beat the shit out of adults- it was like an action movie for kids and I remember thinking I want to make movies like that.”

    The second source: ‘When the Pixar movies started to come out I was just blown away by them. They weren’t just visually unlike anything I’d ever seen but the storytelling and the humor… It was completely a group of people working on another level. We were like, ‘Well, we’ll never be that good., so maybe we’ll do our own bastard version of that and we’ll get to take a sip from the well of glory for just a second.’”

    But an R-rated animated comedy was not an easy pitch, even with Rogen’s popularity and success. “Getting it made was the hardest part. It took us literally years, and years, and years of going to meetings and being told ‘no’ by independent financing companies and by major studios. Then finally brave Megan Ellison agreed to do it.”

    “So, that part was difficult. But we’d never made an animated movie. It was very different than anything we’ve ever done.”

    Also, “the releasing of the movie is always the most stressful time because it’s the part that one generally has the least control over. You never know how much they spent. You know how much the movie cost to make. You have a million conversations about that. But there’s literally never a conversation where a number is said in regards to the marketing budget. “But, in the end, the journey was worth it, if it helps the next person down the line, “I think there’s a distinct possibility that if someone was on the fence about making an R-rated animated movie maybe this might nudge them to the other side of it. We hope to make more R-rated animated movies and I really hope that, if anything, this inspires other people to take this and make something better”

    Laiter wanted to know what made Canadian comedians so consistently successful. “I’ve worked with British comedians before and they’re hilarious” Rogen Said, “but they don’t quite understand American culture to the degree they need to, to really infiltrate it. But Canadians grow up with American culture, but it’s not our culture. So, we probably more objective about it and a little more inclined to make fun of it”.

    Rogen has a reputation for working with his friends. “When you’re working, it’s really hard to do something that feels good a lot of the time. So when I’m on set I feel so much better if Jonah or Franco or Craig or Danny are there because they are just incredible at their jobs. Of the hundreds of things I have to worry about in my job as the director, producer, writer, that is not one of them. It’s just a stress relief. On top of that, we just like each other.”

    One student asked Rogen about how he handled criticism. “Honestly, that’s gotten harder as I’ve gotten older. When I was younger I was really aggressive and confident. Over the years, as I’ve read thousands of articles just saying what an idiot I am… I look back and honestly marvel at how little I thought about whether or not other people thought I was funny. It was all, ‘I think I’m good at this and I think I can do something different in movies, so I’m just going to write them’. The more I didn’t succeed, the more I’d get angry and I’d just try even harder… You just have to make sure it’s a good idea. Surrounded yourself with people who will be honest with you and give you good constructive criticism. Just never stop.”

    seth rogen in nyfa jacket

    photo by Kristine Tomaro

    Another student wanted to know if Rogen had advice for actors who were older and hadn’t hit yet. Rogen responded, “Ian McKellan became famous when he was like 80. There’re so many actors that just keep going and don’t quit. And there’re actors who don’t become famous until they’re in their 50’s, 60’s, 70’s, and in the meantime they keep working in smaller roles. And if you’re only an actor and (you) can’t write or create material for yourself, then… become friends with a writer. They’re always looking for actors. Become friends with a director. They always need actors. Just link up with someone who has a job you can’t do.”

    “What is the most important ingredient in comedy?” a student asked.

    Rogen said, “Superbad is about two friends who don’t know how to tell one another they’re going to miss each other. That sweet center allowed us to have period blood on his leg and other crazy shit that would otherwise be appalling. So for us, we talk a lot about balance- emotion with crudeness, intelligence with stupidity, unpredictability with plausibility and sensibility. I think balance is the most important part of comedy, also between what genres you’re trying to mix- finding the exact mix of horror and comedy, of emotion and comedy. That’s what makes a movie unpredictable.”

    And as parting words Rogen emphasized the ‘unpredictability’ of great movies and asked the students to surprise him with the kind of breakthrough movies that make him ask: ‘How the hell did they do that?’

    That brought the house up to standing ovation.

    New York Film Academy would like to thank Seth Rogen for his time. Sausage Party is now in theaters.

    August 22, 2016 • Acting, Filmmaking, Guest Speakers, Producing, Screenwriting • Views: 3021

  • The Multi-Talented Paul J. Salamoff Visits NYFA’s Business of Screenwriting Class

    Paul J. SalamoffThis past week, multi-hyphenate entertainment professional Paul J. Salamoff joined our Business of Screenwriting class to explain how this kid from Natick, Massachusetts went on to work on more than 50 films, TV shows, video games, comic books, and commercials, wearing practically every creative hat imaginable — writer, producer, director, executive, and yes — make-up artist.

    Salamoff originally began his career as a Special FX/Make-Up Artist, working for years on such iconic films as “Critters 3-4,” “Ed Wood,” “Escape from LA,” “Batman & Robin,” “Doctor Dolittle,” “There’s Something About Mary,” “Dogma,” and “Me Myself and Irene.”

    But, Salamoff was also bitten by the writer bug, and before long his career as a TV and film writer took off as well, with credits including “The Dead Hate the Living” (co-written with Dave Parker), “The St. Francisville Experiment” and “Alien Seige” for the SyFy channel. He was also recently named one of The Tracking Board’s Top 100 Up & Coming Screenwriters and has developed projects with Blumhouse Prod., Ritchie/Wigram Prod., Mosaic Media Group, Hollywood Gang, Silver Pictures, Valhalla Motion Pictures, Vertigo, Unstoppable Entertainment (UK) and Eclectic Pictures.

    Salamoff is also author of the novel “The Silent Planet” and two non-fiction books: “On the Set: The Hidden Rules of Movie Making Etiquette” (which is in its 3rd Edition), and “The Complete DVD Book.” His short stories have been included in acclaimed anthologies including “Midian Unmade: Tales From Clive Barker’s Nightbreed,” and he is a two-time Bram Stoker Award Nominee.

    As a comic creator, Salamoff is the writer of a number of comic book series including “Vincent Price Presents Black Scorpion” and the critically acclaimed “Logan’s Run:Last Day,” “Logan’s Run: Aftermath,” “Logan’s Run: Rebirth,” written with William F. Nolan. He is also the creator of the original graphic novel “Discord” and its prequel “Tales of Discord.”

    In 2005 Salamoff became Vice President of Production for David Lancaster Productions working on Wes Craven’s “The Breed” and “Hollow Man 2.” After a successful merge with Bold Films, he became their Vice President of Production and worked on such films as “Legion,” “Bobby,” and Starship Troopers: Marauders.”

    Having been involved with The Academy of Science Fiction, Fantasy and Horror Films for over twelve years; he produced the 22nd, 23rd, 33rd, 34th and 35th Saturn Awards. Salamoff has also produced Video Game TV/Web Development Diaries and Trailers working on such high-profile projects as “Reckoning: Kingdoms of Amalur,” “The Adventures of Tintin, Bulletstorm,” Mass Effect 2,” “Gears of War 2,” and “Dead Space.”

    Salamoff answered a diverse range of questions from students ranging from how one gets into the comic book and video game writing arenas, to his process when he writes his screenplays (he sees the whole movie in his head before he begins, and bangs out the first draft in a mere 4-5 days!), to what it was like working on some of the more racy puppeteering and animatronics scenes for some of the most famous Farrelly Bros. movies.

    A treasure trove of knowledge, as is evidenced by his many successes, the students thoroughly enjoyed his warm energy, breadth of Hollywood experiences, and hilarious anecdotal stories.

    Next up for Salamoff, (amongst other things – no surprise), he is working steadily on his original horror screenplay “Beyond Repair,” currently being produced by Closed on Mondays Ent. (“Scott Pilgrim vs. The World”) and is directing a Sci-Fi/horror drama (which he co-wrote with Actor/Producer/Director Noel Clarke) for the UK’s Unstoppable Ent.

    August 11, 2016 • 3D Animation, Game Design, Guest Speakers, Screenwriting • Views: 1734

  • NYFA Grads Awarded TriBeCa Film Grant for Screenplay “Falcon Lake”

    Not only does the New York Film Academy provide an intensive hands-on experience, but it also sometimes plays the role of matchmaker for actors, filmmakers, writers and other creative artists to begin a professional relationship that will last far beyond their years as students.

    Such is the case for two alumni, Sara Seligman and Thomas Bond, who met at NYFA and began a working relationship as writing partners. Sara and Tom first met while taking the One-Year Filmmaking Program in 2007. The two initially worked on each other’s thesis films – Sara was Tom’s AD and Tom was Sara’s DP. After school they continued collaborating, and currently they have several feature film scripts that they’ve co-written.

    falcon lake

    One of their screenplays, Falcon Lake, was awarded a TriBeCa Film Institute Grant, which brought about the attention of potential film financiers and production companies. Through that attention, the team found producer, Anne Clements, and attached Oscar-nominee Adriana Barraza to play one of the leading roles. And more recently, Tom and Sara were selected to participate in the 2016 Film Independent Fast Track. Through that they received even more attention, both for their script and as writers in general. They had the opportunity to meet with several more production companies and agencies, such as WME. They have now landed their first investors and are still looking to gather the remainder of the production budget.

    Falcon Lake began at NYFA as Sara’s first-year thesis film, Blessed the Fruit of Thy Womb. Her short was the seed that began the idea, and slowly it grew and evolved into the script it is today.

    “The most important thing is to know that the skills we learn in school can be strengthened with practice, from directing to lighting to writing,” says Seligman in regards to her time at NYFA. “NYFA taught us that, when it comes to filmmaking, going out and doing the work is the only way to succeed, and repetition is the way to turn the work from decent to good to great,” added Bond.

    sara seligman

    Sara Seligman on set

    In addition to their writing careers, both Sara and Tom have spent time working on film and TV sets, including The Mindy Project and The People Vs O.J. Simpson: American Crime Story. “Working on TV and film sets has been extremely important in furthering my career,” said Seligman. “We can learn a lot in film school, but practical experience is invaluable. When applying for jobs, it’s the experience that matters most. Getting on-set experience helps me to learn all facets of the filmmaking process.”

    “Working on set, you learn to manage the different legs of a project, and the personalities involved,” added Bond. “I love the challenge of working as a team under pressurized constraints, like budget and time restrictions. You really learn who is capable of what, and who will be around for the long haul in an industry that is very unforgiving.”

    tom sara

    Thomas Bond at LA Film Festival

    Sara and Tom continue to develop and collaborate on screenplays while holding steady jobs in the creative field. Sara is currently working as an Associate Producer at the ad agency Innocean. Before that, she was Jennifer Todd’s assistant on Ben Affleck’s Live By Night and key set PA for The Mindy Project. “I’m proud of the evolvement that each project has meant, and that I was able to work for one of my favorite directors on Live by Night with one of the best DPs in the world Bob Richardson,” said Seligman.

    For the past several years, Tom has spent much of his time in the documentary world. “My proudest achievement is definitely getting the chance to work with Albert Maysles at his production company in Harlem, which I did for two years,” said Bond. “Working with a legend, who was so nice, smart, and giving, is an experience I’ll treasure forever. Rest In Peace, Albert!”

    August 3, 2016 • Filmmaking, Screenwriting, Student and Alumni Spotlights • Views: 1037

  • Screenwriting Instructor Dan Kay Pens “I.T.” with Pierce Brosnan

    Brosnon IT

    RLJ Entertainment

    New York Film Academy Screenwriting Instructor Daniel Kay, writer of the film Pay the Ghost with Nicholas Cage, was recently mentioned in Deadline and Hollywood Reporter for his upcoming film, I.T., starring Pierce Brosnan.

    The project has been acquired by RLJ Entertainment for North American distribution rights. The thriller from Voltage Pictures, directed by Good Day To Die Hard director John Moore, and co-written by William Wisher, Jr. (Terminator 2: Judgment Day) was produced by David T. Friendly, Beau St. Clair, Nicolas Chartier and Craig J. Flores.

    “I couldn’t be more excited for the release of the film,” says Kay. “I was very pleased with how it turned out and I think audiences will respond to it.”

    I.T. is scheduled for a September 2016 theatrical and on-demand release.

    August 2, 2016 • Community Highlights, Screenwriting • Views: 1138

  • Producer Chris Armogida Visits with David O’Leary’s Business of Screenwriting Class

    Chris ArmogidaThis past week, film producer Chris Armogida visited with David O’Leary’s Business of Screenwriting Class to regale his story of how he went from a development intern to a film producer.
    Armogida began his career with development stints at Village Roadshow and Rogue Pictures (the then genre division of Universal). He next became a development executive for film director Bryan Bertino’s production company Unbroken Pictures, where he worked on developing countless projects, many which were set up at studios, including the project Grim Night which sold, amidst multiple bids, to Universal.
    Also while at Unbroken, Armogida had the chance to work on-set as a producer on Mockingbird (a Universal Pictures film, and Blumhouse Pictures and Marc Platt co-production) and the psychological horror feature February aka The Blackcoat’s Daughter (which A24 is releasing this coming September).
    Armogida answered student questions about producing and what a producer does, the advantages and disadvantages of independent filmmaking, working in the industry, how to go about getting a job after graduating, and what he looks for in a new writers and projects. A generous resource, who’s visited the New York Film Academy before, his advice to these students was invaluable.
    Armogida now runs his own production company Nightshade Entertainment, with multiple projects in development, including We Summon the Darkness written by Alan Trezza (Burying the Ex) and The Importance of Blood, which he’s co-producing with Circle of Confusion.

    August 1, 2016 • Guest Speakers, Screenwriting • Views: 639