New York Film Academy (NYFA), in partnership with the City of Burbank’s Cultural Arts Commission, has produced a video highlighting the 2019 Burbank Arts Beautification Program, an art installation initiative to display original artwork on utility boxes throughout the Burbank community.
With NYFA’s own Los Angeles campus located in the Burbank area, NYFA offered its support to the Burbank Arts Beautification Program for this local community initiative as a means to provide a glimpse at what has been accomplished so far in the community through the Program. NYFA’s video highlights the Phase 3 of the Burbank Arts Beautification Program, which focused on the utility boxes located in the media district of Burbank. These boxes were painted by talented artists, who were inspired by the theme “A World of Entertainment.”
A Vintage Postcard for Burbank’ by Artist Monika Petroczy
In addition to creating the video highlighting the 2019 Burbank Arts Beautification Program, NYFA also sponsored artist Monika Petroczy, who created her box, ‘A Vintage Postcard for Burbank.’ Petroczy’s box was inspired by the classic vintage postcards from the 1950’s and included famous Burbank landmarks, activities and landscapes both classic and modern.
NYFA sponsored artist Monika Petroczy (Left)
This week, the City of Burbank in partnership with the Parks and Recreation Department and the Public Works Department, announced a call to all artists to participate in the Burbank Arts Utility Box Beautification Project for 2020. Various utility boxes throughout the City’s Magnolia Park District will be painted with original art inspired by the theme of “Celebrate Community.” Applications are now open and will close on Thursday, July 23, 2020 at 5:00 P.M PST.
NYFA would like to thank the City of Burbank’s Cultural Arts Commission for being part of Burbank Arts Beautification Program and encourages artists to apply to be part of the Magnolia Park District phase of the Program.
To learn about previous Utility Box Beautification Projects, or to apply, click here.
In pre-production and during a shoot, Arjun Ravi has one of the toughest jobs for a film; communicating a director’s vision to the audience as a cinematographer. Like other DP’s (Director of Photography), he is tasked with giving the audience an accurate portrayal of the director’s ideas, characters, settings, and emotions, which are integral elements for any film.
Originally from the state of Kerala in Southern India, Ravi graduated from NYFA’s Los Angeles campus in 2017 after completing a 1-Year Conservatory Program for Cinematography. “NYFA has great exposure to many renowned lecturers and guests from the industry,” he says, “which got me interested to join the course even more.”
After graduating, Ravi brought the hands-on skills he learned in his cinematography course back to India with him, where he has gone on to shoot three feature films and is currently in production on another.
Official film poster for ‘The Kung Fu Master’
One of Ravi’s more recent films, The Kung Fu Master (Directed by Abrid Shine) is a vengeful action film shot in Auli, India, where Ravi remembers filming for four months in negative degree temperatures with a short amount of time for shooting in daylight (8:00 a.m. – 4:00 p.m.). The film itself was martial arts heavy, requiring an even more specialized way for Ravi to shoot since he was capturing action sequences. Ravi, who shot the action-packed film with a handheld camera, describes filming each scene for The Kung Fu Master as a “breathtaking” experience.
“Each scene had to be captured in multiple angles in very few takes, as the actors would get extremely exhausted very quickly due to the lack of oxygen.” In addition to the meticulous detail for shooting the action sequences, Ravi also focused on capturing the environment for the film to convey the director’s tone and sense of place. “A lot of historical places were captured in the film to bring out the beauty of the state [in India] where we were filming.”
From the fast-paced action of The Kung Fu Master, Ravi then pivoted to his next project, Vaanku, which was “a completely different style of story compared to The Kung Fu Master.” Ravi worked alongside female director Kavya Prakash to tell a more concentrated, character-driven story about four ambitious young women in a coming-of-age drama.
“We shot the feature in 29 days. The lighting felt more sophisticated, yet simple at the same time, which gave the movie the look it needed.” Vaanku, which was originally slated to be released in 2020, has since pushed back its release date due to the COVID-19 pandemic.
All of Ravi’s feature films that he has shot are all considered part of the Malayalam film industry. “Malayalam, to those who may not know, is a language spoken in the southern part of India majority in Kerala, also known as “God’s own country.” Ravi shares that the Malayalam film industry is well known for its scripted films and famous actors, including Mohanlal (Manjil Virinja Pookkal,Rajavinte Makan) and Mammooty (New Delhi). Other well known films that have come from the Malayalam film industry include Kalapani (1996), Manichitrathazu (1993), Killukkum (1991), and many more.
As for what’s next for Ravi, he is currently in production on his latest film, Jillampeppere. He also shares that some of the best advice to becoming a great cinematographer is focusing on your lighting, framing, and, most importantly, knowing what the director needs.
Arjun Ravi shooting ‘The Kung Fu Master’
“I listen to the story a few times from the director before we head out for some location scouting.” Ravi notes that there are additional discussions surrounding topics like “the color pattern we would use on the house, for the film as a whole, and the other properties involved with the film.” One of the final parts of Ravi’s process with the director includes making “the shot division [list] according to the dates of the location and the actors, while also taking into account whether there are any action scenes or any kids on the set that day; which means we will need have more time and care.”
New York Film Academy would like to congratulate Cinematographer Arjun Ravi on his success in the Malayalam film industry and looks forward to seeing more from the NYFA alum in the coming future.
New York Film Academy (NYFA) Documentary Filmmaking alum Mollie Moore is a filmmaker and cinematographer from South London, who is currently based in London and New York City. She has worked for renowned production companies such as the BBC, PBS, ITVS, Human Love LTD and DNA Films on various projects. Her films have gone on to be screened at festivals all over the world, with her work taking her to multiple continents. With her background in cinematography, Moore’s work pushes the limits of visual poetry through non-fiction storytelling, while also weaving in important themes that highlight the LGBTQ community and forced migration.
From a young age, Moore was always involved with the theatre world and, when it was time to go to college, she travelled instead to South East Asia, India, South America and many other places while working as a crew member on fictional film sets. “I realized the vast possibilities of storytelling and the importance of capturing the beauty of the world we live in and the stories within it,” shares Moore. “Documentary felt like a natural marriage with my background in theatre, storytelling and my passion for exploration and the people I met along the way.”
This realization brought Moore to New York, where she studied in NYFA’s 1-Year Conservatory Program for Documentary Filmmaking. “It was a course that I could give all of my attention to, whilst getting maximum in-person time to learn in a creative and hands-on way,” she explains.
Film Poster for ‘A Word Away’ (Dir. Mollie Moore)
Her thesis film, A Word Away, premiered at the Camden International Film Festival. A Word Away centers around a young man named Cosmo, who is from South Sudan and now resides in the U.S, who share his journey of migration through the medium of poetry. For Moore, it was important for her to find “a new way of telling a story of migration, through a more intimate and personal lens.” At the film’s premier, Moore recalls that having Cosmo and his family present was a very important moment for her as it was their stories being told and seen. “Documentary filmmaking should always be seen a collaborative process between the filmmaker and the people sharing their stories.”
After graduating NYFA, Moore also worked on festival favorite Paper Thin, a documentary about a young transgender womxn starting a new life in New York City after having to flee the persecution of LGBTQ+ persons in Russia. Not long after, Moore worked as the cinematographer for the short film, Mama, a personal story between a mother and daughter (dir. NYFA alum Lucia Florez), who look into their past to try and reconcile their relationship after years of difficult conversations and opinions about sexuality.
Mollie shooting in Peru on set of the film ‘Mama’ (Dir. Lucia Florez)
These films, and others with similar themes, are ones that Moore says she holds “very close to my heart and with a lot of passion.” While Moore identifies with these topics on a personal level, as a filmmaker, she explains that these stories are crucial to share. “I think shedding light on topics and communities that have often been massively misconstrued and discriminated against through violent acts of oppression and injustice is of huge importance.” For those that have a platform to shed light on subjects and real world issues in an objective, honest way, it can be a privilege. Moore says, “we must share it [the stories of others] and give voices to those whose realities have often been silenced throughout history.”
Moore is currently working as a filmmaker on the artist Marc Quinn’s public art project, Our Blood; a multi media public artwork that focuses on the refugee crisis all over the world. The art piece will premiere outside of the New York Public Library in 2021, but for now, Moore and others involved on the project are continuing their filming in London and New York City.
New York Film Academy (NYFA) would like to thank NYFA Documentary alum Mollie Moore for sharing more about her work as a documentary filmmaker and encourages everyone to check out her work and keep an eye out for the Our Blood project, once it has been unveiled in 2021.
To keep up with Mollie Moore, check out her website here or follow her on Instagram.
Like many films slated for a 2020 release, the low-budget indie film, Working Man, had to cancel its theatrical release due to the COVID-19 outbreak. The film then opted to be released on streaming platforms like Apple TV, Amazon Prime Video, Google Play, Vudu and Fandango Now. NYFA instructor and Cinematography Chair, Piero Basso, spoke with NYFA about his work as the Director of Photography (DP) and how Working Man is the film many need right now.
Working Mancenters around factory worker Allery Parker who, after many years in the workforce, finds himself out of a job and attempts to cope with his newfound unemployment. Eventually Parker’s existence takes a turn as he leads his former co-workers in a secret crusade to pressure their bosses to reopen their former work facility. For the first time, Parker feels like the man in charge. However, when truths are revealed, Parker must confront the loss and pain he’s been working so hard to avoid.
Official film poster for ‘Working Man’
Piero Basso’s work as a DP on Working Man was hailed by Hollywood Reporter, saying the “sense of place is well captured by cinematographer Piero Basso.” Basso first got involved in the project after connecting with Tara Tovarek, a producer Basso worked with when shooting the National Geographic series American Genius. “She [Tovarek] felt I had the right personal approach [for the production] considering this was the director’s first feature film and he [Director Rober Jury] needed not only the proper technical support, but someone to confront his vision without being overwhelmed by the experience.”
Basso explains that he was also interested to work on the project because it reminded him of personal struggles that he has experienced growing up in Turin, Italy. “It was the center of the industry manufacturing for companies like FIAT, and it has seen a steady and painful decline over the years.” Basso shares. “I have always been fascinated by factories and industrial buildings, as well as the manual work. Visually, it has always intrigued me because of the metal, the reflections, the coldness of the structures, often mixed with the warmth of the work (fire, furnaces, machine executing tasks).”
Still from ‘Working Man’ (Cinematographer: Piero Basso)
For Basso, Working Man, at its core, is a humane story grounded in reality that is “able to focus on the main character’s emotions in a non superficial way.”
For cinematographers, it is a common trait for DPs to leave their personal artistic mark on a project. For Basso, he leaves his mark in a different way. “I personally find it more interesting if my mark is achieved without bringing a special attention to the cinematography, but instead allowing it to disappear in a full integration in the narrative storytelling.”
While working alongside the director and screenwriter for Working Man [Robert Jury], Basso had several sessions with Jury to discuss the visual concept of the film. “We both felt that this film needed to be approached with a very strong agreement between us on how we wanted to portray the film.”
Still from ‘Working Man’ (Cinematographer: Piero Basso)
Due to the quick 20 day shoot, Basso recalls, “I approached every scene with a sense of urgency to deliver as much as possible space to the actor/director team to bring their characters to life.” Basso also shared that the film was shot on Arri Alexa using Master Prime lenses, a luxury in many cases for mid/low budget films like Working Man.”This allowed us to shoot with a much smaller lighting set up than traditional films.”
Like many filmmakers, some shoots don’t always go as expected. Basso recalls that portraying the small town of Joliet, IL, while actually shooting in Chicago, IL, made it tough to find locations as the production needed to convey a sense of community that felt realistic to show a sense of community.
This sense of community was essential in “showing the powerful capacity of different people to rally together and become, out of many, one entity and how the strength of the group is much stronger than each other’s weakness.”
Still from ‘Working Man’ (Cinematographer: Piero Basso)
Basso also notes that the project and sense of place needed to feel authentic. “I loved to see the wrinkles, the imperfections in the skin, and the bodies and ethnicities reflecting a true average of society instead of the Hollywood version of it.”
At a time when many around the world are out of a job and America has reached an unemployment level that rivals the Great Depression, Working Man has been released as a poignant time. “Now, with COVID-19 and millions of people losing jobs and the entire society completely shaken up, Working Man is more relevant than ever,” says Basso. “As a character says in the movie ‘a person needs a job to survive, but you need work to feel like you are worth something,’ and I believe today this is a feeling many people can share.
New York Film Academy would like to congratulate NYFA instructor and Chair of Cinematography, Piero Basso, on his latest cinematography achievement and encourages everyone to check out Working Man, now available to view on demand.
When Angolan filmmakers Fradique (a.k.a. Mario Bastos) and Hugo Salvaterra, a NYFA Fulbright student, met in high school, little did they know it would be the beginning of a friendship and collaboration that would continue into adulthood, where they would both be studying at the New York Film Academy, and take them to the prestigiousWe Are One: A Global Film Festival. Created by the Tribeca Film Festival as a fundraiser for organizations addressing the world’s COVID-19 crisis, We Are One includes selections from top festivals such as Cannes, Berlin, Venice, and Rotterdam.
Air Conditioner, Fradique’s first fictional feature as writer and director,will premiere on YouTube on Saturday, June 6, 2020, at 11:45 am Eastern. It will then become available on demand for seven days afterwards. Attending the premiere is free, but donations are welcome.
Crickett Rumley, NYFA’s Director of Film Festivals, caught up with Fradique and Hugo right before the festival and asked them about their experiences.
Fradique on set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Congratulations on this amazing success. Fradique, could you tell us more about Air Conditioner and how it came to be?
Fradique: This is actually a project that I had started writing a couple of years ago while I was developing what was supposed to be my first fiction film, The Kingdom of Casuarinas. Air Conditioner was kind of a side project that eventually ended up becoming my first fiction film, which for me was a big lesson on how in our line of work these things take many years. Sometimes the next one is not the one you thought it would be. The film was written by me and the director of photography, Ery Claver, who is a very talented filmmaker and someone that sees cinema as I do.
Air Conditioner is a magic neo-realistic journey through downtown Luanda, Angola, where we follow Matacedo, a security guard of an old building, while he tries to retrieve his boss’s AC in a city where all the AC’s are falling. This is a film about loss, how we live together as society, and a critique of social classes in a city that is past-present-future. My biggest inspiration for this film was my own life experience growing up and living in many different buildings in downtown Luanda and also the idea that these invisible workers that are the heart and soul of our city should be main characters on the stories we watch on the big screen.
Rumley: What was the most challenging thing about making the film? What did you learn in the process?
Fradique: The film was produced and shot with a very small crew, almost guerrilla-style, so letting go and accepting what surroundings are offering you was my biggest challenge and lesson. Usually in all my projects, I try to be as meticulous as I can regarding the script, storyboard, and shooting plan, but with this film we wanted to work not only with non-actors, but also with the real location where the story takes place, the building. In the end, the film resulted from creative acts derived from a deep structure. It privileges character and location over traditional narrative. The improvisation in this project was not simply a free flow of expression, but a rigorous and disciplined act of playing from a given structure at its core. I believe that this mixture was essential to bring some raw and poetic experiences to the screen while pushing at the same time stronger performances from the cast.
Film poster for ‘Air Conditioner’
Rumley:The film premiered at Rotterdam, which is an amazing place to launch. What was that experience like?
Fradique: Yes, the film had its World Premiere at the Rotterdam International Film Festival in the section of ‘Bright Future Main Program’ in 2020. For me, it was an honor to have the first festival screening at IFFR. It was my second time over there and I love and stand for everything that the festival believes. A lot of filmmakers that inspire me have been at IFFR; it’s a great home for the global south cinema. The feedback after the screenings exceeded my expectations, which were very low because I was very tired after a year of working on the film. We had five screenings and they were all sold out before the festival even started. The audience in Rotterdam are very generous and authentic cinephiles. We had great reviews at The Hollywood Reporter, The Guardian, and other local newspapers. The original soundtrack, which was composed by Aline Frazão for the film, was one of the elements that reviewers and the audiences mention a lot. She did an incredible job, and I believe the music in the film brought to the surface the soul of the main character, Matacedo, as well the city of Luanda.
Rumley:Fradique and Hugo, what are you each looking forward to with the film’s screening at We Are One?
Fradique:How this festival was put together still amazes me. We Are One offers a global audience easy access to great films and conversations about filmmaking. It’s free, yet it’s also open to donations to fight against Covid-19. For me as a filmmaker in the current crisis that was an important criterion to join this initiative because it has bigger concerns than defending a particular festival or film. It shows how important it is to work and act collectively. We are all still learning and trying to figure out what the future of independent cinema and festivals will be, but it’s important to try new formats and be open. I hope at the festival Air Conditioner reaches audiences that probably were not going to watch this film or simply give someone who is at home a small pleasant journey to Luanda, Angola.
Hugo:Personally, I’m mostly proud of the company’s achievement, amazed at the scale and sheer diversity of the festival. After attending many festivals like Tribeca, LA and NY film festivals or even the Venice Biennale, this feels like the most diverse and representative curatorship I’ve seen thus far. It truly represents cinema and independent cinema as a planetary global experience. It also gives me added hope that the usually non-English, non-western filmmaking voices can also be heard on a global scale for a more democratic and inclusive future for all independent filmmakers.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Let’s backtrack for a minute to the beginnings of your collaboration. How did you meet and start working together? Was it attending NYFA, or back at home?
Fradique: I met Hugo while I was still in high school here in Angola. Afterwards we went to study abroad. He went to Europe, and I went to the US in 2004 where I did NYFA’s 1-Year Filmmaking program and also a BFA at the Academy of Art in San Francisco. Once I got back to Angola in 2010, I started a production company called Geração 80, with Jorge Cohen and Tchiloia Lara. Hugo was one of the first artists to come on board at Geração 80. Our production company will celebrate 10 years this year.
Hugo:I met Fradique in the cocoon of our high school here in Luanda, Angola, in our youth. If my memory doesn’t fail me, I think I formed a kinship with him when I was still in university in Lisbon making music on the side. He showed some interest in shooting a video for a small EP I had made in my bedroom, something I never expected, and it meant a lot at the time. Our connection really took off when I joined Geração 80. I did my first job for the company while I was living in London in the end of 2011 then joined in early 2012, way before NYFA. I was still an aspiring filmmaker, writing film reviews and working mostly with photography. A memorable day is when I first made it into his bedroom, shortly after arriving from London. Large sections of his DVD film collection mirrored mine. That’s when I realized that more than a friend, I had found a brother through our shared passion for film.
Rumley:Hugo, what was your position on ‘Air Conditioner?’
Hugo: I was fresh from returning to Angola post-NYFA and figuring out how to promote my film “1999” here in Luanda. In an independent production company, a lot of sacrifices have to be made in order to make things happen. So I was focused on the commercial end of the company making sure that my colleagues could enjoy the freedom and necessary focus to produce and shoot the film.
On set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Your production company sounds really interesting. Can you describe it, how you work, what you do, how you started it?
Fradique:We will celebrate a decade next month. We started only with three people, and today we are a group of eighteen professionals working in the audiovisual industry in Angola. At the beginning the goal was to just make cinema, but soon we realized that we had to do other work to survive. In Angola there’s no film funds or initiatives, so being able to put together a production company that does not only cinema, but commercial and corporate work gave us the resources to be able to build a great team and acquire top equipment to make us more independent. Over the last ten years, we produced one feature fiction film, four feature-length documentaries, six short films and worked on a couple of international co-productions. When it comes to producing our films, we work very much like a collective. Everyone works on each other’s projects, and we only finish a film when it reaches an audience. We don’t make films to be put into drawers, we believe independent/author cinema should meet bigger audiences as well. We are tired of seeing our film theaters only with Hollywood films. We want not only more Angolan cinema in our theaters, but also African cinema.
Hugo:For me the real beauty of being part of this collective is also that, all of us, despite our differences, are committed to the power of movies, storytelling and all its magical elements. Our aim is to make movies, not products, which is increasingly more difficult in a time where everything is commodified either through likes or commerce. Making movies for us is not a job, it’s a way of living. We are in essence not in the movie business, but in the business of making movies. It’s our passion and desire to make films that informs the process and the how and that to me is special.
Rumley:How do you think your education at NYFA and the work you did here prepared you for a career in filmmaking?
Fradique:NYFA gave me the foundation of what it means to be an independent filmmaker. Learning how to work collectively on other classmates’ projects and at the same time experience different positions on the set was fundamental for me to be able not only to fully understand the craft and the importance of every person on set, but also l to later on have the resources to open up a production company in my home country. On top of all that, I did my one year program almost entirely on film. We only did one main digital project with a MINI DV, no REDs at the time. Everything else was in 16mm, and each gave me more confidence as a director in the beginning of my career.
Hugo:I was already in my early 30s when I made it into NYFA, so I almost missed the window to becoming a filmmaker. I’m very grateful for the two years spent there, particularly in New York, where I was able to find the confidence and tools not only to learn what filmmaking is, but also find my artistic voice. Los Angeles was different but essential in learning a more formal, business-oriented way of producing films. There, I focused more on how to write a feature within a more conventional three-act structure and developed technically on set, playing with the vocabulary of film in a way that made me a much stronger filmmaker.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Do you have any special shout-outs to faculty or staff who really helped or inspired you?
Fradique:I have great memories of teachers like Tassos Rigopoulos and Claude Kerven. Together with my fellow classmates, they represent the best first lessons I had about filmmaking.
Hugo:Brad Sample’s capacity to analyze, deconstruct and mentor, Ben Cohen’s humor, intellect and love of film history, Rae Shaw’s production acumen stand out. Sanora Bartels, Greg Marcks, and Robert Taylor for teaching me the science of script writing. There are others I’m sure, but those stand out.
Rumley: What advice do you have for recent graduates making their way in to the professional world?
Fradique: As it became easier to have the resources to make films, also it seems more difficult with so many options to follow or trying to keep up with all the trends and gadgets. My advice would be don’t get stuck on the gear, to spend more time and make meaningful connections and partnerships with the people you work with. Watch a lot of films and think collectively, that’s the root of filmmaking. Surround yourself with people that are different from you but have the same passions, values towards art and don’t forget the best stories are found at home, wherever that might be.
Hugo:Filmmaking is a mansion with many rooms and it’s very easy to get lost wandering in it, figure out what your strengths are and sink into what and who you are. By that I mean, what do you bring to a story, a set, a crew, a production company? What are you making films for? If you’re able to answer that, regardless of success or failure, you will find the nourishment you need to carry on.
Cast and Crew of ‘Air Conditioner’ including NYFA Alumni Fradique and Hugo Salvaterra (Photo Credit: Cafuxi)
Rumley:These are trying times in the world today, and art matters more than ever. Do you want to share any words about the importance of film in the lives of humans living right now? The role of Angolan film in world cinema?
Fradique:The world we have today is the result of the same and single story being told for centuries. We need more diversity behind the cameras and in what see on the screen. We need to remember that culture, art, is not mere entertainment or something to disconnect us from our daily life online. Be aware not only of your country’s borders, but your social and society borders as well. Cinema is more than a mirror; it is art and memory with all the senses, feelings and its lapses. Let’s take care of our memories.
Hugo: At its core, film is still the only art form that explores what it means to be human. It’s not the imitation of life, it is the imagination of everything life could be. In a time when the very existence of organized human life is at stake, we have to make sure, now more than ever, that the films we’re making get to the core of that exploration. There is a war raging that isn’t new, one that is fought between commerce and the full potential of film as an art form. It’s an age-old battle, where there will always be those who will try to define films as a monolith, by creating markets and monopolies where the overarching definition and structure of a film is the same and where its success is only measured by if it won anything in a festival or how much money it made vs. the whole history of the art form, where the writers, directors and producers made a film because they wanted to birth something that was urgent, as a way of life, as means of catharsis, beyond conventions of class or structure. Filmmakers have made the history, inside big studios or the smallest of spaces, with the biggest crews and the most skeletal ones, by understanding and studying film history and the art form. Angola is a young country and is showing potential to create both types of films, both profit-driven ones and ones that channel and respect the history of film as an art form. We champion the latter.
Rumley:Anything else that you would like to say to the NYFA community?
Fradique: Be safe and be informed. If you have the chance, watch Air Conditioner at We Are One: A Global Film Festival starting June 6th.
Rumley: Congratulations! We wish you the best with your We Are One screening and in all your endeavors. Keep making art; keep telling your stories. They matter.
New York Film Academy would like to thank Fradique and Hugo Salvaterra for taking the time to speak about their new film, Air Conditioner, and congratulates them on the premiere of their film at the We Are One Film Festival.
UPDATE June 19, 2020: Fresh off their screening with the We Are One Global Film Festival, Fradique and members of his crew and production company, Geração 80, will join Crickett Rumley, NYFA’s Director of Film Festivals, for a discussion of their film Air Conditioner on June 25, 2020. To register, click here.
New York Film Academy (NYFA) alum Natalia Bougadellis’ public service announcement (PSA), “You Can Still Smile,” finished second in Governor Andrew Cuomo’s #NewYorkTough competition. Bougadellis, who attended NYFA’s Teen Filmmaking program in Los Angeles and an intensive 6-Week Filmmaking workshop in New York, worked on the PSA under her female-run production company Blue Slate Films.
Bougadellis is a director and cinematographer, who hails from Athens, Greece. Her critically acclaimed film, The Owls, (available on Amazon), has played in eleven countries and over thirty film festivals, winning the prestigious Zoe Award at LifeArt Festival, “Best Student Film” at Miami Independent Film Festival, and “Best Student Filmmaker” at America’s Rainbow Film Festival Presented by HBO.
Natalia Bougadellis behind the camera during filming
Bougadellis is also the Executive Director of The Great Griffon, a non-profit organization founded to bring awareness and support to LGBTQ+ characters in mainstream entertainment. Bougadellis also co-founded her own production company, Blue Slate Films, with female filmmaker Emory Parker, in 2017 and continues to produce cutting edge projects for high-profile brands like Nike, McDonald’s, Calvin Klein, and Pepsi, to name a few.
Her PSA, “You Can Still Smile,” finished second in Governor Andrew Cuomo’s #NewYorkTough competition, acquiring almost 48,000 votes and over 200,000 views. Though Bougadellis’ PSA did not come in first place, Gov. Cuomo announced in a briefing that New York state will still air the PSA.
New Yorkers from the PSA “You Can Still Smile” (Courtesy of Blue Slate Films)
Before the COVID-19 pandemic hit NYC, Blue Slate Films (Bougadellis’ production company) was gearing up to shoot their very first feature film, Whirlpool. “As a small business, we were really affected by this,” says Bougadellis.
When Bougadellis and her production partner [Parker] saw Gov. Cuomo’s #NewYorkTough competition, they knew they had to get involved. “We saw the PSA competition as an invaluable opportunity to showcase our talents and stay creative throughout this time, while also spreading a message crucial to ending this pandemic.”
Bougadellis explained that they [Bougadellis and Parker] wanted to use this opportunity to tell true stories about real New Yorkers. She recounted that their vision was to show raw emotion for each individual portrayed in the PSA. “Our eyes can tell amazing stories, so we focused on faces and eyes to show how powerful human connection can be.”
For Bougadellis, the journey of filming this video around NYC and Long Island was heartfelt and sincere. “We had no script for this video,” she says. “All answers were spontaneous and came from the heart. Emory [Parker] then worked on editing the piece and bringing it all together.”
Still from PSA “You Can Still Smile” (Courtesy of Blue Slate Films)
Beyond the stories of the individuals featured in the PSA, Bougadellis hopes that those who watch the video understand that wearing a mask isn’t just about protecting oneself. “Wearing a mask means respecting your fellow New Yorkers and caring about them, as well,” she remarks. “The sooner we can all cooperate to control this situation, the sooner our city will be able to return to normal.”
During these times of social distancing and self-quarantine, in addition to their PSA, Blue Slate Films has also launched a digital series, The Slate, featuring artists, experts, and entrepreneurs that seek to make a difference in their respective industries.
New York Film Academy would like to congratulate Natalia Bougadellis on her inspiring achievement, which highlights a crucial global message for all, and encourages everyone to check out the PSA and to keep an eye out for Blue Slate Films’ forthcoming film Whirlpool.
To watch the full “You Can Still Smile” PSA, click here or watch the full video above.
From K-Beauty to K-Pop, South Korean’s pop culture is taking the world by storm, flooding the internet with the latest YouTube influencers or musical supergroups and artists. New York Film Academy (NYFA) student, Seoyeon Chloe Shin, decided that now more than ever it was time to create a new kind of reality show, one centered around a pop up salon in Vietnam, affording customers the opportunity to transform themselves using K-Beauty techniques.
Seoyeon Chloe Shin is an award-winning director and producer, who has produced and directed more than ten documentaries and 100 TV shows that have been broadcasted nationwide and internationally. For the last 16 years, Shin has worked at Taegu Broadcasting Corporation (TBC), a major local broadcasting corporation located in Daegu, South Korea.
Her show, K-Beauty Salon, was in collaboration with TBC and a local Vietnam TV station. The show went on to win a Bronze Remi Award at Worldfest-Houston International Film Festival in April 2020. Shin has also previously been awarded ‘Best Picture in Local TV Show’ at the Korean Producer Awards (2018) and a ‘Best Picture for Children’ award at the Korean Producer Awards (2017).
Choi Soo Kyung, Ashley – Ladies’ Code, Park Si-hwan, and Cheon Min-kyu
“These days, K-Pop culture is so popular worldwide, including the styles of many K-Pop stars,” says Shin. “I wanted to make a cross-cultural entertainment program in Vietnam about K-Beauty.” The show, K-Beauty Salon, follows top Korean stylists as they spread K-Beauty in Da Nang, Vietnam by setting up a pop-up shop to showcase their outstanding beautician skills and have discussions with local customers who come into the shop along the way.
The cast of characters includes real-life professional stylists and personalities known throughout Korea and internationally including Cheon Min-kyu, a hair designer for various K-Pop stars and Superstar K5 winner and K-Pop singer Park Si-hwan, among others. “These days, entertainment shows should be more internationally focused,” says Shin. “So we planned to use K-Beauty to transform others to look like K-Pop stars.”
Seoyeon Chloe Shin being interviewed for ‘K-Beauty Salon’
Shin, who currently studies in NYFA’s 1-Year Filmmaking Conservatory program, decided to study at NYFA to gain an international perspective and learn the visual aspect of filmmaking in order to hone her craft for future shows and films. According to Shin, being at NYFA is a “good opportunity for me to go back to the basics and enhance my skill to make the show [and all projects] more precise.” She also notes that getting a taste of the other disciplines like acting has been “helpful for me to understand the actors.”
New York Film Academy congratulates Seoyeon Chloe Shin on her Bronze Remi Award and looks forward to seeing her continue to make her own path in international filmmaking for television.
To watch a full episode of K-Beauty Salon, watch the full video below or click here.
New York Film Academy (NYFA) alum Francesca Mazzoleni’s documentary feature length film, Puntasacra wins the ‘Sesterce d’or la Mobilière’ (Best Feature Film) at the 2020 Visions du Réel competition, held virtually from April 17 to May 2.
‘Puntasacra’ (Directed by Francesca Mazzoleni, courtesy of True Colours)
Mazzoleni atteneded the 4-Week Music Video Workshop at NYFA’s New York City campus in 2017. In addition to Puntasacra, Mazzoleni has directed feature film Succede and short films 1989, L’etoile de Mer, Lo so che mi senti, Nowhere, and Il Premio.
Puntasacra, her latest feature, is a documentary that tells the story of the inhabitants of Idroscalo di Ostia, a coastal outer district of Rome and the last portion of habitable land at the mouth of the Tiber, Punta Sacra. With half of the community’s houses destroyed by a fire in 2010, the documentary navigates the daily lives of the coast village’s inhabitants and naturally portrays the conversations between neighbors surrounding communism, familial secrets, and community altercations.
The film was one of 14 feature-length documentaries that were selected for main competition in the prestigious Swiss festival, Visions du Réel, in Nyon (this year online). After winning the Sesterce d’or la Mobilière with a cash prize of CHF 20,000 (£16,657), top Italian sales distributor, True Colours, acquired sales rights for the film.
Mazzoleni, who could not be there in person to accept her award since the ceremony was held online, made her own award from the items in her home and thanked her ten-person team, with whom she “shared a very complicated and wonderful adventure”. She also thanked the community of Idroscalo di Ostia who gave her the confidence to make her film. She closed her Instagram acceptance speech by telling her followers, “our journey begins today, be patient, the cinemas will reopen.”
Francesca Mazzoleni behind the scenes of her film ‘Succede’
New York Film Academy would like to congratulate Francesca Mazzoleni on the success of her latest documentary film and her recent win at Visions du Réel, and encourages everyone to check out Puntasacra when it becomes available in theaters or online.
New York Film Academy (NYFA) Acting for Film alum Ronen Rubinstein stars in Fox’s procedural drama 9-1-1: Lone Star, created by American Horror Story creators Ryan Murphy and Brad Falchuk.
Rubinstein, who graduated from NYFA in 2013 from a 1-Year Conservatory program for Acting for Film, has also starred in Eliza Hittman’s It Felt Like Love, horror film Some Kind of Hate, and Dude starring opposite Awkwafina and Lucy Hale. Rubinstein also landed a guest star role on an episode of season three for Netflix’s Orange is the New Black.
Rubinstein along with the cast of ‘9-1-1: Lone Star’
9-1-1: Lone Star premiered on January 19, 2020 and was recently renewed for a second season after being declared a hit on the network and receiving a positive response from viewers. The series is a spinoff of 9-1-1, which takes focuses on Los Angeles first responders. In 9-1-1: Lone Star, Rubinstein stars opposite Rob Lowe and Liv Tyler, as Tyler Kennedy “TK” Strand, an openly gay firefighter/paramedic and recovering opioid addict.
The show mainly focuses on Owen, played by Lowe, who is the lone survivor of a Manhattan firehouse following the events of 9/11 and seeks to rebuild his station. After this occurs, he moves to Austin with his troubled firefighter son, played by Rubinstein to help out a new firehouse rebuilding from tragedy. Much like its predecessor 9-1-1, each episode focuses on a different local tragedy or crises revolving around characters in the community.
Rubinstein on set of ‘9-1-1: Lone Star’
When asked about what it has been like working with celebrities like Rob Lowe and Liv Tyler, in an interview, Rubinstein responded, “this whole thing is a dream come true. Getting to work with legends like Rob Lowe and Liv Tyler, every time you show up on set you get to learn from [people] who’ve been doing this [acting] for years.“
New York Film Academy would like to congratulate Ronen Rubinstein on the renewal of his show 9-1-1: Lone Star and looks forward to seeing what is next from the NYFA alum.
The New York Film Academy recently hosted an Industry Speaker session with the Executive Director of SAGindie, Darrien Gipson. Students and Faculty from all NYFA campuses attended as Gipson addressed the state of the industry during Covid-19. With all sectors of the industry focused on returning to work, it was a prescient discussion moderated by NYFA Producing Chair Neal Weisman.
Gipson spoke of the various protocols that are being proposed once production resumes. While a certain degree of uncertainty prevails, and as the industry awaits government guidelines, a consensus around various parameters is formulating. They include reduced crew sizes, staggered work hours, “pods” of crew alternating on set, various departments working timed shifts, longer days sanctioned by the unions, strict enforcement of social distancing, personal and set/equipment sanitizing regimes, monitoring for symptoms, and isolating actors.
NYFA Producing Chair Weisman with SAGindie’s Darrien Gipson
On a positive note, various “silver linings” are beginning to emerge from the current environment. Smaller productions with lower budgets, like student films and web series, are going to find it easier to handle the logistics and flexibility required to move forward. There will be a great hunger for projects as a result of the freeze on production in effect since March.
The smaller productions that can proceed at a quicker pace than the larger, more cumbersome projects will be better positioned for distribution. Gipson cited that a smaller number of “starry” submissions to festivals like Sundance will enhance the chances of less high profile films obtaining top-tier festival launches. Streaming platforms and other distribution entities will be seeking more product than ever. These observations connected with the NYFA audience as the conversation made it more apparent that there has rarely been a better time for emerging producers, filmmakers, writers, and actors to create content for a voracious audience.
The New York Film Academy has a long standing relationship with SAGindie, and thanks Executive Director Darrien Robbins for her insight and generosity. SAGindie is an invaluable resource for the NYFA community, as they not only assist in navigating the various paths forward working with the Screen Actors Guild, SAGindie will also offer guidance on a host of matters from financing to festival strategies, and more. SAGindie welcomes NYFA students who would like to reach out and learn more.
For more information on SAGindie and how to contact them click here.