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  • New York Film Academy (NYFA) Los Angeles Holds Q&A with “Affairs of State” Director and Cast

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    On Monday, December 3rd, the New York Film Academy hosted a screening of Affairs of State followed by a Q&A with director and NYFA instructor, Eric Bross, producer, Stephen Israel, and actors, David Corenswet and Nate Walker, moderated by NYFA Producing Chair, Roberta Colangelo. Affairs of State explores the extent to which one man is willing to take risks to progress his career in Washington D.C.

    Director and NYFA instructor, Eric Bross, is known for directing A Country Christmas Story (2013), Traffic (2004) and Stranger Than Fiction (2000). Producer, Stephen Israel, is a former VP of New Business Development at TBS, worked in strategic planning at Warner Brothers and spent four years as a management consultant with Booz, Allen & Hamilton. He is known for producing Blood, Sand and Gold (2017), G.B.F. (2013) and I Do (2012). Actor, David Corenswet, is a Julliard graduate known for his roles in House of Cards, The Tap and Elementary. Actor, Nate Walker, is known for his roles in Homeland, Bottom of the Barrel and The Maladjusted.

    Colangelo opened up the Q&A by inquiring about Bross’ inspiration for the film. Bross shared that he and Todd Cudworth, the film’s writer, were inspired by the ruthlessness of the “game” of politics; the original script, written in the early 2000s, was based on the tactics used by the Republican party to discredit President Bill Clinton– and the Democratic party as a whole– in the public eye in the late 90s. Bross said that Cudworth asked himself, “What if the Democrats got really ruthless, just matched the tactics of the Republicans who seemed to be pretty much willing to do whatever it [took]?” However, as America moved closer to the Trump presidency, the script evolved.

    Ultimately, Bross and Cudworth wanted to bring attention to the world of politics rather than make an argument about a specific political party as contemporary politics is so consumed by polarity. Producer Stephen Israel assisted with the blurring of the political binary in through the characterization of the protagonist’s boss, a political candidate named John Baines, “We took a lot of trouble to play…Baines’ politics down the middle,” said Israel, “We tried to make him a conservative who could appeal to liberals.”

    Colangelo noted that sex is used by the main character of the film, Michael Lawson, to gain power in the political sphere and asked how Bross navigated the sex scenes from a storytelling perspective. “I never like to shoot anything gratuitous,” said Bross, “Every scene in every movie should have a purpose…and this movie, ultimately to me, is about the exchange of power, sex for power.” Bross discussed how the sex scenes in which Michael is with Mrs. Baines, his boss’ wife, and the sex scenes in which Michael is with Darcy Baines, his boss’ daughter, were shot and edited differently to give different effects; Michael’s scenes with Mrs. Baines are focused on the exchange of sex for power whereas Michael’s scenes with Darcy are more romantic and idealized.

    The New York Film Academy would like to thank Eric Bross, Stephen Israel, David Corenswet and Nate Walker for sharing their perspectives on storytelling and working in the entertainment industry with our students.

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    December 7, 2018 • Acting, Faculty Highlights, Film School, Filmmaking, Guest Speakers • Views: 236

  • Colonel Jack Jacobs Holds Lecture for New York Film Academy (NYFA) Los Angeles Veteran-Students

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    On November 15, 2018 New York Film Academy Los Angeles veteran-students gathered in the NYFA Theater, for a special lecture from Medal of Honor Recipient and appointed Chair of NYFA’s Veterans Advancement Program Colonel Jack Jacobs.

    Colonel Jacobs served in the U.S. Military for more than 20 years and his gallantry in Vietnam earned him the Medal of Honor—the nation’s highest combat honor—as well as two Silver Stars, three Bronze Stars, and two Purple Hearts. Colonel Jacobs is a military strategist and on-air analyst for NBC and MSNBC News.

    Colonel Jacobs’ mission at NYFA is to support the College’s veteran-students’ transition from the military to exciting careers in media and entertainment.

    The evening began with a screening of the documentary about Colonel Jacobs that recounted the events that took place during the Vietnam War and Colonel Jacobs’ dauntless actions that later earned him the Medal of Honor.

    Honorable Col. Jack Jacobs (MoH Recipient) with NYFA veteran-students.

    During the talk, Colonel Jacobs discussed his personal experience in transitioning from the military to civilian life and offered his advice to the veterans in attendance. The Colonel’s personal experiences, his inspiration, and at times his wit, touched several pungent topics. He emphasized his belief that the military is the only place that will give an 18-year-old man or woman a large amount of responsibility and this prepares them – more than most 18-year old who have not served – for nearly any career and circumstance. “An employer who hires a veteran, gains a huge benefit due to the work ethic and skills that they learned and honed while serving our great Country” stated Jacobs. He spoke on how veterans should walk into a job interview confident that with their military background, they know both how to follow and how to lead.

    The evening concluded with Colonel Jacobs taking photos and talking with the NYFA veteran-students as well as other vets in attendance from Veterans in Media & Entertainment (VME), and the Veterans Affairs (VA).

    It was truly a great experience and very inspirational evening for everyone in attendance.

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    December 6, 2018 • Community Highlights, Guest Speakers, Veterans • Views: 185

  • New York Film Academy (NYFA) Hosts Q&A with “The Goalkeeper” Director Rodrigo Patiño

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    On Thursday, November 29th the New York Film Academy hosted a screening of The Goalkeeper followed by a Q&A with director, co-writer and former NYFA instructor, Rodrigo “Gory” Patiño, moderated by Marlene Dermer, co-founder and former director of the Los Angeles Latino International Film Festival.

    Patiño is a Bolivian actor, writer and director. He earned an MFA in Film and Television at Chapman University in California and later returned to Bolivia where he co-wrote and directed La Entrega, a 10-episode TV series about human trafficking. This series inspired the film, The Goalkeeper, which has now been chosen to represent Bolivia at the 2019 Academy Awards. Patiño’s most recent film is Pseudo, a political thriller about a taxi driver who steals the identity of a passenger who turns out to be a mercenary.

     

    Dermer opened up the Q&A by inquiring about the writing process for The Goalkeeper. Patiño shared that one of his co-writers, Camila Urioste, is a novelist who had done extensive research on human trafficking in Bolivia; she helped him create and write the series, La Entrega, which ultimately led to the production of The Goalkeeper. “Eight girls disappear every day…and that’s what’s reported.” said Patiño. Patiño added that he and his team interviewed a high-profile activist in Bolivia, a mother whose daughter went missing, and she shared a multitude of stories with them that helped to shape the film.

    Patiño and his team added a layer of complexity to the issue of human trafficking by forcing the main character of the The Goalkeeper, a father, to make extreme and tragic choices in the hope of paying for his sick son’s surgery; the father ultimately decides to sell a young girl into sex slavery in order to pay for his son’s surgery and he must deal with the consequences of his decision. “We [ask] the audience, ‘How far would you go to save your son or daughter?’” said Patiño, “We wanted to provoke a dialogue.”

    Dermer went on to ask the audience if they had any questions for Patiño; one audience member wanted to know how Patiño and his writing team navigated having the main character of the film, the father, make the disturbing decision to sell the girl to human traffickers as that could quickly turn the audience against his character. “We were conscious that this [was] an anti-hero story…but, believe it or not, we had some people that said, ‘Yeah, but he had to save his son!’…We wanted that dilemma.” said Patiño.

    Another audience member asked Patiño what his advice would be for aspiring filmmakers. “Write, write and write,” said Patiño, “because people are hungry for content.”

    The New York Film Academy would like to thank Patiño for sharing his knowledge about the epidemic of human trafficking in Bolivia and his advice for young storytellers.

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    December 5, 2018 • Filmmaking, Guest Speakers, Screenwriting • Views: 227

  • Q&A with Star and Filmmakers of IFC’s “DriverX”

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    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. 

    DriverX ScreeningBarrial 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.” DriverX Screening

    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.”

    DriverX ScreeningFabian 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.

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    November 21, 2018 • Acting, Filmmaking, Guest Speakers, Producing • Views: 462

  • New York Film Academy (NYFA) and GreenLight Women Q&A with the Filmmakers of “Stuntwomen”

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    Stuntwomen Q&AOn Saturday, November 10, New York Film Academy and GreenLight Women hosted a screening of the documentary, Stuntwomen: The Untold Hollywood Story, followed by a Q&A with director, April Wright; producers, Michael Gruskoff and Marion Rosenberg; and stuntwoman, Amy Johnston; with the event moderated by Rosenberg. Afterward, students were able to meet the panelists and discuss the film at a reception in the lobby.

    April Wright is a director, writer, and producer known for the films, My BFF (2015), The Graveyard Shift (2010), and Layover (2009). Michael Gruskoff is a producer known for the films, Prelude to a Kiss (1992), Nosferatu the Vampyre (1979), and Young Frankenstein (1974). Marion Rosenberg is a producer known for the films, Revolutionary Road (2008), Hollow Man (2000), and The Deer Hunter (1978). Amy Johnston is a stuntwoman known for the films, Deadpool (2016), Suicide Squad (2016), and Captain America: The Winter Soldier (2014).

    Rosenberg opened up the Q&A by inquiring about how all of the panelists came to be involved in the film. Wright shared that she had already worked on an archive-heavy documentary, so she felt like she could take on the challenge of bringing the book, Stuntwomen: The Untold Hollywood Story, by Mollie Gregory to life. 

    Wright asked herself, “How can we bring this into the present [and] not just make it a history [documentary] but really, you know, what are stuntwomen doing today? And bring it up to the present and have some action in the movie so that it wouldn’t be all ‘talking heads.’”Stuntwomen Q&A

    Wright added that the timing of the documentary and its subject matter felt especially relevant as there have been movements in Hollywood recently to push for more inclusion of women, people of color, and members of the LGBTQ community in various roles behind the scenes. “We felt like this group of stuntwomen represented the bigger picture,” Wright said, “It was just sort of this microcosm of what was happening in the whole industry [and] all the things that [women have] been fighting for for all these years.”

    Rosenberg asked Johnston what the film meant to her as a stuntwoman. “One of the questions I always get asked is ‘how do you become a stuntwoman and why are you a stuntwoman?’” said Johnston. “This is so important to share vital information about how we do things and why we do things.” She added that the film taught her about the history of stuntwomen in the earlier days of the film industry, “I learned how much these women paved the way for us.”

    Though strides have been made for the stuntwoman community in terms of job opportunities and safety, Wright and Johnston look forward to even more progress being made in the future.

    The New York Film Academy would like to thank April Wright, Michael Gruskoff, Marion Rosenberg, and Amy Johnston for sharing their riveting documentary and positive message about inclusion in Hollywood.

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    November 19, 2018 • #WomenOfNYFA, Documentary Filmmaking, Guest Speakers • Views: 635

  • New York Film Academy (NYFA) Hosts Q&A with Cast & Crew of “Killer Under the Bed”

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    Killer Under the BedOn Friday, October 26, New York Film Academy (NYFA) hosted a screening of Lifetime’s Killer Under the Bed (2018), followed by a Q&A with director and NYFA instructor, Jeff Hare; producer, Ken Sanders; director of photography, Brad Rushing; and stars, Brec Bassinger and Madison Lawlor. The event was moderated by NYFA instructor, David Newman.

    Hare is a writer, director, and filmmaking instructor at New York Film Academy’s Los Angeles campus, and has been working as a director of thrillers for the Lifetime channel for the last few years (A Lover Betrayed, Psycho In-Law, Nanny Killer).

    Sanders is a prolific producer for the Lifetime channel who has accumulated over 60 movie credits in the last 30 years (Accused at 17, Double Daddy, Stalked by My Doctor).

    Rushing’s career as a director of photography began with some small features in the 1990s then expanded into the music industry with music videos for Eminem, Mariah Carey, Britney Spears, Blink-182 and more. Rushing then moved back to film and television, and ultimately made his way to the Lifetime channel where he now works as a DP on many of its thrillers.

    Bassinger is an actress known for her roles in ABC’s The Goldbergs and Nickelodeon’s Bella and the Bulldogs and School of Rock. Lawlor is an actress known for her roles on TNT’s Franklin and Bash, Netlfix’s Dear White People, and the film, Daddy Issues (2018). The film also stars Kristy Swanson, eponymous star of the original Buffy the Vampire Slayer.

    Moderator David Newman opened up the Q&A by asking about the inspiration for the film. Producer Ken Sanders explained that he was approached by the film’s writer about producing a movie about a voodoo doll; Sanders knew that there would have to be more meat to the story to get executive producers interested, so he began thinking about the topic. 

    Sanders then remembered a TV movie from his childhood that “terrified a generation” called Trilogy of Terror; in this film, the protagonist struggles to escape from an evil doll she purchases at an antique shop. Sanders decided to combine the voodoo concept and the evil doll concept into one, and, in a sense, remake Trilogy of Terror for a modern audience. It was important to him, though, that this film appeal to “multiple markets” and not just a “hardcore horror audience.”

    Newman went on to ask the panel about how they handled their tight shooting schedule — the Killer Under the Bed production team only had 14 days to shoot a feature-length film, which is less than half the time that most features take to shoot. DP Brad Rushing advised, “Be prepared… Meticulously know what you’re doing… [Have] contingency plans… and good communication with the producer and the director.” Killer Under the Bed

    Rushing added that he and director Jeff Hare had worked together before, and were largely on the same page aesthetically when it came to the look of the film.

    Newman inquired about how the team made the voodoo doll come to life onscreen. “Most of the doll’s motion was actual[ly] mechanical,” said director Jeff Hare, “it’s trying to keep that aesthetic of that 70s stuff [that] scared us… we tried to keep as many effects as we could practical and we also stole the whole Jaws thing of trying to keep it hidden for as long as we possibly could.”

    “I think oftentimes what you don’t see is a lot more frightening,” added Brad Rushing, “because the audience fills it in with their own imagination and personalizes it as their own boogeyman.”

    The New York Film Academy thanks Jeff Hare, Ken Sanders, Brad Rushing, Brec Bassinger, and Madison Lawlor for sharing their insights about making an independent thriller on a tight budget and in a short timeframe!

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    November 14, 2018 • Filmmaking, Guest Speakers • Views: 495

  • Q&A With Comedian and New York Film Academy (NYFA) Screenwriting Alum Aubree Sweeney

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    On Monday, October 22, New York Film Academy (NYFA) Screenwriting alum Aubree Sweeney returned to campus to perform a stand-up comedy set followed by a Q&A with NYFA screenwriting instructor, Eric Conner.Aubree Sweeney

    Sweeney earned a master’s degree in screenwriting at NYFA’s Los Angeles campus. After graduated NYFA’s screenwriting school, she studied with the Upright Citizens Brigade, an improvisational comedy theater and training center in Hollywood; from there, she transitioned to stand-up comedy and now she is a nationally touring comedian. Sweeney continues to build her theatre resume and has been part of several television commercials.

    Conner opened up the Q&A by asking Sweeney’s advice for aspiring comedians. “If stand-up is something you wanna do, just go hit as many open mics as you can,” Sweeney said, “and just keep getting onstage until you feel comfortable.” Sweeney shared that her background as a dancer and a baton-twirler for football games at the University of Arizona helped her with confidence.

    Conner then inquired about Sweeney’s writing process. “Write it, rewrite it, rewrite it again, again, again, don’t look at it for a couple weeks — maybe a semester,” explained Sweeney.

    Aubree SweeneyShe continued, “Write it again, polish it, then you’ve got that confidence because you know this material; you know that it is written to the best of your ability, and then you’re going onstage, and then you’re gonna figure out what that little extra thing [is] that makes it better… I think that most of my confidence in doing stand-up comedy onstage comes from the work not onstage.”

    Sweeney also gave advice about how to deal with the anxiety of being new to performing stand-up, “I would recommend when you first start doing stand-up comedy, at the front, say ‘I’m new.’ I said it was my first show for probably the first 25 shows.”

    Sweeney shared some of the best ways to get gigs as a comedian: promote yourself as much as possible, be resourceful, be open to performing at unconventional venues like business expos and county fairs, and adapt your comedy content for different crowds.

    The New York Film Academy would like to thank Aubree Sweeney for her performance and for providing insider insight for aspiring comedians at NYFA.

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    November 7, 2018 • Guest Speakers, Screenwriting, Student & Alumni Spotlights • Views: 340

  • Ayelet Zurer Speaks With Tova Laiter at New York Film Academy

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    On October 30, the New York Film Academy (NYFA) hosted a Q&A with actress Ayelet Zurer following a screening of a third season episode from Netflix’s acclaimed series Daredevil. The Q&A was moderated by Tova Laiter, NYFA Director of the Q&A Series.Ayelet Zurer

    Zurer is an award-winning Israeli actress whose career began in Israeli television and crossed over to mainstream American movies and TV, most notably Steven Spielberg’s Munich (2005); Vantage Point with Dennis Quaid (2008); Ron Howard’s Angels and Demons, with Tom Hanks (2009); Zach Snyder’s Man of Steel (2013); Rodrigo Garcia’s Last Days in the Desert, alongside Ewan McGregor; Timur Bekmambetov’s adaptation of Ben Hur, and many more.

    Laiter opened up the Q&A by asking about Zurer’s early career; Zurer shared that she was artistic as a young girl and did not “fall in love with acting as a profession” until she studied acting in her hometown,Tel Aviv. She then relocated to New York City to study further and acted in numerous theatrical productions before being offered a large role on a television series in Israel, moving back home where she would work in the Israeli entertainment industry to great success and winning many awards.

    Ayelet ZurerWhile Zurer was working on a television show, In Treatment, that would later be adapted for HBO, she got a mysterious call to audition from an English casting agent who caught one of her random films. Zurer was apprehensive but then she was informed this audition was for Steven Spielberg’s Munich. Zurer landed the role and this launched her career as an actress in American media. “Say yes to things!” Zurer advised the students in the audience.

    A couple years later, Zurer has the opportunity to act in the film, Angels and Demons; she was anxious about the magnitude of the film but when she sat down with Tom Hanks to run lines, “I don’t know what happened; it was really magical; I was not nervous…” 

    Laiter inquired about the lessons Zurer learned from working with Hanks. Zurer replied, “The tone is set on a film by its leader. Tom was relaxed, intelligent, and generous. When he had an idea, he didn’t pester the director with it but suggested it in the right time… you have to have patience… he really set the tone.”

    Laiter asked Zurer about the lessons she has learned as an actress. “One of the things I’ve learned is to be very present because… that’s the most important thing for an actor and for a person in life, period.” Between “action” and “cut,” “…in that moment I [am] able to eliminate everything out there; the sound of fear, the self-doubt…” continued Zurer, while illustrating to the students a technique she uses just before she goes on stage or set.Ayelet Zurer

    To a student’s question of how she prepares for a role, Zurer talked about first learning the lines until they are embedded, doing research, and focusing on the storytelling; she asks herself: “What’s the beginning? Where [am I] coming [from]? What do I wanna say? What [does the] story [want] to say? What’s my job in that story? What is my role; what kind of a device am I?”

    The New York Film Academy would like to thank Ayelet Zurer for sharing her entertainment industry wisdom and acting expertise with our students!

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    November 2, 2018 • Acting, Guest Speakers • Views: 334

  • New York Film Academy (NYFA) Hosts Q&A With Assaf Bernstein and Dana Lustig

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    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.Look Away Dana Lustig

    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.

    Look Away Dana LustigAfter 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.” Look Away Dana Lustig

    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!

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    November 1, 2018 • Faculty Highlights, Filmmaking, Guest Speakers, Producing • Views: 173

  • Photographer Amy Arbus Gives Master Class to New York Film Academy (NYFA) Photography Students

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    Acclaimed photographer Amy Arbus visited the New York Film Academy’s Battery Park campus to speak to Photography school students. Arbus’ work has been featured in many periodicals such as Rolling Stone, Village Voice, and New York Magazine, and is featured in many collections including The Museum of Modern Art, The Metropolitan Museum of Art, The Morgan Library, and the New York Public Library. Amy’s family has been renowned for their photography — she is the daughter of legendary photographer Diane Arbus, and is also the sister of famed Doon Arbus.

    Amy Arbus at NYFA

    Amy Arbus at NYFA

    Her 80s street style column for Village Voice On the Street is considered one of her seminal works. “Photographers‘ first stuff is what sticks,” Arbus told NYFA students. She captured celebrities on the streets of New York City, including a young Madonna just before the release of her debut album. Her column also included British punk rockers, The Clash, in their prime.

    Of her project, Ladies of the Night, Arbus said, “I broke every rule that I was ever taught.” These photos were taken in secret, from afar, without comprising
    the subjects’ anonymity. Throughout the lecture, Arbus repeatedly referenced the romanticism of those photographs. Her influences also include Film Noir and Modernist Art.

    During a master class with Richard Avedon in 1992, Arbus resolved some of her emotions surrounding her mother’s death (Diane Arbus died by suicide in her bath when Amy was 17). Her Tubs Pictures is a series of nude self-portraits taken in a bathtub and were featured by Avedon in his article on Amy Arbus in Aperture’s Photographers on Photographers issue 151.

    One specific piece of Avedon’s advice that still motivates her to this day was a fitting message to the students in attendance: “You’ve got to contribute something to the medium… you have to do something unique.”

    Arbus is in the midst of her new series Outsiders, seen below, via her Instagram.

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    He’s a heartbreaker

    A post shared by Amy Arbus (@amyarbus) on

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    October 8, 2018 • #WomenOfNYFA, Guest Speakers, Photography • Views: 1103