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  • 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: 785

  • Bruckheimer Brings Fox Another Comic Book TV Show

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    Lucifer Bruckheimer

    The devil came down to Fox, or at least it will, now that the network has ordered a pilot for Lucifer, an hour-long drama based on a comic book. Lucifer was created by industry kingpin Neil Gaiman, with Sam Kieth and Mike Dringenberg. The story concerns the devil himself retiring from running Hell and moving to sunny LA where he assists the police in punishing criminals.

    With an epic backstory and police procedural structure, it’s a no-brainer that mega producer Jerry Bruckheimer is adapting Lucifer for TV with his company Jerry Bruckheimer Television. Bruckheimer is behind other TV juggernauts like CSI, Without a Trace and Cold Case. He’s also currently producing HBO’s upcoming Cocaine Cowboys with Michael Bay.

    TV is becoming as populated by comic book characters as Hollywood movies. Lucifer is published by Vertigo, itself a DC publication. The series will join other DC properties on television like Arrow, Flash and Fox’s own Gotham, as well as CBS’s upcoming Supergirl series, also said to be part-procedural. Marvel has two series on ABC and will be adding several more to Netflix in the near future, starting with Daredevil.

    Dream of producing your own comic book TV series one day? Check out New York Film Academy’s producing school programs here.

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    February 23, 2015 • Entertainment News • Views: 3191

  • Superheroes are Taking Over Hollywood (and I Feel Fine)

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     Eric Conner is the Chair of the Screenwriting Department for New York Film Academy’s Universal Studios – Los Angeles campus. With an MFA degree from USC School of Cinema and Television and a BA from UPenn, Eric is currently developing two TV pilots, a sci-fi feature, and trying to add to his collection of ironic snapshots with Stormtroopers. Feel free to email him at eric@nyfa.edu

    I often warn my students to avoid becoming “That Guy.” You know “That Guy.” He’s the one in the theater who complains about a director “crossing the 180 line” or using the wrong lens. He’s the one who LOUDLY critiques a movie in terms of “sequences” and “denouement.” Summer’s an especially difficult time for “That Guy” since the multiplexes are filled with Hollywood’s biggest, loudest, and franchise-iest products — though to be fair, there’s a Wes Anderson gem also playing in the theaters, but it’s on a screen smaller than your car. For my $14 (or $28 if you choose the couches and food service of iPic Theaters in Pasadena), I don’t watch a movie with a notebook or penlight. I go to the theaters simply to be transported.

    Sometimes it’s to the dark emotional wilderness of Into the Wild. Other times to see Kevin Bacon singlehandedly ignite the Cold War in X-Men: First Class. Please note: I’m pretty sure the Cuban Missile Crisis did not actually play out that way, especially since my own father was on one of the ships during those tense thirteen days in 1962. But that didn’t make me enjoy the scene any less. This likely goes back to why I work in the arts in the first place. Similar to many of my peers, I grew up on the films of Allen, Scorsese, Coppola, Ashby, Polanski, and Altman, and spent most of my college days working on one play or another. However, I also spent many hours in my native Delaware reading comics, Ray Bradbury, Stephen King, and — please don’t hold it against me or my department — watching professional wrestling! Meaning that I’m equally transfixed by the damaged honesty of The Descendants as when the Hulk mops up the floor with Loki. In fact, my favorite line of dialogue this decade came out of Bruce Banner’s mouth just as he got his green on. (No spoilers here!)

    With The Avengers approaching Titanic-level grosses, we’re likely to see even more superhero films in the future. And I’m here to tell you that’s okay. Some of them will be stinkers (I’m looking at you Ghost Rider), but others will give us the same thrill that George Lucas unleashed in 1977 with one unforgettable opening shot. For every Daredevil, Elektra, or Green Lantern, there’s a Superman or Spiderman 2. I still think  Magneto’s unorthodox escape from his glass prison — featuring a poor guard with “too much iron in his blood” — is as cinematic as cinema can get. Hopefully, the screenwriters who are developing the next mega-budget superhero adaptations remember the wonder they felt as kids, flipping through the pages of The Flash. Or take a cue from Chris Nolan, who’s been treating Batman like part of the Godfather franchise.

    In fact, our writing department in Los Angeles has even begun to address this head-on by adding comic book writing and game design to our curriculum. Both of these mediums have provided some of the greatest modern writing around. As long as there’s money to be made and stories to be told, Hollywood will continue to look for new films from these existing properties. Some films will anger the aforementioned “That Guy.” But other films will sweep him up in their worlds and remind him why he came to film school in the first place. If you want to discuss this with me, I can be found at either the Ahmanson touring production of War Horse or the opening weekend of Dark Knight Rises

    Eric Connor in a tiff with Darth Vader.

    Learn more about NYFA’s screenwriting program. Click here for more info! 
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    June 14, 2012 • Academic Programs, Screenwriting • Views: 6297