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  • New York Film Academy (NYFA) Student and Faculty Work to Screen at DOC NYC 2018

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    For the fourth consecutive year, the New York Film Academy (NYFA) Documentary School has been selected to screen a slate of exceptional student documentaries as part of the prestigious DOC NYC film festival.

    Screens from DOC NYC 2018 films

    The largest documentary film festival in America, DOC NYC is also among the most consequential. One of the most respected programmers in the documentary world, Artistic Director, Thom Powers has a track record for programming Academy Award winners and nominees. Thanks to Executive Director (and Academy Award-nominated NYFA alum), Raphaela Neihausen, the festival has also become one of the most important annual gatherings of the worldwide documentary community.

    The festival will premiere four NYFA DOCS shorts, curated by the Documentary program. NYFA was invited by noted Shorts Programmer, Opal H. Bennett.

    Save the Date: November 9th at 11:45 a.m. 
    IFC Center
    323 6th Ave
    New York, NY 10014

    Tickets are just $12 and you can buy them here.

    NYFA’s Showcase features just the tip of the iceberg of remarkable NYC student work:

    Cricket Liu
    Cricket Liu (China, 18 min., Julia Cheng), an aging Cricket Fighting master uses his ancient art to earn all he can for the grandson he is barely allowed to know. Matt struggles daily to remember what happened even minutes ago in I Love You, Wally (USA, 19 min., Simona Kubasova Prakash). In Keliling Bali (Bali, 4 min., Gary Bencheghib, DP Aitor Mendilibar), Gary and Sam attempt to circumnavigate the plastics-filled ocean surrounding Bali. On a rocky Danish island, five-year-old Tobias sets out on a quest to find its famed mythological creatures in The Trolls & I (Denmark, 19 min., Charlotte Madvig Schmidt).

    EXPECTED TO ATTEND: Directors Julia Cheng (’18), Simona Kubasova Prakash (’18) and Charlotte Madvig Schmidt (’18); DPs Braulio Jatar (’18) and Aitor Mendilibar (’13) and Producer Sam Bencheghib

    Cricket Liu

    Cricket Liu

    Also taking place during the course of the week:

    To Kid or Not to Kid

    The World Premiere of NYFA Doc prof Maxine Trump’s To Kid or Not to Kid on Sunday, November 11, 2018, 2:15 PM at the IFC Center.

    EXPECTED TO ATTEND:  Director Maxine Trump, Producer/NYFA DOCS Master Class prof, Josh Granger and PA/Production Coordinator and NYFA DOCS graduate Marie Vanderusten (’16).

    Grit
    The NYC Premiere of the NYFA Doc prof Tracie Holder-produced Grit on Sunday, November 11, 2018, 5:15 PM at Cinepolis Chelsea and onThursday, November 15, 2018, 12:45 PM at the IFC Center

    EXPECTED TO ATTEND: Producer Tracie Holder; Director Cynthia Wade, Sasha Friedlander; Executive Producer Abigail Disney

    RBG

    RBG 

    And screening as part of Thom Powers’ Short List:

    RBG – shot by NYFA DOCS instructor, Cinematographer, Claudia Raschke

    Free Solo – edited by NYFA DOCS instructor, Editor, Bob Eisenhardt

    Breslin and Hamill: Deadline Artists edited by NYFA DOCS Master Class prof, Geof Bartz – World Premiere/Closing Night Film

    DOC NYC has also tapped several of NYFA DOCS’ venerated faculty for panels and special sessions throughout the week, which will be announced shortly.

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  • New York Film Academy (NYFA) Hosts Fulbright Foreign Student Welcome Dinner

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    The tradition of hosting a welcome dinner for the incoming cohort of New York Film Academy Foreign Fulbright Grantees continued at the New York Film Academy College of Visual & Performing Arts in Los Angeles (NYFA-LA) last week.

    Fulbright Grantees with Dan Mackler, NYFA’s LA Campus Director, Amy Ellenberger, Miguel Cruz, NYFA´s Director of Fulbright Initiatives and Marcus Louis Fien

    Fulbright Grantees with Dan Mackler, NYFA’s LA Campus Director, Amy Ellenberger, Miguel Cruz, NYFA´s Director of Fulbright Initiatives and Marcus Louis Fien

    NYFA-LA Campus Director Dan Mackler, and NYFA Director of Fulbright Initiatives Miguel Cruz hosted the six Fulbright students who are on campus for the 2018/2019 Academic Year.  They include four grantees in the MFA Filmmaking Program, one grantee in MFA Documentary Filmmaking, and one grantee in the 1-Year Acting for Film Program. Represented countries are Spain (3), Paraguay, Peru, and Bahrain. NYFA is pleased to recognize a Fulbright finalist from Estonia as part of the group as well. 

    In recent years, NYFA has welcomed nearly 60 Fulbrighters to our campuses in Los Angeles and New York City. NYFA Fulbrighters have hailed from more than 30 countries. 

    Dr. José Siles, President of the Fulbright Alumni Association of Los Angeles, joined the celebration, as did Amy Ellenberger, NYFA Director of Recruitment, and NYFA Admissions Specialist Marcus Fien. Dr. Siles invited the Fulbrighters for a tour of NASA Space facilities where he is engaged in research.

    Fulbright grantee Maya Riquelme, with Amy Ellenberger, NYFA Director of Recruitment

    Fulbright grantee Maya Riquelme, with Amy Ellenberger, NYFA Director of Recruitment

    NYFA-LA Campus Director Dan Mackler enthusiastically stated, “For me, meeting the extraordinarily talented Fulbright students that come to study at NYFA-LA is one of the highlights of the start of every academic year.”

    Mackler continued, “In these global creators of visual and performing storytelling, I am provided hope for a future that will be both exciting and impactful. They connect us with a greater humanity.”

    The Fulbright Program is the flagship international educational exchange program sponsored by the U.S. government through the U.S. Department of State.  The Program operates in more than 140 countries and offers opportunities for students and young professionals, as well as for post-doctoral teachers and researchers to undertake international graduate study, advanced research, university teaching, and primary and secondary school teaching.  

    The Fulbright Program awards approximately 8,000 grants annually. Roughly 1,900 are to U.S. students, 4,000 to foreign students, 1,200 to U.S. scholars, and 900 to visiting scholars. In addition, several hundred teachers and professionals receive awards.

    NYFA is proud to be the school of choice for so many inspired and creative minds and to participate in numerous Fulbright initiatives, including producing two TEDxFULBRIGHT events and conducting documentary filmmaking workshops at the Fulbright Foreign Language Teaching Assistant (FLTA) Program Conferences. 

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  • Q&A with New York Film Academy (NYFA) Alum Sabrina Percario

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    Sabrina Percario has been very busy since graduating from New York Film Academy’s MFA program in Acting for Film. She has worked in multiple positions in film productions and has produced and acted in numerous multi-award-winning films, with several more on the horizon.

    Sabrina Percario

    Sabrina Percario

    Her journey to becoming a prolific and decorated actress and producer had an unconventional start. Born in Brazil, Percario originally worked for nearly a decade in medicine before gradually becoming immersed more and more in the world of drama. Her deep passion for the art and craft of filmmaking matches both her talent and her incredible work ethic.

    The New York Film Academy recently spoke with Sabrina Percario about the many hats she wears in the film industry, as well as what keeps her motivated and moving forward:

    New York Film Academy (NYFA): First, can you tell us a bit about yourself and what brought you to New York Film Academy?

    Sabrina Percario (SP): I was born in São Paulo, Brazil, and I have dual Brazilian and Italian citizenship. In college, I majored in biomedicine and for almost 10 years I worked in the field of Chinese traditional medicine. 

    I used to lead a lot of workshops in this field in front of large audiences of around 200 people — yet I was very shy. I decided I needed to do something to improve my effectiveness as a speaker. So in 2009 I went to an acting school called the Celia Helena Acting School. I immediately fell in love with acting. Acting is very fulfilling to me because I was always fascinated with human behavior. When you study a character, you put yourself in the place of that person. When you step into another person’s shoes, you suddenly understand why someone would act in a particular way. You stop judging people and, in the process, you learn more about yourself.

    I.C.E. CREAM at LAIFFA wins Best Producer - Sabrina Percario

    I.C.E. CREAM at LAIFFA wins Best Producer

    From 2011 until 2014 I worked as a drama teacher for children ranging in age from six to sixteen. Working with kids was one of my most satisfying life experiences. I learned to be more flexible and open to changes, more willing to let others lead the narrative, and more honest with myself about my feelings. During that period in my life I worked two jobs: I was an acupuncturist as well as a drama teacher.

    In November of 2013, I decided to enroll in NYFA so I could study my craft and improve my knowledge about acting for film.

    From 2014 to 2016 I worked on NYFA’s MFA program in Acting for Film. My thesis film Julia won several awards, including Best Leading Actress at the United International Film Festival (UIFF). Julia is a tribute to my mother, who died four years ago. I used the film to talk about grief and express my gratitude to my mom. She taught me to pursue my dreams — and that’s exactly what I am doing.

    NYFA: Your IMDB page is filled with all sorts of roles — actress, producer, writer, composer, to name just a few — do you feel it is important to learn as many trades in the film industry as possible?

    SP: Yes, it is very important. Everyone should learn as much as they can about the business, especially in the beginning of your career, so you have a holistic view of how a film is made. 

    It was important for me to wear many different hats on set. Having done these jobs, I have so much respect for all the departments. I know how physical and challenging the grips and electrical (G&E) department can be, and how essential they are in contributing to the director of photography’s view. 

    As an actress, I’m much more consistent and self-aware about continuity. That happened only after I was a script supervisor and had to take note of how full the wine glass was or its exact position on the table for every take. I learned similar things as a production designer and when I worked in the wardrobe department. All of this knowledge is tremendously helpful to my performance when I’m in front of the camera.

    For a year I explored all the different jobs on film sets and I realized I had to choose which department I liked the most and wanted to work with. I decided to be an actress and producer.

    As a producer I’m able to produce my own projects and cast myself in them. This gives me a certain amount of control over my career as an actress. I can also create my own voice with stories I think will inspire people. Being a producer has enabled me to meet a lot of people in different departments in the industry. The breadth of my extended network has helped me enormously as a producer when I’m casting my crew.

    As an actress, I want to be in a feature film. To that end I’m writing a feature film (In Search Of) inspired by my life. I want to say to all my international friends that it doesn’t matter where you are located as long as you keep doing what you love. I’m writing in collaboration with other screenwriters, both here in Los Angeles and internationally.

    Sabrina Percario in "Tell"

    Sabrina Percario in “Tell”

    I recommend trying out different departments if you still don’t know what you want to be. Become familiar with the universe behind the camera and then choose a route. Once you decide where you fit in, people will begin to associate your name with that specific department.

    NYFA: Is there something you haven’t done on a film yet that you’d like to try?

    SP: I would love to direct a film one day, but right now I want to have more experience producing one.

    NYFA: You’ve won a litany of awards for your work already. Your projects Tell, I.C.E. CREAM and Breaking are the latest to gain recognition. Can you talk a little about these projects and your roles in them?

    SP: My recent projects that I produced are still in the film festival circuit. My latest films are Breaking and I.C.E. CREAM. Breaking is a fable — it’s the inspiring story of a porcelain doll who overcomes her fears and breaks out of her snow globe. Our purpose was to bring awareness about those who have suffered from sexual harassment. So far, we have won three festivals, two finalists, seven semi-finalists, and seven official selections.

    I.C.E. CREAM is another project I had the honor of producing. This film portrays the life of an immigrant family in this new Trump era. Our purpose was to bring awareness about the collateral lives affected by the immigration policies in place. So far, we have won nine awards. 

    My overall purpose in my films is to touch people’s hearts, inspire them, and spread a good, positive message through the characters I play and the films I produce.

    Tell is a film in which I played the lead actress. Its logline reads: Expecting a visit from his ex, a once-famous alcoholic writer decides to play a game of shoot the apple, until the truth of tragedy unveils the outcome of his intentions. For that film I won three awards as best leading actress.

    "Breaking" produced by Sabrina Percario. Actress/ writer/Executive Producer: Alessandra Hajaj - Sabrina Percario

    “Breaking” produced by Sabrina Percario. Actress/ writer/Executive Producer: Alessandra Hajaj

    NYFA: Which of your many projects was the easiest for you to work on and why? Which was the most difficult?

    SP: Breaking was an easy project to produce because it was shot entirely in one location and the crew and cast had an amazing professionalism and respect for each other. Everything went smoothly. Julia was very challenging for me because I was doing the film as a tribute to my Mom, who died four years ago. When I made the film I was still grieving, and it was very hard for me at that time to accept the loss. I was playing myself in the film, so I channeled all my pain and feelings through the character. It was therapeutic to write, produce, and act in that film, and it helped me to accept loss. It gave me the opportunity to express my love in a poetic way.

    NYFA: What other projects are you working on?

    SP: I’m currently working on Mojave Shadows, in which I play the lead. Its logline reads: A woman named Susan hikes in the middle of the Mojave Desert while coming to terms with guilt about the death of her son. One night she is attacked by a rattlesnake, and in the harrowing process, finds herself. 

    I’m also producing another project called El Fred. Its logline reads: A not-so-imaginary childhood friend returns as an unusual vigilante to protect a struggling single mother and her bullied son. And in December I’ll produce my first documentary, about self-healing and self-knowledge.

    NYFA: What did you learn at NYFA that has applied directly to your career?

    SP: I’m very grateful to NYFA. Thanks to a very hands-on program, I was able to learn how a film works from script to final editing. I also learned that producing a film is a group effort, and each department is essential in creating a coherent film. There are no small roles. I learned that it’s very important to respect your co-workers.

    NYFA: What advice would you give to students just starting out at NYFA?

    SP: Be professional. It doesn’t matter if it’s just a class assignment or a student project, you will graduate with your friends and they will be in the film industry with you. Instead of just making a connection, work on building relationships. Be responsible and reliable. Most importantly, ask yourself every day why you’re doing what you are doing. Remember what it’s all about: this is your passion. It’s important to have a goal, a purpose. Pursue your dreams. Don’t let anyone say no to you. Believe in yourself and trust your instinct.

    I just want to say that I’m very grateful for NYFA. In less than a year I was already working in the film industry. That would not have been possible without the kindness and expertise of the wonderful and talented people at NYFA.

    The New York Film Academy thanks Sabrina Percario for her generous time and looks forward to following her continuing success! 

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    October 16, 2018 • #WomenOfNYFA, Acting, Producing, Student & Alumni Spotlights • Views: 1338

  • “Sympathy for the Devil” at 50: New York Film Academy (NYFA) Los Angeles Chair of Cinematography Tony Richmond Presents Restored Godard Film 

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    Fifty years ago, Jean-Luc Godard filmed an intimate, groundbreaking documentary about the Rolling Stones, capturing the recording of one of their most seminal tracks: “Sympathy for the Devil.” The 1968 documentary shares the same title, though it was originally titled One Plus One before its producers controversially took final cut away from Godard. sympathy for the devil

    The Museum of Modern Art (MoMA) recently held a limited theatrical release for the 50th anniversary of Sympathy for the Devil, which was kicked off with a Q&A with New York Film Academy-Los Angeles (NYFA-LA) Chair of Cinematography Tony Richmond, A.S.C., B.S.C. Richmond served as Godard’s director of photography on the documentary, and supervised the color grading of the newly restored, 4K version of the film.

    The restoration was done in London by Arrow Films, working off the still-preserved original 35mm negative. “It’s just wonderful,” says Richmond of the project, adding it was “such an honor to go back to a film I shot fifty years ago and give it another life.”

    Sympathy for the Devil was one of Richmond’s earliest films as director of photography. He has mostly worked on narrative features since then, including Don’t Look Now, The Man Who Fell to Earth, The Sandlot, and Legally Blonde. The London-born, BAFTA-winning cinematographer has resided as Faculty Chair of NYFA-LA’s cinematography school since 2015, where students receive hands-on training in the unique visual language of film with state-of-the-art equipment they can use on their classmates’ productions. 

    Sympathy was a landmark moment in rock and roll documentaries, preceding other films like Gimme Shelter and The Last Waltz. Along with a strong political message, the film captured the birth of one of the Rolling Stones’ most famous hits. It was also a turbulent shoot, with legendary French filmmaker Jean-Luc Godard butting heads with his producers, who changed his original ending. As an infamous story goes, at a screening of the film, Godard attempted to screen his original ending outside in the parking lot, and when one of the producers intervened, he punched him in the face. 

    Additionally, some of the film was shot on the streets guerilla-style, without permits. Some shots included jumping out of Godard’s car to film his wife, Anna, spray-painting walls, roads, and vehicles, and then hopping back in the car and taking off before the police arrived.

    With an incredible story told by the film and another one around the making of it, it was no surprise that MoMA would host a limited release on its 50th anniversary. The Q&A with Tony Richmond was held after the September 13 screening, which Richmond told NYFA was “a great success. I enjoyed the Q&A, telling them how much in awe I was with Jean-Luc Godard and what an honor it was to shoot a film for him at such a young age.”

    In a recent profile by Rolling Stone magazine, Richmond went into further detail about the shoot, describing how they would pre-light for each member of the band before they would stroll into the studio after a late night of recording and maybe some hard partying: “We knew where Mick was gonna be, where Keith was gonna be, where Brian and Charlie were gonna be, and it was lit in such a way that we never had to touch anything between takes or disturb the Stones in any way…

    “And then the guys would come in, and they’d get down to work, and we would shoot. We were very quiet, and we had a very, very small crew — just a guy pushing the dolly, a focus-puller, Jean-Luc and I, and everybody else was way in the background.”

    Speaking with NYFA, Richmond added, “I wouldn’t know what we were going to shoot until [Mick Jagger] arrived on the set. I can’t tell you how exciting and frightening that was.”

    All told, the new 4K restoration and MoMA’s limited release of Sympathy for the Devil went very well, and included both the theatrical and Godard’s original ending. Richmond told Rolling Stone, “I hadn’t seen it again on a large screen until recently. And I have to say, I think it’s really fantastic… You really see how they’re putting the music together.”

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    October 15, 2018 • Cinematography, Documentary Filmmaking, Faculty Highlights • Views: 255

  • New York Film Academy (NYFA) Alum Ilaria Polsonetti Nominated for News & Documentary Emmy

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    New York Film Academy (NYFA) Documentary school alum Ilaria Polsonetti’s film has been nominated for multiple awards at the 39th Annual News & Documentary Emmys. Made for VICE News Tonight on HBO, “Libya: Intercepting Migrants” is nominated for Outstanding Editor News and for Outstanding Continuing Coverage of a News Story. Winners are announced on the first of October in New York City.

    Ilaria Polsonetti

    Ilaria Polsonetti

    Polsonetti graduated from NYFA’s 1-Year Documentary program in 2011. She is also a graduate of the 3-Month Screenwriting program, which she finished in 2013. Over the course of her career, the editor has melded her knowledge gleaned at NYFA with her M.S. in Sociology (London School of Economics). After graduating, she worked for Market Road Films, Singer Street Films, and as a freelance editor.

    A screenshot from "Dirty Oil in Nigeria"

    A screenshot from “Dirty Oil”

    Since 2015, Polsonetti has worked for VICE in Brooklyn. With the expansive and ever-growing global media brand, she has had the chance to work on urgent and political topics such as Libya’s migrant crisis and Venezuela’s anti-government protests. VICE’s increasingly diverse and critically-acclaimed documentary series’ have been an ideal place for the multicultural filmmaker to hone her skills. In 2017 alone, Polsonetti worked on “German Hotelier turns Hotel into a Migrant Center,” “Dirty Oil,” and “The Politics of Terror” in addition to the aforementioned Libya piece. Along with her work for VICE, Polsonetti has worked on “The Notorious Mr. Bout” and “First to Fall.” She was also recently editor on VICE’s Raised in the System” starring Michael K. Williams (aka Omar on “The Wire”).

    Documentary Chair Andrea Swift says of Polsonetti’s work,”These nominations don’t surprise me in the least. Ilaria has always been an insightful and diligent editor who demonstrated a unique sensitivity to the human experience. She developed a strong sense of story that is equally evident in this piece.”

    The New York Film Academy congratulates Ilaria Polsonetti on her recent success and looks forward to seeing what she works on next! You can watch VICE on HBO’s documentary on migrants in the Mediterranean below:

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  • New York Film Academy (NYFA) Documentary Alum Releases Chilling Doc “A Sniper’s War”

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    New York Film Academy (NYFA) alum Olya Schechter recently released her film, A Sniper’s War, to rave reviews. The harrowing documentary focuses on a Serbian sniper named Deki, whose anti-US views caused them to join pro-Russian rebels in the Ukrainian conflict.

    The film’s official website summarizes the documentary as “[exploring] the ambiguous morality of war when social media becomes a communication platform for two rival snipers to schedule duels in hope to kill one another between the shadows of rival superpowers.” The filmmakers were given an unbelievable level of access to the conflict’s front lines and the military bases of those involved.

    A screencap from "A Sniper's War"

    “A Sniper’s War”

    The Hollywood Reporter called the film “powerful and disturbing” with “superb cinematography.” Despite positive reviews, however, the film has generated controversy online from those who have misinterpreted the film’s message as “pro-Russian propaganda.” Its rating on audience-driven sites such as IMDB has been torpedoed with 1-star ratings. As a positive review on Film Threat points out, “Schechter tried to keep politics out of it, telling the story of a man, not the story of a war.” She gives a comprehensive (and often tragic) background to her protagonist, who could otherwise be difficult for the average audience member to empathize with. “There is a fine line between a soldier and a killer,” Deki explains.

    The pro-Russian, anti-United States sentiment of the protagonist makes for bold subject matter. The film was released by Journeyman Pictures and joins a lineup of daring, diverse pictures such as I Love My Muslim (concerning a 62-year old Muslim marrying a 33-year old Libyan freedom fighter), Pani: Women, Drugs and Kathmandu (about opioid addiction in Nepal), and Take Light (concerning Nigeria’s electricity crisis).

    In July 2018, Schechter returned to NYFA’s Battery Park campus to screen her film for students and alumni in the Academy’s 1st Floor Theatre. Chair of NYFA’s Documentary school Andrea Swift joined the audience to support her former student.

    The New York Film Academy congratulates alum Olya Schechter on a breathtaking work of filmmaking and looks forward to following her already impressive career. You can watch the trailer to A Sniper’s War below, or buy it on Amazon here.

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    September 25, 2018 • #WomenOfNYFA, Documentary Filmmaking, Student & Alumni Spotlights • Views: 2511

  • Q&A with New York Film Academy (NYFA) Doc Instructor Maxine Trump

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    Maxine Trump is a filmmaker, producer, editor, and author. She is based in Brooklyn and teaches Documentary at the New York Film Academy. Her films Musicwood and To Kid or Not To Kid cover such varied topics as the state of the acoustic guitar industry and the decision to not have children, respectively. NYFA sat down with her and talked about her career as a documentarian and freelance filmmaker, as well as her new book:

    New York Film Academy (NYFA): How does the process for writing a book differ from writing a screenplay or documentary? Do you prefer one to the other?

    Maxine Trump (MT): That’s an interesting question. It’s very different, it’s a different way of talking to an audience. Although you still want to be accessible, it is more academic — no surprises there — writing an academic book.

    Maxine Trump

    Maxine Trump

    I never go for an academic voice in my films, everything should be entertaining, never educational. I tell all my students never to describe your documentary films as educational. Even the BBC has taken that word out of their mission statement. It just sounds boring, and your film will be boring generally, if it’s educational. You’re not making instructional YouTube videos, that’s a very different form of entertainment. Although I love hybrids, and being inventive with formats. So maybe there will be an amazing instructional documentary that someone will make and I’ll eat my words, but I’ve yet to see it. Werner Herzog comes close.

    Anyone want to experiment?

    NYFA: I watched your “Trumps Against Trump” short and Donald Trump was elected President shortly thereafter. How have you dealt with sharing his last name since?

    MT: That’s funny to be asked that question here, people ask me ALL the time. You know we often make documentaries to deal with something personal that we have wrestled with, even if it’s not obvious in the film we’re making. I know one famous documentarian that realized they kept making films that somehow always wrestled with a father figure. So this was my purging, I had to do something. And with all the crazy, shocking political decision-making right now, this film brings a little bit of light. Some humor, and helps me cope with my name. After all, as I’m told in the film by one great character on the street, the [guy] ruined my name.

    NYFA: You’ve covered disparate topics from the decision to children not having access to toilets to the acoustic guitar industry’s interaction with the environment. How do you decide to focus and hone in on topics that you think will make for good and worthwhile documentaries?

    MT: This is a lovely question, and one that I talk about a lot with the students. You will sit with your film for a very long time, so what are you passionate about? I’ve made documentaries with an underlying message, from the overloaded New York sewage system, to people deciding not to have children. But my films are entertaining. I don’t even like the phrase “social issue filmmaking” anymore, and I make them all the time. But, first and foremost, I think often about who might be coming home from a hard day at work and would want to turn on my film. I don’t want them to necessarily feel bad about life, I want them to feel like there is hope and be surprised and sometimes shocked and sitting on the edge of their seats and laughing, and crying, and want to see more.

    That’s filmmaking.

    Maxine Trump - Musicwood

    Maxine Trump’s “Musicwood”

    NYFA: What projects do you have coming up that people should keep an eye out for?

    MT: The beauty (and the bane) of freelance is that you’re always working, juggling about five projects any one time. But I love this life. Yesterday I was commissioned to write TV treatments for micro-docs for a TV network, today I’m talking to distributors about my latest feature documentary To Kid Or Not To Kid, about people deciding whether or not to have children. And this afternoon I’ll be pulling together casting ideas for a web series for public television that I’ve just been comissioned to make. And then, of course, I teach at NYFA. This lifestyle allows me to teach (and write) about real world examples.

    I love my flexible life, and it’s so great that NYFA supports faculty to work in this way. I think we have a really strong documentary department helmed by Andrea Swift and supported by Amanda Brzezowski, and it’s a joy to teach.

    The New York Film Academy would like to thank Maxine Trump for her time answering our questions and for all the hard work she does to educate NYFA’s Documentary school students. You can purchase her new book, The Documentary Filmmaker’s Roadmap: A Practical Guide to Planning, Production and Distribution here.

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    September 24, 2018 • #WomenOfNYFA, Documentary Filmmaking, Faculty Highlights • Views: 414

  • New York Film Academy (NYFA) Alum Elizabeth McLeish Is “Always Nice”

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    Elizabeth McLeish is a graduate of the filmmaking school offered at New York Film Academy Australia on the Gold Coast. After completing her studies earlier this year, she’s hit the ground running and has already founded her own company, McLeish Film & Media.

    McLeish Film & Media bills itself as a videography and content creation service, specializing in wedding & event videography and available in Gold Coast, Brisbane, Sunshine Coast, Mount Tamborine, and Byron Bay.

    Filmmaking has been a calling for McLeish for some time. Quoted on her website, she says, “I knew from an early age that filmmaking was going to be a life long passion. What started with a hobby of photography grew into a love for all things film.”

    McLeish followed through on that dream by attending New York Film Academy (NYFA). She continues, “After studying at the New York Film Academy, Australia in 2017, I grew as a filmmaker with my graduate film picking up multiple awards at festivals, both nationally and internationally.”

    McLeish credits NYFA for giving her “hands on experience with industry recognized cameras and equipment and having lecturers with extensive experience in the film industry.” During her time as a student at NYFA, McLeish most enjoyed “having the chance to meet creative, likeminded people and working together on each other’s film projects.” 

    Her motto – “be nice, always!”

    McLeish is putting that education and her multiple festival awards to good use. In addition to founding McLeish Film & Media, she is also working on her debut feature documentary, titled Kell’s Ride For a Cure. The film is to be shot in New Zealand later this year and explores the topic of early onset dementia as experienced by motorcycle enthusiast Greg Kelly. Australian media icon Ita Buttrose was also interviewed by McLeish and her team as part of the feature. 

    Should there ever be a film shot about her own life, McLeish says it would be “an adventure/comedy, starring Keira Knightley and the title would be Daydreamer.” McLeish plans to continue working on her documentary and running her videography business which, she says, “has been very successful, so I look forward to seeing where it takes me.”

    New York Film Academy congratulates Elizabeth McLeish on her success and commends her positive attitude and incredible drive!

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    September 5, 2018 • Filmmaking, Student & Alumni Spotlights • Views: 226

  • Greenlight Women and New York Film Academy (NYFA) Screen “The Girls in the Band”

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    On August 22, 2018, the New York Film Academy and GreenLight Women hosted a screening of the film The Girls in the Band, followed by a Q&A with director and producer Judy Chaikin, and moderated by GreenLight Women chair Marion Rosenberg.GreenLight Women: The Girls in the Band

    Chaikin started in front of the camera but found that she was more interested in the exciting challenges behind the camera and set her sights on directing. Since then, she has worked consistently in film, television, and theater, winning several awards including two Cine Golden Eagles, a Billboard Best New Music Video Director nomination, nine Best Film Festival awards, and an Emmy nomination for the PBS documentary Legacy of the Hollywood Blacklist.

    Her current film, the feature length documentary The Girls in the Band, is about the unknown history of women jazz instrumentalists from the early 1900s to the present day. The film took top prizes at five film festivals including the prestigious Palm Springs Film Festival.

    Rosenberg opened up the Q&A by asking Chaikin about why she chose the topic of women in jazz: “I came from a family of musicians; my mother was a songwriter, my brothers are … both professional musicians, my sister and I both were trained musically … she played flute, I played piano and trumpet and so music has been a very integral part of my life.”

    GreenLight Women: The Girls in the BandChaikin shared that when she was 13 years old, she was in her junior high dance band as a trumpet player and experienced gender discrimination like the musicians in her documentary. She added, “I absolutely adored it, but the boys … didn’t want a girl in their band, and I was discouraged … so I gave it up.”  Chaikin later regretted this so much that she jumped at the chance to produce a documentary about other women who experienced the same thing.

    Rosenberg asked Chaikin how she typically decides on the subject matter of her projects. Chaikin replied, “When you make a documentary, you gotta know going in that you’re committing yourself to a real long process. It’s gonna be years of your life, and if there isn’t something that’s in the documentary that is so personal to you — that has such meaning for you — it’s gonna be really hard to stay with it.” She continued, “It’s [also] very important to me to know that the subject matter I’m covering has deep roots in our society.”

    The New York Film Academy thanks Judy Chaikin for discussing her compelling documentary and for sharing her advice for film school students.

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    August 30, 2018 • Documentary Filmmaking, Guest Speakers • Views: 975

  • Q&A With High School 9-1-1’s Tim Warren and Kelli Joan Bennett


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    The New York Film Academy’s Los Angeles campus welcomed director Tim Warren and producer Kelli Joan Bennett for a Q&A following a screening of their award-winning, impactful documentary, High School 9-1-1 for summer high school students. NYFA Director of the Q&A Series Tova Laiter moderated the event.

    The doc follows a year in the life of the members of EMS-Post 53, a volunteer student-run ambulance service in the small town of Darien, Connecticut, where Warren himself had volunteered as a senior in high school. 

    Tim Warren is an American film and television producer whose credits include popular reality programs such as Bar Rescue, Extreme Makeover: Home Edition, and more. Kelli Joan Bennett is an actor and writer, who recently produced and starred in the feature crime-thriller Collusions, alongside Tom Everett Scott. Together, Warren and Bennett formed Boomerang Production Media in 1996, and it was under this banner that High School 9-1-1 was ultimately produced. 

    Laiter started the night off by inquiring after Warren’s motivation for pursuing the film, so many years after he had experienced life at Post 53. “I was sort of thinking,” he explained, “if I die tomorrow, what would I regret not doing? And ultimately, I always thought about doing a documentary on this organization that was so positively impactful on my life. And even though I didn’t go into the medical field, the things that I learned on the ambulance thirty plus years ago, I still use today as a producer and director.”Tim Warren and Kelli Joan Bennett

    Many of these lessons, Warren noted, came in the form of mantras from the organization’s beloved founder, Bud Doble. “One of them was, ‘Be prepared for what you find, but be prepared to change your mind.’ And that applies to not only when you’re on the ambulance, but when you’re in television and film.” Warren went on to paraphrase, “You need to have a plan. You need to have an idea of what you want to do. But you can’t be so married to that plan that you either miss a greater opportunity, or don’t see a problem that’s coming at you.”

    Over the course of several years following their almost year-long stage of principal photography, that lesson would come into play in more ways than one. The first cut of High School 9-1-1 was upwards of six hours, followed soon thereafter by a two-hour cut. After screening the film for an audience, and being told it was still too long, the two of them cut it down by another fifteen minutes. “We submitted the one hundred and four minute cut to the top ten film festivals,” Warren began. “We were [resoundingly] rejected. So we’re now seven, eight years into this process, a mountain of debt, and nobody loves us.” 

    Warren and Bennett returned to their professional lives for a time, until their collective spark was reignited after Bennett ran into the program director for the LA Film Festival. “The program director says, ‘Oh, I remember that film — great film. Too long. But don’t give up on that film.’ And she said that the film needed to be under 90 minutes. So, that reinvigorated us.”

    The pair then cut the film down to 86 minutes and launched a successful festival tour, screening at Heartland, Kansas City, New Haven, and more, as a part of the American Film Showcase program. After nearly ten years put into the project, its success was well-deserved. But documentary film, as Warren later attests, isn’t necessarily about success.

    “The thing with documentary that I always say is… you have to be really passionate about the subject matter.  And you have to go in pretty much knowing that it’s not your ticket to riches… If you’re thinking about doing a documentary, you have this feeling that, ‘I have to tell this story, and I’m going to tell this story — really — at any cost.’” 

    High School 9-1-1 is currently on a world-wide tour, screening at high schools and within communities, with the ultimate intention of “empowering young people through responsibility.” For behind the scenes, screening information, and more, visit here.

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    August 9, 2018 • Documentary Filmmaking, Guest Speakers • Views: 1344