New York Film Academy (NYFA) student Pablo C. Vergara recently worked on the independent feature film Adverse, a drama/thriller written and directed by Brian A. Metcalf. The film is being produced by the actor and musician Thomas Ian Nicholas, who previously starred in Rookie of the Year and the American Pie films, and who stars in Adverse as well.
Vergara hails from Mexico City and works as a cinematographer, actor, and filmmaker, among other roles. He enrolled at the New York Film Academy’s Filmmaking program in New York in Fall 2016, before moving to Hollywood to work on completing his MFA at NYFA’s Los Angeles campus.
Lou Diamond Phillips, Brian A. Metcalf, Thomas Ian Nicholas, Pablo C. Vergara
In July, Vergara had the opportunity to work as a production assistant on the set of Adverse, a role into which the always hard-working and committed filmmaker threw himself with gusto. While on set, he got to work closely with Nicholas and Metcalf, as well as stars Lou Diamond Phillips (La Bamba, Stand and Deliver) and Penelope Ann Miller (Carlito’s Way, Kindergarten Cop).
Describing his experience, Vergara said, “I had the chance to watch Thomas and Lou work together on a scene and that was truly inspiring. We exchanged knowledge between takes about their craft and life in Los Angeles in general — Lou was a really cool guy and with an amazing personality, cracking jokes and talking to the rest of the crew regularly.” He continued, “The shoot went well and after wrap up, everyone’s spirits were high.”
Pablo C. Vergara
A friendly, energetic personality, Vergara also spoke with Nicholas about a possible on-camera role. He got to spend a lot of time with the producer and actor, driving alongside him to and from locations in a U-Haul full of film equipment for the independent shoot. They discussed film and music and their own careers, as well as Nicholas’s previous Q&A with the New York Film Academy. In 2017, Nicholas and Metcalf screened their previous film The Lost Tree — starring Michael Madsen, Lacey Chabert, and Scott Grimes — for NYFA students, which preceded their guest panel.
Adverse’s locations included 4 Hearts Studios in Sylmar, CA, and a private home used for an entire day’s worth of shooting. Vergara got to see the newest RED 8K camera in action up close and personal. “Being a cinematographer myself, I was excited to see this fine piece of equipment operate, and the visuals it captured were fantastic!” he exclaimed.
Vergara added, “No doubt this film is going to turn out to be incredible and I was very fortunate to be able to be part of it for a few days. The entire team was very embracing and cordial, and it forged great friendships.”
The New York Film Academy congratulates Pablo C. Vergara on his exciting experience, and looks forward to seeing him return to NYFA next Spring to complete his MFA thesis!
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.”
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, visithere.
The theater lights dimmed, the first frames of film flickered across the screen, and the orchestra played their opening bars. Orchestra? Yes, orchestra, for this wasn’t just any film screening. This was the Los Angeles Live Score Film Festival, a celebration of the relationship between film and music, and that was the Helix Collective playing live as the films screened.
Held on July 21, 2018 at the Barnsdall Art Park Gallery Theatre, the festival featured the works of Los Angeles area film students, including five New York Film Academy (NYFA) filmmakers. Festival director Sarah May Robinson paired each of them with a composer from the Academy of Scoring Arts who scored the shorts.
On the night of the event, host Brian Ralston of the SCOREcast interviewed each director/composer team, asking them to discuss the experience of being matched with a total stranger and what it was like to work together.
Next, conductor Phil Popham picked up his baton and led the orchestra in a thrilling accompaniment for the films. Audiences were entertained by the films of NYFA directors Victoria Gagieva (Niara), Vicken Joulfayan (Liminal), Oliver Weinmann (The Pill), Nicolas Varela (Aphrodite), and Haily Lanyue Zhang and Majik Jingwei Zhou (Arrow and Oil).
But the excitement didn’t stop at the last “The End” because the audience was asked to vote for the Best Film and the Best Score. The tension was palpable as audience members texted in their choices. The winners for Best Film were Haily Lanyue Zhang and Majik Jingwei Zhou with Arrow and Oil, and their composer George Oldziey took Best Score. After their win, Zhang exclaimed, “I’m thrilled and excited! Now I have great expectations about launching into more film festivals!”
Zhou was also full of thanks, remarking, “I want to thank my parents. They supported me to come to the USA to study Filmmaking! Secondly, I want to thank my school. NYFA taught me so much knowledge about filmmaking and gave us this chance to represent the school in this festival. Especially, I want to thank my teachers Nick Sivakumaran, the Kohnen brothers — Matt Kohnen and Sean Kohnen — Carl Bartels, Sanora Bartels, Steve Morris. They are the best teachers, ever, ever!”
Their prize was a free studio recording of the orchestra playing their composed score.
All the filmmakers were winners, though, as each received a studio recording of their score for a nominal fee plus a free sound mix from Greenhouse Post.
The New York Film Academy congratulates all the filmmakers and wishes them continued success in their film festival runs!
New York Film Academy (NYFA) Acting for Film graduate Jordan Abbey-Young is living the Aussie dream – originally a boy from the bush, he recently finished shooting on the feature film Danger Close: The Battle of Long Tan. The Vietnam War drama was filmed at Village Roadshow Studios on Australia’s Gold Coast, adjacent to the New York Film Academy Australia campus co-located in Southport, Queensland.
Abbey-Young plays the role of Private Ron Eglinton alongside stars Richard Roxburgh and Travis Fimmel, best known for playing Ragnar on the History Channel’s original series Vikings.
Abbey-Young stated that NYFA provided “an environment where you could build that personal network of like-minded people all there for a common goal. In this industry you’re nothing without each other, and the relationships NYFA gave me (good and bad, not everyone gets along), have done nothing but propel me as a person and as an all-round creative individual.”
In preparing for entering the industry after completing his training, Abbey-Young says that his teachers “were very realistic people who got on the level with you. That more personable aspect is a huge benefit to NYFA, I feel. It’s a hard industry and having the people teaching you giving you that blunt reality at the same time, it makes you take things on board a lot more if you’re serious about giving it a go.”
He continued, “My motto has always been ‘Live Life Like A Movie’, so I’ve always had a very internal and a very narrated perspective of my life like it was being filmed.”
Along with his role in Danger Close, Abbey-Young will appear in another feature titled TheLastVideoStore. “It’s comprised of a lot of NYFA family from graduated actors, to filmmakers and lecturers, which has been really fun,” he added. As for his future, “I’ll probably go back to robbing banks and doing auditions,” he joked. “Keep an eye out for an eight-part web series entitled Don’t @ Me next year — a very talented lad decided I was worth putting in front of the camera for it.”
New York Film Academy’s Katherin Hussein and Robert (Bobby) Gutierrez are the most recent recipients of Entertainment Partners’ Movie Magic Scholarship Producer Award. The scholarship is sponsored by Movie Magic, a software program for production professionals. Both students come from the Spring ’16 MFA Filmmaking Feature Track.
Katherin Hussein is a Spring ’16 MFA Filmmaking graduate at New York Film Academy’s Los Angeles campus. Originally hailing from Venezuela, Katherin is currently in development on her first feature film, The Unfinished. The film is about a recently orphaned twelve-year-old who girl who must stop a monster before it destroys her mother’s legacy. The monster is from an unfinished painting.
With this award, Katherin is recognized for her outstanding development effort on The Unfinished, including the creation of a beautifully crafted and visually powerful proof of concept to support her fundraising efforts.
Robert (Bobby) Gutierrez is a Spring ’16 MFA Filmmaking graduate at New York Film Academy’s Los Angeles campus. A native of Wyoming, Bobby has an extensive background as both an actor and director on stage and in films. He is in development on his film directorial debut, Safe, about a death row inmate who relives his time spent with a wild young couple on a deadly crime spree across the badlands of Montana.
Bobby is recognized for his outstanding development of the film’s script, adapted from a play by Ron Fitzgerald. A consistently excellent and ambitious student, he is a very worthy recipient of this recognition.
The New York Film Academy congratulates Katherin and Bobby on their well-deserved awards and looks forward to the completion of their feature films and to all their future successes!
Interested in studying filmmaking? Check out more information on New York Film Academy’s programs here.
Carolina Sosa graduated in 2017 from the New York Film Academy (NYFA) Los Angeles campus with a Master of Fine Arts in Documentary. Since then she’s been hard at work on Trumphobia, a feature-length film that originally started as her thesis documentary.
Carolina is one of many notable alumni and faculty to hail from the NYFA Documentary School, including instructor Kristen Nutile, who edited the Oscar-, Peabody-, and Emmy-nominated Heroin(e) on Netflix, and RBG’s director of photography and NYFA Documentary professor Claudia Raschke. Ranked as a top documentary filmmaking school for the past eight years, holding a coveted spot on The Independent Magazine’s list of the Top 10 Academic Programs for Documentary Filmmakers, the New York Film Academy’s documentary program aims to prepare students for the practical challenges, opportunities, and realities that arise when creating documentary films.
It was no surprise, then, when NYFA alum Carolina Sosa recently received a $10,000 grant from the Rogovy Foundation, an organization that works “to build a more enlightened and harmonious planet,” and supplies grants to documentaries and other “highly targeted projects which will have a measurable impact.”
Recently, Carolina spoke with the New York Film Academy about her film Trumphobia, her time at NYFA, and other projects she is currently working on:
New York Film Academy (NYFA): First, can you tell us a bit about yourself and what brought you to New York Film Academy?
Carolina Sosa (CS): I’m from Uruguay, I’m 27 years old, and I got a Fulbright scholarship to study a master’s degree in documentary filmmaking, and NYFA was the school that gave me the highest tuition award from all the schools that I have applied; also the program was located in Los Angeles.
NYFA: Why have you decided to focus on documentary filmmaking?
CS: I like to use art as a tool for change. I believe that reality is often more fascinating than fiction, and I want to dedicate my life to tell true stories that inspire, promote justice, and can make a difference in this world. And also, because I love to travel and share my view with others.
CS: Trumphobia: what both sides fear (tentative title) is a feature documentary about the political division in the United States and how Donald J. Trump’s rhetoric increased that division with the help of the mainstream media. On one side, he gave strength and safety to his supporters and, on the other side, he imposed fear and anger on his opponents, which led to major confrontations, protests, and counter-protests across the country. Trumphobia analyzes the reasons for the political division, provides a moving description of Trump’s supporters along with the people who are most affected by Trump’s policies, and proposes empathy and compassion for all as a possible solution to the turmoil. The documentary has the participation of the Green Party presidential candidate Jill Stein, New York Senator Michael Gianaris, Berkeley professor of cognitive science and linguistics George Lakoff, Ph.D., professor of psychology and social behavior Peter H. Ditto, six hate crime victims and witnesses from both sides, representatives of major organizations, many of Trump’s supporters and opponents, and includes footage from more than thirteen debates, marches, and protests across six states.
NYFA: What inspired you to make Trumphobia?
CS: The documentary started as part of my master’s thesis. I was looking for a subject matter right when Trump got elected, and I thought that making a documentary about a current topic that affected millions of people was worth my long work. Especially because I wanted to portray both sides of the story — his supporters and opponents — and I wasn’t seeing much about the right side on the media, so I wanted to be one of the first ones to make a documentary that actually tried to be objective when it comes to politics. The good thing is that most of the crew was international, so we all had an outsider perspective that allowed us to listen without immediately judging. And the one thing that got my attention the most was the articles about hate crimes related to the election and the violent confrontations between people, so it’s not about Trump’s policies — it’s about critical thinking and how moral values determine our worldview. I believe we are all biased, and we need to be more empathetic with others to overcome our differences.
CS: Thanks to NYFA, I became a member of the International Documentary Association and, through their website, I searched for all the grants that I could apply and that’s how we heard about the Rogovy Foundation. We have applied for more than ten different grants, it’s a long and tedious job to prepare all the documents and materials for each grant, but it was worth it because we got their Miller / Packan Film Fund for the postproduction of our film, and they have been very supportive. Moreover, the IDA accepted our project and they became our fiscal sponsor, so that’s also good news.
NYFA: That’s great news! What are your plans for Trumphobia?
CS: For the thesis, I made the first 20 minutes of the film and, since September 2017 when I graduated, I have been working on the 90-minute version. It took me a lot of time because I started working as an editor right after school, and so I have been very busy. But I have never given up, even without money or with a full-time team, I truly believe in the message of the movie and I’m very proud of the result so far, thus we are still working on it. We shot the movie during a year almost and there is always a new thing with Trump, so it takes a lot of work to edit many hours of footage and do constant research, but we are almost there. We are planning to have a final cut that we can send to the Sundance Film Festival in September, and then really finish the movie in October. After that, we will send it to more festivals and try to find online distribution immediately.
NYFA: What other projects are you working on or do you plan to work on?
CS: For the 1-year project of the school, GuangLi Zhu and I made a short documentary about the killing of pets in animal shelters, called Exit the shelter, and I have been promoting that short as well. We received the award of Best Film at the Los Angeles Television, Script and Film Festival and an Award of Excellence at the Hollywood International Independent Documentary Awards, and we are still waiting to see other festivals’ results. GuangLi was one of my classmates and he is back in China now, but I have partnered with the LA Animal Services and other shelters, so we recently did a screening of the short and a fundraising event to help the pets in two different shelters. Meanwhile, I work as an editor, producer, and cinematographer at Dame Dash Studios; right now I’m editing a documentary about a trip to China for them, but I’m also working as a camerawoman for Harrison Engle (former president of IDA) for one of his documentaries. And every once in a while, I work freelance on other small projects. I’m a workaholic, I work eight hours (or more) at my job every day, then I get home and I work four hours on Trumphobia, and on the weekends it’s all about Trumphobia.
NYFA: What did you learn at NYFA that you applied directly to your work on Trumphobia, or your work in general?
CS: The documentary department at NYFA was very helpful with my project Trumphobia. Since the topic was so urgent, they allowed me to borrow the equipment in November 2016, while all my other classmates shot their thesis in June 2017. I pitched the project when Trump got elected and I asked them if I could travel across the U.S. in the winter holidays so I can shoot what I needed, and with almost no bureaucracy involved they said yes, so I’m always thankful for that. They gave me the freedom to do what I wanted and the resources that I needed when I asked for it, because I shot through the whole year several times and they never said no. I can imagine that this could have been very different in other schools. NYFA gave me the tools that I needed to feel prepared to shoot across the country with little resources.
NYFA: What advice would you give to students just starting out at NYFA?
CS: My advice to new students is to think big, work hard, go to all the events, conferences, and workshops that you can (even the ones that are not related to your degree); go out, meet people, build your network, and apply to as many grants, scholarships, and festivals that you can — you never know who you are going to meet, what you are going to receive, and what you are going to learn.
The New York Film Academy congratulates Carolina Sosa on her recent grant and looks forward to the completion and distribution of Trumphobia and Carolina’s continued career!
Interested in learning documentary filmmaking? Check out more information on New York Film Academy’s programs here!
Kazy Tauginas is an artist who wears many hats. He’s an actor, having appeared in television shows such as Sneaky Pete, Blindspot, Person of Interest, Turn, Blue Bloods, and Law & Order: SVU, and blockbuster films including John Wick and The Equalizer 2. He’s also a producer and writer, having worked on an award-winning and very personal short film, Standing Eight.
Tauginas grew up outside of Chicago, and was a restauranteur and Golden Gloves boxer. In 2009, he decided to follow his lifelong passion in writing and acting, and attended the 1-Year Acting for Film Conservatory at the New York Film Academy’s New York City campus. He has been performing steadily since graduating, which isn’t just a testament to his talents. Taguinas is also extremely committed to his art, putting everything he has into every role. “No matter what the project,” he says, “I want to always be the best me I can be.”
Tauginas can currently be seen in theaters with Denzel Washington in the follow-up to The Equalizer, directed by Antoine Fuqua. He recently spoke with the New York Film Academy about his time on set, his award-winning film Standing Eight, and the continuing experiences that make him the storyteller he is today:
Photo Credit: http://kazytauginas.com
New York Film Academy (NYFA): First off, can you tell us a bit about yourself and what brought you to New York Film Academy?
Kazy Tauginas (KT): I grew up just outside of Chicago. Attended the University of Delaware for undergrad. After college, I ended up running a 24-hour diner for 4+ years. When my lease was up, and of no fault of my own, I was forced to walk away from the restaurant business. This event brought me to a fork in the road career-wise. I decided to follow my heart and go after my true dream, which was acting and writing. That life-changing decision led me to NYFA, where I graduated from the Acting for Film Conservatory program in August 2009.
NYFA: Why acting? What inspires you most about this craft, and what stories are you most passionate about telling?
KT: I’ve always had an affinity for film since I was a child. I can probably trace back most of my notable childhood events to the films that coincided with them that particular year. I was also an only child, so I had to keep myself entertained. I would create epic adventures for my G.I. Joes. I would run around the backyard pretending I was Indiana Jones. It wasn’t until later in life that I realized I actually enjoyed performing.
Photo Credit: http://kazytauginas.com
What appeals most to me about acting is the ability to step into the shoes of others. Being able to experience different human emotions and walk away (mostly unscathed). I love creating characters. I love being able to surprise people. When I was younger, I always enjoyed a good action movie. But I feel now, as I’ve matured, I prefer films with strong performances — the genre doesn’t matter. If the performances in the films are rooted in truth, I’m entertained. At the end of the day, I just want to be truthful on screen and take people on an emotional ride.
NYFA: You’verecently produced a short film called Standing Eight. Can you talk about this project, and what it took for you to make this film?
KT:Standing Eight is an award-winning dramatic short film about a professional boxer who is forced to retire and contend with his life outside of the ring after being diagnosed with systemic lupus. It’s a story about a man who is trying to face the fact that he’s been beaten by a disease. The conflict only escalates when his former would-be opponent begins trolling him.
This project was a labor of love. Through and through. My inspiration came from my mother, who has been fighting Systemic Lupus Nephritis since before I was born. Lupus affects millions of people around the globe, yet so few people even know what the disease actually does to the body. (It’s an autoimmune disease wherein the body’s own immune system attacks healthy organs and tissues.) Louis Peduto, Brian Kazmarck, and I made a hard commitment to work with each other in a Producer, Director, Writer/Actor capacity. I wrote the first draft of the film at the end of 2014. From that point, we went through multiple drafts of the screenplay, two successful Kickstarter campaigns (one for actual production, one for post-production). Principal, post, festival submissions, and finally an incredibly successful indie festival run. The film was an Official Selection at 28 festivals worldwide. We were nominated for 22 various awards. In the end, we took home 11 different festival awards and 4 Honorable Mentions. I think the film is accomplishing what I originally set out to do, which was raise lupus awareness. Just recently I was contacted by the Lupus Foundation of America, and we’re going to be working together to promote the release of Standing Eight on Amazon.
NYFA: That’s incredible, congratulations. You’re currently co-starring in the Denzel Washington film The Equalizer 2. What was the casting process like for that?
KT: My manager put together a push. Betty Mae Casting agreed to give me an opportunity, which I was and am eternally grateful for. We sent over a self-tape that same night. A week later I was on a plane to Boston. No callback. Straight off tape. I was told they did visit my website. (So, actors: have a website with all your materials readily available. You never know who’s looking.)
NYFA: Any fun stories or lessons learned while on set for The Equalizer 2?
KT: To be honest, the entire shoot was a blast. I was in Boston for almost three months. Shooting the climax was physically challenging, but WORTH EVERY SECOND. I worked incredibly hard with the stunt team to make sure I looked the part. I put in hours of training with the rifle. Huge shoutout to Jeff Dashnaw and Mick Gould. Jeff was the stunt coordinator and put together an incredible team. I’m sure Mick got sick of all my questions at some point, but I’m a perfectionist. I was hellbent on not being the weakest link.
My favorite moment was definitely when I ad-libbed a bunch of lines and Antoine Fuqua absolutely loved it. He jumped out of the van, grabbed my shirt, and said “That’s what I’m talking about!!!” Having a director of that caliber — especially one who I’ve been a fan of for so many years — to give such positive feedback was overwhelming. It was one of those moments in life that just reaffirms that I’m on the right path.
Photo Credit: http://kazytauginas.com
NYFA: How were your experiences different between Standing Eight and The Equalizer 2?
KT: On Equalizer, my only function was to act. So it was relatively simple. Everything was laid out for me and all I had to do was bring my A-game. When you’re an actor, I tend to think of myself as one color on the canvas. When you’re a filmmaker, you’re a painter. On Equalizer I was paint. On Standing Eight, I was more of a painter. Standing Eight was a challenge because I had to wear so many different hats. Luckily, by the time we went to principal photography we had ironed out most of the producing and writing kinks, and I was able to concentrate on my performance. So my experience on Standing Eight was more complex. But to be honest, they were both incredibly rewarding, just on different levels.
NYFA: Was there anything your experiences on Standing Eight and The Equalizer 2 had in common?
KT: Absolutely. My commitment. Whenever I put my name on anything, I put my heart and soul into it. As an actor, Equalizer was the opportunity of a lifetime and I treated it as such. I felt exactly the same on Standing Eight. I wanted my painting to be perfect. No matter what the project, I want to always be the best me I can be.
Photo Credit: Sony
NYFA: What did you learn at NYFA that you applied directly to your work on either Standing Eight or The Equalizer 2?
KT: What didn’t I use? Everything you learn in acting school becomes applicable at different points in your career.
NYFA: You’re currently working on the film Invisible Love, produced by NYFA Chair of Broadcast Journalism and Emmy Award-winning Bill Einreinhofer. What was the casting process for Invisible Love?
KT: [Former NYFA Chair of Acting for Film] Peter Allen Stone and I are connected on social media and he’s been following my journey since I left school. My understanding is that Bill mentioned something to him about the project he was producing and needing talent. Peter threw my name out there. It just worked out splendidly. I auditioned for them. Apparently, I did well, so the offer came in. I love the character they want me to play. I’m really looking forward to working on it.
NYFA: What’s next for you? Any upcoming projects you can tell us about?
KT:I’m currently working on a huge film for a streaming service with an incredibly talented cast. Unfortunately, that’s all I’m allowed to say. Invisible Love is supposed to go into production in the winter. As far as producing, I’m working on putting together a feature film with very similar elements as Standing Eight. It’s my dream to put lupus into mainstream dialogue so we can actually make finding a cure a reality.
Photo Credit: http://kazytauginas.com
NYFA: Do you have any favorite NYFA moments from your time studying with us?
KT: I have very fond memories of my experiences at NYFA. So I took full advantage of the program while I was there. I think I ended up doing about 50 student films by the time I graduated. I went to every Q&A — got to meet Melissa Leo and Christopher Plummer. I made lifelong friends with some of my classmates and teachers. I really did have wonderful teachers. Lea Brandenburg engrained in my brain that when you’re on camera, you keep it simple. I remember by breakthrough in learning how to cry in Peter Allen Stone’s voice and movement class. Dressing in drag as my activity in Meisner class. I did that because James Price said that “manly men” like me would never do something like drag. Challenge accepted, sir. Bela Grushka was always so encouraging of my work.
Our thesis film, which was directed by Victor Verhaeghe, was something my entire class was so proud of. We worked incredibly hard and made phone calls during our lunch break and sent out postcards to every single agent and manager in NYC to invite them to our screening. I really learned so much from that program. I feel like by the time I graduated, I was a different person.
NYFA: What advice would you give to students just starting out at NYFA?
KT: Take advantage of everything NYFA has to offer. Go to workshops. Screenings. Talks with industry people. Meet filmmaking students. Meet writing students. Go to class prepared. Study. Shoot. Act. Apply everything you learn while you’re still in school. Find the other people who are as hungry as you are. Let your inhibitions go. LEARN. Be humble. You have to be a sponge to learn. Focus on the task at hand. Become the best you that you can be.
In 2009, I fully committed to being a creative. If I can do it, you can do it.
The New York Film Academy thanks Kazy Tauginas for his generous time and thoughtful responses, and congratulates him on his current success. We look forward to seeing what the future brings for Kazy!
If you are interested in learning Acting for Film at the New York Film Academy, you can find more information on our programs here.
This summer, fifteen students from Beijing Normal University (BNU) completed a 2-Week Filmmaking Workshop at the New York Film Academy (NYFA) at its Los Angeles campus. Learning many of the aspects of making a movie — including directing, producing, acting, screenwriting, cinematography, and lighting — the students were prepared to edit and complete their films.
The students found the process to be exhausting, but fulfilling, and were wowed by NYFA’s access to the Universal Studios Backlot, the world-famous lot where movies such as Back to the Future, American Beauty, and Steven Spielberg’s War of the Worlds have been filmed. Universal Studios has a special relationship with NYFA. Students have the unique opportunity to spectate the importance of “studio life” to the Los Angeles area up close and first-hand, while also getting the one-of-a-kind experience of shooting on the lot themselves.
Some of the students from BNU were surprised at how much different the Hollywood film industry is from the Chinese film industry, despite many similarities. Chinese cinema has been around nearly as long as the medium of film itself, so as it evolves into the 21st century it is introducing decades of its own styles and techniques to both the global market and cultural landscape.
China’s influence and importance to the cinematic arts is exactly why the New York Film Academy (NYFA) has established a presence there, having offered local workshops in Shanghai and Beijing. This summer, NYFA is hosting two workshops in the capital city. A 4-Week Filmmaking Workshop is currently in session this July, and another 1-Week Workshop will commence later in the summer.
By coming from China to Los Angeles, the BNU students have been afforded a unique experience and process for learning the craft of filmmaking. The Beijing Normal University is a public research educational institute in China’s capital city, and, with over 20,000 current students, is one of the nation’s oldest and most prestigious universities.
The BNU students were quite complimentary of NYFA’s instructional techniques, as well as its rich and colorful aesthetic. After the two-week program, which lasted from July 9 – July 20 and included producing, marketing, and publicity classes, they had learned how to successfully make their own film from start to finish, from pre-production all the way to distribution.
The BNU students screened their films at the end of the workshop. NYFA instructors were impressed with their creativity and storytelling chops. After the screening, the students remarked how touched they were by the instructors’ attention and care, as well as the comprehensive education they’d received along with hands-on experience and the lifetime memories of shooting on the Universal Studios backlot.
If you are interested in attending New York Film Academy’s filmmaking workshops, you can find more information here!
Heroin(e), a Netflix-produced documentary edited by New York Film Academy (NYFA) instructor Kristen Nutile, has been nominated for an Emmy. This adds to its rave reviews and other major award nominations, including for the Peabody and, earlier this year, for an Academy Award. Heroin(e)’s producers join NYFA alumni, guest speakers, and other NYFA community members with nominations for the Emmy this year, including Bill Hader and Issa Rae.
One of Netflix’s acclaimed original documentaries, Heroin(e) is directed by Peabody Award-winning documentarian Elaine Mcmillion (Hollow, The Lower 9). The film offers an intimate and harrowing view of the nation’s opioid epidemic through the stories of three women in Huntington, West Virginia — a city now infamous for an overdose rate 10 times the national average.
The nominations for the 39th Annual News and Documentary were announced on July 26 by The National Academy of Television Arts & Sciences, who also annually distribute the Daytime Emmy Award and Heartland Emmy Award, among other accolades. The News & Documentary Emmy Awards will be presented on Monday, October 1st, 2018, at Jazz at Lincoln Center’s Frederick P. Rose Hall in the Time Warner Complex at Columbus Circle in New York City. The ceremony will be attended by more than 1,000 television and news media industry executives, news and documentary producers, and journalists.
Heroin(e) is nominated for Outstanding Short Documentary, and is one of 112 nominations for streaming juggernaut Netflix, who for the first time this year leads all networks in total noms, beating out HBO (108) and NBC (78).
Heroin(e) was edited by Kristen Nutile, who teaches for the Documentary School at New York Film Academy’s New York campus, a program featured on The Independent Magazine’s list of Top 10 Academic Programs for Documentary Filmmakers. The school boasts both award-winning alumni and faculty.
Nutile is a prolific filmmaker in her own right, having edited two dozen films in addition to directing six of her own. She founded Soft Spoken Films in 2001, and is a recipient of the Albert Maysles Award for Excellence in Documentary Filmmaking.
The New York Film Academy congratulates documentary instructor Kristen Nutile and Heroin(e) on its incredible run of prestigious nominations and wishes them the best of luck at this year’s Emmy Awards!
Interested in studying documentary filmmaking with the New York Film Academy? You can find more information here!
The New York Film Academy-Los Angeles recently partnered with Actors for Autism (AFA), providing “hands-on,” college-level filmmaking courses as an extension of the AFA filmmaking program where students write, shoot and edit their own films. Speaking about the collaboration, NYFA’s Chair of Community Outreach, Mason Richards, said “At NYFA we believe that diversity in the film industry goes beyond race and gender, it also includes ability among other things. And we are wholly mindful about training and creating opportunities for people on the spectrum along with other underrepresented groups. The students were amazing.”
Actors for Autism is a 501(c)3 nonprofit organization dedicated to the advancement, education, and training of people on the autistic spectrum by providing new and innovative programs in the Arts, Film & Television, Animation, Visual Effects, and Video Game Industries. According to their mission statement, Actors for Autism believes that people on the autistic spectrum should live as integrated members of society. Inclusion should be a reality, not a dream. For the last 15 years, AFA has been a pioneer in developing new and innovative programs, providing media & technology training that assists their students in finding employment after they complete their education. There are a variety of companies that have partnered with AFA to provide their students internships and job opportunities.
The young AFA filmmakers shot scenes from their short films on NYFA-Los Angeles in-house sound stages in Burbank, and on the Universal Backlot. In addition, they also did ADR and post-production at NYFA with instructors Huch Platt and John Briscoe. Liz Fenning, Program Supervisor at Actors for Autism added, “To our students, it meant everything to them to make films with NYFA, and to have NYFA’s caring faculty and staff support them, as they got to live out their dreams working with high-quality equipment shooting on a studio lot. There is no measure for the joy it brought to them.”
Fenning continued, “Not only did we notice distinct changes in the students’ technical knowhow, but more importantly, we noticed that they were better able to trust their instincts and pursue their passions with greater confidence. Essentially, it allowed our students to take the leap from viewing themselves as students of film, to directors, screenwriters, and talent.”
Once the students completed the semester-long filmmaking program, NYFA hosted a private screening for friends, families, and supporters of the young filmmakers at the NYFA theater. Actor and AFA supporter Jack Dylan Grazer, who recently starred as Eddie in the Stephen King adaptation It and will be appearing in the superhero filmShazam, showed his support by attending the screening, and was very impressed by the student films.
About Grazer’s involvement, Fenning stated, “Jack Dylan Grazer has been an incredible supporter of our program. It meant the world to the students, that a young and accomplished cinema artist, would take his very limited time to show support and appreciation of their work. For him to be present at the ceremony at NYFA left them speechless — truly, to have a peer in the industry take the time to celebrate their work has made an indeliable mark on them.”
Since receiving their Certificates of Completion from NYFA-Los Angeles, two of the student filmmakers so far have gained employment at local production companies, while others are interviewing and still looking for employment.
“We cannot thank NYFA enough for this partnership. With this program, NYFA truly demonstrates what it means to be a leader in the Los Angeles film community. For our students, they have provided a life changing experience. We are beyond grateful for NYFA’s generosity, and are awed by its heart for this population of artists, so often overlooked by the film community at large.”