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  • Q&A with New York Film Academy (NYFA) Filmmaking Alum Furaha Bayibsa

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    New York Film Academy (NYFA) alum Furaha Bayibsa has kept herself very busy since graduating the Fall 2015 1-year Filmmaking program—not just as a writer and director, but as a producer as well.

    Bayibsa is very passionate about her craft after growing up with a love of film and television. She seeks out artists who share that passion, and strives to work with those who truly care about what they’re putting on the screen. 

    Furaha Bayibsa

    With that in mind, Bayibsa produced a feature film called Landfill, directed by MFA Filmmaking student Yesser Laham, as well as produced a few short films together with other NYFA alumni. In between producing projects, Bayibsa continues to write screenplays that she plans to either sell or direct herself.

    New York Film Academy recently spoke with Furaha Bayibsa about some of her work, what drives her as a filmmaker, and her love for all things Shonda Rhimes:

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

    Furaha Bayibsa (FB): I was born and raised in Stockholm, Sweden, but originally from Congo. I’ve always been kind of obsessed with TV and movies. It’s kind of cliche because every filmmaker says that (haha) but really… It was cringe. Movies and TV was the only thing I was talking about. At work people told me to shut up. My friends got upset because every Friday night were occupied for “Shonda Rhimes TGIT.”

    It wasn’t until my mom was like “Okay Furaha, it’s time to choose school because you can’t be home watching movies all the time,” and I was like “Okay, I’m going to film school in LA then.” It was an awkward silence at first, but then she said “okay” and four months later I got my acceptance letter.

    Furaha Bayibsa

    NYFA: Can you tell us about your film 1989 and what inspired you to make it?

    FB: My older sister is a politician in Sweden for the Social Democratic party, a party running Sweden as we speak. The party basically stands for equality and giving back to the less fortunate. She’s my biggest role model, and I’ve always wanted to be like her. Do something meaningful, so my entire life hasn’t just been movies. It’s been movies, demonstrations, manifestations, voting parties, lectures, and a lot of political engagement. 

    Discovering Shonda Rhimes, I realized I could use a film as a tool to speak about really intense stuff, and not make it too much of a lecture. So I decided to make a film about rape, and make it as a ten-minute real-time moment in a couple’s life where they are discussing the topic casually, like couples do all the time (or in Sweden at least).

    I remembered a guy telling me this story of how he was sexually harassed by another man one night, and he never told anyone because he was embarrassed, but it really affected him. It pissed me off, because—hello—this happens all the time, so why should he feel embarrassed? So in the film I have the couple watching a news broadcast about a rape victim who killed their attacker, and then got convicted. After the broadcast we’ll find out that the man is enraged, and his fiancee doesn’t understand why. So they go back and forth until… you need to watch the movie, haha.

    “1989” (2018) Official trailer from Furaha Bayibsa on Vimeo.

    NYFA: Can you tell us about Caminante, Caminante: La Leyenda del Huay Chivo and what inspired you to make it? 

    FB: One of my closest friends, Luis Quijano—we met in film school. He pitched the idea to me 18 months ago. He’s obsessed with horror movies, and he’s from Mexico, so he wanted to make it in Spanish. When he was younger, he worked as a missionary in Mexico, and he grew up hearing a lot of folk tales about monsters in the woods. 

    The “Huay Chivo” is a Mayan beast—half-human and half beast with really creepy eyes. He can turn himself into a goat, a disguise he uses to eat livestock (at least that’s what I understood from it). Luis really wanted it to be as authentic as possible, so together with our friend and cinematographer Andrii Lantukh, we literally went in with our hearts and souls and we made the legend come to life. 

    I produced it together with Luis and it was the realest experience I’ve ever had as a filmmaker. I knew it would be. Luis is amazing at what he does, Andrii too. We’re turning it into a feature film as well. So much fun.

    Furaha Bayibsa

    NYFA: How do you decide which films to produce? What draws you to them?

    FB: In the beginning, I’d get a text saying “Hey Furaha, I have a friend who needs help… are you free?” And that’s literally how it’s been. Just me being nice, saying “yes” to almost everyone. Then I guess the word got out that “Hello everyone, Furaha produces movies and she can raise money too!” And I realized that okay maybe I should find a strategy because I’m only one woman. 

    I’ve tried to produce several short films at the same time, and line produce them too with directors I didn’t connect with. So I had to step back one day and think, “Okay Furaha, why are you here? Because you love storytelling right, not producing.” So now I ask for three things before even agreeing to a meeting. “Script, crew list so far, and budget.” Script to see if I need to help them develop it a little more, budget meaning what they want for the film, and how much money they have on their own so far. 

    Then I read the script, break it down in my head, check the budget, google search the crew. I take my notes, then I meet with them. Even if the material is flat I meet with them because sometimes they have no idea what they’re talking about but they’re just so adorable in person and I kinda love them instantly.

    Furaha Bayibsa

    So I decide to work with them anyways and help them with literally everything – hold their hand through every step until they don’t need me anymore. Because what draws me in is the director’s passion. The story is more important to me than the script, so I always ask them “tell me about the story” and if I can sense that they love filmmaking as much as me in that meeting, and I can laugh with them (super important), then let’s go. The process sounds strict, but the ones I’ve worked with have appreciated my straightforwardness and work ethic, so there must be something I’m doing right (right?) 

    NYFA: You have produced, written, and directed—do you have a particular preference for one of these roles?

    FB: Writing and directing goes hand-in-hand for me, and they are my favorites. But producing is so much fun when I work with directors who know the craft, as well as respect the craft. So I don’t know really.

    NYFA: What other projects are you working on or do you plan to work on?

    FB: Right now? Like, right this second? Right this second I’m only working on one project. I’ve written two feature films that I’ll direct, or sell, or do something with in the future. But now I’m writing a Swedish feature film called Silver Wedding; I want it to be the first feature I direct. The goal is to shoot it in Sweden together with my two favorite filmmaking friends from LA when the time has come. 

    Furaha Bayibsa

    Then there’s another feature film I’m line producing for a friend of mine. A romantic comedy, but it’s standing still right now because our investor is still waiting on the final draft. So that’s gonna be fun too. But it’s the filmmaking industry, so you never know, maybe Shonda Rhimes will call me tomorrow wanting to add me to HTGAWM writer’s room, who knows really?

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

    FB: Nothing… Just kidding! Too much to tell you about right now. But there were some things that I remember from my education that I will always keep with me. The class Film Art and the class Critical Film mainly. We had to read all the history from the beginning of cinema until the present. 

    I was one of those students who actually read all the chapters, took notes, watched all films, prepared study questions, etc. No I’m not embarrassed, yes my classmates thought I was extra. But now I know so much of the little things people don’t talk about anymore. Those books tell us how past filmmakers thought and experimented with cinema, struggles they faced and how they overcame it. How much they hustled and thought outside the box to achieve their goals. 

    Furaha Bayibsa

    I was also one of the fortunate ones to have Gil McDonald as my screenwriting teacher, and he taught me everything I know about writing. The most important part was that we should show and not tell, and most importantly not to write what the character is thinking or feeling, but instead only write their actions. That’s been my life savior really. 

    My directing instructors (Joe Burke, Nick Sivakumaran, and David Armstrong) all taught me everything else I know about filmmaking. All of these classes have really taught me that we’re all artists painting on a blank canvas, so we should just let our imagination run free. They taught me that cinema is the place where the impossible is done, where there’s no limitations, we just have to put in the work. Maybe that’s why I am the way I am today, because I never let anything stop my creativity. My instructors taught me that. Now I’m teaching you that. You’re welcome!

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

    FB: First things first, read the answer to my previous question and if you’re at the LA Campus, find these instructors and befriend them. They’ll change your life I promise. Secondly, and please take this to heart: we’re all different, so don’t compare yourself to another artist. It’s easier said than done I know, but I promise you everyone is going through their own struggles and just because someone might seem to be better than you or have it better than you, please don’t put yourself down because you really have no idea what they had to go through to get there. 

    Furaha Bayibsa

    So what if there’s someone in your class you think is a better writer than you? Go and read more scripts of films you like to learn more about the craft of screenwriting and become as good as them. So someone in class directed a great film and you’re jealous? Go and talk to that person. Ask them about the stuff you admired in the film, how they thought of it, the process. Go online and read trivia from directors from movies you like. Break down movies you like to understand them better. 

    Anyone can watch three movies a day, but you need to put in the behind-the-scenes work to actually grow. And don’t rush please, because we all grow at our own speed, okay? Also, be nice. Not just to your classmates, instructors too. They’re people just like you with feelings. Just trust me on this one—always be nice. 

    NYFA: Anything else you’d like to speak on?

    FB: First day of class, ask for the club brochures and join a club! If there’s no club you like at NYFA, create one yourself. No, it’s not as time consuming as you think, or as lame. NYFA has the resources to make your stay at school more than amazing with their student led clubs, and as a founder and former president to one of NYFA’s coolest and I want to say all-time best (?) clubs, I know what I’m talking about. Join a club! I’d recommend the African Black American (ABA) Film Society at the LA Campus if you’re there. I’ve heard some great things about them. 

    The New York Film Academy thanks Filmmaking alum Furaha Bayibsa for taking the time to answer our questions and wishes her the best of luck as her career moves forward!

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    February 11, 2019 • Film School, Filmmaking, Student & Alumni Spotlights • Views: 486

  • The BAFTA New York / New York Film Academy (NYFA) / DeWitt Clinton High School Digital Storytelling Program Holds Graduation Screening

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    The BAFTA New York / New York Film Academy (NYFA) / DeWitt Clinton High School Digital Storytelling Program recently held its first graduation ceremony, screening the students’ newly completed short films. Over the course of eight weeks, ten eager and enthusiastic students made their way each Saturday from the Bronx to the NYFA’s Battery Park campus to learn the fundamentals of filmmaking.

    Classes in screenwriting, directing, cinematography, and editing educated the students in telling stories in a medium for which they all have a great passion. Members of the BAFTA Outreach Committee as well as faculty and administrators from both schools joined with the students’ family and friends in the celebration. Aside from newly acquired filmmaking skills, students gained from the experience a boost in confidence, self-awareness, and expression. The program continues the partnership between New York Film Academy (NYFA) and the British Academy of Film and Television Arts (BAFTA) that has previously brought filmmaking workshops to young aspiring artists.

    As an added treat, the DeWitt Clinton students attended an exclusive pre-opening BAFTA screening of Spider-Man: Into the Spider-Verse. After a lively Q&A, the students spent a generous amount of time speaking with the film’s celebrated writer-producers Phil Lord and Chris Miller. Needless to say, the movie’s creators were mightily impressed when they learned that Stan Lee, founder of Marvel Comics and creator of Spider-Man, is amongst DeWitt Clinton High School’s illustrious alumni!

    As they continue to find their voices, BAFTA New York, DeWitt Clinton High School, and New York Film Academy look forward to seeing more cinematic stories from the recent grads of their Digital Storytelling Program!

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    February 8, 2019 • Film School, Filmmaking, Outreach • Views: 291

  • Q&A with ‘A Country Christmas Story’ Filmmakers

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    On Friday, December 14, New York Film Academy (NYFA) hosted a screening of A Country Christmas Story (2013) followed by a Q&A with director and NYFA instructor Eric Bross, and writer and NYFA instructor Steven Peros, moderated by NYFA student, Bakyt Zhumadilova.

    Bross is known for directing Affairs of State (2018), Traffic (2004) and Stranger Than Fiction (2000) and Peros is known for writing Footprints (2009), The Undying (2009) and The Cat’s Meow (2001).

    A Country Christmas Story

    Zhumadilova opened the Q&A by asking Peros about his inspiration for the screenplay. Peros said he started by researching the history of country music and its prevalence in the South, then adding layers of complexity to the story by making the protagonist both a child of divorce and biracial within that world. 

    Peros also wanted the film to be about the various characters’ relationships with music and the arts and added that the music teacher in the film was inspired by a teacher he had when he was a kid.

    Zhumadilova inquired about what it was like for Peros to write A Country Christmas Story star Dolly Parton’s lines knowing she was going to be playing herself in the film. “The funny thing about writing her was, I had written this thing… and suddenly I’m on set going, ‘I’m about to meet Dolly Parton!’ Is she gonna come up to me and say, ‘Well, first off, Steven, I don’t talk like that at all,’” joked Peros. “But she didn’t at all! She didn’t want to change anything… so I was somehow channeling my inner Dolly Parton.”

    “I just thought he really captured her voice,” added Bross.

    Peros shared that Parton suggested that she sing instead of just introducing the music contest at the end of the film. “She just kept giving us gifts.” said Bross.

    A Country Christmas Story

    Peros shared that one of the most notable moments of the shoot was when Parton sang in between takes to entertain extras in the audience. “She knew that all those extras who were there pretty much for free… were there for her,” he said. “She never left the stage… she sang ‘Tennessee Waltz’… and it was like a moment out of a movie; one by one, everything started to get silent.”

    The discussion then moved onto producing a film like A Country Christmas Story on a tight shoot schedule and a tight budget. Bross advised filmmakers to keep the frame focused on the actors as much as possible when working with a small budget because sometimes it’s difficult to afford full, dressed sets. This way the story would still be the center of the film.

    New York Film Academy would like to thank A Country Christmas Story filmmakers Eric Bross and Steven Peros for sharing their entertaining anecdotes from the shooting of the film, as well as their production advice for students.


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    January 4, 2019 • Faculty Highlights, Film School, Filmmaking, Guest Speakers, Screenwriting • Views: 366

  • New York Film Academy (NYFA) Students Attend ‘The Price of Free’ Screening

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    A select group of New York Film Academy (NYFA) Documentary and Filmmaking students were invited to attend The Price of Free, a feature-length documentary which screened on November 10, 2018 at the Studio City Film Festival. The film depicts Kailash Satyarthi, who left a career as an electrical engineer to start Bachpan Bachao Andolan (Save the Childhood Movement) in an effort to rescue children from slavery. 

    Along with Sanora Bartels, Chair of Documentary NYFA-LA, the selected NYFA students in attendance were from both BFA and MFA programs and included, from Documentary: Lucia Florez, Assemgul Sarsembayeva and Khalila Suprapto; and from Filmmaking: Jose Miguel Perez, Jenny Mochahari, Katherine Russell, and Aastha Verma.

    The Price of Free Screening

    All of the students felt it was an important event and looked forward to attending. Before the screening, Katherine Russell, Spring 2018 BFA Filmmaking student, told NYFA:

    “I’ve always considered myself very socially conscious. I began my first undergraduate career as a political science and sociology double major at Penn State. Throughout my filmmaking career at NYFA and beyond I plan to inject these passions and what I’ve learned into my films. This film piques my interest for these exact reasons.”

    The film did not disappoint; Derek Doneen’s direction is deeply moving. The story opens in a raid on a factory to save several children from slave labor. The camera work and action immediately pulls the audience into the center of the conflict.

    The audience is then taken back to the beginning of Satyarthi’s work, and the history of the struggle is conveyed through masterful animation and several interviews with key supporters of the cause. Some of the most compelling footage is “observational” — using hidden cameras — of the charity workers as they go undercover as “buyers of goods” in an attempt to expose the locations of illegal factories and their captive labor. 

    The work is not for the faint of heart. Throughout, the worthiness of the project is expressed in the experiences of the children who are freed from shackles and able to pursue education.

    The screening was followed by a Q&A session with The Price of Free director, Derek Doneen, and its featured subject, Nobel Prize winner Kailash. Satyarthi was asked how he had the courage to begin and continue the work to free children from slavery, considering the dangers involved. In addition to the very real threat of reprisal from the criminals running the factories, there are police officers who are bribed and, at best, look the other way, and, at worst, savagely beat those who attempt to break the children free.

    Satyarthi replied to the question with a smile and shared a lovely Indian folktale:

    “One day a terrible fire broke out in the jungle – a huge section was suddenly engulfed by a raging wild fire. Frightened, all the animals fled their homes and ran out of the jungle. As they came to the edge of a stream, they stopped to watch the fire and were feeling very discouraged and powerless.

    “They all bemoaned the destruction of their homes, except the hummingbird. The hummingbird swooped into the stream and picked up a few drops of water in its beak and flew into the jungle to put them on the fire. Then it went back to the stream and did it again, and it kept going back, again and again and again. Finally, the tiger grew concerned for the hummingbird’s safety: ‘It is too much, you are too little, your wings will burn, your beak is tiny, it’s only a drop, you can’t put out this fire. What do you think you’re doing!?’

    “The hummingbird, without wasting time or losing a beat, looked back and said, ‘I am doing what I can.'”

    The Price of Free Screening

    After the screening, the students enthusiastically shared their experience and thoughts about moving forward:

    “After watching The Price of Free you will never be the same. You will carefully read the labels in supermarkets. You will evaluate your every purchase and think whether [you] really need another decorative box or a candle. Consumerism at its highest degree of barbarism is the focus of Derek Doneen’s film… Kailash Satyarthi has a mission: the battle for the right of every kid on this planet to have a childhood.”

    —Asem Nurlanova, Fall 2017 MFA Documentary

    “From the opening of the documentary to the last frame, there was not a minute where I felt unmoved or a disconnect by the reality of the harsh hitting stories. The director, Derek Doneen, did an exceptional job bringing the reality to life. As the credits rolled, I saw people right, left, and center tearing up, almost sobbing. 

    “Not a lot of people have the power to move the world forward with them, he surely is one of them. It was an honor and an inspiration to be in the same room and having a moving conversation with the humble man himself, Mr. Satyarthi. I highly recommend for everybody to watch The Price of Free and would like to thank Crickett Rumley and NYFA-LA for the opportunity.” 

    —Aastha Verma, Fall 2017 MFA Filmmaking 

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    January 3, 2019 • Community Highlights, Documentary Filmmaking, Film School, Filmmaking • Views: 378

  • New York Film Academy (NYFA) Student Wins Big with ‘Lip Reader: Game of Detective’

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    On December 20, New York Film Academy (NYFA) MFA student Shi Tanxuan showcased his short film, Lip Reader: Game of Detective at the 15th Guangzhou College Student Film Festival, one of China’s most prestigious student film festivals. It came away as one of the festival’s biggest winners.

    Lip Reader: Game of Detective is a comedic detective story, written to be part of a cinematic, “special detective universe” — a rare and ambitious trait for a student film. Lip Reader tells the story of Lin, a college student with a severe hearing impairment, who has a fantastic talent for reading lips. Lin, who works as an “intelligence analyst” for a paparazzi company, must track down a missing $20 million diamond necklace two days before a popular Chinese actress is to wear it at the Academy Awards. 

    Lip Reader: Game of Detective - Shi Tanxuan

    Lip Reader stood out from more than 500 short films at the 15th Guangzhou College Student Film Festival. The event is one of two college student film festivals approved by China’s State Administration of Radio, Film and Television. Popular with students across the country and beyond, it plays an important role in promoting Chinese movies. 

    By the end of the festival, it had won the Gold Award in the “Original Motion Picture and Animation Film Competition (Drama) competition. Additionally, it picked up the “Huayi Brothers Media Group Star-making Entertainment Special Award” at the award ceremony.

    Shi Tanxuan started the MFA in Filmmaking program at New York Film Academy in Summer 2017 at NYFA’s Los Angeles campus. In addition to writing and directing Lip Reader, he also put together a cast and crew of several other Chinese students and alumni from NYFA, including:

    General Executive Producer
    Peipei Duan
    2017 Fall MFA Producing

    Second Unit Director
    Kaibo Xu
    2017 Fall MFA Filmmaking

    1st & 2nd Assistant Director
    Fei Chen
    Mengmeng
    2018 Fall BFA Filmmaking

    Post Supervisor
    Cherry Cao
    MFA Fall 2015 Filmmaking

    Post Production Coordinator
    Zhenghao Yang
    2016 Fall MFA Filmmaking

    Cast:
    Klay Li
    2016 Spring MFA Filmmaking

    Demi Ke
    2015 Spring MFA Acting for Film

    Xinran Cao
    2018 Summer MFA Acting

    Yiwen Sun
    BFA Fall 16 Acting 1C

    Jiani Yang
    BFA Acting 2017

    Lip Reader: Game of Detective - Shi Tanxuan

    The New York Film Academy congratulates the above students and alumni on their hard work and wishes Shi Tanxuan the best of luck as he expands the story and universe of Lip Reader: Game of Detective!


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    December 27, 2018 • China, Film Festivals, Film School, Filmmaking, Student & Alumni Spotlights • Views: 514

  • Q&A with ‘Ruth’ Director and New York Film Academy (NYFA) alum António Botelho

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    New York Film Academy (NYFA) alum António Botelho hails from Lisbon, Portugal and has acted, produced, written, shot, and crewed on several projects both in his home country and aboard. 

    Botelho attended NYFA’s 2-year Filmmaking program in 2008 at our New York City campus, where he gained invaluable experience directing and shooting his own films as well as serving as an integral crewmember on other students’ films.

    His education and professional experience culminated this year in the release of Ruth, the Portuguese feature film directed by Botelho. Ruth is set in the early 1960s and tells the story of Eusébio, an immigrant from Mozambique and football (soccer) superstar who finds himself in a heated sports rivalry amidst political turmoil during the country’s fascist regime. 

    Ruth - António Botelho


    The New York Film Academy spoke with Botelho about his film and career earlier this year:

    New York Film Academy (NYFA): Can you talk a bit about the process involved in getting Ruth subsidized by Portugal?

    António Botelho (AB): In Portugal there are hardly any private companies (film or other) that finance their own movies. There isn’t a studio system. There are film companies who produce movies mostly by grants and state competitions with many categories (short films, first features, feature films, documentaries, documentaries short, animation, etc.). 

    It was through one of these state competitions that Ruth was subsidized. The film company in charge of the production had to present a budget and all sorts of documents boosting the film’s value and whatnot. 

    My part, in that competition entry, was to write a director’s view kind of document, with my own personal approach on how the movie would be made. It’s a matter of luck. It’s one in a billion.

    NYFA: How do you approach the filmmaking process?

    AB: I’m a very practical filmmaker. I consider myself a film buff first, then a filmmaker. Great movies are made every year, some of them share the same story, and so I know the movie that I’m making is probably not going to be a Citizen Kane… movies shouldn’t impose on themselves or their filmmakers. 

    I try to make a movie that makes sense. I put the script and the actors first, then I adapt to several circumstances… as all filmmakers do. 

    As [NYFA’s founder] Jerry Sherlock put it: “Story, story, story.”

    NYFA: How did NYFA help prepare you to be on set for your feature film debut?

    AB: NYFA helped me prepare in a sense that it taught me to having the most done — as a director — before entering the set. I prepare myself so that each day I know what I’m shooting, but also how it’s going to cut together. Having a big sense in all film areas, provided by the faculty, helps the filmmaking process and teaches you to respect your fellow colleagues. Filmmaking isn’t a solo thing. 

    Also, it taught me to act quickly in the face of adversity, because most times you’ll have to adapt.

    NYFA: Will Ruth be available online or in other countries?

    AB: Eventually it will be online in some of the screening platforms. What I can say for now is that there’s a possibility of it premiering in France in January 2019, and maybe also Germany.

    The New York Film Academy thanks António Botelho for his time and thoughtful responses and wishes him the best of luck in his promising career! 

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    December 26, 2018 • Filmmaking, International Diversity, Student & Alumni Spotlights • Views: 469

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

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

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

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

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

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

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

    December 7, 2018 • Acting, Faculty Highlights, Filmmaking, Guest Speakers • Views: 620

  • Q&A with New York Film Academy (NYFA) Filmmaking Alum Lujein Ashi

    Facebooktwittergoogle_plusredditpinterestlinkedinmailLujein Ashi is a filmmaker, graphic designer, and storyteller who works for Saudi Arabia’s leading oil company, Saudi Aramco. In August, Lujein completed the 4-week Filmmaking workshop at New York Film Academy’s Los Angeles campus after winning a scholarship with a 1-minute video. 

    New York Film Academy (NYFA) met up with Lujein to find out what her experience was like with the program, and what her plans for the future include.Lujein Ashi

    New York Film Academy (NYFA): So, how did your interest in coming here start? 

    Lujein Ashi (LA): I’ve always loved filmmaking stories since I was a child. I told stories to my sisters before we’d go to sleep, stuff I’d make up. I remember there was one moment that really stood out to me in my life. I went to watch Lord of the Rings in the cinema. I was with my friends. When we left everybody was so happy, but I felt sad. I didn’t understand it then. I understand it now. I felt like I was on the wrong side of the screen, like I was the one who was supposed to be giving people that feeling, not people giving that feeling to me. So, stories have always been a part of my life. 

    When it came time to choose what I wanted to study in college, I had to choose something that was practical. In the Gulf, we don’t have many opportunities for film, but then the New York Film Academy came to Bahrain to do a promo. I went and I just sat there and listened to [Dean of Enrollment Services] Tami Alexander do the presentation. She was really sweet. 

    I told her one day I’m going to come — hopefully, if it’s meant for me — and I signed up to their newsletter. I think it was like a month or two later, I get an email saying there was an opportunity for two scholarships for Saudi students. They want to encourage Saudi filmmakers because they’re opening cinemas in Saudi. 

    I saw the email late. I had two days to come up with my 1-minute video. I’ve never done a film before, but I knew I could write. So I wrote a script really fast and I did a very little video. I must have done something right, because she contacted me and told me I was one of the two students that got the scholarship. I was really, really happy. I cried hysterically.

    So I came here. It’s been a crazy four weeks. It’s just so amazing, the collaboration that you have with people… people that were strangers to me on Day One are like really close friends. There’s nothing like it, really. It’s everything I thought it would be, and even more.

    NYFA: Why did you choose the city of Los Angeles?

    LA: I think there’s no place better to learn filmmaking than in Los Angeles because it’s the hub of worldwide, excellent movies. It’s where the Hollywood industry is. Universal, Warner Brothers… all of these places, they’re all here. So there’s no place better to learn filmmaking.Lujein Ashi

    NYFA: What did you learn about filmmaking?

    LA: It’s all about story, that’s for sure. If your story is weak, then it doesn’t matter what you’re going to do. It’s not going to be something that touches people. Also technically the camera is your eye. You need to be one with the camera. You have to look through it, and if you don’t like what you see then you’re not going to like your movie. 

    I mean, it’s not like people can imagine what you meant, you know? So you have to be aware of the technical stuff. Which [at first] was very hard for me, because I’ve never touched a camera before, but Charlie did a really good job teaching us.

    NYFA: Is this something you want to continue doing? What’s your plan after this?

    LA: I found my heart here. I really did. It’s an amazing thing to find. People live their whole lives trying to find that thing they love. I think that’s the key to a happy life. I really feel like I found it here. I’m really going to try and do my master’s in this. Hopefully, then I could just do this for as long as I can. 

    NYFA: Do you see opportunities opening up in Saudi Arabia or Bahrain? 

    LA: Yes, for sure! Especially with the opening of cinemas, the government has been opening different entertainment entities trying to open things up to the people. I think there’s definitely going to be a demand for that. It’s going to be an exciting time for Saudi.

    NYFA: As Saudi opens up, is there a place there for you? Do you see yourself working there?

    Lujein AshiLA: I don’t know. I mean, sure, if there’s a place for me in Saudi to make great movies. I would love to. I mean, it’s my country. But to me, my geographic location was never something that was important. I’m very multicultural. My father is from Saudi, my mom’s from Lebanon, I lived in Baghdad, and I’m married to a Palestinian. I come from very different places, so I never felt like I belonged somewhere. Sometimes it’s a disadvantage, but sometimes it’s an advantage. Wherever you are, you feel like you can just connect with people because you’re from everywhere, basically. 

    So yeah, I mean, I could be — for example— in LA or in New York or anywhere with like-minded people, trying to do the same thing, just doing what we love; ultimately making somebody feel something. That’s why we go to the movies, right? Because we want to feel something! I could make somebody feel like Lord Of The Rings made me feel or Game of Thrones or any of these shows that have changed me so profoundly. It just amazes me how somebody could get that feeling out of you. It’s so satisfying. 

    NYFA: You mentioned two high-fantasy titles — is that kind of your thing?

    LA: I love fantasy, yeah. I mean, I love getting out of the real boring world and leaping into somebody’s imagination. That’s something out of this world! 

    NYFA: Why do you think stories are important?Lujein Ashi

    LA: I think they make people feel empathy for one another and understand each other on a level that maybe we don’t. In real life, there are a lot of issues that, when a film sheds light on them, could actually bring people closer together. You know, I think arts and filmmaking have the capacity to change people’s lives, to change societies and to open people up.

    Truthfully, it’s fundamental for our growth. It’s fundamental for us to connect and to see the point-of-view of other people. If I saw it from your perspective, which is what film lets you do, maybe I’ll be able to connect with you and understand you.

    The New York Film Academy wishes Lujein Ashi the best of success with her future endeavors, and hopes to see more of her amazing and beautiful stories in the near future!

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    December 5, 2018 • Filmmaking, Student & Alumni Spotlights • Views: 561

  • Recent Success For New York Film Academy (NYFA) Instructor Ben Cohen

    Facebooktwittergoogle_plusredditpinterestlinkedinmailNew York Film Academy (NYFA) Instructor Ben Cohen has had a productive 2018. His sitcom screenplay, The Library, recently made the 2nd Round at the 2018 Austin Film Festival. Additionally, it was a finalist in the New York Screenplay Contest.

    Cohen hails from Decatur, Georgia and is currently based in Brooklyn. He has studied at various institutions across the globe, and has honed his comedy chops at Upright Citizen Brigade, among other theaters and playhouse troupes. 

    In addition to writing and performing, he currently teaches for the Filmmaking school at New York Film Academy’s New York City campus, where he has gained a reputation for being incredibly devoted to both his students and his fellow faculty members. He is also a great role model for the aspiring film school students he teaches, as he balances his position at NYFA with a working career in the film and comedy industry, much like most of the Academy’s experienced, industry-savvy faculty members.

    It’s no surprise then that his script for The Library made it to the 2nd Round of the 2018 Austin Film Festival (AFF). The AFF was founded in 1994 and has a focus on screenwriters, and has had judges from Warner Bros., Pixar, ABC Studios, and Nickelodeon in past years.

    Ben Cohen

    Ben Cohen Hosting 2018 NYFA Emmy Party in NYC

    Cohen’s script was also a finalist for the New York Screenplay Contest, a premiere global screenwriting contest that has introduced numerous talented and unique voices to the industry. Being named as a Finalist or Winner of the contest is a coveted, distinct honor.

    Cohen has remained modest about his recent achievements, telling NYFA, “It’s nice to see my writing get some recognition, but it’s important for folks to know rejection isn’t the negative — it’s the norm.” 

    Expounding on this, he continued, “Much more of your creative life is spent being told that you’re not good enough, but you have to keep writing, and more importantly, keep sharing your writing. I’ve learned to appreciate the good days (like this one) and just keep going. It helps to care about other things. My students know I’m just as happy to talk sports or Bowie as I am to talk about writing.”

    Additionally, Cohen was recently featured in a PBS Documentary produced by NYFA alum Ashton Brooks, and he plans to continue writing and pursuing gigs in the industry. 

    The New York Film Academy congratulates filmmaking instructor Ben Cohen on his recent successes and looks forward to those still yet to come! Facebooktwittergoogle_plusredditpinterestlinkedinmail

  • New York Film Academy (NYFA) Alum Jameelah Rose del Prado Lineses Wins Best Cinematography Award

    Facebooktwittergoogle_plusredditpinterestlinkedinmailJameelah Rose del Prado Lineses has won several awards for her various film projects since attending New York Film Academy (NYFA), and last October, she added another. At the 8th Annual International Film Festival Manhattan, Lineses earned the Best Cinematography Award for her music video, Atareek.Jameelah Rose Lineses

    The 2018 International Film Festival Manhattan (IFFM 2018) opened on October 17 and ran until October 21, with its awards ceremony held on October 18 at the Philippine Consulate in New York City. Lineses screened Atareek at the Producers Club Theaters, just a few blocks from Times Square. Saudi Vice Consul of the Saudi Arabian Consulate, Mazin AlMouallimi, was in attendance at the event.

    Atareek is “a journey to the colorful streets of Old Balad” that explores “the beautiful history of the city’s rich culture and heritage.” It was the only film representing Saudi Arabia at this year’s festival, and was shot, directed, edited, and produced by Lineses, who was assisted by her mother throughout the shoot.  

    Lineses picked up a lot of the skills necessary for filmmaking, from pre-production through post-production, at the New York Film Academy, which she first attended in June 2011 when she enrolled in the 8-Week Filmmaking workshop. Two months after that, she deepened her studies and attended the 1-Year Filmmaking program at NYFA’s New York City campus.

    Atareek was filmed in 2017 entirely in Jeddah during the Atareek festival and is the third production Lineses has made that features Historic Jeddah. Her previous films, Historic Jeddah and Our Journey to Hijaz, have garnered significant praise from multiple festivals in the last several years. 

    In addition to Atareek, Lineses worked on two other films that were Official Selections at IFFM 2018. She was Associate Producer on Reunion as well as Assistant Director, Editor, cast member, and one of the producers of Mindanao. 

    The New York Film Academy congratulates Jameelah Rose del Prado Lineses on her film Atareek and her latest award win!  

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    November 30, 2018 • Cinematography, Film Festivals, Filmmaking, Student & Alumni Spotlights • Views: 812