hollywood
Posts

  • Interview with Director Robert Zemeckis

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    The New York Film Academy had a chance to speak with A-list director, Robert Zemeckis! Robert Zemeckis owned the 80’s and 90’s with his classic Back to the Future trilogy, Who Framed Roger Rabbit, Forrest Gump, and Cast Away. Zemekis earned respect from critics and colleagues, while grossing quite a hefty penny at the box-office. His direction of Forrest Gump won him an Oscar for Best Director. It’s pretty safe to say that the filmmaker has established himself as one of the elite directors in Hollywood.

    The New York Film Academy offers many workshops and programs for those wishing to learn film direction.

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    October 31, 2012 • Guest Speakers • Views: 5686

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

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

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

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

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

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

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

    Eric Connor in a tiff with Darth Vader.

    Learn more about NYFA’s screenwriting program. Click here for more info! 
    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    June 14, 2012 • Academic Programs, Screenwriting • Views: 6496

  • Pietro Schito on Cultivating Ideas

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Oscar-nominated actress Emily Watson with Pietro Schito on the set of Little Boy 

    “Ever since I learned what screenwriting was, I have always wanted to do that,” explains screenwriter Pietro Schito. “That’s the most important thing for any movie. That is where the message is.” While studying in his native Milan, Pietro’s first short film, Horror Kitchen, won a national contest at the Future Film Festival in Bologna. Shortly after, he left for Mexico to work for CSPC Filming the Ineffable, an international project working with young filmmakers. He was about ready to return to Italy when he received a scholarship from CSPC.

    Pietro decided to attend a 1-Year Screenwriting course at the Universal Studios campus in 2010. “The program was great and all the instructors were too,” he says. “I loved it. They push you to the limit. It was tough but worth it. The workshops and teachers are hands-on and thought provoking. [The instructors] have a real connection with the students. If we had problems or questions they were always available for consultation.”

    After graduating from New York Film Academy, Pietro found steady work as a script consultant. He also landed an internship with Metanoia Films. “One day, having lunch with the producer, I got to pitch my movie,” he explained. He shared his project 98.Vocho, a story he had developed while attending New York Film Academy. “As soon as he heard the story, he was really interested and asked if I was ready to pitch to directors. I got to pitch it several times in the Business of Screenwriting class, so I had some practice. They took me to [director] Alejandro Monteverde. He said I had an original plot, solid characters and structure. He also told me that my style of writing reminded him about Life is Beautiful, and I was really happy to hear that because Life is Beautiful is the movie that inspired me to become a filmmaker.” Pietro worked on a 20-page treatment and pitched it to another producer at Metanoia. The producer said, “If everything is like this, we’re going to produce your movie.” They asked him to stay on with the company to develop the project. But Pietro decided to follow his heart, and went back to Mexico to get married. “I thought I would lose the opportunity of my life,” he says.

    After returning to Mexico, Pietro wrote the pilot for an animated TV series called Maria Bambina. He also worked for a Spanish television series called Mi familia y yo, and has an animated feature called Lucha Rooster in development. He found out that Metanoia Films was working on a big-budget period film called Little Boy, and that they would be shooting in Baja California. Pietro was brought on as a writers’ assistant. He soon found himself assisting the director as well. Then he was  asked to film and direct a making-of documentary to be featured on the Blu-ray release.

    Inspired by the paintings of Norman Rockwell, Little Boy is a period piece about a boy who believes he can bring his father back from World War II. It stars Sean Astin, Tom Wilkinson, Kevin James, Emily Watson, and Michael Rapaport. “It was an amazing experience, being there and seeing the process,” says Pietro.”They were really happy about the work I did, helping with outlines and reviewing scripts and storyboards.”

    Since wrapping the film, Pietro has been offered a job with Metanoia Films. “They invited me here for a staff position in writing and development,” he says. “I’m really happy being back in LA with that company. I like the way they think and organize their team. It’s a huge accomplishment, and it’s just the beginning. They have a lot of projects in development.”

    Pietro offers the following advice for students thinking about New York Film Academy: “Have an idea. Come here with an idea. Work as much as you can. The story you have in your heart: cultivate it. And don’t be discouraged by Hollywood.”

    Emily Watson and Pietro Schito with Jakob Salvati, star of Little Boy

     

    Pietro Schito working with director Alejandro Monteverde and producer Eduardo Verastegui on the set of Little Boy
    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    May 30, 2012 • Film School, Screenwriting, Student & Alumni Spotlights • Views: 5140

  • Amy Heckerling: Doing Things Her Own Way

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Amy Heckerling visited students at the New York Film Academy for a screening of her hit film Clueless. The writer/director garnered both critical praise and impressive box office success with movies including Fast Times at Ridgemont High, Look Who’s Talking, and National Lampoon’s European Vacation.

    Heckerling became a successful director at a time when female directors were a novelty. Asked about what it was like being a woman in Hollywood in the 80’s, she responded, “I’m psychotic. I don’t care how the world works. I do what I want to do…. If you want to do it, you can’t listen to what the world is telling you. You do what you want. If I tell you what I feel truthfully, there will be a [ton] of people who respond to that.”

    When asked about Clueless, Heckerling recalled, “They told me, ‘We want to do something about the cool kids,’ and I thought, ‘Well that sounds stupid… But what if the cool kids were nice.’ I remembered Emma, which I read in college. I always wanted to do something where the character was just happy. It seemed so strange to me. Then I got into her head and it wasn’t so strange.” The script came soon after, but it was initially met with rejection by a number of studios. “Everyone will try to say you can’t do something,” she said, “but there’s only one person who has to believe in you, and that’s you…. You may have to find another door to take you there. Take your shot. Be aggressive. As long as you believe in you, you’ll find others to believe in you.”

    Do you have the same passion for directing as Amy? Learn directing at the New York Film Academy!

      

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    May 22, 2012 • Filmmaking, Guest Speakers, Screenwriting • Views: 5087

  • The Importance of Learning Your Audience

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Ron Tippe is the department chair of the Producing department at the New York Film Academy. He is best known as the animation producer for the smash hit Space Jam. He managed the Walt Disney Feature Animation studio in Paris, France while producing the short film Runaway Brain which was nominated for an Academy award. He was also responsible for pre-production on Shrek and worked with George Lucas in collaboration with Universal Studios on Frankenstein Meets the Wolfman. 

    I must be a lucky guy. After 27 years in Hollywood with a successful career in the film business, I’m now the Chair of Producing for NYFA. First off, I get to work with some very special people. My fellow colleagues come from various countries which offer different perspectives from a variety of cultures around the world. That said, the commonality is their love of cinema. Almost to a person, the level of passion is infectious and energizing. This attitude towards the art of filmmaking is what constitutes success as a film producer.

    • KNOW WHO YOUR AUDIENCE IS. In the entertainment business, nothing is decided at the studio level these days. At least not without going through marketing, branding and PR first. The goal for a studio is to maximize financial gain and stem any losses. Focus groups are de rigeur. In the independent world, film festivals and smaller theatrical releases often depend on word-of-mouth in addition to ever-expanding social media campaigns.
    • GRAB THEM IN THE FIRST TEN MINUTES. When looking for a film to produce, make sure that the first 10 pages of the script are compelling. Introduce the main characters and make sure we understand what the protagonist wants. And then how the antagonist prevents that from happening. Comedy or drama, action or fantasy, a great story is imperative to grab the audience. The sooner the better!
    • WE ARE GLOBAL. The box office is increasingly getting two-thirds of their money  internationally. Producers, it’s a global marketplace. Know it. Own it.
    • WORD OF MOUTH IS A MOVIE’S BEST FRIEND. If an audience is satisfied, he or she will tell others. Facebook, Twitter, Email. You name it, they will use it.  Social media is where it’s at.
    • AUDIENCES ARE NOT STUPID. They are very culturally savvy, increasingly educated and obviously fickle. They know what they like and dislike.

    A producer is someone who works insane hours under very difficult conditions. You’re always inside the pressure cooker. You’re constantly nudged by studio executives with their myriad of concerns—most of which are related to budgets and finance. How is this related to being a teacher of film? Passion is absolutely essential in the making a film, or at least in providing a great experience during the making of that film. The same is true in the classroom. A passionate teacher is infectious, and that passion often manifests itself in motivated and inspired students. A great producer can make or break that wonderful experience. After all, the producer is who a crew looks to for leadership. It’s a high standard. The same is true in the classroom here at NYFA. We aim to attain the highest standards and “shoot” for it every single day.

    I’m proud of my teachers and students. We are motivated and inquisitive. Most importantly, we work hard. The students will become great producers for the next generation of moviegoers. Because producers have a strong hand in the filmmaking process, we should be proud of the education that the students are getting here at NYFA. Frankly, we should let the world know how good we are. Time to get the word out. Producer. Teacher. Leader. Motivator. I must be a very lucky guy. Stand by to roll.

    Action!

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    April 24, 2012 • Producing • Views: 5860

  • Whatever Happened to Francis Ford Coppola?

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Francis Ford CoppolaLast week was the 40th Anniversary of The Godfather. I don’t know if you saw it but the AMC channel aired it repeatedly during the week. Watching those films again, it made me wonder…

    Whatever happened to Francis Ford Coppola?

    The Godfather was a huge influence. I mean everyone went to see it. I remember I had a friend who was ushering at the movie theater and would sneak me in. It didn’t even matter what part of the movie you came in at, you’d just watch it from there to the end. Sometimes I’d even stay to watch the beginning of the next show. We used to refer to the film as, “the Beast.” That’s how much respect we had for it. A few years later, as a film student, Scorsese became my guy (he was the filmmaker that made me want to be a filmmaker.) The Godfather was still the benchmark and with all due respect and deference to good ol’ Marty, he never made “The Beast”.

    Coppola followed up with Apocalypse Now. The stories about making that film are legendary—the enormous amounts of money, equipment, and insanity that went on in the jungles. But whether you like the film or not, you can’t help but be impressed by the enormity of the undertaking and the execution. It is unquestionably the work of a master filmmaker. And then… What? What happened? He never again fulfilled the promise of his early films. It makes me sad. What went wrong? Where did Francis Ford Coppola jump the shark?

    It started with a film called One From the Heart. You’ve probably never seen it. Few people have. It was a musical fantasy set in Vegas, and even though it pioneered some video-editing techniques, it was a disaster with audiences. Then there were The Outsiders and Rumble Fish. It seemed to us as young directors as the work of a desperate filmmaker who lost one audience and was trying everything he could to connect with a new one. Next he tried a Godfather knockoff, The Cotton Club. An epic crime drama, it even had the same sort of violent montage at the end. A pale imitation and another box office disaster. And finally, Godfather 3, the last ditch effort to recapture past glory. I don’t even have to tell you what a disappointment that film was.

    How did such a great filmmaker lose his way? Was it the disappointing loss of Zoetrope Studios? In 1969, Coppola decided to buck the studio system, which he felt had stifled his artistic vision. He created Zoetrope to fund off-beat films by first time directors. It didn’t work. Was it the pressure of paying off the huge financial debt in which he found himself? Coppola has declared bankruptcy three times. It’s not easy holding onto a personal vision while digging yourself out of a financial hole. Or was it the tragic death of his son? Personal tragedy has a way of putting ambitions of glory in perspective. In the end, perhaps it was just the unimaginable pressure of having to equal something as great as The Godfather.

    The Godfather

    It’s hard not to reflect on the somewhat tragic trajectory of his life. Early success does have its pitfalls. Compare the careers of directors like Spielberg and Scorsese. They all started out at the same time. They were part of an avant-garde group of filmmakers that were revolutionizing Hollywood. But where Spielberg and Scorsese are viable, influential, Academy Award nominated filmmakers to this day, Francis Ford Coppola has sadly vanished from the scene. I can easily imagine him filled with deep satisfaction and appreciation of what he’s accomplished. I can also imagine him with deep regret at what could’ve been. Ultimately, I’d like to think that with age comes perspective, if not wisdom, and maybe even acceptance. What do you think? Every filmmaker has to come to grips at some point with this issue of art and commerce. How have you handled it? Or how do you envision handling it? I’d like to know.

    Click here to learn more about the filmmaking program.

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    March 16, 2012 • Filmmaking • Views: 10209

  • New York Film Academy’s Silu Yu Shines In China

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Silu YuActress Silu Yu (余思潞) has found success after finishing New York Film Academy’s 1-Year Acting program in New York City. She explains, “After graduating in 2009 from NYFA, I moved to Los Angeles for work. I got my talent agent after an audition and I was very lucky to been approved by the SAG union after working three months. Due to family reasons, I moved back to China in 2010 and was signed by Star Shining International Talent Agency through a friend, one of the top talent agencies in China, and started the first steps in my acting career in China.”

    Since then, Silu landed a role in the big-budget Chinese feature film Scheme With Me. She is also currently in production on 30 episodes of the television program Shanghai Forest. The young actress has a hectic schedule, going from the set, to media interviews, as well as doing promotion for her recently-completed film.

    In an interview via email, Silu explained the difficulties of working in the film industry in China. “In Hollywood, the camera speaks for you,” said the actress. “The talent agency selects the idea candidates who may match the characters then you still need to go through an official audition to get the role. In China, you not only need an audition but also need a personal network and relationships.”
    “I really enjoyed myself a lot while I studied at NYFA!” said Silu. “Due to the culture and language difference, it took time for adjusting to others. I learned during this adjustment period and the lessons taught me so much about myself. Don’t lose confidence or question your appearance and flaws. A real artist will affect the audience with her soul and spirit, not just simply her looks.”

    Silu went on to share her thoughts on acting. “People always say that a good actor must be good at lying, but I think a good liar is not really a good actor. A real professional actor is performing the truth even truer than the truth. If an actor couldn’t believe the situation himself, how could he persuade the audience?  Being actors, we need to feel it from our hearts and make an authentic performance for the audience. So, don’t think we are liars!”

    Chinese readers can keep up with Silu’s growing success on Baidu and her official fan site.

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    March 14, 2012 • Acting • Views: 4484

  • Producer Chris Brigham and His Road to "Inception"

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    Chris Brigham NYFAChris Brigham isn’t your typical “Hollywood” producer, which comes as a surprise, considering he produced global blockbusters such as Inception, The Aviator, and Analyze This. He doesn’t even live in Hollywood.“New York is a great place for a producer right now, especially with the tax breaks. There are more shows here now, which means more jobs.” Aspiring filmmakers looking to develop stories, however, should still consider Los Angeles. Everyone’s path will be different. It’s up to each individual to recognize which is one’s true calling.“Not everyone will have the chops for this business.”

    As the guest speaker for our Q&A on Thursday, Chris shared with us his journey from a P.A. in New York to the Hollywood powerhouse he is today. Hustling his way to the top, there was much to be learned in terms of film production. Most importantly, he learned quite a bit about dealing with people, which is something he credits to the Teamsters.The motto? “Money talks. Bullshit walks.” New York is a ‘show me’ city where you have to back up what you’re saying. Chris realized his ability in handling people and their problems was a valuable skill in the industry. Soon he began finding steady work as a line producer.

    So what is a line producer? “It’s a critical job. You are the eyes and the ears managing the movie. Being a line producer demands entrepreneurial skills.”Highlighting some of the details of his job, one learns it’s not your typical 9 to 5. Being a freelance line producer requires a lot of travel, networking, and wisdom to find the right project. “It’s better to work on quality projects but it’s a lot of hard work.”

    His recommendation for filmmaking success? “Get your foot in the door. Make phone calls and start out as a P.A. on set.” Eventually you’ll build a reputation and, who knows, you may end up waking up one day with a call from Christopher Nolan’s team to work on Inception. Luck may play a part, however, this game is a foot-race and the last person standing is the one who makes it in this business. Whether it’s writing, directing, acting or producing, there are thousands of people trying to do the same thing you want to do. The key is not losing sight of your dreams.

    What about maintaining a family and some sort of normalcy? Chris recounted some of his struggles balancing career and family. He recalled a shoot in Montreal where he drove six hours to see his wife and kids on the weekends. Character is indispensable. It seems kindness, too, can pay off in a business with a bad reputation for its conceited personalities.

    Twitter was abuzz for Brigham’s appearance. Irrefutably, the most submitted question of the night was “Is film school worth it?” In response, Chris cited his very first film class in college learning about Fellini and Kurosawa. It sparked his passion for the craft. He encouraged our students to collaborate, build bonds, and sustain a network. In this industry, it’s crucial to meet the right people. Create a foundation for yourself. Film school is what you make of it.

    After the Q&A, Chris handled individual students with personal questions, ranging from “Can I meet Christopher Nolan?” to “How do I get my screenplay funded?” Chris stayed for a good 45 minutes afterwards, patiently handling questions and proving to us how integrity can go a long way.

    Chris Brigham Q&A at NYFA

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    March 5, 2012 • Producing • Views: 6629

  • New York Fashion Week Meets NEON Americana

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    NEON Americana

    New York City is often considered the matron metropolis impacting creativity and commerce throughout the globe. Many of our students do indeed pursue the career path illuminated by those glorious Hollywood lights. A peculiar breed of cinematic visionaries, however, has appeared in the arts and cultural scene seeking opportunities outside of movie studios and inside the illustrious world of New York high fashion. One student has stepped forward as arbiter of a brave artistic movement in a cultural age saturated by faux-freedom and endless hipster posturing. Steep Daniels (Cinematography ‘11) is spearheading the vision of NEON Americana.

    “NEON Americana represents a new breed of young people, a new way of living. We are freed from social constructs, breaking through into the life they’ve always dreamed of. It represents the new way of living in which its vibrant characters charge through life, never taking ‘no’ for an answer—inspired to be the biggest, best version of themselves. They envision a post-apocalyptic America. One in which a lone television set appears to be the last one left after a cataclysmic event of epic proportions. We look inside the screen to find the next wave of Mankind: the NEON generation.”

    As its name implies, NEON’s visual aesthetic is unapologetic in its brightly bold nod to the American spirit. Canadian-bred and hailing from Toronto, Steep exudes a passion which is reminiscent of the unabashed artistic ambition now seen as legend. The sort of creative character—a purity long lost—made famous by the Mudd Club kids in the late 70’s. The young Basquiat as graffiti artist SAMO. A sprightly Glenn O’Brien decades prior to his arrival at GQ magazine. Creatives fueled by youth and an earnestness, they were making their mark with a devil-may-care attitude of art trumps artist. When NYFA produces filmmakers like Daniels who conjure this golden nostalgia through a splashy collaboration with celebrity designer Stevie Boi, we want the student body to stand up and take notice. Stevie Boi’s ascent in fashion is remarkable. Backed by endorsements from pop culture icons Lady GaGa and Madonna, Boi is garnering acclaim for his ability to create drama through his designs. Therefore it is fascinating that he is becoming a character player in the vast NEON universe, a film series about artistic redemption in the heat of dystopian despair. The first subject of this series, Boi collaborated with Daniels in order to proclaim a new world order in the creative arts. “I’ve wanted to do a fashion film with a big artist for a long time and wanted to work with someone who represented a new form of fashion,” said Daniels.
    Daniels has enlisted fellow NYFA students Sandra Stakic (Documentary Filmmaking ‘12) and Markus E. Mueller (Cinematography ‘10) to assist in building the NEON brand. Stakic is working on a nonfiction film documenting the creative process of Daniels while Mueller acts as Director of Photography for the project. Stakic credits Daniels for the concept and execution of NEON. As she explained, “It’s his energy which draws people. His willingness to collaborate inspires others around him to be creative.” Becoming friends on their first day of classes at NYFA, the graduates credit the NYFA faculty for inspiring their drive to succeed. “Andrea Swift was incredible. The documentary students became a family in the end. There was healthy competition and a total respect for the filmmaking process,” says Stakic. Recounting 18-hour work days, Daniels credits department chair John Loughlin for teaching him how to “connect the dots” and to stay focused on storytelling no matter the chaos being wrought on set. He also described a creative process unhindered by the oft-cited idea called financial compensation. Everyone involved, including set designers and actors, were not paid. As Daniels explained, “We did it for the passion of being creative. Boi came to Toronto on a bus to work on this film and told me that he was inspired by our willingness to bring everything and ask for nothing.”
    Daniels is entering the New York arts scene in full force. NEON Americana will be screened during the Stevie Boi show for New York Fashion Week tomorrow on February 9th. He is also a part of SPiN New York’s annual Valentine’s Day benefit for M.A.D.A on February 14th hosted by the prince of Madagascar and actress Susan Sarandon. He designed the ping-pong table to be auctioned in order to raise proceeds for the foundation. Daniels is committed to expanding the NEON movement to include creative collaboration outside of the world of fashion. Working for passion with no promises, Steep Daniels never expected to have his art become a centerpiece for a designer deemed as the next fashion icon by Vogue Italia. He is living his vision aimed at shifting the paradigm of creativity and commerce.
    We encourage students to think outside of the box. How far can your creativity go? Will you take the necessary risks in order to create something greater than yourself?

    NEON Americana

    NEON Americana

    NEON Americana

    Facebooktwittergoogle_plusredditpinterestlinkedinmail

    February 9, 2012 • Acting • Views: 3851