Two estranged half-sisters, a will reading, a valuable antique rug, and a mysterious stranger.
NYFA Acting for Film and Filmmaking instructor Micah Stathis’ latest film, The Sisters Karras, has deep roots within the NYFA community. With Stathis’ SK Deli Market Productions at the helm of the production, the film also includes New York campus instructors Dan Rodriguez, Dennis Green, and Andy Mendez among the film’s cast and crew.
Poster for “The Sisters Karras”
The film, shot last Summer in the midst of the COVID-19 pandemic, is an original feature written, directed, and starring Stathis. NYFA teaching assistant for Acting for Film Dan Rodriguez served as the film’s director of photography, with NYFA’s Post-Production Supervisor, Andy Mendez, serving as the main editor of the film. Joining Stathis in the cast is NYFA screenwriting instructor Dennis Green.
Photo courtesy of Micah Stathis
The shoot itself proved challenging for the crew as safety took precedent with the filming during the pandemic.
“It was very stressful shooting during the pandemic,” explained Stathis. “We were a SAG registered production, so the COVID protocols were very strict and required a lot of additional planning and precautions. Not to mention, it’s really hot shooting in New York in August…especially while having to wear masks!”
With the production wrapped, The Sisters Karras now enters the post-production phase. Like many filmmakers know, shooting the film is half the battle, with a huge part of the filmmaking process dedicated to putting all the finishing touches on the project and getting the film out in the public eye.
Dan Rodriguez (Left) and Micah Stathis (Right)
“I hope that audiences enjoy the tragicomic tone and nature of the film. I hope audiences find the story of the two sisters captivating, funny, and stressful but ultimately, relatable,” shared Stathis.
Photo courtesy of Micah Stathis
“We are definitely aiming for a festival run with an eye towards sales and distribution. We have already been in dialogue with a few distribution companies who are waiting for the film to be ready. We do not want to rush the post-production process and want to make sure the film is, ultimately, as good as it can possibly be. That’s why we’ve launched a Kickstarter campaign specifically for post-production.”
New York Film Academy congratulates the instructors who banded together to create a feature film safely in the middle of the pandemic. To learn more about The Sisters Karras, you can visit the film’s Kickstarter page by clicking here.
Elsabet Ademe was born in Ethiopia, and as a teenager, she embarked on the most dangerous journey of her life – traveling the treacherous smugglers’ route toward the West, living in several countries, and working in each one to save money. Her goal was to make it to the United States to pursue a career in film. Years later, Ademe is a U.S. citizen and BFA graduate from New York Film Academy with an active career in Los Angeles.
Acting for Film Alum Elsabet Ademe
“I had a dream of becoming an actress since I was six years old, so when I got a chance to follow my dream, I decided to go to school first,” said Ademe. “I did my research about a film school, then I came across the New York Film Academy in 2014. I took the Acting for Film 1-Year Conservatory program in New York, then I did few theaters in NYC. In 2016, I moved to LA and started the NYFA’s Acting for Film BFA program.”
After Ademe graduated in 2018, she picked up acting, casting directing, producing, and writing projects. Her first web series pilot, The Bartender, got picked up by PAN Africa Film Festival.
Ademe recently wrote a book called Behind Sunrise, based on true events, which is available on Amazon, Barnes & Noble, and more. The book’s synopsis reads:
The story of the bright and positive, yet ferociously determined, Sarah Belay.
Sarah is a sixteen-year-old Ethiopian girl with big dreams. She wants to travel to Europe to pursue the arts. However, she has a huge problem – her family is dead set against it.
When she hears the man who drives her to school talk about human smuggling, her ears perk up. She knows what she’s going to do. Weeks later, in the dead of night, she leaves her home to embark on a journey that dramatically changes her life.
With little information from her transporters, Sarah travels the perilous off-road paths toward Sudan in the care of suspicious and increasingly cruel men. The battle for survival brings out the worst in some, and the incredibly good in others as a bond forms between some of the travelers.
Arriving in Sudan, Sarah finds work and saves money for what she believes is the most dangerous leg of the journey – the long trek through the Sahara Desert and into Libya. The passage, however, is a nightmare far worse than anything she could have imagined. Abandoned by the smugglers in the vast barrenness of Al Kufrah, the friends escape and hire a local Libyan smuggler to get them to Tripoli.
Instead, he takes them to the middle of the desert and into even more life-changing dangers. Will Sarah survive the journey to reach her dreams? Or will the circumstances beyond her control destroy her?
Ademe will appear in the short film Raine on the Run, which is slated to be released later this year and will continue to expand on her acting and writing skills for the future. “I’m Ethiopian so English is my second language and I have learned a lot to develop my writing skills, while also building a network through NYFA,” shared Ademe. “I discovered myself at NYFA and through me, I can do anything.”
You’d be hard pressed to find a New Yorker who doesn’t experience their fair share of frustration with the MTA, the corporation that runs the city’s sprawling and crowded transit system of trains and buses. Especially these days, as commuters deal with train construction, delays, and an impending apocalypse, while fares continue to increase (the MTA announced just this week their plan for yet another fare hike of 4%).
And every New Yorker deals with it in their own way. Some of us mutter under our breaths, while others aren’t afraid to scream and yell at the top of their lungs. Some of us weep silently when we finally get home, while others pray to themselves that they’ll actually get home.
But what most of us haven’t done, is sing a song about it. With Kristy’s Lament: Another Awful Day with the MTA, a new musical number performed by Broadway actress Kristy Cates, that’s no longer the case. And now that it has an accompanying music video produced by the Professional Conservatory of Musical Theatre at the New York Film Academy (PCMT at NYFA), the song is easily available for everyone to share, relate with, and sing along to.
Kristy’s Lament is very much based on a true story. “I have the worst train luck,” Cates tells NYFA, continuing, “I’m always stuck underground with no explanation, waiting for a train that never shows up, or on the car with the person about to puke. And I often share these wild stories on social media.”
After one particularly nasty commute for Cates, where one bizarre thing followed another as she tried to make her way home from her Broadway show, she recounted the entire nightmare on Facebook. Her story quickly gained traction and gained a lot of attention on social media. Typically, the story would end there, but not for Cates.
After seeing her commute from hell, lyricist Chris Giordano was inspired to adapt the tale into song, writing lyrics for a number that step-by-step portrayed Cates’s disastrous trip. Soon, it was put to music by composer Ryan Edward Wise, and Kristy’s Lament was born. It wasn’t long after that that a music video was produced to accompany the track.
The video features Cates playing multiple roles — not just the tragic commuter narrating the song, but also a rude passenger carrying numerous bags, a stoner, and a homeless man, among others. It is mostly a stage production, filmed at NYFA’s 1st Floor Theatre, with gorgeous lighting direction and a minimal subway set. The video was also partially shot in an actual subway station, where the video opens and closes.
The video was produced by the PCMT at NYFA, where Kristy Cates also serves as Creative Director. The renowned musical theatre school prides itself on giving its students real world training that prepares them to achieve success in a competitive, empowering industry, creating an educational experience few other musical theatre schools can offer.
Aspiring performers develop their skills as triple threat performers by studying with faculty — like Kristy Cates — who have appeared in numerous Broadway and touring productions, top-rate regional theatre, opera, hit movie musicals, and television shows. NYFA’s musical theater alumni include llda Mason (On Your Feet), Pierre Marais (Aladdin), Christopher Viljoen (Les Misérables), and Kylan Ross (Straight Outta Oz).
Additionally, the PCMT at NYFA is able to use all of the resources shared by NYFA’s film school, cinematography school, and other departments. Using the Academy’s resources and state-of-the-art filmmaking equipment, its stage and its location in the heart of the New York City, and some of the Academy’s highly-talented staff — including director Jonathan Whittaker, editor Sean Robinson, Broadway veteran and choreographer Deidre Goodwin, and costume designer David Withrow — Kristy’s Lament was able to take advantage of high production values to really sell the humorous lyrics and support Cates’s powerful yet hysterical performance.
“One thing I love about working for NYFA,” Cates says, “is their willingness to explore new projects. As a result, our ability as a program to collaborate with up-and-coming composers and lyricists.” She adds, “It was wonderful to combine the expertise of our faculty, the passion of our alumni, the ingenuity of the composer and writer, and the generosity and support of the Film Academy.”
Cates is no stranger to high production values and show-stopping numbers. She is a member of AEA and SAG-AFTRA and has starred in Wicked (Broadway, First National Tour, Chicago) as Elphaba, as well as playing Miss Bassett in Finding Neverland (Broadway), Grandma Josephine in Charlie and the Chocolate Factory (Broadway), and has had roles in a handful of off-Broadway shows and many regional productions. Additionally, she performs as a professional voiceover artist.
The Professional Conservatory of Musical Theatre at the New York Film Academy is proud to have Kristy Cates as an original and current member of its faculty, and was equally as proud to produce Kristy’s Lament: Another Awful Day with the MTA with her. Next time you’re stressed and stuck on the subway, check it out and let yourself laugh a little — if the wifi is working down there, of course.
New 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 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!
Jameelah 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.
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.
New York Film Academy congratulates Jameelah Rose del Prado Lineses on her film Atareek and her latest award win!
UPDATE (June 21, 2019):
New York Film Academy is proud to announce that Jameelah Rose del Prado Lineses’s Atareek is now an Official Selection at the 15th Annual Houston Asian American and Pacific Islander Film Festival in Houston, Texas (HAAPIFEST), where it will compete in the music video category. HAAPIFEST runs from June 20 – June 28, 2019, and this is the first time the Houston Asian American and Pacific Islander Film Festival will have a music video category. Atareek will be screened on June 28, which is the closing ceremony and Arts Night of HAAPIFEST. You can find tickets here. The June 28 HAAPIFEST screening will be held at:
Chinese Community Center
9800 Town Park Dr.
Houston, TX 77036
Claudio Casale is a busy filmmaker, but recently he found the time to speak with New York Film Academy (NYFA). It was here that he attended our 8-week Filmmaking workshop in April 2017, where he quickly added an arsenal of skills to his already impressive filmmaking prowess.
“Claudio was one of those students a teacher is so happy to have in the class,” tells his NYFA directing instructor, Thomas Barnes, continuing, “brilliant, passionate, original, and supportive of his colleagues.”
Claudio has been incredibly productive since finishing the Filmmaking workshop, working on all sorts of different projects—short films, feature films, narratives, documentaries. In the summer of 2018, he achieved a career highlight when his documentary My Tyson won the MigArti Best Documentary Award at the Venice International Film Festival.
Claudio spoke with NYFA about that film and win, as well as filmmaking in general, working in documentary, and what lies ahead for him:
New York Film Academy (NYFA): First, can you tell us a bit about yourself and what brought you to New York Film Academy?
Claudio Casale (CC): I was born and raised in Rome, Italy. I graduated in Business Management, and at 22 I took two years abroad, mainly in India and Southeast Asia, where I started filmmaking constantly. Many shorts later, NYFA was the first proper education I received on filmmaking. I was mostly self-taught and I joined the 8-week program to gain experience on set dynamics and directing actors.
NYFA: Can you tell us about your film My Tyson?
CC:My Tyson is a 15-minute short doc on Alaoma Tyson, an Italian teenager born in Italy from Nigerian parents. Today, at 18 years old, Tyson is the Italian boxing champion in the youth heavyweight category. Patience, his mother, sews traditional clothes for the Nigerian community in the Roman suburb they live in.
As Tyson trains for his next match, Patience tells him the story of their family, revealing ancient rituals, financial struggles, and a severe migration experience.
CC: Migration is an issue worldwide, from the US all the way to Australia. In Europe, Italy is the first port of arrival for the majority of migrants and asylum seekers from Africa and Maghreb. As many filmmakers of my generation, I felt the need to take a stand on this issue, by offering to the audience a perspective that might get lost in the news cycle. Observation and research was key, as I had to find the story – and therefore my inspiration – on the field: I spent five months with Alaoma Tyson and his family before shooting a single frame.
NYFA: How did you get your film involved with MigrArti?
CC: MigrArti is a yearly call made by the Minister of Culture in Italy (MiBAC). The production working with me on My Tyson had to submit a detailed dossier for our project. MigrArti can be very competitive, and I was honoured that our project was among the selected ones. Watching our short doc premiere during the 75th Venice International Film Festival was really emotional, and I feel grateful that the Jury awarded My Tyson as MigrArti Best Documentary.
NYFA: What are your plans for My Tyson after Venice?
CC: We are sending out My Tyson to festivals, as that’s a great way to receive professional feedback and connect with fellow filmmakers. I would be delighted to personally attend international festivals as well, so to see by myself how different audiences relate to the story.
On the other hand, in Italy we are planning screenings solely for migrants, thanks to the cooperation of NGOs such as ARCI Solidarietà Onlus. Bringing cinema to places where it usually hasn’t belonged, like migration centres and public schools, is a duty as well as a chance to test the impact our little film may have on people we can’t reach with a traditional theatrical run.
Then, at the end of the festival distribution, at least in Italy we are working to have a selected theatrical distribution, likely paired with a feature documentary.
NYFA: What other projects are you working on or do you plan to work on?
CC: In September, I was in Sicily to direct a narrative short film in 35mm, Inshallah, about to enter post-production. Also, I have a feature documentary in creative and financial development, in which I will invest most of my time this year. It’s a project I am very attached to and I can’t wait to get myself on set to shoot it.
NYFA: What did you learn at NYFA that you applied directly to your work on My Tyson, or your work in general?
CC: Among the lessons I received at NYFA, two came particularly handy in this project. First, as director you have got to leave the camera to the operator! As many native-digital filmmakers, I also grew very attached to the camera body (I was my own operator on my first shorts). It wasn’t necessarily easy to delegate that, as it is an act of trust toward the operator, especially on a documentary where things happen out of script and must be captured instinctively.
But at NYFA, I learned to do just that: trusting the crew I work with and delegating everything that may distract me from the scene. In some projects I would still be my own operator of course, but thanks to NYFA I could recognize that My Tyson wasn’t one of those cases.
Second: directing actors! I find the method taught at NYFA to be extremely effective. Honestly, that module alone was worth the whole course for me. With time, I changed it a little to adapt it to documentaries, where you don’t direct actors but subjects, so the relationship is more subtle and the non-actors’ spontaneity is the first priority and must always be protected. I believe that directing actors and non-actors is what ultimately makes a director great, and that’s something hard to learn without seeing some experts at work, either by joining a school or by being on set as 1st or 2nd AD.
NYFA: Do you prefer working in narrative or documentary filmmaking?
CC: When I started shooting, I had only narrative filmmaking in mind, and frankly I still look forward to direct a feature narrative one day. Documentary happened by chance, yet for the moment I found my little niche here.
As for today, I certainly prefer working on documentary filmmaking for a variety of reasons: first, it’s cheaper, so development and pre-production are generally quicker compared with narrative. Second, you can easily practice rhythm and pace with a running time of 52 minutes or longer, a key area of learning for any aspiring director. Last but not least, documentary today is wide open to visual experimentation, an ideal condition for me.
NYFA: What differences or similarities do you find between narrative and documentary filmmaking?
CC: Comparing short films only, in my opinion the key advantage of documentary filmmaking is the level of experimentation it allows. I honestly find narrative short films too rigid sometime, as nowadays the pressure to deliver the highest possible production value risks to overpass the focus aspiring directors should be putting into the storytelling.
After all, short films are the only tool we have to discover who we really are as visual storytellers. The similarities between narrative and documentary filmmaking are more than one could tend to believe: year after year, more documentaries are shot with a real cinematic language in mind. And I believe that’s one of the reason behind today’s boom of documentaries: many narrative storytellers are getting into documentary, shaping it with their own tools.
On the other hand, generally speaking, narrative filmmaking may allow for a wider freedom of expression, especially if you get to write and direct your own script. In conclusion, I would suggest students to be open to both forms, as for different reasons they are equally important in the early stage of a filmmaker’s career.
NYFA: What other advice would you give to students just starting out at NYFA?
CC: If you are a total newbie on filmmaking, be ready to run and absorb everything you’re told. Raise your hand and ask your classmates for help, as at the end of the day, it’s all about the teamwork.
While If you have some filmmaking experience already, as I did, be ready to put everything you know aside. Don’t let your previous knowledge block you from learning further. Be open and receptive, and you will take something new and essential with you every day.
NYFA: Anything we missed you’d like to speak on?
CC: No questions about the Deli down in Battery Park? I must admit, sometimes I miss that sushi! 🙂
The New York Film Academy thanks Claudio Casale for his time and thoughtful answers, and looks forward to seeing what inspiring films he comes out with next. We sincerely hope he comes back to New York for a visit sometime and has some sushi from the Deli downstairs!
New York Film Academy (NYFA) Alum Alana Blaylock has had a productive career since finishing the 8-week Broadcast Journalism workshop at NYFA’s New York City campus in the summer of 2011. It’s no surprise then that many in the industry have taken notice of the Emmy Award winner, including Forbes Magazine, which recently published a profile on and interview with the up-and-coming producer.
Blaylock has amassed an inspiring roster of credits since finishing her workshop at NYFA’s Broadcast Journalism school, which teaches aspiring reporters a well-rounded understanding of all aspects of the production process, including researching, writing, shooting, producing, and editing. This is important in the modern digital landscape as contemporary broadcast journalists are expected to be multimedia journalists, marrying their technical skills with their creative ones.
This is exactly what Blaylock has excelled at, and why she has already won an Emmy and why her career is taking off even as her path winds between both traditional roads and outside-the-box ones. Her credits include work on CNN, HBO, NBC News, National Geographic, and the ID Channel, including popular programs Deadline and United Shades of America. However, her work on newer streaming models like Amazon and YouTube is what has been generating a lot of buzz.
One of her latest projects is producing for Best Shot, a YouTube Originals docuseries executive produced by Lebron James and Maverick Carter for the NBA. The show follows the student basketball players of Newark Central High School as well as chronicling the life and career of their mentor, former NBA player and sports television personality Jay Williams.
In addition to working in both traditional and digital media, Blaylock curates a strong online presence on social media, further highlighting her smart instincts in an ever-changing media landscape.
“I love the visual storytelling that happens on Instagram,” Blaylock tells Forbes. “That’s the platform I probably use the most [in my personal life]. And I am inspired by movies, set design, museums, exhibits and artists.”
She continues, “I try to take in as much new culture as possible and then decide what I want to do with it or how it fits into my process as a creative.”
What lies ahead for Blaylock remains to be seen, but it’s clear whatever she does next will be insightful and successful due to the work she puts in and the philosophy that keeps her driven. When asked about keeping her own personal voice while working on other parties’ projects, Blaylock tells Forbes, “My brand evolves as I attain more world experience. I have to remain authentically Alana, and the projects that I take on are continuations of my career journey.
“I can adapt to the demands of a project and still be the best version of myself. I remain steadfast in my goals while producing every show, documentary or collaboration. As a result of working on many projects, there’s always new information and experiences. It keeps me well-rounded.”
The New York Film Academy congratulates Alana Blaylock on her career and looks forward to her future successes sure to come!
The Year of the Documentary strikes again with the arrival of National Geographic’s Free Solo. The 2018 documentary, edited by New York Film Academy (NYFA) instructor Bob Eisenhardt, focuses on rock climber Alex Honnold as he attempts to climb El Capitan, the vertical rock formation in Yosemite National Park, without ropes, or “free solo.” El Capitan is so dangerous, no one has ever tried before. Honnold is the only person to have ever accomplished the feat.
Free Solo currently sits at an astounding 99% on Rotten Tomatoes after 66 glowing reviews. Tom Russo of the Boston Globe said of the film, “Go figure that the year’s most outrageously harrowing action movie turns out to be an arthouse doc from National Geographic.” Free Solo beat out An Inconvenient Truth as the highest per-venue average of all time. The documentary is also screening as part of Thom Powers’ Short List at the 2018 DOCNYC film festival, and has been shortlisted by the International Documentary Association (IDA). It was directed by Jimmy Chin and Elizabeth Chai Vasarhelyi.
Editor Bob Eisenhardt is an Academy Award nominee, three-time Emmy winner, and recipient of the coveted “Eddie” aka American Cinema Editors Award. He has edited over 60 films, mostly feature and television documentaries, including Everything is Copy (HBO), Jerusalem (IMAX), and another rock climbing documentary, Sundance Audience Award Winner Meru. He teaches Advanced Thesis Editing and is a Master Class instructor at the New York Film Academy’s New York City campus. In 2017, Eisenhardt’s film Scotty Bowers and the Secret History of Hollywood was screened at DOC NYC.
Free Solo is the latest in an exciting run of releases for NYFA Documentary faculty. This year alone has seen rave reviews for Claudia Raschke’s work on RBG, Kristen Nutile’s work on Heroin(e), and Maxine Trump’s To Kid or Not To Kid, all of whom are instructors at NYFA’s Documentary school. For the past eight years, NYFA has been ranked as one of the nation’s top documentary filmmaking schools, grooming students for the practical challenges, opportunities, and realities that arise when creating documentary films.
The New York Film Academy congratulates NYFA instructor Bob Eisenhardt on the continued success of Free Solo!
Chicago native, New York-based producer, writer, and social entrepreneur Kendall Ciesemier has been making waves with breaking news stories and interviews about social causes ever since she was 11 years old. At that young age, she formed Kids Caring 4 Kids to empower young people to help provide basic human needs to children living in sub-Saharan Africa. While she was at Georgetown University, Kendall co-founded OWN IT, a women’s leadership initiative to empower college-aged women to engage with women leaders. And at New York Film Academy (NYFA), Ciesemier completed the 6-week Documentary program in 2017.
Ciesemier’s personal history of health issues inspired her humanitarian work. Expounding upon that, she says, “My own health struggles entirely formed the lens through which I look at the world.” In lieu of gifts and flowers during her recovery, she humbly requested well-wishers donate to the village of Musele, Zambia — the most highly affected area by the AIDS epidemic at the time. “I found my purpose in founding Kids Caring 4 Kids,” added Ciesemier. Since 2004, 8,000 individuals in five different African countries have been assisted via the construction of dormitories, orphan care centers, a clinic, classrooms, computer labs, bicycles, indoor plumbing, meals, and clean water.
Now a producer at Mic, Ciesemier recently found herself helping out with an interview of rising political star Alexandria Ocasio-Cortez, who was elected to the House in 2018 as the youngest woman in Congressional history. The Democratic Socialists of America-endorsed 29-year old recently stunned the country after defeating longtime incumbent Joe Crowley in New York’s 14th District. Ocasio-Cortez was interviewed alongside fellow DSA-supported Cynthia Nixon, who lost her bid to defeat incumbent governor Andrew Cuomo.
At Mic, her topics range from criminal justice reform, racial justice, the #MeToo movement, and more. Her recent interview with Alice Marie Johnson, a woman serving life without parole for a first-time nonviolent drug offense, helped lead to Johnson’s clemency as is arguably the highlight of Ciesemier’s career.
Speaking of the experience, Ciesemier said, “We actually drove down alongside her family, three hours from Memphis to Alabama. We were racing to get there in time to pick up Alice and watching her walk across the street and see her family across from the prison was pretty powerful.” She continued, “I think, as a journalist, you’re taught to just do your job — but you’re also a human being. I don’t think I processed all of that experience until a good four days after. This is a story I’ll never forget.”
Ciesemier tweeted her emotional reaction to the release:
The New York Film Academy would like to thank Kendall Ciesemier for her time and, more importantly, her community service, philanthropy, and activism. We wish her the best of luck with all her future endeavors.
There is an old saying about how “the only constant is change.” That is certainly true of Broadcast Journalism. Whether you are a major TV network, an up-and-coming producer, or a student just learning the basics, you can’t stand still.
The latest case in point comes from NBC News, which is launching a new streaming service called NBC News Signal. Aimed at folks far younger than me, who use media in far different ways than my generation, it will have its own “nightly news” hosted by Simone Boyce.
The major networks have long posted stories — and even full programs — on their websites. But the majority of you reading this don’t “watch” TV in conventional fashion. If someone wants to reach you, they are going to have to do it through your phone, in a way that stylistically mirrors other digital information services.
It’s a crowded field… CBS, Fox, ABC, Cheddar… they are all out there competing for the digital audience. Then there is streaming media app Flex, which went into the news business through its acquisition of Watchup. Flex started as a way to organize your digital content. Now they want to provide content.
Whatever happens regarding distribution platforms, there will always be a need for something to distribute, for content. Learn the skills essential to being a content creator — in the New York Film Academy (NYFA) Broadcast Journalism school, for instance — and there is a place for you out there.
Last week saw a return visit to the Academy by CNBC reporter Leslie Picker. Leslie is so generous with her time, coming in to teach a Master Class for our students. She shared with them insights into how things work “in the real world,” using the arc of her own career as a starting point. She also discussed how stories evolve as they are being reported, and the resulting debates in the newsroom on the best way(s) to cover them.
After class, all the students had the opportunity to chat with Leslie. For all of her kindness, she left with the highly coveted (and somewhat rare) black NYFA baseball cap…