When shooting abroad, a solid production team is essential for shooting projects in an area you may be unfamiliar with. New York Film Academy (NYFA) MFA Filmmaking alum, Valéria Costa, makes it her job to ensure that foreign companies have everything they need, which is exactly what she recently did for the Netflix productions of Sergio and Street Food: Latin America.
Originally from São Paulo, Brazil, Costa came to NYFA after wanting to learn the practical side of filmmaking. “I also wanted to study abroad and improve my English,” she tells NYFA, “so I decided to apply to the MFA Filmmaking program at NYFA and kill two birds with one stone.”
Valéria Costa (Left) on set
Costa has since worked her way up through the ranks at production house Brazil Production Services, becoming a as a Production Manager. She has worked on multiple projects both in Brazil and in the United States including Netflix’s Hyperdrive and 90 Day Fiancé: The Other Way. Costa also worked on the NYC unit for the Brazilian feature filmMinha Vida em Marte and on the set of the shoot for the Get to Know Me music video with Brazil’s biggest popstar, Anitta.
Costa’s recent projects as a production manager have been with big name titles like the Netflix film Sergio, which premiered at this year’s Sundance Film Festival, starring Ana de Armas and famous Brazilian actor Wagner Moura. “It was a great experience,” shares Costa. “We had several weeks of pre-production and the challenge to build a 100+ local Rio de Janeiro crew, and served as the main members of the crews (being bilingual) to communicate between the Brazilian crew and American crew that flew to Brazil for this shoot.”
Film poster for ‘Sergio’
As with any production, Sergio posed many challenges for Costa and the crew. Some of those challenges included finding the right person for a certain type of shoot and transforming a whole set to resemble an entirely different decade.
“We had an underwater scene being filmed in the Rio de Janeiro that meant we needed to bring in the best underwater camera operator in Brazil to ensure we had the best footage possible,” reveals Costa. “We also needed to make sure all scene components were true to the time period, with many written as Sergio’s flashbacks from the 70’s; everything from street signs, cars, beach wear, people’s wardrobe, accessories, and more needed to be thought through.”
Poster for ‘Street Food: Latin America’
Another exciting project helmed by Costa and her team was Netflix docuseries Street Food: Latin America. Costa managed the Brazil Unit for the streaming series and reveals it was a “fulfilling experience” but also challenging overall.
“The city of Salvador [where the shoot was taking place] is not as developed as São Paulo or Rio de Janeiro, so, at some point during production, we had an issue with the equipment and we had to act very fast and put somebody on a plane to bring equipment from São Paulo for us ASAP so our schedule wasn’t affected. Everything worked out in the end and I’m very happy that people from all over the world get to know some of the best Brazilian and Latin American food.”
Valéria Costa (Second from left) with the production crew behind the scenes of a shoot
Costa’s job is certainly never quiet. Besides having the usual responsibilities of a Film Production Manager, she is also in charge with advising her clients on the local filming requirements of the country that they are looking to film in, while also seeking to align their expectations based on the limitations of that location.
“There’s a Brazilian saying that I believe summarizes working in the film industry for me: ‘A rapadura é doce, mas não é mole não.’ That translates to something like, “The candy is sweet, but it’s not easy to bite. What we do is definitely not easy. You work long hours, deal with extremely tight deadlines and budget limitations, but I really love making movies and dealing with all the moving parts of a set and once you can see the final product I can guarantee that it’s worth it.”
New York Film Academy would like to congratulate MFA Filmmaking alum Valéria Costa on her recent successes for the two Netflix productions, and is excited to see what’s in store for Costa as she continues to manage productions in two different global hemispheres of the world.
New York Film Academy (NYFA) was once again represented in this year’s nominations for the 72nd Primetime Emmy Awards, announced Tuesday, July 28 at 11:30 a.m. Eastern Time.
NYFA alum and ‘Insecure’ creator Issa Rae (Right) and Jay Ellis (Left) in Season 4 of ‘Insecure’
NYFA Filmmaking alum Issa Rae was nominated for her second ‘Outstanding Lead Actress in a Comedy Series’ Emmy for her performance in the HBO series Insecure, also created and executive produced by Rae. In total, Insecure received eight nominations including its first-ever Emmy nomination for ‘Outstanding Comedy Series’ and a nomination for Yvonne Orji for ‘Outstanding Supporting Actress in a Comedy Series.’
Fan favorite series Stranger Things continued to capture viewers, receiving eight nominations including ‘Outstanding Drama Series.’ NYFA Filmmaking alum Eric Demeusy previously earned an Emmy in 2017 for creating the now iconic title sequence for the show. The series also previously starred NYFA Board Member and Master Class Instructor Matthew Modine as Dr. Martin Brenner and featured NYFA Acting for Film alum Matty Cardarople.
NYFA guest speaker and ‘The Mandalorian’ creator Jon Favreau
Competing with Stranger Things for ‘Outstanding Drama Series’ is the Disney+ Star Wars spin-off series The Mandalorian. Created by NYFA guest speaker Jon Favreau, the series received a whopping 17 nominations total for the newcomer streaming platform. The popular space western also features Rocky star, Carl Weathers, who previously spoke at NYFA’s Los Angeles campus for Industry Lab panel discussion. Disney+ also picked up a nomination for ‘Outstanding Short Form Animated Program’ with Forky Asks a Question, featuring the voice of actor and NYFA guest speaker Tony Hale.
Documentary film poster for Netflix’s ‘Tiger King’
Easily one of the most talked-about documentaries of the year was Netflix documentary series Tiger King: Murder, Mayhem And Madness, which received four nominations in the Emmy documentary categories including ‘Outstanding Documentary Or Nonfiction Series.’ Creating the cohesive and gripping storyline for the documentary was NYFA Documentary Filmmaking alum Pedro Álvarez Gales, who served as co-editor for the popular Netflix series.
NYFA Acting for Film alum Ragga Ragnars in ‘Vikings’
Also nominated this year was History Channel’s Vikings for ‘Outstanding Visual Effects in a Supporting Role,’ which stars Acting for Film alum Ragga Ragnars. Better Call Saul screenwriter and NYFA guest speaker, Gordon Smith, was also nominated for his writing for the series episode “Bagman.”
This year, Netflix beat out HBO’s previous record for the most Emmy nominations to date with 160 nominations, with HBO trailing behind at 107 nominations total this year, though HBO continued its success with dystopian series Watchmen leading with the most Emmy nominations for any show this year in 26 categories. The newly established mobile-only streaming platform Quibi led the short form Emmy nominations this year with 10 nominations across the five short form categories, making it the most of any platform.
(UPDATE 7/30/20) The Television Academy has officially announced that the 72nd Annual Primetime Emmys will be held completely online, with host Jimmy Kimmel, the Emmy producers, and a prominent team of technicians working closely with each of the nominees to ensure the ceremony will still be streamed at the highest caliber possible for TV’s biggest night.
The Television Academy also noted that nominees can follow the dress code “Come as you are, but make an Effort!,” noting that many of the nominees span across the globe in different time zones, with many tuning in at extremely late hours with the ceremony still being held at its normal Pacific Standard Time. An excerpt from the letter addressed to the nominees can be found below:
“If you want to be in formal wear, we’d love that, but equally if you’re in the UK and it’s 3am, perhaps you want to be in designer pajamas and record from your bed! We want to work with you to style your moments, but want you to guide us on your levels of comfort – where you want to be, who you want to be with, what you want to wear etc.
In the forthcoming days, Jen Proctor, our Talent Producer and her extraordinary team at Cultivated Entertainment will be reaching out to you to start talking through the details.”
New York Film Academy would like to congratulate all the nominees for the 72nd Annual Primetime Emmys and looks forward to the ABC broadcast of the virtual ceremony on September 20, 2020, hosted by Jimmy Kimmel.
New York Film Academy (NYFA) alum Paula Bryant-Ellis’ story is proof that you do not have to grow up in the entertainment industry or start in showbiz at an early age to find your voice or succeed in the business. With the foundation of her faith and the skills from her career and educational experiences, Bryant-Ellis has managed to switch vocations and elevate her voice and the experiences of others along the way.
After graduating from Concordia University in Texas, where she majored in Accounting, Bryant-Ellis furthered her education with an MBA from UOP and an executive MBA from MIT. After years in corporate America as an executive and COO in banking and finance, Bryant-Ellis decided it was time for a change. “I was unfulfilled and really felt God pulling me in a different direction. So, my husband and I took a leap of faith and we sold our house, packed up our belongings, and moved to Los Angeles.”
That leap of faith led Bryant-Ellis to attend NYFA’s Los Angeles campus to study producing. “I enrolled at NYFA because I needed a way to learn the industry and get up to speed quickly,” she says. “I came out of the producing program convinced that I could produce my first project, and I did!” Bryant-Ellis also learned filmmaking at NYFA’s New York City campus. “I was able to develop relationships with students from LA, New York, Russia, Nigeria and South Africa and keep in touch with them even now,” she shares.
Photo courtesy of Paula Bryant-Ellis
Bryant-Ellis has gone on to produce TV series Hard Medicine and the short film Twelve Steps. She also recently made a small cameo appearance for an episode in season four of HBO’s Insecure, directed by her son Jay Ellis, who also stars on the show opposite NYFA filmmaking alum Issa Rae.
Bryant-Ellis’ most recent project to date has been her docuseries Behind Her Faith, which focuses on women in entertainment and their personal journey and the role of their faith in their career. The series features Essence Atkins (A Haunted House, Are We There Yet?), Niecy Nash (Claws, When They See Us), Angelica Nwandu (The Shade Room), and Aisha Hinds (Godzilla: King of the Monsters, 9-1-1).
“Mentoring and encouraging women has always been extremely important to me, especially because there were no role models for me in my field as I was working my way up through corporate America,” reveals Bryant-Ellis. “There were very few females in the upper ranks and there were absolutely no men or women of color in senior or executive level positions.”
‘Behind Her Faith’ created by an produced by Paula Bryant-Ellis
Behind Her Faith is currently streaming on Apple TV, Amazon Prime, Roku and UMC.tv (an AMC network), and Bryant-Ellis hopes to have more seasons in the future. “I want the audience to know that God loves them and that He’s waiting to have an encounter with them that’s more powerful than they could ever think or imagine.”
With faith being a cornerstone of Bryant-Ellis’ storytelling foundation, she also shares that this time in show business is crucial for people to understand that all stories should properly represented and calls for change in the industry. “Stop believing you can tell my story better than I can. No one’s story is more important than the other but BOTH must be told.”
Paula Bryant-Ellis behind the scenes during a film shoot
With the Black Lives Matter movement continuing to bring a reckoning in Hollywood, Bryant-Ellis also adds “it’s not enough to say that you are aligned with a cause when you don’t provide resources to support the cause,” and this is not just an issue that appears in the entertainment industry. “It does not matter what industry you’re in; your Boards and your decision-making team must be diverse and reflective of the people that support and purchase your products.”
Bryant-Ellis also reveals she has a couple of additional projects in the works including a docuseries and a drama, but is unable to officially share more information just yet. For now, she has this to say:
“Believe in you. This industry requires tough skin and staying power. Find a niche that works for you and create content that keeps you true to who you are. Don’t worry about what everyone else is doing. No one can do you better than you, you just have to believe it and trust it. Trust your voice and your vision!”
New York Film Academy would like to congratulate alum Paula Bryant-Ellis on her docuseries, Behind Her Faith, and looks forward to what exciting and inspiring projects come next from the NYFA alum!
Photo courtesy of Paula Bryant-Ellis
To learn more about Paula Bryant-Ellis and to keep an eye out for her upcoming projects, check out the links below:
On Tuesday, June 23, 2020, New York Film Academy (NYFA) hosted a live video Q&A with the talented documentary filmmaker Tânia Cypriano to discuss her much admired and trailblazing documentary film Born to Be. Cypriano was also joined in conversation by NYFA Acting for Film Conservatory student, and consultant for the film, Jude Washock. Tova Laiter, Director of the NYFA Q&A Series, moderated the event.
Director Tânia Cypriano has been working between her home country of Brazil and the United States for over thirty years. Her films and videos have won international awards including ‘Best Documentary’ at Joseph Papp’s Festival Latino in New York, the Pan African Film Festival in Los Angeles, and Fespaco in Burkina Faso. Her work has been shown in the world’s most prestigious institutions including The Museum of Modern Art (MoMA), Hong Kong Arts Center, the Jerusalem Film Festival, the Amsterdam Documentary Film Festival, and the Berlin International Film Festival.
(Clockwise) Tova Laiter, Tânia Cypriano, and Jude Washock for Q&A Series
Her television credits include documentaries for PBS, the History Channel, NHK in Japan, GNT in Brazil and Channel 4 in England. Cypriano has co-organized a series of films with the MoMA, the Anthology Film Archives, Exit Art, the Museum of Image and Sound in São Paulo, and the Grazer Kunstverein in Austria. She has also previously worked on productions for Bill Moyers, Martin Scorsese, Kent Jones and Nelson Pereira dos Santos.
Dr. Ting walks with one his patients in the Center for Transgender Medicine and Surgery wing of Mount Sinai Hospital (‘Born to Be’)
Cypriano’s latest documentary, Born to Be, follows the work of Dr. Jess Ting at the groundbreaking Mount Sinai Center for Transgender Medicine and Surgery in New York City —where, for the first time ever, all transgender and non-binary people can have access to quality transition-related health and surgical care. The film received critical acclaim upon its original release in the 2019 festival circuit and was hailed by Variety as “a lively and moving documentary,” and “a film that distinguishes itself with a sensitive, human portrait” by Hollywood Reporter.
A patient awaiting consultation from Dr. Ting (‘Born to Be’)
Cypriano remembers wanting to make this documentary after hearing about the Center for Transgender Medicine and Surgery in New York from her producer, noting it was “a historical moment for New York City, and also for healthcare.” After deciding she wanted to do this documentary, Cypriano recalls staying in the clinic and documenting the surgeries with the crew, noting how many of the characters in the film “understood the importance of that moment [of filming] because these surgeries were just made available, and the importance of them was so great to the [transgender] community.”
Washock, a SAG-AFTRA member and NYFA student who served as a consultant for the film, explained that his role was “to ensure that the stories being told by the characters, who were receiving surgery, were portrayed in a humane way and were not damaging or exploitive.” Consultants like Washock are especially important for documentary filmmakers so they can ensure they do the subject matter, and story, justice.
Dr. Ting posing with one of his patients (‘Born to Be’)
One student asked Cypriano how she was able to compose herself during the documentary shoot. “It was a tough one,” she recalls, “I think that is why I chose to live outside of my family because it was emotionally draining, but nothing compares to what I imagine Dr. Ting goes through because he is over there listening to those stories everyday.”
Film poster for ‘Born to Be’
In addition to discussing the film, Cypriano also encouraged NYFA students to tell stories because they can. “You have to put yourself out there, work hard, be patient, and persevere. If you hang in there, you can do it.” Washock, who got involved in the project just by talking to Cypriano at an event added, “put yourself out there and have conversations with people and just talk, you would be surprised.”
Washock also encouraged students in the New York City area to look into volunteering or becoming a member at IFP (Independent Filmmakers Project), where Washock praised his experience there networking and attending informative panels.
Cypriano thanked Laiter and the NYFA students for joining the call and also extended gratitude to NYFA student Jude Washock for joining the conversation.
New York Film Academy would like to thank the talented Tânia Cypriano for sharing her time and expertise with the students and NYFA Acting for Film student Jude Washock for sharing his experience as a consultant on Born to Be. NYFA also encourages everyone to keep an eye out for the forthcoming theatrical and streaming release of the film.
With many festivals being cancelled or postponed due to the COVID-19 pandemic, New York Film Academy South Beach instructor Eduardo “Eddy” Santa-Maria decided to engage South Beach students to create their own films from home and have a place to have them shares and voted on for NYFA’s first-ever Made at Home Festival, presented by NYFA South Beach. The Festival’s winners included MFA Acting for Film student Yulia Korotkova (Student Choice Award), and One Year Filmmaking Conservatory student McKenzie Mortensen (Staff & Faculty Choice Award).
“I constantly see students stop each other in the halls and ask ‘hey how’s that film going,’ and I’ve seen those same students leave that conversation inspired and ready to make a film of their own. That infectious creativity seemed to have died down as we move to remote learning,” shared Santa-Maria. “So, in order to get that vibe back, the itch to create, I figured the Festival would give them a challenge where their creativity would be put to the test and, hopefully, inject that sense of creativity that NYFA is famous for.”
Students who participated in the Film Festival were given one month to develop, write, shoot, and edit a 5-minute film completely shot from their own home. With the Coronavirus pandemic shutting down many areas all over the country, students were encouraged to use what they had at home, from camera equipment (mobile phones, DSLR) to casting their film with only themselves or who they lived with.
McKenzie Mortensen, who won the Staff & Faculty Choice Award for her short film Quarantined, was inspired to make her film due to her own personal experiences of being alone during the pandemic. The Burley, Idaho native’s short film is a horror-comedy about a girl who becomes so bored and lonely that she makes friends with an evil villain, who crawls out of her television. In addition to the full film below, Mortensen has also shared her Quarantined storyboard available here.
“I hope the audience was able to relate to my short emotionally since my film subject was very current,” says Mortensen. “I also hope they were able to let out a laugh, chuckle or giggle.” Mortensen will graduate from the One Year Filmmaking Conservatory from NYFA’s South Beach campus in September and plans to pursue a career in film editing. In addition to her short film Quarantined and Doritos Super Bowl competition entry, Mortensen also created a short stop motion film, which can be viewed here.
Winner of the Student Choice Award, Yulia Korotkova, was inspired to create her short film Watersafter playing around with different shots and angles taken on her cellphone. After attempting to create a shot of someone being pulled out from under the bed, she was inspired to create a thriller about soul-collecting water that could be condensed for the Festival’s parameters. “The original script was a ten minute film and we [Korotkova and her husband] feel proud of having created this film only using an iPhone without any professional equipment,” she explains.
Behind the scenes for ‘Waters’ (Directed by Yulia Korotkova)
Korotkova, who was born in Russia and grew up in Venezuela, moved to Miami 11 years ago and is currently studying acting at NYFA South Beach. Waters, she explains, is her first-ever film. “I was hoping to entertain and, at the same time, show how there is no need for expensive equipment and large expensive production in order to tell a story.”
NYFA South Beach student Yulia Korotkova
While the film is not yet posted publicly, Korotkova has released a teaser trailer and encourages readers to check out some of the behind the scenes information for her film.
Santa-Maria shares he hopes students can realize they don’t need huge sets, expensive cameras, or a large crew to tell a heartfelt story. “As cheesy as it sounds, I wanted our students to realize that no matter where they are in life, no one can take away their ability to tell captivating stories.”
New York Film Academy would like to congratulate NYFA South Beach students McKenzie Mortensen and Yulia Korotkova for winning the top prizes for the South Beach Made at Home Festival and encourages everyone to watch each student’s available footage to get their own creative inspiration.
New York Film Academy (NYFA), in partnership with the City of Burbank’s Cultural Arts Commission, has produced a video highlighting the 2019 Burbank Arts Beautification Program, an art installation initiative to display original artwork on utility boxes throughout the Burbank community.
With NYFA’s own Los Angeles campus located in the Burbank area, NYFA offered its support to the Burbank Arts Beautification Program for this local community initiative as a means to provide a glimpse at what has been accomplished so far in the community through the Program. NYFA’s video highlights the Phase 3 of the Burbank Arts Beautification Program, which focused on the utility boxes located in the media district of Burbank. These boxes were painted by talented artists, who were inspired by the theme “A World of Entertainment.”
A Vintage Postcard for Burbank’ by Artist Monika Petroczy
In addition to creating the video highlighting the 2019 Burbank Arts Beautification Program, NYFA also sponsored artist Monika Petroczy, who created her box, ‘A Vintage Postcard for Burbank.’ Petroczy’s box was inspired by the classic vintage postcards from the 1950’s and included famous Burbank landmarks, activities and landscapes both classic and modern.
NYFA sponsored artist Monika Petroczy (Left)
This week, the City of Burbank in partnership with the Parks and Recreation Department and the Public Works Department, announced a call to all artists to participate in the Burbank Arts Utility Box Beautification Project for 2020. Various utility boxes throughout the City’s Magnolia Park District will be painted with original art inspired by the theme of “Celebrate Community.” Applications are now open and will close on Thursday, July 23, 2020 at 5:00 P.M PST.
NYFA would like to thank the City of Burbank’s Cultural Arts Commission for being part of Burbank Arts Beautification Program and encourages artists to apply to be part of the Magnolia Park District phase of the Program.
To learn about previous Utility Box Beautification Projects, or to apply, click here.
When Angolan filmmakers Fradique (a.k.a. Mario Bastos) and Hugo Salvaterra, a NYFA Fulbright student, met in high school, little did they know it would be the beginning of a friendship and collaboration that would continue into adulthood, where they would both be studying at the New York Film Academy, and take them to the prestigiousWe Are One: A Global Film Festival. Created by the Tribeca Film Festival as a fundraiser for organizations addressing the world’s COVID-19 crisis, We Are One includes selections from top festivals such as Cannes, Berlin, Venice, and Rotterdam.
Air Conditioner, Fradique’s first fictional feature as writer and director,will premiere on YouTube on Saturday, June 6, 2020, at 11:45 am Eastern. It will then become available on demand for seven days afterwards. Attending the premiere is free, but donations are welcome.
Crickett Rumley, NYFA’s Director of Film Festivals, caught up with Fradique and Hugo right before the festival and asked them about their experiences.
Fradique on set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Congratulations on this amazing success. Fradique, could you tell us more about Air Conditioner and how it came to be?
Fradique: This is actually a project that I had started writing a couple of years ago while I was developing what was supposed to be my first fiction film, The Kingdom of Casuarinas. Air Conditioner was kind of a side project that eventually ended up becoming my first fiction film, which for me was a big lesson on how in our line of work these things take many years. Sometimes the next one is not the one you thought it would be. The film was written by me and the director of photography, Ery Claver, who is a very talented filmmaker and someone that sees cinema as I do.
Air Conditioner is a magic neo-realistic journey through downtown Luanda, Angola, where we follow Matacedo, a security guard of an old building, while he tries to retrieve his boss’s AC in a city where all the AC’s are falling. This is a film about loss, how we live together as society, and a critique of social classes in a city that is past-present-future. My biggest inspiration for this film was my own life experience growing up and living in many different buildings in downtown Luanda and also the idea that these invisible workers that are the heart and soul of our city should be main characters on the stories we watch on the big screen.
Rumley: What was the most challenging thing about making the film? What did you learn in the process?
Fradique: The film was produced and shot with a very small crew, almost guerrilla-style, so letting go and accepting what surroundings are offering you was my biggest challenge and lesson. Usually in all my projects, I try to be as meticulous as I can regarding the script, storyboard, and shooting plan, but with this film we wanted to work not only with non-actors, but also with the real location where the story takes place, the building. In the end, the film resulted from creative acts derived from a deep structure. It privileges character and location over traditional narrative. The improvisation in this project was not simply a free flow of expression, but a rigorous and disciplined act of playing from a given structure at its core. I believe that this mixture was essential to bring some raw and poetic experiences to the screen while pushing at the same time stronger performances from the cast.
Film poster for ‘Air Conditioner’
Rumley:The film premiered at Rotterdam, which is an amazing place to launch. What was that experience like?
Fradique: Yes, the film had its World Premiere at the Rotterdam International Film Festival in the section of ‘Bright Future Main Program’ in 2020. For me, it was an honor to have the first festival screening at IFFR. It was my second time over there and I love and stand for everything that the festival believes. A lot of filmmakers that inspire me have been at IFFR; it’s a great home for the global south cinema. The feedback after the screenings exceeded my expectations, which were very low because I was very tired after a year of working on the film. We had five screenings and they were all sold out before the festival even started. The audience in Rotterdam are very generous and authentic cinephiles. We had great reviews at The Hollywood Reporter, The Guardian, and other local newspapers. The original soundtrack, which was composed by Aline Frazão for the film, was one of the elements that reviewers and the audiences mention a lot. She did an incredible job, and I believe the music in the film brought to the surface the soul of the main character, Matacedo, as well the city of Luanda.
Rumley:Fradique and Hugo, what are you each looking forward to with the film’s screening at We Are One?
Fradique:How this festival was put together still amazes me. We Are One offers a global audience easy access to great films and conversations about filmmaking. It’s free, yet it’s also open to donations to fight against Covid-19. For me as a filmmaker in the current crisis that was an important criterion to join this initiative because it has bigger concerns than defending a particular festival or film. It shows how important it is to work and act collectively. We are all still learning and trying to figure out what the future of independent cinema and festivals will be, but it’s important to try new formats and be open. I hope at the festival Air Conditioner reaches audiences that probably were not going to watch this film or simply give someone who is at home a small pleasant journey to Luanda, Angola.
Hugo:Personally, I’m mostly proud of the company’s achievement, amazed at the scale and sheer diversity of the festival. After attending many festivals like Tribeca, LA and NY film festivals or even the Venice Biennale, this feels like the most diverse and representative curatorship I’ve seen thus far. It truly represents cinema and independent cinema as a planetary global experience. It also gives me added hope that the usually non-English, non-western filmmaking voices can also be heard on a global scale for a more democratic and inclusive future for all independent filmmakers.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Let’s backtrack for a minute to the beginnings of your collaboration. How did you meet and start working together? Was it attending NYFA, or back at home?
Fradique: I met Hugo while I was still in high school here in Angola. Afterwards we went to study abroad. He went to Europe, and I went to the US in 2004 where I did NYFA’s 1-Year Filmmaking program and also a BFA at the Academy of Art in San Francisco. Once I got back to Angola in 2010, I started a production company called Geração 80, with Jorge Cohen and Tchiloia Lara. Hugo was one of the first artists to come on board at Geração 80. Our production company will celebrate 10 years this year.
Hugo:I met Fradique in the cocoon of our high school here in Luanda, Angola, in our youth. If my memory doesn’t fail me, I think I formed a kinship with him when I was still in university in Lisbon making music on the side. He showed some interest in shooting a video for a small EP I had made in my bedroom, something I never expected, and it meant a lot at the time. Our connection really took off when I joined Geração 80. I did my first job for the company while I was living in London in the end of 2011 then joined in early 2012, way before NYFA. I was still an aspiring filmmaker, writing film reviews and working mostly with photography. A memorable day is when I first made it into his bedroom, shortly after arriving from London. Large sections of his DVD film collection mirrored mine. That’s when I realized that more than a friend, I had found a brother through our shared passion for film.
Rumley:Hugo, what was your position on ‘Air Conditioner?’
Hugo: I was fresh from returning to Angola post-NYFA and figuring out how to promote my film “1999” here in Luanda. In an independent production company, a lot of sacrifices have to be made in order to make things happen. So I was focused on the commercial end of the company making sure that my colleagues could enjoy the freedom and necessary focus to produce and shoot the film.
On set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Your production company sounds really interesting. Can you describe it, how you work, what you do, how you started it?
Fradique:We will celebrate a decade next month. We started only with three people, and today we are a group of eighteen professionals working in the audiovisual industry in Angola. At the beginning the goal was to just make cinema, but soon we realized that we had to do other work to survive. In Angola there’s no film funds or initiatives, so being able to put together a production company that does not only cinema, but commercial and corporate work gave us the resources to be able to build a great team and acquire top equipment to make us more independent. Over the last ten years, we produced one feature fiction film, four feature-length documentaries, six short films and worked on a couple of international co-productions. When it comes to producing our films, we work very much like a collective. Everyone works on each other’s projects, and we only finish a film when it reaches an audience. We don’t make films to be put into drawers, we believe independent/author cinema should meet bigger audiences as well. We are tired of seeing our film theaters only with Hollywood films. We want not only more Angolan cinema in our theaters, but also African cinema.
Hugo:For me the real beauty of being part of this collective is also that, all of us, despite our differences, are committed to the power of movies, storytelling and all its magical elements. Our aim is to make movies, not products, which is increasingly more difficult in a time where everything is commodified either through likes or commerce. Making movies for us is not a job, it’s a way of living. We are in essence not in the movie business, but in the business of making movies. It’s our passion and desire to make films that informs the process and the how and that to me is special.
Rumley:How do you think your education at NYFA and the work you did here prepared you for a career in filmmaking?
Fradique:NYFA gave me the foundation of what it means to be an independent filmmaker. Learning how to work collectively on other classmates’ projects and at the same time experience different positions on the set was fundamental for me to be able not only to fully understand the craft and the importance of every person on set, but also l to later on have the resources to open up a production company in my home country. On top of all that, I did my one year program almost entirely on film. We only did one main digital project with a MINI DV, no REDs at the time. Everything else was in 16mm, and each gave me more confidence as a director in the beginning of my career.
Hugo:I was already in my early 30s when I made it into NYFA, so I almost missed the window to becoming a filmmaker. I’m very grateful for the two years spent there, particularly in New York, where I was able to find the confidence and tools not only to learn what filmmaking is, but also find my artistic voice. Los Angeles was different but essential in learning a more formal, business-oriented way of producing films. There, I focused more on how to write a feature within a more conventional three-act structure and developed technically on set, playing with the vocabulary of film in a way that made me a much stronger filmmaker.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Do you have any special shout-outs to faculty or staff who really helped or inspired you?
Fradique:I have great memories of teachers like Tassos Rigopoulos and Claude Kerven. Together with my fellow classmates, they represent the best first lessons I had about filmmaking.
Hugo:Brad Sample’s capacity to analyze, deconstruct and mentor, Ben Cohen’s humor, intellect and love of film history, Rae Shaw’s production acumen stand out. Sanora Bartels, Greg Marcks, and Robert Taylor for teaching me the science of script writing. There are others I’m sure, but those stand out.
Rumley: What advice do you have for recent graduates making their way in to the professional world?
Fradique: As it became easier to have the resources to make films, also it seems more difficult with so many options to follow or trying to keep up with all the trends and gadgets. My advice would be don’t get stuck on the gear, to spend more time and make meaningful connections and partnerships with the people you work with. Watch a lot of films and think collectively, that’s the root of filmmaking. Surround yourself with people that are different from you but have the same passions, values towards art and don’t forget the best stories are found at home, wherever that might be.
Hugo:Filmmaking is a mansion with many rooms and it’s very easy to get lost wandering in it, figure out what your strengths are and sink into what and who you are. By that I mean, what do you bring to a story, a set, a crew, a production company? What are you making films for? If you’re able to answer that, regardless of success or failure, you will find the nourishment you need to carry on.
Cast and Crew of ‘Air Conditioner’ including NYFA Alumni Fradique and Hugo Salvaterra (Photo Credit: Cafuxi)
Rumley:These are trying times in the world today, and art matters more than ever. Do you want to share any words about the importance of film in the lives of humans living right now? The role of Angolan film in world cinema?
Fradique:The world we have today is the result of the same and single story being told for centuries. We need more diversity behind the cameras and in what see on the screen. We need to remember that culture, art, is not mere entertainment or something to disconnect us from our daily life online. Be aware not only of your country’s borders, but your social and society borders as well. Cinema is more than a mirror; it is art and memory with all the senses, feelings and its lapses. Let’s take care of our memories.
Hugo: At its core, film is still the only art form that explores what it means to be human. It’s not the imitation of life, it is the imagination of everything life could be. In a time when the very existence of organized human life is at stake, we have to make sure, now more than ever, that the films we’re making get to the core of that exploration. There is a war raging that isn’t new, one that is fought between commerce and the full potential of film as an art form. It’s an age-old battle, where there will always be those who will try to define films as a monolith, by creating markets and monopolies where the overarching definition and structure of a film is the same and where its success is only measured by if it won anything in a festival or how much money it made vs. the whole history of the art form, where the writers, directors and producers made a film because they wanted to birth something that was urgent, as a way of life, as means of catharsis, beyond conventions of class or structure. Filmmakers have made the history, inside big studios or the smallest of spaces, with the biggest crews and the most skeletal ones, by understanding and studying film history and the art form. Angola is a young country and is showing potential to create both types of films, both profit-driven ones and ones that channel and respect the history of film as an art form. We champion the latter.
Rumley:Anything else that you would like to say to the NYFA community?
Fradique: Be safe and be informed. If you have the chance, watch Air Conditioner at We Are One: A Global Film Festival starting June 6th.
Rumley: Congratulations! We wish you the best with your We Are One screening and in all your endeavors. Keep making art; keep telling your stories. They matter.
New York Film Academy would like to thank Fradique and Hugo Salvaterra for taking the time to speak about their new film, Air Conditioner, and congratulates them on the premiere of their film at the We Are One Film Festival.
UPDATE June 19, 2020: Fresh off their screening with the We Are One Global Film Festival, Fradique and members of his crew and production company, Geração 80, will join Crickett Rumley, NYFA’s Director of Film Festivals, for a discussion of their film Air Conditioner on June 25, 2020. To register, click here.
From K-Beauty to K-Pop, South Korean’s pop culture is taking the world by storm, flooding the internet with the latest YouTube influencers or musical supergroups and artists. New York Film Academy (NYFA) student, Seoyeon Chloe Shin, decided that now more than ever it was time to create a new kind of reality show, one centered around a pop up salon in Vietnam, affording customers the opportunity to transform themselves using K-Beauty techniques.
Seoyeon Chloe Shin is an award-winning director and producer, who has produced and directed more than ten documentaries and 100 TV shows that have been broadcasted nationwide and internationally. For the last 16 years, Shin has worked at Taegu Broadcasting Corporation (TBC), a major local broadcasting corporation located in Daegu, South Korea.
Her show, K-Beauty Salon, was in collaboration with TBC and a local Vietnam TV station. The show went on to win a Bronze Remi Award at Worldfest-Houston International Film Festival in April 2020. Shin has also previously been awarded ‘Best Picture in Local TV Show’ at the Korean Producer Awards (2018) and a ‘Best Picture for Children’ award at the Korean Producer Awards (2017).
Choi Soo Kyung, Ashley – Ladies’ Code, Park Si-hwan, and Cheon Min-kyu
“These days, K-Pop culture is so popular worldwide, including the styles of many K-Pop stars,” says Shin. “I wanted to make a cross-cultural entertainment program in Vietnam about K-Beauty.” The show, K-Beauty Salon, follows top Korean stylists as they spread K-Beauty in Da Nang, Vietnam by setting up a pop-up shop to showcase their outstanding beautician skills and have discussions with local customers who come into the shop along the way.
The cast of characters includes real-life professional stylists and personalities known throughout Korea and internationally including Cheon Min-kyu, a hair designer for various K-Pop stars and Superstar K5 winner and K-Pop singer Park Si-hwan, among others. “These days, entertainment shows should be more internationally focused,” says Shin. “So we planned to use K-Beauty to transform others to look like K-Pop stars.”
Seoyeon Chloe Shin being interviewed for ‘K-Beauty Salon’
Shin, who currently studies in NYFA’s 1-Year Filmmaking Conservatory program, decided to study at NYFA to gain an international perspective and learn the visual aspect of filmmaking in order to hone her craft for future shows and films. According to Shin, being at NYFA is a “good opportunity for me to go back to the basics and enhance my skill to make the show [and all projects] more precise.” She also notes that getting a taste of the other disciplines like acting has been “helpful for me to understand the actors.”
New York Film Academy congratulates Seoyeon Chloe Shin on her Bronze Remi Award and looks forward to seeing her continue to make her own path in international filmmaking for television.
To watch a full episode of K-Beauty Salon, watch the full video below or click here.
New York Film Academy (NYFA) alum Francesca Mazzoleni’s documentary feature length film, Puntasacra wins the ‘Sesterce d’or la Mobilière’ (Best Feature Film) at the 2020 Visions du Réel competition, held virtually from April 17 to May 2.
‘Puntasacra’ (Directed by Francesca Mazzoleni, courtesy of True Colours)
Mazzoleni atteneded the 4-Week Music Video Workshop at NYFA’s New York City campus in 2017. In addition to Puntasacra, Mazzoleni has directed feature film Succede and short films 1989, L’etoile de Mer, Lo so che mi senti, Nowhere, and Il Premio.
Puntasacra, her latest feature, is a documentary that tells the story of the inhabitants of Idroscalo di Ostia, a coastal outer district of Rome and the last portion of habitable land at the mouth of the Tiber, Punta Sacra. With half of the community’s houses destroyed by a fire in 2010, the documentary navigates the daily lives of the coast village’s inhabitants and naturally portrays the conversations between neighbors surrounding communism, familial secrets, and community altercations.
The film was one of 14 feature-length documentaries that were selected for main competition in the prestigious Swiss festival, Visions du Réel, in Nyon (this year online). After winning the Sesterce d’or la Mobilière with a cash prize of CHF 20,000 (£16,657), top Italian sales distributor, True Colours, acquired sales rights for the film.
Mazzoleni, who could not be there in person to accept her award since the ceremony was held online, made her own award from the items in her home and thanked her ten-person team, with whom she “shared a very complicated and wonderful adventure”. She also thanked the community of Idroscalo di Ostia who gave her the confidence to make her film. She closed her Instagram acceptance speech by telling her followers, “our journey begins today, be patient, the cinemas will reopen.”
Francesca Mazzoleni behind the scenes of her film ‘Succede’
New York Film Academy would like to congratulate Francesca Mazzoleni on the success of her latest documentary film and her recent win at Visions du Réel, and encourages everyone to check out Puntasacra when it becomes available in theaters or online.
The New York Film Academy recently hosted an Industry Speaker session with the Executive Director of SAGindie, Darrien Gipson. Students and Faculty from all NYFA campuses attended as Gipson addressed the state of the industry during Covid-19. With all sectors of the industry focused on returning to work, it was a prescient discussion moderated by NYFA Producing Chair Neal Weisman.
Gipson spoke of the various protocols that are being proposed once production resumes. While a certain degree of uncertainty prevails, and as the industry awaits government guidelines, a consensus around various parameters is formulating. They include reduced crew sizes, staggered work hours, “pods” of crew alternating on set, various departments working timed shifts, longer days sanctioned by the unions, strict enforcement of social distancing, personal and set/equipment sanitizing regimes, monitoring for symptoms, and isolating actors.
NYFA Producing Chair Weisman with SAGindie’s Darrien Gipson
On a positive note, various “silver linings” are beginning to emerge from the current environment. Smaller productions with lower budgets, like student films and web series, are going to find it easier to handle the logistics and flexibility required to move forward. There will be a great hunger for projects as a result of the freeze on production in effect since March.
The smaller productions that can proceed at a quicker pace than the larger, more cumbersome projects will be better positioned for distribution. Gipson cited that a smaller number of “starry” submissions to festivals like Sundance will enhance the chances of less high profile films obtaining top-tier festival launches. Streaming platforms and other distribution entities will be seeking more product than ever. These observations connected with the NYFA audience as the conversation made it more apparent that there has rarely been a better time for emerging producers, filmmakers, writers, and actors to create content for a voracious audience.
The New York Film Academy has a long standing relationship with SAGindie, and thanks Executive Director Darrien Robbins for her insight and generosity. SAGindie is an invaluable resource for the NYFA community, as they not only assist in navigating the various paths forward working with the Screen Actors Guild, SAGindie will also offer guidance on a host of matters from financing to festival strategies, and more. SAGindie welcomes NYFA students who would like to reach out and learn more.
For more information on SAGindie and how to contact them click here.