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  • NYFA Los Angeles Cinematography Students Adapt to New Hybrid Model in Creative Stage Lighting Workshop

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    As the COVID-19 pandemic lingers, New York Film Academy continues to show how its adapting to delivering an applied arts education. The Cinematography department on the Los Angeles campus has taken an updated approach to the “Stage Lighting Workshop” course using practical components integrated with remote instruction.

    Production design instructor Francis Pezza created a set for a modern urban apartment to be built on Stage 5 at TBS Studios (former home of NBC), down the hall from the famous soundstage where Johnny Carson hosted The Tonight Show.

    The apartment design features a spacious floor plan that incorporates a living room, kitchen, and bedroom. The layout allows students a great degree of flexibility in designing shots and creating a variety of lighting schemes. Additionally, the set features a large window that looks out onto a 50-foot translight backing of the New York City skyline. The backing can be lit for either day or night, and allows the Cinematography students to incorporate a greater sense of depth and dimension in their photography.

    Following the set build, department chair Anthony Richmond ASC, BSC and Cinematography instructor Jacek Laskus, ASC, PSC began their workshops with the MFA and One-Year Cinematography students. Each student is instructed to choose a reference image, which will first be analyzed by the class, and then used as inspiration in creating a new shot and lighting setup.

    The instructors and the students worked remotely, relaying their instructions to a group of TA’s on set, who followed the students’ directions, placing and shaping the lights as instructed, and executing the cinematographer’s vision for the shot. The students were encouraged to incorporate camera movement into their visual design, utilizing the available space to best effect.

    Throughout the workshop, the students learned new techniques for lighting, shot design, and moving the camera. This hybrid model of remote instruction with practical elements proved successful in delivering the goals of the workshop.

    Reflecting on the class, Richmond said:

    “I was pleased with the success of this workshop. Working remotely proved very effective. I was with the students on Zoom, where we could all see each other, and the image from the Red camera as the students lit the set. We had additional cameras showing us what was happening on set, including a bird’s eye view of the entire stage. The crew worked well together, and the students were able to accomplish many unique shots.”

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  • New York Film Academy-Los Angeles (NYFA-LA) Chair of Cinematography Anthony B. Richmond Visits Guangzhou and Shenzhen

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    On December 7, Anthony B. Richmond, ASC, BSC, New York Film Academy-Los Angeles (NYFA-LA) Chair of Cinematography, was invited to the second International (Guangzhou) Film, Television and Animation Education Forum at Guangzhou Academy of Fine Arts in Guangzhou. 

    tony richmond china
    In addition to working closely with talented, hard-working students as Cinematography Chair, Tony Richmond is a London-born, BAFTA-winning cinematographer who has shot numerous productions, including The Man Who Fell to Earth, Don’t Look Now, The Sandlot, Legally Blonde, and Sympathy for the Devil.

    As the guest speaker of the forum in Guangzhou, Richmond was able to share his decades of experience in cinematography, highlighting his skills in visual storytelling through clips from many of the critically-acclaimed films he’s worked on. Richmond was also able to take questions and interact with the audience.

    Two days later, on December 9, Richmond conducted a storyboard workshop at Guangzhou Academy of Fine Arts, where he worked with students, designing storyboards and shot lists. They then discussed what they had done and how they would shoot their projects. Students really enjoyed the workshop and had done some impressive work on the storyboard designs. 

    tony richmond china
    On December 10, Anthony had a meeting in Shenzhen with Mr. Huang, Lin Ma, Xinning Wang and other senior filmmakers in Shenzhen. Mr. Huang is a director and the chief executive officer of Oriental Legend; Lin Ma is a producer; and Xinning Wang is the representative of Shenzhen Kingmouse Pictures Corporation. During the meeting, they exchanged ideas on the differences in filmmaking between China and America as well as the development of today’s movie market in China. 

    All in all, Tony Richmond’s trip was an informative and enlightening one that strengthened the continued relationship between New York Film Academy and the visual arts students and institutions of China.

    tony richmond china

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    December 24, 2019 • China, Cinematography • Views: 1395

  • ‘Don’t Look Now’ Gets 4K Digital Restoration from Studio Canal 

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    Forty-six years after its release, Don’t Look Now, the drama/thriller/horror directed by Nicolas Roeg and shot by New York Film Academy (NYFA) Los Angeles Chair of Cinematography Anthony B. Richmond, BSC, ASC, is still held up as a cinematic classic, so it’s no surprise that Studio Canal has released a 4K digital restoration of the film.

    With the new restoration, many in the film world are taking another look at the beloved 1973 film, which stars Julie Christie and Donald Sutherland as a couple who’ve recently lost their daughter and come across a pair of elderly sisters—one of which claims to be a psychic in touch with the spirit of their child.

    Cinephilia & Beyond recently published an in-depth look at the film, including quotes from Roeg and Richmond. Cinephilia & Beyond started out as a small blog centered on independent film and has evolved into a community of passionate lovers of film, including A-list names like Guillermo del Toro, Ava DuVernay, and William Friedkin.

    The article, written by Jasun Horseley, takes the reader through the entire film from start to finish, with in-depth analysis on several key scenes, incorporating interviews and quotes from the filmmakers

    “It is a fabulous movie,” says Richmond, the director of photography for Don’t Look Now. “Not because I shot it, but it still stands up today. It was probably the most difficult thing I have shot, because in Venice everything goes in and out on barges. We shot it in the winter with an Italian crew, which was fantastic, because Venice in the winter is dark, cold and foreboding, which was wonderful.”

    Tony Richmond is the London-born, BAFTA-winning cinematographer who has shot numerous productions, including The Man Who Fell to Earth, The Sandlot, Legally Blonde, and Sympathy for the Devil. He is currently Chair of Cinematography at NYFA’s Los Angeles campus, where he works closely with talented, hard-working students. 

    Richmond also spoke with Antonia Quirke about Don’t Look Now on BBC’s Film Programme. Among other things discussed was the film’s infamous and oft-scrutinized sex scene between Sutherland and Christie. 

    The interview, which takes place during the first 11 minutes and 30 seconds of the show, can be found here.

    Don't Look Now

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    October 15, 2019 • Cinematography, Faculty Highlights • Views: 1450

  • New York Film Academy Los Angeles (NYFA-LA) Cinematography Students Shoot Crane Video

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    Cinematography Crane 2019

    Earlier this semester, Cinematography students from New York Film Academy (NYFA) were able to shoot footage with a large, professional crane. The shoot took place on a beautiful sunny day in a park new our Burbank-based campus, and was overseen by NYFA-LA Chair of Cinematography Anthony B. Richmond, ASC, BSC,  the BAFTA-winning director of photography whose credits include Don’t Look Now, The Man Who Fell to Earth, The Sandlot, Legally Blonde, and Sympathy for the Devil.

    The students were able to work hands-on with the crane, getting cool, sweeping aerial shots that they could see from below on a monitor. Learning by doing and working hands-on with the same state-of-the-art equipment used by Hollywood better prepares students for work in the professional industry, and is a core value of NYFA’s educational principles.

    Check out some photos from the crane video set here:

     

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    September 1, 2019 • Cinematography • Views: 577

  • New York Film Academy (NYFA) MFA Cinematography Alum Daniela Rodriguez Martinez Racks Up Multiple Awards

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    New York Film Academy (NYFA) Alum Daniela Rodriguez Martinez has kept busy since earning her MFA in Cinematography. With over seven years of experience based in Los Angeles, Martinez has worked on live television, music videos, interviews, documentaries, short films, feature films, and television series, and has picked up multiple awards and nominations along the way.

    Daniela Rodriguez Martinez

    Martinez is originally from Bogota, Colombia and enrolled in NYFA’s MFA in Cinematography program in Fall 2016. While studying at our Los Angeles campus, Martinez was able to work hands-on with advanced professional filmmaking gear used by the industry under the tutelage of Tony Richmond, BSC, ASC—director of photography of films including The Man Who Fell to Earth, The Sandlot, Legally Blonde, and Don’t Look Now.

    “My time at the New York Film Academy gave me the concepts, knowledge, and network to start working in the industry,” Martinez tells NYFA. “I am very grateful to have been able to study there.”

    Daniela Rodriguez Martinez

    Martinez’s films have been shown both domestically and around the world, including Nigeria. She has had the opportunity to work with several high profile actors including Sharon Stone, Marta Kristen, and Simon Miller. Her awards climb into the double digits, including honors from the European Cinematography Awards, Berlin Flash Film Festival, Miami Independent Film Festival, and Los Angeles Independent Film Festival, among many others. Martinez most recently won Best Action Film at the 2019 Festigious International Film Festival in Los Angeles.

    Martinez’s success is all the more notable considering the enormous gender gap in cinematography. Currently, only three percent of directors of photography in Hollywood are women. It wasn’t until last year that a woman was even nominated at the Academy Awards for Cinematography; this year, no women were recognized.

    Daniela Rodriguez Martinez

    I have found that as a woman I must prove to be two or three times more qualified than a man to be considered as a director of photography on a project,” Martinez says. “Nonetheless, so far it has been a quite an adventure and …  I hope to remain a director of photography here in Los Angeles for many years and continue to grow in the industry and contributing to this change that is happening.”

    Currently, Martinez is working on multiple projects, including a television series about vegan food, a web series, and several short films.

    The New York Film Academy congratulates MFA alum Daniela Rodriguez Martinez on her numerous awards and festival appearances and looks forward to following her career in cinematography as it continues to progress!

    Daniela Rodriguez Martinez


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    April 9, 2019 • Acting • Views: 1638

  • New York Film Academy (NYFA) MFA Cinematography Alum Jude Abadi Wins Best Student Cinematography Award

    FacebooktwitterredditpinterestlinkedinmailThis summer, New York Film Academy (NYFA) MFA Cinematography alum Jude Abadi added a very important accolade to her resume when she won the Best Student Cinematography Award at the European Cinematography Awards. The award was for her work as director of photography on the short film The End of the World.

    The European Cinematography Awards are a film competition for filmmakers worldwide. According to their mission statement, the ECA supports “new and student filmmakers, who are just beginning their careers with a supportive and enthusiastic audience for their creative efforts,” as well as gives filmmakers “access to film industry professionals who can offer guidance and other forms of career assistance.”

    Best Student Cinematography Award

    Of the award, Abadi told NYFA that she was “ecstatic.” Abadi enrolled in the MFA program at NYFA’s cinematography school in Fall 2016, an accelerated, conservatory-based graduate program designed to instruct gifted and hardworking prospective directors of photography in a hands-on, professional environment. The cinematography school is chaired by Tony Richmond, A.S.C., B.S.C., who has shot many well-known films including Sympathy for the Devil, The Man Who Fell to Earth, and Legally Blonde.

    “Jude did a great job shooting this film, and putting it together,” said Mike Williamson, a NYFA instructor and one of Abadi’s thesis advisors, who worked with her as she shot the film. He continued, “It can be difficult to maintain a consistent look when you’re shooting a long scene in a practical location, but her work over several shooting days matches very nicely. Her team made a strong film, and this award is well-deserved.”

    The End of the World was filmed in Los Angeles and tells the story of a married couple taken hostage by a crazed stranger, and their attempts to defuse their captor and his inane ramblings. It was written by Nabil Chowdhary and directed by NYFA alum Joshua M.G. Thomas. The film co-stars Buffy Milner, another NYFA alum who has recently written, directed, and acted in the film Type.

    The New York Film Academy congratulates Jude Abadi on her prestigious award and wishes her the best of luck as her career continues forward!Facebooktwitterredditpinterestlinkedinmail

    October 22, 2018 • #WomenOfNYFA, Cinematography, Student & Alumni Spotlights • Views: 1356

  • “Sympathy for the Devil” at 50: New York Film Academy (NYFA) Los Angeles Chair of Cinematography Tony Richmond Presents Restored Godard Film 

    FacebooktwitterredditpinterestlinkedinmailFifty years ago, Jean-Luc Godard filmed an intimate, groundbreaking documentary about the Rolling Stones, capturing the recording of one of their most seminal tracks: “Sympathy for the Devil.” The 1968 documentary shares the same title, though it was originally titled One Plus One before its producers controversially took final cut away from Godard. sympathy for the devil

    The Museum of Modern Art (MoMA) recently held a limited theatrical release for the 50th anniversary of Sympathy for the Devil, which was kicked off with a Q&A with New York Film Academy-Los Angeles (NYFA-LA) Chair of Cinematography Tony Richmond, A.S.C., B.S.C. Richmond served as Godard’s director of photography on the documentary, and supervised the color grading of the newly restored, 4K version of the film.

    The restoration was done in London by Arrow Films, working off the still-preserved original 35mm negative. “It’s just wonderful,” says Richmond of the project, adding it was “such an honor to go back to a film I shot fifty years ago and give it another life.”

    Sympathy for the Devil was one of Richmond’s earliest films as director of photography. He has mostly worked on narrative features since then, including Don’t Look Now, The Man Who Fell to Earth, The Sandlot, and Legally Blonde. The London-born, BAFTA-winning cinematographer has resided as Faculty Chair of NYFA-LA’s cinematography school since 2015, where students receive hands-on training in the unique visual language of film with state-of-the-art equipment they can use on their classmates’ productions. 

    Sympathy was a landmark moment in rock and roll documentaries, preceding other films like Gimme Shelter and The Last Waltz. Along with a strong political message, the film captured the birth of one of the Rolling Stones’ most famous hits. It was also a turbulent shoot, with legendary French filmmaker Jean-Luc Godard butting heads with his producers, who changed his original ending. As an infamous story goes, at a screening of the film, Godard attempted to screen his original ending outside in the parking lot, and when one of the producers intervened, he punched him in the face. 

    Additionally, some of the film was shot on the streets guerilla-style, without permits. Some shots included jumping out of Godard’s car to film his wife, Anna, spray-painting walls, roads, and vehicles, and then hopping back in the car and taking off before the police arrived.

    With an incredible story told by the film and another one around the making of it, it was no surprise that MoMA would host a limited release on its 50th anniversary. The Q&A with Tony Richmond was held after the September 13 screening, which Richmond told NYFA was “a great success. I enjoyed the Q&A, telling them how much in awe I was with Jean-Luc Godard and what an honor it was to shoot a film for him at such a young age.”

    In a recent profile by Rolling Stone magazine, Richmond went into further detail about the shoot, describing how they would pre-light for each member of the band before they would stroll into the studio after a late night of recording and maybe some hard partying: “We knew where Mick was gonna be, where Keith was gonna be, where Brian and Charlie were gonna be, and it was lit in such a way that we never had to touch anything between takes or disturb the Stones in any way…

    “And then the guys would come in, and they’d get down to work, and we would shoot. We were very quiet, and we had a very, very small crew — just a guy pushing the dolly, a focus-puller, Jean-Luc and I, and everybody else was way in the background.”

    Speaking with NYFA, Richmond added, “I wouldn’t know what we were going to shoot until [Mick Jagger] arrived on the set. I can’t tell you how exciting and frightening that was.”

    All told, the new 4K restoration and MoMA’s limited release of Sympathy for the Devil went very well, and included both the theatrical and Godard’s original ending. Richmond told Rolling Stone, “I hadn’t seen it again on a large screen until recently. And I have to say, I think it’s really fantastic… You really see how they’re putting the music together.”

    [UPDATE: November 7, 2018: Sympathy for the Devil will also be screened at the Museum of Contemporary Art in Los Angeles on November 8, 2018.]Facebooktwitterredditpinterestlinkedinmail

    October 15, 2018 • Cinematography, Documentary Filmmaking, Faculty Highlights • Views: 1846

  • Q&A With New York Film Academy (NYFA) Alum Horacio Martinez

    FacebooktwitterredditpinterestlinkedinmailHoracio Martinez graduated from New York Film Academy’s 1-Year Cinematography program last year, but the hard-working lover of film finds education everywhere he goes. That includes everything he learns whole on set, where his work ethic and passion for cinema has made him a valuable asset to any film crew.

    Martinez really spoke with NYFA about his time at the Academy’s Los Angeles campus and his work on a feature film starring Ed Asner as 2nd AC. In addition to all the technical skills he’s picked up along the way, Martinez stresses that human relationships between the crew and between fellow students and instructors are just as important when forging your career in film.Horacio Martinez

    New York Film Academy (NYFA): What was the journey that lead you to the New York Film Academy? 

    Horacio Martinez (HM): Movies have been a part of my life ever since I was kid. I’ve always related episodes or experiences in my life with films. In my teenage years, I developed a curiosity about photography. At the same time, I worked as a composer for short films and various behind-the-scenes for photographers and videographers. After I moved to the USA from Venezuela, I explored my passion for photography, doing a lot of Urbex (Urban Exploration). It was a wonderful experience and I got to know every corner of the city. 

    I felt I needed something beyond urban and landscape photography. After doing some research, I decided to pursue my original dream of trying to find a place in the industry of visual storytelling. I found NYFA as my home as a professional, and also as a human being. Cinematography really changed my perception of life, my surroundings, the way I see and analyze problems to opportunities, and everyday life. 

    NYFA: Why did you choose NYFA’s 1-Year Cinematography program?

    HM: Cinematography, in my opinion, is the perfect marriage between technology and art. It is a very passionate career. We have to be chameleons and adaptable. We have to get into people’s minds (in most cases, the director’s) and meticulously dissect their thoughts and ideas, and then translate them into reality with the use of wonderful, amazing tools. Technology can help us in solving problems and achieving a unique look for each film. 

    I looked at the instructors, all the subjects and the approaches to cinematography, and found that the 1-Year Cinematography program was a great match. I needed to formalize my education, and open my eyes professionally about the craft itself. Since I’m in my 30s, I am hungry to go out and explore the world of filmmaking and find the right path to success. 

    NYFA: What were your favorite moments at NYFA?

    HM: Getting to know all of my classmates and people from other departments that share the same passion as me about storytelling. Forging relationships and earning people’s respect one day at a time.

    I loved all of my classes, so it is very hard for me to choose one specific favorite instructor or class. They were all shaping my life as a cinematographer and making me a different person since the day I started. All the classes are of equal importance. All the instructors are very passionate professionals that really care about teaching not only their knowledge, but also personal experiences that really helped me to have a better understanding about the craft of cinematography, and the protocol and relationships in the industry. 

    NYFA: Shortly after graduating, you had the opportunity to work on an independent feature film as the 2nd Assistant Camera (2nd AC). Can you tell us about that?

    HM: That was an amazing opportunity and I am really thankful for it. When I was at NYFA, one of my main priorities was to create strong relationships not only between my classmates and fellow students, but also between me and the instructors. In this case, Anthony B. Richmond ASC, BSC called me on a Saturday afternoon, asking me if I could join his son Gaston on a low budget feature film starring Ed Asner. I immediately said yes. At first, I couldn’t believe that I got a personal phone call from Tony himself asking me if I could work with his son.

    Everything turned out amazing, and I really learned a lot about all the duties of a 2nd AC in the real world. Of course, what I learned at NYFA was a huge influence on my workflow. 

    NYFA: As the 2nd AC and media manager, what were your responsibilities on the film? 

    HM: My first priority was to be invisible. That’s a thought that I always had with me while working on set. Invisible to the point that I had to make the 1st AC’s — Gaston Richmond’s — job easy. I had to keep the department afloat. Everything has a domino effect. If one tiny little thing breaks, falls, or is not charged, then the department could be delayed big time, so anticipation was key. 

    I also needed to keep the camera in order, keep all the batteries charged, keep track of all the rolls that we shot and what day they were shot. When things flow smoothly, it’s thanks to order, organization, and protocol. 

    I also had to change lenses in extreme situations, and change camera magazines. I had to run blocks and blocks down the street during a massive heatwave in order to back up the files to three hard drives at the same time, while keeping in constant communication with the Sound Mixer to also get the sound files and back them up in the proper way.

    Gaston was a great mentor, and I really learned a lot from him. He gave me great support, and helped me keep things in balance with the thousands of details that people assume are going to be taken care of. It is true that no one is going to tell you how to do your job at first, but I saw that as an opportunity to show them who I really was and all that I knew. 

    NYFA: Were there any specific challenges for the camera department on this film? How did you handle those issues? 

    HM: There were a lot of challenges like I mentioned before, but being a 2nd AC is a challenge itself. You are the base of the camera department, the one that keeps everything running smoothly. If you take care of the details, people will trust that you will do your job.

    My first focus was to have a great relationship with my department. We are a team, and we all wanted to have things moving forward smoothly. My relationship on set with Gaston (1st AC), was really important since he and I were working so closely. As I said, he was very reliable, incredibly supportive on set, and a great guy with a great personality. With a good attitude and always keeping our cool, we solved any challenges that we had to overcome.

    It is also extremely important to have a good relationship with every single department on the project. You never know when someone will have to help you, and basically save your life. I also offered myself as help to other departments when needed.

    Life on set is not easy, it is basically creating art out of chaos. That’s why it is extremely important to have good relationships with everyone, have a great attitude, a good sense of humor. Be humble at all times, and ask for help when you need it. These factors will help you overcome all the challenges on set. 

    1st AC Gaston Richmond and 2nd AC Horacio MartinezNYFA: Did your classes at NYFA prepare you for working on a professional set? 

    HM: Definitely. 100% of the material, cinematography practicums, and classes that I had at NYFA were of huge help, especially when it came to actually knowing my role. You have to respect the protocol of communication between members of your department, and with other departments as well.

    I never felt out of place, and I spoke the same language as the DP. This was especially helpful when we had to be very technical, with camera resolution, lenses, filters, white balance, etc. 

    NYFA: What advice would you give to current students about starting their careers? 

    HM: Never doubt yourself. Always be yourself. Be willing to learn, because one of the most exciting things about this career is learning about new technologies, developing skills to solve problems, and experimenting with different looks. This is not a 9-to-5 career, and every day is not the same. The challenge is how to adapt ourselves, and use our personality and creativity to leave our mark and identity in the visual story we are telling. 

    NYFA: What projects do you have coming up next? 

    HM: Right now, my mission is to join projects that will help me develop my skills and become a better professional. I hope to join the camera union (Local 600) in the near future. I want to learn, I want to meet people, and create bridges and relationships.

    In the meantime, I am prepping a music video and a couple of short films with great directors, all of them out of NYFA. 

     

    The New York Film Academy thanks Horacio Martinez for speaking about his experiences and looks forward to the future successes his drive, passion, and hard work will undoubtedly bring him!Facebooktwitterredditpinterestlinkedinmail

    September 17, 2018 • Cinematography, Student & Alumni Spotlights • Views: 1984

  • Tony Richmond Screens Men of Honor With Special Q&A at New York Film Academy Los Angeles

    FacebooktwitterredditpinterestlinkedinmailNew York Film Academy Chair of Cinematography Tony Richmond recently hosted a special screening of his film Men of Honor for New York Film Academy students at the Los Angeles campus. Rather than a formal Q&A following the film, Richmond encouraged his students to join him in an intimate conversation.

    Richmond is well known for his cinematography on beloved classics including The Sandlot, The Man Who Fell to Earth, Don’t Look Now, Legally Blond, and Alvin and the Chipmunks, yet Men of Honor has a special place in his heart because both of his sons worked on the crew with him.

    Based on a true story, Men of Honor follows Navy diver Carl Brasher, the first Black man to become a U.S. Navy Master Diving Instructor. Extraordinarily, Brasher was able to passe the qualification test to become a master diving instructor with an amputated left leg. It’s an inspiring film that earned numerous award nominations.

    About the film’s star, Cuba Gooding Jr., Richmond said, “He’s a wonderful actor and an even better man.”

    Filming underwater presented a lot of fun cinematography challenges for Richmond. Some of the behind-the-scenes stories he shared with NYFA students included the creation of an eight-foot-deep pool to accommodate Richmond’s photography, and rigging Cuba Gooding Jr.’s diving helmet with lights.

    Students were curious to hear how Richmond was able film underwater with such clarity. Richmond explained that finding a good lighting balance was the most important element.

    “There’s a very fine line when filming underwater,” he said. “There were times during the filming process that I felt there just wasn’t enough silt in the water.”

    In order to give the tank a realistic feeling of the ocean, silt, the fine sand found in ocean water, had to be added.

    “You have to be careful when adding that stuff,” Richmond warned. “If you put too much silt in the tank it takes four days to filter it out.”

    One student asked about the most challenging aspect of making the movie. Richmond didn’t hesitate to answer: the film’s final courtroom scene

    The location was on the seventh floor of a beautiful old building, but because of its age Richmond couldn’t set up a lighting rig inside. Instead, everything had to be lit through the windows.

    After an enlightening evening, Richmond’s final advice to his Cinematography students was about working with directors:”You have to remember that this is the director’s film. Before you’re called in for an interview, he or she has already been working for months if not years on it.”

    The New York Film Academy would like to thank Tony Richmond for taking the time to host Man of Honor and speak with our students.

    To learn more about the Cinematography programs offered at the New York Film Academy, click here.Facebooktwitterredditpinterestlinkedinmail

  • Art LaFleur is Guest Speaker at New York Film Academy Los Angeles

    FacebooktwitterredditpinterestlinkedinmailThe New York Film Academy (NYFA) was thrilled to have actor Art LaFleur at the Los Angeles campus on Jan. 18, 2018, as a part of the Guest Speaker Series. LaFleur took part in a Q & A following a screening of “The Sandlot.” Cinematography Chair Tony Richmond, who was the cinematographer on the movie, was also in attendance. NYFA Senior Instructor Eric Conner hosted the evening.

    LaFleur is known as a prolific character actor whose career has spanned over 40 years. He’s shared the screen with Hollywood heavyweights like Sylvester Stallone and Kevin Costner, and played American heroes like Babe Ruth as well less heroic characters like Chick Gandil (first baseman for the infamous 1919 Chicago Whitesox).

    When asked about his career and his first major role, LaFleur credited his face — literally — with helping him get a start in the industry. At the time of his first role as Ivan in the made for TV movie “Rescue from Gilligan’s Island,” LaFleur had been taking acting classes for a couple of years but says there was no trick or tip that helped him land the role. He simply had the right look: “There were people in my acting class who were really good. They were wonderful, but they wouldn’t get arrested, whereas I have this mug. I don’t know. I just have this face.”

    One of LaFleur’s most memorable roles is his portrayal of Babe Ruth in the modern classic, “The Sandlot.” To prepare for his audition he studied The Babe’s life and mannerisms by reading autobiographies and watching interviews. Most importantly, he studied old tapes of Babe Ruth playing baseball and practicing Ruth’s mannerisms. He took note of how the legend stood with a bat in his hands and how he would walk to first base. The research paid off when his portrayal won over the film’s casting director.

    It was during the filming of “The Sandlot” that LaFleur met NYFA Cinematography Chair Tony Richmond, who spoke fondly of their brief time on set together.

    “Occasionally, you get to meet incredible people like Art,” said Richmond. “Even though he was on set for only a brief time, his role gave the film credence.”

    LaFleur jumped in explaining, “I get recognized for this film more than any other. It’s the best one-day job I’ve ever had.”

    In speaking of “The Sandlot,” Richmond and LaFleur brought up an old film adage: “Never work with water, children, or animals.” Richmond explained that producers try to avoid these three elements because they can’t be controlled. “The Sandlot” featured all three. There were multiple children in the cast. Two large dogs were brought in to play the junkyard dog. There was the famous swimming pool scene, where Squints pretends to drown so he can get a kiss from Wendy Peppercorn.

    Richmond, a father himself, suggests filmmakers should simply talk to child actors as if they are adults. “Then,” says Richmond, “They’ll behave like adults.”

    One student asked, “What’s the most difficult part of working with children?” According to our guest, the most challenging aspect by far is the tighter shooting schedule. Due to child labor laws the children on “The Sandlot” could only work eight hours a day, and three of those hours had to be dedicated to their education. These regulations make scheduling challenging. It is particularly challenging when every scene has a child in it.

    Another student asked the veteran actor and cinematographer for any advice on how, as an international actor with an accent, he might be able to get ahead in the American film industry? Richmond and LaFleur agreed that success comes from collaboration and networking, which is why film schools like NYFA are the perfect place to meet future business partners and collaborators.

    Richmond said, “I love teaching at NYFA. When I was getting started, four cinematographers really helped me out. You can’t do it without help.”

    LaFleur ended the evening with some advice to the actors in the audience. “If you are lucky enough to be cast in a film or on a television series the most important thing is to be sharp. Be on your game with the dialogue and everything else. And if they don’t talk to you, you’re doing fine.”

    The New York Film Academy would like to thank Tony Richmond and Art LaFleur for taking the time to speak with our students.Facebooktwitterredditpinterestlinkedinmail

    January 30, 2018 • Academic Programs, Acting, Film School, Guest Speakers • Views: 3298