On Tuesday, January 15, New York Film Academy (NYFA) hosted a screening of the pilot episode of Project Blue Book, a new original series from HISTORY (formerly The History Channel) that adapts the real-life US Air Force investigations of UFOs in the 1950s. The screening was followed by a Q&A with creator and former NYFA screenwriting and producing instructor, David O’Leary, moderated by NYFA Producing instructor, Ashley Bank.
O’Leary is a former development executive who has worked for Bellevue Productions, Valhalla Entertainment, Kopelson Entertainment, Rogue Pictures, Warner Bros., and Industry Entertainment. He is also a producer on two features set for release this year, Parallel for Bron Studios and Eli for Netflix. Additionally, O’Leary is adapting a sci-fi book series for A+E Studios.
Bank opened up the Q&A by asking about how O’Leary became a writer. He shared that he started his career as an intern at New Line Cinema and decided he was interested in development, so he moved to Los Angeles where he worked with a friend at Village Roadshow Pictures. From there, O’Leary worked his way up from the mailroom to assistant jobs and became a development executive, himself, at the age of 28. He realized, however, that his true dream was to be a screenwriter. “I pivoted and I’m a big believer in pivoting,” said O’Leary.
O’Leary shared that even though he knew he was passionate about becoming a professional writer, that wasn’t enough. “Honestly, I had to get good at being a writer; I was not a very good writer when I made that choice.” He continued, “I think the way that you get better at being a writer is you have to keep writing, but you can’t keep writing in a vacuum; you have to keep showing your work to people and you have to keep getting feedback… you need people you trust to tell you ‘Here’s what works, here’s what doesn’t, and here’s why.’”
O’Leary added that working as a screenwriting instructor at NYFA required him to be extra knowledgeable about professional screenwriting. “It really forced me to practice what I was preaching,” he said. O’Leary then shared that something that helped him stay positive while he worked toward becoming a successful professional screenwriter was “celebrating small victories” because trying to be successful in the entertainment industry is a long and arduous process and one needs to have stamina to make it all the way to their end goal.
O’Leary made it clear to the audience that hard work is important but sometimes luck also plays a role in success; with Project Blue Book, “It was sort of the right idea at the right time at a network that was looking to grow and move into scripted series.” The simplest way that O’Leary could sum up the show to pitch it to producers was “X-Files meets Mad Men,” which was a concept that had not really been explored before.
One of the members of the audience inquired about navigating a narrative based on real events. “Every week we look at a real-life case… so it has that kind of ‘based on true events’ cache,” said O’Leary. “[Lead character] Hynek was a real-life guy; we ended up recruiting both [of] his sons as consultants on the project… I really want the show to be entertaining, but I also want to educate people on this phenomenon.”
The New York Film Academy would like to thank former instructor David O’Leary for sharing his experiences and advice for writers as well as details about the development and production of Project Blue Book.
On December 6, nominations for the 76h Annual Golden Globes were announced live from the Beverly Hilton Hotel. The Golden Globe Awards have been given out to cast and crew of film and television productions since 1944, and are selected by the Hollywood Foreign Press Association. The ceremony naming the winners will be held on January 6, 2019, hosted by Sandra Oh and Andy Samberg.
This year’s nominees include some surprises, as well past winners and past nominees. Unlike the Academy Awards, the Globes include categories in television, and divides many of its categories between drama and comedy/musical categories.
New York Film Academy (NYFA) is pleased to see members of its community earn several nominations, and looks forward to seeing them at the ceremonial dinner in January, where we hope they come away with the prestigious Golden Globe statuette!
NYFA alum and Saturday Night Live veteran Bill Hader is up for Best Performance by an Actor in a Television Series – Musical or Comedy for his lead performance in the HBO hit series, Barry, which is also up for Best Television Series – Musical or Comedy. Earlier this year, Hader earned five Emmy nominations for his work on the show, and came away with a win for Outstanding Lead Actor.
His Barry co-star, veteran actor Henry Winkler, also won an Emmy this year, and is also up for a Golden Globe for Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television. Winkler has been a guest speaker for New York Film Academy students in the past.
Other guest speakers and lecturers at New York Film Academy have also worked on several nominated films and television series this year. This includes Adam Driver, who spoke with NYFA students in New York City earlier this year, and who has a featured role in BlacKKKlansman, nominated for Best Motion Picture – Drama.
Ralph Breaks the Internet, the highly anticipated sequel to Wreck It Ralph, is up for Best Motion Picture – Animated. Guest speaker for NYFA Los Angeles Amy Smeed served as an animator on the hit movie.
Lin-Manuel Miranda, writer and star of Broadway hits Hamilton and In the Heights, is nominated for Best Actor in a Motion Picture – Musical or Comedy for his role in Mary Poppins Returns. His agent, Andrew Finkelstein, spoke with NYFA students in a productive Q&A at our Los Angeles campus.
Actress Thandie Newton earned a nod for Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television for her powerful performance in the HBO epic, Westworld. The sci-fi robot yarn with a western twist has had two NYFA alumni work on it. Francesco Panzieri, a Visual Effects artist for Spider-Man: Homecoming, Star Wars: The Force Awakens, Avengers: Infinity War, worked on the series. Panzieri took 1-Year 3D Animation & VFX at NYFA in 2008.
Eric Demeusy, who attended the 1-Year Filmmaking program at NYFA’s film school in Los Angeles, worked on Westworld’s famous and evocative title sequence. He’s previously won the Emmy for Main Title Design for his work on Netflix smash hit, Stranger Things.
The New York Film Academy congratulates this year’s Golden Globe nominees and looks forward to seeing the ceremony next month!
Here is a full list of the nominees for 2019 Golden Globe Awards:
Best Supporting Actress in a Motion Picture Amy Adams, Vice Claire Foy, First Man Regina king, If Beale Street Could Talk Emma Stone, The Favourite Rachel Weisz, The Favourite
Best Supporting Actor in a Motion Picture Mahershala Ali, Green Book Timothée Chalamet, Beautiful Boy Adam Driver, BlacKkKlansman Richard E. Grant, Can You Ever Forgive Me? Sam Rockwell, Vice
Best Actress in a Motion Picture, Musical or Comedy Olivia Coleman, The Favourite Emily Blunt, Mary Poppins Returns Charlize Theron, Tully Elsie Fisher, Eighth Grade Constance Wu, Crazy Rich Asians
Best Actress in a Motion Picture, Drama Glenn Close, The Wife Lady Gaga, A Star Is Born Nicole Kidman, Destroyer Melissa McCarthy, Can You Ever Forgive Me? Rosamund Pike, A Private War
Best Actor in a Motion Picture, Musical or Comedy Lin Manuel Miranda, Mary Poppins Returns Viggo Mortinson, Green Book Robert Redford, The Old Man and the Gun John C Riley, Stan And Ollie
Best Actor in a Motion Picture, Drama Bradley Cooper, A Star Is Born Willem Dafoe, At Eternity’s Gate Lucas Hedges, Boy Erased Rami Malek, Bohemian Rhapsody John David Washington, BlacKkKlansman
Best Director – Motion Picture Bradley Cooper, A Star Is Born Alfonso Cuaron, Roma Spike Lee, BlacKkKlansman Adam McKay, Vice Peter Farrelly, Green Book
Best Screenplay – Motion Picture Roma The Favourite If Beale Street Could Talk Vice Green Book
Best Original Score – Motion Picture A Quiet Place Isle of Dogs Black Panther First Man Mary Poppins Returns
Best Original Song – Motion Picture “All The Stars,” Black Panther “Girl in the Movies,” Dumpling “Requiem for a Private War,” A Private War “Revelation,” Boy Erased “Shallow,” A Star is Born
Best Foreign Language Film Capernaum Girl Never Look Away Roma Shoplifters
Best Motion Picture, Animated Incredibles 2 Isle of Dogs Mirai Ralph Breaks the Internet Spider-Man: Into the Spider-Verse
Best Motion Picture, Musical or Comedy The Favourite Green Book Vice Mary Poppins Returns Crazy Rich Asians
Best Motion Picture, Drama BlacKkKlansman If Beale Street Could Talk Black Panther A Star Is Born Bohemian Rhapsody
Best Actress in a Limited-Series or TV Movie Amy Adams, Sharp Objects Patricia Arquette, Escape at Dannemora Connie Britton, Dirty John Laura Dern, The Tale Regina King, Seven Seconds
Best Actor in a Limited-Series or TV Movie Antonio Banderas, Genius: Picasso Daniel Bruhl, The Alienist Darren Criss, The Assassination of Gianni Versace: American Crime Story Benedict Cumberbatch, Patrick Melrose Hugh Grant, A Very English Scandal
Best Supporting Actress in a Series, Limited-Series, or TV Movie Alex Bornstein, The Marvelous Mrs. Maisel Patricia Clarkson, Sharp Objects Penelope Cruz, The Assassination of Gianni Versace: American Crime Story Thandie Newton, Westworld Yvonne Strahovski, The Handmaid’s Tale
Best Supporting Actor in a Series, Limited-Series or TV Movie Alan Arkin, The Kominsky Method Kieran Culkin, Succession Edgar Ramirez, The Assassination of Gianni Versace: American Crime Story Ben Whishaw, A Very English Scandal Henry Winkler, Barry
Best Actress in a TV Series, Musical or Comedy Kristen Bell, The Good Place Candice Bergen, Murphy Brown Alison Brie, Glow Rachel Brosnahan, The Marvelous Mrs. Maisel Debra Messing, Will & Grace
Best Actor in a TV Series, Musical or Comedy Sasha Baron Cohen, Who Is America? Jim Carrey, Kidding Michael Douglas, The Kominsky Method Donald Glover, Atlanta Bill Hader, Barry
Best Actress in a TV Series, Drama Caitriona Balfe, Outlander Elisabeth Moss, The Handmaid’s Tale Sandra Oh, Killing Eve Julia Roberts, Homecoming Keri Russell, The Americans
Best Actor in a TV Series, Drama Jason Bateman, Ozark Stephan James, Homecoming Richard Madden, Bodyguard Billy Porter, Pose Matthew Rhys, The Americans
Best TV Movie or Limited-Series The Alienist The Assassination of Gianni Versace: American Crime Story Escape at Dannemora Sharp Objects A Very English Scandal
Best TV Series, Musical or Comedy The Good Place The Marvelous Mrs. Maisel The Kominsky Method Kidding Barry
Best TV Series, Drama The Americans Bodyguard Homecoming Killing Eve Pose
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!
The most competitive race in this year’s Emmy Awards wasn’t in any specific category. Rather, it was a heated contest between cable giant HBO and godfather of streaming Netflix to see which media company would win the most Emmys this year.
Several of HBO’s wins came from its new comedy, Barry, starring Bill Hader, a NYFA workshop alum, and Henry Winkler, who both won acting Emmys. Henry Winkler was a guest speaker at our Los Angeles campus (you can also listen to his guest speaker event on the NYFA Podcast, The Backlot).
Other members of the NYFA community involved with this year’s Emmy Awards include Emmy-nominated alum Issa Rae (Insecure) and alum Francesco Panzieri, who has worked on Emmy-nominated Westworld. Additionally, Netflix’s critical and commercial hit Stranger Things was up for several nominations. The nostalgic horror’s cast includes alum Matty Cardarople and NYFA Board Member and Master Class Lecturer Matthew Modine, and the show’s iconic opening titles were in part designed by Emmy-winner and NYFA alum Eric Demeusy.
HBO was the Goliath in this situation — the network has won the most Emmys each year for nearly two decades running. In July, Netflix made headlines when it broke HBO’s 17-year streak of most nominations, with 112 total, to HBO’s 108.
In the end, it came down to the final award of the night, for Best Drama Series — HBO was poised to lose to Netflix by a single Emmy and lose its record. However, Game of Thrones proved victorious, allowing HBO to tie with Netflix, and landing both at the top with 23 Emmys each. Sharing first place is still a huge victory for Netflix, which has been on an upward trend after coming in third in 2016 and second last year. This continues the cultural dominance in longform storytelling that started when COO Ted Sarandos, who spoke with New York Film Academy (NYFA) students earlier this year, shepherded Netflix into the future of original content.
Netflix and HBO weren’t the only big winners. Amazon Studios won its first top award when its original series The Marvelous Mrs. Maisel won Best Comedy Series, the first time a streaming-only service has won the category with its own content. Last year, Hulu won the first Best Drama Series Emmy for The Handmaid’s Tale. Ironically, for all its nominations and awards, Netflix still hasn’t won either prize.
All told, the real winners are television viewers, as Peak TV continues its cultural dominance. As HBO CEO Richard Plepler put it, “It’s a wonderful evening for us, but it’s an even better evening for the range of quality great work being recognized in the industry.” While many of the award-winners were white, this year’s nominations did represent a large number of people of color, as well as women in non-acting roles. A step, albeit small, forward for the industry.
The New York Film Academy congratulates all the nominees and winners of the night and looks forward to another year of innovative, exciting storytelling from the industry!
On August 15, 2018, the New York Film Academy (NYFA) hosted a screening of HBO’s Silicon Valley followed by a Q&A with creator and showrunner John Altschuler. NYFA Director of the Q&A Series, Tova Laiter, moderated the event.
As a student at University of North Carolina, Altschuler created the first comedy sketch show on the university student TV. He and his co-writer, looking to capitalize on their venture, sent written material in three boxes to three owners/editors of the National Lampoon magazine, adding a dollar to each to get their attention. It worked! He became a writer for the most iconic humor magazine of its time, until he moved to Hollywood.
After moving to Los Angeles however, he realized that his previous workwas not going to magically open doors in the industry, so he worked odd jobs until he started getting gigs as a production assistant. He was careful not to pitch himself, instead concentrating on the job at hand. He told students, “Whatever job you get, just do that well… make their lives easier and they will look out for you; they will want to help you because you made their day that much easier.”
His first writing job, on HBO’s The High Life, led to his becoming an executive producer and showrunner on FOX’s King of the Hill for 12 years and the relaunch of Beavis and Butt-headfor MTV. He then co-created Silicon Valleyfor HBO, and Lopezfor TV Land, starring George Lopez. He’s also produced Mike Judge’s film, Extract (2009) starring Jason Bateman, Mila Kunis and Ben Affleck, and co-wrote Blades of Glory (2007) starring Will Ferrell and Jon Heder.
A student asked Altschuler about his inspiration for Silicon Valley. He replied, “I was reading a biography of Steve Jobs and there was a quote in there where Bill Gates was ridiculing Steve Jobs: ‘The guy can’t even write code!’ Altschuler thought: “The guy created the biggest brand in the world and there’s somebody up in Silicon Valley sniping at him; I was like, “This is hilarious!'”
To the question of whether the creators knew Silicon Valley culture or only did research when they wrote the pilot, the answer was, “Both.” Altschuler had family members who were engineers, but they also did further research:
“We went up to Silicon Valley… and it was so funny, because… everybody kept talking about how they were making the world a better place… The sanctimony was so thick that I thought, ‘well this is something to make fun of.’ It’s… fun to take on the big guys and try to deflate them.”
Laiter noted that sometimes it’s easier to make fun of something when you’re outside of it, and Altschuler concurred.
One student asked about Altschuler’s tips for pitching a show or movie to a producer. Altschuler advised, “[When] you go in, have your story and try to start off with a topic sentence or a personal story… try to make it a conversation, not a laundry list of ‘first this happened and then that happened.'”
Altschuler imparted to the students that no matter what, they have to like what they’re making or no one will want to consume it. And when they write, and a scene doesn’t work, don’t hesitate to let it go. “If it’s really great, it will get its way in back later.”
The New York Film Academy would like to thank John Altschuler for sharing his industry expertise and advice for our film school students!
Last Friday, the New York Film Academy (NYFA) had the honor to be invited to the Netflix Sunset-Bronson Studios for a preview screening of Netflix upcoming series The Innocents followed by an exclusive Q&A with Netflix Chief Content Officer Ted Sarandos.
Ted has led content acquisition for Netflix since 2000. Since 2013, he led the company’s transition into original streaming content with the launch of House of Cards, Arrested Development, and Orange is the New Black, among numerous other series. Ted has been recognized as one of Time Magazine’s 100 Most Influential People of 2013, and as an innovator in film acquisition and distribution. Netflix executive Matthew Thunell introduced the pilot. NYFA Director of the Q&A Series Tova Laiter hosted the afternoon.
Netflix CCO Ted Sarandos
Laiter opened the conversation by asking Mr. Sarandos about his unique start in the film industry, from community college for journalism, to running movie rental stores, to where he is now. “It’s a super unlikely path,” Mr. Sarandos said, “I’m always reluctant to give my path… as it wouldn’t make any sense for anyone to try to follow.”
The conversation moved to Netflix’s first original release, the wildly successful House of Cards. Mr. Sarandos spoke fondly of working with David Fincher, saying “He’s exacting. I love, more than anything, somebody who knows what they want, knows what’s important and what isn’t. David never had a wasted conversation or a wasted argument about anything during production.” He also talked about the initial meeting. They pitched Fincher an offer he couldn’t refuse: two seasons of a TV show, with no pilot, and no notes. The only restriction was that he would have to put his name on it. “The bet was that someone who really cared about their brand would really make it great if you gave him the freedom to do that. And that’s what we did.”
One student asked what advice he would give his younger self, just starting out in the industry. Mr. Sarandos talked about how far Netflix and the industry as a whole has come and continue to change. “I don’t know that I ever would have seen far enough ahead to say ‘You should do this, and not that.’ The main thing is, I think, is to be incredibly nimble.”
Tova Laiter & Netflix CCO Ted Sarandos
Laiter ended the Q&A by asking what quality Ted felt led the most to his success. He answered, “Probably curiosity. It’s not necessarily what you know, it’s what you’re willing to figure out… Being humble enough to ask, and not being afraid to look dumb, is how you learn.”
The New York Film Academy would like to thank Mr. Sarandos for inviting us to Netflix for this amazing Q&A.
The Innocents will be streaming starting August 24th – only on Netflix.
Oprah Winfrey at the 75th Golden Globe Awards. (Paul Drinkwater/NBC)
This year’s Golden Globe Awards was clearly different from years past, and not because it was the 75th anniversary ceremony. Nearly all women in attendance, and many of the men, wore all black in a sign of solidarity for the Time’s Up initiative — a response to the gender inequality and sexual harassment prevalent in both the film industry and society as a whole.
A very public groundswell of support for the movement started after initial reports of sexual harassment came out against megaproducer Harvey Weinstein last year. Since then, more and more women and victims of sexual assault are coming forward and being heard after decades of an institutional culture that allowed sexual assault and discrimination to flourish. In addition to accusations against numerous prominent figures in the media, politics, and elsewhere, additional gender inequalities are also being placed front and center — including a sizable gender wage gap and the disproportionately small number of women represented both in Hollywood and political positions of power.
Tarana Burke and Michelle Williams
After #MeToo made clear just how many women are affected by these injustices, Time’s Up was started to take specific actions to work towards finally reversing this trend. Along with the call for women to wear black on the Golden Globes red carpet, Time’s Up is advocating for laws that will punish businesses tolerating harassment, working to balance gender parity in the industry, and starting a legal defense fund to support lower-income women seeking justice for sexual harassment and assault in the workplace.
The Red Carpet at this year’s Golden Globes (Getty)
Wearing black wasn’t a fashion statement. It quickly became apparent to everyone watching the televised Golden Globes on Jan. 7 that the conversation and tone of the night would be dominated by a cause too important to be sidelined, even in the height of Hollywood’s yearly awards season. Several individual moments stuck out from the night that revealed just how deeply both gender inequality and the urgency to correct it run in the entertainment industry’s most powerful circles. Some of these moments include:
Talk show host and this year’s emcee Seth Meyers delivered a straightforward opening monologue in support of Time’s Up and the women of Hollywood, while also acknowledging that as a straight white man, his voice wasn’t the most important in the room.
While live during an E! Network red carpet interview, “Will & Grace” star Debra Messing pointed out that E! was also guilty of a significant wage gap between men and women.
When presenting the Best Director award, Natalie Portman made sure to add in the short but poignant adjective “all-male” before listing this year’s nominees. This is especially noteworthy considering Greta Gerwig — who wasn’t nominated — directed the evening’s Best Motion Picture (Musical or Comedy) award winner, “Lady Bird.” (Gerwig was nominated for Best Screenplay, however, and the film picked up two acting nominations and a Best Actress win for Saoirse Ronan.)
Natalie Portman and Ron Howard
Many women invited social activists as their guests to the ceremony, including #MeToo founder Tarana Burke, eschewing the typical tradition of bringing a significant other or relative — which has sparked its own controversy:
these black & brown activists being used on this red carpet as conversation starters is so jarring. why couldnt they just invite them, let them bring their families, give them the chance to speak?
In addition to wearing black, many of the attendees and presenters displayed Time’s Up pins in support of the movement.
The HBO drama “Big Little Lies” dominated the television categories with a cast of mostly women playing complex female characters with nuanced storylines — something that shouldn’t be all that rare, but sadly is.
Entertainment icon and living legend Oprah Winfrey was presented with the Cecil B. DeMille Award — the Globes’ version of a Lifetime Achievement Award — becoming the first woman of color to receive the honor. Winfrey’s acceptance speech roused the room and was a powerful moment in a night of powerful moments, sparking a flurry of trending hashtags and fan speculation about a 2020 presidential run. Winfrey was clearly aware of her platform and influence and focused many of her words on speaking truth to power, the vital importance of a free press, and the significant role diverse role models play for children growing up in a world dominated by faces that do not resemble their own. As an example, she used her own personal experience seeing Sidney Poitier win the Academy Award for “Lillies of the Field.”
These are just some specific instances of a much broader mood and drive dominating the culture right now. As an institution that prepares students for careers in Hollywood and the entertainment industry, the New York Film Academy is especially receptive to Time’s Up and the #MeToo movement. Many of the Golden Globes viewers — and even some nominees, like Issa Rae — were students, alumni, and faculty members.
In 2013, the New York Film Academy researched gender inequality in the film industry and presented its data with an infographic that plainly showed just how serious the problem is. In the intervening years since that infographic was first published, gender inequality has not improved in the film industry. In 2017, Forbes released their annual list of highest-paid actors and actresses. The top 14 were all men, with Emma Stone ranked as the highest-paid actress at #15. A 2016 study found that women — roughly half the population — comprised only 28.7% of all speaking roles in films. Additionally, only 18% of films represented a balanced cast (half the speaking characters being female).
The New York Film Academy prides itself on its diverse body of students, encouraging artists from any number of backgrounds to collaborate and bring together their distinct, personal visions in order to create even stronger, more meaningful stories. Indeed, in 2017 more than half of NYFA’s students were women — a hopeful sign of the industry’s future.
It goes without saying that there is still a lot of work to be done, and a lot of changes that need to be made to both the entertainment industry and the contemporary culture it inhabits. As Oprah Winfrey said in her acceptance speech, telling stories and speaking truth to power is one important way to help bring about these changes. The New York Film Academy encourages those who were previously afraid to use their voice to tell their stories, and to be loud as possible — the time is now.
“Big Little Lies” at the Golden Globes (Photo by @Ramona_Rosales)
Since then, he’s worked at KUSA 9NEWS, a major NBC station based in Denver, Colorado. It’s there that Broadway worked as Visual Producer for their heartbreaking yet important continuing coverage of the city’s drug plight. That effort paid off when KUSA’s “Mile High Heroin: Denver’s Struggle with Addiction” earned the team a Heartland Emmy Award.
The Heartland Emmys Awards are an official chapter of the National Academy of Television Arts and Sciences, who famously distribute the Daytime Emmys and Sports Emmys, among several other prestigious ceremonies.
A significant portion of the midwest, including large regions in Wyoming, Kansas, Nebraska, Oklahoma, and Colorado, is covered by the Heartland Emmys, and the competition each year to win one of the golden statues is always tough.
After his win, Broadway excitedly remarked “None of this would have been possible without NYFA!”
New York Film Academy congratulates the KUSA team and Visual Producer Cody Broadway on their award and applaud their invaluable reporting on Denver’s tragic addiction crisis.
2018 Update: Cody Broadway won two more Heartland Emmy Awards. This year, he took home two awards for Storyteller and Photographer/Editor. Congratulations, Cody!
The audience at the New York Film Academy Gold Coast Campus Mid Year Screening got a double dose of talent on October 13, viewing projects from both its July 2017 Advanced Filmmakers and July 2017 Diploma Filmmakers.
The Advanced Filmmaking students showed off their skill in producing television commercials while the Diploma Filmmaking students showcased a diverse range of non-sync short films.
“We are extremely proud of the work that our Advanced filmmakers have showcased tonight,” remarked Brian Vining, the Deputy Chair of Filmmaking at NYFA Gold Coast. He continued, “We are extremely proud of the work that our Advanced filmmakers have showcased tonight. Many of the television commercials have been conceived, shot and produced to a very high standard and several were indistinguishable from industry standard productions.”
NYFA Gold Coast prides itself in training our students in several diverse media, in order to better prepare them for careers in the real world workforce. But, of course, storytelling is just as important, and the Diploma Filmmaking students didn’t disappoint with their artful short films.
Trevor Hawkins, Lecturer in Directing, Editing & Filmmaking for NYFA Gold Coast, had this to say about the July 2017 group: “There are certainly some promising young storytellers and filmmakers evident in our recent screenings of the July Advanced Filmmakers and the July Diploma Filmmakers.”
The screening was all the more successful considering it’s just the halfway point in the students’ syllabus. Hawkins added, “It’s always great to be involved in their journey as filmmakers and I certainly look forward to their future productions.” Congratulations to our NYFA Gold Coast July 2017 Diploma Filmmaking and Advanced Filmmaking students on such a triumphant night!
The writer and creator of “Siberia,” “Emerald City,” and “Shadow People,” Matthew Arnold, visited the Los Angeles campus of the New York Film Academy on Monday, February 27, 2017. Students from several writing classes attended the event.
Arnold read pitches for each of his most recent projects and gave students advice on how to refine their pitches. “I like to do a little research (before a pitch), so I have something to talk to the executives about….
But for ‘Siberia,’ I did something different. I went in and said, ‘Have you seen this new thing going around YouTube? There’s this reality show in Russia and people are being killed. They think it’s Chechen rebels.”
Arnold said this pitch would often get Executives to call in their assistants and request to see the videos. When he revealed that this was not a real occurrence, but the pitch for “Siberia” they were already vested in the project. The end of that pitch was this: “We’re going to do for TV what ‘The Blair Witch Project’ did for film.”
One student asked, “There’s a long established relationship with the world of ‘Oz’ for most of your audience. How did you create something new and not damage the source material?”
“I think that’s the big challenge. To be honest, I didn’t have this thought when I first sat down to write it. I was just excited to write. But when we got into production, I realized there was a huge responsibility on me. People have a certain feeling about the ‘Wizard of Oz.’ They have childhood memories and beliefs about the story. It really irks me when someone takes the source material and go left, keeping only the names. What’s the point of that?
So, I wanted to dig into the source material more and kind of translate it. If you read those books they are very vague. You have to infer that this would be a problem and hence there would be a conflict. That’s where you get the complexity without necessarily tampering with the source material.”
The New York Film Academy would like to thank Mr. Arnold for taking the time to speak with our students. You can watch “Emerald City” Fridays on NBC.