Earlier this February, members of the Broadcast Club at New York Film Academy (NYFA) got to see some Hollywood stars up close and personal on the red carpet at the Writers Guild of America (WGA) Awards. Even better, they got to interview some of them!
The Writers Guild of America is the largest guild for Hollywood and industry screenwriters. Along with other major guilds, like the Directors Guild, Producers Guild, and Screen Actors Guild, the WGA gives out a slate of awards during the height of Tinseltown’s Awards Season, with an obvious focus on the scripts and screenplays of the year’s top productions.
In attendance at the WGA Awards were Broadcast Club president Derek Johnson, II; vice president Eric Alt; PR head Valeriya Mashynets; record keeper Chris Desiderio; and members Anatolii Panchenko and Skylar Duhe.
The Broadcast Club members got to hone their chops by interviewing celebrities about their craft, including Ed Helms (The Hangover, The Office), as well some of the award winners.
New York Film Academy congratulates the Broadcast Club on a job well done! Check out some photos of the students hard at work below!
New York Film Academy (NYFA) alum Mey Novak was always meant to be an actress. She’s always been a huge movie buff, especially action movies, but she’s acted in plays from a young age.
Originally hailing from Brazil, Novak first attended New York Film Academy (NYFA) in 2012, taking the 4-week Musical Theatre workshop at NYFA’s Professional Conservatory of Musical Theatre. She followed that with more advanced studies in NYFA’s 1-year Musical Theatre conservatory.
After graduating, Novak worked as an admissions specialist at NYFA’s New York campus, helping fellow aspiring artists from Brazil enroll at the Academy. She’s acted in commercials, short films, and most recently, the feature film River Runs Red.
River Runs Red is a thriller/drama written and directed by Wes Miller and starring Taye Diggs, John Cusack, George Lopez, Luke Hemsworth, and RJ Mitte. Miller previously directed Prayer Never Fails and Atone, and is completing production of Hell on the Border, starring Ron Perlman and Frank Grillo.
New York Film Academy recently spoke with Mey Novak about River Runs Red, her passion for acting, and what she learned at NYFA that she still applies to her work to this day:
New York Film Academy (NYFA): First, can you tell us what drew you to acting? What brought you to the New York Film Academy?
Mey Novak (MN): Acting has always been inside me. I was in all the school plays, performing for my family during Christmastime, I always watched movies… it was kind of my happy place growing up. I always knew I wanted to be an actress. I remember being around seven years old watching movies and saying I wanted to do that one day.
When I got my theatre degree in Brazil I knew it was time to go to the US to study my craft further, and I saw that the New York Film Academy was auditioning in Brazil and that it was my time.
NYFA: Is there anything about your Brazilian background that you apply to acting in the United States?
MN: Yes, I was very versatile because of my Brazilian background. We are a very culturally rich country, so I realized I could play all sorts of foreign roles the industry requires all the time. My first commercial in the US I played a Russian girl. I hadn’t even thought about it before, then I noticed there was a whole thing for foreign accents and types in the US.
NYFA: Can you tell us about River Runs Red?
MN:River Runs Red tells the story of an African American judge whose son is murdered by the police. It’s a very strong and currently relevant plot—it’s necessary because it talks about the racism that still exists nowadays in the US, in Brazil, and the whole world.
NYFA: What did you learn at NYFA that you applied directly to your work on River Runs Red,or your work in general?
MN: So many things!! NYFA was a stepping stone in my career!
First, I have learned with the best teachers—I’ve found mentors for life that even after school was over I had supporting me. I’ve also learned how to be a professional—it was more than just going to class, learn a method, and go home—I learned about the real world of acting and the industry. And I had the chance to practice while I was in school. This is very important. I was in touch with the filmmaking students, I was auditioning, shooting with them, also with the photography students, etc.
So when my first big job arrived, I was ready. It was very important. For my acting specifically, I’ve learned my favorite method, the “Meisner technique” at NYFA, it’s necessary to me on set.
NYFA: What other projects are you working on or do you plan to work on?
MN: I’m currently in Brazil shooting a show in Portuguese called Os 3 Irmaos (The 3 Brothers). It’s my first time acting in Portuguese after such a long time working in the US. After this I have plans to work in Europe for a while.
NYFA: What’s your dream role?
MN: I love action movies, I’m obsessed with them!!! I practice martial arts and have studied Stage Combat since my NYFA days, and my dream is definitely a strong female role in an action movie with amazing choreography, like in John Wick.
NYFA: What advice would you give to students just starting out at NYFA?
MN: I’d say enjoy your time there and listen to every single thing your teacher has to say—they really know about the industry. Be the first one to arrive and the last one to leave, it really pays off!
NYFA: Anything I missed you’d like to speak on?
MN: I want to say to all the aspiring actors to follow their dreams! Sounds cliché but there will be doubts, there will be moments you just want to give up, but you just need that one person to believe in you and that one “Yes” that changes everything. Be grateful and embrace every step of the journey!
The New York Film Academy thanks actress and NYFA alum Mey Novak for taking the time to answer our questions and wishes her the best of luck as her career continues to grow!
Vampire bats, West African flying squirrels, pangolins and tigers — oh my!
During their field trip to the Natural History Museum of Los Angeles County, New York Film Academy (NYFA) students from this summer’s environmental biology course saw a myriad of species firsthand that most people will never be lucky enough to encounter.
Mammal Collections Manager Dr. Jim Dines gave a behind-the-scenes tour for the students and generously introduced them to the world of natural history collections and explained the importance of museum specimens to scientific endeavors.
The specimens presented have been collected and preserved over the past century for use in ongoing and future biodiversity research. Students also learned about specimen preparation and the usage of specimens for animation and filmmaking.
The environmental biology course is part of NYFA’s Liberal Arts and Sciences department, where the creative artists pursuing their degrees at NYFA can build a foundation in courses ranging from Arts & Humanities to History of Art, Theatre & Media to the Social and Natural Sciences.
The New York Film Academy thanks Dr. Jim Dines and the Natural History Museum of Los Angeles County for giving NYFA students an invaluable insight into this amazing resource and the chance to see and feel such remarkable animals!
As you might imagine, I have written a whole lot of updates since I became Chair of the Broadcast Journalism department at New York Film Academy (NYFA). But, remarkably, this is the first time I can talk about one of our grads writing a book…
Elizabeth Rose was a member of my first graduating class. After leaving NYFA, she worked for a time with a cruise ship company. She shot/edited/produced a daily news program aboard one of the company’s vessels.
But Liz had another goal in mind, something that would take her far away from the tropics. She was determined to climb the Seven Summits — the tallest mountain of each of the seven continents, including Mount Everest. Without a doubt, she is the only NYFA grad to accomplish this feat. And in doing so, she raised funds for wonderful causes such as Canuck Place Children’s Hospice, in Vancouver, British Columbia (Canada).
I suggested to Liz that she take along a video camera. But given it was a choice between 10 pounds/4.5 kilos of camera or 10 pounds/4.5 kilos of food, the camera was left behind. Now Liz has put her adventures down in writing, in a book called Written in the Snow: My Journey To The Seven Summits. It is an incredible tale.
Congratulations Liz, from all of us at the New York Film Academy! We’re proud to have played a part the development of your storytelling skills…
The Eddie award is the highest honor American documentary editors can win. Last Friday night, New York Film Academy (NYFA) Documentary Department editing instructor Bob Eisenhardt, ACE, won it.
If you’ve seen Free Solo, you’ll immediately know why. The 2018 film focuses on rock climber Alex Honnold as he attempts to climb El Capitan, the vertical rock formation in Yosemite National Park, without ropes, or “free solo.” El Capitan is so dangerous, no one has ever tried before, and Honnold is the only person to have ever accomplished the feat. The documentary has been praised for its unparalleled look at such an intense climbing experience.
His fellow editors in the American Cinema Editors (ACE) guild voted Eisenhardt’s work on Free Solo, National Geographic’s current Academy Award nominee, Outstanding Editing on a Documentary (Feature). Filmmaker Spike Lee presented him with the Eddie and his Free Solo directors, Elizabeth Chai Vasarhelyi and Jimmy Chin, saw to it that he was properly feted.
Eisenhardt’s NYFA Docs students acknowledge his Jedi master editing skills on pretty much a daily basis, but it’s nice to see the big guns officially shouting him out too.
This is Eisenhardt’s second Eddie Award. He was previously acknowledged for his Outstanding Editing on HBO’s feature doc, Everything Is Copy. Since the Academy Awards does not present an award for documentary editing, the Eddie is documentary filmmaking’s uncontested top honor. Free Solo is the fourth film Eisenhardt has cut to be nominated for an Academy Award, which also just won the BAFTA. Additionally, Eisenhardt was previously nominated for an Oscar as a director, and has won three Emmys and been nominated for several more. Films he’s cut have been awarded multiple Emmys and nominated several more times. One even earned a Grammy nomination!
The New York Film Academy congratulates instructor Bob Eisenhardt on his prestigious win at the Eddie Awards and wishes him and the crew of Free Solo the best of luck at this years Academy Awards!
On Monday, February 11, New York Film Academy Australia (NYFAA) was delighted to welcome AFI Award-winning actor Simon Lyndon, and prominent Australian casting director Cinzia Coassin to our Australian campus.
Simon gathered acclaim as Jimmy Loughlin in iconic Australian film Chopper with Eric Bana, for which he won an AFI award for Best Supporting Actor and a Film Critics Circle of Australia Award for best supporting actor. He also received AFI nominations for Best Supporting Actor for Blackrock (as Ricko) and Best Actor in a telefeature or mini-series for his role in My Brother Jack.
Simon is also a sought-after theatre actor and director.
Cinzia Coassin started her career as a theatre/film and television actor, and has since expanded her reach in the entertainment industry. Located on Queensland’s Gold Coast, she is one of the preeminent Casting Directors NYFAA students will see
Cinzia is currently Casting Director on Australian feature films Unsound, a feature film supporting disability and diversity, sci-fi film Occupation, and Darkman. A seasoned Casting Associate and industry professional, Cinzia has been involved in the casting process for The Moon and the Sun, The Dressmaker, and Camp for the NBC Network, along with CBS pilot season 2014, The Code and Hiding for the ABC Network. She was also involved with the Australian search for the hit HBO series Game of Thrones, Hercules, The Shannara Chronicles,The Badlands and BIG VALLEY -The BFG. Additional casting project involvement includes The Strip and Blood Brothers for the 9 Network Australia, Spartacus, Legend of the Seeker, and K9 (children series), 33 Postcards, The King is Dead, Satellite Boy and 4 seasons of ABC US pilot season.
A creator of work, Cinzia is creative producer and collaborator on Holy Moselle, a feature film written by Michelle Coassin and has produced a short film festival – Ten to One – giving platform to writers/producers/directors to showcase their stories/films.
NYFA students were curious about Simon’s experience on Chopper, and Simon shared personal anecdotes; his experience of sleeping in a cell where a stabbing took place, and stories of Chopper showing off his shooting skills by having a friend hold a target.
He was generous in sharing his thoughts on acting techniques – method and physical techniques.
Students were treated to a viewing of Simon’s impressive showreel before Simon and Cinzia took questions from our acting students.
Of particular interest was Cinzia and Simon’s initiatives in creating work: Simon in theatre and Cinzia in producing a short film festival. In answer to student questions – what to do after graduating, Simon encouraged students to “make your own work! If you’re not getting cast, make a short film and cast yourself!”.
As Chair of Acting NYFAA, it is wonderful to see our ethos of Learning by Doing, so enthusiastically endorsed by our industry leaders. We all expressed our gratitude and appreciation to Simon and Cinzia, before taking advantage of photo opportunities. Some students were even treated to a moment of individual consultation.
Thank you Simon and Cinzia, we hope to welcome you back again soon!
On Thursday, February 7, New York Film Academy (NYFA) screened the critically-acclaimed, crowd-pleasing, box office documentary hit, RBG, with the film’s cinematographer and instructor for the NYFA Documentary Filmmaking program, Claudia Raschke participating in a Q&A with students afterwards.
RBG tells the story of Supreme Court Justice and surprise millennial icon Ruth Bader Ginsberg (aka “The Notorious RBG”). The Flatbush, Brooklyn-born Justice was appointed by Bill Clinton in 1992, becoming only the second woman to serve at the highest federal court in the United States. Ginsberg still serves on the Court and is currently the second-most senior Justice.
The film was directed by Betsy West and Julie Cohen and has been nominated for and won multiple awards since its debut at Sundance. It is currently nominated for the Academy Award for Best Documentary Feature; “I’ll Fight” by Diane Warren, from the soundtrack of RBG, is also up for an Oscar for Best Song.
Director of photography Claudia Raschke has worked on four other films previously nominated for Academy Awards, as well as Peabody, DuPont, and National Board of Review Award winners. Her oeuvre includes acclaimed documentaries as varied as My Architect, about Louis Kahn, Mad Hot Ballroom, which focuses on a New York dance program, and Particle Fever, which tracks the experiments of the Large Hadron Collider that ultimately discovered the Higgs boson (aka the “God particle”).
Students were thrilled to pick Raschke’s brain at a Q&A following the RBG screening. Here’s what some NYFA Documentary Filmmaking students had to say after the event:
Working with Claudia has been a dream come true in more than one way. Every step you take with the camera in your hand and every little movement you add with the camera while you are shooting should have a thinking behind it. That is the approach with which students like me have had the fortune to learn at New York Film Academy with Claudia. Making every second of the story powerful through visual storytelling is what Claudia is capable of making you learn. She is an inspiring teacher and an even more motivational person! – Kuldeep Sah Gongola (‘18)
There is so much attention to detail in Claudia’s teaching; she prepares you for any situation. When I went to see RBG, I bragged about how Claudia taught us to light interviews and how she kept the lights from reflecting off of the Justice’s glasses. It is easy to see why her work is so esteemed. She gives honest and practical feedback but her compassion for every student and their films is what makes her classes so great. – Ti Cersley (’17)
Having the opportunity to work with renowned professionals in their field one-on-one is priceless! It’s what sets NYFA apart from other great programs around the world. – Mark Humphreys (’18)
Being taught by Claudia is an amazing space to be in. She allows for creativity and ideas to grow in a playful way. Being taught by a female cinematographer who’s worked her way up in a male-dominated industry is very inspirational to watch and learn from. – Mollie Moore (’18)
The New York Film Academy thanks Documentary Filmmaking cinematography instructor Claudia Raschke for speaking with students and congratulates her on all the success RBG has seen so far!
Emmy-nominated film and television star Timothy Olyphant joined students from New York Film Academy (NYFA) at its Los Angeles campus to speak about his career and the industry. Known for his roles in blockbusters like Live Free or Die Hard and in television shows like The Mindy Project and The Office, Olyphant currently stars on Netflix show The Santa Clarita Diet. The Q&A session was moderated by Anne Moore, Associate Chair for NYFA’s Acting for Film department.
Olyphant began the talk by discussing the benefits of different acting techniques. He spent his early career studying the Meisner acting technique in New York, which aims to push actors to be present in the moment rather than “in their heads.” His strategy for “playing the scene” in Meisner’s style is to memorizes the lines so thoroughly that he’s not worrying about remembering them when it’s time to shoot the scene. He also studies the actor opposite him, paying attention to their technique and learning from them to build his knowledge for future roles.
The actor then shared his view on the differences between acting for comedic roles, such as his time on Santa Clarita Diet, and dramatic roles, like Deadwood and Justified. “I don’t think of it as comedy versus drama; I see really very little difference between the two,” he said.
Unlike some other actors, Olyphant also stated that he does not try to infer backstory for a character, but rather builds the character’s motivations exclusively from the actions in the scene as it is written. These actions, he stated, give a lot of insight into how the character thinks and operates. “I’m not even interested [in] what he was like when he was seven years old or 15 years old or 18 years old,” said Olyphant. “You’re just playing the scene; you’re just literally playing what’s in front of you.”
In addition, Olyphant discussed the experience of working with different directing styles, such as with Quentin Tarantino on his most recent film, Once Upon a Time in Hollywood. He shared that it was a very unique experience because despite working in an industry with a reputation for breeding self-importance, Tarantino did not allow anyone to have mobile phones on set. Instead, he wanted the cast and crew to be mentally present and focus strictly on the art of filmmaking, which deeply impressed Olyphant.
“He’s doing it in a way that you just didn’t know was possible,” he told the audience. “He’s conducting his business and his work and his set like no other set you’ve ever been on… he’s worked really hard to be able to do it his way and it’s just beautiful.”
The New York Film Academy would like to thank film and television star Timothy Olyphant for sharing his acting techniques and industry advice with our students!
On Wednesday, February 13, as part of celebrating Black History Month, New York Film Academy (NYFA) and the NYFA African Black American Film Society hosted a screening of two episodes of Netflix’s Dear White People, followed by a Q&A with writer and producer Chuck Hayward.
One of the episodes was directed by Academy award nominee Barry Jenkins (Moonlight, If Beale Street Could Talk), which was a real treat for the filmmaking students. It was moderated by NYFA Director of the Q&A Series, Tova Laiter, and co-moderated by NYFA directing student, Nicole “Soul” Creary.
Hayward landed his first staff writing gig on the NBC series Bent. His feature film script, Potluck, won the WGA’s 2012 Feature Access Project. He then sold an untitled baseball project to Nickelodeon, after which he wrote for the Nick at Nite sitcom Wendell & Vinnie. In 2014, Hayward became a staff writer on the new NBC series One Big Happy, followed by Fox series Cooper Barrett’s Guide To Surviving Life.
In 2016, he had two movies produced—Fat Camp and Step Sisters—and sold the Untitled UrbanPitch Perfect Project to The Firm and PepsiCo. Hayward is currently a writer and co-producer on the Netflix series, Dear White People, and a producer on Marvel’s upcoming untitled Scarlet Witch and Vision series.
Many students in the audience were curious about how Hayward started his career as a writer. “For me, personally, it was the contacts I already had,” said Hayward. “It was reaching out to all of them saying, ‘Can we meet for an informal meeting? Here’s what I’m interested in doing… can you introduce me to anybody else who might be able to help me in that?’… And then it’s just all about following up…You don’t want them to forget about you, although not bug them too often… A lot of times, offering to work for people for free on a project is a good way to show, like, ‘Hey… I’m not looking for anything from you financially; I’m just kind of looking for you to help me get my foot in the door and I’m looking for a chance to show what I’m capable of.”
Other students wanted to know about Hayward’s writing process. “I’m a big pre-writer so I’ll sit down, I’ll write my character sketches, I’ll write my outline; I’ll do as much as possible before I open up Final Draft because I don’t want to look at a blank page and freak out,” Hayward said. “It’s also knowing if your idea is better suited to television or film.”
One of the students asked how Hayward and the other writers on Dear White People navigate the complexity of the topics discussed on the show. He replied, “Most of the blowback that we’ve gotten about Dear White People happened before the show came out because people were like, ‘Dear White People? How dare you … address us as a group!’ And we were like, ‘Oh that happens to us all the time, oddly, so it’s not that big of a deal’ … But I think once people started to see the show and see what it was about and see that we weren’t just ‘coming for’ white people and taking out … aggression on them; we weren’t blaming them for stuff; it was just like, ‘Hey, here’s some of the shit you do that bothers us; like, maybe don’t do that anymore; it’s super easy!’ And we also take as many stabs at, you know, black folks and the things that we do that are problematic or that are not beneficial to us all as a group.”
The New York Film Academy would like to thank writer and producer Chuck Hayward for sharing his entertainment industry and writing advice with our students!
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