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Shonda Rhimes’s Scandal: Breaking Down The Iconic Political Drama

Posted on by nyfa

Shonda Rhimes is, without a doubt, one of TV’s biggest stars. Her first TV show Grey’s Anatomy, debuted in 2005 and is still on the air today. But it was Shonda Rhimes’s Scandal, her fourth series, debuting in 2012 and lasting seven seasons, that sealed her brand – shows with powerhouse female characters, dazzling worlds, and stories that give soap opera a whole new meaning.

Shonda Rhimes’s Scandal:  Breaking Down The Iconic Political Drama

Kerry Washington plays Olivia Pope, a larger-than-life crisis management fixer who runs her own company in the scandal-ridden halls of Washington, D.C. One of the most remarkable things about the pilot itself is the amount of information it packs into the network’s one-hour format where, due to commercial breaks, the episode itself is only 45 minutes long.

Characters

We’ll start here because, without Olivia Pope, there is no Scandal. She is, as noted above, larger than life. How do we know this? Because the episode opens with two other characters discussing Olivia. And when Harrison, one of Olivia’s trusted employees, tells Quinn, our new eyes into the world, that he is here to offer her a job with Olivia Pope & Associates, Quinn can barely contain her awe and excitement. Cut to Olivia on a job where she is negotiating with Russian mobsters and talks them down three million dollars and leaves with “the package” boom! We know exactly who Olivia Pope is. Later in the pilot, we also see Olivia’s weakness, her vulnerability, if you will. She is hopelessly in love with the one man she can’t have, The President of the United States. In one scene, her co-worker Stephen says, “You and I are friends. He’s the leader of the free world. Your life makes me feel unsuccessful.”

Shonda Rhimes's Scandal
Kerry Washington as Olivia Pope. Image via NBC News.

Olivia Pope is our protagonist of the series, but Quinn Perkins is our point of view character in this world. We are introduced to Quinn when she arrives out of breath for a job interview. Harrison talks a mile minute as he describes how the whole world is about to open up to her, and she will have the chance to “slay dragons.” She’s taken immediately from the evening job interview to Olivia Pope & Associates, where she’s thrown right into the deep end when a client shows up on their doorstep. Quinn spends the episode learning the ropes (introducing us to all the exposition we need to know), having doubts about if she belongs, to finding the information that proves the President of the United States was having an affair with an intern. By the end of the episode, we know Quinn belongs there as much as everyone else, poised to do “great” things. (We won’t talk about what happens to Quinn later in the series.)

Olivia’s Team includes Harrison Wright, Abby Whelan, Stephen Finch, and Huck. They are all introduced to us in the pilot, with some playing more prominent roles than others. We learn a little about each of their personalities, including that Abby has a bit of a crush on Stephen, a playboy getting married. Interestingly, the character who got the least screen time was Huck, a former CIA tech guy with not a lot to say. He gives Quinn some important advice in the pilot about Olivia hiring strays who need fixing. However, he was a fan favorite who grew to have a much bigger role in the series.

READ MORE: The Complex, Engaging Characters Of Yellowjackets

World

There are two main worlds in Shonda Rhimes’s Scandal. The first is the obvious fast-paced, high-stakes world of Washington, DC. Our nation’s capital is the center of political intrigue. Here we have hundreds of high-profile people who run up against scandals every day. There is no shortage of clients for Olivia Pope. In addition, the White House and the President, the highest profile of them all, have ties to Olivia Pope. She was part of his original campaign team, where they began a secret affair. She broke it off when he was elected and left to start her own firm. But try as she might to put distance between herself and the President, his problems still infiltrate the world.

Shonda Rhimes's Scandal
Oliva Pope and various Scandal characters.

The second world is the basis for the show Olivia Pope & Associates.

Olivia: “We’re not a law firm. We’re lawyers. But this is not a law firm.”

Stephen: “Law firms are for pansies.”

Olivia: “We solve problems—“

Abby: “–Manage crises, save reputations.”

A group of lawyers or other highly skilled people banded together to fix crises. They wear the white hats. They tell us repeatedly that they’re the good guys. Gladiators in suits. We learn all about how Olivia Pope & Associates works through the eyes of our newcomer, Quinn. This is a standard tactic in pilots. Introduce someone new to the world so we, the audience, can learn about the world along with the character. And we can easily see that a steady stream of clients coming to Olivia will provide us with hours’ worth of stories. When they do prove Lt. Sullivan’s innocence in the end, it is Quinn who asks the important question. Who killed the girl? And Harrison and Huck explain that it “doesn’t matter.” They can give the evidence they found to the police, but that wasn’t their job. They are not crime investigators. They are fixers. And they fixed their client’s problem.

READ MORE: What Makes The Abbott Elementary Pilot So Engaging

Story Engine

The format of Scandal is what we call a hybrid – a mixture of a procedural story engine with a serialized engine. Every week, Olivia and her colleagues get a new client to help whose struggle also mirrors their own personal struggles. 

In the pilot, a well-recognized “war hero” and leader/political speaker for the conservative right, Sully St. James, walks into Olivia Pope and Associates with blood all over him. It looks as if he’s killed his girlfriend. But over the course of the pilot, the team uncovers that his girlfriend was a beard and that his alibi comes in the form of security footage that shows the right-wing public figure kissing his boyfriend. Sully doesn’t want to come out as gay and is willing to risk going to jail for a crime he didn’t commit. Ultimately, Olivia is able to persuade him to come forward by talking about how one should never have to hide who they love. We, the audience, understand that she is talking about her ill-fated affair with the President. She understands having to keep love secret and doesn’t want that for Sully.

Shonda Rhimes's Scandal
Olivia Pope with Mellie, the First Lady. Image via The Script Lab.

The world of Olivia’s Crisis Management team allows for an endless stream of clients to come forward each week, providing the show’s story and structure. We have a subplot in the pilot. However, that is set to unfold over the course of the season. A young woman, Amanda Tanner, has emerged saying she had an affair with the President. The President’s team hires Olivia to make the problem “go away.” But a little digging and some clever insight from Quinn forces Olivia to recognize that the President did sleep with this young woman. At the end of the pilot, Olivia tells the President’s Chief of Staff that Amanda Tanner has become her new client.

In addition, we have the ongoing relationship between Olivia and President Grant, as well as all the personal issues of the team to contend with. Interestingly, after the first season, Scandal shifted to a more serialized nature rather than the regular episodic stories that originally defined the show.

READ MORE: The Crazy Ex-Girlfriend Pilot: Our Take On The Show’s Story Engine

Learn How to Write a TV Pilot at NYFA

Learning how to write a pilot that is memorable and engaging is one of the most important skills an aspiring television writer can develop. In the screenwriting programs at NYFA, students learn fundamental concepts and techniques for writing a pilot and television, such as structure, formats, story engines, dialogue, themes, season arcs, show types, WGA format, subtext, and much more. To learn more about our programs, please visit our Screenwriting School page.

Q&A with NYFA Instructor and ‘Batwoman’ Writer Jerry Shandy

Posted on by Eric Heckler

The instructors at the New York Film Academy are extremely talented people, from editing Oscar-winning documentaries to winning BAFTAs in Cinematography. We were very lucky to sit down with Jerry Shandy, a seasoned television writer, and Screenwriting instructor at our Los Angeles campus, to pick his brain about all things writing, television, and NYFA.

Q&A with NYFA Instructor and Batwoman Writer Jerry Shandy

Shandy has worked on a number of films and television series since moving to LA from Jackson Hole, Wyoming. Originally a PA on the sets of both volumes of Kill Bill, Jerry has been a staff writer on shows like Perception (2012), Dominion (2015), and, most recently, on the CW’s Batwoman show, from season one until the show’s final season, which he was also a producer on. Jerry loves both writing and teaching and has said “My ideal day is being able to write half day and interact with students the rest of the day.” Read on to find out more about Jerry’s favorite things about NYFA, his work experience on Batwoman, and his tips and advice for aspiring writers just starting out in the industry.

1. Can you summarize your experience working as a writer-producer on Batwoman?

Batwoman was a fantastic experience both personally and professionally. On the personal side, I loved the people I worked with and made many new friends. On the professional side, I was there for the entire run of the show, which was about 50 episodes. Being part of the breaking, writing, and producing of that many episodes was a tremendous learning opportunity. The showrunner, Caroline Dries, was a great leader who balanced her own vision by allowing the writers to each have a strong sense of autonomy when it came to their own individual scripts and the specific stories they were interested in telling.  We were encouraged to find characters and storylines that we were passionate about and to pitch and write those. In addition, I was asked to be a part of all aspects of production.  I would routinely see my scripts through casting, director and pre-production meetings, physical production on set in Vancouver, and finally, I’d finish with editing and VFX meetings back here in Burbank when the episode was nearing completion.  While I’d been a writer on a couple of one-hour dramas prior to Batwoman, I had not been a producer on those shows and thus hadn’t had the chance to work in such a thorough and expansive capacity.  I really learned a tremendous amount during my time at Batwoman and grew as a professional writer and producer.

2. What are some of your favorite projects that you have worked on?

I loved being a part of both the Dominion and Batwoman writers’ rooms because both were great groups of creative people, and both shows were led by inspired, intelligent, and kindhearted showrunners, Vaun Wilmott and Caroline Dries, respectively. I enjoyed my time in each of those rooms. I also loved the Batwoman crew in Vancouver. They were an incredible group of hardworking people.  I thoroughly enjoyed going up to Canada every time I had an episode being produced, and I loved being on set. So, overall, being a part of each of those shows was very enjoyable.  

In terms of my own writing, the first script I ever sold, called Dirty Work, to Universal and USA Network, was definitely a highlight. It was a 90-minute backdoor pilot, basically a movie that could become a series. Selling a script for the first time delivered this feeling of, “Wow!  I think I can actually do this!” I loved the two producers I worked with on Dirty Work, as well, Russ Buchholz and Steve Stark. Following that, I wrote a couple of pilots that really opened a lot of doors. One’s called Dimers, centered around the world of Witsec, and the other’s called In Hiding, which is set in France during WWII. The strong reception those scripts got in the industry provided a lot of great meetings and great memories. They each ramped up my career with a lot of positive exposure.

I’m currently working on a feature called The Last Remaining Light, which I originally wrote the first draft of many years ago when I was in graduate school. It’s a story that’s very close to my life, and one I strongly believe in. I’ve enjoyed diving back into the world of that script and collaborating with one of the producers named Mike Macari, who made The Ring movies, and our incredible director, Aaron Harvey. So, that’s been a very fun project, as of late. And besides that script, I’m also working on a couple of other new things right now, which I’m really passionate about and enjoying developing quite a bit.

3. Do you have any upcoming projects that you can share with us?

In terms of my new, upcoming projects, I’ve been keeping myself very busy with about five things. I have two feature scripts (one is The Last Remaining Light), and three television pilots I’m developing. The features both have directors and producers attached, and we’re currently looking at actors for each. One of my pilots I’ve just finished writing this week actually, and the others are pitches I’m preparing to take out with different producers and production companies.

4. What are your favorite aspects of the NYFA community?

I love the people at the school and the impressive learning environment they’ve created and continue to foster at our LA campus. NYFA is filled with many caring, insightful, and talented administrators and instructors. I’ve made a lot of friends within the school and met a lot of people whom I admire. It’s been exciting to see teachers with real-world experience guiding and supporting the next generation of writers and filmmakers. The curricula at NYFA is second-to-none, and the community of instructors truly cares about the students who come out and want to see them succeed. I’m in touch with a number of my former students, and it’s been great following their journeys through Hollywood.

5. What courses have you taught/are you teaching at NYFA? What are some of the essential skills those courses teach students?

I’ve taught many courses at the school, including a thesis for both features and television; one-hour, half-hour, and TV pilot workshops; feature workshops and feature rewriting; Business of Screenwriting; Elements of Screenwriting; and a number of others. I taught a seminar in Taipei to the Chinese Screenwriters Union of Taiwan on behalf of NYFA, which was a highlight. In addition to the Screenwriting Department, I’ve also taught in the Producing, Acting, and Filmmaking Departments.   

6. You’ve written and produced projects in a range of genres. Do you have a favorite? Why?

To me, I think of genre as the kind of ornamental surroundings of the story. It colors character and world, no doubt, and of course, you have to fulfill certain expectations of whatever genre you’re working in; but, for example, if you take something like Unforgiven, the great Clint Eastwood Western, that’s a story that could be told in the mob or crime genre, it could be done about an older Roman gladiator, it could be set in the future and done in space, etc. You could still have the same plot, and the same type of lead character, or human being, at the center in any of those scenarios. 

So, for me, I gravitate toward character-driven stories regardless of what genre they’re in.  I always want to know who the characters are and what motivates them, and their overarching wants and I seek to create stakes, empathy, and emotional investment. If I’m writing in the science fiction genre, like Dominion, or the superhero genre, like Batwoman, I need to first be able to understand the characters as people and empathize with their humanity, even if there are other elements in the story or world that are heightened or aren’t rooted in reality. If motivation, stakes, and empathy are there, then I can become invested in any genre, as a writer or as a fan, really. 

For example, there are musicals I’ve loved, even though I don’t necessarily consider myself a big “musical fan” in general. There are romantic comedies I love, horror films, war movies, film noirs, etc. I wouldn’t necessarily paint myself with a wide brush and broadly say I love any one of those genres simply as a general rule. But, all this said, I am most drawn toward characters having moral crises, toward really dissecting what morals and ethics are and what they mean, and what sorts of secret motivations people may be harboring, etc. I love to find these sorts of psychological and philosophical ideas inside whatever I’m writing. So, in this way I do tend to usually find myself drawn to writing darker material, tone-wise, but in a wide variety of genres from dark comedies to crime thrillers.        

7. What is some of your favorite advice about writing?

I certainly think there’s something to the old adage, “Write what you know.” There have been a million TV shows and movies made. Why do we need another one? What do you have to offer? I often think about that. That is a very important, fundamental, question to ask yourself. You need to have something to say, and you need to feel deeply impassioned about it. I also strongly believe you need to devote yourself to your craft. You need to be serious about your pursuit of writing in the same way a professional athlete is serious about the pursuit of their sport. A professional football or basketball player doesn’t play for fifteen or twenty minutes here and there, every couple of days.  They play for many hours every single day. They eat right, they lift weights, and they study footage of previous games. 

I remember reading Stephen King writes something like six pages every day. That’s the kind of discipline you need to succeed, and in his case, it’s obviously paid off. But for someone who wants to write professionally, you need to truly devote yourself. Turn off your phone and your email. Turn off all distractions, and stay glued to that chair at your writing desk. Then, once there, and once totally committed, pour out your secrets and your unique perspectives. As Hemingway said, “There is nothing to writing. All you do is sit down at a typewriter and bleed.” I love that quote.

8. Can you share any advice for aspiring writers and storytellers with an idea for a television show?

For aspiring writers, looking to break into television by selling a pilot, I’d say two things. One, develop your writing and make sure it’s very, very good. That may seem like common sense, but I still think it needs to be said first and foremost. Two, on top of that, you should study the business.  Each network or streamer is making a certain type of content. They have mandates. They have certain audiences they’re looking to attract or hold onto. You should really study this and gain an understanding of the business side of things. 

What are these studios, networks, and streamers buying and making? Why? And also, by the way, what they bought two or three years ago, is most likely not what they’re looking to buy today for next year’s slate. So, don’t necessarily take something that’s in Season Four or Five as an example of what that network is looking to do for next year. Once you understand the different business models, and what buyers are seeking, then you can figure out your best approach. 

Otherwise, writing something without understanding its commercial implications may lead to a great deal of frustration when it comes time to try to sell it or attract a representative. Screen and television writing is not like being a poet sitting on a lake in the 1800s. You need to get a studio and a distributor behind you, you need hundreds of other collaborators, you need to work within an existing system, etc.  

9. What are some of the top challenges aspiring screenwriters can expect to face when first starting out in the industry? How can they work to overcome them?

One of the most significant challenges for an aspiring writer is making connections. How do you get your work seen? How do you get it seen by the right people? How do you even get to know anyone within the industry? There are a number of different ways to do this, such as entering and winning, significant contests. Or, if you produce your work, you can post it online. That works particularly well for comedy. Also, importantly, getting internships or assistant jobs can be invaluable. Getting your writing career started and getting representation becomes much easier if have a few connections in Hollywood, and you know a few things about the business, versus if you’re a complete outsider who doesn’t know anyone or any of the companies. 

10. Can you provide any tips and insight for aspiring writers looking to get a job in a writer’s room?

One of the best things an aspiring television writer can do is to move to Los Angeles and get an internship at a production company making television shows. Specifically, try to get an internship at a company that’s producing the kind of TV content you’re drawn to. In addition, it’s helpful to intern at a company that’s producing a lot of content versus one that’s only producing projects every few years. You will simply be exposed to more opportunities this way. If moving to LA is not an option, then there are contests and fellowships that can be entered, and that is another route that may prove successful in helping a writer get noticed and get into a room.  

Pursue Screenwriting at NYFA

We’re very excited to see Jerry’s upcoming film scripts and television pilots come to fruition! It was great to hear about his journey and to get his advice on different aspects of the industry and of writing. If you’d like to take a class similar to the ones Jerry discussed, or one of the workshops he mentioned, you can find more information on New York Film Academy’s screenwriting programs here.

Exploring The Work of Caribbean-American Filmmakers

Posted on by nyfa

Caribbean Americans have made significant contributions to this country, as well as to the evolution of American culture. With films that range from Sweet Micky for President? (2015), Night Catches Us (2010) to Candyman (2021), Caribbean American filmmakers have enriched cinema with unique perspectives and storytelling styles.

Exploring The Work of Caribbean-American Filmmakers

Within the arts, Caribbean American filmmakers continue to pave the way for their culture and artistry to be shared with the world. Here are some of the most innovative Caribbean-American filmmakers to check out:

Nia DaCosta

Nia DaCosta is a Jamaican-American film director and screenwriter. She co-wrote and directed the 2018 criminal thriller Little Woods, which took home the Tribeca Film Festival’s Nora Ephron Award.

In 2021, she also helmed the horror movie Candyman. DaCosta was given the opportunity to direct The Marvels, breaking Ryan Coogler’s previous record for being the youngest director of a Marvel movie. The film releases in theaters in November 2023.

Photo via IMDB

Andrew Millington

Andrew Millington is a Barbados-American independent filmmaker and educator.  He is responsible for writing, directing, and editing the 2000 narrative feature Guttaperc. He produced a documentary series, Sugar, Spirits and Sovereignty, a historical treatment of the evolution of Barbadian society.

He received an MFA in Film from Howard University in Washington, DC, and served as Senior Lecturer in Motion Picture Arts at the University of the West Indies Errol Barrow Center for the Creative Imagination in Barbados.

Photo via Cavehill

Tanya Hamilton

Tanya Hamilton is a Jamaican-American film director and producer.  The Killers, a 1997 short film by Hamilton, served as her debut project. Both New Line Cinema and the Berlin International Film Festival presented prizes for this production. Night Catches Us, her debut full-length film, portrayed the reunion of the Black Panthers in 1976 Philadelphia.

Hamilton was nominated for a Black Reel Award for best director in 2011 and won an Athena Film Festival prize for directing this movie. Additionally, it received nominations for the Sundance Film Festival Grand Jury Prize, four Image Awards, a Gotham Award, and an Independent Spirit Award.

To watch Night Catches Us in the NYFA’s streaming library, click here.

Image via Scream Fandom

Mariette Monpierre

Mariette Monpierre is a Guadeloupe-American producer and director. Her resume includes music videos, podcasts, documentaries, short films, feature films, and documentaries in addition to advertising. In 1998, the New York City Health Department commissioned Knowledge is Power, her debut independent work, as a documentary to increase HIV/AIDS awareness.

At the Reel Sisters Film Festival in New York in 2002, her documentary Sweet Micky for President? received Best Documentary.  In collaboration with Cannes’ Directors Fortnight, Monpierre’s debut theatrical production, the short film Rendez-Vous, received a nomination for the Djibril Diop Mambety Award.  

Photo via Filmco

Alrick Brown

Alrick Brown is a Jamaican-born award-winning writer, director, and producer. His collective works have been screened at over 65 festivals around the world, winning numerous awards and honors. Among them is the HBO Life Through Your Lens Emerging Filmmaker Award for the critically acclaimed documentary he produced, Death of Two Sons.

His first feature, Kinyarwanda, won the World Cinema Audience Award at the Sundance Film Festival.

Image via Free Weekly

Sade Clacken Joseph

Sadé Clacken Joseph is a Caribbean-American filmmaker, photographer, and singer. Her film Knight was the first narrative film produced by Spotify through their Black Girl Magic platform. Her documentary about rapper Common’s Hope and Redemption Prison Tour has been highlighted in Rolling Stone, VICE, and Variety.

Her short film Ponyboi I had its world premiere at the 2019 Tribeca Film Festival and was named one of Forbes’ “Five Not To Be Missed ShortFfilms.”

Photo via Sade C Joseph

Thais Francis

Thais Francis is a Caribbean-American actor, producer, designer, writer, and director. She received her education at the Tisch School of the Arts at New York University, and her acting performances have been seen both domestically and abroad.

Most notably, her experimental stage play Outcry, which explores racial injustice, has been performed in theaters all over the US and has been praised by American Theater Magazine as a production that can “catalyze the difficult but vital conversations we need to have now.” 

Photo via Thais Francis

Expanding the Canon at NYFA

The goals of this month are to acknowledge the accomplishments of all Caribbeans and to raise awareness of their heritage. Join us in the celebration! Students can stream films by Caribbean artists in our Expand the Canon Streaming Library!

Caribbean American Filmmakers:

Night Catches Us by Tanya Hamilton

Caribbean Filmmakers: 

A Dry White Season by Euzhan Palcy
Sometimes in April by Raoul Peck

All films will be available for streaming on or off campus throughout 2023. 

Please Note: To stream the collection, click on the film you want to see. Then use the “continue with Google” option and log in using your NYFA email credentials (PLEASE SEE ATTACHED FOR STEP BY STEP).

Learn How to Tell Your Story at NYFA

At NYFA, aspiring filmmakers are encouraged to tell their own unique stories through filmmaking and the visual arts.  To learn how to get started in filmmaking, screenwriting, producing, cinematography, and other film arts disciplines, request more information from NYFA today!

The History of Drive-In Movie Theaters (and Where They Are Now)

Posted on by nyfa

Many people hear stories of their grandparents going to the drive-in theater for a Friday night hangout, but do you know the history of the classic movie experience?

Though there were drive-ins as early as the 1910s, the first patented drive-in was opened on June 6, 1933 by Richard Hollingshead in New Jersey. He created it as a solution for people unable to comfortably fit into smaller movie theater seats after creating a mini drive-in for his mother. Appealing to families, Hollingshead advertised his drive-in as a place where “The whole family is welcome, regardless of how noisy the children are.”

The History Of Drive-In Movie Theaters 

The success of Hollingshead’s drive-in caused more and more drive-ins to appear in every state in the country and spread internationally as well. Drive-ins gained immense popularity 20 years later during the 1950s and ‘60s with the Baby Boomer generation. There were over 4,000 drive-ins throughout the U.S., and most were in rural areas. They maintained popularity as both a space for families to spend time with each other as well as an affordable date night option.

Drive-ins could only show movies during certain times of the year and were dependent on decent weather. During the ‘70s oil crisis, people downsized their cars in order to save money on the inflated cost of gas, making it uncomfortable to watch movies at the drive-in. To make up for lost revenue, drive-ins began losing their family-friendly atmosphere by showing exploitation films like slasher horrors as well as adult content. The development of the VCR made it more appealing to stay at home and watch movies without paying for a movie at the drive-in.

Slowly, drive-ins began to lose their appeal. To have an effective drive-in, it had to be on at least 15 acres of land. Economically speaking, it became more practical for owners to close their drive-ins in order to sell their land to developers to build malls or multi-building complexes.

Drive-In Movie Theaters: Where They Are Now?

Even though drive-ins are not nearly as popular as they used to be (with some arguing that they will be obsolete within the next decade), there are still drive-ins in business throughout the country. Modern drive-ins vary, but many show current films as well as older films. A lot of them also plan double feature nights. Just like a classic drive-in and a regular theater, they sell refreshments like popcorn, candy, and soda. Some even have playgrounds for families to entertain their children.

For now, there are over 300 drive-ins still in operation. Ohio, New York, and Pennsylvania have the most drive-ins still in operation in the U.S., with each state having almost 30 left. Unfortunately, Hawaii, North Dakota, Wyoming, Alaska, Delaware, and Louisiana no longer have any that are still in business. But no matter the fate of America’s drive-ins, they will always be a nostalgic and cultural icon.

Here are some drive-in movie theatres still in operation today:

Northeast

  • Narrow Gauge Drive-in, Farmington, Maine
  • Northfield Drive-In in Hinsdale, New Hampshire
  • Fairlee Motel and Drive-In Theater, Fairlee, Vermont
  • Wellfleet Drive-In Theatre, Wellfleet, Massachusetts
  • Rustic Tri-View Drive-In in North Smithfield, Rhode Island
  • Mansfield Drive-In Theatre in Mansfield, Connecticut
  • Warwick Drive-In in Warwick, New York
  • Shankweiler’s Drive-In Theater in Oroville, Pennsylvania
  • Delsea Drive-In Theatre, Vineland, New Jersey
  • Bengies Drive-In Theatre, Middle River, Maryland

Southeast

  • Hull’s Drive-In, Lexington, Virginia
  • Sunset Drive-In Theater, Shinnston, West Virginia
  • Malco Theatres, Memphis, Tennessee
  • Sauerbeck Family Drive-In, Oldham County, Kentucky
  • Raleigh Road Outdoor Theatre in Vance County, North Carolina
  • Highway 21 Drive-In in Beaufort County, South Carolina
  • Blue Moon Drive-In Theater, Gu-Win, Alabama
  • Iuka Drive-In Theatre, Iuka, MS
  • Stone Drive-In Theatre, Mountain View, Arkansas
  • Stars N’ Cars Drive-in Cinema at John Schneider Studios, Livingston Parish, Louisiana
  • Starlight Six Drive-In in Atlanta, Georgia
  • Silver Moon Drive-In in Lakeland, Florida

Midwest

  • Field of Dreams Drive-In Theater, Liberty Center, Ohio
  • Starlite Drive-In Theatre, Monroe County, Indiana
  • Harvest Moon Drive-In, Gibson City, Illinois
  • Capri Drive-In Theater, Branch County, Michigan
  • Highway 18 Outdoor Theatre -Jefferson, Wisconsin
  • Sky-Vu Drive-In, Marshall County, Minnesota
  • Voy 61 Drive-In Theatre, Clinton County, Iowa
  • 66 Drive-In Theatre, Carthage, Missouri
  • Starlite Drive-In Theatre, Mitchell, South Dakota
  • Boulevard Drive-In Theater in Kansas City, Kansas
  • TK Starlite Drive-In -Neligh, Nebraska

Southwest

West

  • The Pasture Drive-In Theater, Gallatin County, Montana
  • American Dream Drive-In, Park County, Wyoming
  • Mesa Drive-In, Pueblo, Colorado
  • Terrace Drive-In Theatre, Caldwell, Idaho
  • West Wind Las Vegas Drive-In, North Las Vegas, Nevada
  • Coleman’s Motor-Vu Drive-In in Riverdale, Utah
  • South Bay Drive-In Theatre, Imperial Beach, California
  • 99W Drive-In in Newburg, Oregon
  • Blue Fox Drive-In Theatre Oak Harbor, Washington

Learn How to Make Your Own Movies at NYFA

Want to see your own film up on the silver screen? Learn the essentials of filmmaking through hands-on projects at New York Film Academy! To inquire about our programs in filmmaking, screenwriting, and more, request information today!

Director Profile: Quentin Tarantino

Posted on by nyfa

Quentin TarantinoName: Quentin Jerome Tarantino

Essential Films: Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), The Kill Bill Collection (2005), Inglourious Basterds (2009), Django Unchained (2012), Once Upon a Time…. in Hollywood (2019)

Oscars: Best Screenplay (Pulp Fiction, 1994), Best Screenplay (Django Unchained 2012)

In His Own Words: “When people ask me if I went to film school I tell them, ‘No, I went to films’.”

Director Profile: Quentin Tarantino

Tarantino must be living every film geek’s wildest dream: he started out as a humble video-store clerk only to wind up slamming an adrenaline-loaded syringe into the solar plexus of the American indie movie scene, becoming a filmmaker so influential, film critics turn your name into an adjective. It’s not even like you need to worry about being original; in fact, those who criticize will still praise you for your cinematic magpie work, conceding that at least you steal from the best: Howard Hawks, François Truffaut, Sergio Leone…

With his perma-smirk features and breathless jabber mouth conversational style exuding an air of limitless enthusiasm and glee, it’s clear Tarantino knows he’s hit his personal motherlode and isn’t about to take it for granted. But it’s not like he lucked out, after all; his Reservoir Dogs script was lambasted when he first workshopped it at the Sundance Institute in 1991. He could have given up there and then. Yet one year later, he was back in Utah with the finished product. A heist movie where you don’t see the heist. A noir shot in the Californian sunshine. A crime movie that opens with some guy — Quentin himself, of course, starting a tradition of cameoing in all of his works — verbally assaulting the audience with a theory about Madonna’s Like A Virgin. People didn’t know what to make of it. Even the projector spazzed out, breaking down halfway through the first-ever screening. 

It was soon clear afterward that one of the industry’s greatest directors had broken onto the scene and wasn’t going to overstay his welcome, committing to only making 10 movies in his career before retiring. If you count the two chapters of Kill Bill as one film, as Tarantino does, that puts nine films in his filmography as he works on what’s rumored to be his final feature film, The Movie Critic. 

But returning to what’s already been made, there’s only one adjective that can be used to describe his works: Tarantinoesque. Every film the Tennessee native makes is oozing with a style that can only be classified as his own: fractured, chronologically reshuffled narratives; violence often played for laughs as much as for shocks; incidental dialogue scenes pushed center stage; astute, bold use of music… And that’s not even mentioning his numerous visual trademarks or his propensity for language that would make a nun blush. 

That’s the style, but what’s the substance? QT’s detractors point to his films as moral vacuums more concerned with coolness than warmth, all those winking tributes to the director’s faves sitting where there should be some kind of thematic throughline. Well, here’s a theory for you: Tarantino’s movies are all about trust, primarily between mentors and pupils –the betrayal of which is the worst thing one can do to the other. 

Mr. Orange certainly knows that when he tells White, who’s trusted him enough to tell him his real name, that he’s really a cop. In Pulp Fiction, Butch betrays Marsellus Wallace’s trust by not throwing the fight; Vincent lives up to it by not having an affair with Wallace’s wife. Jackie Brown and Ray Nicolette need to trust each other to ensnare Ordell. And Bill’s terrible punishment of his number-one Diva was basically for a breach of trust, her trying to both flee him and — most offensive to her mentor — her own bad nature. Yes, it is just honor among thieves, but it’s as close to morality as you’re going to get from the man who once said, “If I’ve made it a little easier for artists to work in violence, great! I’ve accomplished something…”

Create Your Own Masterpiece at NYFA

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Black August: Fighting Against Racial Injustice Through Film

Posted on by nyfa

August marks the beginning of Black August, an annual celebration and prison-based holiday that honors Black freedom fighters and political prisoners while bringing attention to Black resistance against racial oppression. In honor of Black August, we examine films and media that bring attention to racial injustice and invite audiences to engage with this significant work.

Black August: Fighting Against Racial Injustice Through Film and Media

The noteworthy celebration has also been given to the 2008 film that recounts the compelling experiences of passionate prison activist George Jackson. Directed by Samm Styles and starring Gary Dourdan, Darren Bridgett, and Ezra J. Stanley, the film provides an in-depth look at the revolution that resulted in what is now known as the bloodiest riot in the history of the San Quentin prison. To learn more about the commemoration of Black August, check out Black August: 1619-2019, authored by Gloria Verdieu and released in 2019, or tune into the Black August Mixtape by the Black Collective.


August 17 is another special day on the calendar, one filled with celebration of the indomitable spirit of Marcus Garvey. The legendary Jamaican-born political activist, entrepreneur, and publisher fought for the freedom and rights of black people locally and globally. In America, he founded the “Negro World” newspaper, the shipping firm “Black Star Line,” and the Universal Negro Improvement Association (UNIA), a fraternity of black nationalists. 

Telling the Story of the Criminalization of African Americans

Alternatively, for a thought-provoking account of the current criminalization of African Americans and the U.S. prison boom, check out the documentary 13th on Netflix. With one of the most prolific directors at the helm, Ava DuVernay, the film discusses mass incarceration and compares it to slavery. The title, 13th, is based on the 13th Amendment to the Constitution, which is the abolishment of slavery. 

Still from 13th, via The New York Times

 “Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction,” the amendment reads.

“It’s an entry point for a lot of people who just never have been invited to think more deeply about it,” DuVernay said of the documentary in an interview with NPR. “Very intimidating, but sometimes you’ve got to step into the gap and do it anyway.”

Till (2022): The Courageous Story of Mamie Till-Bradley

Till is a 2022 biographical drama directed by Chinonye Chukwu that narrates the courageous journey of Mamie Till-Bradley. Mamie was an educator and activist who pursued justice after her 14-year-old son Emmett was brutally murdered in August of 1955. The film features Danielle Deadwyler as Mamie and Jalyn Hall as Emmett, an African American boy who was abducted, tortured, and lynched in Mississippi for allegedly offending a white woman, Carolyn Bryant, at her family’s grocery store.

A still from the movie Till. Image via Slashfilm.

Change.org is now working towards making the day Emmett Till died a national holiday of remembrance to honor the African Americans who lost their lives fighting for justice and equality.

Coming Soon: Marked Man  

The film Marked Man is an Amazon Studios film that follows the story of a young black man who joins J. Edgar Hoover’s FBI. He infiltrates political activist Marcus Garvey’s UNIA organization, testing his loyalty to country and race, putting him to the ultimate test. The drama casts Jesse Williams (Grey’s Anatomy) in an unnamed role and Winston Duke (Black Panther) as Garvey.

Winston Duke is set to play Marcus Garvey.

The film is directed by Andrew Dosunmu and draws inspiration from the biography “Negro with a Hat: The Rise and Fall of Marcus Garvey” by Colin Grant. Esteemed playwright Kwame Kwei-Armah has penned the script, while Esther Douglas collaborated with the BFI Film Fund to bring it to life.

Learn How to Tell Compelling Stories at NYFA

Filmmaking is an incredible and effective tool for aspiring visual storytellers. Storytellers with writing, shooting, editing, producing, and directing skills can shape their stories into engaging narrative and nonfiction films, television shows, screenplays, and other media. To learn more about the hands-on filmmaking and documentary filmmaking classes at NYFA, request information today.

Exploring Black Culture in NYC Through Film and Television

Posted on by nyfa

From the Harlem Renaissance of the 1920s to the present day, black culture in NYC has contributed greatly to the city’s identity. As a rich environment for African American artists, writers, musicians, and activists, the city fosters creativity and social movements that continue to shape the nation. With many neighborhoods known for their jazz clubs, restaurants, and iconic institutions like the Apollo Theater, the city has nurtured diverse black communities, giving rise to influential figures like Langston Hughes, Billie Holiday, and Jay-Z. Black culture in New York City continues to evolve, blending tradition with innovation, and serving as an inspiration for creativity, resilience, and social change.

Exploring Black Culture in NYC Through Film, Television, and More

As home to the largest Black population of any city in the US, New York City hosts The African American Day Parade in Harlem. The event is one of the largest African American parades and takes parade watchers on a lively journey through Harlem. Audiences can relive past parades and performances by checking out the parade’s official YouTube channel. 


Many classic films and hit television shows have also depicted Black culture in New York City. From Harlem Nights (1989) to Paris is Burning (1990) to Spider-Man: Into the Spider-Verse (2018), audiences can explore the city through a number of narratives that put a spotlight on some of the most diverse neighborhoods in the country. 

Harlem Nights (1989)

The Oscar-nominated Harlem Nights is a thrilling crime comedy-drama that follows two club owners, “Sugar” Ray and Vernest “Quick” Brown, as they face off against corrupt officials and gangsters in Harlem during the late 1930s. The film featured Eddie Murphy and Richard Pryor and was also written and directed by Murphy. 

Do The Right Thing (1989)

In Do the Right Thing, Lee explores the tense racial dynamics between African-American residents and Italian-American business owners in a Brooklyn neighborhood. From beautiful murals to lively music, Do the Right Thing shows how despite racial tensions the community and its people were still able to enjoy the beauty of Bed Stuy.

black culture in nyc
Image via Roger Ebert

The film ultimately leads to a shocking climax on a scorching summer day. The film had an all-star cast that included Giancarlo Esposito, Samuel L. Jackson, and Rosie Perez. 

NYC locals and visitors can also check out the Spike Lee: Creative Sources exhibition at the Brooklyn Museum starting October 8th.

Harlem (2021)

Recently, Harlem has been on display in the Amazon Prime series Harlem (2021). Showrunner and NYFA alum Tracy Oliver uses Harlem as a rich environment of professional and personal growth for four close friends, each with their own unique journey. The series not only captures the vibrant spirit and cultural tapestry of Harlem but also highlights the transformative power of storytelling. The show stars Meagan Good, Jerrie Johnson, Grace Byers, and Shoniqua Shandai.

Godfather of Harlem (2019-)

If you are looking for an electrifying tale of power, politics, and a mob war threatening to tear the Big Apple apart look no further. The Godfather of Harlem is a thrilling American crime drama series, starring Forest Whitaker, that takes you back to the 1960s in New York City. It follows the gripping story of Bumpy Johnson, a former crime boss, who after a decade in prison returns to a neighborhood in disarray. To reclaim his turf from the clutches of the Italian mob, he must take on the powerful Genovese family. But things get even more intense when Bumpy forms an alliance with Malcolm X, a prominent Muslim minister whose political rise intersects with a city in chaos. 

As of June 17th, the MGM+ Channel hasn’t announced yet the show’s cancellation or renewal for a fourth season. Stay tuned for further updates. 

black culture in nyc
Image from releasedate.me

POSE (2018-2021) 

Pose is the groundbreaking American Drama TV series from FX Network and Ryan Murphy that takes you on a journey through the vibrant LGBTQ subculture in the African-American community during the dynamic 1980s and 1990s. With NYFA Guest Speaker Billy Porter as the mesmerizing emcee of the balls, and an incredible cast of black storytellers, such as Michaela Jaé (MJ) Rodriguez and Dominique Jackson, this show provides a riveting journey into the heart of NYC’s ball culture.

black culture in nyc
Image via FX

Wild Style (1983) 

In Wild Style (1983), Zoro, a talented graffiti artist from the South Bronx, gets a commission to create a backdrop for a hip-hop concert. Known as the first hip-hop movie, Wild Style shows the culture of hip-hop in New York in the ‘80s and features icons such as the Chief Rocker Busy Bee, Grandmaster Flash, the Rock Steady Crew, Fab 5 Freddy, the Cold Crush Brothers, and subway artist Lee Quiñones as Zoro.

Paris is Burning (1990)

Paris is Burning (1990) is a documentary filmed in 1980s NYC. We get a first-hand look into the culture that is ballroom. We watch as the members and entertainers of different houses compete or “walk’ in numerous categories, as well as navigate through everyday life in NYC. The name Paris is Burning actually originated from the ball held by Paris Dupree. Paris is Burning doesn’t only cover the glitz and glamour of ballroom, but the trials and tribulations that many in the queer community face. Despite all this, this documentary truly captures the beauty within the culture. 

Downtown 81 (1981)

In Downtown 81 (1981), Jean Michael Basquiat gives us a glimpse of a day in the life of a struggling artist. Once discharged from the hospital, Jean Michel Basquiat roams the vibrant streets of 1980s Manhattan, determined to sell his art to secure financial stability and find a place to spend the night. 

The Cool World (1963) 

Shirley Clarke’s The Cool World is a poignant black-and-white film that delves into the lives of young black boys who belong to gangs in New York in the 1960s. Inspired by Warren Miller’s novel, this semi-documentary offers a vivid portrayal of inner-city life in Harlem. 

black culture in nyc
Image via IMDB

Capturing the raw essence of ghetto life through verité-style cinematography and non-professional actors, this movie was groundbreaking in its depiction of Harlem during the early 1960s, and it starred acclaimed actors like Clarence Williams III, also launching the careers of several other talented individuals.

Spider-Man: Into the Spider-Verse (2018) & Spider-Man: Across the Spider-Verse (2023) 

Spider-Man: Into the Spider-Verse (2018) & Spider-Man: Across the Spider-Verse (2023) are both a true must-see for all ages. This animation follows the story of Miles Morales, a young inner-city Brooklyn kid, who finds himself learning how to be a superhero before he knows it. The Spider-Verse truly unites the “Spider-Man” from all of our childhoods, even brand new ones, into one insane universe. 

The plot line will leave you wanting more and more. Despite being left on a cliffhanger we are so excited for more. Not to mention NYFA’s very own Filmmaking alum, Issa Rae, does an amazing job voicing Spider-Woman. 

Wu-Tang: An American Saga with NYFA Alum Danny Olabi

This Emmy-nominated series captures the rise of one of the greatest success stories in Hip Hop history by documenting the formation of the legendary Wu-Tang Clan and Bobby Diggs’ visionary journey to unite a dozen young black men divided between music and crime.

black culture in nyc

You can learn more about the show’s second season from NYFA’s own Acting for Film 2-Year Conservatory alum, Danny Olabi, who played the role of Poppy and recently shared with us his behind-the-scenes experience in this exclusive interview.

The Other Hamilton (in development)

Wall Street, the world’s financial hub and home to NYFA’s NYC Campus, is not just a symbol of global finance but also has a rich and storied history intertwined with the African American community. Once a sleepy neighborhood, the Financial District is now known as simply FIDI, and it is one of the hottest and most sought-after business areas in New York City. 

While movies have extensively depicted the fast-paced and often cut-throat world of finance, few have explored the black experience in this iconic location. However, HBO Max is currently developing a new drama series titled The Other Hamilton, executive produced by Steven Soderbergh and Don Cheadle, which tells the true story of Jeremiah Hamilton, one of the first Black millionaires in American history. Born a Haitian immigrant in the 1800s, Hamilton built his fortune on dubious and sometimes illegal methods but remained a fascinating figure in Wall Street lore. “The Other Hamilton” is based on the acclaimed book “Prince of Darkness: The Untold Story of Jeremiah G. Hamilton, Wall Street’s First Black Millionaire” by Shane White.

The Get Down (2016) 

With The Get Down, you step right into the vibrant world of 1977 New York City, a time when New York was on the verge of collapse, disco was dying, and the rising stars of the South Bronx were chasing their dreams and breaking beats to revolutionize music history.

black culture in nyc

Led by Justice Smith and an expert team including hip-hop icon MC Nas and historian Nelson George, this music-driven drama explores the emergence of a new art form that forever changed the Big Apple. This 11-episode Netflix original series captures the spirit of the late 70s Bronx and reminds us that, with a little bravery, anything is possible in NYC.


Make Your Own Films at NYFA New York

As a renowned global hub for film, television, entertainment, and media, New York City has unparalleled energy and cultural richness that ignites the aspirations of aspiring filmmakers. Students interested in pursuing skills in filmmaking, photography, visual art, acting, and more can experience everything New York has to offer at our Battery Park campus. To learn more about our New York programs, request more information today!

7 Reasons to See ‘Beetlejuice: The Musical’ 

Posted on by nyfa

While a lot of movies seem ripe for adapting to Broadway–like Frozen, Kinky Boots, and Once–many people were surprised when it was announced Tim Burton’s 1988 dark afterlife comedy Beetlejuice would be turned into a big-budget musical.

Image via beetlejuicebroadway.com

Beetlejuice the film is a cult classic starring Michael Keaton, Winona Ryder, Alec Baldwin, Geena Davis, and Katherine O’Hara. The movie follows a recently deceased couple, Adam (Baldwin) and Barbara (Davis), who are conflicted by the arrival of a posh family that has purchased their home. They go to a ghost named Beetlejuice (Keaton) to help them get rid of the family and their daughter (Ryder).

Unfortunately, Beetlejuice (don’t say his name three times!) is unpredictable and untrustworthy. The film, which is campy, imaginative, and even features a musical number, is still beloved by Burton fans.

Beetlejuice: The Musical: 7 Reasons to See It

Beetlejuice: The Musical was an unexpected adaptation from screen to stage, but it proved to be a great concept. The dark humor and eccentric characters of Tim Burton’s 1988 film were brought to life on Broadway, offering audiences a unique and entertaining experience. The show garnered eight Tony nominations and earned widespread acclaim. 

With memorable songs, impressive set designs, and standout performances, Beetlejuice: The Musical is a must-see production that should not be missed. While it’s no longer on Broadway, the show is now touring! 

Here are seven reasons why every Burton fan should see it:

The creepy story

Fans of the film are well aware of the story, but it’s not one you’d normally see on the stage. The musical follows the same plot: a lonely teenage girl befriends the ghosts of a married couple after her family moves into their home. Scott Brown and Anthony King deserve their Tony nominations for Best Book of a Musical.

It is wickedly cast

Tony nominee and Broadway veteran Alex Brightman (School of Rock, Wicked, Matilda the Musical) was the perfect choice for the fast-talking wild card ghoul Beetlejuice. It wasn’t his first time in a Tim Burton adaptation–in 2013, he also performed in the musical adaptation of Big Fish. The stellar Broadway cast of Beetlejuice was rounded out by Anne Caruso (Blackbird), Kerry Butler (Les Miserables, Mean Girls) as Barbara, and Rob McClure (Avenue Q, Something Rotten) as Adam.

Image via beetlejuicebroadway.com

The touring production cast includes Justin Collette as Beetlejuice, Isabella Esler as Lydia Deetz, Will Burton as Adam Maitland, and Britney Coleman as Barbara Maitland. NYFA Musical Theatre alum CorBen Williams also joined the ensemble of the show’s touring production, adding to the cast of zany characters. Williams has additional credits in Cinderella, The Music Man, Sister Act, Beauty & The Beast, and more.

There are visual effects, projections, and puppetry

Awarded for Best Makeup at the Oscars in 1989, this visionary show lives up to the original film’s Hollywood special effects. Tony nominations for Best Lighting Design, Sound Design, and Scenic Design should tell you that you’ll be in for a treat when seeing the various magical moments offered by this blockbuster musical.

New and familiar tunes

A musical isn’t worth seeing if the music isn’t great, and the numbers offered by Beetlejuice are fantastic. In addition to new, diverse rock- and pop-based tunes written for the show (Beetlejuice also earned a Tony nomination for Best Original Score), the play also features two classics from the original film–the “Banana Boat Song (Day O)” and Harry Belafonte’s “Jump in the Line.” 

Costumes straight from the film

A six-time Tony nominee for Best Costume Design, William Ivey Long obtains two more nods this year for his brilliant work in Beetlejuice and Tootsie. Original film director Tim Burton built his career on the stunning warped visuals from his own imagination, and Long’s wardrobe work evokes a unique style while offering something new to a live theatre audience.

It’s devilish fun

Director Alex Timbers (Peter and the Starcatcher, Moulin Rouge) takes a leap with this spectacular show that never takes a break from its silly energy and slapstick physical comedy. Capturing the manic energy of Michael Keaton’s original performance and Tim Burton’s direction is no small feat, so it’s no wonder the show has been Tony-nominated for Best Musical.

The Beetlejuice franchise is expanding

Beetlejuice, which also inspired an animated series, is getting a sequel. Beetlejuice 2 welcomes back Michael Keaton as the title character, as well as Winona Ryder returning as Lydia Deetz, and Catherine O’Hara as her mother. The film will also feature Jenny Ortega of Wednesday as Lydia’s daughter. The movie is slated for a Sept 2024 release, so there’s plenty of time to check out Beetlejuice: The Musical before you check it out!

Pursue a Future in Musical Theatre at NYFA

As cinephiles, NYFA is thrilled that one of our own has joined the ensemble of this fun, film-inspired musical. For aspiring performers inspired by the success of Williams and our Musical Theatre alum can build and polish their own skills in voice, movement, and performance in one of our many hands-on programs. To learn more, request information today!

Celebrating The Viola Davis EGOT

Posted on by Kyah Black

Viola Davis has made history once again by officially earning her EGOT status! When it comes to Film & TV, Viola continuously amazes audiences. From her early appearances on shows like City of Angels to her captivating portrayal of Annalise Keating in How to Get Away With Murder, Viola made it clear she came into this industry to be a household name. As we celebrate her accomplishments, let’s revisit some of the milestones she surpassed and the barriers she broke that got her this astounding title. 

viola davis egot
Image via Shutterstock

Viola Davis: Her Path to Stardom

Davis’ life was not always the easiest. Growing up, Viola was the second youngest of six children. Her parents, who worked as a Horse Trainer and Factory worker, did their best to ensure they provided the best life they could for all of their children. As a young child, she fell victim to obstacles that some as adults would find difficult to overcome. In her memoir, she recalls moments where she would simply be walking home from school, and she would be chased home by groups of boys as they chanted slurs at her and threw rocks. 

Filmography and Memorable Roles

The  American actress and producer understood at an early age that her skin tone played a large role in how people perceived her, but she would not let that stop her from being great. Viola knew she wanted to be an actress, and nobody was going to stop her dreams. After completing her BA at Rhode Island College, Viola was accepted into The Juilliard School. Although this experience allowed her to expand her talents, she still found herself falling victim to colorism. Although discouraging, Viola never let these situations dictate the expectations she had for herself.

Davis began her astounding career in 1996 when she starred in an episode of NYPD Blue (1993). A bit of time had passed before Viola would secure a more permanent role as Nurse Lynnette Peeler in the TV series City of Angels. One of Viola’s earlier roles that completely captivated audiences was her portrayal of Aibileen Clark in the movie adaptation of The Help (2011). The story follows a young girl Skeeter who comes back from college wanting to become a writer. Aibileen Clark is the first of many Black maids who decided to share their story to be published. Viola’s depiction of Aibileen was remarkable. The emotion audiences felt through her words was a prime example of why Viola Davis is a one of a kind talent. 

That was truly only the beginning. Viola Davis completely shattered barriers when she took on the role of the beloved Annaleise Keating in How to Get Away with Murder(2014). Annalise Keating is a criminal defense professor who, along with her law students, gets thrown into one of the most thrilling murder plots ever.

Viola Davis became a household name and became the first Black woman to win the Primetime Emmy for Outstanding Lead Actress in a Drama Series. This was a milestone that couldn’t have come sooner. Viola not only deserves her flowers for her remarkable performance but also for inspiring an entire generation with her perseverance. The list of absolutely breathtaking roles that Viola has played.

Taking over our screens once again in The Hunger Games: The Ballad of Songbirds and Snakes(2023), Viola will be depicting Dr. Volumnia Gaul, the game maker for the 10th Annual Hunger Games. The story follows the early years of President Snow but in a new light, as a mentor for the female tribute from District 12. In the prequel to the iconic series we all know and love, Davis will be performing alongside Rachel Zegler, Peter Dinklage, and Hunter Schafer. 

The Viola Davis EGOT

After exploring a few of Viola’s accolades, it is clear to see that EGOT’s status was only a matter of time. Davis achieved EGOT when she won Best Audiobook, Narration, and Storytelling Recording for the audiobook of her memoir Finding Me at this year’s Grammy Awards. The New York Times bestselling memoir was centered around Viola’s journey growing up and the obstacles that made her the prestigious woman she is today, highlighting how important it is to not only believe in yourself but to persevere past obstacles that may try to break you.

 Other EGOT title holders include:

  • Rita Moreno
  • John Legend
  • Audrey Hepburn
  • Whoopi Goldberg
  • Jennifer Hudson
  • Quincy Jones
  • James Earl Jones
  • Barbara Streisand
  • Robert Lopez
  • Andrew Lloyd Webber

She started her journey when she won the Tony Award for Best Featured Actress: Play in 2001 for her performance in King Hedley II.  She went on to collect another Tony, but this time for Best Lead Actress: Play in 2010 for her portrayal of Rose in Fences. Viola did not stop there. She took the Oscar home for Best Performance by an Actress in a Supporting Role in 2017 for her performance in Fences once again. She presented a captivating performance that showed audiences she was going to be a staple in this industry. Viola Davis went on to sweep through the Emmys, collecting the award for Outstanding Lead Actress in a Drama Series in 2015. After witnessing the work she did on How To Get Away With Murder, this award came as no surprise! 

“The privilege of a lifetime is being who you are.”― Viola Davis

All in all, Viola Davis has shown us exactly why she is more than deserving of this prestigious title. She has established herself as a force to be reckoned with in the entertainment industry as a whole. A prime example of perseverance, poise, and true femininity,  continues to break out of established boundaries and pave new paths, becoming a true pioneer when it comes to Film & TV. Davis has made acres of history with this accomplishment, leaving us all in awe of her signature blend of artistry and timelessness. From our lounge rooms to historic milestone achievements –it’s undeniable that Viola is an awe-inspiring force to be reckoned with.

Enhance Your Acting Skills at NYFA

Inspired by Viola’s journey? Start your acting journey at NYFA! In our Acting for Film programs, you can enhance your acting skills and get hands-on experience. Reach out and request more information today!