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NICOLE CLEMENS, PRESIDENT OF TELEVISION AT PARAMOUNT & PARAMOUNT+, TALKS LEGACY IP’S AND INDUSTRY TIPS

New York Film Academy (NYFA) had the honor of hosting a live video Q&A with Nicole Clemens to discuss content acquisition and studio production with NYFA students and alumni. Tova Laiter, Director of the NYFA Q&A-List Series, curated and moderated the event.

Nicole Clemens serves in the dual role as President of Paramount Television Studios (PTVS) and Paramount+ Original Scripted Series. She joined PTVS in 2018 and added the Paramount+ position to her portfolio in 2021.

Clemens’ primary responsibility at Paramount+ is to shepherd original series and formulate programming strategies for the streaming platform. Paramount+ projects include the global hit series Halo for which NYFA alum Andor Zahonyi was a Visual Effects Artist, The Offer, Star Trek franchises – Star Trek: Strange New Worlds, Star Trek: Picard, and Star Trek: Discovery , as well as Seal Team, Evil, The Good Fight, and The Game. Some of Paramount+’s upcoming series include Grease: Rise of the Pink Ladies, Fatal Attraction, Rabbit Hole, and Criminal Minds.

In addition, as President of PTVS, Clemens oversees a robust slate of shows for buyers across multiple platforms, including Emmy-nominated Station Eleven, created by NYFA Guest Speaker Patrick Somerville, Reacher and Jack Ryan for Amazon Prime, American Gigolo for SHOWTIME, Defending Jacob, Shantaram and Time Bandits for Apple TV+, and The Haunting anthology series for Netflix.

Before coming to Paramount, Clemens was a producer at Anonymous Content. Previously, she served as Executive Vice President and Head of Series Development for FX Networks, with a roster of original series including Atlanta, Snowfall, Better Things, You’re the Worst, Baskets, Tyrant, Mayans MC, and The Strain.

Clemens is no stranger to the world of content and production, as she was a partner and Head of the Motion Picture Literary Department at ICM Partners for 16 years, a position preceded by tenures at Rod Holcomb Productions and as a television executive at Spelling Television.

The NYFA Guest Speaker shared with the NYFA community that she is in a unique position as “both a buyer and a seller” at Paramount Television Studios and Paramount+. Working at a television studio has afforded her the opportunity to “buy, sell and make things”. At PTVS, the studio can buy their own material, greenlight original pitches, make deals with screenwriters, directors and producers, then sell to either broadcast or streaming platforms. “It is very rare that a show can go everywhere,” says Clemens, so PTVS finds the content a fitting home where it has a real chance of getting made and seen by the target audience.

Paramount’s own streaming platform, Paramount+, is a broader and bigger canvas for a variety of audiences rather than coastal or niche ones, such as 1883, The Wolf of Wall Street, Spongebob Squarepants, and other “crown jewels” that Clemens has sworn to protect.

The “crown jewels” are the legacy IPs. Among them is a groundbreaking film that was produced by Paramount during an uncertain time and catapulted the production studio to great heights, The Godfather . Clemens jokes that as keeper of the jewels, she has sat through more “Godfather 4” pitches than she could possibly share. But meeting with producer Al Ruddy and hearing how the movie got made inspired the series THE OFFER. The series is a hit with audience and critics alike, and Clemens could not have been prouder!

The cultural impact of The Godfather cannot be understated; The Godfather won ‘Best Picture,’ ‘Best Actor’ (Marlon Brando), and ‘Best Adapted Screenplay’ (Mario Puzo and Francis Ford Coppola) at the 1973 Academy Awards. The film also won several Golden Globes that year, including ‘Best Motion Picture – Drama,’ ‘Best Director,’ and ‘Best Motion Picture Actor – Drama’. The Godfather trilogy has been lauded as the best and most influential film of all time and influenced Martin Scorsese’s Goodfellas and David Chase’s The Sopranos – but it was almost never made. The story behind the legendary film and how it almost didn’t make it to the screen is what Nicole Clemens pitched and turned into The Offer.

Clemens also shared insider information about how shows get made and how to break into the industry. She shared that even if aspiring screenwriters send studios work, the studio does not and legally cannot accept unsolicited or unrepresented work. She suggested that writers seek out agents and, better yet, managers for representation. “Everyone wants to find the next big thing,” Clemens said, and agents and managers are looking for new talent to represent. Clemens also encouraged students and alumni to take jobs at agencies to acquire knowledge about the industry, stating that there is great value in work that may, at times, seem unrelated to entertainment but, in fact, is the center of how shows get put together.

She also recommended making as many contacts as possible, especially if, like her at the beginning of her career, you don’t have a direct connection to someone in the industry. The NYFA Guest Speaker shared that “there’s a lot of rejection in this industry” but affirms that “You have to believe in what you believe and just go and go.” Eventually, something will stick. When asked what she believes got her to her position at Paramount today, she replied, “tenacity.”

New York Film Academy would like to thank Nicole Clemens for sharing her time and expertise with NYFA students and alumni.

Watch the full interview below:

Please note: NYFA does not represent that these are typical or guaranteed career outcomes. The success of our graduates in any chosen professional pathway depends on multiple factors, and the achievements of NYFA alumni are the result of their hard work, perseverance, talent and circumstances.

NICOLE CLEMENS, PRESIDENT OF TELEVISION AT PARAMOUNT & PARAMOUNT+, TALKS LEGACY IP’S AND INDUSTRY TIPS

New York Film Academy (NYFA) had the honor of hosting a live video Q&A with Nicole Clemens to discuss content acquisition and studio production with NYFA students and alumni. Tova Laiter, Director of the NYFA Q&A-List Series, curated and moderated the event.

Nicole Clemens serves in the dual role as President of Paramount Television Studios (PTVS) and Paramount+ Original Scripted Series. She joined PTVS in 2018 and added the Paramount+ position to her portfolio in 2021.

Clemens’ primary responsibility at Paramount+ is to shepherd original series and formulate programming strategies for the streaming platform. Paramount+ projects include the global hit series Halo for which NYFA alum Andor Zahonyi was a Visual Effects Artist, The Offer, Star Trek franchises – Star Trek: Strange New Worlds, Star Trek: Picard, and Star Trek: Discovery , as well as Seal Team, Evil, The Good Fight, and The Game. Some of Paramount+’s upcoming series include Grease: Rise of the Pink Ladies, Fatal Attraction, Rabbit Hole, and Criminal Minds.

In addition, as President of PTVS, Clemens oversees a robust slate of shows for buyers across multiple platforms, including Emmy-nominated Station Eleven, created by NYFA Guest Speaker Patrick Somerville, Reacher and Jack Ryan for Amazon Prime, American Gigolo for SHOWTIME, Defending Jacob, Shantaram and Time Bandits for Apple TV+, and The Haunting anthology series for Netflix.

Before coming to Paramount, Clemens was a producer at Anonymous Content. Previously, she served as Executive Vice President and Head of Series Development for FX Networks, with a roster of original series including Atlanta, Snowfall, Better Things, You’re the Worst, Baskets, Tyrant, Mayans MC, and The Strain.

Clemens is no stranger to the world of content and production, as she was a partner and Head of the Motion Picture Literary Department at ICM Partners for 16 years, a position preceded by tenures at Rod Holcomb Productions and as a television executive at Spelling Television.

The NYFA Guest Speaker shared with the NYFA community that she is in a unique position as “both a buyer and a seller” at Paramount Television Studios and Paramount+. Working at a television studio has afforded her the opportunity to “buy, sell and make things”. At PTVS, the studio can buy their own material, greenlight original pitches, make deals with screenwriters, directors and producers, then sell to either broadcast or streaming platforms. “It is very rare that a show can go everywhere,” says Clemens, so PTVS finds the content a fitting home where it has a real chance of getting made and seen by the target audience.

Paramount’s own streaming platform, Paramount+, is a broader and bigger canvas for a variety of audiences rather than coastal or niche ones, such as 1883, The Wolf of Wall Street, Spongebob Squarepants, and other “crown jewels” that Clemens has sworn to protect.

The “crown jewels” are the legacy IPs. Among them is a groundbreaking film that was produced by Paramount during an uncertain time and catapulted the production studio to great heights, The Godfather . Clemens jokes that as keeper of the jewels, she has sat through more “Godfather 4” pitches than she could possibly share. But meeting with producer Al Ruddy and hearing how the movie got made inspired the series THE OFFER. The series is a hit with audience and critics alike, and Clemens could not have been prouder!

The cultural impact of The Godfather cannot be understated; The Godfather won ‘Best Picture,’ ‘Best Actor’ (Marlon Brando), and ‘Best Adapted Screenplay’ (Mario Puzo and Francis Ford Coppola) at the 1973 Academy Awards. The film also won several Golden Globes that year, including ‘Best Motion Picture – Drama,’ ‘Best Director,’ and ‘Best Motion Picture Actor – Drama’. The Godfather trilogy has been lauded as the best and most influential film of all time and influenced Martin Scorsese’s Goodfellas and David Chase’s The Sopranos – but it was almost never made. The story behind the legendary film and how it almost didn’t make it to the screen is what Nicole Clemens pitched and turned into The Offer.

Clemens also shared insider information about how shows get made and how to break into the industry. She shared that even if aspiring screenwriters send studios work, the studio does not and legally cannot accept unsolicited or unrepresented work. She suggested that writers seek out agents and, better yet, managers for representation. “Everyone wants to find the next big thing,” Clemens said, and agents and managers are looking for new talent to represent. Clemens also encouraged students and alumni to take jobs at agencies to acquire knowledge about the industry, stating that there is great value in work that may, at times, seem unrelated to entertainment but, in fact, is the center of how shows get put together.

She also recommended making as many contacts as possible, especially if, like her at the beginning of her career, you don’t have a direct connection to someone in the industry. The NYFA Guest Speaker shared that “there’s a lot of rejection in this industry” but affirms that “You have to believe in what you believe and just go and go.” Eventually, something will stick. When asked what she believes got her to her position at Paramount today, she replied, “tenacity.”

conversation with nicole clemens

Watch the full interview below:

New York Film Academy would like to thank Nicole Clemens for sharing her time and expertise with NYFA students and alumni.

Please note: NYFA does not represent that these are typical or guaranteed career outcomes. The success of our graduates in any chosen professional pathway depends on multiple factors, and the achievements of NYFA alumni are the result of their hard work, perseverance, talent and circumstances.

Nicole Clemens, President of Television at Paramount & Paramount +, Talks Legacy IP’s & Industry Tips

 

conversation with nicole clemens

New York Film Academy (NYFA) had the honor of hosting a live video Q&A with Nicole Clemens to discuss content acquisition and studio production with NYFA students and alumni. Tova Laiter, Director of the NYFA Q&A-List Series, curated and moderated the event.


Nicole Clemens serves in the dual role as President of Paramount Television Studios (PTVS) and Paramount+ Original Scripted Series. She joined PTVS in 2018 and added the Paramount+ position to her portfolio in 2021.

Clemens’ primary responsibility at Paramount+ is to shepherd original series and formulate programming strategies for the streaming platform. Paramount+ projects include the global hit series Halo for which NYFA alum Andor Zahonyi was a Visual Effects Artist, The Offer, Star Trek franchises – Star Trek: Strange New Worlds, Star Trek: Picard, and Star Trek: Discovery, as well as Seal Team, Evil, The Good Fight, and The Game. Some of Paramount+’s upcoming series include Grease: Rise of the Pink Ladies, Fatal Attraction, Rabbit Hole, and Criminal Minds.

In addition, as President of PTVS, Clemens oversees a robust slate of shows for buyers across multiple platforms, including Emmy-nominated Station Eleven, created by NYFA Guest Speaker Patrick Somerville, Reacher and Jack Ryan for Amazon Prime, American Gigolo for SHOWTIME, Defending Jacob, Shantaram and Time Bandits for Apple TV+, and The Haunting anthology series for Netflix.

Before coming to Paramount, Clemens was a producer at Anonymous Content. Previously, she served as Executive Vice President and Head of Series Development for FX Networks, with a roster of original series including Atlanta, Snowfall, Better Things, You’re the Worst, Baskets, Tyrant, Mayans MC, and The Strain.

Clemens is no stranger to the world of content and production, as she was a partner and Head of the Motion Picture Literary Department at ICM Partners for 16 years, a position preceded by tenures at Rod Holcomb Productions and as a television executive at Spelling Television.


The NYFA Guest Speaker shared with the NYFA community that she is in a unique position as “both a buyer and a seller” at Paramount Television Studios and Paramount+. Working at a television studio has afforded her the opportunity to “buy, sell and make things”. At PTVS, the studio can buy their own material, greenlight original pitches, make deals with screenwriters, directors and producers, then sell to either broadcast or streaming platforms. “It is very rare that a
show can go everywhere,” says Clemens, so PTVS finds the content a fitting home where it has real chance of getting made and seen by the target audience.

Paramount’s own streaming platform, Paramount+, is a broader and bigger canvas for a variety of audiences rather than coastal or niche ones, such as 1883, The Wolf of Wall Street, Spongebob Squarepants and other “crown jewels” that Clemens has sworn to protect.


The “crown jewels” are the legacy IPs. Among them is a groundbreaking film that was produced by Paramount during an uncertain time and catapulted the production studio to great heights The Godfather. Clemens jokes that as keeper of the jewels, she has sat through more “Godfather 4” pitches than she could possibly share. But meeting with producer Al Ruddy and hearing how the movie got made inspired the series THE OFFER. The series is a hit with audience and critics alike, and Clemens could not have been prouder!

The cultural impact of The Godfather cannot be understated; The Godfather won ‘Best Picture,’ ‘Best Actor’ (Marlon Brando), and ‘Best Adapted Screenplay’ (Mario Puzo and Francis Ford Coppola) at the 1973 Academy Awards. The film also won several Golden Globes that year, including ‘Best Motion Picture – Drama,’ ‘Best Director,’ and ‘Best Motion Picture Actor – Drama’. The Godfather trilogy has been lauded as the best and most influential film of all time and influenced Martin Scorsese’s Goodfellas and David Chase’s The Sopranos – but it was almost never made. The story behind the legendary film and how it almost didn’t make it to the screen is what Nicole Clemens pitched and turned into The Offer.


Clemens also shared insider information about how shows get made and how to break into the industry. She shared that even if aspiring screenwriters send studios work, the studio does not and legally cannot accept unsolicited or unrepresented work. She suggested that writers seek out agents and, better yet, managers for representation. “Everyone wants to find the next big thing,” Clemens said, and agents and managers are looking for new talent to represent. Clemens also encouraged students and alumni to take jobs at agencies to acquire knowledge about the industry, stating that there is great value in work that may, at times, seem unrelated to entertainment but, in fact, is the center of how shows get put together.

She also recommended making as many contacts as possible, especially if, like her at the beginning of her career, you don’t have a direct connection to someone in the industry. The NYFA Guest Speaker shared that “there’s a lot of rejection in this industry” but affirms that “You have to believe in what you believe and just go and go.” Eventually, something will stick. When asked what she believes got her to her position at Paramount today, she replied, “tenacity.”

Watch the full interview below:

 

New York Film Academy would like to thank Nicole Clemens for sharing her time and expertise with NYFA students and alumni.

 

Please note: NYFA does not represent that these are typical or guaranteed career outcomes. The success of our graduates in any chosen professional pathway depends on multiple factors, and the achievements of NYFA alumni are the result of their hard work, perseverance, talent and circumstances.

A TWO FRONT WAR: BLACKNESS & REPRESENTATION IN ‘THE WOMAN KING’

The film Black Panther (2018) laid to rest the myth that Black (especially dark-skinned) leads could not carry feature films to box-office victory. The film earned $1.348 billion at the box office and became revolutionary for its representation and portrayal of a Black superheros and Black excellence. But in 2015, before Black Panther broke box-office records, shattered prejudice conventions about the allure of all-black casts, and before the Black Lives Matter movement ignited the fire in a new fight for representation in Hollywood, Maria Bello pitched The Woman King to the indomitable Viola Davis. The historical action drama is the story of the Agojie, an all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s.

Seven years later, The Woman King, starring Oscar, Emmy and two-time Tony Award-winning actress Viola Davis and New York Film Academy AFA Acting for Film alum Masali Baduza in the role of Fumbe, premiered at the Toronto International Film Festival to unanimous praise.

The road to The Woman King was not an easy one. Early on in the search for funding, colorism (defined by Merriam-Webster as “prejudice or descrimination especially within a racial or ethnic group favoring people with lighter skin over those with darker skin”) plagued the hunt for production, with studios wanting to cast “light-skinned, well-known actresses” as members of the Agojie army. To do so would have meant sacrificing the integrity and historical accuracy of the film. This film about warriors and women on the front-lines, was fighting a two-front war both on-screen and behind-the-scenes.

Studios didn’t think the film would be successful at the box-office, initially offering only $5 million for the film’s production costs. By comparison, low-budget films are usually made for less than $5 million, while mid-budget films cost anywhere between $5 million – $50 million, with high-budget films costs ranging from $50 million to infinity. To paint a bigger picture, Black Panther’s budget was $200 million and Avengers: Endgame, $365 million. In the end, The Woman King received a budget of $50 million.

A still from The Woman King. Courtesy of PopSugar

Director Gina Prince-Bythewood is familiar with strong female leads and warrior-women. In 2000, she wrote and directed the classic Love and Basketball about Quincy and Monica, two childhood friends and basketball players with league aspirations who begin to fall in love. Love and athleticism are a familiar terrain for the director who herself was a basketball player and track star at the University of California, Los Angeles. Prince-Bythewood joined the cast of The Woman King as they trained for four months before shooting began. The Hollywood Reporterreported, “the training consisted of 90 minutes a day of weight-lifting followed by three and half hours of fight training with a stunt coordinator which included running, martial arts, and working with swords and spears.” Many of the actors performed their own stunts.

A still from The Woman King. Courtesy of Flickering Myth.

The Woman King strives for authenticity and diversity at every turn, with the film’s story carefully researched and the camera crew consisting of Black women and women of color. Prince-Bythewood was committed to hiring Black women and women of color to work on the film citing, “often the résumés are not long because it’s about lack of opportunity, not lack of talent.”

While presenting the film at the Toronto International Film Festival, lead actress Viola Davis said, “This film is for the Thuso [Mbedu]’s, Lashana [Lynch]’s … the Masali [Baduza]’s, the Black women who are out there on the periphery just waiting for the conduit–a vehicle to shine [their] beautiful and glorious light.”

The Woman King premieres a couple of days after tennis titan Serena Williams bid farewell to the game she revolutionized; the same week Sheryl Lee Ralph serenaded us as she accepted the Emmy for ‘Best Supporting Actress in a Comedy Series’ for Abbott Elementary and Quinta Brunson won the Emmy for ‘Best Comedy Writing’ for the show; the same night Lizzo’s show Lizzo’s Watch Out For The Big Grrrls won ‘Best Competition Program’ and Zendaya took home the Emmy for ‘Best Actress in a Drama Series’ for Euphoria for the second year in a row. Needless to say, we have entered a cultural, creative renaissance and Black women are at the center.

The Woman King premieres in theaters on Friday, September 16th. NYFA congratulates Acting for Film alum Masali Baduza for landing such a critical role in this ground-breaking film.

Please note: NYFA does not represent that these are typical or guaranteed career outcomes. The success of our graduates in any chosen professional pathway depends on multiple factors, and the achievements of NYFA alumni are the result of their hard work, perseverance, talent and circumstances.

NYFA Acting for Film Alum Michel Curiel is a Smash in ‘She-Hulk’

 

NYFA Acting for Film Alum Michel Curiel is a Smash in 'She-Hulk

As the Marvel Cinematic Universe continues to expand and carry on the legacy of Stan Lee, audiences have found more characters with which to identify themselves. In 2020, Shang-Chi and the Legend of the Ten Rings, based on Marvel’s first Asian superhero, was a box office hit. This year, Disney + revealed another MCU adaptation, She-Hulk: Attorney at Law, about the Hulk’s cooler female cousin.

She-Hulk (Jennifer Walters) first made her appearance in a Stan Lee Marvel Comic in 1980 as a lawyer who acquires a milder version of the Hulk’s condition after receiving an emergency blood transfusion from him. In the Disney+ adaptation, Walters is an attorney who specializes in superhuman legal cases.

New York Film Academy Acting for Film alum Michel Curiel has been booked and busy since graduating from the One-Year Acting for Film conservatory program. This year, Curiel adds She-Hulk’s love interest to his long list of IMDB credits. Curiel spoke with NYFA about his upbringing, auditioning for Marvel and his decision to stay off social media.

New York Film Academy (NYFA): Tell us about yourself. Where are you from? Where did you grow up?

Michel Curiel (MC): I grew up in the Bronx with my mom and two sisters. I lived there for a while before moving to Michigan where I finished high school and joined the military. After completing my service, I attended college and received my BBA in accounting.

NYFA: What has your journey been like?

MC: While in college, I did some commercial and print work and with the little work I booked, I got “the itch” and decided to move to Los Angeles. I didn’t know much about acting, but what led me to the New York Film Academy was their reputation and that they accepted the GI Bill. I completed the One-Year Acting Conservatory. My Meisner class was what really led me to understand what acting is about: living truthfully under imaginary circumstances and not pretending. That’s when I fell in love with the craft. The education that I received in my year at NYFA laid the foundation for my career. I realized that it’s not just, ‘hey, show up to LA and get discovered’, you actually have to put in the work.



Caption: Still from She-Hulk: Attorney at Law courtesy of ComicBookMovie
NYFA: How did you get involved with She-Hulk: Attorney at Law? What was the audition process like for you?

MC: I live in Atlanta where auditions are primarily self-tape submissions. The self-tape process is something that I’ve gotten really acquainted with since I moved here in 2017. When I received the audition for She-Hulk, it said “Marvel SVOD (Streaming Video On Demand)”, but the project name wasn’t disclosed. I was auditioning for the role with a friend who’s a comic book nerd and stays up to date on everything Marvel. It had leaked that Marvel was going to be releasing She-Hulk, a show about the Hulk’s cousin who has Hulk-like powers and my friend said, ‘I’d be willing to bet this audition is for She-Hulk, in which case this is a scene
where you’re on a date with She-Hulk herself.” So that’s how I played it for the audition. When I received a call from my team saying I booked the role, I had to sign all the NDAs. But I still didn’t know what it was for, so it was exciting.


NYFA: How do you handle high stake auditions? What’s your secret weapon?

MC: I’ll backtrack to my time in LA. I was attending a lot of in-person auditions. Some were for co-star roles, some were guest stars, and I feel like I had success in booking many of them because I didn’t put the pressure on myself as if it was a “big deal”. Ironically, when I had auditions for big shows with well-known casting directors or producers, or major roles as lead or series regular, I would almost psych myself out of doing a good job because I would put so much pressure on myself. Nowadays, my secret weapon for high-stakes auditions is that I don’t make them high stakes. I don’t consider the production or the size of the role, I just focus on doing my job and on what I can control. [The She-Hulk] audition had Marvel written on it, but I didn’t care. It doesn’t matter if I’m auditioning for Steven Spielberg or for a student film, I’m always going to do my best work.

NYFA: What was your experience working on She-Hulk: Attorney at Law?

MC: My experience was incredible. Working alongside Tatiana Maslany was rewarding. I was a little nervous at first, but she was very welcoming and easy to work with. I also had the opportunity to work alongside Renee Elise Goldsberry, who I am a huge fan of from her work as Angelica Schuyler on the original Hamilton cast. Working with director Kat Coiro was also a great experience. She was very collaborative and gave me a lot of creative freedom to play as an actor. In the trailer when I ask She-Hulk, ‘should we split some fries?’, we did 4 or 5 different takes and Kat playfully redirected my delivery and intention behind that line. Overall, I got an inside look into Marvel’s storytelling. It was truly an invaluable and unique experience to be a part of it all, and now, to see it all come together on the screen…it’s Marvel movie magic. That’s beautiful.


NYFA: What kind of work would you like to do in the future?

MC: I would love to book a role as a series regular. I like the idea of getting to flesh out a character and live in that world over an extended period. I’d also like the opportunity to work behind the camera, either as a director or cinematographer. I’ve always enjoyed filmmaking, and someday I hope to put my own ideas on screen.

NYFA: Do you have Social Media?

MC: I’m a bit old school. I actually don’t have any social media. Honestly, I just can’t keep up with it all. I think that sometimes you can get caught up in the noise and lose sight of what’s really important. For me personally, I want to focus on what matters to me the most – my family, my career, my authenticity. I don’t want to be “insta-famous”. I want to be recognized for my work.

NYFA: Are you working on any other projects?

MC: I just wrapped the new show on Fox, Panhandle. I’m currently not attached to any new projects, but my team keeps me very busy with auditions. So, the work doesn’t stop.


NYFA congratulates Michel Curiel on all his success and hard work!

 

Please note: NYFA does not represent that these are typical or guaranteed career outcomes. The success of our graduates in any chosen professional pathway depends on multiple factors, and the achievements of NYFA alumni are the result of their hard work, perseverance, talent and circumstances.

NYFA Alum Andrea Muñoz Joins Star Cast in ‘Bullet Train’

NYFA Alum Andrea Muñoz Joins Star Cast in Bullet Train

 

On October 1,1964, Japan introduced the world to the first high-speed rail system, the Tōkaidō Shinkansen, just in time for the first Tokyo Olympics. The Shinkansen, colloquially known as the “bullet train” for the way it resembles a bullet and its high speed, is a network of high-speed railway trains that operate all over Japan.

In 2010, Japanese author Kōtarō Isaka wrote Mariabītoru about the worst-case scenario on board a bullet train: hitmen carrying out their missions. Mariabītoru was adapted for the Japanese stage in 2018. In 2022, the book inspired a Hollywood adaptation, Bullet Train, starring Brad Pitt.


 

The film boasts an all-star cast that includes Joey King, Aaron Taylor-Johnson, Michael Shannon, Bad Bunny, Sandra Bullock, and many more. Among this dazzling cast is NYFA Acting for Film alum Andrea Muñoz, who spoke with NYFA about her work on Bullet Train, as well as her role in Hulu’s limited series Pam & Tommy.



Andrea Muñoz, NYFA Acting for Film Alum
 

Like with most actors, for Muñoz, the work begins way before the director yells “action” on set, it starts at the audition. An actor’s preparation and audition technique is part of their craft. Muñoz said during a conversation with NYFA, “I have an acting coach. One of the things I learnt from NYFA is that your training as an actor will never end. I have an ongoing coach and she helps me with all my acting preparation, whether auditioning or preparing for a role.”

Muñoz shared that the most difficult parts of filming during Bullet Train were the intimacy scenes and insisted that respect is at the heart of intimacy work. “You have to have a high level of respect for yourself and your scene partner to provide a safe space for both. You are jumping into someone’s personal space,” As of late, the work of intimacy directors has been ‘essential’ for its importance in preventing and deterring abuse on set. “It’s known that in this industry, many times those [intimate] moments have been violated.” Muñoz adds, “that was my first kiss on camera, and it was harder than you would think it would be. I promise you a one-minute monologue is easier than that.”



A still from Bullet Train. Courtesy of Vulture
Muñoz’s preparation for Pam & Tommy was a little different, “One of the things they don’t tell you in school is that there is not such a thing as rehearsals on TV.” The alum goes on to describe the fast-paced nature of television work, “They give your lines, and they expect you to come ready to shoot on set.” Muñoz insists on joy and communication as a prime component of the actor’s experience on set. “It’s important to never forget to have fun and communicate with your scene partners.”

A lesson the alum learned while at NYFA, she notes, was the business of acting.“NYFA taught me how to start my career on my own, how to start putting myself out there, look for an agent, a manager, and how to build material to present myself to this massive industry.” This knowledge gave her the upper hand in many situations, “I’ve met so many actors that don’t know where to start.”



Brad Pitt in Bullet Train. Courtesy of Vox
COVID-19 has had a massive impact on Hollywood and the way cast and crew interact with each other on set. However, Muñoz suggests that the key to being a successful actor at this moment is patience and discipline. “Be very patient, work on your craft and try to keep the inspiration: read scripts, plays, and watch the movies and TV shows that you want to be part of.” She adds, “this is a tough industry, don’t allow distractions to get in your way, don’t give attention and time to anything that doesn’t serve your artistic and human purpose, and always be kind to the people that you work with.”

Andrea Muñoz also gave us the insider’s scoop on what it is like to work with a camera on set. “It’s trickier than we think,” she explains, “if there is a prop on set that you have to work with all the time and be aware of, but pretend that is not there, it’s the camera.” The camera is, in many ways, a scene partner. “The big productions cheat a lot in order to get better shots of actors or because of artistic reasons. In the real world, the camera is not static, it moves a lot, or it’s very close or very far, and you have to work with it. I love it.”

Bullet Train is now in theaters.

New York Film Academy congratulates Andrea Muñoz for all of her hard work!

 

Please note: NYFA does not represent that these are typical or guaranteed career outcomes. The success of our graduates in any chosen professional pathway depends on multiple factors, and the achievements of NYFA alumni are the result of their hard work, perseverance, talent and circumstances.

NYFA Los Angeles Producing Faculty: Interview with Jenni Powell

Filmmaking is a collaborative process, one that may not be possible without the hard work of a producer. A producer sees the entire filmmaking process from start-to-finish, working with the director, cast, and crew to ensure a polished finished product. A producer is essentially the on-set problem solver, and it’s a skill that comes very naturally to Jenni Powell, our Producing Chair at NYFA Los Angeles. 

Jenni, who once aspired to be an actor, but quickly found success in producing, is known for her work on the Emmy-award-winning web short, The Lizzie Bennett Diaries. On campus, Jenni is an expert in transmedia and world-building with projects, helping students understand the potential of their big ideas. She also ensures students are up to date with the latest in the future of film and television, including the creation of web series, podcasts, and immersive experiences.

NYFA CHAIR OF PRODUCING (LOS ANGELES), JENNI POWELL

Jenni Powell

The Emmy Award-winning producer of The Lizzie Bennet Diaries, Jenni Powell, has also produced Welcome to Sanditon, Lonelygirl15, Emma Approved, and The New Adventures of Peter and Wendy. Jenni has a long career in production, media, marketing, and content creation and was a producer at Felicia Day’s YouTube Premium channel Geek & Sundry, where she produced the Geekie Award-winning Talkin’ Comics Weekly. For two years, Jenni was the Director of Content and Social Media for VidCon, as well as the Head of Production for NewMediaRockstars. She also founded her own production company, Discourse Productions.

We talked to Jenni about her time at NYFA, her favorite films, and advice for students who wish to follow in her footsteps.

NYFA: How (and when) did you first get interested in producing? 

I first came to Los Angeles thinking I was interested in acting.  I started exploring that by doing a lot of extra work on TV and Films and volunteering on student projects of friends who were in film school.  I found that I couldn’t sit and wait to be called in as an actor and ended up helping out where I could.  I was always solving problems as well as anticipating solutions before they were needed…someone told me that is what a producer does, and I was off!

NYFA: What have been your favorite projects/productions to work on to date?  

I’m probably most known for producing The Lizzie Bennet Diaries,  which is a vlog-style web series based on the novel “Pride and Prejudice” by Jane Austen.  It was the first of what became a genre of web series called the Literary Web Series and won an Emmy when the Emmy Awards had just started recognizing digital and short-form content.  I’m really proud of being able to be innovative with what could be done with a web series and having been recognized for that work.

READ MORE: NYFA Screenwriting and Producing Graduates Celebrate with Industry Pitch Fest

NYFA: Tell us about your time at NYFA.  

I was drawn to NYFA when I was asked to guest lecture in a Transmedia course in the Screenwriting Department in LA.  Just the fact that they were offering a class in the subject was mind-blowing to me, and after my lecture, they asked if I might want to teach it in the future.  I jumped at the chance and over time, expanded into teaching other subjects.  I also wanted to help with the growth of the school overall and got very involved in the Faculty Senate and helping build Diversity, Equity, and Inclusion initiatives at the school.  It’s been incredibly rewarding, and I feel very honored to be able to effect real change.

NYFA: What are your favorite courses to teach? 

Transmedia (telling stories across multiple platforms) by far and anything having to do with new forms of media (web series, podcasts, immersive experiences, games, etc.).  I enjoy building worlds with my projects and sharing those possibilities with students.  Film and TV are always going to be highlighted but there are many forms of additional content with opportunities out there for students to explore.

NYFA: How would your students describe your teaching style/methods?

I am extremely collaborative and encourage interaction.  If you let me go, I can lecture like mad, but I also want to be sure I’m answering students’ questions and leading the learning process in ways that they will get the most out of.  I am also very open with sharing my knowledge of real-world experience, especially in the digital space, because my background in that is very unique, and I want to share both the good and the bad with students so they can make informed decisions about their creative processes.

NYFA: What are your favorite aspects of the film community in Los Angeles?  

Though people assume that the film community in Los Angeles must be huge and unapproachable, it could not be farther from the truth.  We can’t do what we do without collaboration and so finding your “people” is a key aspect and there are so many places in which pockets of creators make spaces in which to support one another.  When I was first exploring web series, there were events happening multiple times a week where we’d get together and share experiences and a lot of my early projects developed out of those events.

READ MORE: Q&A with MFA Producing Alum Paul Hutchens About the Documentary Series ‘Life After’

NYFA: Who do you believe have been some of the most significant individuals in producing?  

In my specialty area, which is Transmedia and Franchising, the individuals that inspired me are Henry Jenkins (reading “Convergence Culture” changed my life), Jeff Gomez (who was instrumental in getting “Transmedia Producer” recognized as an official credit by the Producers Guild of America), Miles Becket (the creator of “lonelygirl15’, which is the first scripted web series), and Felicia Day (creator of “The Guild” and a producer / writer / actor extraordinaire who really showed me what it means to be a multi-hyphenate and being able to balance working within and outside of the Industry while keeping true to your core values).

NYFA: What are some of your favorite films? 

I still adore some of the ‘80s films I grew up watching such as The Monster Squad, The Goonies, and The Lost Boys, I also really enjoyed The Crow but actually came to that world through the wonderful comics by James O’Barr.  There are also some wonderful stories that build upon The Crow mythology (it’s not only Eric Draven!) that aren’t as well known as the film or some of its, shall we say, “questionable” sequels.

NYFA: What advice would you give a prospective student looking to get started in producing?  

The wisest words that were ever said to me that I go back to project after project is, “Jump and the net will appear.”  Just begin at the beginning and move your way through it.  For a producer, while seeing the big picture is extremely important, in order to not let that big picture overwhelm us, we need to break things down into manageable chunks and be able to delegate and work collaboratively.

Produce Your Own Short Films and Content at NYFA

Want to learn how to produce your own content and short films? Check out our degrees in producing, as well as our certificates, and workshops!

From Australia, To LA, NYFA Australia Alum Mary O’Neill Phillips

New York Film Academy Australia (NYFAA) alum Mary O’Neill Phillips is an Australian native with both acting and hosting credits and audiences in the United States and Australia. After graduating with a Diploma of Screen and Media in Acting for Film, she made the move to Los Angeles and has since become a prominent figure in the country music and outdoor entertainment industry.

Phillips spoke with us about her journey, her passion for the outdoors and the advice she lives by.

The NYFAA alum, who was 25 when she decided to take up acting, says that though the curriculum appeared rigorous she knew she would benefit greatly from it. “I knew this course would be an intensive experience, but it would teach me the skills I needed as an artist to take the next step.” One of the most important things Phillips learned during her time on our Gold Coast campus was the value of being herself in a world of people trying to be each other. Professor Peter Kent shared with her, “there are a million girls out there trying to be the next Angelina Jolie, the next Scarlett Johansson [but] there can only ever be one Mary O’Neill …  figure out how to be the best at who you are.”

Mary O’Neill Phillips took this advice with her when she embarked on her journey to Los Angeles to transition to acting in the USA.  After making the move, Phillips started a partnership with Outdoor Channel TV. The partnership is now 4 years old and is home to her show Country Outdoor Adventures, where co-founders Mary and Zach Phillips chronicle their outdoor and country music adventures. Despite starting the show during the COVID-19 pandemic, Country Outdoor Adventures has seen great success since its premiere in 2020. The show “has become a renowned entertainment and lifestyle brand in the USA in the country music and outdoor communities.” Phillips has also hosted Country Outdoor LIVE on Outdoor Channel TV Network, Country Outdoors Podcast and the Country Outdoors Concert Series in Nashville. She revealed she enjoys working with Outdoor Channel TV Network because “it gives me an opportunity to encourage people to get outdoors and learn new skills and show more of myself in a raw form.” The self that Peter Kent encouraged her to be.

 

 

On top of hosting shows and acting, Mary O’Neill Phillips lends her talents to philanthropic efforts like Artist Against Human Trafficking, a one-night event with performances by top country music artists and panel discussions dedicated to raising awareness of human trafficking in Tenessee and across the globe. Most recently, she hosted the 2022 CMA Fest where the likes of Carrie Underwood, Kelsea Ballerini, Darius Rucker, Luke Bryan and more country music heavy-hitters performed. The festival event is hosted every year and in 2022 the festival raised money for Catch a Dream Foundation, a non-profit organization that grants once-in-a-lifetime hunting and fishing experiences to children 18 years old or younger who have a life-threatening illness.

The poster for CMA Fest: Game Night

Phillips shared that it wasn’t always performances, events, and TV shows – the first few years were a real challenge for her. “Having to fly back and forth from Australia to the USA every 3 months to keep  relationships I had made and try to grow my presence. I was very very broke for a long time and gave up a lot to make this happen.” The renowned host shared that there’s only one thing you cannot learn in a class: resilience.

 

New York Film Academy congratulates Mary O’Neill Phillips on all she has accomplished since completing the Diploma of Screen and Media in Acting for Film. 

 

NYFA Documentary Alum Aya Hamdan’s Film Screens at the MoMA

In the last couple years, the entertainment industry has shifted its focus to a global audience and global representation. 45% of Netflix’s content is forgein and breaking records across the board. Squid Game, the South Korean drama that took the world by storm, became Netflix’s most-watched show days after premiering. But even with Netflix and other streaming giants distributing more non-english content, some filmmakers have opted-out of traditional streaming platforms and created their own platforms like Shasha, an independent streaming service for South-West Asian and North African (SWANA) cinema. 

NYFA Documentary alum Aya Hamdan, a Palestinian-American producer, has taken it in another direction – she has started her own production company, 10 MILS. A company through which Hamdan collaborates with SWANA and BIPOC writers and directors to produce short films. The company’s most recent film Dress Up screened at the 2022 The Future of Film is Female screening at the MoMA. 

Hamdan spoke with NYFA about representation, her artistic inspirations and building her own production company.

New York Film Academy (NYFA): There’s been a revolution in SWANA streaming and art distribution, what do you attribute this to? How does it feel to be a part of this wave of filmmakers, artists? 

Aya Hamdan (AH): I think overall, the market has had an appetite for a global perspective. Especially after a foreign film, Bong Joon-ho’s PARASITE, won the Oscar for Best Picture. TV shows like A24’s Ramy, Marvel’s Moon Knight (Directed by NYFA Screenwriting alum Mohamed Diab) featuring the first Egyptian woman superhero Layla El-Faouly, played by May Calamawy and Netflix productions coming out of Jordan, like AlRawabi School for Girls, are setting a precedent that there is a space and market for our stories not only in the SWANA region, but in the United States and globally. 

  Poster for AlRawabi School for Girls courtesy of Netflix

NYFA: What are some of your artistic inspirations? 

AH: Seeing Nadine Labaki’s work as a director and actor was the biggest inspiration for me growing up. Specifically, her film  Where Do We Go Now? Seeing another Arab woman creating beautiful films was really the moment I realized, “I can do this too.” 

NYFA: What do you hope people take with them after seeing Dress Up?

AH: The logline for Dress Up is: On the eve of her sister’s wedding, Karina brings her “best friend” home to meet the family. In the face of familial expectations her anxieties begin to unravel. Dress Up is a story about hiding under a facade in front of family, a dynamic I believe many can relate to, but it also shows the love and acceptance one finds in their family and community. It’s a story about family, love and some of the anxieties that come with familial expectations. 

Still from Dress Up courtesy of 10 MILS

NYFA: What was your experience working on Dress Up? 

AH: This was a very intimate and personal story. Writer/director and Sundance Ignite fellow Karina Dandashi starred in the film alongside her real life sister Nadia Dandashi. Her home videos are also incorporated into the film. So it was very important to create a set environment that was safe and familial. We brought together a team of SWANA, BIPOC and queer collaborators that really brought their entire selves to set and created the safe space to tell this story. 

NYFA: How has your business background and NYFA experience led you to your current position? In what ways have the two helped you?

AH: My business background has definitely helped me make important strategic decisions as a producer and make the most out of our low budgets. Putting our money in the right places to get that high production value and finding the right collaborators who are in it with you for the right reasons is key. 

NYFA’s documentary program and making my documentary films from start to finish really gave me the foundation and skill set needed to collaborate with all the people that help make a film. Mentors from NYFA, like producer Tracie Holder are an incredible inspiration. 

NYFA: What has your artistic journey been like? 

AH: The community we built around the making of these films. Creating and sharing our stories together has really been the best part of this journey. 

It’s important to call out that making short films isn’t easy. We are mostly all balancing making films and working full time jobs that feed our creative work. So that has been a balance. I continue to learn how to manage this balance and it’s worth it. 

Aya Hamdan on the set of Cousins

NYFA: What has been your favorite project to work on?

AH: I don’t think I can choose a favorite. They will each have a special place and with each short film I get to learn so much from the experience and my collaborators. With each project, I see myself growing as an independent Producer. But so far there are two short films that I am very excited about. We are at the tail end of post-production and aiming for the 2023 film festival run.

Cousins written and directed by Karina Dandashi (Sundance Ignite Fellow) About two cousins, born in separate countries who reunite in Brooklyn when a run-in with an ex turns the night into a mission of revenge. COUSINS explores cultural disconnect between family members and identity within oneself.

Sweet Refuge written and directed by Maryam Mir and starring Laith Nakli (Ramy) About a Syrian baker who spends his first Eid in the US attempting to sell the sweets he has spent his lifetime perfecting: walnut baklava. This heartfelt comedy is a story of immigrants, food, and unexpected connections.

NYFA: What other projects are you working on right now?

AH: I am in pre-production for another beautiful short film and story written by Diana Gonzalez-Morett and directed by Akilah Walker. I’m excited to join these incredible filmmakers and support bringing this story to the screen. 

I am in early development for a feature script, Out of Water, written by Karina Dandashi. A coming of age story about an Arab-American woman set in Pittsburgh. The themes in this film are based on our short film Dress Up and Karina’s first short film, Short Shorts. We are also collaborating on and in early development for a TV/Pilot based on the characters in Cousins. 

NYFA: How did 10 MILS come to life? What was the process of building this production company? 

AH: I established my LLC,10 MILS right after my program at nyfa and I now produce all my short films through my LLC. Not only for Business, finance and legal purposes, but really also to have one platform to promote and talk about the films and stories I choose to support. Every story and writer/director I choose to collaborate with is very intentional. It’s always stories and people I connect with who I want to support as a producer.

 

New York Film Academy congratulates NYFA Documentary Alum Aya Hamdan for all of her hard work and success!