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NYFA Presents “Stranger Than Fiction” at IFC Center

New York Film Academy is excited to present the 2016 Spring Season of NYC’s cutting-edge documentary film series, Stranger Than Fiction, Starting April 12!

Stranger Than Fiction, the weekly documentary film series hosted by Thom Powers and Raphaela Neihausen and presented by IFC Center and New York Film Academy, announces the Spring Season launch of its 11th year. Each screening features a conversation with the filmmaker(s) or other special guests, usually moderated by Toronto Film Festival documentary programmer, Thom Powers. An informal gathering with the guests generally follows.

The spring slate opens April 12, 2016 with the invitation only, DOCUMENTARY NOW! DECONSTRUCTED, a one of a kind night with directors Rhys Thomas and Alex Buono presenting episodes of their hit IFC TV series. Starring Fred Armisen and Bill Hader, the series parodies and pays homage to well-known documentaries. Season Pass holders are invited. There will be no individual tickets sold for this extraordinary special. See Season Pass information below.

Other season highlights include the sneak preview of PRESENTING PRINCESS SHAW, about a singer discovered on YouTube, with the film subject Princess Shaw in person; and THE WITNESS about the Kitty Genovese case with director James Solomon. The spring season is co-presented by New York Film Academy.

“In honor of our 11th year, we’ve packed the spring season with extra films to take the line-up to 11 – just like the Spinal Tap amplifier,” said Artistic Director Thom Powers.

“Stranger Than Fiction generates some of the most important documentary programming anywhere. It provides a crucial hub, and integral grist for the mill of New York’s remarkable documentary community. Supporting Stranger Than Fiction is the best way New York Film Academy has found to thank and support all of the NYC documentary filmmakers who have contributed so much to our students’ educations,” said Andrea Swift, Chair, Documentary Department, New York Film Academy.

This season’s memorable characters include US Senators navigating a Supreme Court confirmation in ADVISE & DISSENT; gay Orthodox Jews struggling for acceptance in TREMBLING BEFORE G-D (15th anniversary); train passengers in Albert Maysles’ final collaboration IN TRANSIT; kidnapped film stars in THE LOVERS AND THE DESPOT; grandmothers living off radioactive land in THE BABUSHKAS OF CHERNOBYL; and the legendary restaurateur in FLORENT: QUEEN OF THE MEAT MARKET. Additionally, the creators of the acclaimed the FIELD OF VISION film group will present a night of new shorts.

The STF spring season takes place at the IFC Center every Tuesday night at 7:30 for eight weeks (plus special screenings Thursdays May 19 & 26). The spring season closes on May 31. The full season schedule appears below.

Stranger Than Fiction: Spring 2016 Season 7:30pm Tuesdays at IFC Center, Apr 12 – May 31

Each show features a Q&A with the director or other special guests

Apr 12: Opening Night of Spring Season – DOCUMENTARY NOW! DECONSTRUCTED (2015, Q&A w/ dirs. Rhys Thomas & Alex Buono)
Apr 19: ADVISE & DISSENT (2012, Q&A w/ dir. David Van Taylor)
Apr 26: TREMBLING BEFORE G-D (2001, Q&A w/ dir. Sandi Simcha Dubowski)
May 3: IN TRANSIT (2015, Q&A w/ dir. Lynn True, prod Erika Dilday)
May 10: THE LOVERS AND THE DESPOT (2016, Q&A w/ TBA)
May 17: THE BABUSHKAS OF CHERNOBYL (2015, Q&A w/ dir. Holly Morris)
May 19: FLORENT: QUEEN OF THE MEAT MARKET (2010, Q&A w/ dir. David Sigal)
May 24: FIELD OF VISION (2016, Q&A w/ TBA)
May 26: Thursday Special – PRESENTING PRINCESS SHAW (2015, Q&A w/ film subject Princess Shaw)
May 31: Closing Night – THE WITNESS (2015, Q&A w/ dir. James Solomon)

Tickets for Stranger Than Fiction screenings are $16 for the general public and $13 for IFC Center members. A Spring Season Pass, good for admission to all 10 events from April 12-May 31, is available for $99 ($80 for IFC members).

To Purchase Please Visit STFdocs.com

Screenwriting Panel: Life in Transmedia

On Thursday, March 24^th, the New York Film Academy’s Screenwriting Department, in cooperation with Final Draft, hosted the third, and final, in its second annual series of “Life In” panels. Arranged for NYFA’s Final Draft Fellowship (a 12 week Writing Fellowship for the finalists in Final Draft’s Big Break Contest), this panel focused on “Life in Transmedia” and saw the panelists explore working in franchises, transmedia and individual mediums like comics, web-series and games.

The Transmedia panelists (many of whom teach at NYFA) included:

Nunzio DeFilippis & Christina Weir, writing team in comics (NEW X-MEN, BAD MEDICINE, FRENEMY OF THE STATE), games (Unititled Jet Li videogame), and TV (ARLISS, KIM POSSIBLE)

Josh Eiserike, comic writer & artist (MAD MAGAZINE, ANYONE BUT VIRGINIA, ANNA AND PAT)

Margaret Dunlap, writer of webseries (THE LIZZIE BENNETT DIARIES, WELCOME TO SANDITON, EMMA APPROVED) and television (THE MIDDLEMAN, EUREKA)

Emmett Furey, writer/producer of webseries (THE NEW ADVENTURES OF PETER AND WENDY, FUREY OF SOLACE)

Scott Rogers, writer/producer of video games (LEVEL UP! THE GUIDE TO GREAT VIDEO GAME DESIGN, GOD OF WAR), comics (BEDBUG: SINGLE FATHER SUPERHERO)

Adam Finer, NYFA’s Associate Chair of the Screenwriting Department, moderated and provided advice and insight. He said, “We tell stories. It’s something inherent in human nature. You’re here because storytelling matters.”

Adam started the discussion with the big question: What is Transmedia? Margaret Dunlap joked that with six panelists you would get about seven different answers, but Nunzio DeFilippis’ answer garnered general agreement. Nunzio explained that transmedia is story told across multiple media, where, ideally, each new media format expands the world, characters, and story. He said that transmedia is a way to, “Think beyond film and television.”

The conversation moved to how to get started working in transmedia. Scott Rogers discussed the available technology and software in today’s world that can help a person create their own material – software to render video games, technology for drawing and animating, phones and cameras to film. Scott said, “It’s completely doable. There’s going to be a big amount of luck, and skill, and talent, but it’s doable.” Emmett Furey added, “There’s nothing to stop any of you. You just gotta do it.”

One way to get involved in creating your own content that the panelists discussed was to borrow from pre-existing franchises. Scott Rogers said, “If you love Star Wars, create your own Star Wars.” Take what you love from a franchise – the world, characters, relationships – and create your own, unique, version. Josh Eiserike added, “Tap into what you really love about the world and then create your own version.” Nunzio DeFilippis, who has written for X-Men and Superman, offered a counterpoint, though, saying “if you create your own team, you have to wait to see if they have the cultural impact of the X-Men.” He spoke about the thrill of working in a franchise that has an existing fanbase.

The panelists also explored getting started with content based off property in the public domain. Margaret Dunlap, an Emmy Award winner of The Lizzie Bennet Diaries and Welcome to Sanditon, said of writing new media content for property in the public domain, “Part of the appeal is that it gives people the hook in. This is familiar ground. It’s easier to take on something new if there’s something familiar at the same time.”

This segued into how creating your own content in new forms of media can lead to other, more traditional, forms of media. The comic writers, Nunzio DeFilippis, Christina Weir, and Josh Eiserike, all agreed that one should never set out to write a comic, or any other form of new media, with the intent of having it turned into a film or television series. They did agree that if you create compelling content it can be easier to turn it into something else, but that should never be the original intent. Nunzio insisted, “If you can’t be with the one you love, love the one you’re with. You have to love the form you’re writing in.”

Adam Finer then asked the panelists to discuss audience engagement within the transmedia world. Emmett Furey told an amusing anecdote one of his The New Adventures of Peter and Wendy characters interacting with a fan, role-playing a fairy character, to the point of other fans “shipping” (seeing two characters in a relationship) them. At the end of this story Emmett said, “We facilitate fanfiction by making it fanfact.” In terms of the web and social media, there is no lag between the content being delivered and fans responding to it. Fans want to be, and will be, involved. Margaret Dunlap said, “When you bring your story out into the real world, storytelling gets messy, and that’s okay. Stuff is going to happen that you hadn’t anticipated and you have to embrace it.”

At the end of the discussion the audience (made up of Final Draft fellows, NYFA students, and alumni) was invited to ask questions, which ranged from virtual reality games, alternate reality games, and traditional media breaking into the web space.

One student asked about limitations new media formats can have on storytelling. Nunzio DeFilippis brought up that while film and television can control the pacing of the viewer, comics can’t – or they handle pacing differently. A reader can stay on a page for hours or seconds, they read at their own pace. However, surprises can be controlled as long as they don’t come on an even page where the surprise would be seen on the opposite page. In terms of limitations on story, however, Christina Weir said, “You are not limited in comics. If you want to tell a story in space with exploding rockets you can. The artists can draw that as easily as panelists sitting behind a table.” When it comes to games, Scott Rogers, talked about the biggest limitation being that of the user. If a player can’t get past a certain level, or isn’t interested, they’ll never unlock the full story.

One of the Final Draft Fellows asked about finding an audience once your content has been created. Scott Rogers discussed finding other creators with similar interests and commenting on their pages/blogs/content, then, once your material is ready to go out, asking if they will help promote your work. Margaret Dunlap added, “Patience really is the long game. Start small and if you nurture it, it can really snowball.” Josh Eiserike chimed in with, “It’s not just about building a fan base and cultivating fans. It’s also about cultivating your peers. Use your network.” He talked about searching for others with similar interests, promoting their work, and then asking if they would do the same. Nunzio DeFilippis encouraged the audience to show authenticity towards your peers. To be genuinely interested in what they have to offer and be kind, then people will be more willing to help you.

The ultimate bit of wisdom given to the attendees was to always be creating and making things. To collaborate with others and to make projects with your friends. And to not let the fear of wanting to create something similar to something else stop you from creating.

3D Animation Alumni Highlight: Yukari Akaba

After graduating from New York Film Academy’s One-Year 3D Animation & Visual FX Conservatory, Yukari Akaba created a reel to showcase her talent and capabilities in the craft. From her reel, which NYFA Animation and Game Design Chair Phoebe Elefante says is “excellent,” Akaba was able to secure a position at a New York based production company called The Brigade.

The project she’s currently working on, Hair Guitar, is a short animated film created by the digital artists at The Brigade for the purpose of refining their craft as storytellers and promoting their technical abilities in the space of advertising and entertainment.

“We have taken the story from inception to completion, involving every step of the character animation pipeline from character development to motion capture and post production,” said Akaba. “We are excited to finish in early summer, and grateful for all of the help from our talented team!”

Akaba admits she didn’t have any art background prior to attending NYFA, and learned everything she knows from the Animation program at NYFA.

Her goal is to become a senior modeler and texture artist at a studio and work on feature films and high-end commercials. Though, she is also considering working with major game companies such as Blur or Blizzard studios, particularly on game cinematics.

You too can see Yukari’s talent by having a look at her animation reel below!

Yukari Akaba CG Artist Demo Reel 2016 from Yukari Akaba on Vimeo.

Mindfruit Studio Stops in at NYFA’s Stop Motion Class

Last week New York Film Academy’s 3D Animation and VFX students got to meet and talk with Damon Stea and Cassandra Chowdhury, the dynamic duo who run Mindfruit Studios.

Mindfruit is a Los Angeles-based team with the goal of creating diverse, unique, and beautiful videos. Fantastical costumes, puppets, and stop motion are their bread and butter. They’ve worked on everything from a video billboard for Forever 21 to a film shot entirely on a computer scanner. Their work has been featured at South by Southwest, Vimeo Film Fest, the Disposable Film Fest, and on screens around the globe.

Not only did the students of Matthew B.W. Sheehan’s stop motion class get to pick Damon and Cassandra’s brains about all things stop motion, they even received help wrestling some deeper questions when 3D Animation BFA Jessica Chung asked about the do’s and don’ts of freelance work and making your first deal.

All in all, a victory for education at the New York Film Academy.

-Matthew B.W. Sheehan

Professor of Animation and VFX

NYFA Welcomes Award-Winning Italian Filmmaker Nanni Moretti

Considered one of the most original Italian filmmakers over the past several decades, it’s hard to think of a more accomplished international guest speaker than Italian director, Nanni Moretti. In 1976, Moretti released his first feature film, Io sono un autarchico, and never looked back. From that point on, Moretti became a professional filmmaker, eventually gaining international acclaim with his film, Sogni d’oro, which won the Silver Lion at the 38th Venice International Film Festival. Moretti was also awarded for La messa è finita, which won the Silver Bear – Special Jury Prize at the 36th Berlin International Film Festival and La stanza del figlio, which won the Palme d’Or at the 2001 Cannes Film Festival.

In an event moderated by NYFA President Michael Young, students from the New York Film Academy in New York were treated to a screening of his 1993 film Caro diario—which awarded Moretti with Best Director at Cannes—followed by a Q&A with Moretti. Like so many of his films and similar to Woody Allen, Moretti writes, produces, directs and stars in the semi-autobiographical film. Presented in three chapters, Moretti uses the experiences of traveling on his motor scooter, cruising with his friend around a set of remote islands in search of peace to finish his new film and consulting doctor after doctor to cure his annoying rash to cast a humorous look at his life and those around him.

While bouncing around from doctor to doctor, Moretti eventually discovers he has a lymphatic system tumor on his lung. Based on his actual battle with the illness, Moretti told a full house of students that he only wanted to tell of his struggle if it was delivered in the appropriate tone—dry and ironic.

Most of Moretti’s films are very personal and yet universally relatable. Admitting there’s no calculated plan to succeed in that regard, Moretti says he writes and creates films about his life, his experiences and his neuroses, each a terrific starting-point for a screenwriter staring at a blank page.

As a kid who began making short films on Super 8, Moretti recommends the current generation of up and coming filmmakers band together with a crew and shoot on video. And while it may be enjoyable at moments to work alone, Moretti says, “In the long run, working alone can be very tiresome and boring.”

Be sure to check out his most recent award-winning film, Mia Madre, which stars Moretti, Margherita Buy and John Turturro.

Bruce Wagner Discusses Personal Journey After “Maps to the Stars” Screening

This past Tuesday, New York Film Academy students welcomed screenwriter, novelist, and director Bruce Wagner to the NYFA theatre, following a screening of his film, Maps to the Stars. David Cronenberg directed the film, which stars Julianne Moore (for which she won the Cannes Film Festival Award for Best Actress), John Cusack, Mia Wasikowska, and Robert Pattinson. The Q&A was moderated by producer Tova Laiter and NYFA Instructor David O’Leary.

While discussing his writing, Wagner said, “I’m interested in people in extremes: fame and anonymity…the very rich and very poor, night and day.” He referenced the fact that Pattinson’s character is somewhat autobiographical, as he was once a struggling writer waiting for his break while driving both an ambulance that picked up the disfranchise dead and injured and also a limousine driver for celebrities in Beverly Hills.

He also spoke about the fact that much of his writing concerns Los Angeles and the film industry, saying, “I write so much about this town, so I’m considered a Hollywood writer. I’m from here—it endlessly ignites me.” He added the fact that if he grew up in Detroit, he’d write about the auto industry.

When asked by a student about working with a director, and the fact that each party would have their own vision of the film, he spoke fondly of the fact that he was invited on-set of Maps to the Stars—which “doesn’t always happen.” He also told a story about how he kept asking the script supervisor “what are you doing next” and he was encouragingly told by Cronenberg to start saying “what are WE doing next.” Overall, when it comes to turning your writing over to a director, he advised students that “you have to surrender.”

Another student asked how Wagner balanced his artistic integrity with the need to pay the bills. Wagner said, “We all have to do what we have to do. The only way I survived was by exploring the darkest [possibilities] of what could happen to me and projecting it into my work…(transference of sort)” or “you do one for them, one for you.”

NYFA International Goes to Azerbaijan

The New York Film Academy College of Visual & Performing Arts (NYFA) is truly an international educational institution. In fact, with campuses in four countries, and programs in many more, NYFA is said to be the largest— truly global—film school in the world.

Many NYFA activities overseas involve providing free workshops and Master classes in locations not readily known or understood by the average American. NYFA staff and faculty venture to far-away nations to support promising visual and performing artists in places where aspects of filmmaking education are lacking, but that has wonderful young creative talent that the College feels compelled to nurture. Azerbaijan is just one example of where NYFA is making an impact.

Earlier this month in the lovely capital city of Azerbaijan, where the Caspian Sea glitters in the early spring warmth, Lanre Olabisi, film producer and a faculty member in the Screenwriting & Directing Department at NYFA’s New York City campus, conducted an intensive Masters class in filmmaking and screenwriting. The Azerbaijan State University of Culture and Arts (ASUCS) hosted the event, which was conceived by the university’s rector, Dr. Farah Aliyeva, during a 2015 visit to the university. More than 45 students intently took in the lessons provided by Professor Olabisi on how to develop good story ideas and then transform them into a winning screenplay.

A commentary about the event on the ASUCS website declared how important the NYFA Master class was for the filmmaking and media students at the University—not only for the pedagogical value—but also because the course provided the participants an interaction with a different cultural and professional perspective than they have likely ever experienced. The write-up states that bringing in “foreign experts” like Professor Olabisi to train students offers an international “thread” that provides the opportunity to have a new, different, and personal understanding of the world outside of Azerbaijan.

Azerbaijan has a long history in the cinema and is now looking to make a 21^st reawakening in the media and entertainment arts industry as the country’s economic and political profile commands attention on the world’s stage.

NYFA has been proud to host more than a dozen students from Azerbaijan at the School’s New York City and Los Angeles campuses, and we hope to welcome many more especially as our graduate degree programs expands. Meanwhile, we hope that bringing a small piece of the NYFA curriculum to the heart of Azerbaijan gives visual and performing art students the ‘creative bug’ to continue to pursue their passions.

Tribeca Film Festival Selects Matthew Modine’s “Super Sex”

The 2016 Tribeca Film Festival has officially selected Super Sex for its world premiere where it will compete for Best Narrative Short. The comedy stars Kevin Nealon, Elizbeth Perkins, Efren Ramirez, Ruby Modine, and the legendary Ed Asner. Super Sex was written for the screen and directed by Matthew Modine.

“When we began production, I wanted to involve students from the New York Film Academy,” said Modine. “Jerry Sherlock was a dear friend and nothing made him more happy than when his students were involved with successful projects. I’m thrilled Super Sex is having its world premiere in the city Jerry loved and having students from NYFA participate.”

Modine contacted NYFA’s CEO Jean Sherlock and Director Dan Mackler, hoping to involve students from the Academy’s “Industry Lab.” The Industry Lab is a student run production entity supervised by NYFA faculty. “The Industry Lab students had the invaluable opportunity of working with film veterans Modine and Director of Photography Julio Macat, an experience they won’t forget,” said Mackler. Julio Macat (Home Alone, Wedding Crashers, Pitch Perfect) met with the Lab and was impressed by their knowledge and the quality of equipment available to them for film production. Macat enlisted Evan Stulc of the Lab’s camera department to be his camera assistant, giving him an amazing opportunity to work with one of the leading cinematographers in the motion picture industry. “It was a fantastic experience. I learned so much about the craft working alongside a legend like Julio,” said Stulc.

julio macat — Pictured Above: Julio Macat | photo by Frank Masi

Super Sex Producer, Joe Toronto interviewed NYFA students eager to work on the film. Toronto chose Mara Topic as an Associate Producer. Joann Wong, Alyssa Manno, Egor Povolotskiy, Aaron Pong, James Geyer, David Mori, and Nick Ramsey worked in the art, lighting, and editorial departments. “It was wonderful working with the NYFA students,” said Toronto. “They were helpful and enthusiastic and worked hand-in-hand with experienced professionals. I feel the best way to learn a craft is by doing—and they did!”

Super Sex anchors the California Dreaming short film program at the Tribeca Film Festival. Tickets for the premiere on April 15 and three additional screenings are now available to purchase here: https://tribecafilm.com/filmguide/super-sex-2016

MFA Producing Student Gives TEDx Talk in Zimbabwe

MFA Producing student, Zororo Makamba, recently gave a TEDx Talk on the state of television in Zimbabwe.

Hailing from Zimbabwe, Makamba is a radio personality, television host, and aspiring filmmaker at the New York Film Academy. As a filmmaker he has produced two short films and one documentary. After graduation he plans to continue hosting his talk-show “Tonight with Zororo” along with doing more production work, focusing on TV dramas, as well as documentaries and reality TV.

“The University of Zimbabwe has been running TEDx talks for a few years now, and this was my first time invited,” said Makamba. “The theme was re-imagining Africa, and I was invited to talk about the success of my TV show [Tonight with Zororo].”

In addition to discussing his award-winning talk show and the state of television in Zimbabwe, Zororo enlightened his audience on some of the challenges that Zimbabwe faces. Those challenges are: 36 years after independence they only have one channel, they’ve yet to transition to digital, and the media coverage is very partisan towards the ruling party.

You can watch Makamba’s talk below!