NEW YORK FILM ACADEMY (NYFA) WELCOMES “SHANG-CHI” DIRECTOR, DESTIN DANIEL CRETTON AND ACTOR, SIMU LIU

New York Film Academy (NYFA) had the honor of hosting a live video Q&A with Shang-Chi director, Destin Daniel Cretton and lead actor, Simu Liu to discuss representation and creating the world of Shang-Chi. Tova Laiter, Director of the NYFA Q&A-List Series, curated and moderated the event.

Destin Daniel Cretton is an Asian-American filmmaker born in Maui, who directed Just Mercy (2019), with Michael B. Jordan and The Glass Castle (2017) and the critically acclaimed Short Term 12 both starring Oscar award-winning actress Brie Larson, as well as I Am Not a Hipster (2012).

Simu Liu is a Canadian actor whose journey began when he applied to be a movie extra on a whim. He has since worked on Kim’s Convenience, Crazy, Rich Asians (2018) and Taken (2017).

Simu Liu opened the conversation with a disclaimer “I did not go to film school of any sort.” Liu expressed some regret about the fact, “I wish I had. I feel like my education as an artist as a performer would be a lot more complete as a performer.”

Liu studied finance and accounting at the University of Western Ontario Ivey Business School and worked as an accountant. He jokes, “Which is very different from acting, even though, you know, you can’t technically spell accounting without acting. It’s a weird coincidence.” However, Liu was laid off right before his 23rd birthday and since he had “always been enamored by movies and at that point, with nothing left to lose, I said why not?” Liu went on Craigslist and began doing background work and acting in student films. Before long he had enough credits to book an agent and began to audition for bigger roles, which is when he landed the role of Jung Kim on Kim’s Convenience.

Destin Daniel Cretton’s path to Marvel was not linear, either. “My trajectory to where I am has just been a very slow, slow burn with a lot more failures in between that list of success.”

After college, Cretton worked with teenagers with special needs, in a section called Short Term 12. The job inspired a short film by the same name. Short Term 12 (2008), whose logline was: “A film about kids and the grown-ups who hit them”, went to Sundance in 2009. This win came after Cretton submitted seven other short films to Sundance in the years prior. Short Term 12 won the Jury Prize in Short Filmmaking. “Everytime there’s a big success the human brain thinks I made it, this is it, I don’t have to worry anymore. But I couldn’t get a feature off the ground. The feature version of Short Term 12 was rejected from every lab and I couldn’t get any funding.”

He had just about given up on the script when he was informed that he got the Nicholls Fellowship. However, it was only after he wrote and directed the micro-budget feature, I Am Not A Hipster, that premiered at Sundance, that he was able to finance the feature version of Short Term 12. The feature film was rejected by Sundance but accepted at SXSW where it won the jury prize audience award; and that’s what launched his career.

Prior to Shang-Chi, Liu dabbled in the superhero world. Out of desire to see himself as a superhero and a conviction that people who looked like him “deserve to be superheroes”, he wrote series and bibles about superheroes. “Somehow I got my hands on a couple thousand dollars and wrote and directed a film where I played a superhero.” However, when the role of Shang-Chi came up, Liu didn’t think he’d be in the running. His desire to be a superhero was curbed by feelings of inadequacy as soon as he got the audition. “All of a sudden I became super insecure. Why would they pick me? I would go into these IMDB rabbit holes and I’d be like ‘well, that person’s taller than me, that person’s martial arts is probably better than mine … what about me makes me special?’ I couldn’t, for the life of me, figure it out.” To his surprise, he was called back and it was after this callback that he came to understand what it really meant to be a superhero. “What made a superhero relatable was not the super part but the humanity part.” As he learned that what Cretton was after was humanity and vulnerability, he began to realize that he could in fact deliver. “I can’t be 6’3 … but I can be a human being and somebody who struggles and is flawed and can be vulnerable in front of the camera.”

When asked about the creative freedom he had been afforded for Shang-Chi, Cretton says that Marvel gave him a lot of freedom, more than most studios. “As a creative experience, it was one of the most fulfilling that I’ve had.” Simu Liu mentioned that in his first creative meeting, Marvel was clear that they did not want to rehash the original comic books. “When you look at the source material, it doesn’t lend itself to the time … that character was not written through an Asian-specific lens and so, there are a lot of stereotypes and a lot of problems with that interpretation.” Simu Liu was relieved to learn that Marvel Studios was not interested in making the same mistakes and instead reminded Cretton, with frequency, of his own pitch: “[This film is] an emotional family drama about a father, a son and his daughter learning how to come together after a tragic death.”

Laiter closed the conversation by thanking Destin Daniel Cretton and Simu Liu for the conversation, their insight into the Marvel Cinematic Universe and their personal journeys as artists.

New York Film Academy would also like to thank Destin Daniel Cretton and Simu Liu for sharing their time and experience with NYFA students and alumni.

To hear the full conversation, watch the video below:

These guests are not faculty and do not teach at NYFA, but they have appeared to share their stories and experience with our students. As guest speakers are scheduled based on their availability, NYFA cannot guarantee whether a guest speaker will visit during a student’s attendance or who that guest speaker may be. This guest speaker forum is not part of any NYFA curriculum and attendance at guest speaker events is purely voluntary. Students should be aware that guest speaker events do not represent a job opportunity nor are they intended to provide industry connections.

New York Film Academy/DeWitt Clinton High School Fourth Annual Teen Workshop

Five students from the NYFA/Dewitt Clinton 8-week digital storytelling workshop pose for a picture. One of the student is holding a camera.
DeWitt Clinton High School students on set of their short film.

New York Film Academy (NYFA) recently completed its 8-Week Digital Storytelling workshop for students from DeWitt Clinton High School in the Bronx. 

Participants screened their completed short films to a (socially-distanced) group of friends, family, and well-wishers at NYFA’s Battery Park campus. The final films were written, directed, and edited by each of the students with assistance from their colleagues in a collaborative group effort. The workshop was made possible with the generous support of the 10 ARTS Foundation.

Three DeWitt Clinton High School students stand behind a camera.
DeWitt Clinton High School students behind the camera.

Over the course of eight Saturdays, students learned basic skills of filmmaking: directing, screenwriting, camera, lighting, producing, and editing. Under the expert guidance of various New York Film Academy instructors, and the use of state-of-the-art equipment, students were shooting test sequences on their very first day. The finished films showed a high degree of proficiency, especially considering the short timeframe.

This was the fourth annual NYFA Digital Storytelling Workshop in partnership with DeWitt Clinton High School. The storied academic institution boasts an impressive list of alumni, including such luminaries as James Baldwin and Stan Lee, as well as BAFTA, International Emmy and Peabody award-winner and Chair of NYFA-NY Producing Department, Neal Weisman.

“The NYFA/DeWitt Clinton High School Digital Storytelling Workshop is a wonderful opportunity for industry professionals and film educators to share resources, skills, and expertise with a group of young people from the Bronx,” says Weisman. “The enthusiasm and talent displayed by the students has been thrilling to observe. This program is an intervention; it opens up the minds of the participants to the possibilities of a career, and a life, telling stories that can impact millions.”

NYFA looks forward to continuing this workshop program, helping to give voice and digital storytelling skills to some of New York City’s most diverse public school population.

New York Film Academy and the 10 ARTS Foundation congratulates the DeWitt Clinton High School students on their impressive work!

 

NYFA ALUM & “INDIE DARLING”, AUBREY PLAZA, RETURNS TO SUNDANCE.

These days there’s very little we can be sure of: Will this pandemic ever end? Will we ever pay off our student loans? Will we share one bathroom with five roommates for all of eternity? Is there a way out of this? Thankfully, one thing we can be sure of is if NYFA Alum Aubrey Plaza is producing and starring in a film, it’s going to Sundance; and this time around, Aubrey Plaza finds a way out in the neo-noir thriller, Emily the Criminal.

Aubrey Plaza first ventured into the hyphenate world of actor-producer in 2017, with The Little Hours, a medieval comedy about a young man employed at a covenant; he is introduced to the sisters as a deaf-mute to discourage temptation but shortly after his arrival the nuns descend upon him. The film premiered at Sundance and Plaza has since built a reputation for herself in the independent film circuit as a talented actor and trusted producer with two other Sundance films: Ingrid Goes West about an unhinged young woman, Ingrid, who moves out west to befriend her social media obsession and Black Bear about a young filmmaker, who in the midst of a creative block, retreats to a lakehouse and manipulates and controls her hosts in an effort to make art.

After Plaza’s previous successes at Sundance, Emily the Criminal had big shoes to fill. And it did not disappoint. The reviews are piling in and Emily the Criminal is already being lauded “a film for it’s time.” The title character, played by Plaza, a former art student, drops out of college because she can’t afford the steep fees. But even after dropping out, Emily is saddled with $70,000 in student loan debt. To pay off her debt, she goes in search of a job but her efforts are thwarted by a stained permanent record. Already labeled a criminal, Emily opts for a credit card scheme and finds herself tangled in the Los Angeles crime scene in this film described by director, John Patton Ford, as “the movie that Jacques Audiard would make if he lived in Los Angeles”.

When asked about Plaza’s ability to switch between actor and producer on set of Emily the Criminal, producer Tyler Davidson replied, “there are stars who are producers and there are stars who are real producers and Aubrey is the latter … obviously she’s got her hands filled as the star of the film but she was completely engaged from a producing level from day one”.

Aubrey Plaza’s passion for independent films is palpable. You need only watch the films she’s worked on to know just how invested she is. Plaza told Entertainment Weekly, “Independent films are the most inspiring kinds of movies, for me, because they’re just about exploring the human condition, always. It’s not about money and it’s not about pandering. There’s something very pure about it to me.”

And it shows; the success of the film is such that all of its screenings at Sundance are sold out.

Emily the Criminal will premiere in theaters on August 12th, 2022.

NYFA congratulates Aubrey Plaza for the success of Emily the Criminal!


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 & INDIE DARLING, AUBREY PLAZA, RETURNS TO SUNDANCE

These days there’s very little we can be sure of: Will this pandemic ever end? Will we ever pay off our student loans? Will we share one bathroom with five roommates for all of eternity? Is there a way out of this? Thankfully, one thing we can be sure of is if NYFA Alum Aubrey Plaza is producing and starring in a film, it’s going to Sundance; and this time around, Aubrey Plaza finds a way out in the neo-noir thriller, Emily the Criminal.

NYFA Alum & “Indie Darling”, Aubrey Plaza, Returns to Sundance.
Aubrey Plaza first ventured into the hyphenate world of actor-producer in 2017, with The Little Hours, a medieval comedy about a young man employed at a covenant; he is introduced to the sisters as a deaf-mute to discourage temptation but shortly after his arrival the nuns descend upon him. The film premiered at Sundance and Plaza has since built a reputation for herself in the independent film circuit as a talented actor and trusted producer with two other Sundance films: Ingrid Goes West about an unhinged young woman, Ingrid, who moves out west to befriend her social media obsession and Black Bear about a young filmmaker, who in the midst of a creative block, retreats to a lakehouse and manipulates and controls her hosts in an effort to make art.

After Plaza’s previous successes at Sundance, Emily the Criminal had big shoes to fill. And it did not disappoint. The reviews are piling in and Emily the Criminal is already being lauded “a film for it’s time.” The title character, played by Plaza, a former art student, drops out of college because she can’t afford the steep fees. But even after dropping out, Emily is saddled with $70,000 in student loan debt. To pay off her debt, she goes in search of a job but her efforts are thwarted by a stained permanent record. Already labeled a criminal, Emily opts for a credit card scheme and finds herself tangled in the Los Angeles crime scene in this film described by director, John Patton Ford, as “the movie that Jacques Audiard would make if he lived in Los Angeles”.

When asked about Plaza’s ability to switch between actor and producer on set of Emily the Criminal, producer Tyler Davidson replied, “there are stars who are producers and there are stars who are real producers and Aubrey is the latter … obviously she’s got her hands filled as the star of the film but she was completely engaged from a producing level from day one”.

Aubrey Plaza’s passion for independent films is palpable. You need only watch the films she’s worked on to know just how invested she is. Plaza told Entertainment Weekly, “Independent films are the most inspiring kinds of movies, for me, because they’re just about exploring the human condition, always. It’s not about money and it’s not about pandering. There’s something very pure about it to me.”

And it shows; the success of the film is such that all of its screenings at Sundance are sold out.

Emily the Criminal will premiere in theaters on August 12th, 2022.

NYFA congratulates Aubrey Plaza for the success of Emily the Criminal!

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.

EVERYTHINGS GONNA BE NOMINATED?! NYFA ALUM ISSA RAE LEADS NOMINATIONS AT 2022 NAACP IMAGE AWARDS

*Spoilers for Insecure ahead proceed with caution and tissues.

NYFA Guest Speakers, Instructors and Alumni leave their mark as the NAACP Image Award nominations are announced. Leading the pack is NYFA Alum Issa Rae who continues to make waves after the final season of Insecure.

HBO aired the last episode of the hit-show Insecure on December 26. In its wake the show left millions of sad (but proud) fans behind and took with it 10 nominations for the 2022 NAACP’s for its superb farewell season.

The 5-season show, which was nominated for Outstanding Comedy Series at the NAACP’s, was hailed a critical success from the beginning and its final season did not disappoint. Down to the very last episode “everythings gonna be, ok?!”, Issa Rae kept the ball in the air. Issa Rae was nominated for Outstanding Actress in a Comedy Series and Outstanding Writing in a Comedy Series for the bitter-sweet farewell episode. “A Black Lady Sketch Show”, produced by Rae, was nominated for Outstanding Variety Show.

However, the nominations for Insecure don’t stop there. Issa Rae and the cast of Insecure dominated in every eligible category.

Beloved character and best friend, Molly Carter, found a love like her parents’ and actress Yvonne Orji scored a nomination for Outstanding Actress in a Comedy Series. Actresses Amanda Seales and Natasha Rothwell both received nominations for Outstanding Supporting Actress in a Comedy Series for their portrayals of Tiffany DuBois and Kelli Prenni. In the final season, Tiffany moved to Denver and learned to love it and Kelli, who was presumed dead in one episode, resurrected and found love herself.

Finally, though Nathan Campell could not win over Issa Dee with his euphonious Houston drawl, actor Kendrick Sampson did win a nomination for Outstanding Supporting Actor in a Comedy Series, which is almost the same thing. Instead it was Lawrence Walker, Issa Dee’s long-time, on-again-off-again boyfriend who won her over, for which the internet was grateful. He’s been nominated for Outstanding Actor in a Comedy Series. Character Condola Hayes, whom the internet couldn’t decide if it should love or hate for driving a wedge between Issa and Lawrence, earned actress Christina Elmore a well-deserved nomination for Outstanding Guest Performance in a Comedy or Drama Series.

Issa Rae’s director-in-crime, Prentice Penny was nominated for Outstanding Directing in a Comedy Series.

Although, fans struggled to say goodbye to Insecure. NYFA Alum Issa Rae left fans with some parting gifts: Insecure: The End, a behind the scenes look at the final season of Insecure and her production company, Hoorae! Media’s first production, Sweet life: Los Angeles .

The heartfelt documentary, Insecure: The End, was nominated for Outstanding Documentary and the acclaimed unscripted series, Sweet Life: Los Angeles, has been nominated for Outstanding Reality Series. Also nominated for Outstanding Documentary is My Name is Pauli Murray, lensed by NYFA Filmmaking Instructor Claudia Raschke. Nominated for Outstanding Host in a Reality/Reality Competition, Game Show or Variety is NYFA Alum Alfonso Ribeiro, who’s been hosting America’s Funniest Home Videos for the past six years. This is his third nomination for his work on the legendary ABC series. NYFA Alum Raquel Bordin worked on the much-adored animated film, Luca, which has been nominated for Outstanding Animated Motion Picture and has been collecting nominations at every single award show this season.

Also represented in the aforementioned categories are NYFA Guest Speakers Mario Van Peebles and Cedric the Entertainer. Mario Van Peebles is nominated for Outstanding Directing in a Television Movie or Special for his direction in Salt-and-Peppa and Guest Speaker Cedric the Entertainer is nominated for Outstanding Actor in a Comedy Series for his work on The Neighborhood .

NYFA congratulates all the 2022 NAACP Image Awards nominees! We’re excited to hear the winners on Feb 22, 2022.

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.

EVERYTHINGS GONNA BE NOMINATED?! NYFA ALUM ISSA RAE LEADS NOMINATIONS AT 2022 NAACP IMAGE AWARDS

*Spoilers for Insecure ahead proceed with caution and tissues.

Everythings Gonna Be Nominated?! NYFA Alum Issa Rae Leads Nominations at 2022 NAACP Image Awards.
NYFA Guest Speakers, Instructors and Alumni leave their mark as the NAACP Image Award nominations are announced. Leading the pack is NYFA Alum Issa Rae who continues to make waves after the final season of Insecure.

HBO aired the last episode of the hit-show Insecure on December 26. In its wake the show left millions of sad (but proud) fans behind and took with it 10 nominations for the 2022 NAACP’s for its superb farewell season.

The 5-season show, which was nominated for Outstanding Comedy Series at the NAACP’s, was hailed a critical success from the beginning and its final season did not disappoint. Down to the very last episode “everythings gonna be, ok?!”, Issa Rae kept the ball in the air. Issa Rae was nominated for Outstanding Actress in a Comedy Series and Outstanding Writing in a Comedy Series for the bitter-sweet farewell episode. “A Black Lady Sketch Show”, produced by Rae, was nominated for Outstanding Variety Show.

However, the nominations for Insecure don’t stop there. Issa Rae and the cast of Insecure dominated in every eligible category.

Beloved character and best friend, Molly Carter, found a love like her parents’ and actress Yvonne Orji scored a nomination for Outstanding Actress in a Comedy Series. Actresses Amanda Seales and Natasha Rothwell both received nominations for Outstanding Supporting Actress in a Comedy Series for their portrayals of Tiffany DuBois and Kelli Prenni. In the final season, Tiffany moved to Denver and learned to love it and Kelli, who was presumed dead in one episode, resurrected and found love herself.

Finally, though Nathan Campell could not win over Issa Dee with his euphonious Houston drawl, actor Kendrick Sampson did win a nomination for Outstanding Supporting Actor in a Comedy Series, which is almost the same thing. Instead it was Lawrence Walker, Issa Dee’s long-time, on-again-off-again boyfriend who won her over, for which the internet was grateful. He’s been nominated for Outstanding Actor in a Comedy Series. Character Condola Hayes, whom the internet couldn’t decide if it should love or hate for driving a wedge between Issa and Lawrence, earned actress Christina Elmore a well-deserved nomination for Outstanding Guest Performance in a Comedy or Drama Series.

Issa Rae’s director-in-crime, Prentice Penny was nominated for Outstanding Directing in a Comedy Series.

Although, fans struggled to say goodbye to Insecure. NYFA Alum Issa Rae left fans with some parting gifts: Insecure: The End, a behind the scenes look at the final season of Insecure and her production company, Hoorae! Media’s first production, Sweet life: Los Angeles.

 

The heartfelt documentary, Insecure: The End, was nominated for Outstanding Documentary and the acclaimed unscripted series, Sweet Life: Los Angeles, has been nominated for Outstanding Reality Series. Also nominated for Outstanding Documentary is My Name is Pauli Murray, lensed by NYFA Filmmaking Instructor Claudia Raschke. Nominated for Outstanding Host in a Reality/Reality Competition, Game Show or Variety is NYFA Alum Alfonso Ribeiro, who’s been hosting America’s Funniest Home Videos for the past six years. This is his third nomination for his work on the legendary ABC series. NYFA Alum Raquel Bordin worked on the much-adored animated film, Luca, which has been nominated for Outstanding Animated Motion Picture and has been collecting nominations at every single award show this season.

Also represented in the aforementioned categories are NYFA Guest Speakers Mario Van Peebles and Cedric the Entertainer. Mario Van Peebles is nominated for Outstanding Directing in a Television Movie or Special for his direction in Salt-and-Peppa and Guest Speaker Cedric the Entertainer is nominated for Outstanding Actor in a Comedy Series for his work on The Neighborhood .

NYFA congratulates all the 2022 NAACP Image Awards nominees! We’re excited to hear the winners on Feb 22, 2022.

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 FRANCESCO PANZIERI WORKS ON VFX TRIUMPH, ‘RED NOTICE’

Francesco Panzieri is no stranger to large-scale productions, with credits including Once Upon a Time in Hollywood, Star Wars: The Force AwakensSpiderman: HomecomingAvengers: Infinity War, Terminator: Dark Fate, Jingle Jangle and DuneStill, the Covid-19 pandemic presented him with new challenges on the set of Netflix’s Red Notice. The original production plan for Red Notice included flights to Paris, Italy and Sarandino for the movie’s stand-out scenes. However, the Covid-19 outbreak stopped production in its tracks and forced the production team to recalibrate.

Many of the scenes we see in the film with Dwayne “The Rock” Johnson, Ryan Reynolds and Gal Gadot are devoid of extras and stand-ins. The lead actors were often working alone or with each other.

Although it is a testament to the talent of the actors in the film, it is also a testament to the immense talent of Francesco and his team members.

The Netflix In-House Composting Team, led by NYFA 3D Animation & Visual Effects Alum Francesco Panzieri, created a world somewhere in the past, the unforeseen future and entirely outside of the year 2020: a world without facemasks and without travel restrictions.

Francesco Panzieri sat with NYFA and spoke about creating the world(s) of Red Notice and what he hopes audiences take away from the film.

New York Film Academy (NYFA): How were you approached to work on the project for Red Notice?
Francesco Panzieri (FP): 
I was referred to the visual effects producers on Red Notice and started working as part of the In-House team at the beginning of January 2021. Our In-House roster went from 3 artists (including myself) to 8 by the peak point of post-production (July 2021).

We began working on the post-visualization first, with a certain focus on the ballroom sequence and the waterfall sequence. We worked on temping a little over 150 shots, and once the director’s cut was presented to the studio in March/April 2021, we then started working on the final shots. The In-House team finaled over 340 shots in about 7 months of post-production on the final cut. A truly remarkable amount of work!

NYFA: What was the biggest highlight for you while working on Red Notice?
FP: 
I had the great privilege of being the lead compositor of a team made of extremely hard working artists who brought their best skills and demeanor to the show. I believe that our collective work truly stands out when watching Red Notice, and it has definitely improved the quality of the final picture. We all had a fantastic time working together, although remotely; that only helped making the workload a bit lighter on our shoulders. I think that the human factor on the show was most likely my favorite aspect.

Dwayne “The Rock” Johnson and Gal Gadot filming Red Notice’s famous dance scene, alone (left). The final, combined scene including the band and dancers who were filmed separate from Gadot and Johnson (right).


NYFA: What was the biggest professional challenge while working on Red Notice?
FP: 
The biggest challenge in the movie was definitely the scope and the breadth of work. In-House was in charge of the final compositing on the ballroom sequence and the museum sequence. When the pandemic hit the production, Netflix had to stop filming Red Notice. Once things got more under control, the main actors made it clear that in order to reprise the main photography, the set had to be empty of any additional actors/stand-ins/extras for safety reasons. They wanted it to be just them, the director, and a few department heads. Therefore, our extraordinary VFX Supervisor Richard Hoover came up with the technique of shooting Gal, Ryan and Dwayne alone on-set (I’ll call this the A-Camera), and then shooting the background plates with the dancers that would end up in the BG with a B-Camera, all while mimicking the A-Camera movement with the help of visual guides on the floor and walls such as tape and LED markers, and blocking the camera position every one second with the help of a metronome. So every one second, the steadicam operator knew exactly at which position-mark he had to stand in the physical space of the set. Richard would then have an immediate look at the mix to check how close were the B takes to the A takes. After shooting had wrapped, the ball landed into our court.

The In-House team had to manually extract the stand-in actors from the B-Camera plates (a process called rotoscoping), and composite them seamlessly behind Gal, Ryan and Dwayne. Since there was no motion control camera used during the shooting, the B-Camera plates weren’t perfectly aligned to the A-Camera ones, so there was a considerable amount of stabilization and matchmoving done on our side to let everything flow together. In-House also had to deal with a significant amount of edge work and hair integration in order to make each shot feel natural.

This was a gigantic task to be done on-set first, and in compositing after, for which I give so much credit to our supervisor and our team of artists. It was something I never had experienced in my career before, and I am so very proud of how we were able to establish a system in place and do over 90 shots for the ballroom sequence and over 50 shots for the museum sequence.

NYFA: What are you hoping audiences take away visually from Red Notice?
FP: 
I think Red Notice is set to become a classic family “dramedy” movie. The back-and-forths between Dwayne Johnson and Ryan Reynolds are something that makes me giggle every time I watch their interactions on screen. I am a fan of fast-paced movies that still allow you to keep-up with the quickly-evolving story without losing track of it. Red Notice keeps you on the edge of the seat during some scenes, but it’s also a very enjoyable movie that doesn’t require too much effort to follow.

The stunt-men did an excellent job on set, so there are plenty of scenes with really tense chases and fights that were enhanced by solid digital work. We had some great VFX companies such as Industrial Light & Magic and Framestore working on the movie and I am quite certain that Red Notice will offer audiences a couple of hours of fun!

NYFA: What are some of the differences (if any) in working for a streaming company compared with a traditional release via theatre?
FP: 
That’s a very good question. You need to look at the cinematic fruition process backwards and start from the theaters. Back in the days, when film was still being used to project movies on the big screen, we actually still had a difference in terms of delivery dates and workflow for visual effects because digital frames had to be sent back to get printed on film. The film back then had to be distributed worldwide for theatrical release in a physical fashion, so it was crucial to deliver the VFX work on time in order for everyone to be able to see the movie across the globe on the release date. Nowadays, everything gets done digitally and sent out to theaters electronically.

Therefore studios can now afford to complete a movie 2 weeks before release date, assuming the Digital Intermediate, sound mixing, and all the other post-production stages are all completed as well. In the end, the differences between theatrical versus non-theatrical/streaming releases keep being less day after day.

Attesting the great success of the Red Notice and the strength of the film’s VFX team, Netflix recently announced that two sequels are in order.

NYFA congratulates Francesco Panzieri for all his hard work on Red Notice and his previous projects!

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.

NEW YORK FILM ACADEMY & CARNEGIE HALL PRESENT THE EVENT SERIES AFROFUTURISM IN CINEMA: INFINITY, CREATIVITY AND BEYOND

Afrofuturism in Cinema: Infinity, Creativity and Beyond is a series of film screenings and panels at New York Film Academy (presented in partnership with Carnegie Hall) that explore how the foundation laid by our artistic ancestors has given birth to a new generation of filmmakers intent on using cinema to challenge, provoke, break us down, build us up and introduce to infinite possibility.

What is Afro-Futurist Cinema?

While megahit Black Panther brought Afro-Futurist Cinema to the mainstream, the concept was introduced more than 100 years ago and grew through Black creativity in literature, technology, music and the visual arts.

W.E.B. Du Bois’ 1920 science fiction novel The Comet is the godfather of Afrofuturism and its progeny – the work of authors Samuel R. Delaney and Octavia E. Butler, built on that foundation. The music and experimental films of Sun Ra, Alice Coltrane, Ornette Coleman and George Clinton expanded the paradigm and set the stage for an explosion through the medium of cinema. From the work of filmmakers Shirley Clarke and The Black Audio Film Collective, to the music videos of Missy Elliot to the genre-defying work of Terrance Nance, Afro-Futurist Cinema breaks open new possibilities of cinematic storytelling through the use of innovation and imagination.

Upcoming Events: Afrofuturism in Cinema at NYFA
All events will be hosted at New York Film Academy, 17 Battery Place, 1st Floor Theatre, New York, NY 10004. All event ticket bookings can be made here.

1) What Makes You Scared? (Film Screening & Panel Discussion)

Tickets: Book here
Date: Wednesday, February 16th, 2022
Time: 6:30pm
Event: Screening of horror feature PHLO directed by Jim Fielder and produced by Tim Fielder.
The screening will be followed by a panel discussion
Panelists:

  • Randall Dottin (Moderator)
  • Jim Fielder – PHLO Director
  • Tim Fielder – PHLO Producer

About PHLO
PHLO is a fiction feature film that chronicles the life of a young child who is taken and raised by his kidnappers who also happen to have an insatiable taste for blood.

PHLO is a horror film that explores a journey of a young man caught in a crucible between false loyalty and freedom. Ezekiel was but a child when he was abducted and raised by his kidnappers. Now as a teenager on the verge of manhood, Ezekiel is torn between going away to live his life, young love and staying with his kidnapper parents.

2) A New Era? (Panel Discussion)

Tickets: Book here
Date: Wednesday, February 23rd, 2022
Time: 6:30pm
Event: A panel of black filmmakers discuss the growth and impact of the Afrofuturism
movement in cinema.
Panelists:

  • Mishka Brown (Moderator) – Film Producer
  • Reynaldo Anderson – Co-Founder, Black Speculative Arts Movement
  • Jonathan Gayle – Professor at Georgia State University
  • Tim Fielder – Artist, Film Producer
  • Jim Fielder – Director, Producer

About the Panel

In this panel of tastemakers, artists, filmmakers and scholars, we’ll explore whether the current wave of Afrofuturism represents a new era in Black Cinema or whether what’s happening now is simply the evolution of a continuum that has been brewing for more than a century.

3) Infinity and Possibility (Film Screenings & Panel Discussion)

Tickets: Book here
Date: Wednesday, March 2nd, 2022
Time: 6:30pm
Event: This event will showcase 4 Afro-Futurist works from around the world followed by a
panel discussion.
Panelists:

  • Randall Dottin (Moderator)
  • Tim Fielder
  • Jim Fielder
  • David Kirkman

This event will showcase 4 Afro-Futurist works from around the world:
Opal by Alain Bidard – 15 minutes
Battledream Chronicle by Alain Bidard – 15 minutes
Hardware by David Kirkman – 30 minutes
The Dieselfunk Show by Tim and Jim Fielder – 30 minutes

Following the screening, there will be a panel moderated by Randall Dottin, Chair of the New York Film Academy Screenwriting Department, will explore the impulse and the desire to create Afro-Futurist Cinema.

This screening is a mixture of classic films that define the genre as well as new works, we plan to explore what makes a film a part of Afro-Futurist Cinema.

4) The Expanded Universe (Film Screening & Panel Discussion)

Tickets: Book here
Date: Wednesday March 9th, 2022
Time: 6:30pm
Event: Screening of documentary feature Black Metropolis: 30 Years of Afro-Futurism. The
screening will be followed by a panel discussion.
Panelists:
Reynaldo Anderson (Moderator)
Tim Fielder
Jim Fielder

Afro-Futurists and twin brothers Tim Fielder and Jim Fielder have made contributions to the genre for more than 30 years. The documentary feature, Black Metropolis: 30 Years of Afro-Futurism charts the journey of Tim Fielder’s career as a visual Afro-Futurist and is screening in conjunction with an exhibition in Harlem.

BLACK METROPOLIS: 30 Years of Afrofuturism, Comics, Music, Animation, Decapitated Chickens, Heroes, Villains, and Negroes. A feature length documentary on the life and career of OG Afro-Futurist Tim Fielder. The film features revealing interviews with groundbreaking cultural critics, afro-futurists, colleagues, and family who saw the OG playing the art game during the burgeoning Hip Hop, Black Rock, and Digital Animation movements. A cinematic experience for the ages! Feature Directed by StudioVisceral’s Jim Fielder.

A conversation between Tim Fielder and Jim Fielder, moderated by Reynaldo Anderson will commence following the screening.

For all ticket booking for these events, click here.

Note: This is a vaccinated and masked event. You will be asked to show proof of COVID-19 vaccination including booster (if eligible).

Due to the ongoing pandemic, please note that event details might change and will endeavor to communicate any potential changes at the earliest time possible.

NEW YORK FILM ACADEMY & CARNEGIE HALL PRESENT THE EVENT SERIES AFROFUTURISM IN CINEMA: INFINITY, CREATIVITY AND BEYOND FEBRUARY 16-MARCH 9, 2022

Afrofuturism in Cinema: Infinity, Creativity and Beyond is a series of film screenings and panels at New York Film Academy (presented in partnership with Carnegie Hall) that explore how the foundation laid by our artistic ancestors has given birth to a new generation of filmmakers intent on using cinema to challenge, provoke, break us down, build us up and introduce to infinite possibility.

New York Film Academy & Carnegie Hall Present the Event Series Afrofuturism in Cinema: Infinity, Creativity and Beyond

What is Afro-Futurist Cinema?

While megahit Black Panther brought Afro-Futurist Cinema to the mainstream, the concept was introduced more than 100 years ago and grew through Black creativity in literature, technology, music and the visual arts.

W.E.B. Du Bois’ 1920 science fiction novel The Comet is the godfather of Afrofuturism and its progeny – the work of authors Samuel R. Delaney and Octavia E. Butler, built on that foundation. The music and experimental films of Sun Ra, Alice Coltrane, Ornette Coleman and George Clinton expanded the paradigm and set the stage for an explosion through the medium of cinema. From the work of filmmakers Shirley Clarke and The Black Audio Film Collective, to the music videos of Missy Elliot to the genre-defying work of Terrance Nance, Afro-Futurist Cinema breaks open new possibilities of cinematic storytelling through the use of innovation and imagination.

Upcoming Events: Afrofuturism in Cinema at NYFA

All events will be hosted at New York Film Academy, 17 Battery Place, 1st Floor Theatre, New York, NY 10004. All event ticket bookings can be made here.

1) What Makes You Scared? (Film Screening & Panel Discussion)

Tickets: Book here
Date: Wednesday, February 16th, 2022
Time: 6:30pm
Event: Screening of horror feature PHLO directed by Jim Fielder and produced by Tim Fielder.
The screening will be followed by a panel discussion
Panelists:

  • Randall Dottin (Moderator)
  • Jim Fielder – PHLO Director
  • Tim Fielder – PHLO Producer

About PHLO
PHLO is a fiction feature film that chronicles the life of a young child who is taken and raised by his kidnappers who also happen to have an insatiable taste for blood.

PHLO is a horror film that explores a journey of a young man caught in a crucible between false loyalty and freedom. Ezekiel was but a child when he was abducted and raised by his kidnappers. Now as a teenager on the verge of manhood, Ezekiel is torn between going away to live his life, young love and staying with his kidnapper parents.

2) A New Era? (Panel Discussion)

Tickets: Book here
Date: Wednesday, February 23rd, 2022
Time: 6:30pm
Event: A panel of black filmmakers discuss the growth and impact of the Afrofuturism
movement in cinema.
Panelists:

  • Mishka Brown (Moderator) – Film Producer
  • Reynaldo Anderson – Co-Founder, Black Speculative Arts Movement
  • Jonathan Gayle – Professor at Georgia State University
  • Tim Fielder – Artist, Film Producer
  • Jim Fielder – Director, Producer

About the Panel

In this panel of tastemakers, artists, filmmakers and scholars, we’ll explore whether the current wave of Afrofuturism represents a new era in Black Cinema or whether what’s happening now is simply the evolution of a continuum that has been brewing for more than a century.

3) Infinity and Possibility (Film Screenings & Panel Discussion)

Tickets: Book here
Date: Wednesday, March 2nd, 2022
Time: 6:30pm
Event: This event will showcase 4 Afro-Futurist works from around the world followed by a
panel discussion.
Panelists:

  • Randall Dottin (Moderator)
  • Tim Fielder
  • Jim Fielder
  • David Kirkman

This event will showcase 4 Afro-Futurist works from around the world:
Opal by Alain Bidard – 15 minutes
Battledream Chronicle by Alain Bidard – 15 minutes
Hardware by David Kirkman – 30 minutes
The Dieselfunk Show by Tim and Jim Fielder – 30 minutes

Following the screening, there will be a panel moderated by Randall Dottin, Chair of the New York Film Academy Screenwriting Department, will explore the impulse and the desire to create Afro-Futurist Cinema.

This screening is a mixture of classic films that define the genre as well as new works, we plan to explore what makes a film a part of Afro-Futurist Cinema.

4) The Expanded Universe (Film Screening & Panel Discussion)

Tickets: Book here
Date: Wednesday March 9th, 2022
Time: 6:30pm
Event: Screening of documentary feature Black Metropolis: 30 Years of Afro-Futurism. The
screening will be followed by a panel discussion.
Panelists:
Reynaldo Anderson (Moderator)
Tim Fielder
Jim Fielder

Afro-Futurists and twin brothers Tim Fielder and Jim Fielder have made contributions to the genre for more than 30 years. The documentary feature, Black Metropolis: 30 Years of Afro-Futurism charts the journey of Tim Fielder’s career as a visual Afro-Futurist and is screening in conjunction with an exhibition in Harlem.

BLACK METROPOLIS: 30 Years of Afrofuturism, Comics, Music, Animation, Decapitated Chickens, Heroes, Villains, and Negroes. A feature length documentary on the life and career of OG Afro-Futurist Tim Fielder. The film features revealing interviews with groundbreaking cultural critics, afro-futurists, colleagues, and family who saw the OG playing the art game during the burgeoning Hip Hop, Black Rock, and Digital Animation movements. A cinematic experience for the ages! Feature Directed by StudioVisceral’s Jim Fielder.

A conversation between Tim Fielder and Jim Fielder, moderated by Reynaldo Anderson will commence following the screening.

For all ticket booking for these events, click here.

Note: This is a vaccinated and masked event. You will be asked to show proof of COVID-19 vaccination including booster (if eligible).

Due to the ongoing pandemic, please note that event details might change and will endeavor to communicate any potential changes at the earliest time possible.