In its 92-year history, the Academy of Motion Picture Arts and Sciences (AMPAS) has only ever nominated six filmmakers of color for the Best Director Oscar, with half of the nominations occurring in just the last five years. As the Academy, and the industry as a whole, pushes harder than ever to become more inclusive to writers, cinematographers, producers, and directors of color—as well as women and LGBTQIA+ filmmakers—New York Film Academy (NYFA) takes a brief look at the first six black visual artists to be nominated for Best Director. To date, no black filmmaker has won the prize.
John Singleton
In 1991—not even 30 years ago—John Singleton became the first-ever African American to be nominated by the Academy for Best Director for his work on the seminal South Central, LA drama Boyz N the Hood. With the nod, the then 24-year-old Singleton also became the youngest nominee ever in the category—a record still unbroken today. In 2019, Singleton went on to direct films like Poetic Justice and Rosewood, as well television series including Empire, American Crime Story, and Snowfall. Singleton died tragically as a result of a stroke at the age of 51.
Lee Daniels
It was nearly two decades until another African American was nominated for a Best Director Oscar; Lee Daniels broke the streak by earning a nod for his work on Precious, the 2009 gritty study of an overweight young woman who endured years of poverty and abuse. Daniels followed Precious with the critically-acclaimed drama The Paperboy and created the hit television series Star and Empire, both of which featured predominantly black casts.
Steve McQueen
British filmmaker Steve McQueen had already made a name for himself on the indie scene with dramas like Hunger and Shame before landing a mainstream hit with the harrowing true drama 12 Years a Slave in 2013. The film was nominated for nine Academy Awards, including Best Director, and won three, including Best Picture. Since his Best Picture win, McQueen has directed and produced the star-studded Widows and the British miniseries Small Axe.
Barry Jenkins
Like 12 Years a Slave three years prior, the 2016 drama Moonlight by Barry Jenkins also secured several Oscar nominations while still not earning a Best Director win despite earning Best Picture. Director Barry Jenkins did pick up an award for Best Adapted Screenplay however, and has since made the Oscar-winning film If Beale Street Could Talk and the period dramatic series The Underground Railroad.
Jordan Peele
Jordan Peele started out as an actor and comedian on sketch series MadTV and Key & Peele before pivoting to producing, screenwriting, and directing, making a huge splash with his debut film, the horror-thriller Get Out, which combined genre filmmaking with a thoughtful exploration of race relations in America. Peele lost Best Director and Best Picture for the film but won a Best Original Screenplay Oscar, and has since become a major force in the industry, producing numerous films and television projects, including BlacKkKlansman and the latest reboot of The Twilight Zone. Additionally, Peele sat in the director’s chair again for the haunting horror film Us, starring Lupita Nyong’o.
Spike Lee
In 1989, there was some expectation that filmmaker Spike Lee would be the first African American to earn a Best Director nomination for his work on Do the Right Thing, but that didn’t come to pass. Despite earning an honorary Oscar in 2016, Lee didn’t earn a nod in that category until 2019, when he was finally recognized for his film BlackKlansman, starring John David Washington and Adam Driver. A Hollywood icon who many filmmakers and especially those of color have cited as an influence, Lee has earned multiple nominations over the years, but it was for BlackKlansman that he finally earned his first non-honorary Oscar—for Best Adapted Screenplay.
New York Film Academy (NYFA) Producing Alum Emilia D’Agata has come a long way from her hometown of Rome, Italy, where she first attended an arts and entertainment high school and thought about becoming a professional actress.
It wasn’t long before D’Agata found her true calling though, and enrolled in the 1-Year Producing Conservatory at NYFA’s New York campus. Since graduating, she’s found work with production companies, as well producing the LGBTQIA+ drama Sunrise Stars, a film by NYFA student Ximena Montes de Oca.
New York Film Academy spoke with Producing alum Emilia D’Agata about Sunrise Stars, her time at the Academy, and her advice for new students:
New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Emilia D’Agata (ED): I was born and grew up in Rome. Since I was a child I’ve been interested in cinema—initially I wanted to be an actress. So I attended a high school in Rome with a specialization in arts and entertainment, so in addition to “normal” classes like history, geography, etc., we had lessons of music, dance, and acting. After high school I gave up the idea of wanting to be an actress because luckily for me I realized that it was something that I enjoyed but I didn’t want it to become my job.
So I went to film university in Rome and during my studies I became passionate about movie trailers, so much that my thesis focused on the difference between Italian and American movie trailers. Until now I thought I wanted to become a trailer editor, but during the writing of my thesis I got to know the world of production and distribution, and so I realized that the sector that was most interesting for me was producing.
I did a one-year master’s degree in cinema, where every month the professors taught us more or less all areas, from screenwriting to post-production. During and after the master’s program, I started working on sets for short and feature low-budget films as assistant director and producer. I realized that wasn’t enough for me and I always had the desire to go to America—the famous ” American Dream.” So I got information about New York Film Academy (it’s famous all over the world, especially in Italy), I completed the application, and to my surprise I was admitted!
ED: Many people think that the producing job is the less creative in this business, because you work with contracts, agreements, budgets, etc. But it’s absolutely not, or rather it’s not just that. I like producing because it’s a job that is never the same, it’s always different.
For each project, there are different strategies: how to raise funds, how to find the cast and crew, the different deals, the different marketing and distribution strategies etc. I mean, you never get bored and you always have to reinvent yourself. And when a project is completed and you know that you have contributed to its realization from beginning to end, it gives you an incredible satisfaction.
NYFA: Can you tell us about your work at BAWARAO LLC? What were your day-to-day duties?
ED: I worked with BAWARAO LLC for the low-budget film Black and White and Red All Over. I contacted Davide Berardi (instructor of sound engineering at NYFA) after the graduation to tell him that if anyone needed a hand on set, I was more than available. He connected me with NYFA alum Anthony Faure, who was the line producer on this project. We met and he told me that he needed a production assistant for this project and I didn’t hesitate for a moment to accept the proposal.
From the very beginning there was a good feeling, and now I can say that I found not only a great professional but a friend. As you know, there are several things that a production assistant can and has to do. I was responsible for unloading the equipment of the various departments, for the catering, and anything you can think is always needed on set.
My responsibility was also to make sure that everyone had the sides of the day, and of course if you noticed that something was missing on set, I ran to retrieve it. Another assignment, which sounds easy but isn’t, was to make sure the actors had everything they needed. And when the assistant director, through the walkie talkie, told me which actor he needed at that moment on the set, I would accompany the actor(s) from the holding to the location. I mean, the production assistant’s job is a bit like a handyman.
NYFA: Can you tell us about the film Sunrise Stars?
ED: Sunrise Stars is the final project of Ximena Montes de Oca, an 8-Week Filmmaking workshop student at NYFA. The story is set during a house party. The protagonist goes to this party to meet her boyfriend. When she arrives, he hasn’t arrived yet, and she notices a girl on the dance floor and is immediately attracted to her. The evening continues and the protagonist sees at one point the girl approaching another girl and start kissing. Shortly after the boyfriend of our protagonist arrives, but he is already drunk and has rude/violent ways towards her, so the two fight and she moves away from him. She approaches the two girls on the dance floor and all three of them decide, after kissing each other, to go to the rooftop to have some privacy. The story ends with the three of them watching the sunrise. We don’t know if this story between them will develop into a real polyamorous relationship or if it will be just a one-night story.
NYFA: What inspired you to produce Sunrise Stars?
ED: Honestly, the first thing that convinced me to be a part of this project was my friendship with Ximena. I met her at school, she was in acting class at that time. Unfortunately, I never had a chance to work with her during that period. When she started the Filmmaking program I had just finished the Producing program and I was just looking for some interesting projects to work on to keep learning. Then of course I was immediately fascinated by the story! I’ve never seen or read anything about a threesome between girls, it’s still unfortunately a taboo topic in these days. And above all I think it’s more and more difficult to be able to work on projects where the story is really new, not ordinary in other words. At last I was really curious to see how Ximena, who came from the Acting for Film program, worked behind the camera. I was very surprised, she was very good and very professional. Of course, the fact that we were friends also really helped our professional relationship.
NYFA: What other projects are you working on or do you plan to work on?
ED: Right now I am working part time for a PR company, Sally Fischer Public Relations, and part time as an assistant to an Israeli independent film producer, Roy Wol. The first job is very useful for me to create connections with people from New York and people from Italy, as we are involved in events for Italian brands in different sectors: cinema, fashion, food, business, etc. In the film industry it is fundamental to create connections and unfortunately many people undervalue this aspect. With Roy, we are involved in reading scripts and evaluating whether it is worth producing these projects—it is very interesting. I’m grateful to him, he became my mentor. So for now, unfortunately, I don’t have the time to look for and find a project to produce on my own… but who knows in the future?
NYFA: What did you learn at NYFA that you applied directly your work?
ED: I learned a lot of useful and interesting things at NYFA. I recommend everyone to attend the Producing program, because whether you want to become a producer or something else, it allows you to have a complete overview of all sectors of the film world. The first thing [NYFA-NY Producing Chair] Neal Weisman told us is that if you want to become a producer, you have to learn in a general way, all the requirements of the different departments. Because as a producer, you have to be able to give everybody what they need in order to work at their best. So before each set, I make sure that everything is in order, that everyone has all the material they need. Cinema is a teamwork.
Then, thanks to NYFA Instructor Richard D’Angelo, I learned to use Movie Magic, a very useful program for budgeting, scheduling, script breakdown etc. Let’s not forget about the Call Sheet, a fundamental part of every day on set. In addition to these more “technical,” the instructors taught us that it is essential to define the roles on a production—only in this way the “film machine” can work. But at the same time, again, it’s a teamwork so you always have to help each other because everyone has the same goal: to complete the project.
Moreover, to safeguard our work as producers and also the work of others, the contracts and agreements are fundamental to be as clear as possible between the various departments. Before each set, I make sure to create all the contracts for each person on the set, including the actors. Speaking of which, the teachers taught us how to do auditions and I have to thank NYFA instructor Paul Warner for that. I don’t know why before school I always underestimated this aspect, which is fundamental! so thanks to him I am now much more able to find the right actors for my projects. Because honestly, you can make the best movie ever, with a fantastic set design, poetic shots, breathtaking photography… but if the actors don’t work, it doesn’t make sense. I’m grateful to NYFA—it’s been much more useful to me than anything I’ve studied and done before.
NYFA: What advice would you give to students just starting out at NYFA?
ED: My advice to new students is not to get demoralized at first. Honestly, it’s going to be hard to pick up the rhythm at the beginning because you’re going to have to do a lot of things at once and you’ll have to stay in school practically all day and that will make you tired. But don’t give up! I was probably one of the worst students in my class in the first months, but then I got my satisfaction: for the commercial project my classmates chose my idea, I passed the Producing Craft test with a good grade, I got a great result for my final thesis project. So again, don’t give up and don’t worry about the moments of discouragement… we all have moments of discomfort! And above all don’t be embarrassed to ask for help, the teachers are always very helpful and asking for help doesn’t make you stupid or anything like that. Also don’t “isolate yourself”, try to create a good relationship with your classmates! I was very lucky, I found some beautiful people with whom I sometimes work but who have become very good friends!
Enjoy this experience to the maximum, with all its ups and downs—it will be one of the best things that will happen in your life!
New York Film Academy thanks Producing alum Emilia D’Agata for taking the time to speak with us and we wish her the best of luck as her career continues to grow!
At NYFA, we encourage our students to pursue a hands-on education and utilize programs like our 12-Week Evening Producing Workshop. This program enables prospective producers to gain first-hand education and training into the various skill sets needed to be successful in production.
Kirk Douglas, Academy Award winner and icon of Hollywood ’s Golden Era, passed away at the age of 103 on Wednesday, February 6. With a life that spanned over a century, Douglas made a name for himself as an actor, writer, and philanthropist, as well as the patriarch of an award-winning Hollywood dynasty.
Douglas was born in Amsterdam, New York in 1916 to a large and impoverished immigrant family, and as a young man entered the United States Navy during World War II. He had a passion for acting from a very early age and had already decided to become a professional actor before graduating high school.
After being medically discharged from the Navy after an injury at sea, Douglas found work in the New York acting scene, specifically in theatre and radio, including commercials and soap operas. It was his friend Lauren Bacall that convinced him to try acting in the movies; her recommendation to director Hal B. Wallis earned Douglas his debut screen role in the 1946 film The Strange Love of Martha Ivers, opposite Barbara Stanwyck.
The Champion (1949)
Douglas filmed several roles after that, including the 1949 film Champion, where he played a hardened boxer. The film earned him his first Academy Award nomination and taught Douglas how to boost his career by pairing his intense, muscular physicality and steel blue eyes with suitable tough guy roles.
The next two decades saw Douglas rise to become one of the Golden Age of Hollywood’s biggest movie stars, in big studio films like Young Man with a Horn (1950), Detective Story (1951), Along the Great Divide (1951), Ulysses (1954), 20,000 Leagues Under the Sea (1954), The Vikings (1958), Lonely are the Brave (1962), Seven Days in May (1964), and The Arrangement (1969).
Kirk Douglas
Several of his films have stood the test of time, including 1951’s Ace in the Hole, director Billy Wilder’s first credit as both writer and producer, which went on to win Best Foreign Film at the Venice Film Festival. Douglas earned another Oscar nomination for his role in The Bad and the Beautiful (1952), directed by Vincente Minnelli. Douglas paired with Minnelli again for 1956’s Lust for Life, playing tragic artist Vincent van Gogh, earning him his third Academy Award nomination in a seven-year span.
Douglas wasn’t afraid to use his star power for political statements. He produced two films directed by auteur Stanley Kubrick, both of which bucked from the trend of Hollywood’s Golden Era; 1957’s Paths of Glory was one of the few anti-war films of the period and 1960’s epic Roman slave rebellion story, Spartacus, was written by Dalton Trumbo, the Hollywood screenwriter blacklisted during the McCarthy Era.
Spartacus (1960)
Even after his star power faded with age, Douglas still acted in dozens of films from 1970 to 2008, including There Was a Crooked Man… (1970), The Final Countdown (1980), The Man from Snowy River (1982), Tough Guys (1986), and both an episode of The Simpsons and a television adaptation of Inherit the Wind in 1996.
After suffering from a severe stroke in 1996, Douglas underwent years of physical therapy and returned to acting in 2003 alongside several of his family members in It Runs in the Family. The film co-starred his ex-wife Diana Dill, his grandson, and his son, Academy Award winner Michael Douglas. At the age of 101, he appeared onstage to present Best Screenplay alongside his daughter-in-law, Academy Award winner Catherine Zeta-Jones. Shortly after his 1996 stroke, Douglas received an honorary Academy Award in person.
Kirk Douglas, Catherine Zeta-Jones, Michael Douglas
More than just an actor, Douglas and his wife Anne donated millions to numerous charitable organizations, schools, medical facilities, and much more. Douglas was also a writer, and penned the 1988 autobiography The Ragman’s Son and the 2002 memoir My Stroke of Luck, detailing his recovery from his stroke. Douglas was even blogging on platforms such as Myspace and The Huffington Post as late as 2012.
Through acting, writing, producing, and his broad philanthropic work, Douglas’s impact on Hollywood and the world-at-large over the past several decades is immeasurable. His death in Beverly Hills was first made known by his son, Michael.
“It is with tremendous sadness that my brothers and I announce that Kirk Douglas left us today at the age of 103,” wrote Michael Douglas on his Instagram. “To the world, he was a legend, an actor from the Golden Age of movies who lived well into his golden years, a humanitarian whose commitment to justice and the causes he believed in set a standard for all of us to aspire to.”
New York Film Academy is deeply saddened by the loss of Hollywood legend and Academy Award winner Kirk Douglas and passes along our sincere condolences to his friends and to the Douglas family. Rest in Peace.
New York Film Academy (NYFA) Screenwriting alum Lena Murisier has been very busy since graduating last fall. The Swiss-born writer has been pitching her television series, Bonnie & Bonnie, as well working on multiple projects including short films, webseries, and features.
Murisier originally attended the 4-Week Filmmaking workshop at NYFA before enrolling in the 1-Year Screenwriting conservatory. New York Film Academy spoke with Lena Murisier about her projects, her writing process, and her advice for people thinking about film school:
New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Lena Murisier (LM): I’m from Switzerland, and speak and write in four languages. Back in Switzerland, I was an account manager in an advertising agency. Great clients, great projects, great pay. I really liked the work but I always felt like something was missing. I’m a storyteller and you can’t run away from that call. I used my storytelling skills a lot in the advertising agency, but ended up feeling limited as I was a manager more than a creative. NYFA came to my city to present the school. I went. It spoke to me. I applied. Within two months, I quit my job and boarded a plane to LA.
NYFA: Why have you decided to focus on screenwriting?
LM: I’ve been a storyteller all my life. I would create my own stories to fall asleep at night. I would write novels when I was a young teenager. I would get excited when my older brother got writing assignments at school so I could ghost write for him (Is it too late to charge for that?). It’s always been in my DNA. It has taken me some time to understand that this is a career. Where I’m from, most people don’t know what a script is. No one really realizes that behind a movie or TV show there are hours of writing and hundreds of scripts. Two years ago, I found out what a screenwriter is. I found out what a showrunner is.
NYFA: Can you tell us about any of the projects you are currently pitching or working on?
LM: Sure thing! I graduated in September 2019 and have been really busy since then. I’m currently pitching a TV drama titled Bonnie & Bonnie, a female driven Bonnie & Clyde I wrote. I’m sitting in rooms I’ve dreamed of, talking about cast and ideas for the series. It’s really exciting! I love collaborating and deeply believe it takes a village to make a TV show. Next to pitching the show, I’ve been hired to write and develop an indie feature that will enter production late 2020. It’s a sports drama about second chances, family, and boxing. When the filmmaker who came up with the idea asked me to write the script I couldn’t say no. I’ve been boxing since childhood so it speaks to me, and at the core of the movie is a relationship we aren’t used to seeing on screen.
NYFA: What kind of films do you prefer writing? What kind of themes do you like to explore?
LM: As a writer I love to question things. I always do. I like to explore the human brain–not what someone’s doing, but why. All my characters are deeply imperfect. They’re strong, they’re skilled, they’re inspiring, but deeply imperfect. I don’t really believe in right or wrong. I think there’s just “why.” Why someone is doing what they’re doing. All my writing is character driven. I believe it all comes from the characters. And even in my most dramatic work, it’s through my characters that I explore comedy and irony. Most of my content is LGBTQ and diverse because it is the world I know and my surroundings.
NYFA: What other projects are you working on or do you plan to work on?
LM: While I was in the room for Bonnie & Bonnie, I’ve been asked to pitch a feature too. I talked about a dramatic comedy I wrote during my time at NYFA. Very character driven, female-driven, an imperfect lead who’s trying to do what she believes is right in a very judgmental society. They requested it immediately. I’m now working on it. In the months to come, I will continue writing several pilots. I love writing in general, but TV is what I love most. I’m also planning on shooting more projects in 2020–short films and probably a webseries. It’s a great way to get people to read what’s attached to the short/webseries because usually people like to watch things more than read them.
Aside from writing, I’m assisting the executive producer on an Emmy-nominated show. I get to sit in the room and learn how a season is built, learn the process and be around people I admire. It’s like going back to film school but being paid doing it.
NYFA: What did you learn at NYFA that you applied directly to your work as a writer?
LM: One of the biggest things is outlining. Before NYFA, I used to be the type of writer that would just “jump in” with zero plan and no idea where I was going. This has lead to some amazing first pages but that’s also how I almost every time got stuck in Act Two and never got to Fade Out. Now, I’m outlining my projects but I’m also learning how to let myself get away from the outline, let my characters take me on their journey and tell me their story. Another big thing I learned is to write constantly. Not just write when I feel like it but to treat it like a job, because it is my job. Through NYFA, I got so much practice at writing, respecting deadlines–I’m now a really fast writer and do write constantly.
NYFA: What advice would you give to students just starting out at NYFA?
LM: Can I give advice for more than just the ones starting out? If you’re reading this and thinking of applying for a long-term program but aren’t sure, consider starting with a 4-Week or 8-Week workshop. Before I did 1-Year Screenwriting, I did NYFA’s 4-Week Filmmaking. I got to make four short films, gain experience on set, learn about cameras, direct actors. I gained experience and got to try out the school. I then applied to the longer program in screenwriting as writing is what I prefer.
If you’re reading this post and are a current NYFA student: work hard, respect the deadlines, go to as many events as you can, use all the great offers NYFA has and its membership discounts, get consultations with teachers you connect with, network with your classmates and other people in school. Create a team around you that you believe in and that believes in you. That’s what will get you further in this industry and they’re also the only ones that can really understand what you’re going through right now. They’re your support system. If you’ve just started, you now have one, two, three years to be doing only writing/acting/filmmaking/producing. Enjoy it! It’s amazing. You’re in a safe environment, you’re here to learn and grow as an artist.
NYFA: Anything I missed you’d like to speak on?
LM: In film school you feel safe, and then when you’re out there, it’s the “real world”. Don’t forget that you’ll always be a NYFA alumni. You still have a support system. You’ll always be welcome there. Work hard. We’re in a generation where it’s never been that easy to get yourself work. I’ve opened doors I never thought I possibly could without representation. Use social media, do your research, be cool, don’t be creepy, don’t be an a**hole and have excellent work to show them. No one is your enemy. They look for new voices. If they like being around you, if you work hard and if you have writing samples to back it up, they’re always happy to discover new talents. Trust the process and keep an open heart. Some days you might get the best news and the day after, you’re struggling with rent. It’s a rollercoaster but remember you deserve to be here and tell your story. Hold on, work hard, be kind, trust the process and put yourself out there. And the most important thing… Don’t forget to have fun. Promise?
New York Film Academy thanks Screenwriting alum Lena Murisier for taking the time to share her advice and experiences with us.
Canadian-born Xiren Wang is quite comfortable wearing many hats in the entertainment business–she is an actress as well as a composer, and has found success doing both. Wang first attended the 4-Week Musical Theatre workshop at New York Film Academy (NYFA) before pivoting to the 1-Year Acting for Film conservatory at our New York campus.
Since then, she has found work both in front and behind the camera, especially when it comes to scoring films and as well performing live. Her biggest project to date is scoring The Eyes, which aired on Showtime. New York Film Academy spoke with alum Xiren Wang about her eclectic work and how she first ended up at NYFA:
New York Film Academy (NYFA):The Eyes was released nationwide and had a run on Showtime. You scored and appeared in the film. Tell us more about this project and your experience working on it.
Xiren Wang (XW): After graduating from NYFA, I started taking classes at One on One, where I met Robbie Bryan, who directed the film. It was the first class that was back and running, because it was immediately after Hurricane Sandy, so I was one of the two people who actually showed up – and sometimes, showing up is that important. I met him as an actor, and invited him to the shows and concerts I performed in, and later on, when he needed a composer for the feature film, he thought the tone of The Eyes was a good match. The Eyes is a psychological thriller. Cerebral themes and dark emotions are definitely my genre of music. I write mostly for romance, drama, and yoga, all very different tones, but knowing your forte helps you define your sound, and film needs that specificity. Even though every trained composer, in theory, should be able to write for anything, doing something well is another level. Knowing your own sound helps carve out your sound world, and just like how there’s no actor who really can take every role, there’s no composer that is good for every general story.
Because The Eyes was mostly filmed in one room, the sound world needed to be rich and multidimensional to keep the story moving forward. I blended classical sounds and electronic soundscapes to give each character another layer of identity, to speak to their backstories, and to expose a bit of what’s going on in their heads. I like to study the script and characters, and really get deep into the subtext and the headspace of what each character is holding back from the audience.
Working on the film also afforded me the opportunity to learn about foley, and I was fortunate to have worked with the team at Skywalker Ranch for this. Because we had such a small team, I learned on the job what foley editing was about, and I’m glad to say that after the post-production process, I can handle any work that’s under the sound and music departments – usually consisting of a dozen or even hundreds of people, depending on the scale of the production. I’ve definitely started paying extra attention to the credits, just to see how the soundworld is sculpted for each film. I want to take what I’ve heard and then break it down into how it’s made, sort of like reverse-engineering, and then find ways to recreate something that sounds like the expensive output, but with a more resourceful approach, because most movies don’t allocate much budget or team to the music and sound departments.
The reality of Hollywood orchestras recording for Hollywood films is not the reality we live in today, and a lot of production teams want skeleton crews and one-(wo)man powerhouses to take care of “everything”. Unless the director is keen on music, they often don’t know what creating a score really entails – composing is just one step of the journey, which then goes to recording, editing, mixing, matching to picture, etc. It’s a full suite of work, for many people, and having gotten my sound design start at NYFA really helped me understand this world, so that when I was hired as a composer, I could double as the sound designer as well. Understanding foley and other audio elements of the film is also crucial, and important lessons I learned from working on The Eyes.
I’m fortunate to have worked with director Robbie Bryan, who trusted me enough to have this be my first feature film score. The soundtrack is also available to stream and buy on most digital retailers, but definitely get the whole experience on Showtime.
NYFA: You also music directed and performed live concerts at venues ranging from Arlene’s Grocery to Carnegie Hall, in which you also performed original music. Is your approach to composing music for your concerts different from the one you have for composing original film scores? How?
XW: Definitely. Music for film and music for picture is driven by story and frame. Music for live concerts is standalone music, driven by the pulse of the music itself, removed from the frames that anchor what it should be about. When I’m scoring a film, everything has to serve the story, and I believe a good film score should carry you further along and deeper into the story. A good film score makes you sink into more of your feelings and more of the story, it shouldn’t distract you with sounds that take you out of the story. It’s like a piece of fabric, tailored to the script and to each frame of what’s going on visually.
Film music isn’t standalone music, it has to serve the story, and whatever doesn’t, is cut, like so much visual footage, as well. Composing for live concerts is where the musicians are the rockstars, and the performance itself is the story, so it’s a completely different mindset and landscape. Using the fabric analogy again, this time without a “body” of work to adhere to, the fabric can form its own shape and dynamics.
I’m fortunate to be able to switch back and forth, because an actor-composer brings an extra set of eyes to the film, I feel. And being and actor-musician, I’m able to play with style, lighting, and the overall design of the music in a way that is storytelling, so this hybrid definitely heightens the production value, as it creates a multi-layered and multi-sensory experience. After all, whether we are actors or musicians, we are delivering an experience, and we want to make our work memorable.
NYFA: What brought you to NYFA?
XW: It was a talent scholarship to the Musical Theatre program, and then an extended talent scholarship for the Acting for Film Program. But there was definitely a distance between learning about NYFA and receiving the scholarships.
I first came to New York when I was still in high school (2005!) at the time–I competed as a junior actress at IMTA (boosted as the talent convention where Katie Holmes and Ashton Kutcher got their start), and one of the girls in our group received a scholarship to NYFA, which for her was a huge deal, and for me, that meant more than the callbacks I got from the various modeling agencies in both LA and NYC. It was more valuable because it offered a journey, a journey of becoming something more, and of self-actualization.
In 2010, I went to IMTA with one goal in mind, and that’s to get a scholarship from NYFA. As fortune would have it, one of the callbacks I received was from NYFA, and Steven Chinni, whose offer really changed my life, helped me make the transition to move to New York. One of the lines he said during the callback, I’ll never forget, was “as an actor, you can be whoever you want.” And the possibilities of living a full and rich life, that line offered, meant the world to me.
By August, that dream became a reality, and I did a record amount of student films while in the program.Working with the cinematography class also afforded me friends who not only gave me reel material, but helped me cut my first reels, some clips which remain in my material today! When I was in the Acting program, I was also taking composition classes at Juilliard, and I saw a NYFA filmmaker’s poster on the bulletin board asking for original music scores. So, I made a lot of posters saying that I could score your film, and put them all over NYFA, and I ended up scoring a lot of student films, and my first sound design job also came from that, and it was something NYFA instructor Paul Warner had produced.
NYFA: What was the most valuable takeaway from your time at NYFA both artistically and personally?
XW: The education I received at NYFA made me a better human being. It introduced me to the entire spectrum of human emotions and taught me what empathy is. I learned about human behaviour, and about darker emotions, and confronting them in a safe place was something so rare – it doesn’t happen outside of school. It gave me access to emotions I never knew existed or knew what to call them. It taught me how to speak clearly, so that my voice lands. It taught me what subtext is, and what pathology is, and life is richer when you understand these layers.
NYFA: What advice do you have for aspiring actors and composers?
XW: First of all, this is not an easy life! If you’re going after fame and celebrity, then it won’t take long to realize that the craft of both acting and composition is really hard work, on so many levels. I’m fortunate to still count myself in the business, but I’ve done a lot of work to get here, juggling multiple careers as an actor, musician, fitness model, composer, sound designer, VO artist, and radio host/producer. You’re constantly competing with people better looking than you, and surviving in the industry requires a lot of inner work, work that we have to do every day, long after we’ve graduated. Because keeping our tools sharp is just one part of the puzzle, having a strong mental game is so necessary.
Lastly, this is a piece of advice that was given to me, and I finally started to apply it: to create your own content. Find your voice, know what you’re about, and start creating your own work, because most people are waiting for work, and waiting is not a way to live. It’s most disempowering. So figure out what fuels you, and be proactive about life and career, because this really is a marathon, not a sprint. Art comes from life, and in every stage of life, there is story. It’s easier now than ever to create content, but not everyone who has a Canon5D is a great photographer! Continue training, always be learning, and learn about business and look at this as an entrepreneur.
New York Film Academy thanks actress, composer, and NYFA alum Xiren Wang for taking the time to speak with us and wishes her success as her career continues to grow!
US Navy Veteran and recent New York FIlm Academy (NYFA) Broadcast Journalism and Documentary Filmmaking graduate Clyde Gunter is starting a 13-month paid, full-time Leadership, Exploration and Development Program next month at ESPN. While there, Clyde will spend time assigned to various departments across the company, learning the ins and outs of the sports media giant and, at the conclusion, he will be given an opportunity to join the ESPN staff full time.
New York Film Academy spoke with Clyde about his experience at NYFA, where his inspiration comes from, and what he has planned for his new position and beyond:
NYFA alum Clyde Gunter
New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Clyde Gunter (CG): I’m a 27-year-old multimedia journalist with a strong interest in producing content in the documentary format. I was born and raised in Southern Virginia. At the age of 19, I enlisted in the United States Navy where I served five years of active duty, working in operations intelligence and planning and tactics. My first three years were served in Nagasaki, Japan, and my final two years were spent in sunny San Diego, California.
While enlisted, I developed an interest in still photography which led me to want to study the art form. However, because freelance photography didn’t seem financially viable, I decided to explore another interest of mine, video journalism, which led me to the Broadcast Journalism program at New York Film Academy.
CG: I was initially inspired to study Broadcast Journalism by the personalities and journalists in black media, specifically a journalist who worked in front and behind the camera for Complex networks. I said to myself, “That’s something I want to do with my perspective of my culture and our music,” so I researched their backgrounds and saw that they all studied journalism or communications. So I came to NYFA to gain the skills necessary to do what they do.
As for Documentary Filmmaking, I was recommended by my editing teacher to consider expanding my abilities and further develop my narrative knowledge through the NYFA Documentary program. This decision really helped me strengthen my sense of storytelling and understand what it takes to produce truly compelling work.
NYFA: Can you tell us about your new position at ESPN Next and what the process was like in being selected for the program?
CG: Through my new position at ESPN, I will be working as a production assistant and will have the opportunity to spend two six-month rotations working in two of six production areas: College Sports, Daytime Entertainment, Sportscenter @ Night, NFL, Live Events, and ESPN International & Deportes. The process consisted of three separate interviews: a phone interview, sports highlight assessment and a “Talent Day” that required me to visit ESPN’s main campus in Bristol, Connecticut and meet with a group of HR managers and ESPN employees.
NYFA: What are your goals within your next position, and what’s next?
CG: My goals while I’m in this new position include excelling at the basics of my job requirements while diversifying myself as a veteran and employee of color that mentors fellow employees (vets and non-vets). I also plan on helping to organize initiatives within my respective employee resource groups within the company.
NYFA: What other projects are you working on or do you plan to work on?
CG: I’m working on further developing and producing a feature-length documentary, along with a limited television docuseries that centers on the racial bias and injustice that America’s black veterans have faced, dating back to our country’s first fully integrated war with the Vietnam War.
NYFA: What did you learn at NYFA that you are applying or plan to apply directly to your work at ESPN Next, or your work in general?
CG: My deepened understanding of story and the key components that form a good story is something that NYFA instilled in me that I will continue to grow and take with me as I contribute to storytelling at ESPN.
NYFA: What advice would you give to students just starting out at NYFA?
CG: A word of advice I have for NYFA students is to remain extremely focused and ambitious during what will undoubtedly be the most jam-packed, year-round educational experience you’ll ever have. Persistence and constant discipline are vital if you want to walk away feeling rewarded by your work at the year’s end.
While working in post production for two presidential campaigns in his home country of Venezuela, New York Film Academy (NYFA) Documentary Filmmaking alum Pedro Álvarez Gales realized that his true calling was in documentaries, where he could tell stories rather than just absorb them.
He soon came to New York to attend the 1-Year Documentary Filmmaking conservatory at NYFA in 2013, where he learned the skills to shoot and edit documentaries. He quickly found work as a professional with major names in the industry, including Vice and Netflix.
NYFA alum Pedro Álvarez Gales
New York Film Academy spoke with Documentary Filmmaking alum Pedro Álvarez Gales about his time at NYFA, his work on Netflix hit film FYRE: The Greatest Party That Never Happened, and his advice for fellow NYFA students and alumni:
New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Pedro Álvarez Gales (PAG): I am from Caracas, Venezuela, originally a sound designer, but I have always been passionate about storytelling.
What brought me to NYFA was really a combination of things but mainly I was looking for a way out of my country’s political crisis. I felt stuck professionally and needed to try something new. My last job before leaving Caracas was as post production coordinator for two presidential campaigns—I believe that was what triggered my interest on making documentaries instead of just consuming them.
NYFA: Why have you decided to focus on documentary filmmaking?
PAG: The thing I like about documentary filmmaking is that you get to “write” during the editing process. You think you know what you are going to get when shooting a documentary but it’s really in the editing room where you start to realize there might be more to the story than you thought there was, or even a completely different one! It’s a magical thing and it can only be achieved by trying new things, failing and trying again, and again, until that “eureka” moment hits.
NYFA: What were your responsibilities as Assistant Editor on FYRE?
PAG: I was originally brought in as an editor to experiment with the film and try to see if we could build a series out of it. I did that for a little while but the Netflix deadline got tighter as we went, so the team decided to stick to the original film; from that moment on my mission was to support the team on anything they needed to get the film out as soon as we could. It was a very intense production to work on.
NYFA: What other projects are you working on or do you plan to work on?
PAG: Right now I’m back with the FYRE team working on really great documentary series for Netflix. I wish I could tell you about it because I know it’s going to be amazing, but it’s an ongoing story and we can’t really talk much about it for the moment. I’m really happy to be back with this team and I feel I’ve been learning and growing as an editor on this project.
I also just finished cutting and producing a scripted mini webseries called Killing Tigers (which is a Venezuelan expression, nothing to do with killing an animal) that you can check out at www.killingtigerstv.com. This was my first experience with scripted media.
NYFA: What did you learn at NYFA that you applied directly to your work on FYRE, or your work in general?
PAG: Almost everything I do today I learned in NYFA. I had never touched any editing software until I went there. It was through NYFA I got my first job in New York too (Vice and Viceland) where I stayed for three years and went from being an assistant editor to junior editor.
I am really grateful to that school and especially to Andrea Swift, the program chair, who is always on top of her students, current and former. I don’t know how she does it but she tries to help everybody that crosses her path. She’s an amazing lady. Thank you Andrea!
NYFA: What advice would you give to students just starting out at NYFA?
PAG: I’d tell them that, like almost everything in life, you can only take out of the program whatever you put in it. The Documentary program can be a really intense one with long hours and days, but if you apply yourself and choose to absorb everything that’s coming your way you’ll leave that building a documentary filmmaker. Whatever you decide to do next—either camera, production, editing or writing you’ll have a solid set of tools from NYFA that will help you to keep learning and growing and will take you to amazing projects.
NYFA: Anything I missed you’d like to speak on?
PAG: I think it’s important to find your own way of working but to always be flexible with other people’s ways. You’ll encounter many different characters in the industry and one big part of it for you to navigate in it is your own ability to adapt to new teams and new ways. There’s always something to be learn from a teammate, even if they are in a position under you. Also, be kind. People will hire you back if you are easy to work with—to me that’s even more valuable than the skills you bring to the mix.
New York Film Academythanks Documentary alum Pedro Álvarez Gales on taking the time to share his experiences and advice with us, and we look forward to seeing more projects from him in the future!
The top five grossing films of 2019 had one thing in common: they all relied heavily on visual effects & 3D animation.
The top five–Avengers: Endgame, The Lion King, Toy Story 4, Captain Marvel, Frozen II–all used the cutting edge of what computer imaging had to offer in 2019. So as we dive headfirst into the new year, New York Film Academy (NYFA) surveyed our instructors and alumni who worked on dozens of movies, games, and television shows this year to find out what 2019’s biggest trends were and how they will lead to the big trends of 2020.
Paradigm Shift in Buyers
If you want to pitch an animated show, you are lucky as there have never been more producers buying animated works. In the recent past, the main purveyors of animated series were Nickelodeon, Cartoon Network, Fox, and Comedy Central. A good amount of those developed internally use a library of existing IP.
But with streaming services like Netflix and Amazon now major players in the industry, more series than ever are being made. Hulu, TBS, Apple, Disney+, HBO Max, and Quibi have also thrown their hats in the ring, and more major and minor services are right on their heels. Because the streaming competition is international and because animation (generally) travels well overseas and is not ballooning in cost like live action productions, animated series are becoming a staple of streaming services.
Virtual Production
Visualizing the final film before it shoots it has never been more difficult. Modern tentpole films require more and more VFX, digital sets, CG characters, which means what you capture on set is bits and pieces of plates, as well as green screens that will need to be stitched together in post. This makes it hard for directors and other creatives to ensure what they are getting in camera is right for what they want.
That’s where virtual production comes in. Virtual production is when you use real-time 3D tracking and visualization to approximate what the final set extension or 3D VFX will look like in post, on set while capturing actors reacting to them in real time. A rudimentary form of this technology has been used in line broadcast for decades, like the first-down line on a football field that is keyed to the ground and matches perspective across mulit-cam cutting; or the real time weather graphics that respond to the meteorologist’s movements. However advancements in game-engine and real-time rendering has allowed franchises like The Lion King to use VR technology, like that NYFA Game Design alum Guillermo Quesada helped develop, to visualize what a fully CG set looks like when captured using conventional directorial and lensing techniques.
Work Stations in the Cloud
Despite decreases in GPU costs, a modern top-of-the-line workstation can still set an artist back $5000. This spread across hundreds of artists can mean quite a costly investment for traditional VFX companies, which is why some artists and VFX houses are turning to “cloud” computing.
The most resource-intensive part of most shows is rendering. If a company does not need to own a render farm or even need to use a RAM farm that can generate previews, they would be able to have hundreds of thousands of dollars and spend more time on the art rather than the computing. This is where cloud computing comes in. Artists, companies, and supervisors are able to “rent” time calculating the preview or render of the shot they are working on, only paying for what is needed from more advanced computers to visualize what they are working on and then switching back to their home (local) stations for tweaks and then sending to a cloud farm for finishing. This process will allow boutique houses to compete with bigger competitors while keeping most of the money on the screen.
Real-Time Technologies
One of the most time-consuming parts of the VFX and/or animation process is rendering. For the first Frozen film, it took 30 hours to render a single frame, and with 24 frames a second, the render times add up fast. Video games on the other hand have been rendering at 60fps for decades but not quite at the quality expected for broadcast or theatre experience. The Unreal game engine is changing this. With strides in real-time rendering driven by the success of Epic Games (Fortnite) pouring resources into real-time rendering for use in animation and VFX, it is possible to render media in seconds what previously would take hours. For those looking to learn the tools of this future, Unreal is the software for you.
AI and Machine Learning
“Deepfakes” and “machine learning” have become daily terms in our newsfeeds, and they are affecting the VFX industry as much (if not more) than anything else. Being able to do head replacement, digital doubles, or de-aging, or having an actor give a postmortem performance as see with Peter Cushing in Star Wars: Rogue One, requires a tremendous amount of frame-by-frame pixel perfect work across dozens of software packages. This year, a deepfake plugin was released for After Effects, allowing artists to use this tremendous technology of machine learning to “photo-realistically” create deepfakes with little to no coding knowledge–training the algorithm yourself on your home machine.
written by Matt Galuppo, Associate Chair of NYFA 3D Animation & VFX
New York Film Academy Australia alum Leroy Button started his professional career even before graduating the Filmmaking program in 2018. He’s worked on several professional commercials and television shows as well as multiple blockbusters, including Aquaman, Fast & Furious 9, and Dora and the Lost City of Gold.
Button has found a niche in state-of-the-art drone cinematography, but has had a passion for all aspects of filmmaking since he was a child. His first (but not his last) success was his award-winning short film Sense, made while he was still in high school.
NYFA Australia alum Leroy Button
New York Film Academy spoke with NYFA Australia Filmmaking alum Leroy Button about Sense, his work on multimillion dollar film sets, and the best advice he’s learned from both school and his fellow crewmembers:
New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy Australia?
Leroy Button (LB): I’m 21 years old and hail from Cairns, a small city in Far North Queensland, Australia. The origins of my interest in the industry really started as soon as I was brought into the world,—well, that’s at least what my dad claims as he recorded my birth on his brand new Hi8 camera. I’ve always had an interest in cameras, acting, and entertaining people—my dad was a frustrated filmmaker and he always had the latest digital camcorder, film camera, DSLR… you name it he had it, so naturally I was either in front of a camera or behind it as I grew up. We were always avid film goers, with Dad, my older brother, and myself always attending the latest blockbuster release—if it involved spies, sci-fi, superheroes, or a car chase we were there.
I really enjoyed all of my primary and secondary school years, I wasn’t really a math or science guy, I just loved working with my hands making things and was considered by my teachers to be very artistic. Throughout high school I fell absolutely in love with movie making and film class, which was part of my curriculum from Year 9 at Cairns State High.
My film teachers, Mr. Clyde Williams and Ms. Greta Evangelista, said that I had an eye for filmmaking and perhaps I should pursue it as a career. My teachers encouraged me to enter my films into film festivals and that ultimately brought me to what jump-started my career—my first short film, Sense. I entered Sense into the Understory Film Festival, which is a local festival in Cairns that had a student film category. I entered that film not knowing the freight train of success I was going to receive from it.
On the night of the film festival, Sense won three awards—Best Student Film, Runner Up, Best Film, and the Audience Choice Award. To cap off a lovely evening, I also won $1000 prize money (of course I spent that on film equipment right away) and was filled with a feeling of elation that propelled me into pursuing a career in the film industry… With Sense winning the Understory Audience Choice Award, this led to its inclusion in another festival—winning the KickArts Curator Award, Cell Art Space Energy Exhibition Award, Creative Generation Award, and later ‘Best Sense Film’ at the Stuffit Film Festival. Because of the Creative Generation Award, Sense was put on display at the Gallery of Modern Art in Brisbane where it was shown on a screen loop for six months for the 2017 student exhibition.
These awards opened the doors at a number of universities and film academies and certainly helped secure my position at the New York Film Academy Australia, where I started my Diploma in Filmmaking. At NYFA Australia I continued to pursue my craft and the feeling of recognition and success that I craved. I shot both good films that won me more awards and some pretty questionable film—films I hope are never seen again, haha. I was loving every moment. I really started to hone my skills as a cinematographer and learned how to manage my own business by filming weddings, corporate videos, and promo events.
NYFA: What have you learned at NYFA Australia that you apply to your work today?
LB: I’d say the biggest thing that the New York Film Academy Australia taught me was that networking was everything.
For one of our cinematography lectures, we had the choice of going to Panavision Queensland at Village Roadshow Studios. I knew that this was an opportunity to mingle with the people who work with the biggest and best of what the Australian Film Industry has to offer. So I was there with bells on. It happened to be the one day I actually packed my lunch box and brought it with me—and that ultimately allowed me to stay behind whilst the rest of the class went out to get a feed during the break. So here I am, one-on-one with the manager of Panavision Queensland, Pat Auge. I had the opportunity to ask him anything I wanted to know. What do I need to do to get into the industry? This question, amongst many others, was asked in hopes of figuring out what I was going to do after I completed my diploma.
All I wanted to do was get on set and work on a major motion picture. Pat answered every single one of my questions, and told me “it’s all about who you know.” In addition to that, the biggest thing I learned from the New York Film Academy Australia was that networking is very important—this is an industry where who you know goes a very long way.
Pat contacted me the following week and said that he was impressed by my attitude, eagerness, and professionalism towards him and wanting to get into the industry. He asked if I would be interested in doing some work experience with them and initially got me in for three days—I was incredibly dedicated while there, as has always been my work ethic, drilled into me by family, and this lead to an offer of part-time work while studying at the Academy.
During this time, Aquaman was filming at Village Roadshow Studios and the camera department contacted Panavision asking if they knew of anyone that could help out on set. They put my name forward and I jumped straight into the camera department on one of Australia’s biggest feature films. Frankly, I was scared and crazy nervous but also really excited.
NYFA: Can you tell us a bit about what you’ve been doing and what your responsibilities have been on the sets of films like Aquaman, as well as Dora the Explorer, Fast & Furious,and others?
LB: I kept my cool with my head down and bum up. They had me camera assisting, splintering with second and third unit, slating scenes with Nicole Kidman and her stunties, on location at Hastings point for the lighthouse scenes—it was wild, some of the most unforgettable weeks of my life. I turned into a sponge metaphorically (and sometimes physically, thanks rain machines), absorbing as much information and technique as possible from the camera department. At the end of each day we wrapped and I felt like I could sleep for a week. Long hours, hard, stressful work—but I loved it. I knew I wanted to do this for the rest of my life.
I continued to juggle work for Panavision, Event Cinemas, and studying at NYFA Australia and I resigned from the Cinemas pretty soon after as I was asked to start working 5 days a week 9-5 at Panavision. Now that leads me to working for XM2—work after Aquaman slowly dried up, I was getting on commercial jobs and the odd TV show here and there as a 2nd AC, but things weren’t looking too good…
One weekend I was returning some film equipment I had borrowed from Panavision to shoot a music video when Panavision called asking how far away I was. They told me that there were two gentlemen at the office right now and they wanted to talk to me—Stephen Oh and Aidan Kelly, the CEO and COO of XM2. I rushed into the studios knowing exactly who these guys were and well, Panavision opened another door for me. XM2 were looking for a young gun to join the team and manage their new office on the Gold Coast. I was pretty shocked. They asked if I wanted to help out on Dora the Explorer and there was no hesitation in my mind. I had just landed one of the coolest job opportunities that the industry has to offer.
A little background for you—XM2 specialises in aerial cinematography, lidar scanning, and VFX—catering to the major motion picture industry. As the only drone operator in the world with complete design, manufacture, build, and operational capabilities, XM2 can adapt and incorporate custom payloads onto aerial and ground-based platforms, creating constant advancements in performance and capability.
XM2 CEO, Stephen Oh
The team is comprised of pilots, camera operators, engineers, and creatives allowing for a unique service environment, taking care of all aspects of the operation. Constant technological developments combined with a deep understanding of on-set work-flow creates a highly-skilled, precise, and efficient unit that is able to produce any creative vision. We continue to demonstrate the ability to operate in the most technically, logistically, and environmentally demanding locations around the world. This is achieved while applying thorough risk mitigation and a safety-first culture that meets and exceeds international standards. I don’t want to toot my own horn but… yeah, a pretty cool job.
I completed those days with them on Dora, worked my ass off, and must have impressed them because they now have me working full time managing our Gold Coast office here in Queensland. I get to travel extensively between our other bases around the globe helping on productions wherever they may be. Two of our teams and I have just returned home from Georgia in Europe, Thailand, and Scotland after finishing principal photography on Fast & Furious 9 and the next James Bond film, No Time to Die. I am literally living the dream and I couldn’t be happier with what I have achieved at my age.
On our latest project, Fast and Furious 9, I was a drone technician on second unit while also managing our custom VFX array head. We developed the “MANTA” stabilised remote head to hold three Alexa Minis in a toe-in position to achieve 220 degrees of stich-able horizontal angle. This rig ultimately became my pride and joy as I worked on Fast 9. Due to the shooting schedule I had to pull it apart and put it back together half a dozen times. The VFX department could use this rig to reframe shots, recreate reflections, and project the surrounding environments onto blue/green screens in studio sound stages. I was working one on one with the VFX supervisor, while camera operating this platform from an ATAV for the off-road portions of the film.
I was also on splinter unit where I was camera operating our smaller drone. Those shots were my first shots on a feature film—a pretty awesome accomplishment. This was all thanks to my boss and mentor, Stephen Oh, for trusting my skills as a camera operator. Thanks to XM2 I get to travel the world doing what I love, working on major motion pictures.
These are the productions I have recently worked on (not in any particular order):
Aquaman (Feature Film) (2nd AC, Truck Loader)
Fast and Furious 9 (Feature Film) (Drone Technician, Drone Camera Op, VFX Array Op, and Technician)
Dora the Explorer (Feature Film) (2nd AC, Drone Technician)
Westworld Season 3 (HBO TV Series – Airing) (Drone Technician)
Godzilla Vs Kong (Feature Film – Post-production) (2nd AC)
Monster Problems (Feature Film – Post-production) (2nd AC)
QANTAS 2020 International Commercial (Post Production) (Drone
Camera Op)
Halifax Retribution (TV Series – Post Production) (Drone Camera Op)
Hyundai VENUE, USA TVC (Drone Technician, BTS)
KIA Telluride, USA TVC (Drone Technician, BTS)
NYFA: What are some of the biggest differences you’ve noticed working on a blockbuster film set as opposed to an indie or student film set? What are some of the similarities?
LB: The biggest differences I’ve found between blockbuster features and indie/student films is obviously the budget.
Being on big sets is an interesting experience. It’s fascinating and truly unbelievable how big some of the sets are and the lengths people go to get the shot how they want it—or how they compromise to achieve it another way. These crew members are truly professionals of their respected craft. Watching hundreds of people work for a common goal of completing the shot list for the day is like working in this complicated factory of cooperation, task mitigation, and frantic timed execution.
Everyone has a role and that role is important in one way or another. There are literally hundreds of different jobs on set and they all matter and keep the production flowing. The PA that stays back to make the production coordinator a coffee might have just kept him/her awake an extra hour to recheck the SFX budget so they can afford to blow up an extra car the next day, which allows the director extra freedom with the cut and the rest of the crew get to see an extra explosion—thumbs up all round.
Every role on set matters and they all affect the flow of production—no matter the size. The men and women on big sets usually have many, many years of on-set experience and this really shows when there’s half an hour left in the shooting day and there are still five shots to get—as you can imagine, someone like me stepping in with the “big boys” was very daunting and quite nerve-racking. I learned pretty quickly to present yourself professionally, act older than you seem and keep your head down, mouth shut, and ‘bum-up’ as is always a good idea when trying to fit in and impress the varying crew.
The cool thing with crew on major feature films is that oftentimes once the working week had finished, a lot of the crew would split into their respected friend groups and shoot passion projects, music videos, or short films—a lot of the time asking anyone and everyone if they would be free to help out. In an industry where a good word and who you know goes a long way, these opportunities are sometimes just as good as the production you may be on. Yes, you might only get paid in pizza, but you might just get a chance at focus pulling or helping with lighting or branch out from your usual role to try something different. These guerrilla style films are a great way to make new friends and test your abilities, learn new skills, and have a good laugh outside of the pressure that big productions put on you.
On the other hand, the biggest similarity between big and small budget productions is passion. The passion for filmmaking is always there whether it’s a low-budget indie or a multimillion-dollar action flick. One of the things I love about working in the film industry is the on-set etiquette. No matter the production, people are generally more than happy to lend a helping hand and impart some of their knowledge on to you. A lot of what I’ve learned about on-set lingo and practices has been through conversation between setups or while on lunch. The more time you spend in those environments with those varying levels of experience, the more you’ll learn.
NYFA: What other projects are you working on or do you plan to work on, personal or otherwise?
LB: Unfortunately, I can’t say what I’m working on with XM2 at the moment; however, I’m currently writing a sequel to one of my short films I shot while at NYFA Australia. It’s being filmed with a bunch of fellow NYFA Australia graduates and alumni.
NYFA: What advice would you give to students just starting out at NYFA Australia?
LB: The best advice I could give to students starting out at NYFA Australia would be to get your films into film festivals. No matter how good or bad that film is, get it into a festival circuit and put your name on it. The more people that see your film, the more contacts you’re connecting with—people talk and word spreads; if it’s positive, then you’ll become known and people will start calling you, it’s that simple.
Absorb as much as you can. Do research online and ask questions (even the stupid ones) because at the end of the day you’ll either be none-the-wiser or know exactly what you’re talking about. Finally, keep creating, every single time your camera is rolling you’re learning something new—nine times out of ten it’s because you did something wrong—learn from that and you’ll become a better filmmaker.
Things to remember and be ready to answer:
Never “burn your bridges.” It’s a big industry, and everyone talks.
What is your attitude?
How are you different from the guy next to you?
And why should they get you on set?
NYFA: Anything I missed you’d like to speak on?
LB: The film industry is a brutal beast – it can be so incredibly hard on you one day, yet so very rewarding the next—it’s not for the faint-hearted. With short films and personal projects, I learned pretty quickly that you can’t impress everyone. I decided to stop trying to impress others and began simply trying to impress myself and this worked out pretty well for me. I am very humbled with the opportunities that I have been given and I thank everyone for the part they have played in my story. Never forget to thank those who got you to where you are.
New York Film Academy thanks NYFA Australia alum Leroy Button for taking the time out of his busy schedule to talk to us about his burgeoning career on-set, and wishes him the best of luck moving forward!
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The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
