Page 31 – NYFA

Spooky Screenplays: 5 Frighteningly Good Horror Scripts

Posted on October 25, 2019 by nyfa

Halloween is just around the corner and that means binge eating candy in between visits from trick o’ treaters and binge watching late night horror flicks. Writing a screenplay is no small feat–but writing a horror screenplay requires a unique and specific process where scares and tension are as equally important as plot and character.

Horror movies need to tap into the audience’s collective fears and leverage them to make the screenplay successful. A great storyline and characters are the way to start your screenplay but you need to figure out how you will leave your audience unsettled. If you plan on writing your own horror flick in the near future, here’s a list of great screenplays you can learn a thing or two from:

Halloween

John Carpenter’s 1978 horror classic is still one of the most successful independent movies of all time, and set the bar for modern horror screenplays. There are several reasons why Halloween is still a staple in today’s movie culture. It is no secret that in most genre screenplays, female characters are underwritten, unsympathetic, and objectified. While Carpenter did write most of screenplay, producer Debra Hill wrote the dialogue between the three female leads played by Jamie Lee Curtis, Nancy Loomis, and P.J. Soles. Thanks to Hill’s dialogue, the female leads felt more believable and authentic–which helps the audience connect with them before they become Michael’s would-be victims.

The Shining

This movie’s script, written by Stanley Kubrick and co-writer Diane Johnson, is a shooting script–a version of the screenplay used during the production of a movie or television show, and is different than a spec screenplay. Kubrick is a master director, and seeing how he planned to build tension outside of the dialogue and simple stage directions is a master class in suspense.

The Exorcist

The Exorcist may be more than 40 years old, but it can certainly rattle your bones and leave you with chills. One thing to note is the lack of a movie score; there are of course the iconic piano key notes throughout the movie, but there isn’t a dedicated score outside of that. It may be obvious to the audience at first but as the movie progresses, the minimalist music helps lull the audience into the screenplay, helping them forget they are watching a movie.

Psycho

After skillfully building tension with a crime plot centering around protagonist Marion Crane (Janet Leigh), director Alfred Hitchcock does something uncommon in Hollywood, and especially in 1960: he switches the point-of-view of the film’s lead about 50 minutes into the film by killing Marion off. The audience is left with creepy motel owner Norman Bates (Anthony Perkins) as he struggles to get away from his domineering, hot-tempered, and murderous mother, or so we think until the script delivers yet another iconic plot twist.

Scream

Kevin Williamson, writer of Scream, opted for a shocking first scene–making the movie’s opening one of the most iconic in horror movie history. The film begins with a young woman, Casey, innocently flirting with a stranger over the phone, before it ends with her frantically running for her life. Because Casey was played by A-list actress Drew Barrymore, who was also put front and center in the film’s marketing, audiences were really thrown for a loop when the phone conversation takes a sudden turn from flirty to menacing. The script never lets up either, giving Wes Craven one of his most meta films of his career, one that deconstructed the entire slasher genre.

https://www.facebook.com/NewYorkFilmAcademy/videos/10153840352691594/

5 Quick Techniques for Better On-Camera Interviews

Posted on October 18, 2019November 16, 2022 by nyfa

On-camera interviews with subjects are often key parts of a documentary film. They go beyond just simply asking your interviewee one question after another, however. Here are 5 quick techniques for improving your on-camera interviews from Sanora Bartels, Chair of Documentary Filmmaking at New York Film Academy Los Angeles (NYFA-LA).

Don’t Start with the Cameras Rolling

If the interview is taking place in the Interviewee’s space, one of the first things I do when I arrive “on set” is to ask about something interesting in the room or comment on the view. I do this in order to have a conversation about something other than the “subject at hand.”

When you discuss unrelated topics, it gives you an opportunity to find common interests and build trust. Related to this, you might find that you’ll need to do a preliminary interview without crew in order to form a relationship with your subject. Interviews are really good conversations. In-depth conversations only happen when the two people trust one another. This trust will show in the footage.

Once we start rolling, I start by asking easy questions about family history, their personal background, educational background, etc. These allow them to settle into a rhythm of conversation and then we’re off and running.

Don’t Fill in Pauses

Because an interview is very much a conversation, we’re sometimes too tempted to set someone at ease and try to “rescue” them from a perceived lapse in memory or pause. It’s almost never beneficial to fill in these pauses. The interviewee needs time to think and explain themselves and, more importantly, if it’s an emotional topic, they may need time to gather their strength to go on. At that moment, there is a line they cross from “the facts” into deeper meaning and perhaps more personal revelation. One of the best examples of this is in the Errol Morris documentary Fog of War with Robert McNamara.

Use Other People’s Labels

If your subject is talking about their supervisor whose name is Sandra and referring to her as “my supervisor” then you should use those word labels/markers as well. Don’t refer to her as Sandra if they refer to her as “supervisor.” Example: “How did your supervisor communicate the change?”

Ask Open-ended Questions

Leading questions lead to one-word answers, which aren’t very informative or compelling to watch. Interviews look for much more in-depth answers, information that helps tell a story. Interviewers need to think about phrasing their questions to invite longer explanations. Questions that invite explanation often start with “how” or “why.” Alternatively, you can follow up an opening statement with: “Tell me more about that” or “I am not sure I understand.”

Repeat A Single Word for More Information

If I feel the Interviewee has stopped just short of going deeper into the story, I use a trick that comes from everyday conversation: repeat their last word or phrase to prompt them to continue.

For example, the Interviewee may end their statement about their livelihood being threatened by climate change saying, “it’s just not sustainable.” The next question from me could simply be “Sustainable”? This simple cue allows them to explain and the conversation continues!

Written by Sanora Bartels, Chair of the Documentary Department, NYFA, Los Angeles.

6 Awesome Game Designers You Should Know

Posted on October 18, 2019November 16, 2022 by nyfa

Most gamers have heard of Shigeru Miyamoto, the creator of Super Mario and the Legend of Zelda series, or they might know of Hideo Kojima, the creator of the Metal Gear series. Or maybe they’ve seen Sid Meier’s or Will Wright’s name on the box cover of their favorite game. But there are plenty of unsung heroes and heroines in the game industry.

Here are six game designers you should know about:

Richard Bartle

Richard Bartle is one of the creators of Multi-User Dungeon, or MUD1, the very first massively multiplayer online game. Bartle, an educator at Essex, was teaching in the department of computing and electronic systems when he helped design the game with Roy Trubshaw in 1978. MUD1 was inspired by the classic text adventure game Zork and was the first shared virtual world in which 36 other players could join in at once to talk, play, and help each other. When Bartle wanted to learn what kind of players were playing his game, he created the “Bartle’s Test” to find out who they were: Explorers, Socializers, Achievers, or Killers. Bartle’s taxonomy has been helping game developers improve their games ever since! You can find out what kind of player you are by taking Bartle’s test here.

Chris Crawford

Computer game designer Chris Crawford programmed the much-loved strategy game Balance of Power in the early 80s, but it was his advocacy of games as a field of study and as an art form that earns him a spot on this list. His scholarly works–The Art of Computer Game Design, The Art of Interactive Game Design, and his Journal of Computer Game Design were some of the first academic works about video games. But even more influential is the creation of the Game Developers Conference in 1987, which is now attended by thousands of game developers from around the world and is one of the premiere events for discussion and learning about the game industry.

Danielle Bunten Berry

Danielle Bunten Berry was the creator of the highly-influential computer games M.U.L.E. and Seven Cities of Gold. In the mid-80s she created Modem Wars, one of the first games played over a modem. Many consider her work ahead of its time and she was awarded a Lifetime Achievement Award by the Computer Game Developers Association. Unfortunately, she passed away in 1998 before she could create even more games with rapidly-advancing technology.

Mark Cerny

You’d think working at Atari at the age of 17 would be a big enough achievement for Mark Cerny, the programmer who created Marble Madness. But as the industry’s most influential consultant, Cerny has a ridiculous amount of AAA games to his credit including Sonic the Hedgehog, Crash Bandicoot, Spyro the Dragon, Jak and Daxter, Uncharted, Marvel’s Spider-Man, and Death Stranding. He’s developed a teaching method for games – including the “vertical slice” – that is used by developers all over the world. For his contributions, Cerny been inducted into the Academy of Interactive Arts and Sciences Hall of Fame.

Jordan Weisman

Jordan Weisman is a game designer and author who has literally mastered every genre of game design! RPG, VR, Tabletop, Video Game, ARG–he’s done it all! Weisman’s career started by creating adventures for the role-playing game Traveller. His RPG company, FASA, introduced the popular BattleTech and Shadowrun franchises. He transitioned into VR with the creation of Virtual Worlds Entertainment in 1987. His BattleTech simulators are still some of the most realistic gaming experiences ever created. Weisman moved into video games to produce the MechWarrior series of games, one of the top selling PC games of all times. In 2000, he designed the “clix” miniature tabletop game for his company WizKids. The games Mage Knight, HeroClix and Pirates of the Spanish Main were all top sellers. His alternate reality game company 42 Entertainment created memorable and groundbreaking titles like I Love Bees and Year Zero. He has also authored an interactive novel called Cathy’s Book.

Gunpei Yokoi

Gunpei Yokoi started his career designing electronics for maintaining the assembly-line machines used to manufacture Nintendo trading cards in 1965. After the company transitioned into video games, Yokoi found his first big hit with a light gun toy that became the foundation for Nintendo’s Zapper gun peripheral. Yokoi also created the Game & Watch mobile game which introduced the D-Pad Controller and became the foundation for much of Nintendo’s game systems for the next 30 years. He supervised the production of the Donkey Kong arcade game, Nintendo’s first big hit, and worked with Shigeru Miyamoto on many projects including Mario Bros. He was the producer of Metroid and Kid Icarus and designed the famous R.O.B. the Robot which was included with the Famicom game system. He was the creative lead on the immensely popular Game Boy game system as well as the creator of the ill-fated Virtual Boy system. Yokoi sadly passed away in 1996 but his inventions and contributions have left an indelible impact on the gaming industry.

Interested in becoming the next great game designer? Check out the programs offered by the New York Film Academy (NYFA) Game Design school here!

Written by Scott Rogers, NYFA Game Design Instructor

Q&A with New York Film Academy (NYFA) Musical Theatre Alum Stasi Berezovskaya

Posted on October 18, 2019November 16, 2022 by nyfa

Stasi Berezovskaya knew she wanted to study at the Professional Conservatory of Musical Theatre at New York Film Academy (PCMT at NYFA) from the moment she stepped inside the building after traveling to New York City from her hometown of Moscow. Now a PCMT at NYFA alum, she started her own creative production agency, SB Productions, which has afforded her the opportunity to combine her love of fashion, performance, and art. New York Film Academy spoke with Stasi about her time at NYFA, where her passion stems from, and what it takes to create your own company:

New York Film Academy (NYFA): Can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?

Stasi Berezovskaya (SB): My name is Stasi Berezovskaya. I came to New York City from Moscow to improve my skills in Musical Theatre and pursue my career as a performer. I already had an education as a Musical Theatre Artist at GITIS University in Moscow, and I was choosing between a few schools at the time I traveled to NYC to study. However, I fell in love with NYFA as soon as I entered the building. It was all about the people who work there, because they make the atmosphere magical. From the Admissions office and the incredible teachers, to the President of the Academy, Michael Young, and Vice Presidents David Klein and James Miller, everybody made it feel like they were family that you could turn to starting from the first day. They all shared their amazing skills, but most importantly, they shared their hearts.

NYFA: Why did you decide to focus on fashion?

SB: As far as fashion concerns, I guess it has always been in me, I was just previously too busy or too scared to accept it and pursue it professionally. My mom is a stylist and I grew up around all of the beautiful clothes, collections, and models. I remember a picture of myself that my great grandmother used to show me–I was three years old, standing in her heels that were probably eight sizes too big for me, and around my neck hung incredible pearls that made me feel like a princess. I suppose fashion is in my genes, because all of the women in my family used to create beautiful pieces to wear and the passion was evidently passed on from generation to generation.

NYFA: Can you tell us about your agency and what the process was like getting it off the ground?

SB: After two years at the Professional Conservatory of Musical Theatre at NYFA, while I was auditioning in New York City, I started working as an assistant for Russian designer MONOSUIT and met an amazing family of independent designers called Flying Solo. Meeting such talented people and seeing their hard work throughout the long process, including how they use their talents and skills to make something different and absolutely stunning, I realized that we are all artists. We, as actors and performers, have the voice and the platform to say what others can’t, as do designers. Designers’ collections are inspired by the same events that happen in the world every day and the same struggles we face in musicals and performances, they just talk about it in a different way.

Given this, I thought to bring these two special worlds together, and opened a creative company called SB Production Agency. My team and I create and produce content for designers such as look books, campaign shoots, and fashion videos. Beyond this, the most important element of what I do is combine the two worlds and show designers’ collections through dance and performance, telling a story led by unique music.

My company has only just started its journey, but it has already been a great experience. I love to combine various types of art in order to allow people to see the bigger picture and see the different angles of artists’ work.

For example, I recently had the honor of working with the amazing painter Tigran Tsitoghdzyan. He was hosting an art show in Fremin Gallery, which allowed us to use their space and helped us bring our idea to life. Tigran’s series of paintings are very unique, as they depict women who appear to be confident and beautiful, but in reality they are struggling to show who they really are. Given this, we came up with the idea of inviting dancer Abigail Kelvas and choreographer Dolly Sfeir to process the paintings and guess what the women within them actually feel. We put together a video and finalized the film in just two days, thanks to our wonderful creative team. Women on set included NYFA alum Luciana Baldovino, who is a talented director and a filmmaker in my company, and current NYFA student Beth Ribeiro, who served as a DP. Also on set to assist was NYFA Chair of Cinematography Piero Basso. Small clips of the video we produced became a part of Tigran’s interview on Armenian TV and I believe this is only the beginning for this project and more to come. We have so many more wonderful projects ahead!

NYFA: What advice would you give to students just starting out at NYFA?

SB: This has been a wonderful journey since my graduation and I am so grateful for NYFA. I met so many amazing and talented people that became co-workers, friends, and family to me. I believe that we are all here for a reason. We are from different countries and cities, speaking different languages, but the language of art is the only one that everyone can understand. I believe we all met for a greater purpose to make this world a better place. NYFA is a place to start building these kinds of relationships, believe in art’s power, and move forward together.

New York Film Academy thanks PCMT alum Stasi Berezovskaya and wishes her the best of luck on her journey with SB Production Agency!

Q&A with New York Film Academy (NYFA) BFA Filmmaking Alum Ilya Rozhkov, Director of the Groundbreaking VR Film ‘Agent Emerson’

Posted on October 11, 2019January 18, 2023 by nyfa

Ilya Rozhkov Agent Emerson — NYFA BFA Alum & Filmmaker Ilya Rozhkov

New York Film Academy (NYFA) BFA Filmmaking alum Ilya Rozhkov moved to Los Angeles from Russia to follow his passion. He always knew he wanted to direct films, and he’s always been hungry to learn and expand his horizons, but it wasn’t until he experienced VR for the first time at a convention in Las Vegas that he realized the amazing potential virtual reality holds for the future of storytelling.

Rozhkov is putting that lesson to action, literally, with his new groundbreaking VR film, Agent Emerson. New York Film Academy spoke with Ilya Rozhkov about his film, the vast possibilities of virtual reality and VR filmmaking, and about how his studies at NYFA gave him the tools to evolve into a whole new kind of filmmaker:

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?

Ilya Rozhkov (IR): I was born and raised in Moscow and all my life I wanted to direct films. In 2014 I was honored to be inducted into the Directors Guild of Russia as one of its youngest members. In 2013, after extensive research, I was excited to go and become a part of New York Film Academy in Los Angeles because of its intensive, practice-driven approach to studying film. LA has been my home since.

While at NYFA I shot three short films (We Are Enemies, Dying to Live, and Sabre Dance, starring Greg Louganis as ‘Salvador Dalí’) which have been distributed worldwide, featured on NBC, and screened at over 50+ festivals winning numerous awards, including Best Picture and Best Director.

I was also very fortunate to have met a lot of my collaborators at NYFA. I have been working with amazing alums—producers Radhika Womack and Jane Kapriss, and colorist Roy Sun—since my first short films.

I have had the honor of being selected to participate in the coveted Oculus Launch Pad VR Bootcamp at Facebook headquarters and be a recurrent guest panelist at Digital Hollywood.

In 2016, I set out to make on my first VR Film, Agent Emerson, and partnered with Academy Award-nominated veteran production studio CTB, along with The Rogue Initiative—a leading entertainment and technology studio driven by multi-award winning industry veterans.

NYFA: Your background is in traditional filmmaking. Why have you decided to focus on virtual reality?

IR: VR is a creative challenge, a whole new way to experience cinematic storytelling. With my knowledge of film and passion for technology I was truly excited to take on this challenge. And this wonderful medium is just beginning to grow—the current state of VR content feels reminiscent of the early 1900s in the history of cinema: so many things yet to be discovered.

The future is happening today and cinematic entertainment is evolving to be bigger than movies, both artistically and as a segment of the entertainment market.

NYFA: Can you tell us more about Agent Emerson?

IR: Agent Emerson is an immersive 360 degree first-person POV VR film. It utilizes breakthrough technology—the Identity Capture Camera®—and other proprietary innovations to drop the viewer into a visceral, action-packed 3D cinematic experience unlike anything the medium has yet offered. It is a cinematic experience we are used to seeing in movie theaters, only this time YOU are the action hero.

We follow CIA Operative David Emerson, who awakens to find himself a subject of an experimental program with his body under complete remote control of the imperious General. With the aid of a rogue operative named Alexandra, David has to retake charge of his own actions and fight his way through the top security facility inside the most complex live-action VR film ever made.

Directed by me, Ilya Rozhkov, and starring Lyndsy Fonseca (Kick-Ass, How I Met Your Mother) and Tony Denison (Major Crimes, The Closer), Agent Emerson was shot in Los Angeles and in Louisiana.

NYFA: What inspired you to make Agent Emerson?

IR: Virtual Reality itself is quite an inspiration. When I studied at NYFA I visited NAB Convention in Las Vegas to explore the latest technology of cinema, and this was where I experienced VR for the first time. My mind was blown with its storytelling potential. The moment I received my first Oculus VR kit, I stepped inside the virtual reality and took off the headset only after exploring all the content available.

I kept thinking, what makes VR different as a storytelling medium? A theatre performance shot on a film camera does not become a movie. And in exact same way a movie shot on VR camera doesn’t automatically become VR cinema. So what type of storytelling is possible only and exclusively in VR?

Agent Emerson was one of my answers to that question. And finding tools to direct the audience within VR Film was a challenge I was excited to take on.

NYFA: What are some difficulties of shooting in VR as opposed to traditional filmmaking that you didn’t anticipate?

IR: It’s hard to anticipate every challenge when talking about a territory as uncharted and unexplored as VR from both creative and technological point of view. Before shooting the film on set with our amazing cast and crew, the majority of the film was shot and tested in a lab. We prepared and primed everything and were ready when unexpected challenges presented themselves.

The biggest challenges were definitely in post-production. Every aspect of post was affected: CGI, editing, sound, color, and even music. A lot of the techniques and the toolkit used in traditional film were not enough. My team had to think bigger and beyond, creating new solutions which would allow us to make a better film.

To achieve the artistic goals of the film and the highest possible level of quality, many tools and workflows had to be created by us from scratch. It was like creating a painting and inventing a paintbrush at the same time.

Not only does VR make the complexities of film more challenging, but also it introduces entirely new challenges, some of them from the world of game design. It’s an adventure which makes me thrilled to be a modern filmmaker.

NYFA: Did anything surprise you when putting together Agent Emerson?

IR: From the many discoveries and surprises there is a clear “top three” list:

1. VR can be considerably more intimate than film, especially when it comes to acting.

2. Understanding game engines and software optimization plays a big part, even though it is a film, not a game.

3. There is a saying that sound is 50% of the film. When it comes to VR and making a convincing Virtual World, sound might be even more than that.

NYFA: What do you see for the future of VR in entertainment?

IR: The potential of VR in entertainment is enormous and the medium will evolve in many ways we can’t even dream of today. It is the fastest growing segment of the entertainment market.

We’re dealing with something completely unprecedented—humans as a species have been telling stories on a flat surface since cave paintings. But VR allows us for the first time to tell stories through worlds which are seemingly real. AND this is mass-accessible.

Think about it—looking at a flat surface with moving images is amazing , it’s a great art form, a fun entertainment, and it is here to stay. But it’s not a natural way to perceive information. In VR we perceive information the same way we do in real life: it’s set in space around us, it is three dimensional, and we can navigate through it. Considering this, I believe VR will become a normal way to consume new forms of entertainment content, both interactive and non-interactive.

Moreover, I believe that VR and AR are going to affect not only entertainment but a great many things. We might be looking at the new age of computing here.

NYFA: What other projects are you working on or do you plan to work on? Are you looking to stick to VR-only content?

IR: Under my Serein banner we have several VR titles in the works. My focus in storytelling is modern cinema which incorporates traditional mediums like film and TV, and cutting-edge technology like VR and beyond.

I believe that to become a market leader one must bring impactful storytelling together with innovative technology. And that is the key to the future of cinematic entertainment.

NYFA: What did you learn at NYFA that you applied directly to your work on Agent Emerson or your work in general?

IR: Shooting on 16mm and 35mm film at NYFA was a phenomenal experience and, ironically, working with this wonderful and more-then-a-century old technology affected my work with a less-then-a-decade old generation of VR.

Not only does working with film introduce one to a proper filming discipline, it also taught me that live playback is not a necessity. It gave me the ability to see the shot by seeing the blocking, the camera positioning, the lighting in the scene and knowing the lens specifics. That came in extremely handy when working with virtual reality where we had no technology for a live VR playback.

NYFA: What advice would you give to students just starting out at NYFA?

IR: BE CURIOUS. Enjoy learning, because learning doesn’t stop after graduation. Keep reading, follow the directors, producers, and content creators you admire. Always be expanding your knowledge on film industry, technology and beyond. You are as valuable to the industry as what you know and can accomplish. Grow your value all the time.

DON’T BE AFRAID TO EXPLORE. Film school is the safest possible environment for that and NYFA will be there for you to lean on and learn from. Exploring is the only way to prepare and be ready for everything when it comes to the constantly-evolving landscape of cinematic storytelling.

NYFA: Anything I missed you’d like to speak on?

IR: With all its challenging complexities and unprecedented potential, I find it mesmerizing that VR is just a certain number of still images creating an illusion of motion.

New York Film Academy thanks BFA Filmmaking alum Ilya Rozhkov for taking the time to speak with us, and encourages everyone to check out Agent Emerson when it is released on Oculus Rift (Go and Quest), HTC Vive and Cosmos, and PSVR on November 22.

Autumn Photography: 5 Tips for Capturing the Best Photos of Fall

Posted on October 11, 2019November 16, 2022 by nyfa

As summer starts to wind down and we embrace the cooler months, outdoor photographers tend to gear up. Autumn is arguably the favorite season for photographers due to ever-changing scenery, vibrant colors, and moody weather.

The Photo Arts Conservatory at New York Film Academy (PAC at NYFA) instills students with a passionate focus on the technical elements of photography. Below are some tips to help you enhance your landscape photography and really capture the fall weather.

The “Golden Hour”

“Golden Hour,” the time of day when the low position of the sun during sunrise and sunset creates a soft glow that dramatically enhances the environment and gives a vibrant “pop” to surrounding colors, occurs all year round, but can be at its most striking during the fall. Getting up early or staying up late can make for some very vibrant landscape photography.

Overcast Days

Foggy and overcast, cloudy days create lighting conditions that may help you capture some interesting shots. Focus on areas such as lakes, rivers, woods, and streams–bright colors from the leaves of trees will help create separation from their darker, foggier surroundings.

Composition

There are different ways that you can compose your photo, including the rule of thirds and the golden ratio. Let nature guide your framing by utilizing your surroundings of branches, leaves, and other trees to emphasize your main subject.

Use Warm White Balance

White balance is how warm or cool the overall colors look in your photograph. When taking photos outside during the fall, we recommend you ignore the white balance presets on your camera–auto-white balance can neutralize colors, so avoid using the auto setting. To really bring out the fall colors in your photos, you’ll want to use a warm white balance. Increase the white balance to a warmer Kelvin temperature–try around 6,000 degrees–but be careful not to overdo it. A high Kelvin can make the photo appear to have an unnatural looking color cast.

Circular Polarizer

A circular polarizer–also known as CPL–is a screw-in filter that goes in front of your lens. The benefit to using a CPL is that unwanted glare and reflections are reduced when photographing wet surfaces or in direct sunlight. A CPL can also enhance your landscape photography by adding more color and contrast. You can use a slower shutter speed when photographing a river or stream when you have a CPL with your camera. Make sure that you are using a neutral CPL to help enhance your fall photography.

Q&A with Filmmaker and New York Film Academy (NYFA) Acting for Film Alum Dr. Ariel Orama López

Posted on October 4, 2019November 16, 2022 by nyfa

New York Film Academy (NYFA) Acting for Film alum Dr. Ariel Orama López has been incredibly productive since graduating from NYFA’s Los Angeles campus, and has the accolades to prove it. His latest film, One, revolves around the incredible devastation his homeland of Puerto Rico suffered from during and after Hurricane Maria.

López has been and written about by VoyageLA and other publications, distinguished for his achievements. Here are just a few quotes about him and his work:

Denis McCourt (Director of Conservatory & Outreach Programming in Coachella Valley Repertory & Former NYFA-LA Associate Chair for Performance Studies): AG Orloz (Dr. Ariel Orama López) brings a very important voice to story telling through film. Especially at this time in American history. He’s a brave and truthful artist.”

“AG Orloz (Dr. Ariel Orama López) aporta una voz muy importante a la narración de historias a través del cine. Especialmente en este momento en la historia de Estados Unidos. Es un artista valiente y de gran verosimilitud.”

William Lurh (Author and Professor – Film & Gender – NYU Seminar): “An impressive filmmaker.”

“Un cineasta impresionante.”

José R. Pagán (Journalist Primera Hora/GFR Media): “Artist in many ways, Orama is a graduate student of New York Film Academy and was awarded a scholarship by NYU in New York in an intensive summer workshop (about Film and Gender). He was able to share his published book on creativity, neuroscience and virtuality with Lin Manuel on his visit to the Island … He not only directs, but also stars in his stories … The plot of One interweaves poetry and other elements of art with aesthetic value to carry a message about the constant battles that Puerto Ricans fought almost two years ago. Their motto responds to the idea that not all stories/lives have been told.”

“Artista en muchos sentidos, Orama es egresado de New York Film Academy y fue becado por NYU en Nueva York en un intensivo de verano. Recientemente, pudo compartir su libro publicado sobre creatividad, neurociencia y virtualidad con Lin Manuel en su visita a la Isla. La peculiaridad de Orama es que no solo dirige, sino que también protagoniza sus historias … La trama de One entreteje poesía y otros elementos del arte con valor estético para llevar un mensaje sobre las batallas constantes que libraron los boricuas hace casi dos años. Su lema responde a la idea de que “no todas las vidas han sido contadas.”

Damaria Hernádez Mercado (Journalist El Nuevo Día/GFR Media): “The short film One, made in a surrealist tone, has received international praise and awards.”

“El cortometraje One, realizado en un tono surrealista, ha recibido elogios y galardones a nivel internacional.”

América TV/Puerto Rico: “A tribute to the lost lives and the battles won after the passage of Hurricane Maria through Puerto Rico knocks on the doors of the Hollywood Academy of Motion Picture Arts and Sciences.”

“Un tributo a las vidas perdidas y las batallas ganadas tras el paso del huracán María por puerto rico toca las puertas de la Academia de Artes y Ciencias cinematográficas de Hollywood.”

Nicole Chacón (Publicist/News Anchor/Social Media – WAPA TV/WAPA America): “Without a doubt, Orama is a talented young man who makes his way telling our stories in international cinema.”

“Sin duda, Orama es un talentoso joven que se abre camino contando nuestras historias en el cine internacional.”

New York Film Academy spoke with Dr. Ariel Orama López about the film, as well his next project Ysla, his deep connection to Puerto Rico, and his advice for current and future NYFA students:

El alumno de Actuación para Cine de la New York Film Academy, Dr. Ariel Orama López, ha estado trabajando imparablemente desde su graduación en el campus de Los Ángeles, y sus premios así lo prueban. Su última película, One, trata sobre la increíble devastación que sufrió su tierra natal, Puerto Rico, durante y después del huracán María.

La New York Film Academy habló con el Dr. Ariel Orama López sobre su película, y sobre su próximo proyecto, Ysla, su conexión más intensa con Puerto Rico, además de sus consejos para todos los alumnos de la NYFA:

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?

Dr. Ariel Orama López (AL): I am Dr. Ariel Orama López and AG Orloz is my artistic name. I have combined my formal studies in clinical psychology with additional training in film, literary creation, anatomy, media, paralegal studies and contemporary culture. Currently, I am a professor of psychology and acting, added to an extensive career of personal and professional achievements in different media and educational contexts, particularly as a writer, actor for commercials, television series and voiceovers, principal actor of independent movies and certified coach for artists. I have been an actor since 2001, professionally licensed, and started my duties as an independent film director in 2009. Recently, I was named as one of the Top Young Persons of Puerto Rico.

La New York Film Academy (NYFA): Para empezar, cuéntanos un poco más sobre ti. ¿De dónde vienes, y qué te llevó a la New York Film Academy?

Dr. Ariel Orama López (AL): Soy el doctor Ariel Orama López y AG Orloz es mi nombre artístico: he combinado mis estudios formales en psicología clínica con formaciones adicionales en cine, creación literaria, medios, estudios paralegales y cultura contemporánea. Actualmente, soy profesor de psicología y actuación, sumado a una trayectoria de logros personales y profesionales en distintos medios del país y espacios educativos, en las facetas de escritor, actor para comerciales, series, “voice-overs”, protagonista de proyectos independientes y coach certificado para artistas. Ejerzo como actor desde el 2001, con licencia profesional y comencé mis funciones como director de cine independiente en el 2009. Recientemente, recibí uno de los Premios Juventud de Puerto Rico.

NYFA: Can you tell us about your film One?

AL: One is an experimental Puerto Rican short film with a surrealist tone that represents the strong voice of the thousands of lives lost and the battles won after the ravages of the historic Hurricane Category 5 Maria. Recently, the project celebrated its first year with a continental tour, and has already earned 36 international laurels, two special invitations (Los Angeles and Spain) and 10 international prizes. It is in the process of eligibility for the Oscars, after an invitation to participate in a collective of short films that will be exhibited in Los Angeles in a Premiére block: One is the only Puerto Rican film in the collective, a great reason for celebration for all the Island. One has been praised and awarded in distinguished contexts of the world. The news of its eligibility process at the Oscars has been reviewed in different news media of the country, two years after the arrival of the Hurricane and in full analysis of the weather changes that are projected, worldwide.

NYFA: ¿Nos puedes contar más sobre tu película, “One”?

AL: One es un cortometraje puertorriqueño experimental con un tono surrealista que representa la voz contundente de las miles de vidas perdidas y las batallas ganadas luego de los estragos del histórico huracán Categoría 5 María. Recientemente, el proyecto cumplió su primer año con un recorrido continental, ya, con 36 laureles internacionales, dos invitaciones especiales (Los Ángeles y España) y 10 premios del Mundo. Se encuentra en su proceso de elegibilidad para los Oscars, luego de una invitación a participar de un colectivo de cortometrajes que se expondrán en Los Ángeles en un bloque Premiére: One es el único proyecto de Puerto Rico en el colectivo, motivo de gran celebración para toda la Isla. Ha sido elogiado y galardonado en contextos distinguidos del Mundo. La noticia de su proceso de elegibilidad ha sido reseñada en distintos medios impresos y noticiosos del país, ya en la fecha de los dos años de la llegada del Huracán y en pleno análisis de los cambios climatológicos que se proyectan, a nivel Mundial.

NYFA: What inspired you to make One?

AL: I experienced the ravages of Hurricane Maria closely: I live in the Eastern zone of Puerto Rico, the most devastated, so I could closely experience the collective and individual needs of Puerto Ricans. As a media writer, I distinguished the efforts of artists like Lin-Manuel Miranda, whom I had the privilege of meeting recently: he received my published book on neuroscience and creativity and I have the opportunity of briefly telling him about my next project, my first complete film called Ysla. The biggest inspiration for One? The thousands of lives lost and, above all, the first person who died probably east, near the ocean and in a heartbreaking way: there was born the character of One.

NYFA: ¿Qué te inspiró a crear “One”?

AL: Viví los estragos del huracán María de cerca: resido en la zona Este de Puerto Rico, la más devastada, por lo cual, pude experimentar de cerca las necesidades colectivas e individuales de los puertorriqueños. Como escritor de medios, distinguí los esfuerzos de artistas como Lin-Manuel Miranda, a quien tuve el privilegio de conocer, regalarle mi libro sobre neurociencia y creatividad y platicarle brevemente de mi próximo proyecto, mi filme Ysla. ¿La mayor inspiración para One? Las miles de vidas que perdieron su vida y, sobre todo, la primera persona que murió que, en teoría, hipotetizo que fue en la zona este, cercano al océano y de una forma desgarradora: allí nació el personaje de One.

NYFA: What was it like filming One?

AL: One is a project with an intensity aura and bright in images. One year after Maria, in our Eastern coastal areas, the ravages still perpetuated, visible in ocean waters and vegetation. Within all this revitalization process, the sargassum emanated a golden color when exposed to the sun: it was there that I thought that, in so much darkness, our surroundings always shone, despite all that has happened. Just at that moment, the mass media began to present the reality of the thousands of lives lost on the Island; I did not hesitate a second to create the story, become a spokesperson for this overwhelming message worldwide and join forces with actors and singers from the Island recognized in the international scope, combined with new blood on acting and producing.

It is important to point out that I direct and star in my stories: it is a double challenge. Thank God, all the independent films in which I have worked in both roles have been awarded and recognized worldwide. I find it very difficult to define my line of protagonist and director: my commitment is complete, in both roles. And so it has been evidenced by all the beautiful acknowledgment we have received.

NYFA: ¿Cómo fue para ti grabar “One”?

AL: One es un proyecto con un aura de intensidad. A un año de María, en nuestras zonas costeras del Este aún se perpetuaban los estragos, visible operacionalmente en las aguas del océano y en la vegetación. Me llamó la atención que, dentro de todo ese proceso de revitalización, el color del sargazo emanaba un color dorado al exponerse al sol: fue allí donde pensé que, dentro de tanta oscuridad, siempre brillaba nuestro entorno, pese a todo lo vivido. Justo en ese instante, los medios masivos comenzaron a presentar la realidad de las miles de vidas perdidas en la Isla: no dudé un segundo en crear la historia, convertirme en portavoz de este mensaje contundente a nivel mundial y aunar esfuerzos con actores y cantantes de la Isla reconocidos en el ámbito internacional, sumado con sangre nueva en actuación y producción. Es importante precisar que yo dirijo y protagonizo mis historias: es un doble reto. Gracias a Dios, todos los filmes en los que he fungido en ambos roles han sido galardonados y reconocidos a nivel mundial. Me resulta muy difícil definir mi línea de protagonista y director: mi compromiso es cabal, en ambos roles. Y así ha sido evidenciado.

NYFA: What other projects are you working on or do you plan to work on?

AL: I am in the postproduction phase of a movie titled Ysla (Ysland) (2020). The film aims to present the stories of a current Puerto Rican in his look towards 2020. It is a collaboration of Puerto Rico, the United States, Colombia, and Spain that takes the Christmas season as its starting point. It is a project of great conceptual aesthetics, musicality, poetry and national sense, without ignoring our universality.

NYFA: ¿Tienes otros proyectos en los que has estado trabajando o que estás preparando?

AL: En estos momentos, me encuentro en la fase de postproducción de la película completa titulada Isla (Ysland) (2020). El filme pretende presentar las historias del puertorriqueño actual en su mirada hacia el 2020. Es una colaboración de Puerto Rico, Estados Unidos, Colombia y España que toma como partida la temporada de la Navidad. Es un proyecto de gran estética conceptual, musicalidad, poesía y sentido patrio, sin ignorar nuestra universalidad.

NYFA: What did you learn at NYFA that you applied directly to your work on One, or your work in general?

AL: I remember my experiences in NYFA with great enthusiasm. The opportunity to create short films on the Universal Studios backlot in Los Angeles and the learning acquired to work the acting process for cinema, from the verisimilitude and the internal search, were fundamental to create, through the direction and starring roles. Thank God, I already have more than 60 laurels in my career—and have worked on more than 200 creative projects—adding to awards in acting, production, direction, composition, and script. Being Puerto Rican, in times of political transition to situations that had such a worldwide impact and after a such predominant devastation with a Category 5 hurricane, is a heroic event.

Guillermo del Toro and Alfonso Cuarón inspire me; the ability to love his homeland enough to develop a project as wonderful as Roma (Cuarón), with such aesthetics and love for its roots is admirable—Mexico has always been close to my heart. I had the opportunity to share physical space with immigrants friends and they were the first ones who supported me while I was traveling through the streets of Los Angeles, on my way to NYFA, inspired by faith and a precise dream: to be part of the history of cinema in Puerto Rico, from a nontraditional perspective and with a different prism. I feel that I have already done it and I thank God for it.

NYFA: De todo lo que aprendiste en NYFA ¿Que ha sido lo que más te ha ayudado creando One, o en tu trabajo en general?

AL: Recuerdo mis experiencias en NYFA con sumo entusiasmo. La oportunidad de crear cortometrajes en los estudios universales y el aprendizaje adquirido para trabajar el proceso actoral para cine, desde la verosimilitud y la búsqueda interior, fueron fundamentales para crear, a través de la dirección y la actuación principal. Gracias a Dios, ya poseo más de 50 laureles en mi trayectoria -con más de 200 proyectos creativos-, sumado a premios en actuación principal, producción, dirección, composición y guion: ser puertorriqueño, en tiempos de transición política ante situaciones que tuvieron tanta repercusión a nivel mundial y luego de una devastación tan predominante, luego de un huracán tan impresionante, es un hecho heroico.

Guillermo del Toro y Alfonso Cuarón me inspiran: la capacidad de amar a su patria para gestar un proyecto tan maravilloso como Roma (Cuarón), con tanta estética y amor a sus raíces es admirable: México siempre ha estado cercano a mi corazón: tuve la oportunidad de compartir espacio físico con amigos inmigrantes y ellos fueron los primeros que me apoyaron mientras transitaba por las calles de Los Ángeles, de camino a NYFA, inspirado por la fe y un sueño preciso: ser parte de la historia del cine en Puerto Rico, desde la mirada no tradicional y con un prisma diferente. Siento que ya lo he logrado y le agradezco a Dios por ello.

NYFA: What advice would you give to students just starting out at NYFA?

AL: For students who start at NYFA—enjoy the process, every moment. Be open to work with colleagues from different parts of the world. May they open themselves to the experience of converting their art into their mission of life and that they understand the immeasurable value of the seventh art as a vehicle for healing. As a powerful tool to create new paradigms. As an ingenious space to realize dreams and great purposes. As a great alternative to understand the environment and to create new horizons. As a free and eternal space to dream an immense universe and an optimal world.

NYFA: ¿Qué consejo le darías a los estudiantes que acaban de comenzar sus estudios en NYFA?

AL: A los estudiantes que inician en NYFA, disfruten del proceso, en cada instante. Que estén abiertos a trabajar con colegas de distintas partes del Mundo. Que se abran a la experiencia de convertir su arte en su misión de vida y que entiendan el valor inconmensurable del séptimo arte como vehículo para sanar. Como una herramienta poderosa para crear nuevos paradigmas. Como un espacio ingenioso para materializar sueños y grandes propósitos. Como una gran alternativa para entender el entorno y para crear nuevos horizontes. Como un espacio libre y eterno para soñar un Universo inmenso y un Mundo óptimo.

NYFA: Anything I missed you’d like to speak on?

AL: Thank you very much for always appreciating my experiences in fine arts: tons of blessings for my colleagues and friends from my alma Mater, NYFA. And let’s pray for the Oscars nomination for Puerto Rico!

NYFA: ¿Hay algo más que te gustaría comentar?

AL: Muchísimas gracias por siempre apreciar mis experiencias en las bellas artes. Muchísimas bendiciones para todos mis colegas y amigos de mi Alma Mater, NYFA. ¡Y recemos por la nominación para el Óscar para Puerto Rico!

New York Film Academy thanks Acting for Film alum Dr. Ariel Orama López for taking the time to speak with us and encourages everyone to check out his socially and culturally important work!

La New York Film Academy agradece al alumno de ‘Actuación para Cine’ Dr. Ariel Orama López por su colaboración y por su tiempo contestando nuestra preguntas, y anima a todos nuestros lectores a revisar su trabajo, que es muy muy importante a nivel social y cultural.

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7 Must-See Films of Pedro Almodóvar

Posted on October 4, 2019 by nyfa

Whenever anyone talks about Spanish cinema, it’s impossible to ignore the achievements of Pedro Almodóvar, one of the most internationally successful Spanish filmmakers of all time. Born in 1949, Almodóvar has won countless awards for his work, including two Oscars, five BAFTAs, six European Film Awards, two Golden Globes, nine Goya Awards, and four prizes at the Cannes Film Festival, as well as the French Legion of Honour and the Gold Medal of Merit in the Fine Arts from the Spanish Ministry of Culture. Recently, he was awarded with an Honorary Golden Lion at the 76th Venice International Film Festival.

Barely 18 years old, Almodóvar moved from his rural hometown to Madrid to pursue his passion for filmmaking, and worked several jobs to support his art. Interested in experimental film and theatre, Almodóvar became a key figure in La Movida Madrileña (the Madrilenian Movement), a cultural renaissance that followed the death of Spanish dictator Francisco Franco.

Here is a look at some of the most important films of Almodóvar’s decades-spanning, award-winning, groundbreaking career as a director:

Women on the Verge of a Nervous Breakdown (1988)

Pepi, Luci, Bom was Almodóvar’s first feature as a director, but it was 1988’s Women on the Verge of a Nervous Breakdown that launched him into the cinematic pantheon. The dark dramedy starred Carmen Maura and was an early breakout role for Antonio Banderas, who has remained a collaborator with Almodóvar to this day. The film, about a woman who is abandoned by her married boyfriend, was nominated for the 1988 Academy Award for Best Foreign Language Film and won five Goya Awards.

All About My Mother (1999)

In the eleven years between Women on the Verge of a Nervous Breakdown and 1999’s All About My Mother, Almodóvar continued to make films that were critical and commercial hits, including Tie Me Up! Tie Me Down! (1990), High Heels (1991), and The Flower of My Secret (1993). All About My Mother is his best known film from the 1990s however, and opened the 1999 Cannes Film Festival, where Almodóvar won Best Director. The awards kept coming for the film, which explored themes of sisterhood and family, and earned Almodóvar his first Oscar for Best Foreign Language Film, as well as a Golden Globe, two BAFTAs, and six Goya Awards.

Talk to Her (2002)

Talk to Her received nearly universal critical acclaim when it was released, employing unconventional cinematic techniques for mainstream films like modern dance and silent filmmaking. The film tells the story of two men who bond while taking care of a comatose woman they both love. Almodóvar won an Academy Award for Best Screenplay and was nominated for Best Director, cementing his status as not just an internationally respected filmmaker but one of the best in the industry.

Bad Education (2004)

Starring Gael García Bernal and Fele Martínez, Bad Education was a drama about child sexual abuse and mixed identities, and employs unconventional storytelling structure in its screenplay. The film opened at the 57th Cannes Film Festival and, among other awards, won the GLAAD Media Award for Outstanding Film – Limited Release, in part for its deft portrayal of transsexuality.

Volver (2006)

Volver was a very personal film for Almodóvar, who used elements from his own childhood to craft a story about three generations of women as they deal with sexual abuse, grief, secrets, and death. The film was anchored by a powerful performance by Penélope Cruz, who earned an Academy Award nomination for Best Actress, the first Spanish actress to do so in that category.

The Skin I Live In (2011)

The Skin I Live In was Almodóvar’s first foray into psychological horror, and is loosely based on a French novel by Thierry Jonquet. The film stars Antonio Banderas as a plastic surgeon haunted by tragedy who is obsessed with creating burn-proof skin, and ends up keeping a prisoner in his mansion to achieve this. The film reunited Banderas with Almodóvar for the first time since Women on the Verge of a Nervous Breakdown and employs a variety of cinematographic and editing techniques inspired by genre filmmakers like Alfred Hitchcock, Dario Argento, Lucio Fulci, and David Cronenberg.

Pain and Glory (2019)

Almodóvar’s latest film was released earlier this year and debuted at the 2019 Cannes Film Festival, where it competed for the Palme d’Or. Pain and Glory tells the story of a film director whose career has peaked, and again stars Antonio Banderas, who won the Best Actor award at Cannes for his work. The film was unsurprisingly a critical hit, and became the highest-grossing Spanish film of the year.

What’s your favorite Pedro Almodóvar film? Let us know in the comments or @ us on your favorite social media platform!

New York Film Academy (NYFA) Acting for Film Alum Ludovic Coutaud is a ‘Lunatic Clown’ 

Posted on September 27, 2019November 16, 2022 by nyfa

French actor Ludovic Coutaud knew within minutes of stepping into New York Film Academy (NYFA) that he was destined to study acting at the school. He did just that, and now the Acting for Film alum is back in Marseille, France, and writing, producing, and starring in the unique abstract series showcasing the art of clowning, Lunatic Clown in Colors.

The multi-talented actor is also a writer for New York Film Academy’s Student Resources page, and is currently at work on another season for his webseries. New York Film Academy spoke with Acting for Film alum Ludovic Coutaud about his time at NYFA, the art of clowning, and what advice he has for current and future acting students of New York Film Academy:

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?

Ludovic Coutaud (LC): Hello there! I am from the land of cheeses, I mean France, the south in Marseille. I visited New York with my parents during the tough winter of 2010 and never had in mind to come live here. I remember we were walking past the former main campus in Union Square; we entered the building and right away the welcome was wonderful! We went upstairs and met with the Director of Admissions. After a few minutes, I already felt absolutely right at home.

The same evening we returned to our rented apartment and I recalled having one of the most relaxed sleep of my life, already dreaming of applying to the school. When I landed back in Marseille, still in contact with the staff, I started the application to join the Acting for Film program in March 2011.

NYFA: Can you tell us about your webseries Lunatic Clown in Colors?

LC: Of course! It is an original abstract show, filmed in Marseille and showcasing all the unique colors the company represent. Indeed, I value expressions, eccentricity, and folly—all through vibrant colors. Each episode of Season One introduces a spontaneous and yet structured Lunatic Clown in a real location. It is for all, and a way to escape into other codes of communication and through physicality. The mission is to “transport the audience in an imaginary box”—hear their thoughts and minds.

https://www.instagram.com/p/BsncIPfBl9Q/?utm_source=ig_web_copy_link

NYFA: What inspired you to make Lunatic Clown in Colors?

LC: My crazy mind, like my friends say. I would say the audiences in general, and their feedback maybe, who felt particularly interested in knowing more about these likable clowns. When I returned to France, I wanted to keep creating in a new medium, involve the style and work with all that I learned at NYFA mixing other works—my own technique in this brand new show. When I did finish the first episode, I remember thinking of my very first Acting for Film class and the fun we had. Clowning is a very loud, active, misunderstood art but it is absolutely narrowed down like any other through film.

NYFA: What are your plans for Lunatic Clown?

LC: I am currently filming Season Two with the same crew and some new members. This time I intend to release nine episodes. I also have the Lunatic Clown Classes that I will teach in partnership with one company in Marseille starting September, and privately as well. The Lunatic Clown travels, always, and five new cities are set for release on social media, starting with Brussels, then Lisbon, a passage in Madrid, then Moscow and St. Petersburg for their own series. Each city has their own hashtags and can be seen daily on Instagram.

NYFA: You write, act, and produce this webseries. Do you have a preference for any particular discipline? If so, why?

LC: I honestly love the struggle—each discipline represents a great challenge. I say ‘struggle’ because I do all of it myself and it can be hard at times… or a lonely ride. Nonetheless, I never get bored and always can bounce back with a new hat.

Creating a new show on paper is a small percentage of it, then comes the producing game that I like to call ‘team hunting’, gathering the ideal team for a special project. The clowning part is actually the most relaxed or the one that happens the least, which is funny when I think of it.

It is worth every moment when I put on the makeup—I know it is happening for real and with the people I love.

NYFA: What did you learn at NYFA that you applied directly to your work on Lunatic Clown, or your work in general?

LC: My love went directly for the Voice and Movement classes naturally, yet all the classes have in time helped me improve in front of the camera, including text analysis or even going ‘simple’. Like I said above, the different techniques that the faculty taught me for TV and film mainly had a strong impact in the making of Lunatic Clown in Colors.

After graduating, during my OPT and while on an artist visa, I had the chance to experiment, work, try, fail, and find my stamp onto the artistic world. NYFA embraced my energetic Frenchness and was very open to see where it was going throughout the program. I will never, ever forget the memorable human creative voyage NYFA was for me. Hooray Acting for Film March 2011 Section B!

NYFA: What advice would you give to students just starting out at NYFA?

LC: Make the most of it! Listen to everything everyone tells you, especially the teachers. They are there for a reason and have done it themselves.

Go audition for every possible student film, even if they are very short or unpaid. The program is there for you to practice while your acting muscle grows. Your craft will never be perfect but it will be sharp if you keep learning. Go listen to the Q&As even if you don’t know the panel and the person—every department is very important in the making of a project and you need to be aware of it.

Be on time and finally have fun in class. After all, it is acting!

NYFA: What other projects are you working on or do you plan to work on?

LC: I also write in French for the Londres Mag, a magazine for the French community in London, and I am part of the creative team for the production company Vuelven en Vida, based in Merida (Mexico). By the way, they did experience the Lunatic Clown technique too! I also teach English and self-development classes as well. All my work and contact info can be found on this fresh and vibrant website: http://ludoviccoutaud.com/

I also keep in touch with all my New York City contacts, theatre companies for future theatre productions, and workshops involving clowning. I plan on developing the clown with Season Two and Season Three. There are endless beautiful simple stories to tell and I aim to produce as much for now. Three seasons seems enough content to broadcast the work abroad.

https://www.instagram.com/p/BmqRlzGBVWb/?utm_source=ig_web_copy_link

NYFA: Anything I missed you’d like to speak on?

LC: I look forward to introduce Lunatic Clown to New York Film Academy one day, that would be such a delightful moment for me! Thank you NYFA and enjoy Lunatic Clown in Colors on YouTube! Find me on all other social medias and remember clowns aren’t just serial killers or freaky folks or work in a circus—they also have a heart full of love!

New York Film Academy thanks Acting for Film alum Ludovic Coutaud and encourages everyone to check out his YouTube webseries Lunatic Clown in Colors!