Page 50 – NYFA

69th Annual Emmy Awards Drama Nominees Worth Mentioning

Posted on September 15, 2017March 22, 2024 by nyfa

“Veep” actress Anna Chlumsky, “S.W.A.T” actor Shemar Moore, and Television Academy CEO Hayma Washington announced the 2017 Emmy Awards nominees were announced at the Television Academy’s Wolf Theatre at the Saban Media Center in North Hollywood in July. The 69th Annual Emmy Awards will take place Sept. 17 live from the Microsoft Theater in Los Angeles, starting at 5:30 p.m. PST.

Compared to previous years, the 2017 Emmy ballot is bigger due to the growing number of television series. Drama dominated the ballot this year. There were 180 submissions for drama series, 140 submissions for best actor in a drama series, and 113 submissions for best actress in a drama series.

We’ve highlighted some of the actors, actress, and drama series we feel are worth mentioning below.

Drama

“The Crown” (Netflix)

Netflix captivated its audience with the period piece, “The Crown,” which focused on the private life of Queen Elizabeth II and Prince Philip, Duke of Edinburgh. Actress Claire Foy portrays the queen, and the drama did so well that Netflix has renewed the show for a second season. “The Crown” received nominations for outstanding drama series, outstanding lead actress in a drama series (Claire Foy), and outstanding supporting actor in a drama series (John Lithgow).

“This Is Us” (NBC)

NBC’s “This Is Us” was the highest rated new series in fall 2016 among adults under 50 years old. The show focuses on a young couple that loses a triplet during childbirth, and adopts an African-American baby after he was abandoned at a fire station. It also focuses on the lives of the three children and their everyday struggles in present time.

“This Is Us” has received three Golden Globe nominations, the network has renewed the show for two additional seasons, and the show has received several Emmy Awards nominations. The success of “This Is Us” can be linked to non-linear storytelling, which allows viewers to feel emotionally connected to the characters and storyline.

Drama: Actresses

Voila Davis (“How to Get Away with Murder”)

In 2015, Viola Davis made television history by becoming the first African-American woman to win an Emmy Award for outstanding actress in a drama series. During her speech, Davis said, “You cannot win an Emmy for roles that are simply not there.”

She has been nominated yet again for outstanding actress in a drama series for ABC’s “How to Get Away with Murder.” Will Davis be able to take home another Emmy for her role portraying criminal defense lawyer Annalise Keating?

Robin Wright (“House of Cards”)

Robin Wright has been nominated for outstanding lead actress in a drama series for Netflix’s “House of Cards” every year since 2013. Wright portrays Claire Underwood, the wife of House Majority Whip Francis Underwood. Wright has also been nominated as a producer on “House of Cards.” Will Wright be able to beat out newcomers like Claire Foy, Elisabeth Moss, and Evan Rachel Wood and finally secure an Emmy?

Drama: Actors

Sterling K. Brown (“This is Us”)

“This Is Us” actor Sterling K. Brown won an Emmy Award in 2016 for outstanding supporting actor in a limited series for his portrayal of Christopher Darden in FX’ “The People v. O.J. Simpson: American Crime Story.” Brown is hoping to take home the Emmy Award for outstanding lead actor in a drama series for his role of Randall Pearson. If Brown wins, he will be the first African-American male to win an Emmy this millennium; the last African-American male to secure an Emmy Award was Andre Braugher in 1998.

Anthony Hopkins (“Westworld”)

https://youtu.be/9a5BGKkK_h0

Anthony Hopkins is no stranger to Emmy Awards nominations. Hopkins won his first Emmy in 1976 for outstanding lead actor in a drama or comedy special where he portrayed Bruno Richard Hauptmann in “The Lindbergh Kidnapping Case.” This year, Hopkins has been nominated for outstanding lead actor in a drama series for his portrayal of Dr. Robert Ford in HBO’s “Westworld.” The new series focuses on a futuristic park with robotic people and allow rich vacationers to live out their fantasies through artificial consciousness.

Due to the show’s success, HBO renewed for a second season, which will start this fall.

Television Movie

“The Immortal Life of Henrietta Lacks”

The television movie, “The Immortal Life of Henrietta Lacks,” is based on the nonfiction book written by Rebecca Skloot. The book and the movie focus on the life of Henrietta Lacks – a poor African-American female tobacco farmer – whose cells were taken from her without her consent in 1951. Her cells were used in medicine to help develop a vaccine for polio, cloning, gene mapping, and in-vitro fertilization.

“The Immortal Life of Henrietta Lacks” focuses on ethics, race, medicine, and a history of dark experimentation on African-Americans.

What are some of your favorite Emmy Awards nominees? Let us know below! For a full list of nominees, visit the 69th Annual Emmy Awards website.

National Hispanic Heritage Month: Actors Influencing the World

Posted on September 15, 2017March 22, 2024 by nyfa

National Hispanic Heritage Month takes place from Sept. 15 to Oct. 15, and according to the official website is a time for “celebrating the histories, cultures and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean and Central and South America.” In celebration of National Hispanic Heritage Month, we have outlined three Latino or Hispanic actors who have done positive work for their communities outside of Hollywood.

First, a brief history of National Hispanic Heritage Month. In 1968, President Lyndon B. Johnson started the observation as Hispanic Heritage Week, and President Ronald Reagan expanded it in 1988 to cover a 30-day period.

Now, let’s join in the celebration of National Hispanic Heritage Month and get to know some incredible people making a positive impact on the entertainment industry:

Eva Longoria

You may remember Eva Longoria as Gabriel Solis, the sultry housewife on ABC’s “Desperate Housewives,” which aired from 2004-2012. The actress has won a Screen Actors Guild Award, an ALMA Award, and has been nominated for a Golden Globe.

However, Longoria is more than one of Hollywood’s hottest Latino actresses. Hollywood Reporter named her “Philanthropist of the Year,” and she was selected as an honoree for Variety’s “Power of Women Awards.”

When Longoria isn’t filming, she is working with one of her many charities. She founded “The Eva Longoria Foundation” in 2010, which helps Latinas build better futures for themselves through education and entrepreneurship. She is also a spokesperson for PADRES Contra El Cancer (Parents Against Cancer), a nonprofit committed to improving quality of life for Latino children with cancer and their families. She also co-founded “Eva’s Heroes,” a nonprofit dedicated to assisting those with developmental challenges.

Longoria is currently working with United Farm Workers, the Mexican American Legal Defense and Educational Fund, the Dolores Huerta Foundation, and the National Council of La Raza.

Dascha Polanco

In late 2016, Dascha Polanco, who you’ve seen as Dayanara on Netflix’s “Orange is the New Black,” was honored at the K.I.D.S/Fashion Delivers annual gala and The DREAM Project (Dominican Republic Education and Mentoring Project). Polanco helped The K.I.D.S./Fashion Delivers annual gala raise more than $1 million to help those affected by poverty and natural disasters.

Polanco is developing a theater and arts program for youth in the Dominican Republic, in collaboration with DREAM. For her contributions, the DREAM Project recognized Polanco as its “DREAMer of the Year.”

In an interview with Latina, Polanco said she did philanthropy work because it made her feel good: “This work enriches my soul. Some people think money and status are everything. Not me.”

Tony Gonzalez

Anthony David Gonzalez, who goes by Tony, is a former tight end for Kansas City Chiefs and the Atlanta Falcons. Since retiring from the NFL, Gonzalez has been a sports analyst on Fox’s NFL pre-game show. When Gonzalez wasn’t playing football, he appeared on television shows such as “One Tree Hill” and “NCIS.” In 2017, he appeared in Vin Diesel’s “XXX: Return of Xander Cage,” as Paul Donovan.

Gonzalez adopted Marty Postlethwait’s nonprofit Shadow Buddies, and made it a main program of the Tony Gonzalez Foundation after his rookie year with Kansas City Chiefs. The organization represents different conditions ranging from heart defects to cancer, and diabetes to burns.

According to the Shadow Buddies website, the foundation creates and distributes customized dolls to children struggling with serious health issues to send them a message of hope and support: “Crafted from muslin and carefully researched to represent a child’s medical or emotional condition, Shadow Buddies offer seriously ill or medically challenged children the companionship of a friend ‘just like me.’”

Recently, the Tony Gonzalez Foundation has expanded the Shadow Buddies program to include senior citizens, with dolls customized to reflect familiar issues related to heart, vision, and day surgery. These dolls are aimed to provide comfort and companionship to senior citizens. More than 5,000 dolls have been delivered to senior citizens since the start of the program.

Do you know a Latino or Hispanic actor or director that has made a positive difference or influence in their community? Let us know below!

How to Make the Most of a Part with Minimal Lines

Posted on August 28, 2017March 22, 2024 by nyfa

Every aspiring actor dreams of one day playing the lead roles. But whether you went through an excellent acting school or spontaneously gave it a shot, you’ll usually have to start at the bottom to reach the top. This means taking on small roles where, if you’re lucky, you’ll get to say some lines.

1. Remember that small parts are still important!

Before you even show up to an audition or start practicing your lines, it’s good to keep one thing fresh in your mind: every part matters. And whether you have one line or one thousand, it’s important to do your work and know your part inside and out.

You don’t have look far to find A-list stars who began with bit parts, knocked it out of the park, and slowly worked their way up to build a strong reputation as a professional artist. For example, Robin William and Tom Hanks, two of the best ever to grace our industry, played various minor roles (both of them on “Happy Days”) before making it big.

Even as a day player, delivering excellent craftsmanship and making a good impression on set is always an actor’s first and foremost priority. Remember, any role can lead to future roles.

2. Prepare for the role.

A big mistake many burgeoning actors make when given a “small” role is thinking it’ll be a piece of cake. Since they’re only reading one or two lines, they don’t take it as seriously as they should and fail to prepare. Whether you’re saying one line or many, a good actor always does the work to make sure their character has originality and depth.

Needless to say, you should definitely arrive to the job able to play your handful of lines without looking at the script.

3. Show up knowing you’re not the star.

It’s easy to get excited about any role, but remember that although you did all your homework and are completely wrapped up in your character’s backstory, you’re there to collaborate. You will be supporting the work of the entire crew and fellow performers, including the stars. So forget about impressing the director, or worse of all, ditching the script to say your own lines. The last thing you want to do is put your ego first: do a great job, know your work, and support the story. That’s the surest way to make a great impression, after all.

4. Don’t ruin an opportunity.

A minor role is a good way to sharpen up your skills and improve your own work ethic while showing you’ve got what it takes to create success in the industry. Small parts are a part of building a career, and it’s important to take them seriously. As actress Laura Cayouette, author of “Know Small Parts,” puts it: “One reason small parts are a big deal to me is that I make a living playing them.”

No matter how minor your role is, your work is an opportunity to not only strengthen your own professionalism, but to build relationships. Show gratitude for the opportunity by playing your role well, sure, but also by showing professionalism in how you handle yourself off-camera. This is your opportunity to build a reputation as being an actor everyone wants to work with. Don’t be the one slowing things down or giving the crew headaches.

5. Be present and connect.

Every actor approaches their work differently. Some will want to connect and chat in between takes, some will want to remain in their process. One of the best ways to connect with other characters in your scene is respecting your fellow actors when the camera isn’t rolling, whether that means carving out space for yourself to do your necessary preparation or whether that means breaking the ice socially.

Either way, it’s important to make an effort to be respectful and acknowledge not just your fellow actors, but everyone you interact with throughout the project’s process — from the casting director to the crew. Listen to instructions and incorporate new ideas or directions when requested. Note that people who get called for another role in the future may have not been the “best” actors — rather, they were more enjoyable to work with and showed they can have good chemistry with others, functioning well in the environment of the set.

6. Give it your all.

There’s a big difference between trying your best and, as we’ve already covered, overdoing it. Your work is not about your ego, so let those worries fade and focus on your craft. In fact, you’re less likely to get the part in the first place unless you truly commit during a reading and transform into the character. Even if it wasn’t the role you initially wanted, showing passion and enthusiasm both on and off the set can make a lasting impression and generate more gigs down the line.

What are your favorite tactics for developing your work in “small” roles? Let us know in the comments below! And study acting for film at the New York Film Academy.

Broadcast Journalists: Why You Should Spend a Year in NYC

Posted on August 25, 2017March 22, 2024 by nyfa

It’s fair to say that nothing is more exciting than being a broadcast journalist in New York City. Aspiring anchors, presenters and reporters from around the world flock to this capital of commerce, entertainment, and industry, seeking to make a mark and gain experience alongside broadcast giants.

Not only is the city bursting with millions of stories, but it is also the headquarters for an astounding concentration of leading new media and traditional news companies. If you’re wondering why New York City might be the right place to spend a year studying broadcast journalism, we’ve rounded up some great reasons:

News Happens Here

From Wall Street to Broadway, from the Bronx to Staten Island, the world pays attention to stories that center on events in New York City. For example, New York Film Academy Broadcast Journalism students Ljuba-Lada Marinovic and Kyle Morris were able to make it to the scene to cover breaking news regarding a tragic car accident in Times Square, shooting a story for European media giant RTL. New York City is the right place to be if you want to be where news breaks first.

Feeding Your Passion

Broadcast journalists, first and foremost, are storytellers — and that requires passion and craft. What better way to feed your passion for journalism than by living in New York, a major global city packed with thriving culture, diversity, incredible art, amazing food, awe-inspiring landmarks, jaw-dropping skylines, and enough sizzling energy to inspire you and your work for the rest of your life?

Industry Connections

As Forbes notes, most national media outlets are centered in only a handful of major cities, and New York is at the top of the list! Here, aspiring journalists are in the heart of the world’s leading new media companies, such as theSkimm, Group Nine Media, SheKnows, Gimlet Media, Refinery29, Mic, NewsWhip, and News Deeply.

And, if you want to go the more tradition route, there’s ABC, Univision, CBS, MSNBC, Fox News, NBC, CNN, Telemundo, ESPN, MTV, and more.

From morning shows to late night news, from new media to The New York Times, the city provides an incredible opportunity for aspiring broadcast journalists to experience their industry at its zenith.

Learn from the Best

At the New York Film Academy, aspiring broadcasters learn from a faculty of working industry professionals who remain active in the field. And, in addition, NYFA students may have the opportunity to enjoy special master classes and workshops taught through our Guest Speaker series. Past broadcast journalism guests have included MSNBC primetime host Rachel Maddow, Emmy award-winning journalist Bob Dotson, and photojournalist Stanley Greene.

As a NYFA student you’ll talk with network Executive Producers, as well as top producers from digital news publishers, who visit NYFA to give our Broadcast Journalism students insightful “off-the-record” briefings. Students in the conservatory program get an exclusive “behind-the-scenes” tour of NBC News. Our instructors have local, national, even international production credits.

Community

New York City is a wonderful environment to not only pursue a new professional life, but also to be able to plug in with like-minded people who are passionate about shared interests besides your work. You’ll be able to meet and develop relationships with many of the best and brightest fellow broadcasters in the world; As one of the most diverse cities on the planet, New York offers burgeoning broadcast journalism students opportunities to grow and flourish not only in their professional pursuits, but also in their personal lives. Here, the world is at your fingertips.

Incredible Training Opportunities

Most of all, New York City itself offers aspiring journalists incredible opportunities to roll up their sleeves and get busy crafting content. At the New York Film Academy’s conservatory program, broadcast students are making their own stories hands-on from day one. You’ll learn from working industry professionals and get plenty of practice covering stories from every angle with some of the latest technology. Most importantly, you will find your own “editorial voice,” the qualities that make you stand out as unique.

Ready to start your journey as a broadcast journalist in New York City? Check out NYFA’s broadcast journalism programs.

A Quick Guide to Movie Production Incentives

Posted on August 25, 2017March 22, 2024 by nyfa

Sometimes movie producers are encouraged to film their projects in specific areas for reasons that go beyond the gorgeous scenery. To help stimulate economies and create jobs, many places across the globe tempt producers by offering them financial incentives to shoot within their respective territory. The Irish Film Commission, for example, offers a 32% tax credit on local Irish expenditures as long as the production company shoots there.

These incentives can make all the difference for a film with few resources. In fact, offering tax benefits to film producers here in the United States all started in the 1990s when many movie productions began moving their projects to Canada to reduce costs. In an effort to keep film and television production in the U.S., each state began implementing their own incentives to entice and attract productions.

Types of Movie Production Incentives (MPIs) in America

The following are the five main types of MPIs offered by states here in America. Please note that each state differs in terms of the requirements needed to qualify for the incentives:

Tax Credits

If a production company meets the minimum spending requirements, they are eligible for a tax credit for a portion of the income taxes they owe the state. This is similar to a cash rebate except the production company has to file a state tax return in order to obtain the funds. Companies can do more with less by earning back some of the money they used on local expenditures such as wages and production costs.

Cash Rebates

Many states bring in production companies by offering a cash rebate. The money received is usually a percentage of the company’s qualified expenses. The more the company spends on productions costs, labor, and other services, the more they get back.

Grants

Although uncommon, there are a few states that offer grants to production companies just for filming there. In 2016, the state of Montana provided $500,000 in grants to support the production of 11 films.

Sales Tax and Lodging Exemption

Not having to pay any sales tax on production costs is a huge plus for many production companies, which is why certain states offer sales tax exemptions. A number of of states also allow companies to not have to pay lodging taxes for all their guests— usually the requirement is that they stay for more than 30 days.

No Fee Locations

A small but valuable incentive some states offer is letting production companies film on state-owned property for free.

Proponents and Opposers of MPIs

Although offering MPIs sounds great, some argue that they actually have no (or a negative) effect on the state’s economy and are, thus, a waste of money. Below are the main arguments for those in favor of production incentives in the film industry and those who oppose them.

Pros: MPIs have a positive impact on local economies.

Since the filmmaking process can require a lot of laborers, services, and resources, having a big-budget movie produced in a certain area can have a positive effect on the local economy. This includes the creation of jobs, infrastructure, and small businesses along with the generation of tax revenue. States also enjoy the increased tourism that comes from people wanting to see where their favorite movies and TV shows were filmed.

To get an idea, consider that the average studio feature takes with them around 100 crew members and then employs another 100 locally. This means the company will spend millions of dollars on wages but also expenditures such as food, lodging, everyday sundry, etc. Local employees are also left with hands-on training by the traveling production crew, increasing the chance of local film production.

Cons: MPIs don’t actually improve the state’s economy in any way.

Some argue that film production incentives don’t actually help create jobs since they’re only temporary. Unless a state has a steady stream of productions, the jobs created by the film and television industry are short-term thus, leave specialized employees with no work once the production wraps.

People who oppose MPIs also point out that many states are overeager to offer incentives based on tailored reports of success from other states. In other words, states rely too much on perceived success in other states failing to properly assess how a major film production will affect their own economies.

A Q&A With NYFA Los Angeles Director of Admissions Ragga Thordarson

Posted on August 25, 2017March 22, 2024 by nyfa

New York Film Academy Los Angeles MFA Producing Alumna and Director of Admissions Ragga Thordarson was recently spotlighted in leading Icelandic publication Morgunblaðið for her impressive roster of accomplishments as a filmmaker, artist, and educator. Originally hailing from Iceland, Ragga has mastered many transitions: between nations, between careers, and between student and professional life in the film industry. Check out her inspiring insights, below.

NYFA: First, can you tell us a little bit about yourself and what brought you to the New York Film Academy?

RT: I am Icelandic-American, born in Reykjavik (Iceland´s capital) and raised in a small fishing town in Iceland called Stykkisholmur with a population of 1,000 people until I was almost nine. I then moved to the States and have lived extensively in both places.

I grew up in the San Francisco Bay Area and in the Los Angeles area (moved a lot). When I finally came to NYFA, I had been working in TV and radio in Iceland for several years (hosting several shows) and I had been thinking about going to graduate school for some time. I kept coming back to the idea that I wanted to go back to school. Although I had a career which involved a few years of broadcasting and producing and had made and directed one film (a documentary called “From Oakland to Iceland”), I wanted to learn more.

I was essentially a self-taught filmmaker and producer, and felt there were some elements missing from my film education. School was the answer for me in that regard. I also happen to love school and being a student, so college and graduate school have been some of the most rewarding times of my life.

NYFA: What was it like moving to the U.S. from Iceland?

RT: The immigrant experience definitely marked my life. I didn’t speak a word of English until I was nine years old. I remember being in a Montessori School classroom all of the sudden and not really understanding anything, but within three months I was speaking English pretty well. I also went from walking to school in Iceland in the dark in a snow suit covered from head to toe all by myself to wearing shorts and T-shirts in Berkeley, and being driven everywhere. We were more on our own in Iceland, there is a lot of freedom there for kids. Here everything was bigger and there were more moving parts; bigger cities, skyscrapers and freeways, more rules and regulations, more people! These are different worlds. It is great to be able to experience different cultures and then the interesting part is that when you grow into a bicultural individual you take parts of each and then that becomes the evolved version of you. Certain sensibilities are very Icelandic and others very American for me. Also, I don’t have an accent when I speak English, so often people assume I´m from here … but I grew up in a household speaking Icelandic and celebrating Icelandic customs. My brothers and I gravitated toward and had friends that were also from bicultural households, Iceland, Iran, Thailand, East Germany, Romania, Tanzania.

NYFA: Do you have a favorite NYFA moment from your time as a student? And now, a favorite NYFA moment as part of our staff?

RT: I had many such moments while studying at NYFA, most which involved me learning something new. Screenwriting classes are really where I found my producer voice as creative producing is my favorite kind.

My top favorite moment was likely when I finished my thesis, it was definitely thrilling, and when my $500-budget sketch “Carlos & Brandi,” that started as a class project, was featured on Funny or Die´s front page.

I also loved the pitch fests in the producing program. I met people there that I ended up working with later on, so the networking really started in school for me. Those were important moments that turned into relationships down the line.

As a staff member, I always enjoy the feedback from excited students that are coming into the programs. When I read pieces about countless former students that I remember running around campus that are out there doing well in the industry, that is always inspiring and makes me happy.

NYFA: What advice can you give to fellow NYFA students who are adjusting to life in the U.S.?

RT: I think being open-minded and a little bit outgoing, frankly, is important here. It is such a large, diverse market and environment (at least compared to Iceland). In order to create relationships and opportunities here I found just good-old taking initiative was the way to go. Also, seeking out like-minded people who are in the same adjustment phase or have similar goals. Building a little community around oneself is great, and school is the perfect place to start.

NYFA: What do you think is different about working in the arts in the U.S. in particular? What should international students do to prepare?

RT: There are differences both as far as content goes (some of the stuff in Iceland would probably be considered more “arthouse” vs. commercial, etc.) [and in the market size]. The U.S. market is so big and there are scores of people from all over the world trying for the same goals, so it´s hard work.

When possible, show up early, stay late, don´t complain, and be easy to work with. Always keep your word with or without what you consider having success, which rarely happens overnight. Focus on the craft, the art not just on the end goal. It´s easy to caught up in a game of comparisons, but I say focus on the work itself.

NYFA: You went back to study at NYFA after living a little life out in the workforce. What was your experience like going back to NYFA for continuing education to make a career shift? Why did you pick NYFA?

RT: The New York Film Academy had a philosophy that I connected with: the hands-on approach. The do-it-yourself Icelandic part of me definitely found that appealing. The thought of graduate school had been looming for a long time, as I felt I was missing some stuff being a self-taught filmmaker and I wanted more knowledge.

Also, I liked that the teachers are industry professionals, and they were truly the best part of my NYFA experience. I still see some of the producing, screenwriting and film instructors around that I connected with, and it really marked my time here. The instructors truly are phenomenal.

NYFA: What inspires you in your creative work? What kind of stories do you want to be a part of telling?

RT: I write and produce comedy when I am doing my own stuff and have done producing and consulting of various kinds of projects for others, or as a freelance producer. If I really look at the stuff I´ve made personally, most of it is a bit female-centric and in fact a lot of it is about my bi-cultural life experiences. The Scandinavian sarcasm and cynical humor is definitely visible in there too.

NFYA: What advice can you give to our students who, like you, are passionate about a profession in the filmmaking industry, while also juggling parenting?

RT: Before we have families, working up to 17-hour days at something is entirely possible and it is something I personally did for years. After kids, it’s all about balance. Having said that, some days are longer than others and obviously production by nature is time consuming. It´s about time management and truthfully perhaps some things you did before you simply won’t do unless you can make it work on multiple levels (appropriate assistance with childcare, etc.). I say write for your budget and according to time while in film school! I.e: Shooting minimal amounts of locations, etc. Anything to simplify production without compromising the material.

The New York Film Academy would like to thank Ragga for taking the time to share a bit of her story with the NYFA community. Ready to learn more about filmmaking? Check out our many programs at NYFA.

How to Pitch a Movie Idea

Posted on August 25, 2017March 22, 2024 by nyfa

Generating compelling movie ideas combines inspiration, observation, and imagination. It often starts by observing the world around you, exploring intriguing themes, or delving into personal experiences. Engaging with diverse genres, literature, and current events can spark unique concepts. Collaborating with others, brainstorming, and allowing yourself to ponder “what if” scenarios can lead to the birth of innovative and captivating movie ideas. The most powerful stories often emerge from the intersection of relatability, novelty, and a touch of unexpected brilliance. When you think of a great story, however, how do you pitch it?

How to Pitch a Movie Idea

A moving, persuasive pitch can be the difference between seeing your story idea come to life on the big screen or leaving it in your mind to be forgotten. Few industries are as competitive as film, meaning your movie pitch needs to stand out from the thousands of others. The following are many ways you can bring that pitch of yours as close to perfection as possible.

1. Use the power of emotion.

Just like every novel ever written or song ever recorded, the purpose of a film is to elicit emotion. People want to play games, watch movies, and read books that will make them feel something that they can’t or normally don’t feel as powerful in their own lives. Similarly, a successful story pitch is one where you give the listener a positive emotional experience by convincing them that your idea will either be a hit or something they’d enjoy watching. Instead of saying that you’re passionate about the project, let it show in the way you describe your story.

2. Show your personal connection with the film.

Sometimes, even the best ideas can fall flat if those at the helm of the project are driven only by money or fame. Film is arguably one of the most powerful storytelling mediums out there, and people made some of the most iconic films of all time with tremendous passion for the idea or emotion they wanted to share. In other words, a movie pitch is the perfect time to show your personal connection to the story and its themes. Make it clear why this story needs to be told and why you’re the filmmaker destined to help tell it.

3. Make it clear why your film is unique yet bound for success

While agents and offices do look out for film ideas that are creative and special, it’s not always enough. You have to make sure your unique pitch is also something that will most likely attract diverse groups of people and, thus, be a success. A good exercise to prepare you for this is to write down why your film is unique and a second list of reasons why your film would be a hit in today’s market.

4. Comparisons are OK, but don’t overdo it.

Many people are afraid to compare their film ideas to similar existing films for fear of sounding unoriginal. However, comparisons can be a powerful way of giving your listener a clearer image of what your movie is all about. The trick is not to overdo it or confuse your listener by saying your film is a mix of “The Fellowship of the Rings” and “Game of Thrones” without explaining how or why.

5. Avoid telling your whole story.

When pitching your idea to an office or agent, you’ll rarely get more than a few minutes of time. A common mistake is to waste most of your time by trying to tell your entire story as quickly as possible from start to finish. For one, trying to do so only leaves you with less time to convey why the idea is good. But more importantly, if your story can actually be told in as little as five minutes, then it’s probably not a great story. Do your best to give the important plot points and details without boring the listener while misusing your time.

6. When you think your pitch is done, forget it and return later.

A movie pitch isn’t something you prepare in one night. Just like Stephen King would put away a rough draft for weeks before rereading and improving it, you should step away from your pitch for a while to get it out of your head. Coming back to it with a fresh mind will help you trim off the unnecessary while improving the stronger points. There’s nothing wrong with rinsing and repeating this process until you feel satisfied.

7. Happy with your latest pitch? Now, record and practice it.

Recording your own pitch and listening to it is one of the best ways of figuring out what needs to go and what can be said better. It may seem awkward listening to yourself, but doing so will give you a good idea of how you’re presenting your idea. Do video recording if you’ll be pitching in person to make sure you have the right expressions and looks when convincing the listener to consider your project.

6 American Documentary Film Funding Programs to Consider

Posted on August 25, 2017March 22, 2024 by nyfa

Documentary films are generally far less expensive than fiction, but they do have a price tag.

Luckily, funding opportunities abound for the documentary filmmaker. Crowdfunding is especially successful for documentaries. And with a clear artistic vision, an articulate artist statement, and a team that you can call on when opportunity knocks, you may be in a good place to secure nonprofit or foundation funding. For some, you may need a fiscal sponsor, which is essentially any 501c3 organization that agrees to sponsor your project — there are also 501c3s with a specific mission to fiscally sponsor film funding. Often, it’s a great alternative to starting your own nonprofit, which allows you to seek grants and solicit tax-deductible donations under your sponsor’s exempt status.

As a general piece of advice, be patient and get organized! These programs can be tedious to apply to, with a lot of competition. Funders don’t just hand over money to anyone with a good idea. We all have one! Each application takes time and precision, but the payoff can be significant.

Many countries have funding set aside for film. And some of the American funders are open to a production from any country!

So take out your calendar and start thinking about which materials you need to compile, in order to meet program requirements and deadlines.

Get your story told!

ITVS Open Call

Independent Television Station (ITVS) is one of the biggest players when it comes to funding documentaries, but applicants take note: this is not a grant. ITVS acts as a co-producer, investing in your film and providing creative development, feedback, and in some cases, the publicity and marketing needed to help get your film seen. They’ll also work on your behalf with public television programmers to get your film programmed on their networks.

To date, ITVS has funded 533 films, with each one receiving an award of $150,000 to $350,000. Many have aired on PBS series like Independent Lens, POV, American Masters and Frontline.

With the next deadline in February, this is one program that can certainly offer a great reward if you can take the time to complete the application, which generally, can take 1-2 weeks.

And if you don’t get accepted the first time, keep applying. Persistence rules the game!

(Check out the ITVS Diversity Development Fund and Digital Open Call while you’re there)

Jerome Foundation

Started in 1964 by artist and philanthropist Jerome Hill, The Jerome Foundation offers production grants, of up to $30,000 for emerging film, digital production and video directors who reside in NYC or Minnesota.

These grants support specific projects, and only production and post-production expenses (not pre-production, marketing or distribution costs) are supported. Deadline is August 24th.

BONUS

The Jerome Foundation also has a Travel and Study Grant Program which, for the 2018 cycle, will support emerging artists who create new work in dance, film/video/digital production, and literature. This program is meant to provide support to periods of domestic and/or international travel for study, exploration and growth.

So if you are still in the development stage, for example, where you are deciding which questions to ask in your documentary, who is best to answer them, and perhaps, how to give your story a definitive arc, this program may be well suited to helping fund this critical period. Eligible activities include preliminary research, the development of collaborations (whether artistic or organizational), taking part in specific non-academic training programs, time for reflection and individualized study, and field investigation.

Deadline is Thursday, December 7, 2017 at 4:30 pm Central/5:30 pm Eastern.

Catapult Film Fund

Catapult Film Fund offers grants for up to $20,000 each and requires both a written and online application. Meant to catapult filmmakers’ careers, funds are intended to help in the crucial next steps in the development of films, which include a first shoot and editing pieces for production fundraising. Once accepted, recipients also have access to an informal mentorship program with Catapult’s co-founders, particularly in areas that include story development, production process, fundraising and distribution strategy.

This is definitely one of those funding programs that will require you to have a fiscal sponsor, as Catapult will only make grants to 501(c)(3) organizations.

National Endowment for the Humanities

National Endowment for the Humanities (or NEH) offers a media production grant with an application deadline coming up on August 9th. Meant to support projects that engage general audiences in the humanities such as history, art history, film studies, literature, drama, religious studies, philosophy, or anthropology, grants help filmmakers inspire their audiences to explore the broader significance of pertinent issues. Projects can be short form or broadcast-length video.

Filmmakers with programs intended to encourage cross-cultural and international collaboration with scholars based in the U.S or abroad, can also receive support by working with an international media team. While partnerships should address broad cross-cultural perspectives on proposed topics, they should be geared primarily to a U.S. audience.

BONUS (again!)

NEH also offers a development grant for film projects with the same August 9th deadline. And while these are just two grant programs, NEH has an online database which allows you to search for a plethora of grant opportunities that may better suit your subject and the current stage of your project.

New York Foundation for the Arts

With a longstanding commitment to supporting artists from diverse cultural backgrounds at all stages of their professional careers, the New York Foundation for the Arts’ (also known as NYFA, just like us!) grant cycle is also one to look at. In 2017, NYFA awarded 92 grants to 95 awardees with 3 collaborations totaling an amount of $644,000.

NYFA Artist Fellowships, are awarded in fifteen different disciplines over a three-year period, with $7,000 cash awards made to NYS or NYC based artists for unrestricted use. While these fellowships are not project grants, they are meant to fund an artist’s vision or voice, regardless of the artist’s development level.

Notable alumni of the NYFA fellowship include Junot Diaz, Tony Kushner, Suzan Lori-Parks, and Spike Lee. Application period opens in fall 2017.

New York Foundation for the Arts also will act as a fiscal sponsor for selected projects.

Fledgling Fund

With an open rolling application process, Fledgling Fund offers grants to support outreach and engagement for documentary films that have the potential to inspire positive social change on some of the most critical social issues.

The filmmaker must complete an online application with a project description and its goals for social change. Generally, films must at least have a rough cut.

While grants typically range from $10K – $25K, Fledgling supports strategy building for outreach and engagement and can also be used for a project that is already complete and is ready for launch. Grants are NOT available to support production or post-production.

And they make it very clear: the film must in some way inspire, educate, and mobilize audiences to create positive social change. To apply, filmmakers must have a fiscal sponsor.

Earning funding for your documentary is only one of the challenges for filmmakers exploring the industry. At NYFA, we prepare students for these challenges and more with classes from training professionals. Visit the Documentary Filmmaking Programs page to learn more.

NYFA Celebrates Women's Equality Day

Posted on August 24, 2017March 22, 2024 by nyfa

Women’s Equality Day is a holiday to mark the day in 1920 in which the 19th amendment to the U.S. Constitution passed, granting women the right to vote. Today, while “feminism” is a word that many people have mixed opinions about, most can agree that equality for women and girls is an enormous, continuing human rights issue around the globe.

Globally, according to OXFAM’s New Zealand site:

60% of the world’s chronically hungry are women and girls.

Two-thirds of all children denied school are girls, and 75 per cent of the world’s 876 million illiterate adults are women

Women hold only 21 per cent of the world’s parliamentary seats, and only 8 percent of the world’s cabinet ministers are women.

Only 46 countries have met the UN target of 30 percent female decision-makers.

One in three women around the world are likely to be victims of gender-based violence in their lifetime.

While there has been a lot of progress towards gender equality worth celebrating since the U.S. passed the 19th amendment, there is still a very long way to go to achieve true gender equality — even in the United States. For example, as NYFA showed in our Gender Inequality Infographic, only 30.8% of speaking characters in film are women. And even outside of the entertainment industry, there is still a gender pay gap in the U.S., with women earning roughly 80% of men’s salaries.

Even in the face of this reality, the way many people view the movement for gender equality today is challenged by social stigmas and misconceptions. For example, the word “feminism” is often perceived as divisive. This is largely because the movement of feminism itself has changed a lot over the last century. In the 1960s, second wave feminism focused on a range of issues including reproductive rights, sexuality, and domestic violence. Today, third wave feminism focuses on the intersectionality of issues surrounding women’s equality, including race, culture, and gender identity.

Gender equality is not just a western movement anymore, it’s now a global movement. The idea of feminism today is that it’s a movement for all people, everywhere. Gender equality is human equality.

Let’s take a closer look at how gender equality intersects with the entertainment industry.

The Media, Diversity, & Social Change (MDSC) Initiative at USC Annenberg completed a study that focused on 1,365 content creators. The study found that 7.5 percent were female directors, 11.8 percent were female writers, 22 percent were female producers and less than one percent were female composers. The report concludes, “There has been no meaningful change in the percentage of girls and women on screen between 2007 and 2015.”

That’s not good news.

According to Dr. Stacy Smith, who led the study for MDSC Initiative, five films with female leads in 2015 were over 45 years old. But there were 26 movies in 2015 featuring leads or co-leads with males at least 45 years old.

Women of color are also at a great disadvantage in the entertainment industry. From 2007-2015, only three African-American women and one Asian woman directed films listed in the top 100 films. Overall, only 5.5 percent of 886 directors examined for the study were African-American, and only 2.8 percent were Asian or Asian American.

In the last few years UN Women has kicked off its gender equality campaign HeForShe. The campaign aims for a solidarity movement for gender equality. Men and boys can engage through a targeted platform to achieve gender equality. This new approach recognizes that men and boys can be partners for women’s rights, and how they will benefit from equality.

In addition, Harvard University has launched their own campaign, Side by Side, which aims to promote awareness and action against gender-based discrimination on campus.

The entertainment industry is slowly moving in the right direction. However, we all need to continue to fight for awareness and progress towards gender equality both within the entertainment industry, and the world.

Become a part of the change by learning to create your own films at the New York Film Academy.