New York Film Academy Reviews: New York City, Los Angeles and Miami

My experience at the NYFA was without a doubt one of the best things I have ever done for myself, for my spirit, for my artistic process and for my personal and professional development.

I only spent four weeks there and I am an entirely different woman as a result.

Picture this:

Picture perfect facilities, the Statue of Liberty in the distance and an amazing view, state-of-the-art equipment, people from all over the world in one building studying with you, every single teacher with credentials which, when mentioned, could easily be mistaken for name dropping -- but none of that is what really makes NYFA special.

For me, the best part about NYFA was the souls I encountered and the depth of the humans with whom I had the privilege of interacting. My experience was one of absolute respect and dignity.

Each and every teacher encouraged me to trust myself more, and I think this has something to do with the success that they have already experienced in their lives. There is something about people who have already experienced legitimate success in their careers -- they don't need to put you down in order to get a sense of significance. I think because they had already experienced professional fulfillment, their teaching process was free of the subconscious agendas I find many teachers in the arts have. I speak as an individual who has grown up in the arts and has been in the arts for 15 years.

No NYFA teacher ever motivated me through shame. I found myself doing things I had struggled with for years, just because my NYFA teachers had the necessary patience with me. I absolutely blossomed under their nurturing.

In improv class I was taught to listen to my own inner compass.
In Meisner I was taught to listen to others.
In dance I was taught to give myself the dignity of my process in getting to know my body.
In singing I learned to trust my own voice.
In lab classes I also learned to respond to my own inner stimuli.

Music teachers all gave me the comfort of knowing that, with enough patience, I am capable of understanding what I once thought of as a complex art; to trust that there is music inside of me, and that they would be willing to help me unlock it.

There's something indescribably beautiful and empowering about the culture of respect under which I found the New York Film Academy to operate.

Then there are the classmates. I know it may sound like a luxury to have global classmates, but picture this: You're sitting in music theory, and an Italian word like "Acapella" comes up. Your actual Italian friend from actual Italy who is sitting next to you says, "In my language that word means 'in the chapel,’ because acapella music was first sung at church," and then the music teacher responds and gives you all the historical data on that.

Now imagine how many of these little serendipitous moments you have every day, which add so much to your store of knowledge and such depth of calibre to your education in a way that few schools are able to provide on this globe. And I say that as someone who has lived on three continents.

Then there is just something about New York. In the arts at least, New York is where the best of the best go to refine themselves. When you are in New York you are swimming with the big fish and you have an unparalleled wealth of resources at your fingertips.

My short time at the New York Film Academy was worth every penny, every drop of sweat that went into getting there -- and then some. I would recommend a course at the New York Film Academy, at any of their campuses, to any individual who considers themselves serious about being a storyteller in any field. They source the best of the best, they give you their absolute best every day, and all they ask for in return is that you give your best. There is a culture of excellence coupled with a culture of respect. There is absolutely no way one can walk away from such an experience without being deeply enriched.

I can't begin to imagine what my life would be like if it hadn't been for that extraordinary school. I've grown so much as an actress and a person and gained knowledge that I will carry with me for the rest of my days.

Once again thank you to my dear friend, mentor and teacher David Vando; if it weren't for you and the opportunity you gave me I may not be on this road chasing such a beautiful dream.

I could not have fathomed how much I would gain from attending NYFA. I never thought that anyone beyond my classmates and family would see my final project, a 13-minute documentary called "The Triumvirate" (made in four days during my final week). But at the encouragement of Matt Arnold and Gordie Haakstad, I submitted it to a couple of film festivals. It received the runner-up audience award for Best Documentary at the Palm Springs International Festival of Short Films (selected out of 2300 entries, also being named to the top 20 Best of Fest), and went on to win Best Documentary at the Smogdance Film Festival.

After attending the screening of the film in Palm Springs, Andrew Crane from American Cinematheque approached me about including the film in his organization's annual celebration of women directors of short films (it screened with six other films at the Egyptian in December). Then the Cinema Society of San Diego approached me to have the film included in their annual Award Winning Shorts program (a one-time screening to 800 members). The films in both of those programs were half international, half American -- and each had a film that went on to win an Oscar (“Wasp,” which won for Best Short Narrative, and “Ryan,” which won for best short animated film). That my little NYFA film would be included in such company is a credit to the instruction and encouragement that I received from your staff.

The film is currently being used by organizations in New Jersey and Minnesota to help pass legislation to open records for adult adopters. In addition, a couple from San Diego are trying to help me get funds to be able to make a 35mm film transfer of the film (so it can be submitted for an Oscar next year). "The Triumvirate's" journey continues. I'll keep you posted.

None of this could have happened without NYFA. Saying thanks just doesn't cover it!

I attended NYFA and I have to say that it was the best experience I have ever had. Not only did it give me a chance to live in New York and meet many people, who I still keep in contact with, but it also opened many doors for my career.

After I finished my two-month course, I immediately went on to work on two feature films in NY! A film called “Fever,” directed by Alex Winter and starring Henry Thomas, and a film called “Other Voices,” directed by Dan McCormack and starring Mary McCormack and the brilliant Campbell Scott. If it hadn't been for NYFA, I would not have plucked up the courage to try and work on such big projects.

I came back to England about eight months after leaving NYFA and I have to say that the career I had in television before I went to NYFA has become stronger. I was an assistant producer for a major independent production company and one day when our director fell ill, my producer remembered that I had directed at NYFA. He asked me to direct a three-minute comedy sketch in the director's place, and using the knowledge I received from NYFA, I managed the task at hand. As a result of this "lucky break" I have been directing comedy shows for television ever since.

I am also producing and writing shows. At the moment I am working on a comedy documentary series, which I am directing and helping to write. In the New Year, I will be producing and directing a new comedy program. I am also currently working on a feature film; so all in all, life is pretty d*mn good for me at the moment.

I would like to thank all the staff at NYFA for their great support and knowledge. Especially Adam Stoner, a man who is definitely a giant among giants and without whom I would have nearly packed it all in. Also a big thanks to Geoffrey, in the edit room, for keeping me sane.

I'd like to take a moment, here at the end of my eight-week course, to compliment you on the excellent "boot camp" filmmaking workshop you've put together at the NYFA.

I feel my time at your school has been enormously helpful in getting me ready -- with additional preparation on my part -- to launch into the shooting of a full-length independent feature film, for which I've already written the script. In fact, my final film from school is a 12-min trial-run portion of this feature.

Your focus on having your students actually write and direct four films in the eight-week program is, in my opinion, a stroke of genius.

So to everyone, I'd like to say, "THANK YOU." I wish you all continuing success.

When I finished the 8-Week course, I came home with my 12-minute, 16mm film in my hands and sent it directly to the Venice Film Festival, where it had been accepted. The film then received one Jury Prize and one Audience Choice Award at the Capalbio Film Festival in Tuscany, after which it was invited to several festivals in Canada, Turkey, France, Germany, and Switzerland. It was then bought by television stations in Italy and in Switzerland.

People are still very surprised that I edited the short film myself, just with what I learned at NYFA. In fact, what was aggressively taught at NYFA helped me to be an editor for a documentary shot in Italy for the French-German TV channel Arte.

Subsequently, I have written a script that received funding from the Italian government. I can say that I still have clearly in mind the basics that I learned at NYFA to write, produce, direct, and edit. In no other way could I have learned this in Italy so well, and in so little time.

I have many fond memories at NYFA, but one of the things that I found so wonderful in my experience at the New York Film Academy’s MFA Directing program was the diversity of backgrounds that the students brought with them.

You had some that entered the program with experience in filmmaking but you also had some that didn’t. Among some of the people in my class were still photographers, a graphic designer, an architect, and even an agronomist!

There are great instructors to help you learn artistry and technique but it’s up to you to incorporate your own personal touch to develop a unique style of storytelling.

Coming from an acting background, I was able to help some of my classmates understand what it is that an actor needs from his/her director to achieve the ultimate performance. I, on the other hand, learned that the visual aspect of storytelling is just as significant.

It was an extraordinary learning experience and a beautiful collaboration amongst young filmmakers. One that I will strive to obtain again and again in my professional career!

It's been about seven years since I took the advanced course in filmmaking at NYFA. Since that time, my primary job has been a film editor, and I now have over 10 features and numerous shorts that I have edited. Many have played some of the world's premier festivals such as Sundance, Rotterdam, SXSW, Montreal, Berlin, and others. Currently, I have a film in national distribution that I both line-produced and edited, entitled American-Desi. It is playing in Manhattan at the Cinema Village and has made almost one million dollars since it was released one month ago.

A feature film that I wrote and directed called Neptune's Rocking Horse has played all over the world and received glowing reviews in Variety, ABC TV (San Francisco), and from Carrie Rickie of the Philadelphia Inquirer (among others). A short film I directed called “Ketosis” won the audience award for best comedy at the Edinburgh Short Film Festival.

I owe a great deal to NYFA. I was lucky to have a terrific (and small) group of students in my class. The fact that we each played several roles on each other's films is one key reason I became enthralled with all aspects of filmmaking, from sound to camera to editing. You may be interested to know that I am still very close to my fellow classmate, Renato Falcao. He was DP -- Director of Photography -- on many of the projects I have worked on -- including “Neptune” and “Ketosis” mentioned above!

NYFA taught me that editing is an important and powerful aspect of filmmaking. Far from being a mere button-pusher, I believe the editing process is one of reinvention. I enjoy working with the pace of a film, experimenting with rhythm, problem solving, scene juggling, tightening moments, expanding moments, and basically getting to the true essence of the film. I thoroughly enjoy working with directors who have the same open mind.

In a recent interview for a Peruvian film website (filmsperu.com), award-winning television advertising director, Milovan Radovic, talked about the impact the New York Film Academy has had on his career:

"When I was younger, learning filmmaking was a problem and no one could tell me what I needed to do in order to become a film director. It was as if you needed to be chosen by God to be behind the camera. One night, 10 years ago, as I was walking in my university campus trying desperately to solve this major issue, I came across a flyer that literally said: 'Learn Filmmaking at the New York Film Academy.' I do not believe in miracles, but in order to cast any doubt, I packed my bags and went to New York.

I do not know who had the brilliant idea of creating such a school, but I am more than thankful. My experience at the New York Film Academy changed my life in ways that, up to this day, I am still discovering."

I just wanted to once again thank the New York Film Academy for helping me launch my career. Three months after graduating the one-year program at Los Angeles, I became a producer for Adelphia and Time Warner Cable. For the past two years I have contracted my fellow NYFA classmates for various paying crew positions. I have over 100+ commercials under my belt and I have my choice at any production job I want.

NYFA gave me the confidence I needed to pursue a career in television. Just last week I was offered a producer position for KRCG13 (CBS affiliate) in Columbia, Missouri. The job offer was simply irresistible and I couldn’t refuse the money.

I highly recommend the 1-Year Filmmaking program at Los Angeles. I graduated a year early from high school to attend the program.

By the way, did I mention that I was only 20 years old?

I kept with my faith, pushed harder and was accepted into the New York International Film Festival where my film “Emulsion” was screened twice throughout the week to packed theaters. There were roughly 150 films being screened at this event. Then, I was hit with bigger news that my film was selected into the Cannes Film Festival. This is exactly the type of market I need to be looking at my film. I'm pretty excited. Who knows, maybe something will happen! None of this would be possible without your incredible school.

It's been a beautiful summer here in Denmark. Right now, I'm working as a freelancer for the United International Pictures Denmark, in their publicity department. So far, I've been a part of movies such as "Gladiator," "Shrek," "Lara Croft: Tomb Raider," "MI:2," "The Fast and the Furious," "Traffic," "The Mummy Returns," "Cast Away," and others; but that's not all. I've had the pleasure of being a part of the crew for the new Thomas Vintererg film, "It's All About Love," starring Joaquin Phoenix and Claire Danes.

I am sending you to let you know what I've been up to since I went back home to Paris, France. I went back to school to study executive production and script writing. I started to work on different short films as an executive producer and director's assistant.

I am now working for a film production company for television and theater as, what you would call in the U.S., a script doctor and art director. I'm now also working in production for two short films, including one that I will direct. I would like to thank all of my instructors, and of course, Jerry, for all the support they gave me while I was in school.

About two weeks after my time at NYFA, I was immediately employed as an editor at The Image Bank, the largest stock footage company in the world and a wholly owned subsidiary of the Eastman Kodak Company. They represent over 350 cinematographers, have 75 offices in 31 countries around the world, and license footage to features, commercials, music videos, etc.

After three years of editing, winning the Gold Medal at the New York Festivals, and becoming manager of The Image Bank's film department, I decided to make the change to cinematography. I signed a five year contract and began to produce, direct, and shoot 35mm productions for The Image Bank. Since then, my footage has appeared on MTV, NFL Films, A&E, Fox Sports, as well as in various commercials and promotional material.

Within the last three years, I have had the great experience of becoming a DP on several features such as "Chez Risque" and "Nebbish," as well as various shorts, commercials, and documentaries. I have recently been chosen to DP James Ronald Whitney's next project. This director won the Vancouver Film Festival for Best Documentary, and an Independent Spirit Award. His last films appeared on HBO.

I'd like to applaud The New York Film Academy for their continuing efforts to involve their alumni in the changes, growth, and success of the school. My time there was filled with learning, hard work, and excitement … all while being surrounded by those whose love of film rivaled my own.

The course at NYFA kick-started me into understanding some of the vernacular necessary to embark on a journey as a filmmaker. Filmmaking is the most humbling feeling anyone could experience -- partly because one quickly discovers one's fallibility, but more importantly because making a film is a group activity which benefits from input from all members of the group.

When I returned to the UK, I wrote a short based on my film at the Academy and won a competition at the BBC.

Nine weeks ago I didn't know an f-stop from a backstop, and five days ago I finished an 8-minute short which I intend to submit to festivals.

I'm writing to say that NYFA is a tight ship and I loved every minute of my coursework. The instructors served as an ensemble of knowledge while preserving their individuality and freely expressing their opinions.

In particular, I'd like to mention (in no particular order) that Brian Norton, Till Neumann, Heng-Tatt Lim, and Pamela Harris were extra special.

I had 13 years of experience as a freelance environmental journalist in India. I thought that experience could be honed with new skills and a short-term course, and in such a prestigious institute, it was precisely what I needed. I thoroughly enjoyed the course. I met some great people and, believe me, every single task in this vocation is a learning experience. To that extent, the prospect of living in exciting NY was a reward in and itself.

Despite awesome challenges I finished it and I relish every ounce of the experience to this day. What I learned with writing screenplays is holding me in good stead today.

My screenwriting instructors have provided me with priceless information regarding screenwriting and the industry around it. The one-year program leaves you well-rounded and confident about your skills as a writer. I could not have asked for better instructors. Not only were they extremely knowledgeable about the subject, they also devoted so much time and genuine effort to help one produce the best possible result.

Since attending your two-month beginner workshop a few years ago, I've gone on to a career in film lighting. Following is a list of most of the projects I've worked on:

- “Agnostic Front” - Music Video - MBS Prod. - MTV Top 100
- “Miles From Nowhere” - Feature - Miles Prod.
- “Mortal Coil” - Short - Nico Films
- “Vacancy” - Short - Headroom Prod.
- “The Vegetarian” - Short - Headroom Prod.
- “Yankee Stadium” - Commercial - Adidas
- “Double AA” - Short - Sapphire Films
- “Morgan Stanley All-Stars” - Commercial - Morgan Stanley, Dean Whitter
- “The Jimmy Show” - Feature
- “LIE” - Feature - Alter Ego Prod.
- “Kissing Jessica Stein” - Feature - Foot Pajama Prod.
- “Dead Prez” - Music Video - Broken Records, Inc.
- “Tape” - Feature - Indigent
- “Jersey Guy” - Feature - Jersey Guy Films, LLC.
- “Girlfight” (Pre-Rigging) - Feature - Girlfight, Inc.
- “Recipe for Disaster” (Sub) - Feature - Disaster Films
- “Everlasting Sweet Desire” - Short - Sapphire Films
- “Mudvane” - Music Video - The Shooting Gallery
- “Sex and the City” - Television - HBO
- “Get Well Soon” - Feature
- “Beanie Man” - Music Video - Mars Media
- “Nickelodeon” - Commercial - Viacom
- “Thalia” - Music Video - Sony Music
- “The Brat” - Music Video - La Bouche Films
- “Upright Citizens Brigade” - TV
- Christina Aguilera / Genie Atrapado - Music Video
- “Ropewalk” - Featuer - Ikhan Prod.
- Mary J. Blige - Music Video - La Bouche Films
- “The Day the Ponies Come Home” - Feature - Ponies Prod.
- “Jump” - Feature - Jump Pictures
- “MTV Jams” - Promo - Viacom
- “Personals” - Feature - Personals Prod.
- “Buddha Monk” - Music Video
- “American Gospel” - Documentary - Big Mouth Prod.

I am proud to be an alumnus of the New York Film Academy Advanced Filmmaking Workshop. Since I've come back to Sao Paulo, Brazil, I've worked at HBO for two years and I now work at Columbia TriStar International Television (a Sony Pictures Entertainment Company) as a production supervisor in the Channels department of the group. I coordinate all the productions here in Brazil for Sony Entertainment Television, one of the most important pay-TV channels in Brazil.

I also work on productions abroad in Venezuela, Argentina, Cannes, Geneva, Miami, and other cities. It's really great! I do everything from pre-production to post-production, and I learned it all at NYFA in the best way (meetings, briefings and editing)!

All the instructors I met at NYFA were important for me, and they have real experience to tell us about. They really know the business! Two of them were especially memorable: Tom Schiller and Richard Shore. I am glad to be part of NYFA's history, and now I advertise my great experience at NYFA wherever I go.

It is hard to believe that it was three years ago when I took your wonderful four-week film production workshop. So much, so very much has happened since then. Many people have asked for my impression of your program and I always -- and without hesitation -- recommend your programs. The four weeks I spent there was one of the most meaningful experiences I have ever had. All of your instructors and staff had one goal, and that was to see to it that I was given the tools to succeed.

...Since I've returned home, I have written/directed three shorts and two features. In August, I shot "Ripple," a 15 minute digital short, and a movie that received a three-star review from a local film reviewer. Next I shot the short comedy, "The Bumbling Detective," in digital. The latest short movie that I've made was "Welcome to Kentuckiana," a 15-minute satire that was accepted to the IUPUI film program, and screened.

I've also shot "Losers Lounge" that was screened to a standing room crowd and was awarded Best Narrative Film Noir at the Bare Bones International Film Festival in 2004. It was also screened at two other film festivals and receive very good reviews in both print and web-based independent film sites. "Losers Lounge" was shot in Black & White digital.

My second feature on 16 mm color film and digital was called, "Somewhere In Indiana." The movie was screened to almost 600 people at its premiere. I have just signed a distribution deal with Echelon Entertainment in LA who have U.S. and Canadian rights to "Somewhere In Indiana."

I am currently writing another screenplay and am helping some friends who are shooting a movie. I am active in the Indianapolis film scene … Keep up the good work!

I am back home and trying to unite all my thoughts about the weeks I spent in Princeton, doing the acting program. All the hours away from Salzburg made me rich in my mind and still occupy my soul. My heart and my mind seem to still be away. I miss the people, I miss the classes and I miss the work. The work, that forced me to give all my best; the work, that forced me to share my deepest feelings.

I decided to become an actress, because I want to share my emotions and feelings with audiences that never talk about their fears and emotions. I like the audience to lose their invisible turtle shells. I want them to laugh or cry, when they feel like it. We had so many great teachers who taught me how to do that. Please, thank them for everything they've done in all their classes. I thank you for all the experiences and amazing teachers.

I was enrolled in your workshop from July to August of 2003. I learned about movement, film and television, monologues, comedy and improvisation, and scene study. I even starred in several student films. I learned so much that I never knew about the art of acting.

I would just like to give you my full gratitude and appreciation for creating this wonderful program. This workshop inspired me to continue my dreams and pursue a career in acting. This program changed my life in so many positive ways. I will be forever grateful.

It was an absolute pleasure to meet you last week and I can't tell you how fantastic an experience I had in the one-week workshop!

The knowledge and level of craft of the teachers combined with the communal enthusiasm everyone on staff has for filmmaking delivered an experience far beyond my expectations.

So kudos to the team at NYFA -- as well as to whoever is behind recruiting. Please be sure to pass my compliments to Bryan Norton, Liz Foley, Nick Rivera and Mario Pinzon as well as to Jerry Sherlock. I think it is wonderful thing that there is a place for inexperienced filmmakers to learn about making films and to get a taste of it with such a hands-on approach. It's a really great organization and I will highly recommended it.

I had been studying and practicing still photography for over 10 years, and had been a grip on three features by the time I started at the NYFA. I wanted to let you know what I have been up to for the past 10 years in case you ever wondered if anything you taught us actually stuck.

Just this past Friday, I wrapped principal photography (as DP) for my 10th feature film, which was my third feature film for Sony Pictures (as DP). When I left the Academy I purchased an Aaton Super 16mm Camera which had, back then in my opinion, the best Zoom lens available for Super 16mm. With that package, I began to shoot and build a reel. Basically, it was that simple. I shot and spent everything I had, turning what I had just shot into something I could get more work with.

I cannot tell you how many times I heard your voice in my head saying "but it's money well spent" whenever I would blow everything I had on a new reel. But it worked! I eventually got to shoot a little $25K feature and after a couple of those I shot a $100K feature, then with the reel I cut from that, I landed two $250K features both on Anamorphic 35mm because they could afford it and there was no studio to convince. That way, I would be eligible for Anamorphic jobs down the road.

With the reel I built from all those features, a local production company that produces for Sony in Atlanta was able to convince Sony to let them use me, and I just wrapped my third feature for Sony, all while residing in Atlanta GA! Thank you for everything.

The New York Film Academy (NYFA) in my opinion isn’t just a college of fine arts, its a college of life. My experience has been rewarding and challenging at the same time. I relished the opportunity NYFA gave me to take photographs at the Art Basel event, which was my first time seeing real art in galleries. It was amazing.

When I say you learn life, NYFA teaches you how to live properly in this tumultuous world we live in. Without the school, I would have lived in this world defending my emotions and locking myself away internally out of self defense from regular society, as the normal population teaches itself to do so. That’s not life and NYFA will prove that to you.

Special thanks to Elli Ventouras, the director and senior vice president of the school, because she is the baddest, most outstanding boss I’ve ever encountered. She gave me the power to not doubt myself and the confidence to believe in what’s right...