alumni

Q&A with New York Film Academy (NYFA) Filmmaking Alum Gino Santos

Philippines native Gino M. Santos only attended New York Film Academy (NYFA) for one week, at the Digital Filmmaking workshop in Kyoto, Japan in the summer of 2010, but his short time at the Academy has left a lasting impression.

Since graduating the 1-Week workshop, Santos has returned to the Philippines and built a successful career as a professional filmmaker, working on numerous commercials and feature films. New York Film Academy spoke with Gino M. Santos soon after he attended an alumni reunion in Manila.

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?

Gino M. Santos (GS): My name is Gino Santos and I’m a filmmaker here in the Philippines. I’ve been in the industry for almost eight years now, directing mainstream films and TV commercials. 

I first found out about NYFA through my college friends who were planning a trip to Kyoto to take the 2-Week workshop—we were all film majors in our sophomore year at that time. I told my folks about it and they asked me, “Aren’t you going?” I was surprised! So I packed my bags end embarked on a fun learning adventure with my friends in Kyoto, Japan.

NYFA: Why have you decided to focus on filmmaking?

GS: As a kid I’ve always been a moviegoer, and when I was growing up I used to play with my dad’s video camera and cameraphones, while making my brothers act for me. I didn’t know I was already directing. When I was 15, my mom introduced me to a local basic film workshop which sparked my interest and soon made it my college course and my NYFA adventure.

NYFA: What has been the most challenging film you’ve worked on so far, and why?

GS: I did a movie for Star Cinema, the biggest film studio in the Philippines, called Love Me Tomorrow. It was about a DJ in his 30s who fell in love with a woman turning 50. It was a coming-of-age love story filled with club scenes and music festivals. I had to recreate and make my own outdoor music festival, including hundreds of background talents. It wad pretty epic! Until now, I look back at it and wonder how I was able to get everyone grooving in the shot. We shot that scene for three days.

Gino M. Santos

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

GS: I’m doing an international project with Black Sheep and ABS-CBN this January. I cannot disclose the details yet, but it will be a period piece focused on the Japanese occupation of the Philippines.

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

GS: When I went to NYFA, it was a different kind of learning for me, which was the standard Hollywood knowledge elevating my prior knowledge from here. I got used to the particular film terms from foreign production houses and agencies. Also the learning process of working with your peers and friends. 

Until today, I still work on projects with the same people I went to NYFA with.

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

GS: Maybe more to the parents who are scared of sending their kids to another country for a workshop, I say just do it! My time at NYFA was one of the most memorable moments of my life—I got to meet people who are just like me, and passionate about film from all parts of the world. We all learned together and experienced new things in the classroom and in a foreign country. It was worth every penny.

New York Film Academy thanks Filmmaking alum Gino M. Santos for taking the time to speak with us and looks forward to following his continued success as a filmmaker!

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

 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.

Ilya Rozhkov Agent Emerson

Lyndsy Fonseca & Ben Aycrigg filming ‘Agent Emerson’
Photo Credit: Billy Bennight

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. 

Ilya Rozhkov Agent Emerson

NYFA BFA Alum & Filmmaker Ilya Rozhkov

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. 

Ilya Rozhkov Agent Emerson

Ilya Rozhkov directs stuntman Ben Aycrigg for ‘Agent Emerson’
Photo Credit: Billy Bennight

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.

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

Dr. Ariel Orama LópezNew 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.”

 

Dr. Ariel Orama López

 

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. 

Dr. Ariel Orama López

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.

 

Dr. Ariel Orama López

 

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.

 

Dr. Ariel Orama López

 

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. 

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


ludovic coutaud hdFrench 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.

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.

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!

A Q&A With New York Film Academy Photography Conservatory Student Tanne Willow

Photo by Tanne Willow

Photo by Tanne Willow


Known for decades as a cutting-edge leader in crafting fine light-shaping and flash tools for professional photographers, Profoto is a Swedish company that recently
featured New York Film Academy (NYFA) 2-Year Photography Conservatory student Tanne Willow and her images in their Local News section.

A true representative of NYFA’s diverse international community, Tanne originally hails from Sweden and has lived in Denmark, France, and the United States. With a background in dance and an obsession for motion, her work has a truly unique energy and it’s easy to see why she was chosen by Profoto to spotlight as a “Rising Light.”

In the midst of her fourth semester at the New York Film Academy, Tanne took the time to answer some questions and to share part of her story with our student community. Read on to hear more about her pathway to NYFA, her favorite photography equipment, and how surviving a busy semester is helping her create her own professional identity as a photographer.

NYFA: You worked for many years as a dancer before deciding to go back to school for photography. Can you tell us a little bit about your experience studying in NYFA’s Photography Conservatory, as an adult continuing education student?

TW: Before I came to NYFA I had quite a few years of experience but it had been a very long time since I had last studied, and I felt there were a lot of holes in my knowledge. To be able to come here and build it up from the base even though I had preexisting knowledge was completely a revolt. It changed everything.

Today I can say with confidence that I am a photographer and know that there is a certain professionalism that comes with that word that I possess, and I can now deliver on a professional level consistent work. I know my own limits in a completely different way, and I also know my capabilities after these two years. It has really meant everything in that sense.

 

Photo by Tanne Willow

Photo by Tanne Willow

 

NYFA: Can you tell us how your featured story on Profoto came about?

TW: I sent in my images for submission, and I was chosen. There was a call from my [NYFA Los Angeles] teacher Amanda Rowan, she was the one who put me in touch with the Profoto agency.

NYFA: What is your absolute essential toolkit for a shoot? Any equipment you can’t leave the house without?

TW: It depends on what I am shooting, and for every shoot there is a different toolkit. I shoot in very many ways. I shoot digitally but also analogically on large format — 4×5, and medium format also. The only thing I can say I can’t leave my house without is my camera! That’s the essential part photography can’t happen without — and me and my eye! As long as I have my camera, I can do something.

NYFA: What’s next for you? Can you tell us about any upcoming projects you’re working on?

TW: I’m currently in my fourth semester at NYFA and working on my thesis project, “Matriarch.” It’s a study about the definition of femininity — something I am quite unclear about. Growing up as a female in this world, I have experienced different countries. Being born in Sweden, living in Holland, France and the U.S., I have seen many variations of how femininity is defined and how females and non-females are defined by femininity. I have heard myself being described as feminine and I have used the word myself, but I have a very ambivalent relationship with it — because of that fact that it is so so attached to my being somehow, yet I see the difficulties that I have myself, in the world around me, in knowing what we mean when we use this term.

What I do is I work with performance artists. I search for the physical interpretation of their ideas of what femininity is. I discuss with them what they think it is and how they define femininity, then they improvise under my direction. And I photograph them. I document them both digitally, all environmental portraits. The cameras I use in my thesis are a Canon 5D Mark III, with a 24-70mm lens, and a Toyo 4x5in View-camera, with a 90mm lens. 

NYFA: What are your goals as a photographer?

TW: My main dream is fine arts exhibitions, also shooting fitness (dance background) and have lots of experience in shooting motion-filled images. My preferred way to work is with people in motion, whether it’s fine arts or commercial photography. This is my main interest. I thoroughly enjoy the analogue part of photography and I wish I could incorporate that in my career with lab and print work.

 

Photo by Tanne Willow

Photo by Tanne Willow

The New York Film Academy would like to thank Tanne Willow for taking the time to share a part of her story with our student community.

Ready to go back to school as a continuing education student? Check out the New York Film Academy’s Photography 2-Conservatory programs!

NYFA Around the World: Latest Industry News from Our Film School Alumni

issa-rae2

Just as the hearts of parents swell with pride and a little bit of heartbreak as they watch their children head off to film school, we too get a little teary-eyed when watching our students graduate before going off to make waves in the working world!

Successfully completing one of the most intense film school programs in the world is a feat worth celebrating in and of itself, so we’re doubly proud whenever we see headlines featuring our alumni’s names.

Here’s a round-up of just a few of the feature films and shows our alumni have been working on that have either just hit the screen or are coming up imminently this fall.

“Kevin Can Wait” – Michael Soccio

Comedian and actor Kevin James (who you’ll recognize from his hit show “The King of Queens” and feature film “Grown Ups”) recently took to the stage for an informative and delightful talk as part of our Guest Speaker Series, and in tow was NYFA’s very own directing alumnus Michael Soccio.

As explained on the panel, Soccio channeled everything he learned about directing into becoming a better writer, and has collaborated with James on a number of projects including the aforementioned smash successes “King of Queens” and “Hitch.”

But the successes don’t stop there. As of this week, Soccio and James have been commissioned by CBS for a full a full 22-episode season of their newest comedy “Kevin Can Wait.”

Kevin might be able to, but we sure can’t!

“Insecure” – Issa Rae

Following her graduation from NYFA, the hugely talented Issa Rae went on to establish the hit YouTube series “The Mis-Adventures of Awkward Black Girl.” It garnered her a quarter of a million subscribers (with the individual episode view counts numbering in the multiple millions), leading her to be recognized with a Shorty Award for the series.

It also caught the attention of HBO, who admired her sheer grit and determination in producing the show almost singlehandedly. A two-year deal followed, and as of this month we’ll be seeing the first of Rae’s HBO work with the release of “Insecure.”

There’ll be eight episodes in total (which began airing Oct. 9) and we applaud HBO’s decision to focus on diversity within its programming.

They definitely hired the right girl for the job.

“The Magnificent Seven” – Manuel García-Rulfo

Mexican-born García-Rulfo originally majored in communications and went on to pursue a career in that industry, but he couldn’t shake off a nagging thought: his real passion was acting.

In a brave move, he ditched everything he’d worked towards and decided to go back to studying, this time at NYFA. It was a move that was to pay off — big time.

Since 2006, García-Rulfo has starred in a slew of features and shorts. What could be considered as his “big” break, however, was a role in the brilliant “From Dusk Till Dawn” TV series between 2014-2015. He’s using that momentum to go from strength to strength, having received prominent screen time as The Outlaw in the this fall’s “The Magnificent Seven,” now in theaters.

“Amanat” – Sanzhar Madiyev

It’s with great honor and privilege that we’re able to report that alumnus Sanzhar Madiyev has appeared in a movie that has been nominated (and is looking like a strong contender to win) the 2017 Oscar for Best Foreign Film.

“Amanat” was screened in May in Madiyev’s native Kazakhstan to great reception, and NYFA will be reporting on its wider international successes in the coming months.

And Madiyev is not the only NYFA graduate involved in an Oscar nominated film…

“Sparrows” – Atli Fjalarsson

“Sparrows” is a dramatic, endearing coming-of-age story set in Iceland, and is the country’s own entry into next year’s Oscars for Best Foreign Language Film.

A celebration of both Icelandic culture and an intricate tale of the 16-year-old Ari (played by Fjalarsson), “Sparrows” is already gaining traction ahead of the Oscars thanks to two critically-acclaimed screenings at TIFF and the San Sebastian Film Festival this year.

We pay a huge debt of gratitude to all our alumni who fly the NYFA flag into their successful careers. Share your NYFA success story in the comments below — we love hearing from you all!

Every Person Has A Story: An Interview With Documentary Filmmaker Susanne Dollnig

Documentary filmmaker Susanne Dollnig

NYFA: Hello Susanne, to get started, would you mind telling us a little bit about your background and what drew you to documentary filmmaking?

Susanne Dollnig: I was born and raised in a small city in Salzburg, Austria. I got interested in filmmaking during high school, when we were allowed to do a short film project with professional guidance. From then on, I knew that filmmaking is what I wanted to do for the rest of my life.

I studied at the University of Applied Sciences in Salzburg, where I received my Bachelor’s Degree in Digital Television. During my studies, I discovered my love for documentary filmmaking. My thesis film Vestiges of a Language was a documentary about Ladins, a linguistic minority in South Tirol, Italy trying to keep their culture alive.

NYFA: What attracted you to NYFA’s documentary program and inspired you to make the move from Austria to New York City?

SD: After my studies in Austria, I worked for different production companies and TV stations in Munich, Germany and Salzburg, Austria. My studies at the University of Applied Sciences provided me with a great basic knowledge of film and television production and post production, but I had a feeling that my education was not complete just yet.

After one month traveling through the United States, I was also visiting New York City and saw the New York Film Academy advertisements. Something told me I had to look into this. When I got back home to Austria, I started researching the school and the different programs it had. I was very pleased to find out that they offered a documentary program, since that was what I wanted to specialize in. That the program was a 1-year intensive program was also very appealing to me. Since I already had a basic knowledge of the filmmaking business I felt a further education, which was one year, would be a great fit for me. When I applied and got accepted I was thrilled, there was no hesitation on making the move and I was very excited to start a new chapter of my life in New York City.

NYFA: What was the most important lesson you learned while at NYFA that you continue to apply to your current work and career goals?

SD: There are so many lessons I learned at NYFA, which I apply daily at my work.

If I have to pick one I would say, one of my favorite things about the documentary program was the variety of teachers, with different backgrounds, different expertise, different teaching methods and different storytelling approaches. Getting to know this variety is helping me greatly in my job as an editor today. At the post production studio, House of Trim, we work on many different types of projects, the range goes from commercials to documentaries. With every new project you have to switch up your creative thinking fitting to the clients/directors vision. Having learned at NYFA how people approach the creative process in different ways, I can utilize this and apply it on a variety of projects.

NYFA: How has NYFA’s philosophy of “learning by doing” influenced both your education and current work?

SD: At NYFA in the documentary program you work on your own project in so many different roles; you produce, you direct, sometimes you do camera and/or sound, you edit…and you also work on your classmates’ projects as a cinematographer, doing sound, being a production assistant, etc.

The amount of work experience you gain in just one year of studying at NYFA is enormous. The fact that NYFA is so “hands-on” in every possible aspect of film production is one of the most valuable characteristics of the program. With this much experience during one year, I had my successes in what I wanted to achieve, but I also made a lot of mistakes, which is a very important part in learning a craft. This is the best preparation for your future work environment. You were able to make those mistakes already, which you would not want to happen on your job. At NYFA I learned how to deal with making mistakes, accepting them and most importantly learning from them.

NYFA: What is your personal philosophy regarding documentary filmmaking and what do you aim to achieve in the medium. How has this philosophy manifested itself in your thesis film Just Passing By?

SD: My personal philosophy regarding documentary filmmaking is that every person has a story to tell. Ordinary people have the most extraordinary lives. I believe that you just need to turn around and talk to the person who sits right next to you on the subway and you will find the most interesting story.

This was exactly the premise for my thesis film Just Passing By. You don’t have to be a famous actor, singer, activist, or politician to be recognized. With my documentary work I want to show how every single person is a valuable part of society with sorrows and wisdom living ordinary life.

NYFA: Just Passing By utilizes a unique premise—placing a table with two chairs and a coffee table in various locations around NYC to engage in conversation with people you might not otherwise engage with. What was your goal in creating the film and do you feel that goal was achieved?

SD: As I believe that everyone has a story to tell, my goal with making this film was to demonstrate the variety of incredible stories in ordinary people. I needed to set up an environment were people can get comfortable. I decided on an Austrian coffee table, since I am Austrian and a big part of my culture is the “coffee house culture” where you sit for hours over a cup of coffee and philosophize about life.

By setting up the table I did not have to wait long until people were willing to sit down with me and have a conversation. I got told the most fascinating stories of people from all walks of life, young and old from all corners of the world.

Right now Just Passing By is participating in an Online Film Festival “We Speak, Here”.

You can watch it here: http://www.cultureunplugged.com/documentary/watch-online/play/51044/Just-Passing-By

NYFA: Were there any films, directors, or other inspirations that helped influence the concept behind Just Passing By?

SD: There are many films and directors that inspired and influenced me in doing this project. One of the first documentary series that I was very fond of was a series called Wir sind Österreich (We are Austria). It was a series of portraits on Austrian artists, athletes and musicians, these four- to five- minutes portraits were so sincerely done on how they portrayed these individuals, that I was inspired to do my documentaries in similar manner.

One part of documentary filmmaking is doing your research; what films are out there, what has been done before and how? During the production of Just Passing By I was researching many films about interviewing ordinary people and every film was very valuable for understanding what I wanted to achieve with my film. These were films from Chronicle of a Summer, by Edgar Morin and Jean Rouch, Talking Heads by Krzysztof Kieslowski to The Interview Project by David Lynch.

NYFA: One of the first films you completed after graduating is called ASEXUALLIFE about a female dancer who does not experience sexual desire, a condition that 1% of the human population has. What drew you to such an original and fascinating topic? What did the process teach you about the collaborative process of documentary filmmaking?

SD: The short documentary ASEXUALLIFE was a collaboration of NYFA documentary graduates. We got together to participate in the 2014 International Documentary Film Challenge, where you make a documentary within five days. The DocChallenge gives you a theme and a genre that you have to make your documentary in. We were assigned a Character Study with the theme “Behind the Curtain.” After many different ideas, our director Bianca Zanini suggested the topic of asexuality, which is not commonly known. Within half a day we found our character Caroline “Bauer” McClave, who was so kind to let us shed some light on what asexuality is.

This challenge was a very intense experience because making a documentary in five days puts you under a lot of pressure. One of the things I learned in this collaborative process was to trust my colleagues with their part of the work, so I can focus on my part of the work. I like to have control over productions and always have to have an overview on what is going on. We chose our team beforehand and I knew I was going to work with very talented people, so during this project I was actually able to let go of some of the things I wanted to manage, because I knew they were in good hands. And it paid off: ASEXUALLIFE was one of 12 finalists from over 100 entries and got to be screened at HotDocs Canadian International Documentary Festival, which is one of the most important documentary film festivals.

NYFA: As you are originally from Salzburg, Austria, would you ever consider making the move back to Austria to pursue your passion for documentary filmmaking?

SD: I have a great job at the Postproduction Studio House of Trim and I get to work on so many interesting projects. I can see myself staying there for a long time. Also through studying at the NYFA documentary program I have a solid network of other documentary filmmakers to work on different documentary projects as well. But, you never know what the future holds; four years ago I could not have imagined that I would be living and working in New York City. Austria is where my roots are and if the opportunity presents itself I can definitely see myself going back home one day, but at the moment my life is here in New York City.

NYFA: Any parting words of advice that you would care to impart to individuals considering a career in documentary filmmaking?

SD: Documentary filmmaking is a wonderful profession, you get to meet many different people, travel the world and experience different ways of living. Always be honest and sincere about your intentions and your work. Be open-minded and listen to your subjects with care and respect and you can find true beauty in individuals telling their stories.