A film is a living, breathing thing, and like all living things, from plants to humans, they start from something small before growing into its final form. If you’re struggling to figure out where to begin when making your movie, or what to do after that, or what to do after that, take a breath and look over this basic map of the 7 Stages of Film Production:
The development period belongs to the project producer, who starts gathering the ideas of the film–rights from books, plays etc., if needed–until the final draft of the screenplay is completed. During this time, a first synopsis is done which will help the lead producer sell the idea and raise funds. Often storyboards other visual aids will be drafted to accompany the script and help the producer communicate the essence of the film.
Networking and making meetings, often in Los Angeles and to a lesser extent New York, is how many producers will meet with possible financiers. Additionally, a lot of producers travel to festivals, both domestic and international to show the project materials to possible investors.
With enough funding in hand, pre-production can begin, starting with the selection of the cast, crew, locations of the shoot, building of sets and props etc. Shot lists and put together and the producer starts working on a schedule for the entire shoot, starting broad and getting more specific as production begins to ramp up.
The assistant director (AD) shines during production as the actual footage is filmed by coordinating all the different teams at once. Actors, possibly after days or weeks of rehearsing, finally shoot their scenes as the production crew–grips, lighting, sound, camera, etc. work hard to make every second count and shot look as great as possible. Writers and producers may be on set but it’s the director who is calling all the shots creatively–with their AD making sure they’re sticking to the schedule and getting the footage they need before it’s time to move on.
This where the editor comes into play, and if the budget is big enough, visual effects teams.
In collaboration with the director, editors begin to assemble takes and shots and create a linear film based out hours of footage. For bigger productions, teasers can be done during this time in order to start marketing. A music composer comes in to orchestrate the score of the movie as final cut begins to loom. Sound design and color direction are important elements during this time as well, and culminate in picture lock–the final edit of the film.
In the case of a major production company, teasers are already out to promote the release date of the film. In other scenarios, promotional posters, festivals screenings, and social media are best to help generate buzz for the film. If the production is small, the creatives involved with the film may have to wear this hat whether they like it or not, though it’s possible for producers to outsource to small marketing companies that do this for a living.
Theatrical distribution is typically divided between domestic and international and involves agreements with production companies to pay for the film to screen at physical theatres. Previously, producers would also concentrate their efforts on how the films would be made into physical copies of VHS, DVD or Blu-Ray and make deals with video rental chains, but nowadays streaming is king. While smaller filmmakers may try to get on as many platforms as possible–Amazon Video, Hulu, Netflix, etc.–getting an exclusive deal with a single platform may be more lucrative, especially if it comes with promotion on the platform’s end. Hand in hand with marketing, promotion for the film during its release is also key, including press interviews, red carpet premieres, and other launch parties.
After all of this, it’s time to get started on your next film!
Fathers and father figures have been a storytelling trope for millennia, from oral traditions passed generation by generation, to the earliest written epics and sagas. Cinema, of course, is no different.
Here’s a look back at some of the best films to watch on or around Father’s Day:
Pinocchio is one of Disney’s earliest animation features, and follows a puppet who was given life by a fairy after his creator, Geppetto, wished upon a star. After a sometimes heartbreaking journey and reunion, Pinocchio is transformed from a living marionette into a real boy, and Geppetto becomes his true father.
The Kid (1921)
This American comedy-drama silent classic focuses on the simple yet powerful journey of a tramp (Charlie Chaplin) who finds a baby on a street and takes it upon himself to look after him. Their special relationship grows through a very physical series of unfortunate circumstances and showcase a lovable and energetic father figure with a very turbulent child sidekick (Jackie Coogan).
Mary Poppins (1964)
Magical nanny Mary Poppins comes to a London house to help raise the children of Mr. Banks (David Tomlinson), a strict disciplinarian. While he initially seems cold and harsh, his deeply sentimental and sincere love of his kids eventually shines through with some help from Poppins.
Indiana Jones and the Last Crusade (1989)
The third entry in the Indiana Jones trilogy is decidedly more lighthearted and comedic than its darker predecessors, and a lot of that comes from the bickering relationship Indy has with his bookwork father, played by Sean Connery. The Spielberg film finds its heart in their relationship though, as ultimately they both realize they need each other even more than they do the Holy Grail.
Mrs. Doubtfire (1993)
Robin Williams is in peak form in this family classic, playing a divorced dad who misses spending time with his three kids. His solution is outside-the-box, using heavy prosthetics, he transforms into elderly British nanny Mrs. Doubtfire, and is hired as his children’s nanny. A series of iconic comedic setpieces ensue.
Billy Elliot (2000)
Set in England during the 1984-85 coal miners’ strike, Billy Elliot tells the story of a boy (Jamie Bell) who wants to become a professional ballet dancer. His father (Gary Lewis) wants to push him into boxing. Billy’s ballet teacher (Julie Walters) serves as bridge for the father and son, helping Billy both fulfill his dream and be accepted by his father.
Father of the Bride (1991)
This remake quickly became a classic in its own right with comedy legend Steve Martin playing the lead role and learning that part of being a parent is knowing when to let your children go and start their own lives. Buoyed by a stellar supporting cast that includes Diane Keaton, Martin Short, Kieran Culkin, and B.D. Wong, it wasn’t surprising when the film spawned a direct sequel.
Some movies just have a certain feel to them, and summer movies are no exception. Summer movies can evoke the feeling we had when the school year would end, or bring to mind summer imagery like beaches, sunshine, and fireworks.
The best part of summer movies is that you can watch them year-round, whether it’s in comfy air conditioning in the middle of July, or reminding you of warmer times during an ice cold February blizzard. Here’s some summer movies that will always bring the sunshine:
The 1975 classic is the definitive summer movie, not only taking place on (and scaring people away from) the beach, but it was also the first summer blockbuster, making popcorn movies as much of a summer staple as ice cold lemonade. The shark-starring thriller also launched director Steven Spielberg and composer John Williams into the stratosphere.
One of the most famous summer love stories ever takes place before the musical film even starts, but watching the sparks fly all over again between Sandy (Olivia Newton-John) and Danny (John Travolta) makes this film an all-time classic.
National Lampoon’s Vacation
The ultimate road trip movie, Vacation was comic actor Chevy Chase in peak form as the head of the Griswold family on a doomed trip to theme park Walley World. The film, directed by Caddyshack director and Ghostbusters writer and star Harold Ramis, spawned three sequels starring Chase, as well as a fourth sequel that served double duty as a remake.
Lilo & Stitch
Academy Award nominee for Best Feature in 2003, the Disney film showcases the friendship between an adorable little girl and an even cuter alien creature. Even though the movie is animated, its Hawaiian setting will give you summer vibes while giving you all of the feels.
The Parent Trap
Both the 1961 and 1998 versions of the Disney family comedy are must-watches. Stars Hayley Mills in the original and Lindsay Lohan in the remake are perfectly cast in dual roles as identical twin sisters little ready to do whatever it takes to bring their divorced parents back together, even if it means pretending to be one another.
The 1987 film tells the story of Frances (Jennifer Grey), a teenage girl who falls in love with her dance instructor Johnny Castle (Patrick Swayze) at a summer resort in the Poconos. The film spawned timeless quotes, heated dance moves, and iconic track “(I’ve Had) The Time of my Life,” which won the Golden Globe, Oscar, and Grammy for Original song. Nobody puts this movie in a corner.
Mr. Bean’s Holiday
Rowan Atkinson reprises his iconic role as Mr. Bean in a family-friendly farce that also showcases the stunning vistas of France. Along the way, Bean finds true love and helps a young boy reunite with his father.
Little Miss Sunshine
If you’re looking for a little subdued dramedy in your summer films, Little Miss Sunshine is probably for you. The road trip indie stars Toni Collette, Steve Carell, Greg Kinnear, Abigail Breslin, Paul Dano, and Alan Arkin (who won an Oscar for his role), and tells the story of an adorable little girl who wants nothing more than to win a pageant, and her miserable family stuck along for the ride.
The Great Outdoors
Another 80s vacation classic, The Great Outdoors shows off comedic greats John Candy and Dan Aykroyd as bickering, competitive in-laws sharing a summer cabin by the lake. Full of slapstick humor and barenaked bears, The Great Outdoors was written by John Hughes at the height of his Hollywood powers.
You don’t need huge budgets or a major film studio system in place to create a timeless film. While you may be familiar with some well-known American independent films, there are many foreign indie movies that may have flown under your radar. Here’s just a sample of some foreign independent films that should be on everyone’s watchlist:
Amélie (2001), France
Amélie is a 2001 romantic comedy directed by famed French filmmaker Jean-Pierre Jeunet. In the film, a shy waitress named Amélie tries to have a positive impact on those around her despite struggling herself to survive in modern-day Paris. Amélie‘s numerous accolades include Best Film at the European Film Awards, four César Awards, two BAFTA Awards, and five Academy Award nominations.
Cronos (1993), Mexico
The first feature film of master director Guillermo del Toro, this horror drama about an ancient artifact is considered one of the best independent Mexican films of all time. Cronos received an overwhelmingly positive critical response from international film critics. Accolades include winning several international film festival competitions and being chosen as the Mexican entry for Best Foreign Language Film at the 66th Academy Awards.
Dreamchild (1985), United Kingdom
Nominated for 1985’s Independent Spirit Award for Best International Film, Dreamchild is a British drama about Alice Liddell, the famous young girl said to have inspired Lewis Carroll’s classic novel Alice’s Adventures in Wonderland. While traveling from England to the United States to receive an honorary degree celebrating what would have been Lewis Carroll’s 100th birthday, an elderly Alice begins suffering flashbacks and hallucinations involving characters from the novel that made Carroll famous.
Breathless (1960), France
À bout de souffle, which directly translated to “out of breath”, is a 1960 French crime drama written and directed by Jean-Luc Godard, perhaps the most prominent figure in the French New Wave movement. In the film, a young thief named Michel comes to depend on an aspiring American journalist while on the run after killing a policeman. Breathless is considered an early pioneer of French New Wave cinema and helped bring international attention to the fresh, unique style of filmmaking.
Ran (1985), Japan
Ran is an epic period drama edited, directed, and co-written by legendary Japanese director and screenwriter Akira Kurosawa. Set in Medieval Japan, the story follows a retired warlord who hands his empire to his three sons, only to see them grow corrupt and violent towards each other. Receiving critical acclaim across the globe, Ran was the first Japanese film to earn an Independent Spirit Award nomination for Best International Film.
Wings of Desire (1987), Germany
Known as Der Himmel über Berlin (The Heaven Over Berlin) in Germany, this romantic fantasy film directed by Wim Wenders is about angels that dwell in the city of Berlin while listening to the thoughts of its human residents. One angel eventually falls in love with a woman and sacrifices his immortality to be with her. Wings of Desire earned numerous awards and nominations, including winning Best Foreign Film at the 1988 Independent Spirit Awards. It was remade as the American film City of Angels, starring Meg Ryan and Nicolas Cage, in 1998.
Before the Rain (1994), Macedonia
Helmed by Macedonian film director Milcho Manchevski, Before the Rain garnered worldwide acclaim, earning an Academy Award nomination, a Silver Condor, Golden Bug, and the Golden Lion at the 51st Venice International Film Festival. In the film, three love stories unravel as civil war begins spreading throughout Macedonia.
Bad Taste (1987), New Zealand
This sci-fi comedy horror splatter film served as iconic New Zealand film director Peter Jackson‘s first feature film. Made with a budget of $25,000, Bad Taste went on to become a cult film despite being banned in Australia for its high levels of gore. Its plot revolves around aliens that arrive in New Zealand in order to harvest humans for their intergalactic fast food franchise, a far cry from the Lord of the Rings and Hobbit trilogies Jackson would later helm.
Crouching Tiger, Hidden Dragon (2000), China
Selected in 2010 as one of the 30 Most Significant Independent Films of the last 30 years by the Independent Film & Television Alliance, this acclaimed wuxia film by Ang Lee revolves around skilled Chinese warriors fighting for a powerful sword called Green Destiny. The film is based on a Chinese novel written by Wang Dulu and featured a strong cast of actors, including Chow Yun-fat, Michelle Yeoh, Zhang Ziyi and Chang Chen. Winner of more than 40 awards, Crouching Tiger, Hidden Dragon’s top wins include Best Picture at the Academy Awards, four BAFTAs, and two Golden Globes. It is considered one of the most influential martial arts films of all time.
There are any number of reasons you might have a limited amount of time to create a short film (even from scratch), including intentionally for competitions like the Asian American Film Lab72-Hour Shootout. Time is one of the most valuable resources a filmmaker can have, so creating a short film in a crunch can be quite the challenge.
New York Film Academy has pooled advice from the chairs and faculty of our many different departments—including Cinematography, Producing,Filmmaking, and Digital Editing—to give a well-balanced list of offered tips and best practices for creating the best possible short film in a short amount of time:
Try to come up with a great idea that works in a few minutes. Keep the concept simple and focused. A good logline can help you focus your idea and keep you from wandering too far off course.
Come up with a story that can believably occur in a very short amount of time, even ten minutes. Your actual film’s running time doesn’t need to be that long, but you will be able to dramatize shorter events in a more grounded way.
Cast carefully. Some actors may be more comfortable with ample rehearsal time, so make sure they know the time restrictions of your shoot.
Allow your actors to contribute. If they’re inventive, give them a chance to improvise. Shoot takes with alternate lines of dialogue. This can be especially effective in comedies.
When directing your actors, remember these tips:
Let your actor know what their objective in each scene is.
Make sure you and your actor are on the same page about their character and their motivations. If you disagree, take a few minutes to discuss, listen, and compromise.
Be there for your actor. While some actors may prefer to do things their own way, most seek and thrive on direction, even if it’s just pointing them the right way, metaphorically speaking.
Or literally speaking! Blocking is very important not just for your framing but for the intensity of the scene itself. Work with your actors to find the right blocking for each scene–what feels right for them and what looks best for the camera.
Make sure your schedules are detailed out to the minute and remember that communication between cast and crew is key. By having everyone’s contact information and by communicating clearly where everyone is expected to be and when, you can avoid unnecessary delays in production. Give them directions and expected travel times to the set.
Organize your days so you can shoot several scenes in one day. If you have multiple locations, select the key location for the day and then find your other locations in the immediate area. Moving locations can be a killer and waste tons of time. Try to group scenes together that use the same cast members and costumes. Be efficient in your scheduling and don’t be afraid to shoot out of order or out of sequence. Schedule your exteriors first—that way, if it rains you have the option of delaying those scenes until the following day. And have a cover set (or interior) waiting to go, so you can move inside and not lose a shooting day
Put together an inexpensive but effective equipment list. Your story won’t be improved with more pixels, but you also don’t want your camera breaking down in the middle of your shoot. Test all the gear before you leave for the set.
Once you’re on location, if something breaks and has to be replaced, you’re going to lose valuable time. Don’t be afraid to be inventive. You may not have a professional dolly but some of the most inventive directors come up with novel solutions that actually make their shots more interesting.
Make sure all batteries and other accessories are charged before the shoot, and spares are being charged during the shoot. Remember, with only three days to shoot, every minute counts and every delay needs to be avoided at all costs.
Don’t be afraid of using natural lights and don’t be afraid if not everything is lit and bright. Often enough, beauty lies in the darkness. Silhouettes, high contrast, backlighting, and dramatic shadows can create a very dynamic and powerful cinematographic look.
When shooting a scene, start with your biggest shot first and then shoot all your closer shots looking in the same direction. Then turn around and, again, start with your biggest shot and work progressively closer.
Sound, on the other hand, is another issue. Bad sound is often said to be the hallmark of amateur filmmaking. If your audience is struggling to understand what your actors are saying, there won’t be much room left for emotional involvement. So do everything you can, within your limitations, to get the best sound/dialogue recorded on the set. Whoever said, “we’ll fix it in post,” must have had tons of money, so erase those words from your vocabulary.
Keep sound in mind before you even begin filming–make sure the locations you choose and even the story you tell will be make your sound recording as easy as possible. If you can, have a good portion of your film dialogue free, with scenes that can use music or non-sync sound in their stead, as sync sound will always take longer to shoot.
When working in post-production, remember it’s ok to be ruthless–do not be afraid to cut, even if it means undoing hours of work.Always, always, always back up your project and footage in different locations. Save often so you don’t lose any time due to a computer error. Learn to say goodbye to your mouse and learn keyboard shortcuts to become a faster and more efficient video editor–with only three days to make your film, every second counts!
GENERAL PRODUCTION DO’s AND DON’T’s
Keep your productions simple. Limit the number of cast members. Limit the number of locations. Avoid big scenes with elaborate sets, costumes and props. Stay away from period pieces, children and animals—they are far too unpredictable. And be as professional as you can be. Although you may want to break the rules when it comes to content, there’s a good reason professional shoots are organized the way they are. The better prepared you are, the more likely you will capture your vision.
You can register for the Asian American Film Lab 72-Hour Shootout here.
Screenwriter, producer, and director Larry Cohen, a filmmaker with a passionate and loyal fanbase, has passed away at the age of 82 (his birth year has often been reported as 1941, but his family and census records confirmed that this is incorrect, as reported in the New York Times). Cohen, whose career in film spanned several decades, was best known for his unique work in the B-movie genre scene.
Cohen was born and raised in New York City before going to film school. He had a particular passion for noir films, as well as the work of Casablanca director Michael Curtiz. He turned the former into a career in the late 1950s and 1960s, writing for crime television shows like The Defenders and The Fugitive, and later in the 1970s writing for Colombo.
It wasn’t long before Cohen pivoted to more genre fare, creating the NBC Western series Branded in 1965 and the sci-fi ABC series The Invaders in 1967. He began writing films during this period as well, including the sequel to The Magnificent Seven.
His directorial debut was the 1972 crime comedy Bone, starring Yaphet Kotto, which Cohen also wrote and produced. Two years later Cohen made It’s Alive, a horror film about a killer mutant baby, which was eventually a modest hit. The film was scored by frequent Hitchcock-collaborator Bernard Hermann and its pharmaceuticals-adjacent story showcased a career characteristic of Cohen to incorporate social commentary into his B-movie horror. The film spawned two sequels and a 2009 reboot.
His genre films also typically included police and crime elements to them, including 1976’s God Told Me To. In the 1980s, Cohen built a reputation for producing, directing, and writing low-budget horror films with a cult following. 1982’s Q: The Winged Serpent featured a giant monster flying around midtown Manhattan while also focusing on two detectives following a multiple homicide case.
Cohen’s best-known film, The Stuff, came out shortly after, in 1985. The film includes a killer alien substance that the general public became addicted to, and included social commentary on consumerism, advertising, and the tobacco industry. Despite its over-the-top premise, the film is still regarded as one of the best low-budget horror films of the 20th century.
Cohen continued to write and direct for the next few decades, including the Maniac Cop films; Joel Schumacher’s Phone Booth, starring Colin Farrell and Forest Whitaker; and Cellular, starring Kim Basinger, Chris Evans, and Jason Statham. In 2006, he was invited to participate in the TV anthology series Masters of Horror along with other notable filmmakers like John Carpenter, Wes Craven, David Cronenberg, Joe Dante, Dario Argento, James Gunn, Robert Rodriguez, and Guillermo del Toro.
In 2017, Cohen participated in a documentary that profiled his career, King Cohen: The Wild World of Filmmaker Larry Cohen, which featured actors and filmmakers including Martin Scorsese, J.J. Abrams, and John Landis. The film recently screened at New York Film Academy-Los Angeles along with a Q&A panel with the filmmakers. Cohen was scheduled to appear but was ultimately unable to attend; he lamentably passed away two days later.
After news of Cohen’s death became public, there was an outpouring of praise for him on social media by both his peers and by filmmakers who cite him as an influence in their own work, including Guillermo del Toro, Edgar Wright, and Joe Dante.
Many people say they’ve made ‘independent’ films (many financed by majors) but Larry Cohen truly was an independent freewheeling movie legend. For so many fun high concept genre romps with ideas bigger than the budgets, for so many truly inspiring cult movies, I thank you Larry. pic.twitter.com/HVWfuuCFSS
Larry Cohen. RIP. A true iconoclast and independent. I will always marvel at It’s Alive!, Q, Perfect Strangers (what a brilliant premise!) and God Told Me To- Andy Kaufman being in it just adds more special sauce. pic.twitter.com/xzuXH8sa0b
In terms of sheer numbers, Bollywood (a portmanteau of Hollywood and Bombay) is as big if not bigger as Hollywood. Based in the city of Mumbai (formerly Bombay), Bollywood isn’t just the largest industry in Indian cinema, it’s the largest film industry in the world, in terms of film production as of 2017.
This fascinating culture of dance, drama, and traditional values have given us iconic scenes of colorful weddings, dance parties in the middle of streets, and sweeping love stories. Bollywood has come to influence Hollywood and other film industries in multiple genres, but none more than musicals.
Baz Luhrmann’s Moulin Rouge was directly inspired by Bollywood musicals. If you watch it again you will see a mix of cultures and dance, incorporating Bollywood styles and even including the song “Chamma Chamma” from Bollywood film China Gate (1998). The success of Moulin Rouge ushered in a new wave of Hollywood movie musicals, including Chicago, The Producers, Rent, Dreamgirls, Hairspray, Sweeney Todd: The Demon Barber of Fleet Street, Across the Universe, Disney’s Enchanted, and Mamma Mia.
Here are some other tropes of Bollywood that have become more prominent in the recent musicals made by Hollywood:
Catchy music in the form of song-and-dance epic numbers
“Razzle Dazzle” in Chicago.“Dancing Queen” in Mamma Mia. “That’s How You Know’ in Enchanted. The mise-en-scene is shot with a wide-angle lens like in musical numbers found in many Bollywood sequences, where the camera shoots as if on the stage and more directly brings the audience into the choreography itself. It has become a hallmark fo the new wave of Hollywood musicals.
Epic fight scenes
Bollywood films aren’t afraid to take themselves too seriously. Often shot with a comedic sensibility, fight scenes between heroes, villains, and anti-heroes alike can take on exaggerated proportions. Hollywood translated this element with expanded nuances and artistry to their fight scenes. Kill Bill is a perfect example of a hero fighting dozens of bad guys at the same time, by herself, driven by a single objective of revenge. And, of course, seasoned with bits of humor. Directed by film buff Quentin Tarantino, the scene takes direct inspiration from the Hindi film Abhay (2001).
Love triangles have been around pretty much since the dawn of storytelling, but Bollywood has made it a part of its DNA and revels in the over-the-top emotive tropes of love, passion, jealousy, and betrayal. Perhaps in response to this, love triangles had a resurgence in the romantic comedies of the 1990s and early 2000s.
For many Bollywood films, everything is done 110%, from the stunts to the drama. Melodrama is as common in Bollywood films as it is in American soap operas and Mexican telenovelas. With Peak TV and an influx of new content from Netflix, Hulu, and other new media providers, every genre under the sun is available. Melodrama is included with this, especially for younger audiences on networks like Freeform and The CW,
Just as melodrama plays up the emotions of a film, many Bollywood films aren’t afraid to play up their story, allowing themselves to indulge in broad plot devices like divine intervention and over-the-top, convenient coincidences. While these films ask for an even greater suspension of disbelief than most Hollywood films, Bollywood has shown that audiences are willing to indulge in the illusion in order to escape and be entertained. Hollywood films, from increasingly outrageous Marvel movies to the more directly-inspired Slumdog Millionaire, where each question in the title gameshow leads to even more over-the-top coincidence, have started to learn this as well.
If you’re interesting in filmmaking and want to learn some pointers from the largest film industry in the world, this weekend might be a great time to select the Bollywood category on your Netflix!
Even with all the connections in the world, and the most expensive camera money can buy, you probably won’t go too far in the film industry without a great body of work. Your portfolio is arguably the most important asset you have, and in order to gain the attention of the people you want to meet and work with, your portfolio must be relevant and meaningful.
How do you build this portfolio? If you’re struggling on how to get your portfolio in motion, here’s six useful tips for getting started:
Stay Active in School
As a film student, it can be easy to get caught up in exciting plans for the future (or even the weekend), but you should keep in mind that the school projects you’re currently working on aren’t just for a grade – they are your time to build a portfolio.
Your time in film school, while it can sometimes seem neverending, is perhaps one of the few times in your entire career where you sit down and entirely focus on YOU. Not your clients, your boss, your producer – no, you are focusing entirely on self-improvement during film school. Taking advantage of this time and taking it seriously will be the biggest way to get a jumpstart on your portfolio.
Get ahead in school and make the most of it by:
Quit procrastinating and get started early. Act like you’re getting paid to work on every project.
Stay humble and assume your work needs improvement whenever possible.
Ask instructors lots of questions and don’t be afraid to bug them.
Volunteer to assist other classmates with shoots and edits.
Ask for feedback on your work from classmates and instructors.
Attend extracurricular workshops and events whenever possible.
Search the closest job boards and attend school functions to connect with your most experienced teachers or fellow students. Initiating relationships with these people will provide you with a valuable network of directors, editors, and actors. Your network will follow you when you graduate.
When you’re competing for gigs in the film industry, it’s highly advantageous to showcase a multifaceted skill set. Soon after graduation, challenge yourself to write, produce, and direct an original series. Execute the entire process from inception to final product to marketing it.
Regardless of the success, completing this project will give you real world experience creating and producing a project from end to end. It will also send the message to potential hiring producers that you have the work ethic and diligence to finish what you started. Many people coming out of film school have never put together their own project or have what it takes to see something through outside of film school. Don’t get too caught up in view counts or trying to launch the next Stranger Things, the key is that having the ability to show that you can produce a whole series will speak volumes.
IMDb pro is a useful resource for obtaining the contact information of nearly anyone in the film industry. There is a monthly membership fee, but you will benefit greatly from being able to reach thousands of producers, directors, editors, and crew. The service provides filmographies and credits for millions of titles along with access to in-development projects not listed on IMDb. Many of these features will gain importance as you progress in your career and must evaluate track records, cast relationships, and search for casting alternatives.
When you’re first developing your portfolio, you should use this tool to contact people you’re interested in working with. Get creative on how you can become a part of their network and give them a call. Rather than spam the entire catalogue, do your homework on the person you’re contacting and know the right time to make your move. Lead with your strengths and learn to project confidence rather than desperation. If you are genuine and effective, doors will open.
Start In Commercial Work
Every artist would like full-time film work, but sometimes things don’t line up immediately. Commercial & corporate video work can help keep you active in the general video production industry. Apply for corporate video jobs or offer services to business owners in your personal network to make web videos, commercials, marketing content, and other videos they might need. Even if you make a few thousand dollars, it’s money that can be used to refine your portfolio even further. You can pull shots from these videos that look more film-like to build your overall demo reel and they’ll never know it was a small business video.
48 Hour Film Project
The 48 Hour Film Project is a multi-city contest in which teams of participants draw a genre from a hat and then write, shoot, and edit a movie in 48 hours. Teams have full control over plots except for a character, a prop, and a line of dialogue that must appear in their film. The award for Best Film and a cash prize is awarded to entries that demonstrate artistic merit, technical merit, and adherence to the assignment. Films are then premiered at a local theatre for friends and family.
An event like this is a fun way to add a completed project to your portfolio. Additionally, if you produce a good piece, there’s always a chance you could win. Contestants have gone on to have success in other film festivals and others used recognition of their film to get paying work. Film Festivals are also great vehicles for making connections with people in your craft, particularly those who have an interest in your preferred genre. Make the most of the platform these organizations provide in order to get new people talking about your work.
Produce Music Videos
Music videos are one of the more fun ways to bring good work to your portfolio. There is constant demand for this service from young people who are rappers, singers, or in bands. Building a network of music artists is considerably easy to do via Twitter or Instagram. As you acquire more paying clients, shooting music videos can turn into a solid source of money for new equipment. It is actually much easier to get funding for these videos than a short film.
Creating videos for music artists allows you to explore creatively and will add things to your portfolio that commercial work won’t. Try to find artists who are looking to incorporate elements of film to their videos. While music videos are generally 2-3 minutes long, they usually welcome obscure or artistic concepts. It’s the perfect chance to showcase precise visual storytelling, and to capture a few extra shots for your demo reel.
Article by Mike Clum.
Mike Clum is the founder of Clum Creative, a corporate video production company that employs 16 full-time video production professionals.
How many films can you name that won the Academy Award for Best Picture? Probably quite a few, if you think hard enough, but could you name most of them? Or even half of them?
Among the ninety films that won the Best Picture Oscar, many have been forgotten by modern movie audiences, even if being the toast of Hollywood for one glorious night, or even several years after before fading from cultural memory. Here’s just a few:
Sunrise: A Song of Two Humans (1927)
Directed by F.W. Murnau, this movie won Best Unique and Artistic Picture at the first ever Academy Awards in 1929 (Wings won for Outstanding Picture; both categories were replaced by the modern Best Picture category.) It also helped Janet Gaynor, who later played the lead in A Star is Born (1937), win the first ever Best Actress Oscar. If you’re curious to see cinema history, the film is available to watch on YouTube in its entirety.
Starring Academy Award-nominees Richard Dix and Irene Dunne, this pre-code western was RKO studios most expensive project up to that date. In addition to Best Picture, the film took home two more Oscars: Best Adapted Screenplay (for Howard Estabrook who later adapted David Copperfield in 1935) and Best Art Direction (for Max Rée who later worked on John Ford’s Stagecoach.)
Adapted from a Broadway play by by William A. Drake, this lavish romantic drama was Hollywood’s biggest film of the year and one of the first production to bring together an ensemble of several A-list actors — in this case, Greta Garbo, Wallace Beery, Lionel Barrymore, and Joan Crawford! It was remade twice in the first two decades after its release, and screenwriting juggernaut William Goldman tried unsuccessfully to adapt it in the 1970s. To date, it is the only film to have won the Academy Award for Best Picture without being nominated in any other category.
In addition to Best Picture, Cavalcadewon Best Director for Frank Lloyd and Best Art Direction for William S. Darling at the Academy Awards. Diana Wynyard was nominated for Best Actress but lost out to up-and-coming star Katherine Hepburn. The epic drama depicted the life and times of English citizens in the first quarter of the 20th century as the world transitioned into a more modern society. In 2002, Cavalcade was preserved by the Academy Film Archive.
The Life of Emile Zola (1937)
The second biopic to win Best Picture was The Life of Emile Zola, the 19th-century French novelist who penned J’Accuse in response to the imprisonment of Captain Alfred Dreyfus. The film received ten Academy Award nominations, winning Best Picture, Best Screenplay, and Best Supporting Actor for Joseph Schildkraut, who portrayed Dreyfus. The lead role of Zola was played by Paul Muni, who had already won the Oscar for playing Louis Pasteur a year prior.
The Lost Weekend(1945)
The Lost Weekend is probably not the first film that comes to mind when people think of Hollywood legend Billy Wilder. Nonetheless, the film was nominated for seven Oscars and won four: Best Picture, Best Actor, and Best Director and Best Screenplay for Wilder, who shared the latter with co-writer Charles Brackett. These were the first two Academy Awards Wilder won, but not his last. The film noir also shared the Grand Prix at the first Cannes Film Festival.
The Academy of Motion Picture Arts and Sciences have announced the nominees for the 91st annual Academy Awards, to be given out during ABC’s televised ceremony on Sunday, February 24. The Oscars will cap off a months-long awards season featuring industry veterans, newcomers, and as always, endless debates about who deserves to go home with the golden statue.
The final award of the night, Best Motion Picture of the Year, is handed out to the eligible producers of the film. Since 2009, the number of nominations has increased from five to a maximum of ten, based on a more complicated voting system that uses a modified preferential ranking process.
New York Film Academy (NYFA) takes a closer look at this year’s Academy Award nominees for Best Picture:
Black Panther is the first superhero film to receive a Best Picture nomination and is notable for its themes of race and diverse cast and role models for children of color used to typically seeing white male heroes in Hollywood blockbusters. It was directed and co-written by Ryan Coogler, while the sole producer eligible for the Best Picture Oscar is Kevin Feige, president of Marvel Studios and mastermind of the groundbreaking Marvel Cinematic Universe. Black Panther is up for seven Academy Awards total.
BlacKkKlansman is the latest film from Spike Lee and earned him his first Academy Award nomination for Best Directing. Based on true events, the film tells the story of an African American detective who infiltrates the Ku Klux Klan in the 1970s. Lee is also one of the five producers eligible for the Best Picture Oscar, including Sean McKittrick, Jason Blum, Raymond Mansfield, and Jordan Peele, who won a Best Screenplay Oscar last year for 2018 Best Picture nominee Get Out. BlacKkKlansman is up for six Academy Awards total.
Bohemian Rhapsody is the latest Hollywood musical biopic to gain a groundswell of awards season buzz, focusing on legendary rock group Queen, with Rami Malek giving an Oscar-nominated turn as iconic frontman Freddie Mercury. The sole producer eligible for Best Picture is Graham King, who previously won the award for Martin Scorsese’s 2006 film, The Departed, and was nominated in the category for two additional Scorsese films, Hugo and The Aviator. Bohemian Rhapsody is up for five Academy Awards total.
The Favourite is the latest critically-acclaimed art house film from Greek writer and director Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer). The period dramedy depicts the rivalry between two cousins vying for the favor of 18th century British Queen Anne. Lanthimos is one of four producers eligible for the Academy Award, along with Ceci Dempsey, Ed Guiney, and Lee Magiday. This is the first Oscar nomination for Dempsey and Magiday, while Guiney was previously nominated in the category for Room in 2015. The Favourite is up for ten Academy Awards total.
Green Book is a dramedy set in the 1950s Deep South, based on a real life concert tour of African American pianist Don Shirley and his white driver and bodyguard, Tony Vallelonga. Five producers are eligible in the category, including director and co-writer Peter Farrelly, who made a name with his brother for slapstick comedies like Dumb and Dumber and There’s Something About Mary. He shares the nomination with Jim Burke, Charles B. Wessler, Brian Hayes Currie, and Vallelonga’s son, Nick Vallelonga, who is also co-nominated for Best Original Screenplay. Green Book is up for five Academy Awards total.
Roma is a deeply personal, semi-autobiographical film by Alfonso Cuarón set in Mexico City in the early 1970s and shot beautifully in black-and-white. In addition to sharing the Best Picture nomination with Gabriela Rodriguez, Cuarón also wrote, shot, and directed the film, for which he received additional Oscar nods. This is the first nomination for Rodriguez, and the first nomination in the category ever for a Latinx woman. Along with the The Favourite, Roma has the most Academy Award nominations this year, with a total of ten.
A Star is Born
A Star is Born is the third remake of the original 1937 film, updated by director and star Bradley Cooper after years of development hell with several filmmakers attached. Cooper shares the Best Picture nod with Bill Gerber and Lynette Howell Taylor. This is Cooper’s second nomination in the category (the first was for American Sniper) and seventh overall; it’s the first nomination for both Gerber and Taylor. A Star is Born is up for eight Academy Awards total.
Vice is a dramedy biopic of former Vice President Dick Cheney, starring Christian Bale in heavy, lifelike prosthetics. The film is writer and director Adam McKay’s follow-up to The Big Short, which similarly took a quasi-comedic look at the lead-up to the 2008 Great Recession, and which earned him an Oscar for Best Adapted Screenplay. McKay is eligible for Best Picture along with Dede Gardner, Jeremy Kleiner, and Kevin J. Messick. Gardner has been nominated for Best Picture six times in the last seven years, winning twice, for 12 Years a Slave and Moonlight; Kleiner has been nominated five times, sharing both Oscars with Gardner. This is the first nomination for Messick. Vice is up for eight Academy Awards total.
The Academy of Motion Picture Arts and Sciences have announced the nominees for the 91st annual Academy Awards, to be given out during ABC’s televised ceremony on Sunday, February 24. The Oscars will cap off a months-long awards season featuring industry veterans, newcomers, and as always, endless debates about who deserves to go home with the golden statue.
Polish director of photography Lukasz Zal was previously nominated by the Academy for Pawel Pawlikowski’s Ida, which he co-shot with Ryszard Lenczewski. Both Ida and Cold War showcase Zal’s immense talent with black and white photography. He has shot mostly documentary shorts and a few short films, making the nominations for two of his only features that much more notable.
The Favourite, Robbie Ryan
This is the first Oscar nomination for Irish cinematographer Robbie Ryan. He has shot previously for director Andrea Arnold (Fish Tank, American Honey) and Stephen Frears (Philomena). In total, Ryan has been director of photography for over 80 features, shorts, commercials, and music videos, including the films Wuthering Heights, The Last Days on Mars, and Slow West.
Never Look Away, Caleb Deschanel
Caleb Deschanel is a veteran director of photography who has shot such Hollywood films as Being There, The Right Stuff, The Natural, National Treasure, The Passion of the Christ, and Jack Reacher. This is Deschanel’s sixth Oscar nomination for cinematography; among others, he was nominated for Fly Away Home and The Patriot. His next film will be Disney’s live action remake of The Lion King.
Roma, Alfonso Cuarón
In addition to writing and directing Best Picture nominee Roma, Alfonso Cuarón also shot the semi-autobiographical film, a rare distinction for Hollywood directors. Roma was filmed in black-and-white on an Arriflex Alexa 65 digital camera, giving it a stark, unique look that has been near-universally praised. Other cinematography credits for Cuarón include several short films in the 1980s, as well as the television series Hora Marcada. While typically Cuarón delegates the role to other talented directors of photography such as Academy Award-winner Emmanuel Lubezki, this is his first credit as a cinematographer in nearly three decades.
A Star Is Born, Matthew Libatique
Matthew Libatique is a Queens-born Filipino American cinematographer who has previously worked with directors such as Spike Lee, Jon Favreau, and Darren Aronofsky, and was previously nominated for an Oscar for shooting Aronofsky’s Black Swan. Libatique was director of photography for the first film of the Marvel Cinematic Universe, Iron Man, and is currently working on the latest DCEU and Harley Quinn film, Birds of Prey. His other cinematography credits include Requiem for a Dream, Gothika, Everything Is Illuminated, Inside Man, Straight Outta Compton, and Venom, among many others.
The Academy of Motion Picture Arts and Sciences have announced the nominees for the 91st annual Academy Awards, to be given out during ABC’s televised ceremony on Sunday, February 24. The Oscars will cap off a months-long awards season featuring industry veterans, newcomers, and as always, endless debates about who deserves to go home with the golden statue.
Lee has been a figure in American cinema since his 1986 feature debut, She’s Gotta Have It, which was adapted into a television series in 2017. Many of his films have examined race relations, urban life, political issues of the 20th and 21st centuries, and the role media plays in modern society. In 1983, Lee won the Student Academy Award, and has since been nominated for an Oscar five times, though this is the first time he’s been recognized for his Directing. BlacKkKlansman is up for Best Picture and stars John David Washington and Adam Driver as 1970s NYPD detectives exposing the Ku Klux Klan.
Cold War, Pawel Pawlikowski
Pawel Pawlikowski is a Polish filmmaker who has helmed several award-winning documentaries and feature films, including Ida, which won the Best Foreign Language Film Oscar in 2015. At the 2018 Cannes Film Festival, Pawlikowski won the Best Director prize his latest film, Cold War. In addition to Best Directing, Cold War is up for two other Oscars — Best Cinematography, and Best Foreign Language Film. Cold War is a period film loosely based on Pawlikowski’s parents, who fell in love and played music in Europe during the height of the Cold War between the Soviet Union and the West.
The Favourite, Yorgos Lanthimos
Greek filmmaker Yorgos Lanthimos has been making a name for himself since his 2009 film, Dogtooth, which was nominated for the Best Foreign Language Film Academy Award. His film The Lobster, starring Colin Farrell, was nominated for the Best Original Screenplay Oscar. His period dramedy The Favourite has generated a lot of buzz since its release, with ten Oscar nominations in total, including Best Picture and three Acting nods for its main cast of Rachel Weisz, Emma Stone, and Olivia Colman. Colman in particular has become a favorite for her leading role as Queen Anne.
Roma, Alfonso Cuarón
Alfonso Cuarón is no stranger to the Academy Awards, having ten nominations total and two wins to date, including Best Film Editing and Best Directing for his 2014 space epic, Gravity. His oeuvre has been varied throughout the years, including Great Expectations, Y Tu Mamá También, Harry Potter and the Prisoner of Azkaban, and Children of Men. Roma, a favorite in this year’s Oscars with 10 nominations, is a semi-autobiographical story set in the early 1970s and shot in stark black-and-white.
Vice, Adam McKay
Adam McKay has had an unconventional path to prestige filmmaking. The Philadelphia comedian failed his audition to be on Saturday Night Live but earned a spot on its writing staff and eventually became the show’s head writer. He had an instant chemistry with cast member Will Ferrell, and eventually wrote and directed several films starring the actor, including Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby, and Step Brothers. His career moved to the next level with 2015’s The Big Short, which earned him the Academy Award for Best Adapted Screenplay as well as a nomination for Best Directing. His newest film, Vice, starring Christian Bale as former Vice President Dick Cheney, has eight Oscar nominations, including three nods for McKay.
Broadcast journalism is a profession that requires knowledge, hard work, and commitment. It is not a profession for the faint-hearted, as it requires ample time for preparation and presentation. Like other media, the advent of digital platforms and the Internet has led the field to evolve quickly in a short period of time, requiring aspiring broadcast journalists to master many new skills than their more traditional predecessors ever needed.
Here are just a few tips to get on the right track and set yourself up to become a successful multimedia journalist (MMJ) in the 21st century:
Getting the right education
A proper education doesn’t just get you certifications that will boost your resume and get you in the door, but gives you well-rounded training in a field that is constantly changing. NYFA’s Broadcast Journalism school has working, experienced faculty members who keep up with the current industry landscape and can share that experience with their students.
As part of the New York Film Academy, NYFA’s Broadcast Journalism school also applies a large focus on the technical aspects of digital broadcast journalism — producing and shooting video, editing, on-camera presentation — skills that multimedia journalists will need to learn in order to be successful in a digital landscape.
Getting industry experience
Maneuvering interview rooms with little or no experience will prove unfruitful in broadcast journalism. Getting the relevant experience is thus a fundamental aspect of a career in broadcast journalism.“A graduate may intern for a company to get the necessary experience,” explains Steve Doane, Career Coach at ConfidentWriters.
Additionally, entry-level jobs as production assistants or post-production assistants can be key to working your way up the ladder into more significant positions. Learning the practical skills needed for multimedia journalism, such as those mentioned above as taught by NYFA, are a solid way toward earning those entry-level jobs.
For MMJs, it is also essential to have some experience with social media. In an increasingly networked modern era, mastering the use of social media sites as Facebook, Twitter, and Instagram are great assets for news anchors, and thus part of your training at NYFA’s broadcast journalism school.
Creating a network is a key step in journalism. Budding journalists should join such professional organizations such as Society of Professional Journalists, which also provides tons of helpful resources for broadcast journalists, by broadcast journalists. Additionally, keeping close ties to the community of journalists as a whole will help you stay up-to-date on the latest trends, as well as career advancement opportunities.
Learning From the Best
NYFA’s Broadcast Journalism school not only utilizes working professionals as faculty members, but often has high-profile guest speakers come and speak to students directly about their careers in the industry. Learning directly from those who have come before you and made similar journeys can be immensely beneficial.
Watch as many lectures, interviews, and videos with industry professionals and leaders on YouTube and other platforms as you can, absorbing their insight and advice and avoiding pitfalls they’ve come to learn the hard way.
Seeing these speakers in person, however, affords even more benefits, as you may have the opportunity to ask them questions directly. Past guest speakers at NYFA’s Broadcast Journalism school include Rachel Maddow (MSNBC), J.P. Olsen (VICE NEWS TONIGHT), and Sharon Hoffman (Entertainment Tonight.)
Broadcast journalism is competitive and tough. However, with focus, determination, and commitment, a graduate can go very far in this industry. Set goals and work toward them. Such focus can potentially see a journalist through from an entry-level position to a reputable job with an established news or media company, such as NYFA Broadcast Journalism alumni George Colli (WTNH), Lea Gabrielle (Fox News Channel). Grace Shao (China Global Television Network), and Nicolle Cross (ABC, Austin, TX affiliate).
Scorsese. Tarantino. Sometimes a name alone can signify a brand. We can instantly identify signature styles, techniques, work ethic, personality traits, and many other unique qualities or images associated with those names because of the brand they’ve built as filmmakers.
Building a brand is creating your own identity among the many millions of other filmmakers out there trying to do the same thing. It’s about differentiating yourself from everyone else and giving people a story about you and what you offer – otherwise known as your reputation.
Terms like “personal branding” can repel artists like the plague. but the reality is business can be just as much a part of filmmaking as the art – particularly in our current digital landscape where information is ubiquitous, and every man and his dog has a platform to vie for your attention.
Seeing as filmmaking is synonymous with storytelling, building your brand isn’t as daunting a task as you may think — in a way, it’s telling the story of yourself. With that in mind, the most important things to portray through your brand are:
–Who you are
–What it is you do
–How you go about it, and
–Where you’d like to go
Once you’ve worked out the answers, think about the audience you want to target — one that will best respond to your own style and sensibilities. Establishing a niche is important so as to reflect what qualities you want people to associate with you – your filmmaking identity (FI) – and to manifest that through:
–Your products and services – films, talent etc.
–Your relationships – with crew members, agents, other filmmakers, basically anyone you interact with really
–Your communications – your social networking, business cards, website etc.
Although the current digital landscape has exponentially increased the number of accessible filmmaking voices to compete with, it’s also simultaneously broadened your reach.
As mentioned above, social networking platforms are one of the most basic yet critical components to marketing your FI. If you have a production company, establish a logo and other design elements that correspond with the adjectives you want your audience to associate you with, and be sure to feature this on all of your digital mediums (and non-digital, like your business card). When it comes to branding, consistency is key. So make sure things like the color concept, font, showreel, ‘about me’ sections etc. throughout Facebook, Twitter, YouTube, Instagram, or any other platform you choose to market yourself on stay relatively similar. And don’t forget to engage!
Creator of Instagram filmmaking community @filmmakersworld, Emanuele Giannini, thinks of the platform as today’s digital portfolio for filmmakers and claims it’s a great way to “build an audience, attract new business, and collaborate online.” Platforms like it are also a great way to build relationships and learn from the best. Because your brand is tied to the emotions or impressions people have of you, your relationships and the way you communicate and engage with others will always play a big part.
That’s not to say you shouldn’t be authentic. In fact, always be sure to showcase your individuality and uniqueness. But remember: Filmmaking is rarely a solitary job, so presenting a positive brand through social media can multiply the chances of networking with industry people who’ve never met you to reach out with opportunities.
When all is said and done, a brand won’t garner much positive attention if you’re not putting great care and effort into your work. So be sure to always be working on your filmmaking skills first and foremost, continually honing and evolving your voice. Then go forth and build that filmmaking identity – tell your story and make it great!
The entertainment industry continues to grow at a rapid pace — according to Stephen Follows, a data researcher in the film industry, more than 700 films were released across the U.S. in 2016 alone. What is even more surprising is that the number that Follows reported doesn’t even include film festivals, private screenings, and other types of showcases such as broadcasts of opera or theatre productions.
And even while the number of films keeps growing, the amount of original television content continues to peak. In an article published by Variety, writer Maureen Ryan wrote that there were more than 450 scripted original programs released in 2016.
Don’t expect the expansion of movies and television shows to slow down any time soon. The entertainment industry continues to dominate a complicated, turbulent world. But when it comes to creating these stories, what are the differences between filming for a movie and television show?
Most television series are created with the idea that the show will be around for an extended amount of time. Typically, writers intend for each episode to have a small story arc that often ties in with a larger story arc told over the course of a season or more.
This added amount of time allows writers to develop characters that are more in-depth and have greater dimension. Additionally, there can be a much larger cast over the course of a series because of the time afforded for an audience to get to know them. Tension can be ratched up between characters and other story elements much more slowly than in a feature film as well.
A budget for a movie is usually bigger than a budget for a television series. In Hollywood, more money can mean more and stronger special effects, more high-profile talent in front of and behind the camera, and more diverse and exciting locations to film on.
Besides a few notable exceptions, television series don’t normally have the same type of budgets that movies do. This forces directors, producers, and screenwriters to be more creative with the storyline and character development, as well as scale back the effects and scope of their projects. This is a good reason why Wonder Woman and Spider-Man may have giant CGI supervillains while Daredevil and Luke Cage will fight mostly fairly straightforward stunt actors.
Viewing a film in a theater can be a very different experience than watching one from your couch at home. Television series, outside of events like Comic Con, are almost never seen in such a way. Scaling your story so that it can work on a screen as tiny as the smallest smartphone then is an important thing to consider when producing a television series as opposed to a movie.
Additionally, when it comes theatrical releases, viewers don’t have the same time commitment they may give to a television series. Shows give the audience flexibility in a way a movie can’t — you can pause the television show whenever you want, and or resume it at another time. Viewers may binge watch an entire series in one weekend, or take months or even years to get through the entire story. In a theater, an audience is more-or-less committed to sitting through and experiencing the whole thing in one sitting.
This is important when considering certain plot and narrative elements. If you’re worried certain story choices may scare off your viewers, you might want to make sure you pace these moves in a smart way in a television series. If it’s in a film, you may get away with it for the whole two hours!
These are just a few key differences between longform and shortform cinematic storytelling. And, of course, movies and television series (especially these days) also share many similarities. If you’re interested in learning the craft of filmmaking for either, or both, of these mediums, check out the programs offered by the New York Film Academy today!
Cue the haunting piano music: Michael Myers is back in theaters this October with a brand new Halloween sequel. In true 21st century filmmaking fashion, this sequel is also somewhat of a soft reboot – a sequel that is technically in the same timeline, but retains many of the classic beats (and the title) of the original.
But which timeline? The Halloween franchise first began in 1978 as an independent horror film written and directed by John Carpenter (and produced and co-created by Debra Hill) and was an instant classic. The silent, hulking serial killer Michael Myers became a Hollywood icon as he murdered babysitters and their boyfriends in a painted William Shatner mask. Halloween quickly spawned a series of sequels, spin-offs, and remakes — all of which interweave with distinct continuities.
Here then, are five different timelines of the Halloween franchise in its first 40 years — who knows how many more retcons will come about in the next four decades!
Timeline #1 Halloween, Halloween II, Halloween 4: The Return of Michael Myers, Halloween 5: The Revenge of Michael Myers, Halloween: The Curse of Michael Myers
This could be considered the original timeline, as it incorporates the first six films of the franchise (with one exception, which we’ll get to.) The first two films are very closely linked, filmed close together, with the same leads, taking place all in the same night (October 31, natch.)
After a brief departure from Halloween III, the real star of the franchise — Michael Myers — came back due to popular demand. He wasn’t joined by lead actress Jamie Lee Curtis, however, who had gone onto movie stardom in the 80s with smash hits like Trading Places and A Fish Called Wanda. Fortunately for the producers, veteran actor Donald Pleasance, a big get for the first two films, stayed and helmed the series as Michael’s psychiatrist Dr. Loomis for the next three films.
Jamie Lee Curtis’s character, Laurie Strode, was killed off-screen in a car accident and the fourth film shifted focus to Laurie’s niece, Jamie Lloyd. Halloween4 was released ten years after the original, in 1988, and quickly followed up with Halloween5 in 1989.
The timeline finally came to an end in 1995, with Halloween: The Curse of Michael Myers. The movie expanded the franchise’s mythology and dove deep into the supernatural, dark mystical side of Michael Myers. One of its stars was a very young Paul Rudd playing Tommy Doyle, a character from the first two films. The movie ends with the death of series constant Dr. Loomis, and was dedicated to the memory of Donald Pleasance, who died just a few months before its release.
Timeline #2 Halloween III: Season of the Witch
The reason the franchise is called Halloween and not Michael Myers is because John Carpenter envisioned the series as an anthology of distinct horror stories, each set in their own universe with nothing to do with each other — much like Twilight Zone, Black Mirror, and the Cloverfield films.
However, the huge success of the first film led to a direct sequel, Halloween II, which came out in 1981. This film started the notion that Michael Myers was superhuman, which was continued and explored in the rest of Timeline #1 (see above.)
But by the third film, Carpenter finally wished to move away from Michael Myers and the town of Haddonfield, Illinois. Halloween III: Season of the Witch, produced by John Carpenter and Debra Hill, came out in 1982, and had none of the cast or characters from the first two films. It was also a completely different story — about evil Celtic magic from Stonehenge and androids that wish to kill the trick-or-treating children of a Northern California suburb.
Halloween III most certainly doesn’t take place in the same universe as Michael Myers. In fact, one of the characters in the movie is watching a commercial for the original Halloween, meaning the Jamie Lee Curtis films are just as fictional in the world of Season of the Witch as it is in ours.
Timeline #3 Halloween, Halloween II, H20: 20 Years Later, Halloween: Resurrection
It was only three years in between Halloween 6 and H20, but filmmaking was already evolving and Wes Craven’s Scream had upped the horror genre for moviegoers everywhere. In 1998, to celebrate two decades since the dawn of Michael Myers, the franchise released another sequel, with Jamie Lee Curtis returning to the role of Laurie Strode for the first time since 1981.
With the return of Jamie Lee Curtis, the series had to retcon her character’s death, and so this film takes place after Halloween and Halloween II — but NOT Halloweens 4, 5, and 6. While this brings Laurie Strode (and presumably, Dr. Loomis) back to life, this change in the continuity did not bode well for Nurse Chambers, a character played by Nancy Stephens in the first two films. She appears again as the character in the opening scene of H20, where she is quickly dispatched by a middle-aged Michael Myers.
By the end of the film, Myers has attacked Laurie Strode and her family, but is decapitated by her to make sure he never comes back. He does come back, however, in the film’s sequel, Halloween: Resurrection.
Halloween: Resurrection, released in 2002, is very much of its time, with a story revolving around webcams and the Internet, and the then-brand-new medium of Reality TV. It also stars Tyra Banks and Busta Rhymes, who might play the only character in any of the timelines to karate kick Michael Myers through a window.
The film opens with a cameo by Jamie Lee Curtis, once again portraying Laurie Strode, who dies for a second time in the franchise — this time on screen as she falls from the roof of a psychiatric hospital.
Timeline #4 Halloween (2007), Halloween II (2009)
Sound familiar? These two films take the exact same titles as the original two, but they are 100% remakes in the truest sense of the word, and which was very much in fashion at the time. Fresh off his critical gorefests House of 1000 Corpses and The Devil’s Rejects, Rob Zombie decided to tackle the Michael Myers franchise next, remaking Halloween in 2007.
Dr. Loomis is back, this time played by yet another British veteran actor, Malcolm McDowell. Zombie’s Halloween has much more focus on Michael Myers before his breakout and All Hallow’s Eve killing spree. It’s also more of a tension-builder and slower horror film, very much in style then and even still now.
The film received mixed reviews but made a decent amount of money at the box office, enough to warrant a direct sequel and the tenth film overall in the franchise. This new Halloween II harkens closer to the convoluted plotlines of Halloweens 4-6 than it does the original sequel though, dealing with hallucinations and flashbacks and revealing, like Timeline #1 eventually does, that Laurie Strode is actually the sister of Michael Myers. It ends with the death of Dr. Loomis (that makes two for him) and with Laurie now committed to a psychiatric hospital (that’s twice for her.)
Timeline #5 Halloween, Halloween (2018), ???
After considering a sequel to Zombie’s films or yet another reboot, the rights holders and producers of the franchise decided to do a sequel to the original Halloween. This film, once titled Halloween Returns, would have followed the first two, just as 4-6 did in Timeline #1. Soon indie director David Gordon Green and frequent collaborator Danny McBride (yes, that Danny McBride) came on board to work on the film.
In the writing process, Halloween II was taken out of the continuity, so that this sequel, which takes place forty years after the original (and twenty since the release of H20) is a direct sequel to only the original Halloween, and ignores the events of every other Halloween film that follows it.
The film will harken back to the original in plot and tone as well, as Myers will slowly make his way around town on Halloween night, picking off babysitters and anyone else who gets in his way.
It also brings back, once again, Jamie Lee Curtis as character Laurie Strode, who, as far as we know, isn’t the sister of Michael Myers. Whether Laurie Strode will die for the third time in the series or live for yet another sequel remains to be seen.
It’s doubtful Busta Rhymes will be back to karate kick Michael Myers through a window.
It’s the story we just can’t seem to get enough of [SPOILERS AHEAD for those who’ve never seen any version of the A Star is Born!!!!!!!] – an alcoholic male star discovers a talented yet unsuccessful woman, they fall in love, he boosts her career, her stardom eclipses his own, his demons get the better of him, and just as his decline carries the risk of taking her down with him, he commits suicide. But the tragic love story has always been about more than just about the romance – A Star is Born has also been a deeper exploration of the Faustian bargain of fame and the balancing scale on which success sits on the opposing end of loss.
In short, it’s a story that’s been irresistible for Hollywood’s storytellers and thus never dies. It’s no surprise then that A Star Is Born has undergone yet another rebirth – now its fourth official version – under the hands of Bradley Cooper in his directorial debut. George Cukor’s 1932 film What Price Hollywood? is largely considered to be the original prototype of A Star Is Born (Cukor went on to direct the 1954 remake) but it’s different enough to warrant its exclusion from the franchise. Throughout its number of versions over the span of eight decades, the basic plot remains quite consistent to where the exact line “I just wanted to take another look at you” occurs in each film.
But with each remake, the current generation making the film molds the skeleton of the plot to its own culture and style, and reflects an adapting perspective of stardom and the entertainment industry. So, let’s dive in and take a look at the first three films and how they evolved through each iteration:
A Star is Born (1937)
Directed by William Wellman and starring Janet Gaynor and Fredric March, the “original” A Star is Born came at a time where Hollywood had room to be hopeful and self-reflective; it both acknowledged the industry’s veneer and endorsed it. Gaynor’s character, North Dakotan farm girl and aspiring actress Esther Blodgett, has a distinct origin story – an important characteristic of movie stars of that era.
Esther’s stage name is changed to Vicky Lester and she’s given a makeover to boost her star quality. The film largely focuses on a relatively young film industry during a time where it became a beacon of light for Americans amidst the Great Depression, promoting a message of “anyone can become a movie star” despite (and because of) the way in which it could completely manufacture such adored Hollywood personas.
A Star is Born (1954)
Directed by What Price Hollywood?’s George Cukor, this adaptation starred Hollywood legend Judy Garland as Esther Blodgett, alongside James Mason, who plays leading man Norman Maine. Among other key changes in detail from its predecessor in order to suit the time, the most obvious difference is that it’s a musical. Moreover, as opposed to Esther in 1937 whose aspirations lay specifically in becoming an actress, Garland’s character has more of a vague goal of becoming a successful singer.
Cukor’s remake also takes some tonal shifts, focusing more on character development and the relationship between the two protagonists. Unlike the 1937 film where Norman is quite aggressive and lacks introspection, the Norman of 1954 is a much more sympathetic character who is refined and self-aware. His sincerity makes Esther’s love for him more tragic, thus creating a more effective climax.
This adaptation also garnered more interest in the real life stories behind the scenes than other versions, namely due to Judy Garland’s tumultuous career at the time. Four years after her contract suspension with MGM following a suicide attempt, A Star is Born was intended to be her big comeback. Interestingly, Garland saw herself as both the talented, ingenuous star Esther and the older, fading star Norman, which propelled her powerful performance.
Despite the immense popularity and critical acclaim of the movie, her status as a film star never fully recovered after losing the Oscar to Grace Kelly – a controversial topic to this day.
This remake was directed by Frank Pierson and stars Barbra Streisand and Kris Kristofferson as Esther Hoffman and Norman Howard. The changing of the protagonists’ surnames was a subtle, yet necessary adjustment to feel more relevant to the 70s, much like the strategic move to supplement alcoholism with cocaine addiction. But what became the most significant change in this film was changing the leads from Hollywood celebrities to rock stars, as this new type of fame during that era bred its own legend of success and failure with the likes of Jim Morrison, Jimi Hendrix, and Janis Joplin.
Additionally, with the UN declaring 1975 as International Women’s Year during a decade that revolutionised the women’s movement, Streisand’s Esther reflected more of a freedom and confidence that her previous iterations may never have imagined. She’s the most self-assured of the protagonists and also proposes to Norman, whilst hyphenating her last name in the final tribute scene as opposed to announcing herself as “Mrs. Norman Maine.”
Despite some mixed reviews – most negative ones attributing Streisand’s actual fame to the overshadowing of Kristofferson’s performance and subsequently, his character – she is the only actress to have won the Oscar for her portrayal of Esther. Unless, of course, Lady Gaga follows her next winter with a win for her lead role in the newest A Star is Born remake. The buzz is already undeniable.
National Hispanic Heritage Month lasts from September 15 through October 15 and celebrates the contributions of Hispanic and Latinx Americans to the heritage and culture of North America and beyond, whether it be through films, music, books, art, or more.
Originally lasting a week and signed into law by President Lyndon B. Johnson, it was later expanded into a full month in 1988 and signed off by President Ronald Reagan. Events related to National Hispanic Heritage Month include the El Barrio Latin Jazz festival in the Bronx and events hosted by the Smithsonian in Washington D.C.
One of the most visible contributions of Latinx and Hispanic Americans are the films made for and about Hispanic culture. There are countless films that cover a wide array of genres, themes, and topics. It would be impossible to name all of them or rank even the best of them, but here is a list of just ten Latinx movies that need to be watched:
Amores perros is a 2000 drama thriller featuring an early breakout role for Gael García Bernal and was the first feature film directed by Alejandro González Iñárritu. Iñárritu is now one of cinema’s most unique, talented voices — the first person since 1950 to win back-to-back Oscars for Best Director (for his films Birdman and The Revenant) and only the third director ever to do so.
Pelo malo is a 2013 drama from Venezuela about a boy named Junior who is constantly trying to straighten his curly, unruly hair. Written and directed by Mariana Rondón, the film was critically praised for its exploration of adolescence, mother-child tensions, gender identity, sexuality, and other themes in the context of Venezuelan culture. Its release in 2013, shortly after the death of Hugo Chavez, also pivots the film in an important, transitional moment for the nation.
Sin País is a documentary short that tells the story of Sam and Elida, who are deported from the United States and try to reunite with their son. Released in 2010, it is more relevant than ever in today’s contemporary political climate — although it is more an emotional story about humanity than a political disquisition on immigration.
Directed by Julie Taymor, Frida stars Salma Hayek and Alfred Molina and tells the true story of Mexican surrealist painter Frida Kahlo. Kahlo was a fascinating figure in the art world, all the more notable for being a woman in a time where culture was very much dominated by men. The same could be said to be true for Hollywood, which made the film — also produced by Hayek, who picked up an Oscar nom for her acting in the movie — all the more important for both female and Latinx voices.
El secreto de sus ojos
The 2009 crime drama El secreto de sus ojos is a co-production between Argentina and Spain and won the Academy Award for Best Foreign Language Film. The epic nonlinear story tells of two officials investigating a rape and murder case over the span of 25 years. El secreto de sus ojos has been voted one of the top 100 greatest motion pictures since 2000 by a BBC poll of international film critics.
While nearly every one of Alejandro González Iñárritu’s films could be included on this list, Biutiful is especially notable for the lead performance by star Javier Bardem. Bardem received high praise for his acting in the film, and his Oscar nod for Best Actor was the first nomination ever given to a performance that was entirely in Spanish.
Selena is a 1997 biopic telling the tragic story of the eponymous Tejano music superstar who was murdered in the prime of her career. Eventually becoming the 13th highest-grossing musical biopic of all time, Selena might be most notable for launching the career of Jennifer Lopez, whose acting and musical fame skyrocketed and hasn’t abated since.
Y Tu Mamá También
Y Tu Mamá También is a 2001 Mexican coming-of-age drama about two teenagers who take a road trip with a 20-something woman. Critically hailed at the time of its release, the film is also notable for helping launch the careers of its stars Gael García Bernal and Diego Luna, as well as writer-director Alfonso Cuarón. Cuarón instantly became one of Mexico’s most prominent directors, following the film up with series-highlight Harry Potter and the Prisoner of Azkaban and later directing Children of Men and sci-fi epic Gravity.
City of God
City of God is a 2002 Brazilian crime drama directed by Fernando Meirelles andKátia Lund and adapted from the 1997 novel written byPaulo Lins. The film depicts the growth of suburban crime in a Rio de Janeiro suburb over the course of several decades, and was an instant critical hit, eventually earning four Academy Award nominations. It was later followed by the spiritual sequel City of Men.
El laberinto del Fauno
El laberinto del Fauno may be the purest expression of Mexican writer-director Guillermo del Toro’s dark, whimsical aesthetic. The film, which found huge mainstream success in the United States as Pan’s Labyrinth, combines historical drama with fantasy in telling the story of a young girl living in Spain five years after its Civil War. The film was nominated for and won countless awards after its release, including winning three Oscars, and certified del Toro as one of Hollywood’s strongest, most successful voices.
Interested in making a film of your own one day? Find more information on the programs offered by the New York Film Academy here.
Peter Rainer is a lecturer at the New York Film Academy Los Angeles (NYFA-LA).
Rainer is also the film critic for the Christian Science Monitor and can be heard regularly on NPR’s Film Week on KPCC-FM. He was one of three finalists in 1998 for the Pulitzer Prize in Criticism and is a three-time winner of the Arts and Entertainment Journalism Award for Best Online Film Critic. Rainer is also president of the National Society of Film Critics and has appeared as a film commentator on CNN, ABC News World Tonight, Bloomberg Radio, and Nightline.
Additionally, Rainer has served as film critic for New York Magazine, the Los Angeles Times, Los Angeles Herald Examiner, New Times Los Angeles and Los Angeles magazine. His writings have also appeared in The New York Times Magazine, Vogue, and GQ. He has also written and co-produced two A&E biographies–on Sidney Poitier and John Huston–as well as co-authoring the 1977 film Joyride. He has served on the main juries for both the Venice and Montreal film festivals.
Rainer continues to immerse NYFA students with decades of film history, knowledge, and insight.
Rainer’s Roundtable at NYFA
In this series, Peter Rainer sits down with NYFA students and discusses film production, critique, and the filmmaking process.
Rainer on Film
With Rainer on Film, Peter Rainer dives deeper into film trends with video essays that incorporate clips from films as well as behind-the-scenes photos and footage. In its debut episode, the film critic discusses films of the 1960s and 1970s. In the second episode, Rainer moves on to the films of the 1980s.
The NYFA Hour on Popcorn Talk
Popcorn Talk Network is the online broadcast network with programming dedicated exclusively to movie discussion, news, interviews, and commentary. In The NYFA Hour, the New York Film Academy hosted an array of knowledgable industry personalities, with multiple guest appearances with Peter Rainer.
In the episode below, Rainer joins host Pegah Rad to discuss the art of film critique and how cinema has changed since he started writing about the movies:
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Method acting — the art of turning completely into your character while playing a scene — is a tried and true, well, method, for acting in a scene. But it’s not the only way an actor can choose to perform their role. Many actors will stay consciously in their own head for the bulk of a performance, reciting their lines in a careful manner or incorporating their own personality into the character on the page.
None of these philosophies are wrong — they are merely different approaches for a complex, artistic craft. There is a famous anecdote from the set of Marathon Man, the 70s thriller starring Sir Laurence Olivier and Dustin Hoffman. Hoffman, a method actor, had told his co-star that he had stayed up for three days straight so that he could inhabit the role his character, who had also been up for three days.
“My dear boy,” Olivier said to Hoffman, “why don’t you just try acting?” The film and theatre giant was making light of the method process — one in which an actor “becomes” their character on an emotional, and often physical, level.
In the end, it comes down to your training and your preferences on how you want to perform a role. But playing yourself can be a productive practice for many actors. Of course, like any great art, it’s easier said than done.
How can you play yourself, then? By always learning everyday who you are, what you like and dislike, and bringing it to your work instinctively. Playing yourself with total control and being able to enter and exit the part quickly may take years to fully master. You should never forget that your craft is work but also fun. The desire to tell a story truly and faithfully is a worthy goal but one that should leave lasting harm on your own well-being. Here are three techniques that can help you play yourself, as opposed to method acting:
Learn Who You Are
Many roles on screen or on stage often represent the everyday person. Their truth on stage is waited by an audience that can relate very specifically to these characters. Many examples of actors we know have gotten stronger over their careers from simply living their personal lives and then bringing that experience to their work.
Paul Newman is a great example. After struggling to play certain parts, he realized that by just being himself he would get more attention. Speaking in his regular voice and bringing his own qualities to each part, his career soared. Along the way, he gained confidence in the craft and a true mastery of using his emotional life in each role he played.
We know all too well of tragic endings to some of our favorite stars, many of them occurring very early in their lives and careers. Often, these actors had troubles stemming from many reasons, some of which related to the emotional intensity of their craft.
That is why it is so important for actors to learn control of themselves. Being able to leave the character at work and not bring it home with you is vitally important. Actors can learn practices that help them “drop in then drop out” of their roles. They can condition themselves and learn to look out for triggers, and understand how to deal with them properly in a way that is safe.
Acting is hard work, but that doesn’t it can’t be enjoyable — fun, even. By learning to appreciate your gifts, you’ll become more relaxed and more comfortable in a role. You’ll be more you. Your instruments (body and voice) should be your best buddies.
A fine understanding of them both will make you more grounded and therefore present.
Find a routine that works best for you, and step by step you will learn to react instinctively to specific situations. Breathing is an amazing tool one should master as they learn to perform. Even if your character is going through a very intense moment, you don’t have to be.
Method acting is just that — one method to performing a scene in a particular way. There are always methods, and learning as many as you can make you a well-rounded performer. Playing yourself isn’t as easy as it sounds. But by learning to detach yourself from the circumstances of the scene and then live your life fully is healthy for the body, mind, and soul. Make Sir Olivier proud!