films

It’s a Good Time To Be a Comics Fan

These days, comic books are synonymous with summer blockbusters, with box office records constantly being broken and high-profile names in the film industry vying for a chance to be a part of major cinematic universes and perhaps cementing a legacy akin to Tony Stark, aka Robert Downey Jr.

That’s right. RDJ’s performance as billionaire playboy with a heart, Tony Stark, has merged with the actor and for the public eye become a single persona of the larger-than-life hero that he plays. He’s not the only one–comic book fans around the world now see these actors embodied by the characters they portray and it is simply because they were able to bring to life the stories that they have grown up with. 

The different incarnatoions of Hulk

Stories have molded many a reader from the shy, unpopular kid who can relate to Peter Parker and Spider-Man to the person who feels out of place in society because of their appearance or sexual orientation who empathize with the trials of discrimination in the pages of X-Men. 

Many comic books represent the most important topics affecting contemporary society. It wasn’t always this way though. Comics started as a way for struggling writers and artists like Stan Lee and Jack Kirby to make a living by coming up with characters with funny names and weird backstories and placing them in the most ridiculous outfits they can think of. A perfect example would be the original costume for Batman, who first started out wearing red tights with black underwear and bat-like wings. It wasn’t until his revolutionary creators, Bob Kane and Bill Finger, decided to take these stories and make them mean something more. 

Today you can look to Captain America for moral high ground, Batman for discipline and dedication, or the many female characters leading the charge for all young women seeking equality, recognition, and empowerment–including Wonder Woman, Captain Marvel, Supergirl, and She Hulk, to name a few. 

Gal Gadot

The recent renaissance big-budget comic book adaptations and the performances of perfectly cast actors, paired with years of character development in the pages of comic books are now truly amazing cinema audiences. 

Take the upcoming film, Joker, directed by Todd Phillips. Joaquin Phoenix’s character, Arthur Fleck,is a failed comedian spiraling into insanity, who eventually becomes the titular homicidal clown. The film generating so much buzz before its release that it is already an Oscar contender, and broke October box-office records in its first weekend of wide release.

No longer are comic books regarded as silly pulp magazines for kids to entertain themselves with. They now represent the individual reading them, they connect emotionally, and inspire generations of people who strive to tell the stories that can impact people and change their lives. Together, comic books and the film industry has become a juggernaut–with no slowing down in sight. 

It truly is a good time to be a fan of comics.

 

Written by Gabriel Marte

7 Must-See Films of Pedro Almodóvar

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

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

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

Women on the Verge of a Nervous Breakdown (1988)

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

 

All About My Mother (1999)

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

Talk to Her (2002)

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

Bad Education (2004)

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

 

 

Volver (2006)

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

The Skin I Live In (2011)

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

Pain and Glory (2019)

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

 

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

Phase 4: What’s Next for the Marvel Cinematic Universe?

[warning: SPOILERS for Avengers: Endgame and Spider-Man: Far From Home]


This summer saw the end of an epic run of films from the Marvel Cinematic Universe (MCU), that began in 2008 with Iron Man, and finished with the epic crossover Avengers: Endgame and its follow-up, Spider-Man: Far From Home. The 22 MCU films ended with a goodbye to Robert Downey Jr.’s Tony Stark, coming full circle.

But of course, like any good comic book storyline, the end is never really the end. While for the first time in a very long time Disney’s Marvel Studios currently doesn’t have another movie in the can and ready to go, it does have multiple projects in pre-production. It won’t be long before Phase 4 and Marvel dominate the box office once again, with both brand new characters as well as some familiar faces…

Black Widow

The long-rumored solo film for Scarlett Johansson’s original Avenger, Black Widow, is finally coming to pass. A key difference between Phase 4 and the first three MCU phases (besides a lack of Robert Downey, Jr. and Chris Evans) will be the clear push to bring more diversity to a franchise that saw 20 out of 22 (that’s 91%) of its films helmed by and starring white men. Black Widow was one of the major casualties of the war against Thanos in Endgame, but it’s presumed this film, co-starring David Harbour (Stranger Things), Rachel Weisz (The Favourite), and Florence Pugh (Midsommar), will be a prequel about how Black Widow was originally trained as a Russian spy and first earned all that red in her ledger. The film will be one of the first for Phase 4, expected to release sometime next year and continue a streak the MCU hasn’t broken since 2009.

Eternals

Another of Phase 4’s earliest projects is Eternals, which is based on one of Marvel’s more obscure cosmic, space-based properties. The last time the MCU announced they were making a big budget adaptation of weird space creatures no one ever heard of, many assumed it would end in dismal failure—however Guardians of the Galaxy turned out to be one of Disney’s greatest hits. This film may prove the same, and fills the star power vacuum left by Robert Downey, Jr. by putting Angelina Jolie front and center. Jolie will be joined in the cast by Richard Madden, Gemma Chan, Salma Hayek, Brian Tyree Henry, and Kumail Nanjiani. The lineup isn’t just racially diverse and full of women—rumor has it the film will also feature the MCU’s first openly gay superhero.

Thor: Love and Thunder

One of the most beloved films of the first three phases was Thor: Ragnarok, written and directed by New Zealander Taika Waititi. Waititi will return for Thor 4, along with Chris Hemsworth, Tessa Thompson, and Natalie Portman, who hasn’t prominently featured in the MCU since 2013’s Thor: The Dark World. Portman is rumored to be playing the Jane Foster female version of Thor, wielding Mjölnir in a plotline from the comics. And while, because of confusing rights issues with Universal, there’s still no second solo Hulk film in the works, here’s hoping Mark Ruffalo and Professor Hulk will return to the MCU to re-form The Revengers with his old pals Thor and Valkyrie.

Doctor Strange in the Multiverse of Madness

That’s one kooky title but we’ve come expect the unexpected from one of the MCU’s trippiest franchises, Doctor Strange. Benedict Cumerbatch’s Sorcerer Supreme had a great run in Avengers: Infinity War and Avengers: Endgame arguably saving the day by saving Tony and showing him how to beat Thanos, so it’s no surprise Doctor Strange 2 is a priority for Marvel. He won’t be alone either—Elizabeth Olsen will be joining him as the Scarlet Witch, another powerful superhero whose powers defy conventional science. As for the Multiverse in the title? That opens up a lot of possibilities—Mysterio’s claims of a multiverse turned out to be a ruse in Spider-Man: Far From Home, but if parallel universes do exist in the MCU, maybe we’ll even get to see an alternate Earth where Tony Stark still lives and breathes…

What If…?

Speaking of a multiverse… While the Netflix MCU-adjacent shows have all come to an end, you’ll still be able to find Marvel on the small screen when the release of Disney’s streaming service, Disney+, comes out later this year. One of these shows will be anthology series What If…?, which will show one-off alternate versions of the MCU. It’s not yet known if the animated series will simply be “what if” fantasies or if they will be actual alternate dimensions that co-exist within the MCU—but with Jeffrey Wright (Westworld) voicing the all-seeing Watcher, the latter is certainly a possibility. So far the series has lined up many familiar names to reprise their roles in alternate versions; the pilot will feature Hayley Atwell as Peggy Carter and ask, “What if Peggy had taken the super soldier serum instead of Steve Rogers?”

The Falcon and the Winter Soldier

The first MCU series debuting on Disney+ will be The Falcon and the Winter Soldier, who have become close buddies since the events of Captain America: Civil War. The question is if this show be taking place after the events of Avengers: Endgame, when—just like in the comics—Steve Rogers retired and gave Sam Wilson, the Falcon, the mantle of Captain America, along with his vibranium shield. One thing we do know is that supervillain Baron Zemo (Daniel Brühl) will be returning from Civil War in one form or another.

Loki

Another returning character getting his own Disney+ series will be Tom Hiddleston’s fan favorite Loki. The trickster god and brother of Thor has alternated from good to bad several times within his several appearances in the MCU, so it remains to be seen what exactly the series will be about, especially considering Thanos strangled Loki to death in the beginning of Avengers: Infinity War. But considering the time travel shenanigans in Endgame led to Loki escaping with the Tesseract Space Stone, there’s a good chance an alternate Loki is still alive, and, if set photos are to be believed, possibly living in the 1970s!

WandaVision

WandaVision is perhaps the most perplexing of the announced Phase 4 titles. We know Wanda, aka Scarlet Witch (Elizabeth Olsen), will be appearing in Doctor Strange 2, but her artificial lifeform lover Vision was one of the major casualties of Avengers: Infinity War, and was never resurrected by the end of Avengers: Endgame. So what will this show about the pair be about? The title, a very weird pun with a 50s style logo, gives nothing away.

Blade

1998’s Blade, starring Wesley Snipes as the half-vampire, half-human swordsman, is considered the first modern superhero movie and which kicked off the Hollywood comic book fascination that is still burning strong today. So it was a big surprise at this year’s Comic Con when Marvel head Kevin Feige announced that a rebooted Blade will be joining the MCU, with Oscar winner Mahershala Ali as the title Daywalker. Ali is no stranger to the MCU—he played the villain Cottonmouth in the first season of Luke Cage. But when you have an actor as good as Ali, you can’t blame Marvel for using him as much as they can.

Shang-Chi and the Legend of the Ten Rings

Shang-Chi is a lesser known Marvel superhero, but that’s about to change. The film will be the first from the MCU to be directed by an Asian American and star a mostly Asian and Asian American cast, including Simu Liu, Awkwafina, and Tony Leung. Leung will be playing the Mandarin, a supervillain teased since the very beginning of the MCU when a terrorist with ten rings first imprisoned Tony Stark and inspired him to become Iron Man, and who Ben Kingsley very famously turned out not to be in Iron Man 3.

Hawkeye

Jeremy Renner’s Hawkeye came back from the brink as the murderous Ronin by the end of Avengers: Endgame, but he may not be the focus of this Disney+ series. Lila Barton, his daughter, became Hawkeye in the comics, and as the MCU pushes to bring in more diverse and female superheroes, she may end up taking the mantle of her father. The very first scene of Avengers: Endgame shows Lila’s amazing archery skills, no doubt inherited from her dad, before she was snapped out of existence for five years by Thanos and the Infinity Gauntlet.

And then what?

These have all been announced and are all in some form of pre-production or production, but there’s other projects we can safely assume Disney will produce as long as Marvel keeps making them billions and billions of dollars. These include sequels to smash hits Black Panther, Guardians of the Galaxy, and Captain Marvel. And since Disney recently bought Fox and most of its properties, eventually we may see the Fantastic Four and even a new version of the X-Men join the Franchise That Tony Built.

MCU Phase 4

7 Perfect Films for Father’s Day

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 (1940)

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.

9 Independent Foreign Films That Have Withstood the Test of Time

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.

5 Great Netflix Original Films of 2018

Netflix continued to dominate the television industry in 2018, coming out on top with 112 nominees at last year’s Emmy Awards, and boasted more than 60 original films released this year (and counting). From comedies to dramas — and its fair share of documentaries — a tidal wave of strong, original content coming from the streaming platform continues to make it more and more difficult for us to leave the couch.

So, for those of you with no reservations about continuously filling in those perfected couch grooves, here is a list of the great original films Netflix released in 2018:

6 Balloons

In an unexpected pivot from their usual comedic roles, James Franco and Abby Jacobson play a heroin addict and his loving-yet-enabling sister in this heartfelt drama. Barely feature-length at 71 minutes, 6 Balloons follows the siblings over the course of one night after Katie (Jacobson) finds out her brother Seth (Franco) has relapsed.

Written and directed by Marja-Lewis Ryan, the film is bleak in its deliverance of the grappling truths surrounding addiction, and poignant in its examination of unconditional love between family.

To All the Boys I’ve Loved Before

As surprising as it may be for a teen rom-com to win over film critics across the board, To All the Boys I’ve Loved Before did just that.

A big win for diverse leads in films, To All the Boys follows Lara Jean Covey, a half-Korean, half-Caucasian high-schooler in suburban America, as she navigates through the complicated events following the leaking of her secret love letters to five of her crushes. The role is winningly played by New York Film Academy (NYFA) Acting for Film alum Lana Condor, and offers an honest, endearing, and downright sweet take on the dating rituals of adolescence. In a lot of ways, it’s reminiscent of the ‘80s classics of John Hughes, but for the digital age.

Roxanne Roxanne

Roxanne Roxanne is a biopic, co-produced by Pharrell Williams and directed by Michael Larnell, that explores the legendary beginnings of Roxanne Shanté’s career as rap’s first female star at just 14 years old. Coming out of the infamous Queensbridge Projects in Queens, New York, the talented battle-rapper shot to fame after igniting the Roxanne Wars — hip-hop’s first recorded beef — after recording a clapback with legendary hip-hop producer Marley Marl to U.T.F.O.’s hit single Roxanne, Roxanne.

Despite being out of the limelight for many years, the story of the pioneer who paved the way for names like Nicki Minaj, Lil’ Kim, and Cardi B – to name just a few – was worthy of some current recognition; Netflix did just that – and did it in style.

They’ll Love Me When I’m Dead

This documentary feature by Oscar-winner and 20 Feet from Stardom director Morgan Neville centers around the last 15 years of filmmaking legend Orson Welles’ life, when he was an artist in exile. The film focuses largely on the long and laborious production of his magnum opus, The Other Side of The Wind, which was finally released posthumously this year.

Using more than 100 hours of raw material, this imaginative 122-minute cut is essential viewing for not just Orson Welles fans but any aspiring documentary filmmaker or film enthusiast. The Other Side Of The Wind was semi-autobiographical, and this intoxicating film compliments it perfectly while detailing the life and times of its subject.

The Kindergarten Teacher

Written and directed by Sarah Colangelo, The Kindergarten Teacher is an English remake of the 2014 Israeli film of the same name, a riveting psychological thriller about a disenchanted teacher living in Staten Island who becomes intrigued by a precocious 5-year-old boy in her class after reading his poetry.

Maggie Gyllenhaal shines in the role of Lisa, the self-deluded teacher and budding poet who, in some way, uses Jimmy, the artistic prodigy played by Parker Sevac, to live out her own dreams of becoming an extraordinary poet. The film explores the great lengths in which one will go to nurture the artistic pursuits of a child beyond what is deemed socially or ethically acceptable, as Gyllenhaal unravels and the child’s well-being comes into question.

Masterfully projecting the complexities of life as a struggling woman desperate to be heard, this film is bound to leave you affected. As Rolling Stone puts it, “for the filmmaker and her star, this movie is their poem.”

Filming for a Movie vs. Filming for a TV Show: What You Should Know

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?

television tv

Storytelling

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.

Budget

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.

film projector

Audience Experience

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!

H40: The Five Timelines of Michael Myers and “Halloween”

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. Halloween 4 was released ten years after the original, in 1988, and quickly followed up with Halloween 5 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.

“A Star Is Born” – We Just Wanted To Take Another Look Back at the First 3 Films

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.

A Star is Born (1976)

[Video]

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.

 

8 Recent Indie Movies That Made Their Mark on Filmmaking

Although it’s usually the big-budget films raking in the cash and getting all the commercial attention, film’s greatest strength as a source of entertainment for its variety. When the market is saturated with enough A-list actors and adrenaline-fueled blockbuster rides, many look to independent films for fresh faces, stories with creative risks, and more. The following movies recently striking a chord are just the latest icing on the cake that is the current indie film industry:

Won’t You Be My Neighbor?

You know you’re dealing with a good documentary when it not only sits at the top 15 highest grossing non-fiction films of all time but also beat four Disneynature documentaries despite a smaller theatrical run. Using a tone both elegant and tender, director Morgan Neville helps capture minister Fred Rogers’ magical ascent in television while embodying what children’s programming should be about.

Hereditary

As Ari Aster’s first feature, this supernatural horror film does more than give viewers a scare. Toni Collette’s character creates a memorable look at the grieving process as she struggles to cope with several deaths in the family. Critically acclaimed and standing as American independent entertainment company A24’s highest-grossing film worldwide, Hereditary sets a high bar for horror films looking to provide tension and terror through means other than your average shock tactics.

Get Out

Jordan Peele put on the director’s hat for the first time with this indie horror film that earned its spot among the ten most profitable movies of 2017. Viewers praised the film’s excellent mix of humor and its creative visual style. Perhaps most importantly, Get Out does what horror films do best: provide an entertaining story that touches on real world issues — in this case, racism.

The Florida Project

Sean Baker’s drama film tells the story of a restless mother and her young daughter as they do whatever it takes to avoid homelessness. Strong performances and a powerful, sensitive look at poverty in today’s America earned this movie a number of notable nominations, including a spot on the National Board of Review’s and American Film Institute’s Top 10 Films of the Year lists. (One of The Florida Project’s producers is Darren Dean, a NYFA producing school instructor.)

A Quiet Place

Grossing $332 million worldwide after being made with a budget of around $20 million, this sci-fi horror film has been the talk among scary flick fans in 2018. Writer/director John Krasinski’s reliance on visual storytelling paid off as his use of silence and excellent sound design, along with strong performances help drive its eerie atmosphere. Notable figures such as Stephen King and Nick Allen specifically praised the expressive silence that allowed viewers to feel terror not through words but mostly from the expressions of the characters alone.

I, Tonya

Craig Gillespie’s biographical film recounts the story of Tonya Harding, the American Olympic figure skater connected with the brutal attack on rival skater Nancy Kerrigan one day before the Ladies Singles competition the 1994 U.S. Figure Skating Championships. The film earned numerous nominations, including a win for Best Supporting Actress at this year’s Academy Awards, and was praised for its great execution of humor and tragedy thanks to its strong, emotional performances.

Mudbound

Directed by Dee Rees, this American period drama follows two World War II veterans — one black, one white — as they battle against racism and PTSD in their post-war life. Widely praised for its strong cast, Mudbound earned many nominations, including four at the 90th Academy Awards, and led to Rachel Morrison becoming the first woman ever nominated for a Best Cinematography Oscar.

The Big Sick

One of the top grossing indie films of 2017, The Big Sick is a romantic comedy based on the actual romantic beginnings of writers and interethnic couple Emily V. Gordon and Kumail Nanjiani. Audiences and critics both enjoyed the film’s original spin on a true love story that succeeded despite illness, cultural differences, and more. Director Michael Showalter’s film turned a $5 million budget into a $56 million box office worldwide, while also earning several dozen awards and nominations.

4 Tips for Getting Full-Time Work in Corporate Video


Every year tens of thousands of students across the country graduate with film degrees and get ready to join the workforce. Some of these graduates will go on to enter the film industry, while others will move into the rapidly growing corporate media landscape. More and more corporations and marketing companies are hiring and developing
video production in-house.

While a film degree or certificate from a school like the New York Film Academy is a huge step towards becoming employable in corporate video, there are additional things you can do to optimize your ability to get full-time work. This article outlines five tips for getting a full-time job in the corporate and commercial video industry. Here they are:

1. Know your Audience

Working in corporate video is very different than trying to get work in traditional filmmaking. In filmmaking, the end goal of the process is to output content that will sell to a distributor or be a commercially viable product for entertainment audiences. In corporate video, however, you are primarily aiming to make content that will please a client’s expectations and solve a real world business problem. In order to optimize your ability to work in this sector of the video production industry, you must align your priorities with those of the company you’re aiming to work for.

People hiring in corporate video will care about your ability to:

  • Understand the theory and process how marketing works (lead generation, brand awareness, sales, etc)
  • Be able to think of and develop video ideas that solve problems within any of these areas of marketing and sales
  • Develop marketing messaging and video concepts that align with business goals
  • Develop thoughtful brand-centric creative writing
  • Present ideas, storyboards, and concepts to clients
  • Shoot & edit in a way that matches the client’s or company’s overall brand standards and guidelines
  • Communicate respectful and empathetically with clients
  • Handle varieties of projects at once and work quickly

Understanding the goals and priorities of your hiring audience will inform your interviews, resume building, and overall strategy for finding work. Start to embrace the above points and skills.

2. Invest in Yourself

Hands-on training is a powerful way to build serious experience and stand out amongst other candidates. Beyond the four walls of school there are a variety of other investments one can make to build your network and create ongoing opportunities for full time work. Utilizing some of the following, while not essential, can help develop your career, skills, and ultimately make you a more valuable & hireable professional.

  • AMA or AAF: Groups like the American Marketing Association (AMA) or American Advertising Federation (AAF) allow you a great opportunity to create one-on-one relationships with both potential marketing employers and people who could refer you to others for work.
  • LinkedIn Premium: Linkedin is a great tool to network within corporate America. Linkedin Premium affords you the ability to network even deeper by messaging hiring managers, sending portfolios, and with other powerful tools to help you get in touch with just about any marketing or business professional.
  • Redbooks: Redbooks is a database of targeted decision makers and potential hiring managers of ad agencies and brands. With over 250,000 decision makers from 14,000 agencies, you’ll have the direct contact information of just about anyone in marketing. Having this will allow you to network, send work examples and resumes.
  • Hands-On Workshops: You can never be too experienced to get your hands back on production tools to hone your skills. Keep your skills relevant and honed, and also do some valuable networking and resume building.

There are hundreds of other things you can invest in to help build your career, but the above are great ways to get in front of the right people — which at the end of the day is one of the most vital aspects of getting full-time work in corporate video.


3. Become a Brand

Just like a company must brand and market themselves in order to sell their products, you as a video professional must brand and market yourself to find full-time work. This means you must have the ability to package your skills, communicate your experience, and have the tools to effectively market yourself. The following tools will be valuable:

  • A Simple Website: Creating a simple website through SquareSpace or WordPress can help bring all your information together into one place. Making a website shows you can put the effort in, and shows you’re serious about your craft. Include contact information, work examples, your resume, and references.
  • Completed Social Media Profiles: Create all the relevant social media accounts (Facebook, LinkedIn, Twitter, Vimeo, YouTube, Tumblr, etc) and upload all of your video examples and other information to these sites. Add your contact information and experience, as well as linking to your website.
  • Logo: Have a simple logo that represents who you are. It can be as simple as just a text-based logo of your name, or something more artistic. Either way, having a simple logo can help your resume pop, and help make your overall professional brand be engaging.
  • Demo Reel: Your demo reel is essential in summing up your video production capabilities and experience. Have this easily accessible on your website and resume so that employers can quickly get an idea of your skills. Make your demo reel 60 seconds in length and speak to the experience that relates to the type of work you’re aiming to get.
  • Relevant Video Examples: Demo reels don’t always tell the full story. If you’re aiming to work at an ad agency, have example videos of commercials you’ve directed, or web marketing videos you’ve produced. Having this in addition to your demo reel on your website is essential.

The above are the basic branding and marketing tools for your professional brand, and should be updated even after you find your first full-time job. They should evolve with your career and be ongoing tools for you to communicate your value.

4. Follow Up … And Follow Up (Again)

Of course, you must apply and reach out to potential job creators after you have your resume and demo reel, etc. But if you think you’re just going to apply to a job or email a manager once and immediately get a job, think again. Working in corporate video is competitive and it requires consistent and respectful follow-ups to the companies and agencies you’re trying to be employed by.

In business development, 80 percent of sales happen after five follow-up attempts, and finding work is essentially sales — so don’t be bashful in sending follow-up emails or making follow-up calls to jobs or companies you’ve applied to. However, don’t be annoying or spammy, as you might create the opposite effect. Here’s a simple follow-up email script that will help increase your ability to engage a hiring manager:

“Hi [First Name] –

How are you? My name is [Full Name] and I’m following up regarding the video position I applied for last week. I understand you have a lot going on, but I wanted to say hello and send you another example of my video work for your consideration.

Here you go: [insert link]

Let me know what you think. If you’d like to speak with any references, let me know and I can send any email introductions. I appreciate your time!”

The above approach does not apply to every situation, but in general is a solid starting email template for following up with a manager. Remind them of your name, that you applied, and send them something referenceable like a new video link or a particular project you’ve done.

Between knowing your audience, investing in yourself, building your brand, and mastering the follow-up, you’ll be in a great position to land a full-time job. Stay engaged throughout your studies at NYFA, and network with fellow graduates. Whatever happens, never give up, as there is incredible opportunity in the corporate video industry.

 

Article by Mike Clum.

Mike Clum is the founder of Clum Creative, a corporate video production company that employs 10 full-time video production professionals.

Editing Like an Oscar Winner: Why Learn Avid Media Composer?

by NYFA Instructor Igor Torgeson

Avid Editing

With a new semester beginning, students at NYFA campuses are starting their first introduction to Avid’s Media Composer system.  Hard drives are being formatted, project directories are being created, and folks everywhere are wondering to themselves “What is YCbCr anyway?”

As Post Production instructors, we often get the asked how Media Composer became the software of choice at the New York Film Academy. I can only assume that question is also asked at the many film schools where Media Composer is the required software.

This uniform approach to editing software comes from three basic facts about Media Composer that have been consistent since the 1990’s and look to continue to be true for at least the next five to ten years.

1. Avid Media Composer is the Industry Standard Editing Software.

All of the films nominated the Academy Award for Best Picture in 2018, as well as all the films nominated for Best Editing for 2018, were edited using Avid Media Composer.

If you’re going to be working in feature films or episodic television, Media Composer is simply the standard for editing software.  Post facilities are set up to use Media Composer and that is the expected workflow.

2. Proficiency in Avid Media Composer Translates to Proficiency in Other Editing Platforms

Students sometimes find the first few sessions with media composer a bit challenging, as the interface does very little to inform you what everything is and what it does. This is a legacy of the software’s creation by engineers for technically-inclined individuals.

The thing to remember, however, is that all the other Non-Linear Editing software on the market is at least in some part inspired by or reacting to Media Composer. That means the general workflow of every platform is the same.  Media gets into the software. A window allows the editor to view and listen to the media.  The editor chooses the media to include in the show and places it in a timeline, which can be viewed in another window.  This is the same in every platform!

Once an editor becomes comfortable with this process in Avid Media Composer, moving to other platforms becomes easier, as the switch is simply a matter of finding the same tools in the new software, as well as understanding which tools the new platform has automated or eliminated.

3. Avid Editors Earn More Than Editors On Other Platforms

Of course, success as an editor is first and foremost a result of talent, skill, and experience — whatever the platform. Nevertheless, the data shows that there is a positive difference in income for Avid editors. For students hoping to move into editing, or at least have a gig that can pay well between other projects, Media Composer is the clear choice.  According to Payscale.com, the median nationwide salary for an editor with Avid skills is over $50,000.  For an editor with Premiere skills, $37,475. In Payscale’s survey, Premiere editors topped out at $53,727, top Avid editors made $105,126!

According to Glassdoor.com, Avid Editors in major markets, depending on experience, can expect even higher salaries, getting to over $135,000 annually. The same site currently lists Premiere Editor positions for $40,000 to $51,000.

For gigs and on an hourly basis, Avid Editors expect between $45 and $75 an hour.  Final Cut Pro Editors fare even worse — Glassdoor currently lists a Final Cut Pro Editing position for $20-$22 an hour.

As we saw above, once an editor learns Avid, it’s relatively easy to shift to a new platform.  So not only does an editor have an economic advantage by knowing Avid, in the absence of Avid jobs, it’s easy to shift to another software, even if it means a lower rate for a while.

Sweeteners

So with those three basic facts in mind, Avid Media Composer has been the clear choice for editing software.  Avid has also sweetened the deal a bit for students and New York Film Academy in particular.  First, Media Composer is available to students for about $10 a month, which is an enormous discount off the retail price.  Second, Avid has partnered with NYFA to make us an Avid Learning Partner, which allows us to offer our students the possibility of earning Avid User Certification (if they successfully pass the exam).  

With those things together, our goal continues to be giving students a thorough training in Post Production, on industry standard software, with a competitive advantage when entering the marketplace.  And maybe even a passing knowledge of YCbCr.

Our 2018 BAFTA Predictions

While the Oscars are still a few weeks away, the 71st British Academy Film Awards are finally upon us. The ceremony will be hosted by Absolutely Fabulous star Joanna Lumley on February 18, at London’s famed Royal Albert Hall.

The BAFTAs are one of the major award shows of the season. Because so many actresses, actors, and filmmakers come from the United Kingdom, the nominations and winners often overlap with many of the Golden Globe and Oscar categories. However, because the Academy is made up of different voters, sometimes the results can be wildly different.

Here then are the nominees for some of the major categories, along with our best guesses at who will be taking home the BAFTA award bronze mask statue this weekend — though like always, anything can happen.

The BAFTA Award
Leading Actress
Annett Bening – Film Stars Don’t Die in Liverpool
Frances McDormand – Three Billboards Outside Ebbing, Missouri
Margot Robbie – I, Tonya
Sally Hawkins – The Shape of Water
Our Predicted WINNER: Saoirse Ronan – Lady Bird

While Margot Robbie is considered the favorite for the Oscar in this category due to her stellar performance in the wildly enjoyable I, Tonya — the story of Tonya Harding and Nancy Kerrigan isn’t as much of a cultural milestone outside of the United States. This may give the edge to Irish actress Saoirse Ronan, star of Lady Bird, a film with near perfect critical acclaim.

Leading Actor
Daniel Day-Lewis – Phantom Thread
Daniel Kayluuya – Get Out
Jamie Bell – Film Stars Don’t Die in Liverpool
Timothee Chalamet – Call Me by Your Name
Our Predicted WINNER: Gary Oldman – Darkest Hour

It’s hard to bet against Daniel Day-Lewis, especially in a thoroughly British role that may also be his last. But Winston Churchill is about as legendary as you can get in Great Britain, and Oldman’s performance as the Prime Minister in his finest moments has already won several awards.


Supporting Actress

Allison Janney – I, Tonya
Kristin Scott Thomas – Darkest Hour
Laurie Metcalfe – Lady Bird
Octavia Spencer – The Shape of Water
Our Predicted WINNER: Lesley Manville – Phantom Thread

While Day-Lewis may not win, his co-star Lesley Manville certainly has a good shot just for being able to go head-to-head with him in several scenes, matching his intensity and emotional subtlety every time.

Phantom Thread

Lesley Manville in Phantom Thread

Supporting Actor
Christopher Plummer – All the Money in the World
Hugh Grant – Paddington 2
Willem Dafoe – The Florida Project
Woody Harrelson – Three Billboards Outside Ebbing, Missouri
Our Predicted WINNER: Sam Rockwell – Three Billboards Outside Ebbing, Missouri

There’s a lot of momentum behind Sam Rockwell this season for his complex performance as a bigoted cop in Three Billboards Outside Ebbing, Missouri. That momentum might be too much for any of the other very talented actors in this category, including co-star Woody Harrelson.


EE Rising Star Award

Daniel Kaluuya
Florence Pugh
Josh O’Connor
Timothee Chalamet
Our Predicted WINNER: Tessa Thompson

Daniel Kaluuya made a huge splash with his haunting starring role in Get Out, but we’ve got to give the edge to Tessa Thompson, the talented American actress who is quickly becoming an A-list movie star thanks to her scene-stealing performance in Thor: Ragnarok.

Tessa Thompson

Tessa Thompson

Editing
Baby Driver – Jonathan Amos, Paul Machliss
Blade Runner 2049 – Joe Walker
The Shape Of Water – Sidney Wolinsky
Three Billboards Outside Ebbing, Missouri – Jon Gregory
Our Predicted WINNER: Dunkirk – Lee Smith

The editing in all of this year’s nominees was impressive, but Dunkirk’s style was a crucial part of the narrative — telling the evacuation of Dunkirk in three distinct timelines cut back-and-forth. The epic World War II film will probably come away with at least one award this weekend, and odds are it’ll be this one.


Special Visual Effects

Blade Runner 2049
Dunkirk
Star Wars: The Last Jedi
War For The Planet Of The Apes
Our Predicted WINNER: The Shape Of Water

The Shape of Water is essentially a classic romance tale, except one of the romantic leads is a computer generated seven-foot fish creature. By making the character not only believable but emotionally relatable, the special effects team for The Shape of Water more than proved they’re worthy of this year’s award.


Cinematography

Blade Runner 2049 – Roger Deakins
Darkest Hour – Bruno Delbonnel
Dunkirk – Hoyte van Hoytema
Three Billboards Outside Ebbing, Missouri – Ben Davis
Our Predicted WINNER: The Shape Of Water – Dan Laustsen

Blade Runner 2049 is a dark horse in both the Special Effects and Cinematography categories for its fully realized portrayal of a near-future America, but The Shape of Water will probably come ahead in both. The film is a visual marvel in multiple ways, and slides between multiple styles and genres with ease.


Adapted Screenplay

Armando Iannucci, Ian Martin & David Schneider – The Death Of Stalin
Matt Greenhalgh – Film Stars Don’t Die In Liverpool
Aaron Sorkin – Molly’s Game
Simon Farnaby & Paul King – Paddington 2
Our Predicted WINNER: James Ivory – Call Me By Your Name

Paddington 2 is a smash success and both Aaron Sorkin and Armando Iannucci are screenwriting legends, but Call Me By Your Name manages to adapt the 2007 novel of the same name in a way that preserves all its raw emotion that audiences can’t help but be affected by.


Original Screenplay

Jordan Peele – Get Out
Steven Rogers – I, Tonya
Guillermo del Toro – The Shape Of Water
Martin McDonagh – Three Billboards Outside Ebbing, Missouri
Our Predicted WINNER: Greta Gerwig – Lady Bird

Gerwig is making history as only the fifth woman nominated for a Best Director Oscar, and her film Lady Bird is easily considered one of the best of the year. It’s had a tougher time at the BAFTAs, so if the overall film gets recognized it’ll have to be here for its remarkable screenplay.

Lady Bird

Lady Bird

Animated Film
Loving Vincent
My Life As A Courgette
Our Predicted WINNER: Coco

All three films are visual works of art, but it’s hard to bet against Pixar and their soulful, supernatural masterpiece about a 12-year-old boy trapped in the land of the dead.


Documentary

City Of Ghosts
I Am Not Your Negro
Icarus
An Inconvenient Sequel
Our Predicted WINNER: Jane

Primatologist and anthropologist Jane Goodall is a hero and legend to naturists and to her fellow Britons alike. Jane, the 2017 documentary about Goodall, has already picked up several festival and critics awards and will probably get the BAFTA as well.


Outstanding British Film

Darkest Hour
Death Of Stalin
God’s Own Country
Lady Macbeth
Three Billboards Outside Ebbing, Missouri
Our Predicted WINNER: Paddington 2

There might not be anything more loved and more British than Paddington 2, a film with a rare 100% fresh score on Rotten Tomatoes. While all of the other nominees could win as well, especially Irish playwright Martin McDonagh’s Three Billboards or the Winston Churchill drama Darkest Hour, the world really needed an adorable teddy bear in a raincoat —again— and Paddington 2 delivered.

Paddington 2

Paddington 2

Director
Denis Villeneuve – Blade Runner 2049
Luca Guadagnino – Call Me By Your Name
Christopher Nolan – Dunkirk
Martin McDonagh – Three Billboards Outside Ebbing, Missouri
Our Predicted WINNER: Guillermo del Toro – The Shape Of Water

The Shape of Water leads the BAFTA nominations with twelve total — and it takes a masterful director to bring all of these nominated elements together into a fantastical tour-de-force. Guillermo del Toro already picked up a Golden Globe for his efforts, and while his competition is stiff, he’ll most likely pick up a BAFTA as well — even if the film falls short in other categories.


Best Film

Call Me By Your Name
Darkest Hour
Dunkirk
Three Billboards Outside Ebbing, Missouri
Our Predicted WINNER: The Shape of Water



It cannot be overstated just how important the Second World War is to modern Britain, and both films in this category dealing with the subject —Dunkirk and Darkest Hour — do so in masterful ways. For different reasons, Call Me By Your Name and Three Billboards have connected with and sparked conversation for their audiences. But The Shape of Water has a slight advantage over its competition with its overwhelming amount of nominations this year, as well as its perfectly executed fairy tale with just enough of a twist to make it unique. It doesn’t hurt that avid movie buff Guillermo del Toro also managed to make the film a love letter to cinema. Look for this film to take home the biggest BAFTA of them all.

The Shape of Water

The Shape of Water

Super Bowl Sunday: Innovative Ads That Have Changed the Game & What You Can Learn From Them

Apple’s “1984”

There’s two types of people that watch the Super Bowl—those who want to watch football, and those who want to watch the commercials. Either way, that’s a lot of people—the NFL’s championship game is typically highest-rated event of the year, and 19 of the top 20 most watched TV broadcasts of all time are all Super Bowls (the M*A*S*H finale being the only exception at #9.)

It’s hard to stand out from the crowd of countless ads that have aired in the previous 51 games, though dozens have managed to become iconic—including the dancing Pepsi bears, the Budweiser frogs, and the screaming squirrel.

But only a few commercials have actually changed the game when it comes to advertising or filmmaking, introducing new concepts and employing out-of-the-box techniques. By doing something unique and influencing future spots for years to come, these game-changing ads are lessons in themselves.

Here’s five such Super Bowl ads, and what you can learn from them:

1. Apple’s “1984”

“1984” is possibly the most famous commercial of all time, Super Bowl or not. Released the same year as both the Summer Olympics and the 1984 cinematic adaptation of George Orwell’s dystopian novel “1984,” it was a relevant short film that audiences easily identified with, and introduced Apple’s Macintosh desktop PC, which would shortly go on to revolutionize the home computer lifestyle.

The commercial, while signifying major change, was also a short film — a dark, moody, science fiction epic directed by the perfect person for the job, Ridley Scott. Scott was fresh off his own dark, moody, science fiction epics “Alien” and “Blade Runner.”

To this day, the “1984” commercial is a testament to spectacle — influencing countless advertisements that went very, very big to make themselves heard.

Apple's "1984"

Apple’s “1984”

2. GoDaddy’s Teaser Ads

GoDaddy, the company that web hosts and sells and registers domains, doesn’t typically offer highbrow advertisements; indeed, they’ve gotten a lot of flack for tasteless, sexist commercials on more than one occasion. Several of these have been rejected for the Super Bowl, so GoDaddy’s marketers came up with an innovative solution — using their 30 seconds of Super Bowl time to advertise their full-length, real commercials online.

By playing teasers of their actual ads, GoDaddy made a name for itself purely on buzz, while also incorporating social media into advertising well before most of the industry had caught on to the Internet’s potential in such regards. While their actual content was nothing worthy of emulating, this unique innovation has led to an entire industry of “commercials for the commercials.”

3. Coca-Cola’s “Mean Joe Greene”

One of the earliest iconic Super Bowl ads came in 1979, though it had already premiered a few months earlier before making a splash during the big game. This Coca-Cola ad featured NFL star “Mean” Joe Greene chugging a bottle of Coke in the halls of a football stadium before tossing his towel to a 9-year old fan.

The heartwarming moment was a perfect storm of Americana, celebrity, and — of course — football. By using a celebrity most of the television audience already idolized and combining it with a cute kid and some good ol’ fashioned sentimentality, the advertisement formed the basis for countless imitators, including other Coke ads.

If a commercial can give you a warm, fuzzy feeling, the “Mean Joe Greene” ad argues, then maybe so can the product it’s advertising?

"Mean" Joe Greene

“Mean” Joe Greene

4. Nike’s “Hare Jordan”

Michael Jordan was as famous for his TV commercials as he was for his basketball skills, but the “Hare Jordan” spots that advertised his Nike-brand Air Jordan sneakers took marketing to a whole other level. By appearing on screen with an animated Bugs Bunny in modern-day “Looney Tunes”-style shorts, Jordan changed yet another game.

Cutting edge special effects and combining live action with animation was typically only seen in the movies (and in the latter case, only very rarely.) By putting money and unique visuals into their advertisements, Nike proved the investment could be worth it. The ad first hit the Super Bowl in 1992, when computer-generated effects were just hitting the mainstream but were still a rarer, more expensive option than traditional hand-drawn animation.

The ad ended up being a harbinger of the special effects-heavy commercials that would follow in the next two decades as CGI became cheaper and easier to implement. A Super Bowl doesn’t go by these days without several CGI-assisted commercials, but Nike’s hand-drawn/live action combo “Hare Jordan” can be considered the grandfather of them all (and the predecessor to Jordan and Bugs Bunny’s feature-length collaboration, “Space Jam.”)

Michael Jordan & Bugs Bunny

Michael Jordan & Bugs Bunny

5. Doritos’s “Crash the Super Bowl”

For 10 years, the Doritos approach to their Super Bowl ads was to hold a “Crash the Super Bowl” contest, where anyone could film and submit their own Doritos commercials. The winner of the contest would have their amateur project aired for TV’s biggest audience.

The ads were highly successful. By opening up their commercial pitches to millions of amateur filmmakers, Doritos also had way more choices to choose from than any advertising firm could offer. And audiences could connect to the DIY-style low-budget ads — it was a democratic solution that showed that anyone could potentially be seen or heard.

Aspiring filmmakers, advertisers, and just funny people who liked Doritos instantly had a shot at the big time. In the age of YouTube and Instagram stories, Doritos’s “Crash the Super Bowl” campaign couldn’t be a more relevant, decentralized way of telling stories — even if those stories were selling Nacho-flavored tortilla chips.

Doritos "Crash the Super Bowl"

Doritos “Crash the Super Bowl”

 

Interested in learning the skills to make your own Super Bowl commercial one day? Check out NYFA’s filmmaking program here.

SERVICE INDUSTRY: How to Work with Cinematographers

“What can I do for you?”  

The above question is the first thing I ask my director.  You, the director, answering it ensures that you’ll get the most out of me – your cinematographer or DP (director of photography).  

Before you meet with your cinematographer, you should have a good grasp of what the film is about and the story you want to tell. What do you want your documentary to look like? Start with visual references (documentaries, narrative films, still photos, paintings, etc.) ready to show and discuss. After reading the script or treatment, it’s the first thing a cinematographer will want to talk about.

As a visual artist, my job is to translate words and concepts into images. Cinematographers bring loads of ideas to the table. Once I know what a film is about, I shift into visual hyper-drive.  

In the meetings — there will be more than one — you’ll want to discuss the tone of the movie:  Should it be pretty or gritty? Formally composed or “fly-on-the-wall?” Some handheld work perhaps? Why? Will the subject matter benefit from cool, somber tones, or warm, inviting colors?  

Once you’ve discussed tone, your documentary film is well on its way to visual coherence. Some directors just like to chat and pull up images to discuss. Others spend a considerable amount of time preparing a lookbook. Either is okay. It’s whatever works for you.

The style of your film is comprised of more technical questions – the different modes of documentary (See Bill Nichols “6 Modes of Documentary”) beg for different approaches.

Some questions to answer for yourself and communicate to the DP:

  • What lenses will best depict the characters?
  • Is the style up close and personal or are we taking a long view?
  • Will the interviews take place in a home, a workplace, or some neutral ground?  
  • Are you thinking formal compositions, or something more edgy?  
  • If there are re-creations, will they be stylized or realistic?
  • Finally, and not least important, you’ll want to discuss visual metaphors and transitions that serve to link the sequences.  

But what about “shooting from the hip,” some will ask? Let me share an experience I had in the field.

A while back, I was starting a documentary television series that, in addition to archival footage, involved interviews, re-creations, and establishing shots. In pre-production, we spent some time discussing the re-creations, but the director and producer weren’t ready to discuss overall tone. I knew it would come back to haunt us.

On day one, our first interviewee waited patiently while we went back and forth about the location, then the background, then the lighting. It was decided the lighting should be soft with strong contrast. It became the interview tone for the show. We met later to clarify things going forward and avoid further embarrassment of the interviewees watching a confused approach.  There were new challenges for sure, but the solutions were more intuitive for me because the tone and style were set.

The DP is the director’s confidante, the “ace-in-the-hole,” the side-kick to the superhero. But most importantly, he/she is the director’s collaborator, who wants to help make the best documentary film possible. To do that, communication is key.

Ready to learn more about documentary filmmaking? Check out the New York Film Academy’s Documentary School.

Written by Carl Bartels. Bartels is a director and cinematographer whose credits include “Taken,” “The Fantastic Four,” and “Greedy Lying Bastards.”

How to Learn From Other Filmmakers by Watching Films

Anyone with dreams of becoming a successful filmmaker has probably seen a good number of movies in their lifetime — in fact, for many of us, watching movies inspired our own desire to make them.

If you’re a movie buff who wants to take their cinephilia to the next level, try these useful exercises to help you improve your knowledge about filmmaking and pick up new skills and inspiration — all while watching films!

  1. Study the filmmaker’s use of their signature trademarks.

Many filmmakers have their own distinct patterns that can be seen across their works. This can include anything from specific types of shot to a focus on certain body parts.

For example, if you’re watching a Michael Bay movie then you can expect — you guessed it — explosions and fast action scenes.

From Hitchcock’s voyeurism effect and Tim Burton’s dark color schemes to Spielberg’s iconic extreme close-ups, the best filmmakers have trademark methods we’ve come to know and love. Watching their masterpieces to study why they rely on the same techniques is a great way to start developing your own style.

  1. Do a shot breakdown of an important scene.

If there’s one exercise that every ambitious filmmaker has to do at least once in their life, it’s the shot breakdown.

Although it’s a long and arduous process, it’s one of the most effective ways of mastering the complex language of film.

More importantly, you’ll gain a stronger understanding of editing when you consciously watch with the question in mind of why filmmakers and editors chose to cut where they did. A shot breakdown is also great way to study and learn the basic shots and angles in the industry and their best uses.

  1. Focus on camera movement.

The director’s role is to position the camera where they think it will better capture their vision on film. Pay attention to where the camera is and the distance between the camera and subjects. Why did the filmmaker go from a very wide shot to a close zoom for a specific moment? Asking and answering these questions as you watch a film will help you make your own decisions when it’s time to choose how your camera will tell your stories.

  1. Pay attention to new things.

The power movies have to enchant us is all due to the numerous elements filmmakers have at their disposal. Of course, directors want all these parts and pieces to blend together so well that audiences are too busy being captivated by the story to notice how or why the movie is keeping their attention so firmly. But as someone who hopes to improve their own craft while watching films, you should be able to shift your focus to notice and study new elements of the films you watch.

How are they using sound to sculpt a mood? What is going on with the lighting? Shadow? Texture? Are there subtle changes in grade/coloring? Does a certain color continue popping up, and does it have any symbolic meaning? What role does the landscape, city, or setting play? Camera angle?

The list goes on and on. Challenge yourself to notice and question new elements as you watch film to try to understand the choices the filmmakers made behind the scenes.

  1. Examine the most important character action.

There’s a reason why the film industry pays its leading actors well: They’re often the part of a film the audiences connect with first, embodying the characters who drive the story forward and delivering performances that bring scripts and storyboards to life.

Everything audiences see characters do on screen — and includes background extras — plays a part in telling the story of a film. That is why a director’s style with actors plays such an important role in guiding the story.

Who can forget the way Joker laughs in “The Dark Knight”? Or the way Frodo looks at Sam when refusing to destroy the ring at the end of “The Return of the King”? These moments came out of a collaboration between the director and the actors. As you watch, ask yourself how you would direct your actors to reach the performance you envision.

  1. Watch a new movie thrice.


When a good movie comes out that you want to learn from, watch it the first time purely as a cinephile. Throw all your knowledge and vocabulary out the window so you can simply be entertained by the film’s story and mood.

During the second viewing you can focus on the things we covered above to sharpen your understanding of excellent filmmaking.

The third time you sit to watch the film is to catch things you didn’t before, such as foreshadowing, what background characters are doing, and how sets are arranged.

 

How do you learn while watching films? Let us know in the comments below. And if you’re ready to learn even more, study filmmaking at the New York Film Academy.

The Art of the Long Take

If there’s one thing every aspiring filmmaker should consider if they want to achieve success, it’s learning to take chances and be persistent. Not giving up on risky creative ideas is what separates the good films and their makers from the great ones.

Right now, people can’t stop talking about the latest Star Wars film to release — a franchise that wouldn’t exist if the young George Lucas hadn’t gambled his career at the time to see his vision come to life.

Such is the essence of the long take, a technique that offers great benefit to those willing to put in the effort and take a chance.

Risk = Reward

When you consider that today’s movies are made up of several thousand editing cuts, putting together typical shots comes with enough challenge. But while a typical final cut rarely exceeds three seconds per shot, a true long take can last several minutes — or even last for an entire film, as in “Russian Ark” (2002).

These tracking takes involve complicated camera movement, countless hours of rehearsing, and enormous amounts of patience, as a single mistake forces the team to prepare and shoot the scene all over again.

Of course, long takes almost always stand out from the rest of the film when done right. Whether it’s an elaborate action sequence or an establishing shot, viewers love watching a scene unfold without any visual interruptions. This is why many directors pay close attention to long shots, even if it might cost them valuable time and resources.

The Many Uses of a Long Take

There are many ways this powerful technique can be used in filmmaking

A common one is for an establishing shot that introduces the audience to a new scene or location. Since there aren’t any cuts, a long take smoothly draws us into the space via continuous look at the setting and moving parts. For example, the first shot in 2015’s “Spectre” lasts a breathless four minutes as we follow a masked man moving through a Dios de Los Muertos party and up onto a rooftop before revealing the identity of the man we’ve followed.

Long takes are also a fantastic tool for when a director wants to instill suspense into a scene. The best example is also one of the earliest uses, in Orson Welles’ “Touch of Evil,” as we begin by watching a man place a timebomb in the trunk of a car that then drives through busy city streets. The long shot allows tension to simmer as the audience waits to see when and where the clock will run out.

Many action directors strive to create intense scenes through the use of complex choreography that goes uninterrupted. If you’ve seen 1992’s “Hard Boiled” then you no doubt remember the incredible shootout scene as two men blast away several mobsters while moving down corridors, using an elevator, and tearing the place apart.

These are only a handful of the various uses of the long take.

Recipe for your Long Take

If you’re a fan of long takes and hope to utilize one in a project one day, we applaud you. The following are a few questions to ask yourself before jumping in:

  1. Do You Need A Long Take?

Although an exciting challenge, the long take shouldn’t be used just for its own sake. In other words, take time to evaluate your planned film and decide where, if at all, a long take would be the optimal choice. It’s better you realize early that a long take won’t actually make the scene more impactful.

  1. Are Your Actors Ready?

There’s more pressure on actors when one mistake can lead to hitting the reset button on a scene lasting several minutes and you may need extra preparation and rehearsal. You should make sure you have enough time available to budget in everyone’s schedules for rehearsals prior to shooting.

  1. Do You Have The Equipment?

Unless the action will be circling the camera like in 1992’s “The Player,” you’ll need a budget or access to the essential equipment that will enable the camera movements to allow for a long take. You’ll also need audio equipment that can pick up sounds throughout the take as well as the ability to light the entire thing so it looks good. NYFA students have access to one of the largest equipment libraries in the world, so your time spent training here may provide the perfect opportunity to create the long take you envision.

  1. Can Your Crew Handle It?

Composing long takes requires extra effort from everyone involved, and that is doubly true for your crew members who are handling the camera equipment. If they’re up to the task, make sure you plan for breaks between long takes so exhaustion and stress doesn’t play a role in ruining a long take and leaving your team upset.

What are your favorite long takes in films? Let us know in the comments below! And learn more about filmmaking at the New York Film Academy.

Social Media Mistakes Actors Make

With 2.07 billion active users on Facebook, 330 million on Twitter, and 467 million on LinkedIn, many aspiring and established actors are promoting their work on social media sites.

If you’re hoping to utilize your social media accounts to make new connections and build a fanbase as a professional actor, you’ll have to engage with people on one or more social media site.

With that said, many of us are warned about the potential pitfalls of social media As an aspiring actor, you’ll want to be on top of your game when promoting yourself on social media because each decision you make can impact your acting career significantly.

Want to be ahead of the game? Follow these seven tips and tricks to help create a lasting social media presence.

1) Start Small

There are many different social media platforms, but that doesn’t mean you need to have a presence on all of them. Start with one or two you are familiar with and build your presence on those accounts.

For example, start off by creating your Facebook fan page or Twitter handle. Take the time to learn tricks and techniques that will help you grow a following on those sites before adding another.

2) Stay Away From Controversy

Don’t post anything lewd, crude, or otherwise inappropriate. You are trying to be marketable and professional. Causing controversy results in neither of those things.

Stick by this golden rule: if you wouldn’t want your grandparents to see it, you probably shouldn’t post it. If you’re not sure about a post, get a few opinions from friends and colleagues

3) Remember to Do Basic Grammar Checks

Everyone occasionally makes mistakes, but constant misspellings or incorrect grammar could distract from your acting chops. Remember, if you want someone to take your acting seriously, you have to consider every post you make as a reflection of your professional self.

Remember to carefully proofread your posts and have another person take a glance as well.

4) Mix It Up

Don’t just post all text posts or constantly show off videos. Give your audience variety with text, picture, and video posts. All fans like something different — some may enjoy videos, some pictures, and some may like a little bit of everything.

Make sure you take the time to create fun and engaging posts of all types for the best results.

5) Make Your Posts Meaningful

Don’t post something just to post!

First, consider how meaningful your post is to your “brand.” Does it benefit you or your target audience? Does it contribute something unique and essential to your brand? If not, then don’t post something as filler.

6) Don’t Leave People in the Dark!

While you shouldn’t post something for the sake of posting something, you also don’t want to abandon your social media presence for weeks or months at a time.

Make a regular schedule to commit yourself to and make sure your followers are aware of when new posts will appear.

7) It’s Not All About You

Believe it or not, it’s actually helpful to not talk about yourself all of the time.  Sure, you need to be comfortable with promoting yourself, but you also don’t want to come off as egotistical. People enjoy seeing actors who are compassionate , hardworking, and human.

Brag about your latest role, but also praise fellow actors and productions you recently enjoyed.

 

Looking for a more permanent boost to your acting portfolio? Browse our acting program and other areas of study.

10 Documentary Essentials


Today’s 21st century documentary filmmaker has more tools than ever available to them. The cameras are smaller and offer higher resolution. The audio equipment is smaller and hears better than ever. Editing software is intuitive and easy to learn and use. Those are the sort of broad stroke items which are essential to successful documentary film shooting.

Documentary film crews are significantly smaller than a narrative feature crew. This means everybody on a doc crew should know how to operate all the gear, and be able to take on any job in a pinch.

This article is not about any of that stuff. Instead, it’s about the smaller things you will need along your journey to becoming a documentary filmmaker.

Here are 10 absolute must-haves on any shoot, the base minimum for professional-level work.

  1. Flashlight – You never know when you will be in low light conditions or the dark, wrapping after a shoot, prepping before a shoot, lost a nut, somebody else lost their phone … you get the idea. The point is that a flashlight is an essential tool for every filmmaker.
  2. Hat – When you are outside shooting in the sun a hat is another piece of essential equipment, and it can help in a light rain too. It keeps you cooler and keeps the sun out of your eyes. I recommend a full brimmed hat, rather than a baseball cap, to protect the back of your neck. Keep $20 hidden in the crown for emergencies.
  3. Belt – I like to wear a belt so that my tool pouch is always where I expect it to be. I can clip various items to my belt (see glove clip) including my flashlight. It provides easy access to immediate use items, and allows hands free carrying, and frees up your pockets for items best kept secure. Holds up my pants too.
  4. Sturdy Shoes – these are one of the best investments you can make. On the set you will be on your feet for long periods. Having good shoes will save your feet, make you more comfortable, and protect you from injury. A foot injury can keep you off the set for weeks, if not months.
  5. Gloves – Good leather work gloves are an inexpensive insurance policy against hand injuries and burns.
  6. Glove Clip – this holds your gloves on your belt for immediate and easy access.
  7. Pouch – I would say that a First AC pouch is best. If you have so much stuff that a First AC pouch is too small you have too much stuff to carry.
  8. Pen – see below.
  9. Paper – A pocket-size notebook will allow you to take notes and record details. Yes, this is an old school, analog way of making notes, but phone batteries run out and writing things down imprints them into your memory. Think of it as a way to cross-check the work. Documentary filmmaking is, by its nature, an exploration — with plenty of room for extemporaneous events. Record new questions and ideas as they come up to help you make your documentary the best it can be.
  10. An iron-clad plan and the ability to adapt it to changing circumstances – One of the most important things you can bring to your documentary shoot is an open mind and insatiable curiosity about your subjects, and finding the truth of the story. You should have a plan (and a point-of-view, of course). You should know about how long you expect to spend interviewing that person, or shooting that activity. Your research will have given you a strong foundation of what to expect and where your documentary is going. But don’t be so rigid in your preconceived agenda that you aren’t open to unexpected new information, or serendipitous occurrence in the field. It is better to have the footage and not need it, than to turn away and wish you had it later in the editing room.

 

Want to know what else you’ll need to know on a professional set? Learn documentary filmmaking at New York Film Academy.

Written by James Coburn

Paid Script Coverage Services – The 2 Biggest Benefits and Drawbacks

Script coverage, it’s been said, is one of those things about the film industry that nobody really learns about until they’re actually in the industry. Usually you’re introduced to script coverage at your first gig, or even internship, by way of your boss or higher-up handing you a script (or a PDF these days) and a Word document containing the script coverage template from the lucky person who wrote script coverage before you got there.

So, it’s fair to surmise that most people who write script coverage, or read scripts for a living, probably learned from reading the script coverage of their predecessor at a production company or studio or agency — each of which, by the way, has its own unique way of doing it.

Does the script coverage include a synopsis? How long of a synopsis? A critique section? If so, is it free-form, prose critique, or is it a series of boxes to check off and score, like “Plot,” “Character,” “Conflict,” etc.? Is there an analysis grid? Does it include a logline? Up top, does it indicate the writer’s name? The submission date? Does it indicate who submitted it?

While the templates and methodologies can be as different as the different entities doing the script coverage, one basic purpose is common to all script coverages:

Script coverage saves a producer, agent, or otherwise busy film industry “somebody” from having to read the actual script.

In other words, script coverage is a glorified “book report” of a screenplay or teleplay, designed to provide “the skinny” about a script, in order to save someone higher up from having to read the actual script.

In the past, generally pre-1996 or so, script coverage was an in-house thing only. That is, the only entities doing script coverage were agencies, production companies, studios, and producers. Script coverage was an internal document designed to stay internal, and not necessarily get back to the screenwriter whose script was covered.

But with the rise of the internet, script coverage became available as a tool for screenwriters and filmmakers, who could use to improve their screenplay. For a price.

Script readers were no longer only to be found in agencies and studios and production companies, or working with name talent. They were now taking their trade online, and exchanging their time and critical chops for money.

So now there’s a virtual cottage industry of script coverage companies spanning the internet, ranging from the good to the bad, from the expensive to the cheap, from professional work to hatchet jobs.  

Traditionally, receiving script feedback on one’s own screenplay — feedback of any kind — has never been a super easy endeavor. Prior to paid script coverage services, a screenwriter would generally rely on her writer colleagues, writers group, mentors, or friends and family, to provide her with insight into her work.

But with the rise of the world wide web also came the rise of online meetups and writers groups and screenwriting forums. Now it’s more accessible than ever to find communities and like-minded folks to help you with your screenwriting. And standing shoulder-to-shoulder with all those methods and options, free and otherwise, is the service of paid script coverage.

Full disclosure: I’ve run the script coverage service Screenplay Readers since 1999. But while I’m a huge advocate of paid script feedback for my own writing, and am a huge fan of it because it’s my business, I have to make one thing super clear: I’m an even bigger advocate of getting as much free feedback on your work as possible before paying for any script coverage.

Paid script coverage isn’t for everybody, but here’s my take on the two biggest reasons it can help, and the two biggest reasons why it might not be right for you:

Biggest Benefit #1: It gives your script a “dry run” for the real submission process.

90 times out of 100, or even more frequently, if you’re sending in your script to an agency, producer, or production company, your script isn’t getting read. An immutable fact of the film business since time immemorial has been that everybody wants in. And I mean everybody. And everybody thinks they can write a script.

The result is studio and agency inboxes are crammed with spec scripts from unknown writers. Heck, many are crammed with spec scripts from known writers, both regularly employed and underemployed ones.

There’s just. Too. Many. Screenplays.

But for those lucky few who do get their scripts read, you, the screenwriter, will likely never read the script coverage that script readers writes about your script. So you’ll never know what criticisms that script reader had, and you’ll never have a chance to address them, or an opportunity to make those changes or fixes that could make the difference for a future script reader.

By paying for script coverage from a reputable screenplay coverage company, you get to read the coverage. You get to soak in all the criticism, good and bad, all the details, all the big-picture notes the script reader had, any and all concerns with the script finding an audience, you name it.  

This sort of “dry run” is invaluable, as most screenplays are given only one chance to make a good impression on whoever may be reading it. An assistant or script reader, or even an agent or producer, isn’t going to read your script twice, unless you’re a name writer. And even then, a second read is a longshot. (In most of those cases, you’ll be lucky as a name writer to get even a second “skim.”)

Biggest Benefit #2: A person you don’t know synopsizes your script.

Nearly all script coverage includes a synopsis section, where the person reading the script boils down your story into a page or two, listing just the major beats and developments so that the person reading the script coverage later can get a good idea of what the actual story is.

As writers working alone, or even with a co-writer, we often get too close to our material. We start to see the trees, yes, but the forest can be elusive after staring at the page for two or three years. That is to say, while you’re on the third draft, hard at work on polishing the dialogue, you may have long ago stopped looking at the overarching story — and that story may need drastic attention. A complete stranger reading your screenplay and providing notes in the form a script coverage synopsis can a huge benefit for a writer because having that synopsis, in essence, brings back the “forest” — the “bird’s eye view.”

And the best part of that is that it doesn’t even matter if the script reader gets your synopsis “right.” That is, if they get all the beats of your story down pat, and the synopsis is spot on, you win because you know your material is clear and your story is coming across.

But even if they get it “wrong,” weirdly enough, you still win because you learn which parts of your script aren’t making themselves clear. A “wrong” synopsis beat gives you a chance to zoom in on that beat and make it clear. Better yet: make it idiotproof so that it’s unmissable to all but the most sloppy of readers.

Biggest Drawback #1:  Expense.

There’s a key reason that aspiring screenwriters are the second most common film industry folks stepping off the bus and trying their hand at the grand ole Hollywood film industry. That key reason? Screenwriting is cheap — that is, the bars to entry, the expenses associated with giving it a try: they’re low. All you need is a laptop, some free screenwriting software, and some imagination. Don’t get me wrong: Talent is still vital, and skills take time and money and resources to hone, but the bare bones bar to entry for simply giving it a try is low.

Now compare that bar to entry for aspiring cinematographers and directors, where you kinda need to have a not-small pile of expensive gear, or a film or two under your belt. Because screenwriting is such a relatively inexpensive craft to try your hand at, it stands to reason that there are vastly more low-income aspiring screenwriters than there are middle/upper-income aspiring screenwriters.

So that means, for the majority of aspiring screenwriters, paying a script coverage company for feedback may be out of the question. Plus, many aspiring screenwriters decide that it really makes no sense to pay for coverage if they’re just a few clicks away from an online writers group or a writers meetup that can provide feedback and help them grow as artists in many other ways — not the least of which is in social connections which may pay off later.

Biggest Drawback #2: Anonymous readers.

Script coverage companies, by and large, work with mysterious readers who you know nothing about, and the company’s not telling you. My company and a few others break this rule, posting names and bios and pics of our team on our site. But by and large, if you’re paying for script coverage, you’re likely going to have your script read by a reader you know nothing about, and whose qualifications are a mystery.

On the one hand, not knowing who your reader is can cast some doubt on the integrity of your notes, sure. But on the other, it might not actually be all that bad; Consider that if you ever send your script into a studio or agency, you’ll probably never know the identity or qualifications of anybody reading your script at those places, either. Still, when receiving feedback on your screenplay, knowing who’s doing it, what their background is, and what their qualifications are can count for a lot.

So what does it all mean? Well, I can only tell you what it means for me. For me, it’s awesome to get super-focused, super-detailed feedback on my work, as screenwriters can only grow — in my opinion — with copious feedback. But paying for script coverage isn’t for every screenwriter, especially those who just don’t have the resources.

I believe in what we do at my script coverage company, and I believe in the quality of the script feedback we’re providing our customers, absolutely. But I also believe in the importance of networking, and writers groups, and collaborating with other writers on other projects. Without those things, without those people, I wouldn’t be half as a good a screenwriter as I am now.

Guest Post Written by Brian O’Malley of Screenplay Readers