Though he had loved films since his youth, Fito got little support when he expressed an interest in learning filmmaking. At his father’s insistence, he postponed his dreams of studying filmmaking. “I studied Administration for probably 6 months in one of the best universities in Mexico, and after the first 2 months I just knew it wasn’t for me,” he says. Eventually Fito started writing to film schools for information. After winning a partial scholarship to New York Film Academy, Fito was on his way to Manhattan. “I studied in NYFA between 1995 and 1997,” he says.

“My experience was amazing. I had no idea how to use a film camera, so the workshops helped me understand what I was getting myself into…. At NYFA I learned how to write a script, how to be a cinematographer, how to be a producer, and how to understand all aspects of film. After NYFA, I worked with some Mexican production companies, opened my own production company called La Alcachofa Films, and started directing some interesting videos in Mexico. I directed some music videos… and did a couple of commercials for BBDO, Lowe & Partners, and some other agencies.”

Fito shot his first feature film, El Fuego Inolvidable, last year. The controversial project explores the complicated state of politics in Mexico. The film has played at festivals and college campuses, with great responses from audiences. They are currently working on a distribution deal.

“I am still in pursuit of more goals,” says Fito. “When I was working for National Geographic, I knew I accomplished one of my goals, but knew that it wasn’t it. My first feature film got the award of Best Mexican Film at the 2011 Oaxaca Film Festival, but I want more. Since I was kid, I always wanted to move people…. I have a condition. I am a stutterer, and I have been watching the world with different eyes…. All my life I have been limited in expressing my mind. Sometimes people don’t get it and just can’t wait for me to talk, so they go away. I think I show the way I see the world through my eyes, without my mouth. I believe this is what moves me: To show the world what my mind sees.”

To learn more about our filmmaking program, click here.

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Amy Heckerling

Heckerling became a successful director at a time when female directors were a novelty. Asked about what it was like being a woman in Hollywood in the 80’s, she responded, “I’m psychotic. I don’t care how the world works. I do what I want to do…. If you want to do it, you can’t listen to what the world is telling you. You do what you want. If I tell you what I feel truthfully, there will be a [ton] of people who respond to that.”

When asked about Clueless, Heckerling recalled, “They told me, ‘We want to do something about the cool kids,’ and I thought, ‘Well that sounds stupid… But what if the cool kids were nice.’ I remembered Emma, which I read in college. I always wanted to do something where the character was just happy. It seemed so strange to me. Then I got into her head and it wasn’t so strange.” The script came soon after, but it was initially met with rejection by a number of studios. “Everyone will try to say you can’t do something,” she said, “but there’s only one person who has to believe in you, and that’s you…. You may have to find another door to take you there. Take your shot. Be aggressive. As long as you believe in you, you’ll find others to believe in you.”

Do you have the same passion for directing as Amy? Learn filmmaking from a hands-on film school.

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Don’t miss the Open House for June!

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“The film is based on my experience and partner’s experience working for a limousine company,” says Michael. It depicts one turbulent night in the life of an overnight dispatcher. As he does his job of coordinating celebrity clients and their chauffeurs, he must also confront major problems in his personal life. He adds, “It is also based on some of the people I worked with. All of the guys in the movie have counterparts in real life.”

“I was looking for another producer because I act in every shot except one. I knew I had to get someone good to help me,” says Michael. He says that finding the right person was easy, adding that, “My writing partner [Steven Sprung] has worked in the biz for a long time. He directed an episode of Community and Happy Endings. He’s also an Emmy-nominated editor who worked on Arrested Development and Entourage.”

The next step in pre-production was casting, of which Michael says, “We got lucky and we got some real pros. Tim Peper was a regular on Carpoolers. Blake Robbins was on The Office. Bruce Bohne [who played Frances McDormand’s quirky partner in Fargo] has a huge role in the film. We knew we wanted Bruce. He’s not a huge star but he’s so great and works a lot.”

Since completing the film, Michael and his partner Steven signed a deal with Monarch Home Entertainment, who negotiated with Showtime to have the film shown on their partner channels. Dispatch is also available on iTunes, Amazon, and Netflix.

“I came [to Los Angeles] in ‘83 and had been an actor in New York,” said Michael. “I was also a casting director and worked on over 100 projects. I worked on casting for Stallone on Rambo. I was an agent for a couple years. I’ve also been teaching since ’84.”

Michael joined the teaching faculty at New York Film Academy’s Universal Studios campus in December 2011, and teaches classes in performance analysis, scene study, and acting technique. “In the past I’ve only taught working professionals,” says Michael. “I didn’t really think that [working with young actors] would affect me, but it really has. It forced me to be much more specific about my own technique, and about directing others.”

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Paramount Pictures made Mario Puzo’s estate an offer they couldn’t refuse. Thankfully nobody will be taking a hit in the process and a new Godfather book will be released. The question is, should they make another movie after that third one? I mean, let’s be honest, it didn’t exactly live up to the first two.

The prestigious Cannes Film Festival 2012 kicked off and along with that came some pretty interesting movie posters. Some of them have the feel of a straight to DVD film, or perhaps an airplane screening. And is that Joey Fatone in what appears to be a comedy about a hangover in America? I feel like I’ve heard that somewhere before.

Perhaps one of the most anticipated films of the summer is Ridley Scott’s Prometheus. Many have speculated that this could be a prequel to the classic Alien series. Or is it just an original Sci-Fi idea? Screenwriter Jon Spaihts clears up the originality of the premise and the Alien world.

Speaking up Ridley Scott, the master filmmaker has announced plans for a Blade Runner sequel. No word yet on whether Harrison Ford will return for this one. But, hey, if he’s still doing Indiana Jones why not throw him back into Blade Runner? As for Ridley, what’s next? Perhaps a Gladiator 2 will follow.

Do you think Harrison Ford should be in a Blade Runner sequel? Tweet us your thoughts!

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This was precisely the case with graduate Tim Klein. His short film The Script was shot in NYFA’s ADR room, with three lights, and $50.  The film was his semester final in the filmmaking program. “I remember being really frustrated with the fact that it was so hard to find good interior locations in the city. You probably end up shooting in one of your classmate’s apartments that is in no way cinematic, because you’ll most likely find white walls and no art direction at all. This will always be a problem, unless you have money to buy some art direction or pay for a location. For The Script, I had neither. I used the resources that were readily available and shot in NYFA’s ADR room. I wrote the story to take place in a little sound studio (similar to the ADR room.)” Pretty clever and a solid piece of advice for student filmmakers.

Tim started in the filmmaking program but found his passion lied with cinematography. Naturally, he switched over to the Cinematography program. “John Loughlin and the rest of the faculty were always nice, patient, and incredibly passionate about the subject matter. In both programs I had the opportunity to turn my ideas into films and got some satisfying results out of it. What counts is an interesting story and a good script. Everything else just supports that. During my time at NYFA I learned a lot about the collaborative aspects of filmmaking and how important it is to have a professional work-etiquette on set. Tim encouraged students coming out of film school to screen at film festivals in order to network and gain exposure for his or her project. Tim’s taking a bit of his own advice as he takes his short, The Script, to the Cannes Short Film Corner where he’ll have an opportunity to network with filmmakers from all over the world.

Have you shot a film for under $100? Tweet us about it. We want to hear from you!

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Want to see what New York Film Academy is all about? Come and join us for an Open House this weekend in New York City, Universal Studios, Australia, and India! #NYFA has been tweeting us their excitement. Who else is coming? We’ll be live-tweeting and taking photos so stay tuned for updates and a recap next week. Make sure to check in on Foursquare and leave us feedback on Yelp.  Did we mention how much we love hearing from our students, alumni, and everyone else in the world? Oh, we didn’t. Well, now you know!

For more information on specific times and locations, click here.

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New York Film Academy Acting for Film graduate Daniele Defranceschi recently reached out to share the story of his success with us. As he told us, “At NYFA I had the best time of my life and it’s been the most important acting training I’ve ever had.”

Daniele recalled how he got started, “I wanted to see if my passion for acting and filmmaking was just a hobby or if it was something real,” he said. “I remembered NYFA from some ads in film magazines. So I checked its programs, and few months later I was in New York City. It’s been the best break into professional acting I could ever hope for. Most of what I use when I act or write comes from the school.”

The Italian actor has kept busy since his graduation in 2005. He shared, “I played a role in Wilson Stiner’s feature film Ser o Estar, and I’ve been in a lot of short movies. A few years ago I started writing my own scripts. Among the shorts I wrote and starred in, there’s Common Sense that won at the Mestre Film Fest (in Venice, Italy) and Anónimos, that was selected for the Spanish Goya Awards in 2012. When in Spain I also did some commercials for Spanish TV.”

Daniele says he is working on two projects this summer, and is currently writing a screenplay. He muses, “Today, thanks to affordable technology and the internet, it’s easier to shoot and distribute a movie than it used to be, but it’s getting harder and harder to find new ideas and good acting. That’s my aim, my challenge.”

To learn more about the acting program, click here.

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Like many celebrity guest speakers in the past, Olmos spoke about the rise of social media and the low cost of filmmaking equipment, saying the opportunities are better than ever before for filmmakers. “If you’re a storyteller, there’s no excuse why you can’t get your product seen. The only people I know who haven’t made it are the ones who quit… but no one is going to give you a the break. You are going to give yourself the break.”

He encouraged the diverse student body to succeed on their own terms, telling their own stories, saying, “Everyone has a thumbprint and we each use it differently…. We need heroes. Women heroes. Ethnic heroes. You need discipline, determination, perseverance, and the key ingredient: patience.”

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