DC: Since the Oscars are looming and you are an Academy member, I won’t ask you what film nominated in the Best Editing category you voted for. (The choices: Avatar, District 9, The Hurt Locker, Inglourious Basterds, Precious.) But I would like to ask, what do you think the mythical monolith referred to as The Academy is looking for when nominees in this category are selected?

MM: Yeah, that mythical monolith. When you’re talking the voting body, there really is no “they.” The Academy isn’t even close to monolithic. It’s composed of branches for each film craft, and the editors’ branch nominates its own candidates. What’s more members of the editors’ branch itself have diverse tastes and standards, as this year’s nominees would indicate. I’m proud of us, too, because we tend to recognize good work regardless of familiarity (or a lack thereof) with the editor who did it. No one in Hollywood knew Daniel Rezende when we nominated him for City of God.Raging Bull, Thelma Schoonmaker’s first Oscar-winning effort, was, I think, her first dramatic feature film. And we were true to form this year with an editing nomination for Julian Clarke and District 9.

So what do we look for when we make our selections for Oscar candidacy? I think our criteria are the same as those we apply when editing a film. First and foremost we look at storytelling. Is the story well-told? Engaging? Affecting? Good storytelling is the editor’s primary goal. Pace is also important. Avatar would not have received a nomination had its three-plus hours felt like three-plus hours. Rhythms within each scene are something cutters weigh when considering films for nomination as well….read more

Can you believe I found a free film school? A school that teaches you everything you need to learn about filmmaking at no cost to you other then your time and energy. Like most things in life - if it sounds too good to be true it probably is. However, unlike most professions, to become a professional filmmaker it only takes some inexpensive equipment ($400+), a computer, and the time to make a film. Consider your “free film school” the process of learning filmmaking on your own - which can be done in a number of ways without a formal expensive “filmmaking education”.

Work For Free

Most people don’t turn down free help…especially if it is good free help.  Ask your local filmmaker if you can intern with them or help by getting them coffee and doughnuts. Check out Craigslist.org under “Gigs” or Mandy.com for job and internship postings. 

Home Schooled

Reading books, magazines and watching films are a great way to learn about the essentials of filmmaking without spending a lot of money. A great magazine for the new filmmaker is Student Filmmakers, they have a number of “how to” articles, videos and even list workshops to attend. One of the very best books on marketing and distribution of your film is Jon Reiss’s “Think Outside the Box Office”

Work on Set

The best experience you can have as a filmmaker is working on a live set of a real film production. All the books, workshops, seminars, videos and lectures in the world can not replace the knowledge you will gain from working on a live film set. *Note a good film school will prepare you to work on one. Any position will do - from janitor to lightning technician. For jobs - check out Craigslist.org under “Gigs”, Mandy.com or your local union.

Trial by Fire

Just do it! There is nothing stopping you from making your first film. Borrow or buy an inexpensive digital video camera and simple editing suite for a computer then draft your script and pick your locations. You don’t even need actors - just start shooting and creating with what you have available. Think you don’t have what it takes to make a movie? Read this - Dear Movie Makers, Make Movies!

Talk the Talk

Attend film festivals and free/low-cost seminars hosted by your local college, library or cinema to meet and speak with other filmmakers. Ask them questions to pick up tips and learn how to speak their language. If you can learn to “talk the talk” from professionals you can learn how to pitch your film to professionals. The New York Film Academy in New York City and Los Angeles host to a number of free public screenings and discussions with popular filmmakers and actors.

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While my version of a  “free film school” may not have been what you are looking for, it certainly is an option. Paying for film school is also another viable option since film school does have a significant benefits - read this post on if film school is worth it. Plus, there are a number of scholarship and financial aid options available for those of us with little funds and big dreams. Regardless if you decide to attempt any of the above methods for learning filmmaking or attend a film school that you have to pay for, there is no replacement for hard work, talent, a network of working professionals and dedication to your craft. In this industry, your largest expense will be paying your dues.

Check out our film school programs.

Hello, my name is Stephney Amelia Williams and I graduated from the film school 4-week filmmaking program at New York Film Academy located at Universal Studios in August of 2008.  Attending the New York Film Academy in Los Angeles gave me that extra push I needed in my career. I enjoyed implementing what we learned throughout the lectures such as the narrative structure, lighting, sound design, editing, etc. into the student projects. Also, helping out on classmates projects as an assistant director, camera assistant, and/or gaffer allowed me to get intensive hands on experience in other roles of filmmaking other than directing and producing.

The staff was amazing and extremely helpful. Being able to have full control over my ideas allowed me to get even familiar with Los Angeles. By having to scout locations, go to Film LA for permits, find talent, hiring a make-up artist, picking out the wardrobe and ordering craft services was all a learning and memorable experience. NYFA definitely grooms you into a responsible and hardworking filmmaker.

Since then I traveled to Chennai, India in January of 2009 & January 2010 and worked on two documentaries. One is entitled “They Put a Band-Aid on My Head,” which I co-directed. It’s about an educator who uses her special teaching methods to teach children with dyslexia. The other is “Muralidharan – Simple, Sweet, Successful,” which I directed.  It’s about a community leader and entrepreneur who has Indian sweet shops throughout India, Dubai and Abu Dhabi.

Chinese /  Italian / Spanish / Russian /  Korean / Portugese / Japanese

Mauro de Sousa (front center)

I had a great time in Los Angeles. I am from Germany and filmmaking in the USA was a little bit different comparing to Germany. I am now at a another filmschool in Germany and I have to say, it´s not the same.

I liked the NYFA program because of great teachers and the large amount of knowledge I´ve got. I think you can’t learn more in one year and you learn the basics you need to make movies any where else.

I liked the fact that every student is writing, directing and editing his own films. That everybody is doing a film. At my new school not every directing student gets the chance to direct a movie. I think also that if everybody is making a movie one gets a feeling of who of the other students has talent and who are not so great filmmakers.

I liked the fact that student shoot on film, what is really great. Instructor Alan Fiterman is great too.

Like I said I had great time and I am thinking about doing the MFA proramm in a few years.

Right now I wrote a new shortfilm and I am trying to get into production with it. I am still intouch with some of m friends I got to know at NYFA and they are great filmmakers.

- Niclas Mehne

Nicole Davidow, of Anglia Ruskin University, is due to release her short film Camelthorns at the end of March.

It has been made by her and her friend Genevieve Detering, who studied at the New York Film Academy where she met director Doug Liman.

The director, whose films also include Mr and Mrs Smith, agreed to back it.

“When the script was written and the business plan was put together [before it was presented to Doug Liman] I mailed it to my tutors in Cambridge to look over and send me their opinion,” said Miss Davidow.

Who: National Coalition Against Censorship partners with Kahlil Almustafa, Reel Works, Global Action Project and the New York Film Academy.

What: NCAC screens winning films from the Youth Free Expression Network film contest “Free Speech in schools (Does it Exist?),” and films by and for youth from Reel Works and Global Action Project. Hip Hop poet Kahlil Almustafa performs his poetry as part of the celebration. A conversation with the filmmakers follows the screening.

Where: New York Film Academy, screening room, 100 East 17th Street, near Union Square (Take the N,R,Q,W,4,5,6,L to Union Square)

When: Saturday, March 27 1:00 - 4:00 PM

Reservations: (212) 807-6222, ext. 19 or yfen@ncac.org

Tickets: FREE and open to the public!

The Youth Free Expression Network is a program of the National Coalition Against Censorship and is made possible by support from the Shelley and Donald Rubin Foundation.

The New York Film Academy has announced more Broadway veterans to join faculty for their new cutting-edge Musical Theatre & Film Conservatory Program which will Among the latest additions are

Aaron Galligan-Stierle (Ragtime, The Grinch Who Stole Christmas),
Autumn Hurlbert (Legally Blonde, 101 Dalmations),
Kimberly Stern (A Doll’s Life),
Thom Christopher Warren (The Lion King, Once Upon A Mattress),
Grady Bowman (Billy Elliot, South Pacific, The Pirate Queen),
Ian Liberto (A Chorus Line, Thoroughly Modern Millie),
and DJ Salisbury (The Will Rogers Follies, Grease).

Previously announced faculty members include

Deidre Goodwin (Chicago, A Chorus Line, Nine, The Rocky Horror Show and more),
Erick Buckley (Addams Family, Les Miz, Kiss Me Kate, Phantom),
Kristy Cates who spent two years playing Elphaba in Wicked,
Michelle Potterf (Chicago, Will Rogers Follies, Crazy For You),
Denis Lambert (A Chorus Line, The Producers, White Christmas),
Jenn Colella (High Fidelity, Urban Cowboy),
Lisa Mandel (Sunset Boulevard, Producers, Mamma Mia!),
Robin Irwin (Titanic, Grease, Dance of the Vampires),
Stephanie Kurtzuba (Billy Eliott, Boy From Oz, Mary Poppins),
and Timothy Smith (Aida, Sweet Charity, Dirty Rotten Scoundrels).

NYFA is also proud to have three-time Richard Rogers Award Winner and Jonathan Larson Award winner Andrew Gerle, composer of Meet John.

“The response to our new program has been overwhelming and we have some really exciting plans as we head into the movie musical aspect of our program,” says VP Boyle, Chair and creator of the new Two-Year Musical Theatre & Film Conservatory Program. “With all the access that New York City provides in terms of Broadway level musical theatre, it’s no surprise that aspiring talent from around the world would want to come here and work with Broadway veterans. We are very lucky to have such Auditions are currently being held for July/September enrollment dates.

For more visit Music Theatre One-Year Film Program

“An Affair with New York”, a film by New York Film Academy student Naman Goyal wins “Critic Award” at the Jaipur International Film Festival held in India.

Goyal’s film “left a jam-packed audience spellbound” at the film festival last month. Shot entirely in New York and based on true experiences, the film outlines how people visit New York City and fall in love with it for many different reasons.

The film is currently being shown at 14 different film festivals throughout the world. We all wish you the best of luck Naman!

The New York Film Academy is proud to announce four new additions to their acting and film school programs - Photography, Audio & Sound Design, Game Design and Dance. Click the pictures above to take you to their program.

We at NYFA are expanding our programs to accomidate students interested in focusing their eduction in these specialized entertainment and artistic fields.

If you would like more info please email film@nyfa.com

Hyun traveled to Haiti last week to shoot his first documentary and returned to New York City with a story of his own.

“With my crew GMIT, the Korean American Film Organization which is based on California, I stayed for a week. First, we flew from JFK for 4 hours to Dominica Republic and transfer to a bus to get to Haiti international Airport, it took 8 hours,  then after another 1 hour trip, I finally got to Port-au-Prince. I was able to witness the places that reporters and volunteers couldn’t go due to the security and trouble in transportation. I almost got my camera taken away by gang members and was even beaten in the middle of a riot.

The reason why I am making the documentary is so that people can see the importance and need to help Haiti. I videotaped the destroyed Haiti, people with diseases and their everyday life after the disaster the earthquake brought to Haiti. I filmed 7 hours of footage which will be used for my documentary.”

As we critiqued the final films from first semester our 3D Animation program today the students felt the the eternal unrest that haunts artistic ventures. “If I only had more time…” was the continual refrain. Each student felt the twin feeling of pride and disappointment. They felt pride at the obvious improvements in their work, pride in new knowledge made visible in more detailed textures, emotive lighting, compelling models evocative camera work and the controlled movement of budding animators. Yet each one of those could have been better. The knowledge gained by completing the second film made them view that work with eyes that saw the flaws they had when beginning the film, flaws they no longer have but still made it on screen nonetheless. It showed that, even with the visible improvement in each of them, not all the new knowledge made it to the screen. This disappointed my students but made me pleased, it means the starting point for their next work will be that much higher, even though it will end with the same phrase “If I only had more time…”, because it always does, each and every time.

- Bill Stout, New York Film Academy Instructor