Film School Blog - Tag Archive for "film school"

Showing The World Your Truth

Published on May 23, 2012

Fito Pardo graduated from New York Film Academy in it’s the late 90’s. Since then, he has gone on to direct short films and music videos, has worked as cinematographer on over 30 projects, and has found success as a photographer for publications worldwide, including Marie Claire, Vogue Japan, and National Geographic.

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.

Shooting a Film For $50

Published on May 18, 2012

One of the most common complaints of a student film is the lack of budget. Between tuition, housing, and living expenses, it’s very difficult to save funds for your thesis film. Unless you’re a killer salesman or have connections to wealth, it is also difficult to convince financiers to back your project. So, typically student filmmakers are cynical and blame a lot of their problems on budget. While this is an obvious hindrance, it shouldn’t be the dagger in the heart. You can still create a compelling film and feel proud that you’ve done so on a low budget.

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!

Hear Ye! Open House Is Here Once Again!

Published on May 17, 2012

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.

Edward James Olmos Visits New York Film Academy

Published on May 15, 2012

Veteran actor Edward James Olmos visited New York Film Academy following a screening of his landmark film, Stand and Deliver. An inspirational story about East L.A. youths beating the odds to excel in school, Olmos portrayed the real-life instructor, Jaime Escalante. He spoke fondly about the film, saying, “As soon as you have the solid representation of truth, it’s timeless.” The Library of Congress agrees, and added the film to the National Film Registry in 2011.

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.”

Dreaming of an Electric City

Published on May 14, 2012

New York Film Academy MFA Filmmaking graduate Nick DeRuve is in pre-production on his first feature film, Electric City. As Nick describes it, “[It] is a gritty drama about a thirteen-year-old who attempts to keep his family intact when they receive an eviction notice. I spent my pre-teen years chasing my older brother and his friends around the city of Schenectady. They were teenagers, and I was trying my hardest to fit in with their crew. I experienced a lot of things kids that age don’t, such as violence, crime, and witnessing a lot of drug use.”

“I would say around the age of thirteen is when I started having initial thoughts about making a film about two brothers stuck in an urban setting,” he explained. “When I was thirteen my family moved, not far from Schenectady, but to the suburbs, and that’s when I realized what I had experienced was different. Over the years I knew who the film would be about, but I still didn’t know what the film would be about, so I could never get the idea out on paper.”

Nick was no novice when he began at New York Film Academy’s Universal Studios campus. “I had been a working gaffer in NYC for four years after completing my undergrad,” says Nick. “My passion was to direct, so I spent that time on set studying everything that was happening. I decided to go back for my MFA to continue after my goal of being an indie filmmaker, and experience filmmaking in LA. No matter what my experience was prior I wanted to absorb everything my teachers had to offer. I developed good relationships with my teachers, who have great knowledge and experience.”

After graduation, Nick developed the feature length script for Electric City, and reached out to his former advisor, NYFA instructor Brendan Davis, for feedback. Brendan raved about the script, saying, “He nailed the tone, the arcs, and the characters, and kept it real while keeping hope. He’s done a really exceptional job on it and has the chance to make an exceptional film. To me this is a… studio quality drama with award-worthy writing. The roles in this piece are something that serious actors would fight to play. But the material speaks for itself.”

Though they have secured some funding for the film, they have also started a crowdfunding campaign on Indiegogo. Twenty-percent of the proceeds will go to support Small Can Be Big, an organization that supports victims of domestic abuse and families in need. “It’s a social issue that we have to stare in the face everyday,” says Nick. “[W]hy not try to help people as much as we can, whenever we can, because at the end of the day, that’s the goal. Make a difference, make a change, even if it’s for just one kid who needs a reminder that even when times are hard, we can never give up on ourselves and our goals.”

When asked about future plans, Nick said, “Right now my main focus is getting Electric City in the can, and screening at festivals by 2013. I’m not really thinking about any other projects. I have a wallet full of receipts, ticket stubs, and business cards that I use to jot notes down on. When the time comes to start developing a new story, I’ll have that as my resource. For now, all I got is this script, and a pocket full of dreams.”

Sal’s Guide to Being An Independent Producer

Published on May 11, 2012

Sal Irizarry is making a splash with his debut comedy feature film, Bert and Arnie’s Guide to Friendship. Sal met his producing partners, Jane Basina and Waj Arshad, while attending NYFA. After graduation, they decided to work together under Sal’s company banner, Justified Ends Entertainment. From there, they ran a nation wide script contest through indieWIRE.com, raised private equity, and produced the film in 2011.

So, where did his passion for the industry begin?

“I was looking to go to film school and I didn’t want to spend three years on theory before learning the process hands-on. After looking into several programs and seeking the advice of several of my friends who were already in the industry, I decided to attend NYFA because of its intensive, hands-on program, from day one. Just as I had hoped, in the first week of school we were working on our first short film. The Producing Program taught me real world skills and industry practices that were relevant throughout the entire process of production; from development to festival screenings and everything in between. Let’s be clear though, there are some things you can’t learn in a classroom, but the education I received at NYFA was the perfect foundation to get me through the process.”

What drives you as an artist?

“As a creative producer, I enjoy the process of finding a story worth telling as much as I enjoy the wheeling and dealing side of the business. Though my primary responsibility on set is to support the director, I have a responsibility to my investors to finish the movie on time, on budget and to get it out for the world to see. Maintaining the balance between art and commerce, managing expectations, finding creative solutions to problems that will come up both on and off set is just the beginning. After all, if your investors don’t recoup, you don’t get to keep making movies!”

What is your perspective on screening at film festivals? Advice on the process?

“You feel this sense of validation for all your hard work when you get into a fest and yet you can’t help but feel disappointed when you’re not accepted. The fact of the matter is that navigating the festival circuit takes a lot of time and energy. What I mean is, not every festival is a good fit for every movie and submitting to every upcoming fest can get really expensive really fast. I’ll research what movies played in a particular festival the prior year to get an idea if they’re truly indie friendly and support first time and up and coming filmmakers, or if it’s geared towards screening Hollywood Tentpoles.

At the end of the day, film festivals are great for exposure and buzz, but the ultimate goal for a producer is to get the movie sold. Have a web presence. Make sure your press kit and marketing materials are in order. Lastly, don’t forget about the deliverables you’ll need in order to get a distribution deal! If your plan is to DIY your film’s release, make sure you’ve built a community around your movie that you’ve cultivated and nurtured throughout the process. Keeping your fans updated as well as supporting other filmmakers in their efforts as best you can, will go a long way in this day and age.”

Final words of advice to NYFA students dreaming to succeed?

“Persistence, patience, 100% dedication, tons of hard work, long hours and a lot of luck. I cannot tell you how much I have sacrificed to realize my dream of being a producer. The commitment necessary to see a project through to the end is not for everyone. But hey, somebody’s gotta do it and I figure, why not me!”

Click here to learn more about our Producing program.

Community Highlights: Europe Buzz, James Bond, and The Avengers

Published on May 7, 2012

New York Film Academy went across the pond and through The Chunnel, discussing our favorite British and French films along the journey. Movies like James Bond 007, A Clockwork Orange, 400 Blows, Les Enfants Terribles, and A Bout De Souffle.Our Director of Acting Admissions, Roger Del Pozo, is loving Europe and finding some amazing talent! We just hope he comes back to New York at some point…Plus, with The Avengers box office breaking release over the weekend, we had some crazed fans discuss their favorite Marvel Superhero. In fact, some of them went above and beyond. Yes, we’re talking to you @Caleblabarre. Wonder how many times you’ve seen the movie already?

As always, we thank our loyal Facebook and Twitter fans for following. Keep in touch this week for some more exciting events!

A London Filmmaker in New York City

Published on May 2, 2012

Lucy Reevely began writing when she was 9 years old. She never told anyone. Not a soul. One day, however, a friend found one of her stories on her laptop and encouraged her to nurture her talent. Lucy’s journey as a filmmaker began recently as she realized her storytelling was visual by nature. Her imagination functions cinematically, and over the years, Lucy gradually decided to expand her repertoire. “Only I can capture the magic in my head, and I don’t want to depend on anyone else for my success.”

When she visited schools in New York City, Lucy found other institutions artistically restrictive and the curriculum far too regimented. She finds the New York Film Academy to have the perfect balance of freedom and direction. As she says, “No judgment. Just guidance.” Lucy praises her teachers like Michael Sandoval for knowing her voice and talent, their ability to get inside a student’s mind and guiding one’s vision, and never discouraging a pupil from an idea—no matter how farfetched it may seem at first. She simply characterized the student body as diverse. “What you create as an artist is what you experience. Working with people from all over the world, it’s definitely broadened my views on the world and my ability to adapt to another’s perspective.”

Lucy finds NYC the perfect place to hone her skills. Los Angeles seemed too studio-driven and wanted an environment where exploration was mandatory—no boundaries, no limits. To her London compatriots, she urges them to go abroad. “When you’re far from home, it forces you to grow. London’s industry is filled with soaps. If you want to work on features and original screenplays, come to New York.”

Click Here to learn more about the One Year Filmmaking Program.
Click Here to learn more about our Open House in London.

Europe, Are You Ready? NYFA’s Coming!

Published on May 1, 2012

The Big Smoke. The City of Lights. Our admissions team is making their way to Paris and London to speak with the next generation of artists there. We had a chance to speak with Director of Acting Admissions Roger Del Pozo regarding his upcoming trip.

You’ve been to London and Paris before. Can you tell us what the audition process was like? The talent?

The last time that we went to Europe was amazing. We met so many incredibly talented candidates. The level of professionalism and creativity was overwhelming. We were very pleasantly surprised.

Tell us why you decided to trek back to London and Paris?

We decided to come back because of the the level of talent and the extraordinary interest in the New York Film Academy. I am always looking for the best possible talent for our programs and I consistently find some of the most incredibly motivated, serious, hard working artists in London and Paris. Along with NY and LA, London and Paris are cultural centers of the world, and so interest in the New York Film Academy is usually very high.

Do you feel its important for aspiring actors to come to the US? Why?

The simple fact is that NY and LA are the centers of the film and theatre business in the US. So many artists from all over the world are eager to study and work in those locations. The sheer amount of exposure to amazing teachers, creative opportunities and intensive training that students receive at the New York Film Academy is very appealing to international students. They’re always attempting to take their abilities to the next level. To be in NY or LA is the dream of actors and filmmakers everywhere, and we provide an amazing platform for students looking to enter that world.

Want to meet us in London and Paris? Click here.

The Importance of Learning Your Audience

Published on April 24, 2012

Ron Tippe is the department chair of the Producing department at the New York Film Academy. He is best known as the animation producer for the smash hit Space Jam. He managed the Walt Disney Feature Animation studio in Paris, France while producing the short film Runaway Brain which was nominated for an Academy award. He was also responsible for pre-production on Shrek and worked with George Lucas in collaboration with Universal Studios on Frankenstein Meets the Wolfman.

I must be a lucky guy. After 27 years in Hollywood with a successful career in the film business, I’m now the Chair of Producing for NYFA. First off, I get to work with some very special people. My fellow colleagues come from various countries which offer different perspectives from a variety of cultures around the world. That said, the commonality is their love of cinema. Almost to a person, the level of passion is infectious and energizing. This attitude towards the art of filmmaking is what constitutes success as a film producer.

KNOW WHO YOUR AUDIENCE IS. In the entertainment business, nothing is decided at the studio level these days. At least not without going through marketing, licensing, branding and PR first. The goal for a studio is to maximize financial gain and stem any losses. Focus groups are de rigeur. In the independent world, film festivals and smaller theatrical releases often depend on word-of-mouth in addition to ever-expanding social media campaigns.
GRAB THEM IN THE FIRST TEN MINUTES. When looking for a film to produce, make sure that the first 10 pages of the script are compelling. Introduce the main characters and make sure we understand what the protagonist wants. And then how the antagonist prevents that from happening. Comedy or drama, action or fantasy, a great story is imperative to grab the audience. The sooner the better!
WE ARE GLOBAL. The box office is increasingly getting two-thirds of their money internationally. Producers, it’s a global marketplace. Know it. Own it.
WORD OF MOUTH IS A MOVIE’S BEST FRIEND. If an audience is satisfied, he or she will tell others. Facebook, Twitter, Email. You name it, they will use it. Social media is where it’s at.
AUDIENCES ARE NOT STUPID. They are very culturally savvy, increasingly educated and obviously fickle. They know what they like and dislike.

A producer is someone who works insane hours under very difficult conditions. You’re always inside the pressure cooker. You’re constantly nudged by studio executives with their myriad of concerns—most of which are related to budgets and finance. How is this related to being a teacher of film? Passion is absolutely essential in the making a film, or at least in providing a great experience during the making of that film. The same is true in the classroom. A passionate teacher is infectious, and that passion often manifests itself in motivated and inspired students. A great producer can make or break that wonderful experience. After all, the producer is who a crew looks to for leadership. It’s a high standard. The same is true in the classroom here at NYFA. We aim to attain the highest standards and “shoot” for it every single day.

I’m proud of my teachers and students. We are motivated and inquisitive. Most importantly, we work hard. The students will become great producers for the next generation of moviegoers. Because producers have a strong hand in the filmmaking process, we should be proud of the education that the students are getting here at NYFA. Frankly, we should let the world know how good we are. Time to get the word out. Producer. Teacher. Leader. Motivator. I must be a very lucky guy. Stand by to roll.

Action!

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