Throughout history, playwrights, filmmakers, authors and other creatives have used their stories and art to confront systemic issues and racial inequality. In light of the continued nationwide and global support for the Black Lives Matter Movement and the call to end systemic racism, NYFA recognizes that it is our responsibility to continue to educate ourselves on the black experience and celebrate the stories of black creatives, who seek to end racial violence and prejudice, and continue to work tirelessly to educate and inform.
Though this is by no means an exhaustive list, but we hope these educational materials (films, television shows, podcasts, books, and plays), selected by members of the NYFA community, serve as a starting point for us and others to continue to: confront racial inequalities within our society, recognize and applaud black stories and creators, and represent a brighter future in the film, media, and performing arts industries that promotes collaboration and inclusivity.
The whole world is on pause. Your local coffee shops. Recreational activities. Anything deemed non-essential has been put on hold due to the COVID-19 pandemic including film production.
Well. Maybe not all major film production.
For the freshman CBS drama All Rise, putting their season finale on the back burner could have been the safest route for a show that has already gained many critical accolades despite being forced to cut production short due to the mandated lockdown of most of the country. Sure, at the time, they had not received a second season order, but all things pointed towards a guaranteed order for a new set of episodes. Kudos to showrunners Greg Spottiswood and Dee Harris-Lawrence for not taking the easy way out and giving fans an ending that reflects the struggles many face having to traverse life in quarantine.
The finale episode titled “Dancing at Los Angeles,” directed by Michael M. Robin, who also serves as executive producer, was a technical feat to bring together the cast to film their homes using production equipment that was sanitized and safely delivered. The cast members had to quickly ramp up their knowledge of behind the scenes camera work, gaffing, lighting, and even hair and make up, to do the job of an entire crew by themselves aside from learning and rehearsing their lines; and they only had 6 days to do it.
Script supervisor Elizabeth Ludwick-Bax (Patricia Rae/Ruth Ann Miles/CBS)
The episode was shot primarily using conference services such as Zoom and WebEx, with private networks being created for cast and crew to connect and have their video feeds isolated. CGI and other VFX were used to recreate backgrounds such as jail cells and a singular images of a barren Los Angeles county backdrop, shot by a single cinematographer, to give weight to the current state of the world. Lead actress in the series, Simone Missick (Judge Lola Carmichael), described the production as “shooting a very high-budget indie film with a skeleton crew of one.”
(Clockwise from top left) Ruthie Ann Miles as Sherri Kansky, Simone Missick as Lola Carmichael, Lindsay Mendez as Sara Castillo, Wilson Bethel as Mark Callan and Jessica Camacho as Emily Lopez
All of this amounted to a wonderfully crafted episode that still played with the fast paced nature of each character and the plot development, featuring all of the relevant challenges people are currently facing in these present times. Not just for the majority of the public, of which some are able to work from home while others are forced to make ends meet however they can, but for the many out of work individuals in the film industry with projects on hold and to those who are used to the conventional means of production. If anything, this is one of the best examples of how the industry can expand the role of visual effects artists and cinematographers, so long as they think outside the box and have fun with some creativity, to find new and inventive ways to tell meaningful stories.
The finale episode debuted on May 4, 2020 on CBS and, two days later, on May 6, a second season was ordered. Hats off to them. We should “All Rise” and applaud their achievement.
Manila-born Anthony R. Mottola got quite the wake up call when he realized he wanted to go from musical theatre into becoming a screen actor. Mottola realized his dream of pursuing acting in 2014, when he enrolled in New York Film Academy’s (NYFA) MFA Acting for Film program to get hands-on experience working on set and honing his skills to make it in the business.
Since then, Mottola has booked television roles on shows like Netflix’s Friends from College, the Unbreakable Kimmy Schmidt Netflix special and is set to appear in the upcoming theatrical film Silent Retreat, starring opposite Sarah Goldberg (HBO’s Barry). New York Film Academy spoke with alum Anthony R. Mottola about his switch from musical theatre to screen acting, and how coming to NYFA was the first step in this new career:
New York Film Academy (NYFA):First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Anthony R. Mottola (AM): First off, this is my first interview/Q&A ever so thank you for reaching out. Also, if this constitutes that I’ve made it, welp, high-five to myself!
I was adopted from Manila, the Philippines when I was a baby, and am the youngest of three boys. My middle brother was also adopted from a different part of the Philippines, Legazpi City. We were three very distinct children growing up in Central Pennsylvania. Oddly enough, I’d compare us to Alvin & The Chipmunks – me being Theodore literally because I was (and ALWAYS will be) the cutest. I also have a little bit of Tigger from Winnie The Pooh in me. A couple months ago my brother found a home video of us in grade school. I was maybe around six or seven, and I was bouncing all over the place, quite literally.
At the age of five, my mother enrolled me in dance class, and I believe she was smart enough to know that there was a reason I had all this energy, and it WASN’T because I was a problem child. I was a creative mind, but I just hadn’t realized it yet. I started out as a tap dancer in first grade and, by second grade, I was on a competitive tap dancing team that won awards at NYC Dance Explosion. I was the only boy and I was the youngest team member. I also remember being OBSESSED with River Dance, which was a big thing at the time.
As I got older, I didn’t exactly want to introduce myself to other teenagers as “Tony the tap-jazz-ballet dancer.” Then my freshman year of High School, my dance teacher choreographed the musical 42nd Street. I was so scared of getting made fun of by other students, and I remember being at the audition and shaking. Right before it was my turn to audition, I walked out. I walked right out of the auditorium and went home. When I got home, the phone rang and my dance teacher gave me the part of Andy Lee (the guy who tap dances) even though I walked out of the audition. I believe there are moments in one’s life that almost scream: THIS IS DESTINY. After that, I got my first professional musical theatre job (and my first paycheck) from a regional theater called Gretna Playhouse during my sophomore year of college in the musical The King & I.
Here’s the thing though: I knew I was good and I did enjoy performing but, at the end of the day, I wasn’t ever quite fulfilled. That’s when NYFA came into the picture; when I really started to question what I really wanted to do, and why exactly I needed to perform.
NYFA: What was your experience like with the audition process for film and TV?
AM: I gotta say, auditioning for TV and film is a completely different world compared to auditioning for stage plays/musicals. Truthfully, post-graduation was a bit of an adjustment for me. I had moved back from LA around April of 2017 and decided to take a year off from the business altogether. Honestly, I was going through a tough transition and feeling a bit lost. I graduated from NYFA in 2016 and didn’t exactly hit the ground running after that. I hit the ground flailing until I decided to move back home. I essentially walked away for a bit and wasn’t sure I would go back. What people say is true, it [the entertainment industry] chews you up, and spits you back out.
I just couldn’t stop thinking about acting, though. I kept thinking, “well, what if,” because I was working a retail management job, which I was grateful for, but let’s be honest, it was a bit of a dead-end job for me.
I decided to put myself out there again and got new headshots. I chose a photographer based in Philly [Philadelphia], Vikrant Tunious, who was so welcoming and helped me feel at ease. At the end of my photo session, he gave me a four page PDF file of agencies on the East Coast and I emailed each one of them in hopes of getting myself back in the game. Well, NONE of them emailed me back. I was literally about to call it quits when I noticed that I missed one.
An agent named Will Ball had just formed his own agency named VIE Model & Talent. I tried to submit via his website, but my materials were not going through. I emailed him with no expectations he’d reply when, low and behold, he shoots me an email back the next day. We met in Fish Town, and he signed me! That was around May 2018. By the end of May, I had my first professional audition for this Netflix show called Friends From College, which was shooting the second season at the time. I essentially had no idea what to expect, but I went in, read the lines and, the next night, I booked it! Will called me and told me that I actually booked a role that I didn’t even audition for, which, looking back on the episode, I was so grateful for, because they showcased me even more in my new role than if I had booked the role I initially auditioned for. So that was my first screen audition ever. Booked it. Taft Hartley’d. It was insane.
Mottola (right) poses with actress Cobie Smulders on the set of ‘Friends From College’
I got to spend the day with Keegan Michael Key, Fred Savage, and Cobie Smulders, as well as the rest of the main cast. The whole day was a bit surreal. Keegan and Cobie were the first actors to welcome me on set and the director went right up to me after everything was said and done, shook my hand, and said I was hilarious. Best believe I cried that night with a glass of Pinot Noir.
After that, I got to really experience the ups and downs of a working screen actor. Following Friends From College, I booked a co-star role on Comedy Central’s Broad City, a co-star role on FOX’s pilot show for Almost Family, and AMC’s Dispatches From Elsewhere. All great, and varying on-set experiences, where I learned a lot. My scenes were actually cut out from all three….well, I never even had any lines in DispatchesFrom Elsewhere, but I was contracted as a co-star. Seeing yourself cut out on TV is the toughest feeling but, to this day, you gotta remind yourself that it’s never personal. “That’s showbiz, kid!” I was VERY lucky and fortunate to get a 1.5 minute scene on Friends From College, and I’ll always be grateful for it.
Mottola shooting the ‘Unbreakable Kimmy Schmidt’ interactive Netflix special
NYFA: Congratulations on your role in the Unbreakable Kimmy Schmidt interactive Netflix special. What was the auditioning process like for that?
AM: Now, Kimmy Schmidt, that was something special. I LOVED the show beforehand, so the pressure was on for me. Especially because the tone of the show matched my brand so well. My scene was with Titus Burgess, so….yeah, “no pressure at all.” What I can tell you is the auditions are so fast; they’re like a blur. Most of the time you get the material 24 hrs before the audition time and, if you’re lucky, you get them maybe 48 hours in advance. Still, it’s maddening really, and the deadlines are much stricter than you would find for musicals/plays. People work faster because they have to! Also, you’re not exactly supposed to pay much attention to other actors in the waiting room, but a lot of times I can’t help it. I’m an observer/voguer at heart.
I went in and Cindy Tolan [the Casting Director] seemed to be working quickly because she knew exactly what Tina Fey wanted. A few days later I’m on set in upstate New York with Titus Burgess and Jane Krakowski being funny. Titus was arguably the most welcoming actor I have met so far. I was fortunate enough to have him share some wise words with me, and he made me feel at ease during our scene.
A lot of times, the pressure is on once you start your scene, but if you are lucky enough to establish a rapport with one of the stars, the whole scene shines! That doesn’t always happen, so I was blessed. I am blessed. And I’m eager to see the finished project!!
NYFA: Can you tell us more about your NYFA thesis film Unrequited?
AM: I was assigned to write, produce, cast, and act in my own personalized short film. Not gonna lie, it seemed near impossible to pull off. Especially because I am not at all rich. I spent maybe $3,000, and my parents helped me. I can’t even begin to express the infinite gratitude towards my parents and my family for their support. I filmed it in my apartment, and my roommate/best friend was my AD. She kept me sane during the whole process, and I’ll never forget it. I cast two other actors who I met my first year back in NYC, and whom I trusted as actors.
Still from Mottola’s thesis film at NYFA, ‘Unrequited’
NYFA: What was the inspiration behind Unrequited?
AM: I had to think long and hard on what exactly I wanted to say. What exactly I wanted to put out there, you know? I wanted to say something I knew I would hold dear to me decades later. This short film was the result of at least six rough drafts. It won an award for Best LGBT Short that year and I still have the certificate and the statuette in my room right behind me! Growing up gay, adopted, and Asian in Central Pennsylvania in the 90s into the 00s was, well, it was something.
I had a diary growing up and writing helped me express emotions I wouldn’t express outwardly. I wanted to write my script about a culmination of events and feelings I had endured from my adolescent years well into my young adult life. Unrequited love. Being taking advantage of and not caring about oneself. There was something beautifully cathartic to be said about the situations I put myself in and with the guys I choose to involve myself with. I remember just sitting in my bed, laptop in front of me, and just writing and quietly just crying. I had been so angry for years and I never told anyone. This was my heartache I had been putting into words and I believed, and still believe to this day, that when someone shares their trauma with the world, they have the ability to heal. Heal themselves. Heal others. Heal the world. I do plan on revisiting the topic later on in my life. I can see myself directing later on in my life, for sure.
Mottola acting in his thesis film ‘Unrequited’
NYFA: What advice would you give to students just starting out at NYFA?
AM: That is such a loaded question! I feel like this will sound cliché and corny but you have to really look into your soul. Acting is more of a spiritual journey than anything. Ask yourself questions. If you’re doing this because you think it’s cool, you’re only skimming the surface. If you stick to the surface, I promise you that you won’t last. If it resonates within your soul, you’ll find your way. Take it from me. I’m about to be 31, and my life is just getting started.
New York Film Academy thanks actor and NYFA alum Anthony R Mottola for taking the time to speak with us and wishes him the best of success as his career continues to grow. Since this conversation, Mottola has landed a role in the upcoming theatrical film Silent Retreat, starring opposite Sarah Goldberg (HBO’s Barry). Mottola is repped by Will Ball (Vie Agency) and Matt Ilczuk (Entertainment Lab).
Editor’s Note: The Q&A with Actor and New York Film Academy (NYFA) Alum Anthony R. Mottola by New York Film Academy has been edited for brevity and clarity.
Each April, we observe Sexual Assault Awareness Month (SAAM), an annual campaign to raise public awareness about sexual assault and educate communities and individuals on how to prevent sexual violence.
There are many ways to inform yourself and observe Sexual Assault Awareness Month. Here are seven documentaries and narrative films you may want to check out this April that help spread awareness about sexual assault, have a preventative slant, or tell a story about survival.
1) I Am Evidence Available on HBO NOW, HBO GO, HULU, Amazon Prime Not Rated – 1hr 29min – Trigger Warning: sexual assault
This documentary follows the stories of survivors seeking justice through police departments and the courts. It identifies the failures of the US criminal justice system and the extreme backlog of unexamined rape kits, and won Best Documentary at the 2019 News & Documentary Emmy Awards.
2) Spotlight Available on HULU, Amazon Prime R – 2hr 8min – Trigger Warning: child abuse
This true newsroom drama starring Michael Keaton, Mark Ruffalo, and Rachel McAdams, follows a team of journalists who investigate allegations of child sexual abuse in the Catholic Church and unravel the complex cover-up. The film earned a surprise victory when it won Best Picture at the 2016 Academy Awards.
3) The Hunting Ground Available on Amazon Prime PG-13 – 1h 34min – Trigger Warning: campus sexual assault
The Hunting Ground explores the trauma and turmoil victims of sexual assault face on college campuses. The film earned many nominations and wins across the festival circuit, as well as an Oscar nomination for Best Original Song–Lady Gaga recorded the original song, “Til It Happens to You,” for the film’s soundtrack.
4) Anita: Speaking Truth to Power Available on Amazon Prime, Kanopy Not Rated – 1hr 17 min – Trigger Warning: sexual harassment and racism
For many Americans, one of the key moments in sexual assault awareness was Anita Hill testifying at the congressional confirmation hearings for Clarence Thomas, who was nominated to become a US Supreme Court Justice in 1991. Anita: Speaking Truth to Power is a documentary that explores the many societal factors at play that blocked Anita Hill from receiving justice after her public accusations of sexual harassment against Thomas.
5) Audrie and Daisy Available on Netflix Not Rated – 1hr 35min – Trigger Warning: assault and bullying
Audrie and Daisy is a documentary that looks into harassment and public shame that victims of sexual assault experience in high schools across the US, exploring two specific young teenagers who faced cyberbullying and abuse following their sexual assault. The husband and wife filmmakers describe the film as a “a modern-day Scarlet Letter story.”
6) Precious Available on Hulu, Amazon Prime R – 1hr 50min – Trigger Warning: sexual assault and incest
This heartbreaking but hopeful film shows the journey of a young woman growing up in an abusive household, struggling to speak out and escape domestic and sexual abuse. At the 2010 Academy Awards, Gabourey Sidibe was nominated for Best Actress for emotional portrayal of Precious, while Mo’Nique won Best Supporting Actress for playing her terrifying and abusive mother.
7) The Shawshank Redemption Available on Netflix R – 2hr 22min – Trigger Warning: sexual assault
This film follows the experiences of an imprisoned banker and the friendship he develops with an older inmate. Although the film contains problematic representations of prison sexual violence, identifying what the film gets wrong about sexual violence can serve as the basis for an interesting discussion.
Current events continue to keep most of the population indoors for extended periods of time, affecting everything from studying to working to, yes, even gaming. Social distancing is keeping people from gathering together and playing their favorite board games, and while there are plenty of virtual tabletop software solutions–nothing beats playing an opponent that you can see.
However, thanks to software such as Skype and Zoom, tabletop gamers can still get together “live.” Some titles work better than others via video conferencing. Keep in mind, it helps if everyone has access to the rules and at least one player has a copy of the physical game.
The best games are ones where either information is public knowledge or, if there is secret information, it is either easily tracked or only in the hands of one player. Here are some suggestions for board and dice games that work well over video conferencing:
Qwixx (Gamewright)
Qwixx is a thrilling, fast-paced group dice game. One player can roll the dice for the other players. The play sheet can be printed out by other players which you can find here. A digital version of the score sheet can be found here.
Zombie/Martian Dice (Steve Jackson Games)
Zombie Dice and its sibling game Martian Dice are dice games with a supernatural twist. One player rolls the dice while the other players decide whether to push their luck or not. If anyone wants to be “more engaged” they can be the scorekeeper.
Farkle/Bupkiss (Various)
Another dice game with many variations where one player “handles” the dice while the other players decide to press their luck. You don’t even need to buy this game, you really only need any five dice – but why not support a game publisher during these hard times?
King of Tokyo (IELLO)
As with the other dice games above, in this quirky kaiju-inspired game, one player rolls the dice and moves the monsters while the other players tell them their moves. You will have to let the other players see the “market” of cards and track their energy cubes on their own, but this can be easily managed by the “lead” player.
Space Base (AEG)
Space Base might get a little more complicated, employing a market of cards, but as long as a player can see them while tracking their own base and upgrades, this game is doable over a video conference system. A “lead” player can manage the dice rolls for the other players (or you can “roll your own” at home) Some of the game’s files (and the rules) are available as printable files at BGG.com
Codenames (CZE)
As long as all of the other players can see the cards, Codenames is a perfectly fine game to play using video conferencing. It might be a good idea to use chat or sending a scan of the code card to the two players that are the “choosers” for each team.
Formula D (Asmodee)
Another game that requires the “lead” player to set up the board, manipulate the pieces and roll the dice (note that the dice in Formula D have customized numbers on them, you can’t just use standard polyhedral dice) but as long as the other players can see where they are, the game moves pretty quickly. Just remember to track damage as you blow through a turn.
Santorini (Roxley)
Playing Santorini over video conferencing is like playing Chess by mail. The decisions are simple enough that one player can control the board while the other player offers moves. Or, you could each have the game set up at home and replicate moves with each other.
Pantone the Game (Cryptozoic Entertainment)
[Editor’s Note: Full disclosure: this game is designed by this article’s author, NYFA Game Design instructor Scott Rogers]
In this game perfect for video conferencing, the “lead” player makes their character before the rest of the players get their turn to guess it. The game even lends itself to being played over text and direct messaging. Ideally, each player owns their own copy (rather than pilfering paint swatches from the hardware store!)
Honorary Mentions:
These are a few other games that work well with video conferencing and even have a pretty healthy community that are already playing them that way: Chess, Yahtzee, Werewolf/Mafia, Mastermind, and Dungeon and Dragons (or any Role Playing Game)
Everyone knows there are times when, for any number of reasons, you’ll have to study or work from your home as opposed to a communal space, office, library, or cafe. Unlike these other locations, studying from home–while convenient–poses its own issues, including distractions and creating a mood that pushes you more to relax than be productive.
With that in mind, New York Film Academy (NYFA) has put together these tips to create a productive study space in your home. Even the smallest touches can pay off dividends with your work, studies, and creative output!
Ensure ideal lighting
One of the first things students at NYFA’s Filmmaking and Cinematography students learn is color temperature–sunlight has a bluish hue and indoor lighting typically has a warmer, orange hue. Even if you’ve never overtly noticed this, your brain subconsciously has, and studies have shown that your body responds to sunlight and can be both physically invigorating and beneficial to your mood.
To that end, make sure you find a space that has access to natural light. Sometimes, this isn’t possible, but there are alternatives such as cool temperature bulbs and “happy lights” that you can place on your desk and keep you from getting the indoor doldrums.
Add some green
Have an empty surface or open area on your wall in your study space? Try adding a plant or two. Adding some green near your study area can make your personal space seem more serene and lively, making it perfect for staying focused. Plants may also add a bit of color and are said to improve indoor air quality, according to institutions like NASA. Having one or more plants in your study area can make for a peaceful, stress-free environment.
Plant tip for beginners: All plants have different needs, so start out small with a low-maintenance plant like a succulent or tillandsia, then work your way up to a Chinese green, fiddle leaf fig, or a spider plant.
Your area should be clean, and free of clutter
While messy areas can often be part of the creative process, sometimes you just need to focus and clutter can be distracting and disabling to that process.
Here are a few tips to get your creative process going by removing clutter:
Take what you need: When you’re grabbing things to take to your desk, kitchen table, bedroom, or any other space, make sure you only bring the essentials like your water bottle, a laptop, a notepad with your editor’s notes, and your camera to upload footage.
Toss & trash: If you don’t need something for that study session, move it or throw it away. Try and remove all trash from your study area before you begin so you don’t get distracted by it being there later on. After your study session, clean up your area so you don’t have to do it the next time you are about to study.
Create zones: Maybe your study area isn’t just one area and it involves multiple places to get things done. By organizing your projects to be done in a certain area on your desk or in your study area, you can organize and better prioritize your workload. In other words, when you mentally move, you physically move. For example: Perhaps the right side of the desk is for your computer and the left side of the desk is for handwritten notes, and maybe there is a couch nearby that is your designated space to focus on editing your projects.
Adjust the noise
Some of us love listening to music while working. Songs put us in a good mood, but it’s important to pay attention to the content we’re supposed to learn; otherwise, music can end up being counterproductive. It might be better to alter the type of music you’re listening to, trying tunes that help provide focus rather than distract from it. Try classical music, where large orchestras can produce pleasant mental effects without taking your mind off the words on a page.
Additionally, ambient noise, such as white noise, pink noise, etc. played in the background at a consistent level can help mask unwanted sounds. Some of these background noises can also include rainfall and waves crashing on the beach.
Alternatively, sometimes a change of music and turning up the beat can be all it takes to get you back into study mode, so click here for another Spotify playlist with some of our all-time favorite pop songs.
**Extra Tip** – Snack healthy
Remember always to keep handy some healthy snacks and a bottle of fresh water to keep your mental and physical energy up. Try to avoid over-consuming sugar and caffeine while studying, as the resulting crash could be counterproductive.
Here are some fantastic brain food snacks for studying:
Almonds Dark chocolate Air-popped popcorn Hummus and veggies Toasted pumpkin seeds Nutella energy bites Edamame Carrots String cheese Roasted chickpeas
The idea of studying film never even occurred to Alexia Garcia del Rio until she just happened to walk by New York Film Academy (NYFA) while visiting New York City from Argentina with her family. Four years later, she was enrolling in the BFA Filmmaking program at NYFA’s Burbank-based campus.
Since then, Garcia del Rio has graduated and earned a job at Daily Wire, where she manages a team and produces a ton of content for the company. Garcia del Rio has also found time to work on her personal projects, including the short film A Land Where Children Play.
NYFA BFA Filmmaking Alum Alexia Garcia del Rio
New York Film Academy spoke with BFA Filmmaking alum Alexia Garcia del Rio about her film, her responsibilities at Daily Wire, and what brought her from Argentina to producing films in the US: New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Alexia Garcia del Rio (AG): I am from Buenos Aires, Argentina, where I lived until I decided to attend New York Film Academy when I was 19 years old. I remember the first time I was in New York travelling with my family when I was fifteen, and as we casually walked around the breathtaking city, I stumbled across the NYFA building. I felt immediately drawn to it, something I still can’t explain, and ever since then I always knew that was the place where I wanted to study. I walked into the building right away and asked for all the information regarding all careers there, and funny enough, I had never even thought of studying film until then.
I got emails and a handbook (which I think I still have with me), and saw it as an impossible dream. So impossible, that I started studying film in Argentina, sure it would never happen. In my family, and at that time, no one had really left to live abroad; in fact, we all lived pretty close to each other. But after a year in Argentina, I got an email from someone at NYFA, mentioning their programs, and immediately that spark of desire and fire came back to me–and half a year later, I was packing up my bags to go to and live something that seemed an utter distant dream since childhood.
NYFA: What drew you to filmmaking over the other NYFA programs?
AG: I have always had a passion for films, from a very young age. At the same time, I shared the same passion with writing and storytelling in general. In Argentina, the circle in which I grew up in was more conservative, and studying something like film also seemed like one impossible dream. So at first I started to study psychology right after high school until, just like when I saw NYFA for the first time, lightning struck me and in one day all the fears went away and I got into film school. By far, the best decision I’ve ever made.
I believe film is the perfect medium to convey all the thoughts of social awareness and deeper struggles I love to explore, that I would have done as a psychologist as well, but in large, it provided me with the platform to make a change at a larger scale. Argentina is a third world country, and as such, there are a lot of things I saw growing up around me that I would love to be able to improve, and film is that medium, resource, and tool to help me do so. I would love to have the opportunity to do a master’s in psychology and sociology if I get the chance to do so, and broaden my awareness and perception of the world.
NYFA: How did first start working at Daily Wire?
AG: Well, I had just received my approved OPT in order to work after graduation, and I was applying to many jobs at the time–this one happened to be one of them. You could say I stumbled across this job, I didn’t know much about it before. I went to four interviews, and as weird as it may sound, the very first time I stepped foot in the building I knew I was going to see this place again, I could feel it. After the fourth interview, the CEO followed me to the elevator and asked me to send him my short film, A Land Where Children Play. I was very scared to do so, since the film covers a sensitive subject, and I wasn’t sure if it would be well received. But I got a call back immediately after saying that they were so impressed with my interviews and film that they wanted to offer me the position of associate producer at the company.
NYFA: What is your job like at Daily Wire? What are your responsibilities?
AG: I started as an associate producer, helping the producers in the managing of all the shows produced. After seven months they promoted me to be the manager of the post-production department, the role which I currently occupy. It was amazing–I could not believe it when they offered me the position. Now, I manage and lead the team of designers, illustrators, and animators for all Daily Wire productions and for third party contractors as well. I have a handle on all creative and technical aspects of the content, and make sure everything is on schedule and budget as well as meeting quality expectations.
NYFA: Can you tell us about your film A Land Where Children Play?
AG: My film is about a sick and old Israeli, conservative man whose values are put into question when he is forced to live with a Syrian refugee Muslim child.
NYFA: What inspired you to make A Land Where Children Play?
AG: I wanted to write a love poem for society, portraying the contrast and power of religion and culture, and how a belief system and the way we are raised can sometimes be blinding or conditioning. Exploring both cultures’ similarities and differences, the juxtaposition of innocence and ignorance, how ultimately we are all human beings–even though sometimes we forget.
I wanted to pass on a message that if we actually get to know one another, we might have more things in common than we believe. How senseless wars are taking over lives, destroying cities, and leaving children scared, humans scared. After all, we haven’t really evolved as much as we think we have.
I also wanted to portray both sides of adopting an older child, with post-traumatic stress, showing both beauty and struggle, love and desperation in that situation–maybe in the hopes to raise awareness, since I would love to do it myself when I can support him/her.
NYFA: What are your plans for A Land Where Children Play?
AG: I would love to turn it into a feature film, and I would love for it to raise awareness of these issues and topics I touch upon.
NYFA: Has your work at Daily Wire had any impact on your personal filmmaking?
AG: Well, gladly, since Daily Wire is a production company, I get to do what I love every day. I create all animated shorts we produce and have creative freedom and decision making for every project we do. We shoot shows regularly and I get to be a part of that as well. Also, I am very glad that I can still write, direct, and produce smaller projects outside of work, such as music videos or short films on the weekends, and simultaneously continue to write my feature film project.
NYFA: What did you learn at NYFA that you applied directly to your work?
AG: Well NYFA gave me all the tools to apply in the workplace, the experience and technicalities I needed in order to excel in my job from day one. I had already directed and produced so many projects thanks to NYFA and the hands-on workshops provided, that doing it regularly was a continuation of my studies. Everything I had to learn on the job in order to produce the live shows was facilitated due to the learnings from the instructors and programs offered.
NYFA: What advice would you give to students just starting out at NYFA?
AG: Take advantage of every opportunity offered. Shoot as much as you can, network, make contacts, and always try to get onto sets–the more experience you gather the best results you’ll get after. Always strive for excellence, not for anyone else, but to excel and overcome your own personal expectations. Fail, make mistakes–but always learn from them. Be very observant of what things you like and you don’t from other fellow filmmakers, and take the classes seriously. If you do, by the time you graduate you’ll be fifty percent there.
NYFA provides the great opportunity to be very hands on and shoot constantly, but filmmaking is a career that mostly will depend on you–so you are responsible for your own success or failure. Finally, people should take advantage of Barbara Weintraub, NYFA Director of Career Development and Industry Outreach, and her team that helps with training for interviews making your resume as strong as possible. I couldn’t have done it without her help.
New York Film Academy thanks BFA Filmmaking alum Alexia Garcia del Rio for taking the time to answer our questions and wishes her the best of success with her film A Land Where Children Play and her work at Daily Wire.
New York Film Academy (NYFA) Screenwriting student Jacob McFadden is a military veteran with many talents. McFadden has studied acting, music, and now studying screenwriting at NYFA’s Burbank-based campus. On top of all that, McFadden has also published a book on soul scales in jazz music.
NYFA spoke with McFadden about the book, which is available on Amazon, Barnes and Noble and other bookstores worldwide:
New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Jacob McFadden (JM): I’m originally from San Antonio, Texas, and what brought me to New York Film Academy was that one day I was twirling my thumbs at work, and I asked myself what is the next step in my life is going to be… and lo and behold film school popped in my head. Next, I started researching film schools and NYFA popped up. Since NYFA has a veterans program, it was perfect because I can use my GI Bill to pay for school and live in LA.
NYFA: Why have you decided to focus on screenwriting?
JM: I decided to focus on screenwriting because I want to act in the movies that write. I feel that taking the 1-Year Screenwriting conservatory will give me the opportunity to hone my script writing skills and learn about the business of screenwriting. I also want to enter film festivals.
NYFA: Can you tell us about your book TheHexatonic Soul Scale
JM: My book The Hexatonic Soul Scale is about a scale that novice jazz musicians–or any level of jazz musicians for that matter–can use to create soulful solos. My book also talks about mastering the art of circular breathing. This isn’t a long-winded book either, because I don’t want to waste the reader’s time by rehashing a lot of material that’s already out.
NYFA: What inspired you to make The Hexatonic Soul Scale?
JM: The inspiration to make The Hexatonic Soul Scale came from experimentation during one of my piano practice sessions. After I made the discovery, I decided to write a book about it since I’ve never written a book before.
New York Film Academy thanks Screenwriting student Jacob McFadden for taking the time to speak to us about his book. The Hexatonic Soul Scale is available on Amazon, Barnes and Noble and other bookstores worldwide.
Last year was a great year for New York Film Academy (NYFA) Filmmaking alum Cody Broadway, who added two more trophies to his collection of regional Emmy awards. The first Lone Star Emmy Award he won in 2019 was for ELEVEN: Wall Hawks in the Best News Series category, while the second was in the Best special Feature category for his social experiment, titled Crossing the Line. Previously, Broadway has won 5 regional Emmys in Colorado.
Broadway first attended NYFA in 2009, enrolling in the 1-Year Filmmaking conservatory at our New York campus. He credits NYFA for pushing him to “be a better storyteller.”
Since then, Broadway has seen a series of ups and downs in his life and career, and has learned that for most people, your personal journey is rarely a flat, straight line. He recently started a new job with NBCUniversal in Los Angeles as a Visual Storyteller for NBCLX, and will be working on several new stories.
New York Film Academy spoke with Filmmaking alum Cody Broadway about his journey from a small town in Texas to New York City to Los Angeles, and all the ups, downs, rejections, and Emmy wins in between:
New York Film Academy (NYFA): Can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?
Cody Broadway (CB): I’m from the great town of San Angelo, Texas. A small town in West Texas. The population is a little over 100,000 people. When I started my TV/Film career at KLST TV in San Angelo, I was a production assistant (moving cameras around during a newscast for $5/hour). A position I cried about when I was hired. I met a gentleman at the station who told me to leave town and to chase my dream.
At the time, I had no clue what my dream was, to be honest. I just knew I wanted to be creative and I wanted to impact people. He suggested finding a film school, so that is where my search started. NYFA was high on my list for schooling, because of the opportunity to have a hands-on approach. I can sit in a classroom anywhere, but there is something special about going out and doing it yourself in NYC. My family couldn’t afford the trip to NYC at the time, so we booked a one-way flight and packed one large suitcase and I headed to New York City alone—going from a town of 100K people to a city of 8 million. A huge risk at the time, but one that eventually would pay off.
NYFA: Why have you decided to focus on filmmaking?
CB: Filmmaking and storytelling have had an impact on me since I was young. Some people turn to music for answers, I turn to film. It’s always been a dream to create something that has an impact on people. Something that moves people to think or do. If I do that in my projects then I’ve done my job.
NYFA: The past few months for you have had some major ups and downs – can you go into what’s been happening in your life recently?
CB: Talk about a rollercoaster of emotions. There are few things in my career that will always stand out, and these past three months is one of them. In November, I was blessed to receive my eighth Regional Emmy award for storytelling. This was the first Emmy at the establishment I was working for at the time. It was a special one, and will always be. Not because it was the first for that organization, but because of what would happen next. In the coming days, I would find myself out of a job and unsure of myself and my journey. It was right before the holidays and I was the only one working and providing for my family. All I could think about was my wife Cassandra and two boys, Caine and Corbin. The day I was let go, I sat in silence in my car unsure how to tell my wife that I had lost my job. I believe it was more of a pride thing if anything. A feeling of embarrassment. At one moment you’re on top of the world, winning awards and “living your dream,” and the next you’re jobless and having to explain to your kids why you’re always home. Little did I know this was all part of the journey.
Two hours before I received word that my services were no longer needed, I was sitting in my car in tears in front of that establishment. I was having trouble breathing and had a massive headache. I remember reading an article that morning about praying straight to the heart of a problem. I knew it was something much larger than a headache. I closed my eyes and said, “Lord, let your will be done. If something is not for me, take it away.” At that moment I had surrendered. I then got out of my car and walked inside. Two hours later, I was walking out of the same door, jobless.
I spent the next few months focusing on family, myself, and my relationship with God. I put my career in the backseat and put other things before it. I got back into storytelling for myself. Going after the stories I wanted to share. Filming videos that people could relate to. Sharing my story with people with the hope of impacting someone. The more I did this, the more I fell back in love with the process. To be honest, there was a moment I was considering leaving the industry as a whole.
Then I got a call…
NBCUniversal! I was in contact with them for a few months, but I was unsure where or if it was going to happen. So, on January 1, 2020, I was offered a Visual Storyteller job for NBCLX in Los Angeles! A dream job. One that took me 13 years to land! All of the “NO’s” and rejections had finally paid off. Just when I felt like giving up, the door was finally opened.
NYFA: Eventually, you learned that hearing no and getting rejected is part of the process, but how did you deal with all those rejections before doors finally started opening for you?
CB: It took me a while to fully understand rejection. In my eyes, I was going to film school and then I would make Hollywood blockbusters right away. I guess you can say wishful thinking, haha. Rejection started early in my career. From jobs to film festivals, I have a mailbox full of “Thank you for your interest, BUT…”
I always knew with each, “NO” I was closer to a, “YES”. Even if that first yes was directing a weekend newscast back in West Texas in my hometown right out of film school. Over the years, I realized that opportunities come and they go. They are meant for us to learn and grow from. Rejection hurts. It sucks. I don’t know anyone personally that loves the sound of rejection, BUT it’s so important for us to go through. When a door closes look for a crack in the glass. There is always a way.
NYFA: What has facing adversity and rejection in your career taught you?
CB: This industry is all about perseverance and facing adversity. Overcoming the “no’s,” film festival rejections, firings, etc. is key time your success. The odds are against us as filmmakers and creators. Not everyone gets into Sundance or TriBeCa, and that is okay. Be real with people. Life isn’t sunshine and rainbows. It’s easy to put that image out there on social media. People want you! And your story! Once I realized that my career started to excel to greater highest I could never imagine.
NYFA: Do you have any advice for students starting out at NYFA who haven’t faced these adversities yet?
CB: Believe in yourself and your own ability. Be your biggest advocate, because at times it may only be you. Know that some doors may never open, while others may slam in your face, but you have to continue pushing forward. Those that continue fighting are the ones who end up on top. Believe. Believe. Believe. It’s possible—I’m a living example of that.
New York Film Academy thanks Filmmaking alum Cody Broadway for taking the time to open up and speak about his own personal journey and for his advice to his fellow filmmakers and NYFA alumni.
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