In exactly 3 days, the city of New York is going to be taken over by film, and we couldn’t be more excited. The 52nd New York Film Festival kicks off on September 26th and it will bring the power of cinema to the city that never sleeps all the way until October 12th. With over 2 weeks of world premieres, award winners, retrospective screenings, spotlights on emerging filmmakers, panels and galas, the 52nd edition of the acclaimed film festival has everything it takes to be the greatest so far.
Founded in 1963, as the auteur theory and European cinematic modernism were crashing upon the shores of American film culture, the New York Film Festival continues to introduce audiences to the most exciting, innovative and accomplished works of world cinema.The non-competitive festival, sometimes abbreviated as NYFF, was established by Amos Vogel and Richard Roud. The films are selected by one of the world’s most prominent film presentation organizations: the Film Society of Lincoln Center.
Ben Affleck, Kim Dickens, Patrick Fugit, Lisa Barnes
and David Clennon in ‘Gone Girl’ from director David Fincher
This year’s lineup will include some of this year’s major Oscar contenders, including Bennett Miller’s ‘Foxcatcher’, Mike Leigh’s ‘Mr. Turner’, David Cronenberg’s ‘Maps to the Stars’ and this year’s Sundance winner ‘Whiplash’. They join the already-announced opening film ‘Gone Girl’ from director David Fincher, centerpiece gala selection ‘Inherent Vice’ from Paul Thomas Anderson, and closing night gala selection ‘Birdman’ from Alejandro Gonzalez Inarritu in the lineup.
Check out the festival’s trailer:
If you’re interested in learning more about the 52nd NYFF’s schedule and showtimes, click here.
by DFA Marketing & Social Media Manager Carol Mazzoni.
When we look at the names of cinematographers working on commercial films, we will find it a difficult task to spot a woman credited as one. Women make up barely 2% of cinematographers in the industry. There haven’t been any female cinematographers who were nominated for an Academy Award. That’s not cool. In fact, the numbers are downright astonishing. These are surprising statistics that will, hopefully, motivate more women and girls to look into this creative field as a career and make some positive changes.
Is it hard to get it in the door? Of course it is. This is true especially for commercial films. Most female cinematographers (past and present) break into film work with documentaries. Many stay in that genre due to a genuine preference for it and, others, due to the amount of bias against women who move to work in other areas of filmmaking. And like any profession that has been, historically, bent to favor one social or gender group, it will be hard to change the numbers. But it’s not impossible to do it. And the great thing is you won’t have to start on a road where there is an absence of footprints. Fortunately, there are women who have already been hard at work paving the road for your arrival in the film world as a cinematographer.
Brianne Murphy, best known for the film Fatso and television series Highway to Heaven.
Although there are many men (and some women) in the industry who think of cinematography as a ‘man’s job’, Brianne Murphy did not let this bias stop her from pursuing her passion for working with cameras. Murphy got her start in the field working as a still photographer. From there, she graduated to numerous projects in television and film. Murphy’s work was so good it could not be overlooked by her male counterparts. In 1980, she became the first female member of The American Society of Cinematographers (ASC).
Ellen Kuras, A.S.C. – known for her critically acclaimed work on the film, Eternal Sunshine of the Spotless Mind.
Other notable women have been hard at work clearing out brushes of bias and showing that cinematic cameras favor no gender, such as Ellen Kuras, best known for working with Spike Lee on He Got Game (1998) and Summer of Sam (1999). Her most critically acclaimed film is Eternal Sunshine of the Spotless Mind (2004).
Amy Vincent. She is an ASC member and the cinematic talent behind such films as Hustle and Flow and Eve’s Bayou.
Amy Vincent was the cinematic talent behind Oscar-nominated film Hustle and Flow. She also worked her camera magic on the stunningly beautiful film Eve’s Bayou – a powerful film about an adulterous man seen through the eyes of his young daughter. It was also directed by a woman, Kasi Lemmons.
The above are just a few incredible visionaries who have worked and currently work as cinematographers on the small and big screen. It would be awesome to see more women follow in their footsteps and even go beyond what they have achieved. Life is about progress. And, who knows, maybe someone out there reading this article will be the first ever woman to win an Academy Award for cinematography in a motion picture. If it’s cameras and motion pictures you love, all you have to do is follow your heart’s passion.
To read more about the wonderful women mentioned in this article, click on the following:
The entertainment industry has tons of creative energy flowing through it. The public may hear stories of how most people who get involved in it desire to work in an area they are not hired for (e.g. the actor who wishes to be a director, the gaffer who would like to be a cinematographer, the extra who would like to have a supporting or lead role, etc.). However, what if one position can maximize its creativity so that it becomes the dominant voice in (and over) all creative roles on the set? Would this be welcomed in the industry? Or shunned? Where you fall in this opinion may depend on who you are in the industry. If you’re a director who subscribes to the director auteur theory, you would most likely be an advocate for this singular dominance of creative expression on a project; however, if you’re a cinematographer who is used to being the creative voice on how the camera’s positioning and/or lighting needs to be to evoke ‘just the right’ mood, you may not be as comfortable with the idea of working with a director auteur who expects to have maximal (or close to maximal) input in all areas of film production, including specific ideas and instructions on how camera positions and lighting should be done.
François Truffaut, 1955
That brings us to the question you’re probably asking yourself: What exactly is a Director Auteur? Auteur is the French word for “author”. The term “director auteur” was first used by François Truffaut, a French critic who became a celebrated filmmaker in the 1950s. Truffaut believed that, although a film has many components (and players) in its production, the true author of the work is the director. To Truffaut, a film’s vision (if executed well) should be dominated by the style of the director to such an extent that it minimizes any appearance of collaboration with others (including the cinematographer, set designers, etc.) who work on the film. Truffaut believed that when this is achieved it is the highest level of professional expression by a director.
Quentin Tarantino, Photograph: www.LevonBiss.com
Is the director auteur theory at work in the film industry today? It is. In fact, presently, it is the dominant style of filmmaking. Many of the directors of the past several decades have been auteurs. We recognize their movies, not because of the cinematographer or screenwriter attached to the project, but because of the style of director. For example, Quentin Tarantino is one of the most famous modern auteurs in the industry. His films are instantly recognizable by both movie audiences and critics. And this is a fact in spite of Tarantino having used a few different cinematographers (such as Robert Richardson for Inglorious Bastards and Django: Unchained; Guillermo Navarro for Dusk to Dawn; and Andrzej Sekula for Pulp Fiction and Reservoir Dogs) for his projects. Tarantino, as a director auteur, is able to stamp his movies with his own distinctive style that dominates the film.
Woody Allen, 1977 at Coney Island, Brooklyn. Photograph: Brian Hamill/Getty Images
Although numerous directors with east coast backgrounds chronicle city life, many would agree that no one has achieved as much of a distinctive style in doing so than Woody Allen. His films count as another example of the work of a director auteur. His quirky, neurotic, humorous and character-driven movie style penetrates most of his work (e.g. Crimes and Misdemeanors, Deconstructing Harry, New York Stories, Hannah and Her Sisters) in such a way that when audiences and critics see it, it is undeniably a ‘Woody Allen’ production.
When you’re approaching your next project, consider whether or not you would like to approach it as a director auteur; and whether or not it’s a project you are allowed to exercise the authority of that position. For example, if your film is funded (and developed) by a well-known studio and you are a director who is not well-known, chances are you will have to collaborate with others who, at times, may (if they are big name actors or studio execs) have more influence than you in the overall style of the film. That means the best chance an up and coming director has to establish a distinctive voice with his films is in the independent world of filmmaking. There are less people above you to answer to and, as a consequence, it allows you more freedom to turn a script into a film that frames you (and your vision) as its primary author (or “auteur”).
Now go out and direct the next film that will have people discussing the newest director auteur in the business!
To learn more about the Auteur theory, click here.
To learn more about French director François Truffaut, click here.
Obsessed with the art of storytelling since she learned how to walk and talk, Shaun Dawson followed a very unique path before she landed in the world of filmmaking. She was a surgical technologist for 7 years in the US military, when her dream of becoming a storyteller became more concrete. The experience of providing aid to earthquake victims in Haiti, in January 2010 spurred her on. It was at that time that Shaun met a journalist who also served as a major inspiration to her to really pursue filmmaking as a career choice.
After studying for a BS in Marketing followed by an MA in Communications, Shaun decided it was time to master the art of visual storytelling. She enrolled at Digital Film Academy and hasn’t looked back since.
Her new project, ‘Assigned Sex’, tackles a very important subject and it has been highly anticipated among the LGBT community. The documentary unveils the hurdles that gender-variant individuals face and forces society to bear more responsibility. The piece follows five transgender individuals as they break away from America’s more traditional gender roles. The project was successfully crowdfunded on Kickstarter and is now about to be released to the public. Here, Shaun tells us a little bit about her campaign journey, project and future.
DFA Blog: Tells us the biggest secret of your successful crowdfunding campaign. What really worked? Shaun Dawson: Defining your target audience is essential. Once I pinpointed my target audience, the rest was a breeze. I’m pretty sure I’m part of every online LGBT community now. LinkedIn was a huge resource. Over 70% of the donations were driven by LinkedIn.
DFA Blog: What was your main challenge with the campaign? Shaun Dawson: The biggest hurdle was the courage to actually start. Kickstarter is all or nothing, which is discouraging for most people. Keeping my team motivated and staying positive throughout the entire campaign was definitely a challenge.
DFA Blog: How were you first made aware of the alarming statistics on attempted suicide among transgender individuals? Shaun Dawson: I met a transgender individual who began his transition during my freshman year of college. We were close friends in the early stages of his transition, but, as it progressed, he began to isolate himself. His social isolation and depression eventually led to several suicide attempts. By the beginning of my sophomore year, he had completely cut me off because he felt as a cisgender individual I could never understand him. Little did he know, I actually really wanted to understand. I, then, began following transgender individuals who shared their journeys on YouTube and realized that most were severely depressed with suicidal thoughts.
DFA Blog: What else made this project a must for you? Shaun Dawson: The current peak in transgender-based hate crimes across the country.
DFA Blog: What is the most moving story for you from the documentary? Shaun Dawson: One of the cast members of the documentary is an elementary teacher here in New York City. He is very passionate about his career. He agreed to be a part of the documentary because he felt that venting would be therapeutic during his transition. His biggest fear is for parents of his students to question him as a teacher. Watching him progress over the past year and a half has been very moving.
‘Assigned Sex’ was written, directed and shot by Shaun Dawson and edited by another DFA student, Richie Lanzillotto Jr.
The documentary will be released to the public on OCTOBER 16, 2014. Stay tuned!
July 30th turned out another series of exciting, diverse short films from DFA students at New York City’s Anthology Film Archives!
First up was The Dawn, a film written and directed by yours truly. Despite his very sheltered point of view, the five-year-old protagonist pieces together the fact that his beloved mother has killed his father. The biggest challenge of making this short was working with such a young child, although hopefully his youth and innocence serve to create that much more of an impact once you realize his life will never be the same.
Next there was In the Bedroom, a short by Ananya Sudararajan, who also co-wrote and acted as DP for another short film in the line-up, Jam. In the Bedroom was more experimental than the other offerings. The camera remained in one position the entire time: at the foot of the bed of a couple whose relationship is on the rocks. This served to make the viewer feel almost as if they’re spying on a real couple from a hiding place, rather than watching a short film. After the male lead fails to perform in bed, he takes his anger and frustration out on his girlfriend; however, she’s the one who gets the last laugh.
Next up was The Potluck, from frequent screening contributor Pauline Gefin (and Jam’s sound recordist!). In the course of 9 minutes, the audience sees a very strained relationship between three former friends, and how catty two of the girls are toward the third, Victoria. However, when the hostess, Ashley, begins choking, she’ll find out who she can really count on. The short packs a great visual punch at the end, when Ashley puts a photograph of her and Victoria in a place of pride on her shelf.
Jam, the fourth short, came from Nacho Diaz-Guerra. This piece served to keep viewers guessing as different details were revealed. The three characters meet when young Alice buys back her grandfather’s watch from a pawnbroker and his friend. It’s clear that both Alice and the pawnbroker’s friend, Luke, have strained relationships with their father figures. In Alice’s case, we hear one side of a tense phone call; as for Luke, we witness his older friend’s constant badgering. In the end, Alice and Luke form a bond – and take a small revenge on society.
The last film of the evening,Thousands: Sonnets of the Sun, was also the longest at close to 29 minutes. This film, from Lucas D. Oliveira, was ambitious not just in terms of length but in subject matter. A true coming-of-age story, viewers were treated to an intimate look inside the mind of a young boy, Tolo, as he struggles to understand nothing less than the meaning of life and his place in it. His father, an African mask carver, has taught him the stories behind the masks, and how masks would be used in special ceremonies where children became adults. Of course, these ceremonies aren’t common in Brooklyn, where Tolo lives – but that doesn’t stop him from exploring their power and doing what he feels he needs to to get to the next level in his life.
Congratulations to everyone who screened! I’m looking forward to what’s next to come from this group of my fellow filmmakers.
Before coming to the Digital Film Academy, Danesha Holmes tried many different career paths. She always knew she wanted to work in entertainment, but didn’t know in what capacity. As a result, in addition to trying acting and stand-up comedy, Holmes spent time in retail, in customer service, as a personal trainer, and even as an EKG technician.
Finally, she came to grips with the fact that TV was what she truly loved, and decided to do what she had to to make it her career. Before she knew it, she was googling film schools in the New York area. When she discovered the Digital Film Academy, she knew it fit the bill.
“The DFA was the best of all available choices, and it got my foot in the door,” Holmes says. Their one-year program was a good fit for her and, most importantly, she was able to receive financial aid. “I got a scholarship, and that really made the difference. Without that, I wouldn’t have been able to go.”
Part of Holmes’ financial aid package involved working off her tuition both by blogging for the school and by working as a receptionist. You can check out her blog posts here, under her pen name, Harley Page.
Most importantly, though, her experience with the DFA helped Holmes decide exactly which job in entertainment was right for her.
“By the time I graduated, I knew I wanted to be a video editor,” she says. “I enjoy that environment, enjoy seeing the final product come together, and the creativity and the work that goes into it.”
Throughout her DFA courses, Holmes was given the opportunity to work with rough footage from hit TV shows like Monk and Hell’s Kitchen. She got to put together cuts from multiple cameras to create a finished product. She also completed a co-thesis with another student, Jazmin Young – a web series called Sabotage. The trailer and logo can be viewed below.
She now works for Leftfield Entertainment, transcribing and logging shows such as Pawn Stars, ESPN 30-30, Blood, Sweat, and Heels, and United States of Stuff. She recently interviewed for a promotion to assistant editor.
But her long-term goal? “To be a video editor and to own my own business,” Holmes says with confidence.
“The DFA changed my life completely,” she says. “It helped me choose my career path. I’m definitely going for the stars now. Thank you guys!”
It’s Emmy Season, and this morning’s announcement of the 2014 nominees got everyone talking!
Several factors combined to make the 66th Primetime Emmy race one of the most exciting in recent history. For starters, we’re seeing more and more shows from ‘alternative’ platforms snag nominations, such as Netflix’s Orange is the New Black and House of Cards. Amy Poehler’s quip at the January Golden Globes about how “… (Netflix won’t) be feeling so smug in a couple of years when Snapchat is up here accepting Best Drama” carries a ring of truth.
Additionally, HBO’s hugely successful True Detective surprised many when it became clear that they would vie for nominations in the drama category, instead of the mini-series/movie category as originally expected. This puts them into direct competition with long-time favorite Breaking Bad, which has been sweeping all other awards this year since its series finale in 2013. It’ll be fascinating to see which (if either) of these heavy hitters takes home the most coveted statues for best drama or best acting.
The show with the most recognition, however, is HBO’s ever-shocking Game of Thrones, with 19 nominations. Fargo follows close behind with 18 nominations in the miniseries/movie category. Orange is the New Black holds the most nominations for a comedy with 12.
Of course, with each category being so competitive, there are bound to be a few snubs. Modern Family’s Sofia Vergara, usually a favorite, was left off the list of noms for Best Supporting Actress in a Comedy Series (although co-star Julie Bowen grabbed a spot.) The absence of Orphan Black’s Tatiana Maslany from the nominations also infuriated fans. Finally, Brooklyn Nine-Nine and its star Andy Samberg took home this year’s Golden Globes for Best Comedy and Best Actor in a Comedy, yet were conspicuously denied any love from the Emmys.
Any other snubs you can think of? Leave them in our comments!
The Emmy Awards will air on August 25, 2014, on NBC. Until then, let us know – who do you think deserves to go home with an Emmy?
If you’re a fan of indie filmmaking, you’ve probably heard about the digital vs. celluloid debate.
Digital cameras have made filmmaking accessible to everyone; now anyone who wants to can be a filmmaker.
However, purists – and most notably great directors from the previous generation – still believe the only true way to make a great, atmospheric film is by using 35mm.
There’s something to this. The natural grain of 35mm film creates what many still consider to be the look of a true “film.” However, as digital cameras advance, their image quality is also constantly improving.
A recent article on phys.org highlights both sides of the debate, with insights from Quentin Tarantino, Christopher Nolan, J.J. Abrams, and the Digital Film Academy’s own Patrick DiRenna.
DiRenna observes that “The only thing that’s lacking (with digital) at this point is a slight level of picture quality, but that will change and in exchange we have a democratisation with artists who are now really able to do their work.” This democratization owes itself to the fact that studios and artists can complete films on digital for a mere fraction of the cost of working with celluloid.
In the same article, Alain Rolleau, whose family runs the famed Studio 28 theater in Paris, seconds this opinion. The first time they screened a film shot on digital, he says he felt like crying, the images were so “icy.” Since then, though, he’s seen steady improvement with the images coming out of digital filmmaking – and it’s now rare that he screens a 35mm film.
Rolleau also points out how 35mm film can face problems after being screened a few times, while digital film maintains the same perfect image over time.
However, Nolan, Abrams, and Tarantino come down on the side of 35mm. Tarantino is the most vocal on this point, saying that “digital filmmaking is the death of cinema as I know it.” During his recent appearance at the Cannes Film Festival, celebrating the 20-year anniversary of Pulp Fiction’s Palm D’Or win, he compared digital filmmaking to “television in public.”
“Great artists like Quentin Tarantino are generally uncomfortable when they come across something new,” says Patrick DiRenna. “Charlie Chaplin’s discomfort with talkies is a perfect example — but when he finally made the adjustment, he turned around and made the ‘The Great Dictator’ and his mastery showed through again.”
What do you think? Is digital filmmaking the best thing to happen since sliced bread? Or does it mean that cinema as we know it is lost?
For many, the allure of a life in the arts stems from the possibility of becoming a legend. The right role and the right story can permanently catapult an actor into the public consciousness.
For Ruby Dee, the iconic actress and civil rights activist, her legend stemmed not just from her break-through roles and wonderful performances, but also from the important part she played off-screen in shaping America’s civil rights movement and fighting for equality up until her death last Wednesday, June 11, 2014. Dee was 91 years old.
Born in 1922, Dee was just 18 when she landed her first role in a Harlem production of On Strivers Row. From those humble beginnings, she went on to multiple roles on Broadway, television, and in film, starring opposite such heavy-hitters as Sidney Poitier, Denzel Washington, and James Earl Jones.
She was the first black woman ever to play a lead role at the American Shakespeare Festival, or on such popular soap operas as Peyton Place and Guiding Light. Her acting achievements earned her an Obie Award, a Drama Desk Award, five Emmy nominations (with one win for Decoration Day), a Grammy, two Screen Actors Guild awards, the NAACP Image Award, Kennedy Center Honors, the National Medal of Arts, and the National Civil Rights Museum’s Lifetime Achievement Award. Then, at the age of 83, she garnered an Oscar nomination for best supporting actress in 2007’s American Gangster, playing the mother of Denzel Washington.
As important as Dee’s acting career was to her, it always went hand-in-hand with her activism. In fact, she saw no separation between the two, commenting once that if actors could be image makers, “Why can’t we image makers become peacemakers, too?” When she met Ossie Daivs in 1945 and they married in 1948, she found a lifelong partner in her devotion to both the arts and activism.
The two were married for 56 years, becoming one of Hollywood’s most enduring and romantic couples. Together, they made great strides for civil rights, forming close friendships with Martin Luther King, Jr., Harry Belafonte, and Malcolm X, just to name a few. Dee famously emcee’d the 1963 March on Washington. Together, she and Davis received the National Medal of Arts in 1995, were inducted into the NAACP Hall of Fame in 1989, and received SAG Lifetime Achievement Awards in 2000.
Davis passed away in 2005.
Proving what a special place Dee held in the heart of the entertainment community, she was thanked twice during the recent Tony Awards on June 8, 2014, first by six-time winner Audra MacDonald, and then by Kenny Leon, the winning director of A Raisin in the Sun. Both were influenced by Dee’s talent and passion.
What sort of mindset led to Dee’s lifelong success and contentment? As she said in a 1988 interview regarding her and Davis:
“We believe in honesty. We believe in simplicity. We believe in a good breakfast when we can get it. We believe in not going heavily into debt. We believe in education. We believe in love. We believe in the family. We believe in Black history, and we believe in involvement.”
Alexander Felix took a long road to Hollywood, but on the way, he kept his focus on his end goal: to write amazing screenplays.
He credits his writing success to his real-life experiences and his filmmaking background. A graduate of the Digital Film Academy, he recalls his time there as extremely important because it taught him to see things visually. Being able to “visualize what the end product needs to look like” is more important in the world of screenwriting than people realize. It’s certainly helped garner Felix much-deserved attention.
Felix also notes that the DFA is not a super-expensive school, but one that has “a solid curriculum and (where) everything is very hands-on.” His experiences with directing and cinematography while in the program were inspirational, and he remains open to one day directing his own work.
After his time in NYC and with the DFA, Felix felt ready to make the move to LA and pursue his writing – but fate had other plans. On a cross-country drive, his car broke down in Michigan, prompting an extended stay in Detroit. It wasn’t what he’d planned, but it wound up being a blessing in disguise: while there, he finished writing the Detroit-based Where Angels Die. Being in Detroit, he was inspired by his surroundings and able to location-scout as the script took shape.
Angels was his seventh feature script – and the one that brought him enough attention to propel his career to the next level. It garnered a rave review from Script Shadow, and before he knew it, Felix was talking with some heavy hitting agents and managers. He soon signed with two CAA agents, no small feat. A great two-part interview with Script Shadow gives more detail on this experience here.
Now, Felix is truly about to enter the big-time. He’s been officially brought on to adapt Vicious, a V.E. Schwab novel about two pre-med students who discover how people can develop superpowers, with intense consequences. Scott Free, Ridley Scott’s production company, and Story Mining & Supply Co. bought the rights to the book last December and, among others, Ridley Scott will be producing.
This may be the film to help turn Felix from a promising newcomer to a Hollywood VIP. Stay tuned!
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