New York University – NYU Tisch School of the Arts Asia Graduate Film Program 2011-2012 Academic Year
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Table of Contents
Letter from the Chair…………………………………………………3
Key Dates…………………………………………………………….4
Recommended Reading Material……………………….…………….5
Recommended Viewing Material…………………………………….5
Required Firewire Hard Drive and CSI Insurance………………..… 7
Albert, Net ID, NYU Home………………………………….…… . 10
Fall 2011 First Year Course Offering………...………………..…….12
Fall 2011 First Year Course Descriptions…………..………..………13
Faculty Biographies………………………..……….………..………17
Curricular Project Overview…………………..……………..……...28
Extracurricular Activities……………………………………………31
2 Dear Incoming NYU Tisch Asia Graduate film students,
Welcome and congratulations to the incoming class of 2011. You are about to embark on a wonderful adventure, Graduate Film School at Tisch Asia.
Tisch Graduate Film has trained some of the finest writers, directors, cinematographers, producers, and editors in the film industry. We will maintain this tradition in Singapore by insuring that the faculty, equipment, and facilities are of the same quality that have been established at the New York campus, and by implementing the curriculum, projects, and exercises that demand a level of rigor and exploration from you that is the hallmark of a Tisch education.
Included with this letter is the academic calendar, class schedule for the fall semester, some suggested reading and viewing material, faculty list, and other important departmental information. There will be an all school week-and-a half-long orientation beginning August 24th that will be a combination of getting to know your fellow students, faculty, and staff, familiarizing yourself with the Singapore city and countryside, and becoming acquainted with the curriculum. Second and Third year students will also attend a writing boot camp during this period.
In the fall, once all classes have registered, you will all be given a comprehensive AY 2011-’12 Production Handbook that contains a wealth of important information and will answer many of your questions about procedures, equipment, and filmmaking in Singapore and beyond.
I am looking forward to an exciting year of filmmaking with all first, second, third year, and thesis graduate film students.
If you have any questions, please feel free to contact me or my assistant in Singapore, Dhushaanthini ([email protected]) or Sabeen Edwin in New York at 212.998.9178 ([email protected]). Dhusha, Sabeen and I will be happy to assist you.
Sincerely,
Michael Burke, Chair Tisch Asia Graduate Film Department [email protected]
3 Key Dates AY 2011-12 Graduate Film Department Tisch Asia
STUDENTS
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GRADUATE FILM PROGRAM 2011-12 –RECOMMENDED READING
It is highly recommended that you read the following books before beginning the program.
Aristotle's Poetics, Introduction by Francis Fergusson Notes on Cinematography, by Robert Bresson Understanding Comics: The Invisible Art, by Scott McCloud Film Directing Shot by Shot: Visualizing from Concept to Screen, by Steven D. Katz Grammar of the Film Language, by Daniel Arijon An Actor Prepares, by Stanislavski Directing: Film Techniques and Aesthetics, by Michael Rabiger Man and His Symbols, by Carl Jung Name Above the Title, by Frank Capra Truffaut /Hitchcock The Art of Technique by Douglass and Harnden Directing the FIlm; Film Directors on Their Art - Sherman Film as Art - Arnheim Cinematography -- 'Theory and Practice'' by Blain Brown On Directing Film - Mamet The Technique of Film and Video Editing by Dancyger Making Movies by Sidney Lumet Producing and Directing the Short film and Video -- Rea and Irving Developing Story Ideas by Michael Rabiger What If? Writing Exercises for Fiction Writers by Anne Bernays, Pamela Painter) Turning Life Into Fiction by Robin Hemley Directing Actors by Judith Weston
Based on past student request, you may wish to purchase the following titles to bring with you to Singapore (for those who do not wish to purchase, these titles will be available in our library):
Developing Story Ideas by Michael Rabiger What If? Writing Exercises for Fiction Writers by Anne Bernays, Pamela Painter) Turning Life Into Fiction by Robin Hemley Directing Actors by Judith Weston
The Production Center Staff also highly recommend the following to be read in advance of the First Year Camera Tech:
The Filmmaker's Handbook, by Edward Pincus and Steven Ascher Chap. 1 - Intro to Film & Video (pg. 1-12) Chap. 2 – Camera Chap. 3 - Lens (Optional) Chap. 5 – Light meter
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This is a list of 50 films that you should see before you begin the Graduate Film Program in the fall. Many of these films will be discussed in class; others represent a genre or movement that you should be familiar with. All of these Films were made by talented directors with strong personal voices. If certain films are unavailable, please see another film by the same director.
TITLE DIRECTOR COUNTRY YEAR Last Laugh F. Murnau Germany 1924 Sherlock Jr. B. Keaton USA 1924 Battleship Potemkin S. Eisenstein USSR 1925 Gold Rush C. Chaplin USA 1925 Napoleon A. Gance France 1927 The Passion of Joan of Arc K .T. Dreyer France 1928 Blue Angel J .Sternberg USA 1930 L'Atalante J. Vigo France 1934 Day in the Country J. Renoir France 1936 Daybreak M .Carne France 1939 Shadow of a Doubt A. Hitchcock UK 1943 My Darling Clementine J .Ford USA 1946 Rashomon A. Kurosawa Japan 1950 Ikiru A. Kurosawa Japan 1952 Tokyo Story Y. Ozu Japan 1953 Panther Pachali S. Ray India 1955 The Killing S. Kubrick USA 1956 Nights of Cabriria F. Fellini Italy 1957 Ashes and Diamonds A. Wayda Poland 1958 The Exterminating Angel L. Bunuel Mexico 1962 Band of Outsiders J. L. Godard France 1964 The Battle of Algiers G. Pontecorvo Italy 1965 Repulsion R. Polanski Poland 1965 Persona I. Bergman Sweden 1966 Mouchette R. Bresson France 1967 Salesman A. & D. Maysles USA 1969 The Wild Bunch S. Peckinpah USA 1969 Z Costa-Gavras Greece 1969 Spirit of the Beehive V. Erice Spain 1973 Woman Under the Influence J. Cassavettes USA 1974
6 Harlan County U.S.A. B. Kopple USA 1976 Raging Bull M. Scorsese USA 1980 Stranger Than Paradise J. Jarmusch USA 1983 When Father Was Away on Business E. Kusturiza Yugoslavia 1985 The Killer J. Woo China 1989 Sweetie J. Campion Australia 1989 To Sleep with Anger C. Burnett USA 1990 The Double Life of Veronique K. Kieslowski Poland 1991 Raise the Red Lantern Y. Zhang China 1991 One False Move C. Franklin USA 1992 Taste of Cherry A. Kiarostatmi Iran 1997 4 Little Girls S. Lee USA 1997 King of Masks Tian-Ming Wu China 1998 All About My Mother P. Almodovar Spain 1999 In the Mood for Love W. Kar Wai HK 2000 Moolaade O. Sembene Senegal 2004 Rescue Dawn W. Herzog Germany 1998
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REQUIRED: FIREWIRE 400/800 HARD DRIVE.
All students must purchase a Firewire 400/800 Hard Drive which they will use in classes throughout their study in the Film & Television Department.
There are many brands and sizes to choose from. We recommend either G-Tech OR Wiebetech for best results. A minimum recommended size for the drive is 500GB. If/when the students want to purchase the drive/s before they come to Singapore, they should check whether the drive has international warranty or at least the warranty is valid in Singapore. Another thing is if they want to purchase more than 1TB before they come (i.e. 2TB), they should buy two 1TB drives instead one 2TB drive, just in case something happened (knock on wood) to one of the drive, at least the students still have a backup. Just a suggestion.
Make sure the drive/s: • are dual voltage (the voltage in Singapore is 220-240 AC), please also equipped yourself with a US to Singapore power plug adapter. • are at least 7200 RPM, preferably with an 8 MB buffer. • have Firewire 400 and/or Firewire 800 ports. • are formatted as MacOS extended, • have a manufacturer warranty of at least 1 year. Recommended drives (not in any particular order):
Western Digital: 1. My Passport Studio - 320GB - 640GB, http://www.wdc.com/en/products/Products.asp?DriveID=783 2. My Book Studio Edition II - 1TB - 4TB, http://www.wdc.com/en/products/Products.asp?DriveID=621 3. My Book Studio LX - 1TB - 2TB, http://www.wdc.com/en/products/Products.asp?DriveID=826 4. My Book Studio, 1TB - 2TB, http://www.wdc.com/en/products/Products.asp?DriveID=826
G-Tech: 1. G-Drive Mobile, http://www.g-technology.com/products/g-drive-mobile.cfm 2. G-Drive Mini, http://www.g-technology.com/products/g-drive-mini.cfm 3. G-Drive, http://www.g-technology.com/products/g-drive.cfm 4. G-Raid, http://www.g-technology.com/products/g-raid.cfm 5. G-Raid Mini, http://www.g-technology.com/products/g-raid-mini.cfm
Lacie: 1. Lacie SAFE Hard Drives, http://www.lacie.com/asia/products/range.htm?id=10062 2. Lacie 2big Quadra, http://www.lacie.com/asia/products/product.htm?pid=11142
8 3. Lacie Rugged Hard Disk, http://www.lacie.com/asia/products/product.htm?pid=11356 4. Lacie Little Big Disk Quadra, http://www.lacie.com/asia/products/product.htm?pid=11271 5. Lacie Little Disk, http://www.lacie.com/asia/products/product.htm?pid=11372 WiebeTech: 1. ToughTech mini XE, http://www.wiebetech.com/products/toughtech_mini.php 2. ToughTech Q, http://www.wiebetech.com/products/toughtech.php
Most of these brands can be purchase online in US. But if you're planning to purchase the drive in Singapore, only Western Digital and Lacie drives are available and some DIY brands.
You can purchase the drive in Singapore at: 1. Funan DigitalLife Mall - 109 North Bridge Road, Singapore 179097 - http://www.funan.com.sg/find.htm 2. Sim Lim Square - 1 Rochor Canal Road, Singapore 188504 - http://www.simlimsquare.com.sg/getting
9 REQUIRED: CSI Insurance Information About CSI Insurance
All students will be required to buy this supplemental insurance.
To help answer your questions about the CSI/Firemen’s Fund policy, the following is a list of frequently asked questions. We also encourage you to visit the FAQ posted on the CSI web site for more information: www.collegestudentinsurance.com
If this does not answer all of your questions you are always welcomed to stop by the Production Office on the 3rd Floor.
How does the College Student Insurance Program work for NYU film students?
CSI/Fireman’s Fund Insurance is a low-cost personal property insurance program that was designed specifically to meet the needs of college students. The plan that was created for film and photography students includes basic coverage for personal items (computers, iPods, electronics, cell phones) as well as additional coverage for third party camera equipment that you borrow or rent.
There are many options to choose from for your basic plan, ranging anywhere from $2000 to $25,000 in coverage. It is up to you to decide your coverage limit and your deductible, and the prices vary. Once you have made your selection, you will be prompted to add the third party equipment coverage, for an additional cost of $60.00. This program provides a limit of $25,000 in coverage with a $25.00 deductible.
Here is one example of the cost breakdown for this insurance plan:
Basic Plan ($2000 covg./$100 ded.) $50.00 + 3rd Party Camera Equipment ($25,000 covg./$25 ded.) $60.00 + processing fee $5.00 = $115.00
To clarify: you must purchase one of the basic personal property plans before being given the option to choose the camera equipment coverage. Also, there is a $5.00 processing fee when you complete your purchase.
10 Albert, NetID, and NYUHome
Please follow the instructions below and activate your NetIDs. Specific registration instructions will be provided during the Registration Info Session for 1st Years.
What is “Albert?” Albert is NYU’s online student database and registration system. Students can use Albert to check their financial aid, review their grades, register for courses, and many other things.
What is “NYUHome” and how is it related to “Albert?” NYUHome is a web-based service that provides information and facilitates collaboration, interaction and communication for all NYU students. Using Netscape Communicator or Internet Explorer, you will be able to access Albert and log into your NYU email account through NYUHome.
What is a “NetID” and how is it related to “NYUHome?” Once activated (see below), you will use your NetID in combination with a password that you’ll set to access many services at NYU, including NYUHome and your NYU email account. All NYU students enrolled in degree or diploma programs are provided with an NYU NetID (Network IDentification). Your NetID usually appears at the bottom of your NYU ID Card. Your NYU email address will be your NetID followed by “@nyu.edu."
IMPORTANT: Be prepared to spend a few hours learning how to activate your NetID, log onto NYUHome, and locate and navigate Albert successfully. Follow the instructions below:
1) Learn and activate your NYU NetID, and create a password You can activate your NetID at any time, from any internet-connected computer by going to NYU’s Information Technology Services (ITS) Start page (http://start.nyu.edu/) and following the online startup instructions. Since you do not know your NetID, follow the instructions at the top of the page for those who do not know their NetID by clicking the “START” button at the top of the page. Then, complete the steps for setting up a password and beginning your NYUHome service. Make sure to write down your NetID and password if you cannot memorize it. You must carefully read the instructions for setting passwords. Sometimes you must include a NON-alpha/numeric symbol (like: !, &, *, %, etc.). Once finished, you will know your NetID and have created a password to access NYUHome. If you encounter any problems, call the ITS Client Services Center, 1-212-998-3333, or visit http://www.nyu.edu/its/askits/contactus/
2) Access NYUHome Now that your NetID is activated, you can access NYUHome, which will allow you to sign on to Albert. To do this, go to http://home.nyu.edu and sign in using your NetID and password. For more information on NYUHome, go to http://www.nyu.edu/its/pubs/pdfs/gettingstarted_su04.pdf
3) Access Albert Once you have gotten familiar with your NYUHome settings, locate and select the “Academics” tab. Scroll up and/or down until you see “Albert for Students.” Select “Student Login.”
11 Spend time exploring Albert to see the contents of the five functions available to you: Personal Profile (Addr/Stops), Academic Records (Records), Registration, Financial Aid, and Bursar. These functions will be available to you at the top of every Albert screen.
SECURITY REMINDERS! *Always log out from Albert and NYUHome, and exit your browser before leaving the computer. *Never disclose your NetID and password to anyone.
NOTE: If you spend more than ten minutes experimenting with NYUHome without logging into Albert, you will have to logout of NYUHome, log back in, and go directly to Albert. This is done for security reasons; it will ensure that the person who logged into NYUHome is the same person who is signing onto Albert.
12 First Year
DIRECTING I: THE SILENT FILM H68.2034 During the fall semester, each student directs a four-minute black and white silent film. A script for this project is initiated in the writing class and developed with the participation of the directing instructors. The film will be shot only on exterior locations and will use sound effects but no music. The basics of film language are studied in class and practiced in film exercises. Students work on their projects in crews of four or six, with each student doing the camera work on another crew member's project. Each student will therefore be exposed and contribute to a number of productions other than their own.
Viewing of clips by master directors, basic reading, and classroom discussions will together provide a framework for the heart of the course, which is 16mm production
The purpose of the course (the viewings, readings, and especially the productions) is to challenge the student to find his/her own cinematic voice within the basic, commonly understood language of narrative film.
The approach in something of a Fine Arts laboratory: While we will aim for a basic mastery of the classic conventions and tools of the film director, the course will also encourage that students explore, with genuine artistic seriousness, the personal and formal variations that will lead to the discovery of one’s own style.
Students will take the initiative to embrace and work with the various (and collaborative) resources that are available to the auteur: sound and image, motion, light, character, story - these are not the end, but the tools that the serious filmmaker masters in order to make their work live.
FUNDAMENTALS OF SCREENWRITING I: H68.2085 Writing the Four-Minute MOS
A weekly two-hour workshop focusing on the language of screenwriting, creating a dramatic story as a sequence of pictures. All exercises and assignments designed for the purpose of completing an excellent MOS script.
INTRODUCTION TO PRODUCTION MANAGEMENT H68.2007 An introductory producing course that concentrates on the professional method of Production Management. The course provides the student with the information and basic techniques of managing the making of a film, that are common in principle whether one is shooting a feature length film or a short. Film production has many elements that must be organized and coordinated before the shooting of a film begins. It is not simply securing a camera, film and actors, but much more. The course will explore those management elements that a filmmaker needs to fulfill in order to prepare a shoot.
We will examine the structure of the crew and the collaborative responsibilities of crew members, the legal issues of location permissions and permits, insurance, rights, clearances and trademark permissions, the management of the production including scheduling, budgeting, transportation, and the production’s responsibilities to cast and crew. We will pay particular attention to professional practice concerning the structure of the workday, hours and turn around time and safety issues that are the mutual responsibility of the producer, director, DP and shop steward.
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The course will explore techniques for casting, location scouting, tech scouts, and read-throughs. Each student will be required to prepare a production book for his or her shoot by the fifth week of class that will include final marked script, AD script breakdown pages, shooting schedule, budget, cast list, crew list and location lists.
ACTORS CRAFT I H68.2043 This course is designed to provide the tools and techniques for directors who wish to gain a deeper understanding of the actor’s craft in order to guide an actor to their best performance. The class explores the actor’s world through a curriculum that isolates techniques for directors to use in casting, rehearsing, and on-set production. Students in this six- week basic acting course will work as both actors and directors. Improvisation, exercises and scene work are used to learn the actor’s “language”, to de-mystify the skills and potential of the actor and to challenge and stretch the director’s skills. We will workshop scenes from the director’s MOS projects as well as other film scripts. There will be a casting session during which directors will audition and “cast” from a pool of professional actors both in person and on tape. Creative collaboration between directors and actors is the ultimate goal.
“Of course the film director should know acting, it’s history and techniques. The more he knows about acting, the more at ease he will be with actors. At one period of his growth, he should force himself onstage or before the camera so he knows this experientially too.” – Elia Kazan
AESTHETICS I H68.2010 First year, first semester students are introduced to basic film techniques (i.e. a close up as dramatic action) in the context of patterns and variations (i.e. a character rendered repeatedly in close-up becomes a treatment pattern). Emphasis is given to techniques for rendering story elements visually. Clips will be screened from directors world-wide, past and present to demonstrate the use of location, activity, movement, gesture, camera placement and lighting, blocking and staging as tools which enhance story telling and contribute to aesthetic integrity. Grades are based on one-page in- class writing assignments, a final paper describing the treatment strategy for the MOS project and attendance.
EDITING I H68.2001 The fall session will introduce the basic principles of editing picture and sound in preparation for the four minute MOS project. We will apply those principles in small workshop sessions while editing.
Final Cut Pro will be taught in separate sessions. Familiarity with Basic Macintosh operation suggested.
MOTION PICTURE CAMERA TECHNIQUES H68.2012 Primarily, this is a basic course in cinematography and electronic cinematography. The first half of the course is devoted to the study of black and white cinematography. The students will be taught the basics of camera operation, light measurement, exposure, and visual composition. In addition, the observation and study of natural light and its effect on cinematography will be taught. A variety of film emulsions and filters will be used to capture and control the images. The students will be taught to add, modify, and remove light to further enhance their imagery. We will use set protocol to maximize our efficient use of time in a naturally lit location. Also, the students will learn the essential job descriptions and division of labor that an efficient film crew requires. During the latter part of the semester, the students will study and use the MiniDV camera in preparation for class
14 assignments. Finally and most importantly, we will study the fundamental mechanical procedures and basic terminology required to be a successful cinematographer and artistic collaborator. The second half of the course is intended to introduce the students to basic color moving image-capturing techniques for film and digital media with a concentration in lighting. We will use color negative, color reversal, and MiniDV tape as capture mediums. We will discuss basic electricity and its safe use in support of good lighting. Ultimately, the students will be prepared for studio and location shooting environments
LOCATION SOUND I H68.2038 In this class students learn the techniques and methods of sound recording on set. The course includes lectures as well as hands-on assignments improving the aural sense and the ability to capture ambiences, sound effects, and dialogue, both wild and sync. By the end of the semester, students should have a working knowledge of the industry standard PD-4 DAT Player with Smart Slate, AKG and Senheiser Microphones as well as general principles of sound recording that should allow fast understanding of other machines. Sound theory including concepts of sound perspective and reverb will be touched upon to ease the transition from the set to editing process.
15 GRADUATE FILM PROGRAM 2010-11 – FULL TIME FACULTY
Wendy Bednarz – Directing/Writing Wendy Bednarz is a writer, director and Visiting Assistant Arts Professor and Teacher in film production at New York University. She graduated with a BA in Economics from Stephens College and a MFA in Film from New York University.
Wendy’s writing and directing credits include several award winning short films including, ‘Leaving Gussie,’ ‘Aurora’ and her newest film ‘On Crystal.’ These films have garnered such awards as Filmmakers Collective Grand Prize (for her feature script ‘Aurora,) Spirit of Moondance, Cine/Golden Eagle, Palm Springs Short 1st Prize, Independent Filmmaker’s Award and Winfemme winner (sponsored by Sundance). Both ‘Leaving Gussie’ and ‘Aurora’ have been distributed internationally. Wendy has also directed several theatrical productions at the Nat Horne Theater on Theater Row in New York City. Other credits include work as a cinematographer on such programs as Bravo, Entertainment Tonight, Showtime, TV Guide and PBS.
Wendy’s approach to filmmaking is described as ‘inspired and passionate.’ Her narrative work is often ‘neo realist’ in style and casts stark light on controversial subjects. In addition to filmmaking, Wendy’s visual sensibilities are expressed through Fine Art Photography. She recently exhibited her work at the Morris King gallery, NYC ‘ The Unobserved, Observed’ which included photographs from her travels around the world.
Wendy’s teaching experience outside of New York University includes Lee Strasberg Institute and Parkside College in Cambridge, England. Current projects include ‘Glacial Wish,’ a feature film that is in development with Vivamus Pictures. Wendy is attached to direct. Wendy lives with her three-year-old daughter, Esmé Stella, who is currently mastering the fine art of finger-painting.
Suzie Brand - Editing Suzie Brand is an editor with over 15 years experience working in New York and London. She began as an award winning sound editor moving on to picture editing in broadcast television and the independent sector. Her work includes over 50 hours of documentary, mostly for the BBC and Channel 4, plus dance film and a documentary feature. Suzie has also worked as a director for the BBC on subjects including the developing world, sexuality and architecture.
She has taught editing at Ravensbourne College of Art and Design, Roehampton University and The National Film and Television School, where she was a student on the Documentary Directing course. She has a B.A. in English Literature from York University and a post-graduate diploma in film and television from Bristol University.
Suzie served as a Visiting Arts Professor at Tisch Asia in the spring of 2011 and taught the first year Editing courses. Her evaluations from students were exceptional.
Bobby Bukowski - Cinematography Born in New York City, Bobby attended SUNY at Stony Brook, securing a Master’s Degree in Biochemistry. En route to medical school, he set his gaze upon more artistic endeavors. He left the United States for extensive travel in Europe and Asia. This adventure led to job as an
16 assistant to a photographer in Paris. Soon after, he was enlisted to archive a Tibetan Buddhist pilgrimage, led by the Dalai Lama, to the sacred Buddhist sites along the Ganges River. This marked the first time he had a moving camera in his hand.
Inspired by this event he returned home to New York and applied to the Graduate Film program at NYU’s Tisch School of the Arts, where he received his Master of Fine Arts. He financed his schooling by working as a bike messenger. Armed with a still camera, he honed his sense of composition and lighting: “Everything I saw in the streets, became a potential study in cinematography: The way the light bounced off the windows of a glass skyscraper, the cities ambient light roiling under dense low fog, the diverse pageant of faces along the avenues.”
Bukowski continues to champion independent films and the endeavors of first-time directors. “I find it stimulating to collaborate with minds that are innocent of habit. Their approach is unencumbered by experience and as a result, they discover unique ways to handle common situations. They hold their art in high regard and allow me to see my craft with new eyes.” His credits include the forthcoming ‘The Messenger’ and ‘Phoebe in Wonderland’, ‘Lying’, ‘The Dying Gaul’, ‘Saved!’, ‘Crime and Punishment in Suburbia’, ‘Arlington Road’, ‘The Minus Man’, ‘Household Saints’, ‘Ethan Frome’, ‘Shakes the Clown’, ‘Dogfight’, Showtime’s ‘Weeds’, and ‘If These Walls Could Talk.’
Michael Burke – Directing/Writing, Chair Michael Burke's first feature, The Mudge Boy (Showtime Independent Films/Strand Releasing), premiered in the Dramatic Competition at the 2003 Sundance Film Festival, won the Outfest 2003 Grand Jury Award, and was released theatrically to critical acclaim in May 2004. Michael was selected for both the Sundance Institute Writer's and Filmmaker's Lab 2000. Awards include the 2001 RICHARD VAGUE PRODUCTION GRANT, the American winner of the 2000 SUNDANCE/NHK INTERNATIONAL FILMMAKERS AWARD, SPECIAL JURY AWARD at the 1999 Sundance Film Festival and the 1999 NYU FIRST PRIZE WASSERMAN AWARD.
Michael recently wrote Cripple a.k.a Right Angle for Gilbert Films. The film is currently in post- production. He is a member of the Writers Guild of America East.
Sarah Cawley - Cinematography Sarah Cawley is a Los Angeles based Director of Photography with 20 years of experience photographing feature films, television, commercials and music videos. A native of New York State, she still works on both coasts of the United States, as well as shooting international jobs that have taken her to Germany, France, Belgium, Turkey, Venezuela, Cuba, Mexico, Mongolia, Russia, and other distant locations.
Sarah Cawley’s feature DP credits include Money Kings (starring Peter Falk, Freddy Prinze Jr. and Lauren Holly), Oxygen (starring Adrian Brody and Maura Tierney), Mexico City (starring Robert Patrick and Stacy Edwards). Her cinematography on the feature film Fay Grim (starring Parker Posey and Jeff Goldblum) earned her a spot on Variety’s “10 Cinematographers to Watch” list.
Network television credits include the pilot Zip for NBC starring Steven Weber, the ABC series In the Motherhood starring Megan Mullally and Cheryl Hines, and additional photography for the ABC/Disney series Ugly Betty. She has worked as Director of Photography on concert,
17 documentaries and music videos for P.J. Harvey, REM, Bruce Springsteen, Bon Jovi, Soul Coughing, and Jackson Browne. Commercial work includes spots for Asics, Nikon, Ross, and Olympic coverage for NBC. Cawley has expertise in all film and video motion picture formats, and was the very first cinematographer to ever use the new Sony F35 High Definition camera when it premiered late in 2008.
She received her BFA in Film from the State University of New York at Purchase.
Jon Hammond - Editing Jon was born and bred in London. He began his film career 20 years ago as an Assistant, then Dubbing Editor at the BBC’s Ealing and Lime Grove studios.
He subsequently attended The National Film and Television School’s Editing course, graduating in 1994. Then worked as Associate Editor on the feature films: The Revenger’s Comedies (Dir. Malcolm Mowbray), Gabriel & Me (Dir. Udayan Prasad), and Get Real (Dir. Simon Shore), winner of the audience prize at the Edinburgh Film Festival.
He has also edited shorts, corporates and a variety of Documentaries and Dramas, for British TV. Including episodes for long running series; The Bill, Casualty and a children’s comedy, Barking. Jon has previously worked in Singapore in 2002, editing a documentary about the Chinese actress/director Joan Chen, for Discovery Channel Asia. Most recently he worked on the feature film, Far North, (Dir. Asif Kapadia).
Jon has taught editing at a variety of film schools around the world, including, the NFTS, LFS and LFA in the UK, the IFS in Köln, Germany and the EICTV in San Antonio, Cuba.
Caran Hartsfield – Writing/Aesthetics Caran Hartsfield began her career in the arts in theater. After studying theater for over 6 years, she redirected her interest toward film and later went on to receive her MFA from the Tisch School of the Arts at New York University.
Caran’s first feature screenplay, Bury Me Standing, was developed at the Cannes Film Festival’s Cinefoundation Residency in Paris. It later went on to win the 1st Place Richard Vague NYU Alumni Screenwriting Award, the IFP Gordon Parks Screenplay Award, The Media Arts Grant (formally known as the Rockefeller Grant), the US Sundance/NHK award and the Sundance Annenberg Award. Bury Me Standing was work-shopped at the Sundance Screenwriter's Lab and later went on to the Sundance Filmmaker’s Lab. The project recently participated in the 2009 Cannes Film Festival’s L’Atelier and has a slated cast with Mos Def, Kerry Washington, and Alfre Woodard.
Caran has won numerous honors and awards for her short films, Double-Handed, kiss it up to god, and KING including: 2nd Place at Cannes Film Festival - Cinefoundation, the Director’s Guild of America Award, the Martin Scorsese Fellowship, the Spike Lee Fellowship, the Warner Bros Grant, and the New York Foundation for the Arts Film Fellowship (among others). Caran is currently in development with her next feature Ziga Ziga and is in post-production on her segment of the anthology feature film State of the Union: The Obama Film Project.
18 Julian Goldberger – Directing Actors Julian Goldberger studied acting and directing at Florida State University's School of Theatre and at the Lee Strasberg Theatre Institute, afterwards completing New York University's Intensive Film Program and The American Film Institute's Directing Program.
Goldberger’s critically acclaimed and award winning feature film directing debut, “Trans”, screened at the 1998 Toronto International Film Festival, 1999 Sundance Film Festival, 1999 Berlin International Film Festival (READERS’ JURY PRIZE for BEST FILM), 1999 New Directors/New Films series at New York City’s Museum of Modern Art, as well as numerous other international festivals. In addition, Goldberger was honored as a 2000 INDEPENDENT SPIRIT AWARD nominee for the MOVADO “SOMEONE TO WATCH AWARD” recognizing talented up-and-coming directors with a singular vision.
In 2002 Goldberger was awarded a grant from the CHICAGO UNDERGROUND FILM FUND to facilitate the completion of his multi-part ethnology film, “The Eulipion Chronicles.” The film premiered at the Chicago Underground Film Festival.
Goldberger finished his second feature, an adaptation of the Harry Crews novel; “The Hawk is Dying” starring Academy Award nominees Paul Giamatti and Michelle Williams. It premiered “In Competition” at the 2006 Sundance Film Festival. It also screened at the prestigious Cannes Film Festival (Directors’ Fortnight '06) as well as various international film festivals, winning both the GRAND JURY PRIZE and AUDIENCE AWARD at the Brasilia International Film Festival.
In 2007 and 2008 Goldberger was invited to join the Film Directing Program at the California Institute of the Arts. There he lectured and served as mentor to the MFA directing students.
In addition, Goldberger has served as Executive Producer on several feature films, both narrative and documentary, including Nina Menkes’ “Phantom Love.”
Goldberger was recently commissioned by the World Festival of Sacred Music & UCLA to direct and produce a cinematic portrait of the Japanese artist Hirokazu Kosaka.
Goldberger is also photography and video curator for THE LABLETTER, a Chicago-based Journal of the Arts.
Gabrielle Kelly – Writing/Producing Born in Ireland, educated in England with a BA in American Studies from the University of Sussex and an extensive filmmaking career in the USA, Gabrielle Kelly is a screenwriter and producer of diverse content for the global marketplace who also teaches in international labs and film programs. She is the recipient of two Fulbright Awards: one in screenwriting at TNUA, Taiwan and the second as writer/mentor in the screenwriting /producing Lab for the ASEAN Independent Cinema Project in the Philippines.
Following a career in book publishing in New York, she worked with NY based director Sidney Lumet and screenwriter/producer Jay Presson Allen on films such as Daniel, Prince of the City, Deathtrap, The Verdict and others. Additional projects developed included work with Andy Warhol's Factory on an audio-animatronic show From A to Z and Back Again, musical La Cages
19 aux Folles with Mike Nichols and scripts for Malcolm McClaren and CBS Theatrical Films. In Hollywood she ran producer Robert Evans’ company at Paramount working in development and production on a slate of diverse projects and worked as executive and producer with such companies as HBO, Fields Hellman, Eddie Murphy Productions and Warner Bros.
Her producing credits include indie feature "All the Queen's Men" (starring Eddie Izzard and Matt LeBlanc) for Strand Releasing, "Stag" (for Cineplex Odeon/HBO), the family feature film, "D.A.R.Y.L". for Paramount/Columbia and most recently All Ages Night, a feature told through multiple media formats set in the all ages music club scene of So Cal to be released later this year.
Her screenplays include produced feature All Ages Night that she also co-produced together with many commissioned and spec scripts. Projects in development from an array of source materials include Marvel comic Mort the Dead Teenager at Dreamworks and co-productions with Russia, Brazil, China and Europe.
Teaching experience includes screenwriting and producing at UCLA, USC, Chapman, VGIK, Russia, and London’s PAL Labs, the first ever Middle East Sundance Screenwriting Lab and many others. She sits on the Board of the British Academy of Film and Television, Women In Film and the Irish Film Festival/LA and is a judge and programmer at numerous film festivals worldwide. She is currently working on transmedia projects for the global marketplace as a screenwriter and producer.
Katherine Lindberg – Directing/Writing Katherine Lindberg was raised in Los Alamos, New Mexico. She received her MFA from the Tisch School of the Arts, Maurice Kanbar School of Film & Television at New York University where she was honored with both the Award for Excellence in Writing and the Award for Excellence in Directing.
Upon completion of her first graduate year at Tisch, Katherine was awarded the inaugural Martin Scorsese Young Filmmaker Fellowship. In addition to a substantial cash award, Katherine was invited to meet Mr. Scorsese, thus beginning a mentor/student relationship that continues to this day.
Katherine sold her first feature length script to Disney/Touchstone while finishing her fourth student short, LA DESCONOCIDA, financed in part with money earned working as a roofer for The Boeing Company in Seattle, Washington.
Lindberg’s academic awards also include: Maurice Kanbar Screenwriting Award; Time-Warner Fellowship; NYU First Run Festival Honors in Writing, Directing, Cinematography and Sound Design; Martin Scorsese Post Production Award; Founders Day Scholar.
Katherine’s first feature film, RAIN, was Produced by Martin Scorsese and premiered at the Venice International Film Festival. RAIN had its U.S. premiere at Sundance and also screened at the Tribeca Film Festival, Seattle International Festival, Motovun (Croatia) International Festival, Moscow International Film Festival and the Stockholm International Film Festival where it received the award for Best Cinematography.
20 Currently, Katherine is in development with Sarah Jessica Parker/HBO on the T.V. series AUCTION HOUSE and Marc Rosen (Rosen Obst) on TETHER. Her horror/slasher script HIGH POND is out for financing, and she is working with Scorsese to secure cast/financing for WEIGHTLESS (a teen comedy) and INVITED (a ghost story). Scorsese is attached as Executive Producer on both projects.
Thomas J. Mangan IV - Producing Tom Mangan is a graduate of the University of New Mexico and received a Masters Degree in Fine Arts from New York University’s Graduate Film Program. He produced his first film Suffering Bastards in his final year at NYU. He has since Produced or Executive Produced a number of films including: Somewhere Tonight (2010) starring John Turturro a remake of Theo van Gogh’s film 1-900. Framed (TNT Network 2003) starring Rob Lowe and Sam Neill, Tumbleweeds (Winner of 1999 Sundance Film Festival Filmmaker’s Trophy), starring Janet Mcteer (nominated Academy Award/Best Actress and winner Golden Globe Best Actress), Sunburn, starring Cillian Murphy, The Jack Bull (HBO) starring John Cusack, Colin Fitz premiered at the Sundance Film Festival 1998, Captive starring Stanley Tucci and Watch It (MGM) starring Peter Gallagher and Tom Sizemore. Tom recently entered development for a TV series with HBO on The Member-Guest with Clint McCown .
Tom has taught film production at NYU for the last five years in the undergraduate and graduate department in New York. Prior to that Tom taught film production for two years at Brooklyn College.
Tom also founded Post Productions, Inc. a company performing accounting and supervision services for movies which, having completed shooting, require assistance in the editorial phase of filmmaking. Post Productions, Inc. has performed accounting and/or supervising on more than fifty studio and independent films including Martin Scorsese’s Casino, Lasse Hallstrom’s Chocolat and Shipping News, David Mamet’s Oleanna and American Buffalo as well as Original King’s of Comedy, Wit, Naked In New York, Beautiful Girls, Basquiat, Fargo, The Big Lebowski, Smoke and Blue in the Face.
Tom has also co-written several screenplays; Spring Break Chain Gang currently under option to Mark Lipsky (Nutty Professor and Coming to America), and The King of Fun.
Ramon Menendez – Directing Menéndez made his feature film debut as director and co-writer of "STAND AND DELIVER". The motion picture won six IFP Spirit Awards including Best Picture, Best Director and Best Screenplay. The Warner Brothers production starred Edward James Olmos, who earned a Best Actor Oscar nomination, and featured Lou Diamond Phillips and Andy García. The popular film also received the Imagen Award, the Christopher Award and the Nosotros Golden Eagle Award. Menéndez also directed and co-scripted Hollywood Pictures' "MONEY FOR NOTHING", which starred John Cusack, Benicio del Toro, James Gandolfini, Philip Seymour Hoffman and Michael Madsen.
For television, Menéndez directed and co-scripted the telefilm "GOTTA KICK IT UP" for the Disney Channel, starring America Ferrara. Menéndez also directed "THE BRIDE", an episode for HBO’s Tales from the Crypt, starring Terry O'Quinn, Kimberly Williams and Esai Morales.
21 Menéndez worked again for HBO, directed "GIVEN THE HEIR", an episode of Perversions of Science, starring Yancy Butler.
As a feature screenwriter, Menéndez co-scripted "TORTILLA SOUP", starring Hector Elizondo, Raquel Welch and Elizabeth Peña. The Samuel Goldwyn Films production was a 2002 Imagen Award Best Feature Film winner and an Alma Award nominee for Outstanding Screenplay.
Working in commercials, Menéndez directed national and regional spots for blue chip clients including Coca-Cola and AT&T.
After film school, Menéndez covered the civil wars in El Salvador and Nicaragua for PBS Frontline and CBS News. This led to collaborating with Oliver Stone as First Assistant Director on the feature "SALVADOR".
A native of Cuba, Menéndez has a B.A. in Theater Arts from San Francisco State University. He holds a MFA from UCLA Film School. His first screenplay, EXILES, became a Samuel Goldwyn Award finalist and he was hired to assistant-teach a 16mm production course. Menéndez continued his film studies in the Directors Program at the American Film Institute.
Pat Murphy – Directing/Writing Pat Murphy’s first feature, “Maeve” won the Best Irish Film Award at the Cork Film Festival in 1981 and was shown in Venice that same year. Her second feature “Anne Devlin”, starring Brid Brennan, was made in 1983 and represented Ireland at a number of festivals. “Nora”, a major international co-production, starring Ewan McGregor and Susan Lynch, was completed in 2000. All three films have screened at festivals, been released internationally and have been broadcast on television.
In addition to writing, directing and co-producing her films, Pat has been active in other areas. Her film and performance installation “The Muybridge Solo” was presented at Vehicule Art Inc. Montreal. In 1992, she was commissioned to make a film installation for the Strokestown Famine Museum. In 1994 and 1997 she collaborated with the Irish Museum of Modern Art and the Irish Film Centre in curating film and seminar programmes for the major exhibitions “From Beyond the Pale” and “The Event Horizon.” In 2003, she completed a documentary about disability issues “This is us we’re talking about….”. Pat has a BA in Fine Art from Hornsey College of Art and a MA in Film and Television from the Royal College of Art. Her short graduate film “Rituals of Memory” was shown as part of the groundbreaking Hayward Gallery Exhibition “Film As Film.” Between 1977-78 she had a scholarship to the Whitney Museum of American Art Independent Study Program.
Pat was a founder Board Member of both FILM BASE and the Screen Directors Guild of Ireland. In 2003, she was elected to Aosdana, an association of artists whose work is recognized as having made an outstanding contribution to the arts in Ireland.
Pennie DuPont – Directing Actors Pennie du Pont has cast such films as ROXANNE, THE KARATE KID, PEGGY SUE GOT MARRIED, and ARIZONA DREAM for directors Fred Schepisi, John Avildsen, Francis Ford Coppola and Emir Kusturica. She also did the west coast casting on STAR 80 for director, Bob
22 Fosse and ANNIE for John Huston. After attending The Yale Drama School Pennie worked in theater in New York, both on and off Broadway, and studied with Uta Hagen. She was a founder of the City Center Young Peoples Theater and produced THE SHRINKING BRIDE off Broadway, introducing Danny de Vito. Pennie began casting films when Ray Stark hired her to do a search for "Annie". She did five other films for Stark; then went to work for Daniel Melnick's IndiProd casting such films as ROXANNE and QUICKSILVER. She worked for Columbia and Tri Star until returning to New York. Though based in New York, she works on both coasts, most recently casting several international pictures including BYE BYE AMERICA, which filmed in New York, Poland and Berlin. Also THE ICELANDIC SAGAS for Michael Chapman in Iceland, MICHAEL KAEL IN KATANGO for Canal+ in Paris and A SOLDIER'S SWEETHEART for Paramount, New Zealand. Pennie is the producer of UTA HAGEN’S ACTING CLASS a DVD of the legendary actor’s classes.
Imelda O’Reilly – Aesthetics
Imelda O'Reilly is a filmmaker, poet and playwright. Although a native of Ireland she has worked and been based in London, Paris, New York, Seville and Fez, Morocco. She has been the recipient of numerous grants including the following: a Fulbright Fellowship to Morocco, New York Foundation for the Arts, New York Women In Film & TV and the Irish Arts Council.
Independent screenings include: Student Academy Awards, Anthology Film Archives, IFC, Festival International de Films de Femmes de Creteil among others. Awards for her films include Eastern Region Finalist for Student Academy Awards, Remi Award Winner at the Houston International Film Festival and Best Cinematography at the Lady Springtime Film Festival.
Screenwriting awards include Moonstone International Screenwriter’s Lab for Beneath the Boy’s Cry. This screenplay was also a finalist for the Sundance Screenwriters and Director’s lab. Her published books include; I Wake in Half Dream (Lapwing Press,) and Shenanigans (Sceptre UK). She has also written and directed numerous plays, including the most recent, Song For New York which was commissioned by Mabou Mines. This play was selected for the Sundance Theater Lab. Imelda is currently in development for two feature projects entitled Beneath the Boy’s Cry set in Ireland in the 1970’s with producer Barbara Defina and Midnight Crisis set in Morocco.
O’Reilly has served as a jurist for the Dusty Springtime Film Festival and as a panelist for the Columbia University Undergraduate Film Festival. She has worked as a producer and story consultant on independent films.
She has an M.F.A in film from Columbia University. Prior to New York University, she taught at Barnard College, the School for Visual Arts and Hunter College.
Carlos Siguion-Reyna – Directing/Writing Carlos received the M.F.A. in film from New York University Tisch School of the Arts. He trained in Judith Weston’s workshops on Directing Actors and on Script Analysis and Rehearsal Techniques.
23 His NYU thesis film Patas Lang (Fair Exchange) placed fourth in the narrative category of the 1989 Nissan FOCUS Awards. Twelve films and nine international awards followed, including:
* Azucena (Dog Food)—Grand Jury Award, 2001 San Diego Asian Film Festival * Kahapon May Dalawang Bata (Yesterday Children)—Second Runner-up, People's Choice Awards, 1999 Toronto International Film Festival; Best Foreign Film, 2000 Newport Beach International Film Festival * Ang Lalaki sa Buhay ni Selya (The Man in Her Life)—Special Jury Prize, Teddy Bear Awards, 1998 Berlin International Film Festival; Best Asian Film, 1998 Newport Beach International Film Festival * Aangkinin Ko ang Bukas (Tomorrow Will Be Mine)—Best Movie for Television, 1996 Singapore International Film Festival * Tatlo…Magkasalo (Three) * Inagaw Mo ang Lahat sa Akin (Harvest Home) * Hihintayin Kita sa Langit (I Will Wait for You in Heaven)
Each year from 1994 to 2000, he had at least one film exhibiting at the Toronto International Film Festival. His works have also screened in Lincoln Center's Walter Reade Theater, the Directors Guild of America Theater, and the international film festivals of Berlin, Tokyo, Chicago, Seattle, Sydney, Hawaii, Palm Springs, Paris, Valladolid, Shanghai, London Human Rights Watch, and Dublin.
In the Philippines, he has received ten Best Director awards from principal film industry, press, and critics' organizations, and was selected one of The Outstanding Young Filipinos (TOYF) in the field of Arts/Cinema (1995).
He has directed commercials for IBM, Philippine Long Distance Telephone Company, Swift’s, and documentaries including:
* At All Costs—on government fraud in the 2004 Philippine presidential elections * Bahay na Pula (Red House)—on justice for Filipinas forced into “comfort women” status during WWII * Payatas: Point Counterpoint—dance video on domestic violence, screened at Global Dance 2002: World Dance Alliance Festival (Dusseldorf, Germany)
Siguion-Reyna has taught film direction at the University of the Philippines Film Institute, the Directors’ Guild of the Philippines, the Cultural Center of the Philippines, and the Mowelfund Film Institute.
He served three terms as president of the Directors' Guild of the Philippines, and is currently vice-president for external affairs of Nagkakaisang Manggagawa ng Pelikulang Pilipino (United Cinema Workers of the Philippines). He took a principal role in writing the law creating the Film Development Council of the Philippines. He is also an outspoken proponent of free expression in media and the arts.
Todd Solondz - Writing Mr. Solondz wrote and directed LIFE DURING WARTIME, PALINDROMES, STORYTELLING, HAPPINESS, and WELCOME TO THE DOLLHOUSE.
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Bill Tunnicliffe - Cinematography Bill Tunnicliffe is a Director Of Photography, Writer, and Director. He started out in New York shooting music videos, high fashion, and commercials. After moving to LA, Bill shot and directed films and television series focusing on action and highly orchestrated stunt work.
Bill shot several feature films for the action film studios, PM Entertainment and Sterling Pacific. His feature DP credits also include, “Highway” with Jake Gyllenhaal, “Road Ends” with Dennis Hopper, and “The New Guy” with D.J. Qualls.
Bill shot and directed two network series, “LA Heat”, and “Team Knightrider”. He directed Howard Stern’s series “Son Of The Beach”. He shoots segments for OPRAH, and ABC’s Emmy winning newsmagazine shows, “Eye On LA” and “Vista LA”. He shot the first mini-DV documentary shown on a major network, Showtime’s “Outwitting Hitler”, and his digital video work has been featured in Videography magazine.
Bill has sold several feature scripts. He currently has a script in development with Humphreys Productions that introduces a unique new form of 3D animation. Bill’s NYU short film, “Political Posture”, was nominated for an Academy Award, and his children’s video, “Cowboys On The Job”, was rated one of TV Guide’s Ten Best Kid’s Videos.
Commercial shooting credits include Honda, Cisco, Aveeno, Hugo Boss, Drixoral, Country Star Restaurants, ADM, and several PSAs.
Bill loves to shoot movement and dance and he has worked with award winning choreographers like Judy Lieff and Chloe Arnold on several movement pieces, ranging from JoAnna Shaw’s “Dances With Horses” to PBS’s “Deaf Poetry Jam”.
Bill recently designed a new action tracking HD camera system for his show “Xtreme Tennis” which is currently in development with the Tennis Channel.
He has a BA in Biology, Film Studies, and Philosophy from the University of Rochester and an MFA from NYU. He is a member of the DGA, WGA, NABET, and IATSE.
Sophia Wellington - Writing Sophia Wellington began her film career on the floor – literally: putting down marks for Richard Gere during her time as assistant camera. After years in the camera department, working on a number of Anglo-American features, Sophia moved into the cutting room where she is, to her knowledge, the only (living) assistant editor to get an apology out of Harvey Weinstein.
Sophia moved into development in 2003 when she joined World Productions to develop a feature slate for their production deal with Sony Columbia. During her time in development Sophia has worked with a variety of writers and directors on films including Layer Cake and Becoming Jane.
Sophia has taught screenwriting at a number of film schools including the London Film School and London Film Academy. She is currently based in Singapore where she divides her time between freelance script consulting, teaching and developing a Thai based thriller.
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Emlyn Williams Directing/Writing Emlyn Williams worked as a film editor in London before returning to his native Wales, where he developed a career spanning twenty-five years as a screenwriter and director. He has been involved in numerous BAFTA award-winning drama productions for both S4C (Channel Four Wales) and the BBC in his capacity as a writer and director, as well as teaching screenwriting and filmmaking at film schools in both the UK and the USA.
His latest feature film as writer/director, Do Not Go Gentle, won BAFTA awards for Best Screenplay, Best Actor and Best Film, and was selected as the official British entry for Best Foreign Language Feature at the 2001 Academy Awards in Los Angeles. Do Not Go Gentle was also recipient of the FIPA D’OR Gold Award for Best Film in France, as well as the Grand Prix for Best Feature Film in Las Palmas, Spain, and was well-received at international film festivals throughout France, Spain, Germany, Russia and the USA.
26 GRADUATE FILM PROGRAM 2010-11 –CURRICULAR PROJECT OVERVIEW
First Year – Fall Semester – 4 Minute MOS In the fall term, the student will make a four minute, black and white, 16mm film. The film must be shot entirely on exterior sets. No interiors! The final film may have sound effects but no music or sync sound, and no dialogue. We call this the MOS (without sound) project.
The purpose of the MOS is to create a dramatic moment within these confines that is specifically cinematic. The drama should emerge from the audience’s observation of one or more characters in the midst of an ongoing event, however large or small, however quiet or extreme. It is crucial that the drama not require pantomime as a replacement for dialogue. There should be no need for dialogue. This is a rigorous exploration of purely visual storytelling.
Classes during the first six weeks of the term are designed to help the students prepare to shoot the MOS project. Weeks 7 – 10 are devoted to the actual production. The last weeks of the term are for editing, evaluations and to prepare for the next project. In order to use the first six weeks of classes as an efficient pre-production period, incoming 1st year students should start working on ideas for their projects during the previous summer. It is recommended that each student develop at least two or three different scripts for this project before they arrive in the fall.
First Year – Spring Semester Each student will make two projects in the spring term, an observational documentary and a narrative adaptation.
1. The first project is a short observational documentary, to be shot on digital video and edited on Final Cut Pro. The final production will be an observational style documentary without narration or “talking heads.” Most students will shoot this project over the winter break, but production time is also available in the first two weeks of the spring semester.
The principal goal of this project is to sharpen the observational, shooting, and craft skills of the narrative filmmaker. Observing and capturing unfiltered, non-manipulated human behavior (what we are calling, for lack of a better phrase, 'real life') will inform future narrative work.
2. The second project is an adaptation of a short story. This project will also be shot on digital video, and edited on Final Cut Pro.
The objective of this project is to build confidence and encourage risk-taking in adapting and directing source material. This includes developing the ability to analyze and interpret a given narrative text for the purpose of translating it into cinematic story telling. The emphasis is also on the practice of working with speaking actors, developing character and directing performance that is dialogue-driven.
Second Year – 10 Minute Narrative The principle production of the second year is a ten-minute synch sound narrative. The student may choose to shoot in either Super 16mm film or 24p digital video formats. The project is to be edited on Avid. During the orientation week, second year students will attend a week-long writing boot
27 camp to develop and revise their scripts. Students are expected to bring a complete draft of their scripts to the first day of boot camp.
Directors will organize their own production teams and crews, drawing from the entire student body, other departments, and the resources of Singapore. The Director of Photography must be either a current NYU student or alumnus. Every 2nd year student is required to work on at least five of their classmates’ productions over the course of the production period, in various crew positions.
The second year narrative is a more ambitious production, allowing students to work with larger crews, more advanced equipment, and more time. The project develops the director’s ability ultimately to realize longer and feature-length works, demanding collaboration with a wider range of craft areas and focusing on working with actors. Second year productions are eligible for the NYU First Run Film Festival.
After seven weeks of classes in the fall semester, the production period will begin. Each student is allowed one week of production time, with four crews going out each week. Classes do not resume until the start of the spring semester. Productions are scheduled through the Head of Production.
3rd year Students are able to focus on specific areas of interest in the 3rd year and choose from an array of classes and production opportunities. In addition to the courses in feature writing, students are offered advanced classes in cinematography, producing, post production and directing actors. There are also opportunities to focus on documentary filmmaking and directing commercials for TV and other digital mediums.
Thesis All students pursuing the directing track must direct a thesis project in order to earn an MFA from the New York University. Most students choose to make a narrative or documentary project 15 to 30 minutes in length. In some cases, a student may gain approval from the Thesis Review Committee to direct a feature length project for their thesis. The thesis is to be shot on either Super 16mm film, 35mm film, 24p digital video or HD digital video formats. The student may edit the thesis on either AVID or Final Cut Pro.
Most students choose to shoot their thesis films after the conclusion of their coursework, during a period of matriculation. As with the second year production, crews are drawn from the student body and the local community. Directors must go through a process of Treatment Approval and Pre- Thesis Review with the Chair and departmental faculty in order to receive their production allotments and proceed with production. Treatment Approval can be scheduled at any time through the Chair’s Office; Pre-Thesis Reviews typically occur on a monthly basis during the school year.
The thesis film is the culmination of three years’ worth of study, training, and production experience. Typically demanding a higher budget and greater resources, the thesis makes considerable demands of the time, talent, and ambitions of the director, crew, and cast. It is the final film you will make as a student and will be the centerpiece of how you present yourself to the industry as a filmmaker. However, as with any film, the thesis remains very much a learning experience, informing future productions of ever increasing sophistication and complexity.
28 Students pursuing a producing, cinematography, or editing track are not required to direct a thesis project. They earn their MFA by working on a number of other student productions, taking certain electives, and by taking part in an internship or apprenticeship. Specific requirements for earning an MFA in this fashion are available in the Production Handbook.
Though not a degree requirement, it is highly recommended that the student leave the program having written a feature length screenplay. Feature writing is a three year discipline in the department. All students are required to take a Script Analysis course in spring of the 1st year. They may elect Developing the Feature in spring of the 2nd year, and may elect Feature Writing in both fall and spring of the 3rd year. Workshops, writing groups, and mentoring by faculty and professional filmmakers is available to thesis students in the 4th and 5th year.
29 GRADUATE FILM PROGRAM 2010-11 - EXTRACURRICULAR ACTIVITIES
First Run Film Festival The First Run Festival is the debut venue for most NYU student films, and many will later go on to screenings at international film festivals, cable television and Sundance. The films are all written and directed by graduate and undergraduate students in the Kanbar Institute of Film and Television at the Tisch School of the Arts.
The weeklong festival kicks off with the Craft Awards ceremony; and culminates in the Wasserman Awards ceremony featuring the Charles and Lucille King Family Foundation prizes and Tisch Asia Graduate Film Award. A distinguished panel of judges representing the film industry selects the winners. This year the winner of the Tisch Asia Graduate Film Award received a $7,000 cash prize.
Each June, the Wasserman Award and Tisch Asia Graduate Film Award winners and finalist films are screened in Hollywood at the Directors guild of America for industry professionals and the public.
The Chair’s Workshop The chair’s workshop usually meets once or twice a month. Industry professionals are invited to speak or make presentations. In addition, Tisch Asia will invite at least one distinguished filmmaker to spend a week with students work shopping their current projects. Recent guests include Oliver Stone, Shekhar Kapur, Roger Spottiswoode, Bruce Beresford, Sabrina Dhawan, Ted Hope, Josh Marston, Nisha Ganatra, Pupi Avati, Jong Lin, Mark Zubin, Sam Pollard, and Kathleen McInnis.
Post Production Workshop Students gather on the first Wednesday evening of each month to screen their films-in-progress for feedback from other students and guests.
Class Representatives Each class elects/chooses two people to represent the class. Students will meet at self-determined- intervals to communicate their concerns to the representatives. Representatives, in turn, will make these concerns known at Faculty Retreats, or in private meetings with the chair as needed. The Chair’s office maintains an open door policy.
Faculty Retreats The Graduate Film Faculty meets formally once a year, at the start of the Spring semester. Each class is requested to represent their concerns at the faculty retreats through their class representatives. This is an opportunity to make requests, suggestions, complaints, and comments about your experience(s) in the department. Your participation is vital to formulating means to better carry out the program’s mission and objectives, so make sure your class representatives have been informed of your interests.
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