9 Things Filmmakers Wish You Knew About Life On Set

Nothing will prepare you for taking your first step onto a film set, but the International Film Institute of New York (IFI) can provide you with helpful tips on what to expect. We asked three IFI instructors what three things they teach their students in the classroom. Here is what they told us so you can be ready for your film set debut.

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Kyle Wilamowski, IFI directing instructor, writer and director, shared his thoughts:

  • Communication is everything. While everyone has a role, if communication isn’t properly happening, nothing will work. And, everything will fall apart. Film school is about learning a lot of things, but learning how to communicate your vision or your role is #1.
  • It’s grueling. It’s easy to think that films are the most fun thing in the world. However, being on set can be incredibly physically and emotionally taxing in ways you’d never expect. If it wasn’t, everyone would do it. Emotional and physical stamina working in tandem is key.
  • All the keys positions (producers, director, DP) are a pyramid scheme. The attitude you reflect to your crew spreads like wildfire. If you’re in a bad mood or worried, your crew will know it. That doesn’t mean you have to be happy and positive at all times, more that you need to know how your attitude impacts the crew members around you and therefore the work.

Jesus Alarcon, IFI directing instructor, writer, director and cinematographer, added:

  • Preparation doesn’t kill improvisation, it makes room for it. The more prepared you are, the better you know what you’re trying to achieve with the scene and with your shots, the more prepared you will be to take advantage for the inevitable and unexpected set backs that comes with filmmaking.
  • Be punctual. Being on time shows respect and commitment to the project and to your fellow filmmakers and their talent. “Time is only dead if you kill it.”
  • Life on the set is a collaborative effort. No matter how talented you are you still need to rely on your crew in order to achieve your film. You constantly battle against what is, while trying to achieve what it should be. The more nimble you’re in turning a compromise into an asset, the better you become at your craft.

Frederic Richter, IFI screenwriting instructor, writer and producer, offered the following advice from the writer’s perspective:

  • Filmmaking is all about collaboration – so be ready for it. Be open and willing to work with others, try and discuss new ideas and approaches. This goes for directors, too. While the set is your place, a good director knows what they want, but they also surround themselves with people who can offer new ideas to get them what they want. Be open to collaborating!
  • Writers need to be prepared for things to not be EXACTLY as written on the page. Again, they need to be collaborative. Do not start directing — leave that to the director. If you are asked your opinion, give it, but be discreet.
  • Safety, safety, safety. Film sets can be fun magical places, but you also ALWAYS need to keep safety in mind first, especially if working anywhere near electrical, lighting or other equipment. On a moment’s notice a film set can turn from something amazing to a dangerous place. Keep safety in mind always.

At the end of the day, enjoy the experience. “You need to have fun and work hard. Both are key to making a good movie,” said Wilamowski.


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com

Beyond IFI: A conversation with filmmaker Courtney Harmstone

Repost from Sarah Lawrence College Summer Programs Post.

The confidence I gained at IFI has propelled me throughout my career.  The passion and the buzz I first felt in that casting room in Columbia University has not left me. Whenever I doubt myself, I think back to that day and that memory gives me the energy to continue.”  ~ Courtney Harmstone, International Film Institute, ’08

 

chCourtney Harmstonea self-described American-British hybrid” took one her first steps in film during the International Film Institute’s Summer Intensive at Sarah Lawrence in 2008. Since then, she has worked in film on both sides of the Atlantic, working as a producer, mentor, and co-founder and programmer of Catfish Shorts, a networking and film festival created for women in the film industry. Courtney recently shared with us about her in the film industry, future projects, and favorite memories of her time as at Sarah Lawrence College.
How did you initially get involved in the International Film Institute summer intensive?
When I was in high school I was always passionate about film and television, but my school did not offer a course in filmmaking.  I had previously attended summer film courses at SCAD that were only one week in duration.  It was a nice taster, but I longed for more. After researching various programs, I found IFI at Sarah Lawrence College which had the depth and breadth I was looking for as well as fabulous teachers active in the industry.   I was excited to be part of this intensive and immersive environment where I could experiment with the craft and find out if this was what I wanted to do with my life.  Spoiler alert! I am still working in film!
What is your favorite memory from that experience?
A great memory from my time at IFI was casting for the short film we were required to make during the course.  It was pretty inspiring to have these young and incredibly talented actors come and read portions of our scripts to us at Columbia University.  There was a buzz in the room and the energy was overwhelming.  I couldn’t believe these young professionals were interested in working with us! It was a great experience. It was very professional.

Another is being around so many creative people who, like me, knew little about the art of filmmaking or had minimal experience. It had a synergistic effect that created a supportive environment that allowed us to experiment with new ideas and take risks.
How has it impacted your life since then?
IFI had a huge impact on my life and my future career decisions.  It was the first opportunity I had to really explore filmmaking and to learn what it meant to work in the dramatic arts; how to plan, structure, shoot and edit a short film.  The course inspired me to pursue the film industry as my future career.  When I returned from New York, I knew I wanted to be a filmmaker and set my sights on pursuing a B.F.A. in film production.  In 2013, I graduated from The Florida State University College of Motion Picture Arts and then continued my education two years later at The University of Exeter and The London Film School with an M.A. in International Film Business.   
What advice would you give to your younger self?
If I could go back to myself at that age I would probably say TAKE MORE RISKS! Don’t be scared to experiment and have the confidence to just go out with a camera and shoot.  However, it is with the understanding that I did not take enough risks in filmmaking (and possibly with life) when I was younger – playing it safe, so to speak – that drives me so much now to push myself to take every opportunity that comes my way, and not to turn it down because I’m scared of the consequences (which, so far, have been very positive).  

I’d probably also tell myself to avoid rum, but I think everyone can relate to that one!
What’s next for you going forward?
The next steps for me are to continue working hard on my independent projects – Catfish Shorts and Indigo Valley – and to look for opportunities that will strengthen my skills as a Producer as I attempt to carve my way through this complicated jungle that we call an industry.  Sometimes you just have to follow the three Ps, as laid out by Robert Wise (Director, The Sound of Music, West Side Story) – “My three Ps: passion, patience, perseverance. You have to do this if you’ve got to be a filmmaker.


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com

What to Look for in a Film Program

Students Share Why They Chose IFI

Once a year, The International Film Institute of New York (IFI) gathers future filmmakers from all corners of the globe for five weeks of intensive filmmaking.

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The students who enroll range from curious newcomers to the self-taught and experienced. Every summer, they assemble on the leafy campus of Sarah Lawrence College, just outside New York City, where staff at IFI give hours of instruction and hands-on training.

There they receive the tools, skills and confidence to continue on their filmmaking journey.

So, why should you come to IFI? Our students say it best. Here’s ten reasons why, out of all the film schools and courses to choose from, this year’s crop of students say our program was the right fit for them:

WHY IFI?

“I want learn more about directing, screenwriting and also technical stuff that I haven’t gotten the chance to learn back in my country. I’ve taken a few film classes at university but I’m going to take it more seriously in the coming year. (IFI) has helped me realize I really want to focus on film.” – Sirada, 20, Thailand.

“I know I’m interested in film but I don’t know if it’s a hobby or a career … I think [IFI] is the best scenario to (figure that out) in because you’re actually doing it. It’s a pretty deep crash course.” – India, 16, Shelbyville, Ky.

“I’m self-taught so I’m here to hone my craft and learn the right way.” – Alex, 25, Dallas, Tx.

“I wanted to switch it up and come to New York, that was a big draw.” – Liam, 18, Fairfax, Va.

“I found [#IFI] and it’s close and I just thought I might as well do it now before college just to see if this is something I want to do.” – Alexa, 17, Scarsdale, Ny.

“IFI welcomes people from all over. I was interested to study filmmaking in the U.S. to see how other people write, direct and edit.” Ariana, 25, Peru

“I’m really, really, really interested in this field, and I want to be a part of it. I just really want to learn.” – Harry, 14, Stony Brook, Ny.

“[IFI had] so much of what I wanted to do: Being able to make films and being able to use the real equipment and learn the real methods and strategies and figuring out ways to express my ideas.” – Matthew, 16, Scarsdale, Ny.

“It’s fun finally learning how to do hands-on stuff [in film].’” Chelsea, 17, Bronx, Ny.

“To get to be involved in everything, to see what it’s really like and to get as real an experience as possible, that was an absolute selling point for me.” – Tom, 16, Red Hook, Ny.

IFI is currently accepting students for its 2017-2018 Winter Schedule offering one-day seminars and multi-day courses. Early registration for IFI’s 2018 Summer Filmmaking Intensive will be posted at http://www.nyfilmschool.com soon.


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com

Triple Take: What It’s Really Like Working as a Producer in TV & Film

“Passion is the immeasurable, indescribable factor that separates movie from movie. Passion moves freely across borders, speaks every language and flourishes in every culture. The movement of passion is the most gratifying satisfaction in any movie maker’s life.” — Saul Zaentz

producer

The producer. A role in the anatomy of a film that many people hear about (cue the awards speeches) but few understand what it actually means. A producer’s life cannot be easily explained. Rather than offer textbook examples of what a producer does for a project, International Film Institute of New York (IFI) turned to three women working in this role for insights and advice on getting started. Stephanie Serra produces and directs films in New York City, Krystia Basil works within film and TV around NY, and Ashley Pacini started in film but has found herself in the world of television while living in Los Angeles. The following is how Stephanie, Krystia and Ashley define working as producers in today’s world of cinema:

 

How would you define the role of a film producer?

Stephanie Serra: Film producers have several roles to play and seemingly endless duties to fulfill throughout the course of a film’s development, production and distribution. A good producer thinks critically and creatively in each of these roles and regarding each duty/task.

Krystia Basil: I would define the producer of a film project as the alpha & omega. That sounds self important, but what I mean is that a project starts and completes because of the efforts of the producer. He/She is the one who initiates a project by finding a story, optioning an intellectual property, developing a script – and follows through to the final product – the film reel – but also beyond that to distribution, publicity, and if all goes well, he or she is the one who gives the Oscar acceptance speech! In between, the producer hires all the key players, both creative and logistical, onscreen and off screen, and then trusts their vision, supports their choices, and coaxes a collaborative effort to create a cohesive end result.

They are also responsible for putting money in the bank to get all these peeps paid. As they say, ‘You have to pay movie if you want to play movie.’

Ashley Pacini: A producer is a connector and problem solver. Producers do various connecting from money and story to logistics and talent.

 

How did you become a producer?

SS: I started producing my own films. Colleagues of mine saw that I had an understanding of the above-mentioned roles that a producer fills and so they asked me to produce their films as well.

KB: I started out wanting to be a writer/director, but my innate skill set – management, finance, persuading people to do things they may not ordinarily do – thrust me into production coordination, line production and from there producing. I also like nurturing stories into scripts or concepts into shows.

AP: While studying film, I fell in love with the concept of connecting people and stories. I love the idea of seeing something from inception to execution. To me, producing is the best of both worlds: logistics and creative.

 

What is one surprising thing you have learned about the film/TV industry while working as a producer?

SS: When I began making films, I believed, and still do, that producing my own work was a valuable experience; that it would allow me to better understand the many crafts that are a part of a filmmaking collaboration; and, that this understanding would help me to be a better storyteller, writer, director, etc. I’ve been surprised to find that many of the first-time/beginner filmmakers I’ve encountered in the NY independent film industry seemingly do not share this view. There is more specialization and less interest in an interdisciplinary approach than I expected.

KB: How many people it takes and how much teamwork it takes to go from script to screen. It is the most collaborative art form in my opinion. If filmmakers ran the world we would get all sorts of stuff done and fast! I’m [referring to] production and crew though. Development is slow as a sloth trapped in molasses.

AP: There are a lot of people willing to help. I didn’t expect to find as many support systems as I have.

 

What is a typical day like for a producer during the production phase of a project?

SS: In the world of independent producing, days are often described as anything BUT typical. Each day of shooting brings new challenges.

Mostly, I try to do whatever it is that I can to keep the shooting schedule on track and to keep my crew moving at an efficient pace. I try to get a lot of the nitty-gritty work done and out of the way during pre-production so that I can expect my directors and departments heads to be prepared and ready to deliver.

KB: It’s putting out fires, placating ruffled feathers, keeping your eye on the ball while preparing paces ahead. It’s a lot of phone calls and emails, lots of coffee during the day and something a ‘lil stronger at the end of it!

AP: During production there is very little sleep. It’s getting to set early, making sure things are set up properly. Once the day is moving along, it’s time to get ready for the next day and the day after. It’s securing, confirming, and finalizing permits and talent. Helping to get call sheets ready, etc. Then, it starts all over the next day.

 

Where do you get ideas for projects?

SS: Strong stories are rooted in their characters and I like engaging with people to find my inspiration for characters. This has the added benefit of requiring me to practice active listening.

Having an eye for material that people will connect with is, for most, a skill learned over time. Some may possess this talent from early on but I believe the real skill necessary for a producer’s sustained success is the ability to exhaustively research the idea from its many angles so as to be able to cultivate it. Everyone has ideas but bringing them to life requires commitment to them.

KB: Books are my favorite source, news or feature articles are next. Personal stories are great when it’s unique, yet, universal.

AP: I have a great group of people that I reach out to. They are so talented. Sometimes their ideas spark ideas where I can also participate in the creative process, which is always rewarding.

 

What personality traits make for a great film producer?

KB: You have to be an entrepreneur in spirit and an artist in vision. You have to be dogged and determined. Never ever, EVER give up on something you believe in – all you need is one Yes. Shake off the No’s and the naysayers and keep going. When a project is picked up, sustain your initial vision while listening to and collaborating with the crew and cast. You’ve got to be like a conductor with the Philharmonic. The harmonious whole is what matters and you simply cannot achieve it solo. Understanding that is key so that your ego is not getting in the way of your art.

AP: Patience, being a good listener and being a quick thinker. Creatives will come to you in confidence to express frustrations or talk through creative blocks. By listening, they generally figure out what they ultimately want [to do]. And, like any creative project, things will fall through. Things will happen that are unexpected. By being a problem solver, it helps move the creative process forward.

 

What advice do you have for someone considering producing as a career?

SS: Find stories that fuel you and surround yourself with collaborators who complement your abilities. Also, dabble in other production work if you can manage to.

KB: It’s not really a career anyone CHOOSES because there’s no straight path, such as you get a degree and you hang a shingle and you’re ready for business. It’s something you build up to while doing other things. You’re working as a PA and making connections. Maybe one day you park someone’s car for them, and now you’ve got their ear. Maybe you tell them about the article you read, and maybe it comes to nothing, but at least now you’re in their mental Rolodex as a keen mind. Or, maybe you write a small piece and shoot it on your iPhone and get a ton of likes on Facebook. If you like the process so much, you do it again with a stronger script, better camera and an aspiring camera person who is also an extra on the show you’re day playing on. You’re building your network and sharpening you narrative sense while learning the techniques and tricks. There are just so many paths to it unless you’re Steven Spielberg’s offspring (and that comes with its own problems I’m sure!). If you like leading, collaborating, and bit by bit, creating a magnificent whole then trust yourself and start telling the stories that inspire you; use whatever you have access to. Especially today with no boundaries on format, medium, or budget – anything is possible as long as the story is interesting and timely.

AP: First and foremost, make sure the crew is always taken care of [on your project]. Network as much as you can. Also, make sure you always have an exit strategy and Plan B.

 

Stephanie Serra works as a producer and director in New York. She is the founder of TRISERRATOPS Productions, an independent production company dedicated to delivering content for and about children. Serra’s goal as a filmmaker and mission at TRISERRATOPS is to create films that broaden young audiences perspectives of the world. TRISERRATOPS collaborates with producers, directors, and writers, both domestically and abroad. TRISERRATOPS is currently developing a live-action series of short films for young audiences, as well as its first feature film. Serra’s film slate includes award-winning short films, CHRISTINE (2016), and STEEL (2014). TADPOLES (2017) a Norwegian co-production and Serra’s directorial debut is currently slated to premiere in the 2018 film festival circuit.

Krystia Basil has been producing since 2003. Basil has developed and produced narrative as well as documentary features & shorts. She has line produced reality television shows for History Channel, Animal Planet, HGTV, BBC and PBS. She has worked with celebrities such as Matt Lauer and Lara Spencer, as well as invested in and developed shows with emerging talent and new voices. Her passion is, and has always been, to collaborate with and consummate the vision of artists as they tell their stories through the screen.

Ashley Pacini is a TV and film producer and founder of The Reel Women, stories set up to support and celebrate women in film, television and media.

 


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com

Is Film School For Me?

Back to school with IFI

As the sun sets in the sky ever earlier and a chill creeps into the air, it signals the time has come to head back to school. But, with the end of carefree summer days comes the excitement and back-to-business buzz of fall. Sharpen your pencils because International Film Institute of New York (IFI) founder Misael Sanchez is here to take you to school on the benefits of studying film. Whether you’re a teen testing the waters, a passionate filmmaker considering a graduate degree, or an adult looking to learn a new skill, Misael’s got you covered from immersive courses to film school, and how to evaluate the options:

What are the benefits of attending a film school?

Misael Sanchez: First, it is an opportunity to completely immerse yourself into something you are passionate about and be able to devote 100% of yourself to making films. Of course, if you are attending an undergraduate program that requires you to complete other degree requirements you’d still have to balance, that’s still an amazing opportunity. Second, you surround yourself with like-minded individuals working toward the same goal. Yes, it is fun gathering your friends and making them act and work behind the camera for you. But, in film school there is no arm twisting. You fuel each other’s creativity and spend several years developing relationships that will last long after graduation. This is definitely the one aspect of school that I have witnessed be the greatest benefit. And lastly, some might consider this the most important, you get to work with faculty that have been in the field for years and can provide you the support and guidance to find your voice. Equipment and facilities, to me, do not make a film school great. Yes, it is nice to work with good cameras and have lights and sound production resources, but to base your choices on what school to attend based solely on that is not something I would encourage.

Misael WorkshopWhat advice do you have for younger students (i.e., teens, undergraduates)?

MS: My advice to young people considering film as a career is to make sure this is right for you before committing time and money. Filmmaking is not cheap. Tuition alone is enough to send you to the ER. On top of that, you have the costs associated with your projects followed by years of trial and error to make it all come together. Find a way to explore what film has to offer. Consider short term programs to test the waters. It is definitely not all about the red carpet. Filmmaking is a job that takes commitment.

What advice do you have for older students (i.e., adults, graduate candidates)?

MS: There is also something very interesting about adults entering the field. There is a very strong desire to succeed and make it happen fast because you are not a recent college grad and you believe you have more experience to make it happen. My biggest advice for adults is to leave the ego at the door and take in the experience. As adults we pretty much know who we are and what we want to express about ourselves and the world we live in. Make every effort to open your mind to different interpretations of your world and allow yourself to be vulnerable. Allow for mistakes. Most of all, allow yourself to let someone else show you something new. Maybe it won’t be as groundbreaking as you might want but it will be different.

What are some other programs or courses available without the full-time commitment of film school?

MS: Aside from our immersive IFI courses that cover all aspects of the process from script to screen, there are other degree programs that could offer opportunities. Researching and making sure a program fits your needs is key to a positive experience. Online direct student reviews are a great way to read about what others have experienced. Filmschool.org is a great third-party website where students give honest reviews of their experiences. It is where we tell our students to go when we have inquiries about our classes. Also, when communicating with the programs, you should feel like you are being respected as a prospective student. There are never too many questions and the answers should flow. From my perspective, when we discuss our courses with students we see it as an interview process that goes both ways. Are we right for you and what you hope to get from school and are you right for what we provide? We never hesitate to tell a students that maybe our curriculum is not what they need right now. Or, perhaps, you need something longer term.  Best we tackle these questions before you register to make sure our time together is fruitful and a pleasant experience.


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com 

Filmmaker Snapshots: Kate Montgomery

Fast Facts: Kate Montgomery


IMG_8870.JPG.jpegCinematographer, Writer

Current project: CHRISTINE

Recent work: An untitled project with the late actor Martin Landau

You might have seen her: Premiering CHRISTINE at OutFest LA or WINNING Best Short Film in the Women in Film & Television Atlanta Short Film Showcase

Based in: New York

Spends summers: In Bronxville. Kate has worked as an instructor during IFI’s Five-Week Summer Filmmaking Intensive held at Sarah Lawrence College. The program is designed to completely immerse students into the filmmaking process, from screenwriting to post-production. In 2017, Kate taught IFI’s Camera Tech course.

See below for a trailer of CHRISTINE:

With the help of her best friend, Christine redefines her perception of strength and what it means to be herself.

Written and Shot by Kate Montgomery
Directed by Jessica Adler
Produced by Stephanie Serra of Triserratops Productions

 

👋 Thanks for getting to know IFI.


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com 

 

Directors, Producers and Screenwriters: Get to Know the IFI Summer Team

brooklyn-morgan-390A favorite time of year in New York is almost here. For many that means summer vacations and days spent by the beach or pool, but at the International Film Institute of New York, we are excited to stay put and welcome students to the beautiful campus at Sarah Lawrence College. Beginning June 25, we will be spending five weeks thinking, writing and doing all things film at the IFI Summer Filmmaking Intensive.

To help us throughout the program, we have a talented group of instructors joining us in Bronxville. Students will learn from people working as directors, producers, screenwriters and editors in the film industry.

Get to know them below:

misaelMisael Sanchez, Founder / Director / Cinematography  Misael is a New York based filmmaker whose primary work is comprised of Documentaries and Independent film projects relating to the urban city experience.  He began his career while enrolled at New York University’s Film Program where he graduated with a focus on Cinematography and Producing. Misael is the Founder and Director of the International Film Institute of New York founded in 1998 offering a five week summer intensive filmmaking workshop and one week introduction to filmmaking seminars. He joined the Columbia University Graduate Film program in 1995, where he was Director of Instruction & Cinematography program coordinator for 15 years.  As Faculty at Sarah Lawrence College, where he teaches Film Production at the undergraduate Film/New Media program, he is working closely with the department on expanding course offerings in film production. He works as a professional Director of Photography and Producer on a variety of projects ranging from television documentaries, short films, and music videos.

donellaDonella Alanwick, Managing Director  Donella is a New York-based Film and Theater actress with many years of experience as a professional. She has worked with Lee Breuer with the Mabou Mines Theater Company at the Skirball Center. She has worked on productions ranging from independent short films to feature length projects.  Her most recent work includes direction on a series of short films produced in New York and Utah. Along with her work as an actor Donella has dedicated a large part of her efforts into the development of the International Film Institute of New York. As Partner and Managing Director her responsibilities include promoting and developing partnerships with established film institutions in New York and Los Angeles.    

Jesus AlarconJesus Alarcon, Directing Instructor  Jesus entered the world of narrative at a very early age. He grew nurtured by the vast cultural riches of his country (Mexico), which developed in him a particular sensibility for storytelling in its many forms. Jesus was awarded the Americarum Universitas Scholarship to study his Bachelors Degree in Communications Science at the Universidad de las Américas–Puebla, where he graduated Magna Cum Laude. He spent a year abroad studying at the University of Leeds in England, where he debuted as a director in the short-films program. Jesus has worked as a producer, director, cameraman and editor in Mexico, England, Spain, Venezuela, Puerto Rico, and the U.S. He completed his M.F.A. in filmmaking at the University of Columbia in New York, where he was awarded the Cinematography and FOCUS fellowships. He received the Hollywood Foreign Press Award to promising filmmakers. Jesus was selected to participate at the Cine Qua Non Lab Screenwriter’s Workshop in Michoacán Mexico, where he’d later serve as the CQNL Fellow from 2011 to 2013. Currently Jesus has just finished the short film CADENA PERPETUA, and is in development of his first feature film ESPERADORAS.

Lennon Nersesian, Editing Instructor Lennon is an American writer, film editor and producer, and the editor of the award-winning 2014 documentary, TWO: THE STORY OF ROMAN & NYRO, which was awarded the Audience Award at the Nashville Film Festival, Best Documentary at ARPA International Film Festival, and the prestigious Best of Fest honors at the Palm Springs International Film Festival. He is also the editor of the feature documentary, IN OUR BACKYARD, exposing sex trafficking in Brooklyn. The film garnered Best Feature Documentary and the Audience Award at the Art of Brooklyn Film Festival and is a Silver Spotlight Winner for the Spotlight Documentary Film Awards. Lennon is currently producing the feature documentary, CATNIP NATION, about the country’s feral cat epidemic. In addition to filmmaking, Lennon is a published author of four novels, THE GREEN DOOR, ATOM, THE PALISADES, and DIARY OF A PICKY EATER. Lennon has written several award-winning screenplays, including NATIONAL PASTIME, winner of the 2005 Expose It! Comedy Screenwriting Competition and the teleplay, ATOM, second rounder in the Sundance Episodic Story Lab Competition and finalist at the Austin Film Festival Screenplay & Teleplay Competition. Lennon is a graduate of Fordham University, where he wrote, produced, and directed three dramatic plays performed at Fordham’s Backdoor Theatre. Lennon won First Prize at the inaugural Fordham Film Festival for his short dramatic film, REPENT. Lennon teaches a film budgeting and film editing lab at Sarah Lawrence College.

sveaSvea Vocke, Screenwriting Instructor  Sveais a freelance story doctor who works with writers to formulate and edit their narratives. Previously, she taught screenwriting at Columbia University and DeSales University and worked in development at multiple production companies. While completing her M.F.A. in Screenwriting at Columbia, Svea won the Malia Scotch-Marmo/Frank Daniels Memorial Fund Award for Excellence in Screenwriting, wrote a feature that was optioned, and wrote/directed multiple award-winning shorts. As an undergraduate, she attended Brown University and earned a B.A. in German Studies. Svea is currently working on her sixth feature script. 

kyle1Kyle Wilamowski, Directing Instructor  Kyle is writer, filmmaker, and native of both small town and suburban Michigan. After receiving his B.A from the University of Michigan in 2003, Kyle worked in Geneva, Switzerland at CERN where he documented the world’s most renowned physicists as they worked on the Large Hadron Collider in search of the “God-particle”. In 2008, he received his M.F.A. in Film Direction and Screenwriting from Columbia University where his thesis short film and thesis feature script both received honors. Since then he has directed, produced, and written various short films, music videos and documentaries, which have screened at festivals throughout the United States. Kyle is currently slated to direct his first feature film, GRASS STAINS, in the spring of 2013 and is proud to call Brooklyn, New York his home.


 

The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com 

New York City vs. Los Angeles – The Filmmaker’s Conundrum

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New York City owes a lot of its glamorous, iconic status to film. From King Kong climbing the Empire State Building to Robert De Niro’s You talkin’ to me? in Taxi Driver, the greatest city on earth is great in part because filmmakers have flocked here for generations to imprint New York in all its loud, proud glory on celluloid for generations to come. After all, New York City is a movie in itself – a rom-com walk in Central Park one moment, a Woody Allen gabfest the next, and navigating the crowds near the Rockefeller Christmas tree during the holidays can quickly turn into a nightmarish thriller.

But for the second year in a row, blockbuster movies filmed in New York have declined.

Of the top 100 highest-grossing domestic feature films released in theaters last year, only six were made in the Empire State, according to a study released May 23 by nonprofit organization Film L.A., whose mission is to keep production in Los Angeles. The number, which is down from seven the previous year and from a peak of 12 in 2014, puts New York in sixth place.

Georgia had the most top-grossing motion pictures with 17, followed by the United Kingdom with 16 and Canada with 13. California hosted 12 blockbusters, which put it fourth.

So what’s behind the trend?

“New York has become a TV town,” Film L.A.’s lead researcher, Adrian McDonald, told Crain’s New York. “That’s not necessarily a bad thing. The budgets on many one-hour shows rival that of large movies.”

According to the study, the state has so much television production that overall it ranked second in total film and TV production spending with an estimated $5 billion to $6 billion after California, where an estimated $30 billion is spent on production annually.

020.JPGIndeed, the sheer variety of production in New York City is what keeps Misael Sanchez, founder and director of the International Film Institute of New York based in the city that never sleeps. He lived and worked in L.A. for a two-year stint in 2011 and ‘12 before returning to New York.

“My personal experience with the two towns is a perfect example of why new opportunities seem to be opening in New York,” Sanchez says. “New York is more than movies. It has fashion, advertising, corporations, health organizations, small businesses, theater, all looking for content. Filling that production void is what called me back east.”

So where should an aspiring filmmaker put down roots – New York or L.A.? It’s an age old question that Sanchez fields from students every year.

As a film professor I spend quite a bit of time discussing with my students the opportunities related to staying here or moving out west,” says Sanchez, who spent 15 years as a professor and director of production at Columbia’s Graduate School of Film before moving to Sarah Lawrence College to teach film production.

“Both cities offer incredible opportunities in the television, film, and theater industry. L.A. is known for being the heart of the film industry but New York has always been a city for independent filmmaking. Everything about the city’s resources lends itself to the smaller budget projects,” he says. “That, in turn, provides opportunities for up and coming filmmakers. In addition, being in a town where everything is relatively close to everything else makes networking and meeting others outside of your field much more accessible.”

The other driving factor behind production location is simply the bottom line: New York’s $420 million annual tax-incentive program is a huge attraction, but it only covers so-called “below-the-line costs” such as crew salaries and production expenses. The tax incentive in Georgia offers 30% on the entire movie budget, including star salaries, and has no annual cap.

But when you need to set a story in New York, there’s no substitute for the real thing. And New York City’s scrappy reputation means it will always be home for young, hungry artists.  

“I do feel that the best is yet to come,” Sanchez says. “More opportunities are on the horizon as film professionals continue to call New York City and the surrounding cities home base. Los Angeles will always be a huge part of what makes the film industry but New York is what will keep the torch alive and moving into the future.”


Misael Sanchez: Founder and director of instruction at The International Film Institute of New York, currently working in collaboration with Sarah Lawrence College. BFA, New York University. Certificate in Producing, The New School. Recent production credits include a feature-length documentary, Last Call (director and cinematographer), now in post-production and producer on the feature-length narrative, Central Avenue, scheduled to cast Marisa Tomei and Lorraine Bracco. A book-in-progress on cinematography lighting techniques is titled Lighting Tricks and ShortCuts. Staff member, faculty member, and head of the cinematography concentration at Columbia University’s Graduate Film Division, where he supervises students on thesis productions. Past work includes four one-hour specials on Latinos in the media for network television, short documentary projects, films, music videos, and industrials. SLC, 2009–

 

 

 

Filmmaker Snapshots: Kyle Wilamowski

Fast Facts: Kyle Wilamowski


Screenwriter, Director, Instructor

Current project: Grass Stains

You might have seen him: Showing Grass Stains at the Santa Barbara International Film Festival

Based in: Brooklyn, N.Y.

Spends summers: In Bronxville. Kyle has worked as an instructor during IFI’s Five-Week Summer Filmmaking Intensive held at Sarah Lawrence College. The program is designed to completely immerse students into the filmmaking process, from screenwriting to post-production. Kyle has taught screenwriting and directing for us.

Check out his work: Grass Stains centers on Conrad Stevens (Tye Sheridan) a teen discovering his first love (Kaitlyn Dever). When a prank goes awry and causes the death of his girlfriend’s older brother, Conrad must balance his secret guilt with his feelings for the girl.

 


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com 

 

Inside An IFI Workshop: Acting For Film

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On a recent sunny, spring day in New York City, a pack of fresh-faced young actresses were busy honing their craft. Up a creaky set of stairs and past a white door to a sun-filled second-floor downtown acting studio, rows of young women wearing matching black T-shirts sat in plastic chairs intently watching as, two-by-two, they took turns performing scenes they had memorized overnight. Bright Australian accents filled the whitewashed studio.

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The group of 20 young drama students had traveled all the way from Sydney, where they study at the independent, all-girls MLC School, to participate in an International Film Institute (IFI) workshop on acting for the screen. It was part of a larger two-and-a-half week tour of New York City and Los Angeles that would take them to Broadway plays, Lincoln Center, behind the scenes at Hollywood studios and inside the offices of talent agents and other industry professionals.

IFI instructor Magdalen Zinky gave the girls direction while Kate Montgomery, who teaches camera at IFI, operated a camera trained on each duo’s faces.

“Thank you both for your micro-expressions,” Zinky complimented two girls after they finished a scene from the movie Juno. “There’s a lot going on right here, a lot of facial expressions and raised eyebrows.”

IMG_2640.JPGZinky explained the difference between film and stage acting.

With stage acting, it’s a full-body experience where the emotions have to show through the entire body, whereas with film acting, the main action of it happens in the face. Of course, the body is still important, but the camera is genius at picking up micro-expressions, and that’s where the actor’s focus needs to be.”

Lisa Jinga, head of drama and dance at the MLC School said the dance and drama tour took them three years to plan, and when their tour company asked what they wanted to do, she knew she wanted her girls to have an acting for the camera experience. Naturally, they reached out to IFI, which specializes in teaching every aspect of the film industry, from directing to on-camera work, to aspiring film professionals from all over the globe.

“On  film, every little nuance, glance on your face, it’s much smaller-scale realism,” Jinga said, echoing Zinky. “It’s what happening in your heart and showing on your face. It’s a different interaction with the audience. We want (our students) to get the idea of perfecting the smallest movement.”

The arts, drama and entertainment are very popular programs at the school, where students put on large scale productions, but hands-on, real-life experience of a lesser-practiced skill is invaluable, Jinga said.

“We try to teach them what we call the director’s ‘vision’ for stage and film,” Jinga says. “You’re coming into a partnership with the director, but you’re the interpreter of the vision. It’s valuable experience to work with a director. You’re in the real world and you have to be on time.”

IMG_2590Sabina Tom, 16, relished the challenge of learning a scene overnight and performing for a real-world director the next day.

“I feel like it’s really cool getting to work with people who do this for a living, to work with industry professionals,” Sabina said. “It’s an experience a lot of people don’t have, so I’m grateful.”

It was worthwhile experience for the visiting teachers at the workshop as well, said Kate Caron, the Head of Grade 7 at MLC.

IMG_2645“What’s really valuable for us as teachers is watching the way the directors are working with the girls,” she said. “All the things we say to them over and over, ‘You have to be off-book,’ asking them to improvise, it’s not just us being persnickety. It’s great to see little things being reinforced in a professional environment.”

New York City, itself, is a wonderful acting laboratory, Jinga added. Touring around the city over the past few days, she had pointed out film locations from Gossip Girl territory on the Upper East Side to the famous streets of Little Italy where many Godfather scenes took place.

“I thought it would be great to do some film work here in New York where so many iconic movies have been set,” Jinga said. “To think about Midnight Cowboy, one of the first films to shoot on the streets of New York, not on the back lot of a studio, New York to me is the home of where those films took place. “I’m walkin’ heeyah!” she hollered, doing her best Ratso Rizzo impression.

“This for them is a completely new and different experience and where else would you want to do it than New York? It’s an authentic experience,” said Caron. “You come here and there’s a sense that, ‘Wow, these are real professionals, this is really happening,’ and they rise to the challenge.”

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Mac McCown, a 16-year-old drama student at MLC said she appreciated learning from two women on the other side of the camera lens during the day’s workshop. “The numbers of women in the film industry are so disappointing. It’s so important especially at this young age to see women working in a male dominated profession,” she said.

“We can relate to them and think, ‘We can do that,’” added her classmate, Emma Rutherford, also 16.

Zinky gave the girls a glowing review.

“They did marvelously!” she said. “I was impressed with the overall quality of the students’ commitment and their level of professionalism both on screen and off.”

Jinga pronounced the day’s workshop a success, as well. “It’s been absolutely fantastic,” she said. “It’s opening (our students’) eyes and it’s so different than what we’ve done in previous workshops. They got a very personal, intense experience.”

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In addition to our summer courses, IFI offers short term seminars and special programs in New York City. Wonder what goes into making a film? Considering going to Film School?  Is filmmaking for you? Our One-Week programs are designed as a comprehensive overview of the process of making films from script through Screening. Along with our
informative seminars, we also have the opportunity to create special workshops and sessions for interested students and visiting groups. All of our courses are presented by film professionals in their respective fields. http://www.nyfilmschool.com