ACTING & FILM SCHOOL

A talk with NYFA Instructor and Film Editor Michael Miller

[Sergio Leone Blog] I connected up with Michael Miller, who occasionally lectures and teaching editing at such institutions as the New York Film Academy, the American Film Institute and the North Carolina School of the Arts when he’s not on an editing gig, through a series of e-mails. We also eventually managed a sit-down at Starbucks (he went venti, I went water). So our conversation here has been cobbled together by means both technological and editorial. Whatever the medium, we enjoyed each other’s company tremendously, and I hope that ease and enjoyment translates here as I toss him 10 questions about the art and craft of film editing. Here comes the first return serve.

DC: Since the Oscars are looming and you are an Academy member, I won’t ask you what film nominated in the Best Editing category you voted for. (The choices: Avatar, District 9, The Hurt Locker, Inglourious Basterds, Precious.) But I would like to ask, what do you think the mythical monolith referred to as The Academy is looking for when nominees in this category are selected?

MM: Yeah, that mythical monolith. When you’re talking the voting body, there really is no “they.” The Academy isn’t even close to monolithic. It’s composed of branches for each film craft, and the editors’ branch nominates its own candidates. What’s more members of the editors’ branch itself have diverse tastes and standards, as this year’s nominees would indicate. I’m proud of us, too, because we tend to recognize good work regardless of familiarity (or a lack thereof) with the editor who did it. No one in Hollywood knew Daniel Rezende when we nominated him for City of God.Raging Bull, Thelma Schoonmaker’s first Oscar-winning effort, was, I think, her first dramatic feature film. And we were true to form this year with an editing nomination for Julian Clarke and District 9.

So what do we look for when we make our selections for Oscar candidacy? I think our criteria are the same as those we apply when editing a film. First and foremost we look at storytelling. Is the story well-told? Engaging? Affecting? Good storytelling is the editor’s primary goal. Pace is also important. Avatar would not have received a nomination had its three-plus hours felt like three-plus hours. Rhythms within each scene are something cutters weigh when considering films for nomination as well….read more

A Free Film School?!

Can you believe I found a free film school? A school that teaches you everything you need to learn about filmmaking at no cost to you other then your time and energy. Like most things in life - if it sounds too good to be true it probably is. However, unlike most professions, to become a professional filmmaker it only takes some inexpensive equipment ($400+), a computer, and the time to make a film. Consider your “free film school” the process of learning filmmaking on your own - which can be done in a number of ways without a formal expensive “filmmaking education”.

Work For Free

Most people don’t turn down free help…especially if it is good free help.  Ask your local filmmaker if you can intern with them or help by getting them coffee and doughnuts. Check out Craigslist.org under “Gigs” or Mandy.com for job and internship postings. 

Home Schooled

Reading books, magazines and watching films are a great way to learn about the essentials of filmmaking without spending a lot of money. A great magazine for the new filmmaker is Student Filmmakers, they have a number of “how to” articles, videos and even list workshops to attend. One of the very best books on marketing and distribution of your film is Jon Reiss’s “Think Outside the Box Office”

Work on Set

The best experience you can have as a filmmaker is working on a live set of a real film production. All the books, workshops, seminars, videos and lectures in the world can not replace the knowledge you will gain from working on a live film set. *Note a good film school will prepare you to work on one. Any position will do - from janitor to lightning technician. For jobs - check out Craigslist.org under “Gigs”, Mandy.com or your local union.

Trial by Fire

Just do it! There is nothing stopping you from making your first film. Borrow or buy an inexpensive digital video camera and simple editing suite for a computer then draft your script and pick your locations. You don’t even need actors - just start shooting and creating with what you have available. Think you don’t have what it takes to make a movie? Read this - Dear Movie Makers, Make Movies!

Talk the Talk

Attend film festivals and free/low-cost seminars hosted by your local college, library or cinema to meet and speak with other filmmakers. Ask them questions to pick up tips and learn how to speak their language. If you can learn to “talk the talk” from professionals you can learn how to pitch your film to professionals. The New York Film Academy in New York City and Los Angeles host to a number of free public screenings and discussions with popular filmmakers and actors.

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While my version of a  “free film school” may not have been what you are looking for, it certainly is an option. Paying for film school is also another viable option since film school does have a significant benefits - read this post on if film school is worth it. Plus, there are a number of scholarship and financial aid options available for those of us with little funds and big dreams. Regardless if you decide to attempt any of the above methods for learning filmmaking or attend a film school that you have to pay for, there is no replacement for hard work, talent, a network of working professionals and dedication to your craft. In this industry, your largest expense will be paying your dues.

Check out our film school programs.

4 Week Filmmaking Program Review by Stephney Amelia

Hello, my name is Stephney Amelia Williams and I graduated from the film school 4-week filmmaking program at New York Film Academy located at Universal Studios in August of 2008.  Attending the New York Film Academy in Los Angeles gave me that extra push I needed in my career. I enjoyed implementing what we learned throughout the lectures such as the narrative structure, lighting, sound design, editing, etc. into the student projects. Also, helping out on classmates projects as an assistant director, camera assistant, and/or gaffer allowed me to get intensive hands on experience in other roles of filmmaking other than directing and producing.

The staff was amazing and extremely helpful. Being able to have full control over my ideas allowed me to get even familiar with Los Angeles. By having to scout locations, go to Film LA for permits, find talent, hiring a make-up artist, picking out the wardrobe and ordering craft services was all a learning and memorable experience. NYFA definitely grooms you into a responsible and hardworking filmmaker.

Since then I traveled to Chennai, India in January of 2009 & January 2010 and worked on two documentaries. One is entitled “They Put a Band-Aid on My Head,” which I co-directed. It’s about an educator who uses her special teaching methods to teach children with dyslexia. The other is “Muralidharan – Simple, Sweet, Successful,” which I directed.  It’s about a community leader and entrepreneur who has Indian sweet shops throughout India, Dubai and Abu Dhabi.

New York Film Academy in Many Languages

If you are an international student interested in studying film or acting in the United States the New York Film Academy is encouraging prospective students to use their newly designed “mini-sites” that have been translated in the following languages.

Chinese /  Italian / Spanish / Russian /  Korean / Portugese / Japanese

Acting School student Ruth Rogers in War Horse