The Graduate Film Department at NYU Tisch invites industry professionals to speak and sometimes screen their work on Wednesday evenings during the academic year as part of the "Chair's Workshop" series.
Participants for the 2023-24 academic year included:
At the first Chair's Workshop of the year, Grad Film screened two episodes of HBO’s acclaimed How to with John Wilson. Following the screening, we were joined by John Wilson for a conversation with students about how he creates emotion and comedy through everyday observations and interactions with people. John also discussed making films and editing in his style, staying close to what he knows he can do, and taking risks with the situations he puts himself in, rather than with the shape of his work.
2023 was a difficult year for the film & TV industry. Amidst strikes and the rise of AI in entertainment, Grad Film invited Michael Sládek from SAGIndie and Liz Hynes from the WGA Council to discuss the present and future landscape of labor movements within filmmakers and actors unions. Joining the conversation were Chairs from NYU Grad Acting and Dramatic Writing, Carl Cofield and Joe Vinciguerra, and Associate Dean for Grad Film, Andrew McLean.
Grad Film screened Our Father, The Devil (Venice Film Festival 2023) and hosted filmmaker Ellie Foumbi. She discussed making her film after earning a spot in the acclaimed Biennale Cinema College program, and how navigating the end of film school prepared her to make her first feature. Producer and NYU Grad Film faculty member Joseph Mastantuono also joined, discussing his experience producing a film under severe time constraints and the challenges of shooting abroad with a local crew.
Grad Film screened All Dirt Roads Taste of Salt (Sundance, NYFF 2023) and hosted alumni of the program, Director Raven Jackson (MFA) and Producer Maria Altamirano (MBA, MFA) to discuss the making of their film. Raven's poetic, ethereal filmmaking style led to an unusual transition from film school short films to her first feature being released by A24.
Benny Safdie visited to screen High School (1968) by Frederick Wiseman, alongside one of his first short films Acquaintances of a Lonely John. Safdie discussed working as an actor and director concurrently, his casting process, and the importance of capturing and editing moments to achieve realism, citing his collaboration with Wiseman as an example.
Grad Film hosted a screening of Birth/Rebirth, followed by a conversation with director Laura Moss and screenwriting partner Brendan J. O’Brien. Moss also led a small group of Grad Film students in a mentorship on genre filmmaking. An alum of Grad Film, Laura offered insight into making their first feature after graduating from the program.
The Chair's Workshop hosted a screening of Moonage Daydream (Cannes Film Festival 2022), a powerful documentary exploring David Bowie's creative and musical journey. The screening was followed by a conversation with acclaimed filmmaker and alum Brett Morgen. The discussion covered topics ranging from his editing philosophy and his view that films are not "meant to be like Wikipedia articles," to the profound insight he offered into how making this particular film changed his life.
We were joined virtually by Davy Chou to watch and discuss his latest film Return To Seoul. The conversation covered working in other languages, low budget filmmaking, and the journey of making a movie that spans significant time yet was shot over a short period on the same streets of Korea.
Grad Film Faculty member Mauricio Zacharias and former Grad Film Faculty member Ira Sachs joined to discuss the co-writing process of Passages. Their conversation on creative collaboration took place in a packed Room 1027. Ira spoke about his filmmaking philosophy of starting and ending a film in the middle, while Mauricio discussed what it means to be primarily a screenwriter when joining someone else's film.
Columbia MFA Alum Saim Saddiq visited NYU to discuss his Cannes Jury Prize film, Joyland. The discussion was co-hosted with the Center for Media, Culture & History, the Department for Religious Studies, and the Department for Asian Studies. Saim, a recent film school graduate, articulated the journey from his thesis film to his Cannes premiere, shedding light on the importance of retaining his collaborators throughout the process.
In collaboration with La Maison Francaise, Grad Film hosted filmmaker Alain Gomis for a discussion of his 2017 Berlinale Film Festival Jury Grand Prix winner, Félicité. Julia Solomonoff and Anna Caroline Prost moderated the conversation. Alain discussed shooting the film in Senegal largely with non-actors, sharing his experience navigating large crowds, managing chaos, and working with a lead actor who had limited experience.
Grad Film welcomed Alfonso Cuarón for a screening and discussion of his film Y Tu Mamá También. Speaking to a full house, Alfonso reflected on his career and life, sharing insights such as his lack of envy for the challenges faced by young filmmakers, his practice of never rewatching his films once completed, and the importance of embracing cinematic freedom while on set.
Grad Film hosted a panel discussion focusing on the current state of the film industry, featuring Angela LaManna (WGA), Scott Lambert (PGA), Sofia Sondervan-Bild (PGA/Moderator), Matthew Glasner (CAS), and Kara Durrett (PGA). During a candid conversation, these industry professionals shared the challenges of funding films, even those with A-list talent, and explored alternative revenue generation methods within the industry. Panelists also shared personal film memories and answered student questions on topics ranging from AI to the potential for future strikes.
NYU Tisch Graduate Film alumna Debra Granik (MFA ’01) joined the Chair's Workshop for a screening of her latest docuseries, Conbody vs. Everybody, which premiered at Sundance 2024. The series follows Coss Marte, a former convict who founded ConBody, a fitness program employing formerly incarcerated individuals, inspired by his prison workouts. Granik documented Marte's eight-year journey and the challenges faced by his team as they reintegrated into society while combating recidivism and gentrification in New York City's Lower East Side. During the event, Granik provided a detailed look into the docuseries creation process, sharing her experiences and the project's evolution. She emphasized capturing the nuanced, ongoing stories of her subjects, which led to the decision to extend the project into a multi-part series. Granik also discussed broader themes of prison reform and systemic barriers faced by formerly incarcerated individuals, reflecting on how these issues intertwine with the current film industry.
Grad Film Faculty member Carol Dysinger presented her latest feature film, One Bullet, which premiered at Slamdance 2024. The film, representing over a decade of work, captures the profound and harrowing story of a stray bullet that paralyzed a young boy in Afghanistan. Through meticulous reconstruction, Carol explores the far-reaching ramifications from multiple perspectives, including the boy’s family and the U.S. military in both Afghanistan and the United States. Award-winning documentary filmmaker Yance Ford (Power) moderated the discussion. Carol shared insights into the ethical challenges inherent in documentary filmmaking, highlighting the delicate balance between storytelling and respecting the privacy and dignity of subjects. She also discussed the film's evolution from initial research for a script into a full-fledged documentary, reflecting on the journey and the decisions that led to this transformation. The event drew members of the documentary filmmaking community, as well as current and former students of Carol's, providing a valuable opportunity to engage with her, ask questions, and gain deeper insights into the making of One Bullet and the broader implications of documentary work.
Grad Film hosted a screening of Darren Aronofsky's first film, Pi, followed by an in-depth discussion with the director about making a low-budget feature. The conversation delved into Aronofsky's unique approach to actor transformation through his directorial work and provided valuable insight into his filmmaking process.
Savannah Leaf and Geraldine Barón joined the Chair's Workshop for a screening and discussion of Earth Mama. Leaf's acclaimed directorial debut feature, which premiered at the Sundance Film Festival, is lauded for its poignant portrayal of a young single mother navigating the foster care system in the Bay Area. The film expands on themes Leaf previously explored in her documentary short, The Heart Still Hums. During the event, Leaf and Barón discussed their unique process of casting non-actors to bring authenticity to their characters, sharing insights into working with Bay Area rapper Tia Nomore, who played the lead role of Gia.
On March 5, Grad Film hosted a screening of Ricky, recipient of the Sundance Directing Award. This was followed by a panel discussion with key creative team members: director and co-writer Rashad Frett (MFA ’21), co-writer Lin Que Ayoung (MFA ’20), and cinematographer Sam Motamedi (MFA ’23), all from NYU Tisch Graduate Film. The panelists shared insights into their transition from film school to producing their first feature, emphasizing the significance of relationships forged during their academic careers. They discussed the challenges and triumphs of the filmmaking process, including the necessity of swift on-set decision-making, their Sundance experiences, and the journey of securing financing and participating in various film labs. Frett and Motamedi elaborated on their evolving collaboration as director and director of photography, highlighting how their partnership matured over the years. The session provided students with a comprehensive understanding of independent filmmaking's practical aspects and the industry's collaborative nature.
On March 19, the Chair's Workshop hosted renowned independent film producer Christine Vachon for a screening and discussion of Safe (1995), directed by Todd Haynes and produced by Vachon. The film, starring Julianne Moore as a suburban housewife afflicted by a mysterious environmental illness, is celebrated for its unsettling portrayal of self-help culture and societal anxieties. Vachon shared insights into her journey to becoming a pivotal figure in independent cinema, emphasizing her project selection criteria, such as script maturity and the director’s ability to realize the film’s vision. She also discussed her enduring commitment to supporting independent filmmaking and provided valuable perspectives on navigating the complexities of the current film industry landscape, offering guidance to students as they embark on their post-graduate careers.
Following a mentorship program led by cinematographer Sheldon Chau, Grad Film hosted a screening of Demba, directed by Mamadou Dia and shot by Chau. Prior to the screening, Dia joined Chau for a conversation about their long and fruitful collaboration. They reflected on the creative and ethical dynamics of working across cultures, emphasizing mutual respect and cultural sensitivity in the filmmaking process. Dia highlighted how Chau’s outside perspective helped shape the film for an international audience, while Chau discussed his commitment to approaching culturally specific projects with humility and curiosity. The conversation offered valuable insights for aspiring directors and cinematographers, deepening students’ understanding of collaborative authorship and visual storytelling across cultural boundaries.
Grad Film hosted a screening of Pooja, Sir (2024), directed by Deepak Rauniyar and shot by cinematographer Sheldon Chau. Both Rauniyar and Chau participated in a post-screening discussion, sharing insights into the challenges of creating a politically charged film and the production limitations they faced. They discussed their long collaboration and how they navigate their on-set working relationship, with Rauniyar assisting Chau in understanding the story's cultural nuances. The film, which premiered at the 81st Venice International Film Festival and has garnered international acclaim, provided a compelling case study in cross-cultural collaboration and the complexities of political storytelling.
On April 23, the Chair's Workshop welcomed Nicholas Colia, an NYU Tisch Graduate Film alumnus (MFA ’19), for a screening and discussion of his debut feature film, Griffin in Summer. Colia, a recipient of the Martin Scorsese and Maurice Kanbar Scholarships during his time at NYU, shared insights into adapting a short film into a feature-length narrative, focusing on the nuances of crafting comedy. He detailed his casting process, highlighting how he discovered actors who authentically embodied the film’s characters. The session fostered a heartwarming and comfortable atmosphere, encouraging open dialogue between Colia and the students.