Opening 10 years to the week after the first film was released, “Mamma Mia! Here We Go Again” — the “Mamma Mia!” sequel — provides perfectly mindless summer entertainment. The new ABBA song-infused musical — the first film being based on the hit Broadway show — opens with the daughter of the late free-spirited rock singer expatriate innkeeper Donna (Meryl Streep), anxiously planning the reopening of her mom’s hotel on a Greek-island with a grand party.
Played again by Amanda Seyfried, Sophie has gone from sweet ingénue into a dynamic self-possessed woman in command. Again we hear her sing in a surprisingly self possessed performance. Quickly, the presence of her major domo Fernando (Andy Garcia) and boyfriend Sky (Dominic Cooper) are established — especially through a long distance duet signing “One of Us” in which she bemoans his absence as he contemplates about taking a hotel job in NYC.
But it really kicks off when, in flashing back to 1979, we see Donna at the end of her Oxford undergraduate days. As played by actress Lilly James, she’s not only is bright, beautifully blonde but also an exuberant and richly voiced belter as demonstrated in her energized performance of “When I Kissed the Teacher” with fellow Donna and the Dynamos members Tanya (Jessica Keenan Wynn) and Rosie (Alexa Davies). The dynamic staging — at her college graduation — illustrates that director Ol Parker provides a more lively setting for this collection of the Swedish group’s pop hits than the first “Mamma Mia!” movie. On stage, the jukebox musical’s plot was a contrivance to situate the songs; this sequel better integrates the songs into an actual plot.
The film alternates between daughter Sophie’s planning a troubled celebration (while also discovering she’s pregnant) with concerns as to whether her three fathers will make it to the reopening of Hotel Bella Donna and her mother’s genesis four decades ago. It reveals the sexy scenarios 40 years ago in which the three men who had wooed and slept with the young Donna leave all wondering who was the real father. In the original film, Donna explains a bit about the three men; here it’s fully illuminated through song and dance as to how they came into her life and left it.
The young Donna’s suitors are both sexy and self absorbed enough to appeal. First come Harry (Colin Firth’s character), played here by Hugh Skinner as a too polite punk, in a T-shirt and ridiculous leather jacket; together they perform an exuberant duet on “Waterloo.” Then she meets Bill (Stellan Skarsgård’s character), the hunky blond sailor played by Josh Dylan who ferries her to the island. Then Sam, the young Pierce Brosnan character (played by Jeremy Irvine), finally lands in her life with enough enthusiasm to show that he’s likely Donna’s true love.
“Here We Go Again” uses some songs that appeared in the first film such as the title number and a re-staging of “Dancing Queen,” with a chorus running through the woods ending up on that same beach, where they perform a huge group dance number. ABBA’s greatest hits were mined for the first film, so many of the songs here are less high-profile tunes, possessed of a more reflective, less bubbly quality.
As the movie cuts back and forth between the top-flight vocals of Sophie and James’ Donna, “Mamma Mia!” Here We Go Again” seems determined not to get too involved in any emotional concerns — will they have an audience to attend their party after a storm nearly wrecks it — while older and younger cast members try to keep up with each other. It’s good to see the older Dynamos, Julie Walters and Christine Baranski, have several moments in the sun which celebrate a more mature perspective.
Various gems out of the band’s catalog are infused and that’s good thing for this otherwise flimsy storyline. Several of the numbers like “Andante, Andante” (a slow-love anthem) or “Angel Eyes” soar and one of ABBA’s finest songs, “The Name of the Game” — dropped from the first film — appears here.
But the charm of this film is how the old and the new integrate with scenes that include a decent performance from Streep and only a few moments of the crusty vocals from Brosnan (much criticized for his vocals in the first film). Let’s face it, with a Broadway show we count on incredible vocals and dancing — here’s it all about seeing the celebs and regular actors shake their booty. Especially on an ABBA classic like “SuperTrooper.”
And then, of course, there’s the injection of pop royalty; when Cher steps in front of the camera as Ruby Sheridan, Sophie’s long absent grandmother (who hardly seems old enough to be Streep’s mom) the camp hosannas are heard on screen and in the audience. If any singing superstar suits the “Mamma Mia!” aesthetic, it’s Cher, whose performance of “Fernando” actually makes the passion between her and Garcia’s character seem like an ideal moment of pop kitsch.
There’s no illusion that this super fab affair is meant to be anything other than another chance use ABBA’s substantial catalog (there even a band member cameo here). And the closing scene which brings together all the cast old and new is just one huge celebratory Broadway-esque closer. The film hardly pretends that it exists for no other than to fulfill the demand for a sequel, but what a good one its and it’s pure fun. In end, even at its most kitschy, its also a paean to the bond between mothers and daughters and the power of women.
“Mamma Mia! Here We Go Again”
Director: Ol Parker
cast: Amanda Seyfried, Lily James, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Meryl Streep, Cher, Andy Garcia, Alexa Davies, Jessica Keenan Wynn, Josh Dylan, Jeremy Irvine, Hugh Skinner, Dominic Cooper, Julie Walters, Christine Baranski
The Glorious Corner
TRUMAN’S SWANS — I only know Ryan Murphy by reputation. He’s been the flavor-of-Hollywood for quite some time now; yet a devil-may-care attitude persists in his CV. I loved his Nip/Tuck which just defied expectations on every level; terrific acting from Dylan Walsh and Julian McMahon, and just the wildest plots I’ve ever seen.
From there Hollywood started throwing money at him left and right; American Horror Story and Hollywood (with Jim Parsons) followed. Also, the anthology series-Feud which began with the “feud” between Joan Crawford and Bette Davis and was succinctly thrilling.
Now, Feud is chronicling Truman Capote and his “feud” with his Swans; featuring mainly a terrific performance by Noami Watts as Babe Paley. Calista Flockhart; a devilish-Diane Lane and Chloe Sevigny are also there as the other swans. Director Gus Van Sant (Drugstore Cowboy) directed several episodes and it is, without a doubt, the best thing Murphy has done and I’ve seen in quote some time.
One episode is entirely shot in black-and-white, a risky-gamble for anyone … but, it pays off handsomely.
Tom Hollander as Capote is simply off the charts and is, I believe, one of the best performances I’ve ever seen.As a young writer, there were two writers I was absolutely captivated with: Dominick Dunne and Capote. Dunne I met and he was everything I hoped him to be, Capote, never. The Swans is a long, long story and I urge you to look further into it. Capote, truly self-destructive, became an appendage of them all and they all told him everything, some of which he wrote about is Esquire (La Cote Basqu”-1965) exposing their innermost secrets and thereby severing the relationship.
Just a brilliant, brilliant series, Murphy’s crowning touch.
SHORT TAKES — In my final few weeks working from home, I finally dialed up ROKU’s Yacht Rock station after initially being somewhat repelled by the term. Turns out, it really means soft rock and I’ve heard everything from Hall & Oates to the Sanford Townsend Band (big favorite) and lots of Steve Winwood; Eagles; Al Stewart; and Chicago.
Not bad actually. Guess I really am old … Micky Dolenz does an interview with NPR’s Lillian Galvez today and BreakfastWith The Beatles’ Chris Carter on March 31 before his show at LA’s Troubadour on April 5 … The Rascals people Got To Be Free tour at the Patchogue Theater on April 26; Keswick Theater on April 27; and SONY Hall in NYC on May 17 …
James Gunn’s Superman: Legacy movie has been re-named Superman; and has cast Wendell Pierce (The Wire; Tom Clancy’s Jack Ryan) as Perry White. And remember, Rachel Brosnahan is Lois Lane! … Keith Richards singing Lou Reed’s immortal classic “I’m Waiting For The Man” is so excellent. Take a look: https://variety.com/2024/music/news/keith-richards-covers-waiting-for-the-man-lou-reed-tribute-1235927738/
The track appears on a Lou Reed tribute album that also features Angel Olsen, Lucinda Williams, Joan Jett and the Blackhearts, Rufus Wainwright, Rickie Lee Jones, Rosanne Cash and others. It arrives April 19 — with a special Record Store Day edition arriving the following day — on Seattle’s indie Light in the Attic Records (which was chosen by the late artist’s estate to handle his reissues and got a Grammy nomination for the “Words & Music: May, 1965” album). Booklet features liner notes by compilation producer & former Lou Reed publicist Bill Bentley, featuring photos by Mick Rock and Timothy Greenfield-Sanders. Said Richards: “To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! I miss him and his dog” …
SIGHTING: Micky Dolenz and Alison Martino at the Catalina Jazz Club watching Jimmy Webb … And, we watched the awesome Jeffrey Wright in American Fiction and loved it until the end. It’s almost as if writer/director Cord Jefferson couldn’t figure the right ending, so he portrayed three. Pretty weird for sure, but a staggeringly excellent performance by Wright, Erika Anderson and Sterling K. Brown.
NAMES IN THE NEWS — Nancy Jeffries; George Michael; Helene Blue; Monica Lynch; Thomas Silverman; Tom & Lisa Cuddy; Alexa Blake; Joe Bonadonna; Andrew Sandoval; Race Taylor; Scott Shannon; Dan Ingram; Bruce Morrow; Wolfman Jack; William Schill; Ed Steinberg; Chris Carter; and CHIP!
The Glorious Corner
YOUNG’S 12 — (via Ultimate Classic Rock) Since he began making records in the 60’s, Neil Young has seldom let a year or two pass between albums. Even as the last LP by Buffalo Springfield was being prepped for release, the Canadian singer-songwriter was making his self-titled solo debut, which came out just a few months later.
Young has never been reluctant to follow his creative muse, even if he’s in the middle of another project. More than one time during his career he’s shelved a project just to move on to something else. Sometimes – as in the case of Homegrown and Chrome Dreams – those records would be released at a later (sometimes much later) date; in other instances, we’re still waiting.
All this productivity and activity can lead to periods of inconsistency, as you’ll see in the below list of the 12 Worst Neil Young Albums. One era in particular stands out: the ’80s (spoiler: Six successive albums during the decade make the list). But LPs from the ’60s, ’70s, ’90s and the ’00s are here, too.After the Gold Rush and Harvest. Even when the records didn’t reach his usual standards, most of them still found new ways to continue on the restless path he started in the mid-’60s. From synth-pop and traditional country to ’50 rock ‘n’ roll and horn-spotted soul, Young’s instincts rarely took him to expected destinations.When you’re as prolific as Young, they can’t all be
Are You Passionate?’ (2002)
Young’s 24th album was supposed to be another Crazy Horse collaboration, Toast, which didn’t get released until 2022. Instead, he pivoted to a record with Booker T. & the MG’s that was billed as a soul album and included Young’s response to 9/11, “Let’s Roll.” One of the shelved Crazy Horse tracks is included, and it concludes with a nine-minute jam. Scant direction and thin songs sink Are You Passionate?
‘Peace Trail’ (2016)
Young’s 36th studio LP was sandwiched between a live album with Promise of the Real and a solo archival release recorded in 1976. Both are preferable to this quickly assembled record made with drummer Jim Keltner and bassist Paul Bushnell. Its political points are similar to the ones he’d been supporting since the ’60s, but now with a technological lean (there’s even some Auto-Tune on a track). Instantly disposable.
The second of two albums released by Young in 2014 (the first was the solo acoustic A Letter Home), Storytone featured big band and orchestral backings to songs inspired by a new romance with actress Daryl Hannah. Forgettable and uncertain – swing and classical don’t mix all that well – the album arrived during a period of prolific activity. An equally unmemorable stripped-down version of the album was released at the same time.
‘Old Ways’ (1985)
Young’s country album Old Ways was first proposed after 1983’s Trans, the synth-based LP he delivered to Geffen. The label balked and insisted on a rock album instead; they got the 1950s throwback Everybody’s Rockin’. Young returned to his country album in 1985, enlisting Waylon Jennings, Willie Nelson and fiddle and pedal steel musicians. Another unremarkable genre detour during Young’s most dour decade.
‘Everybody’s Rockin” (1983)
Young’s second Geffen LP was as baffling as the first. But where Trans moved forward, Everybody’s Rockin’ was a throwback to 1950s rockabilly, complete with a retro look (pompadour, face-dominating sideburns) and name (Neil and the Shocking Pinks). Four songs were covers; an original (“Wonderin'”) dated to 1970. It runs less than 25 minutes. Geffen soon sued Young for making deliberately uncommercial records.
‘Landing on Water’ (1986)
Three genre-specific albums left Young at odds with Geffen Records in the mid-’80s to the point where the label sued him for making records that didn’t sound like Neil Young records. Landing on Water was his return (albeit once again stitched together from years-old sessions) to fuss-free rock music. Good luck finding a memorable song, though. Even Young has referred to Landing on Water as a “piece of crap.”
‘Broken Arrow’ (1996)
After 1989’s career-reviving Freedom, Neil Young had an admirable run in the first half of the ’90s. Then Broken Arrow arrived. Shaken by the death of longtime producer David Briggs, Young and Crazy Horse falteringly recorded the LP over a month, often with no guidance or direction (the first three songs each run more than seven minutes and are little more than aimless jams). An unsteady new era was around the corner.
‘This Note’s for You’ (1988)
After a contentious five-album run with Geffen, Young returned to Reprise for his 16th LP. But he still wasn’t ready to discard the ’80s explorations that marked the decade. The flimsy This Note’s for You, co-credited to the Bluenotes (a horn-based group with other ties to Young’s past), dipped into jump blues music while adhering to a slim conceptual thread about commercialism. At least it contained a minor hit in the title track.
Neil Young made five albums with Geffen in the ’80s, none of them particularly good. But at least most of them have some sort of identifiable tag: synth-pop, rockabilly, country. Life has nothing to single it out. Mostly recorded live with overdubs added later, the Crazy Horse collaboration ended Young’s controversial relationship with Geffen on a sour, but expected, note. Maybe the most easily dismissed LP in his entire catalog.
After more than two dozen years with Reprise Records, Neil Young jumped to the flourishing Geffen label for his 12th album. Nobody expected his first record under the new contract to be a futuristic new-wave LP made with synths and a vocoder altering Young’s voice – especially the label. Young has said he made Trans to communicate with his son, who had cerebral palsy. A year later Geffen filed a lawsuit.
‘American Stars ‘n Bars’ (1977)
Neil Young’s catalog is scattered with albums stitched together from various session sources. For his eighth LP, he collected nine songs recorded over a two-and-a-half-year period, starting in 1974. The results were mixed. The stripped-back country rock made with Crazy Horse on Side One has little connection to the plugged-in fury of “Like a Hurricane,” a mid-decade highlight, and the solo acoustic “Will to Love.” Aimless.
‘Neil Young’ (1968)
Young’s solo debut isn’t terrible, it’s just a letdown after the buzz he generated with Buffalo Springfield. Only a handful of songs (including “The Loner,” fleshed out onstage over the years) make an impression; the rest finds the still-growing singer-songwriter tentatively stepping away from his former band while occasionally tethered to their era-identified folk rock. Better things were to come.
SHORT TAKES — On Wednesday’s Today Show, Carson Daly revealed his first concert ever was Ziggy Marley. And as he and a friend took their seats, it seemed to Daly as if smoke rose from the stage. Daly’s friend said it was happy smoke …
I never heard of Leah McSweeney (another Bravo Housewife), but Tuesday she filed a lawsuit against Andy Cohen. More lurid details for sure. Is Andy this year’s Harvey? I’ll tell you, between Cohen, Puffy and the gals … it’s a huge, huge mess and heads will definitely roll at NBC/Comcast. Stay tuned … Yankee-Bernie Williams is at the Carlyle?
I haven’t heard his music, but this reminds me of Knick-Earl Monroe years back introducing his Pretty Pearl Records. I honestly don’t even remember the artists, but the project came and went pretty quick … Debbie Gibson on the 80’s Cruise with Wang Chung; Escape Club; English Beat; Soft Cell; Air Supply; Ray Parker; Animotion; and Tommy Tutone. Check it out here: https://the80scruise.com/lineup/ …
So sad about Richard Lewis. He used to be a very, very frequent companion to me back in the day at Lorelei on West 58th street. He was always so funny and sweet. A true companion for the naughty 90’s. He’ll be much missed …
Zach Martin interviews 17-old wunderkind Kjersti Long on his NEW HD radio today … Felix Cavaliere and The Rascals at the Patchogue Theater on April 26 and SONY Hall on May 17th … Happy BDay Zach Lloyd; Mitch Ryder; Roy Trakin; and Judy Libow!
NAMES IN THE NEWS — Jacqueline Boyd; Nancy Harrison; Tom & Lisa Cuddy; Jim Kerr; Debbie Gibson; Heather Moore; Roger Friedman; Mark Bego; Melinda Newman; Joe Lynch; Obi Steinman; Felix Cavaliere; Amanda Naylor; Tolouse Bean; Howard Jones; Mark Alpert; Donald Johnson Kyla Nicole; Angela Tarantino;n Barry Fisch; and SADIE!
The Glorious Corner
THE NEW OUTLAWS — (Via Ultimate Classic Rock) Willie Nelson has announced the lineup and dates for his 2024 Outlaw Music Festival Tour.
In addition to headlining sets by the 90-year-old country legend and recent Rock & roll Hall of Fame inductee, this year’s Outlaw Music Festival Tour will include performances by Bob Dylan each day throughout its 25-date run.
Nelson’s Outlaw Tour debuted in 2016 and has since featured Sheryl Crow, Van Morrison, Chris Stapleton, Neil Young and ZZ Top.
“This year’s Outlaw Music Festival Tour promises to be the biggest and best yet with this lineup of legendary artists,” Nelson said in a press statement announcing the shows. “I am thrilled to get back on the road again with my family and friends playing the music we love for the fans we love.”
Brittney Spencer, Celisse and Southern Avenue will also perform at this year’s Outlaw Music Tour Festival. Billy Strings will join the tour for one concert at Washington’s The Gorge. You can see the tour’s complete run dates and lineups below.
General public ticket sales start on March 1 at 10 a.m. local time. Citi card members have access to presale tickets starting Tuesday at 10 a.m. local time until Thursday at 10 p.m. local time. More information can be found at the tour’s website.
SHORT TAKES — Boy, that Andy Cohen news sure disappeared quickly. I guess Brandi Glanville’s lawyers were right when they said NBC/COMCAST was making too much money from Cohen, to dismiss him. Sure, Andy apologized, but that was it …
Joe Manganiello is hosting the new Deal Or No Deal Island. With one of the worst haircuts, I’ve ever seen, he was on Monday’s Today Show -3rd hour- with Jenna and Hoda assisting him. There were so many rules in the intro, I was immediately thrown. All these game shows seem to be the thing these days – cheap to produce; easy to write; and B and C actors are certainly available …
Jenny Boyd – sister to Patti and married twice to Mick Fleetwood – has a new autobiography out, Jennifer Juniper. Here’s a great piece from Spin on it: https://www.spin.com/2024/02/60s-muse-turned-psychologist-jenny-boyd-explores-rocks-greatest-icons/ …
Not to be outdone, sister Patti Boyd-Harrison has an exhibit with Christie’s in London. Take a look: https://www.youtube.com/watch?v=YHBWT_HKDJ8 … Markos Papadatos has a great new interview with John Oates in Digital Journal, but strangely, nothing about his ongoing dispute with Daryl Hall. Methinks it was more of a PR-move to quickly extinguish any and all reference to it, as it just dragged their legacy (Hall & Oates) down … way down. Take a read: https://www.digitaljournal.com/entertainment/john-oates-talks-about-his-new-music-and-his-tour/article?fbclid=IwAR0T42cxA0lJtXRJZ0db1D0mNakjsjVUJYmerGNzTMXdPNotaHrmuPoPmFI … One more trailer for Kevin Costner’s epic Horizon. Pundit Roger Friedman quipped the Indians don’t look too happy in this one. To be honest, I see much of Yellowstone in the trailer. And, Danny Huston who was in the series is in the movie too. Take a look: https://www.youtube.com/watch?v=YYsReoZMj1k … As of this writing, subway crime in NYC up 22% from this time last year! Reminds me of the 70’s here these days … Big, big layoffs at both Atlantic and Warner’s. The later about 600 employees. To me, they got rid of all the people who knew exactly what to do and when to do it. Sad for sure … SIGHTINGS: PR-pasha David Salidor at Brooklyn’s Table 87 …
And, one of the greatest forgotten about bands is Mike Scott and The Waterboys. Just tremendous and timeless music. Check this article out from The Guardian:https://www.theguardian.com/music/2020/jul/27/how-we-made-waterboys-the-whole-of-the-moon-mike-scott… RIP McCanna “Mac” Anthony Sinise.
NAMES IN THE NEWS — Obi Steinman; Felix Cavaliere; Gene Cornish; Steve Walter; Jane Blunkell; Markos Papadatos; Tom & Lisa Cuddy; Anthony Noto; Anthony Pomes; Kent & Laura Denmark; James Edstrom; Alec Baldwin; Lee Jeske; Andrew Tobin; Jewel Smithee; David and Delia Jones; and ZIGGY!
The Most Beautiful Woman in the World
photo credit Conor Weiss
Who comes to mind when you see that phrase—Catherine Zeta-Jones, perhaps, or certainly Grace Kelly? Most would concede the title belongs to one glorious, gracious and violet-eyed lady – Elizabeth Taylor.
Elizabeth (ET from hereon in) was known for her films, jewelry and various husbands, but there was much more to that woman. The perfect person to let us in on the side we never saw is Ann Talman, who played her daughter in The Little Foxes on Broadway. Chosen for her uncanny resemblance to ET as a young girl, they remained close friends until ET’s death in 2011. Through song and story, Ann paints a portrait we never would have imagined—the prankster, surrogate mother, the fashion advisor funny-face maker and more. When consulting with her about what to wear to an awards gala, ET arranged for a private fashion show at Saks and then added “Do you want to borrow any of my jewelry?”. Now that’s a friend to have!
The evening began with Ann singing “The Shadow of your Smile” from The Sandpiper, a film that starred ET and Richard Burton against a backdrop of ET holding a sandpiper. In the film, the bird is a metaphor for broken-winged people, and Ann shyly admits that she had been a sandpiper. Ann was 22 when they met, and she explained how ET took on the surrogate mother role and gave her the support and counsel she needed. When Ann talks about pajama parties and drinking Soave Bollo, one imagines two sisters sharing secrets and giggling. (I can’t imagine ET in PJs, can you?) Nevertheless …
As if the offer of shared baubles was not indication enough of ET’s generous nature, Ann gave a brief history of ET’s involvement with AMFAR (American Foundation for AIDS Research) as well as her own foundation.
This show was powerful, yet delicate, informative without being gossipy, funny while evoking a tear or two. It was lovingly put together with superb direction by Lina Koutrakos with Alex Rybeck as music director. The songs flowed so naturally that it might have been easy to not recognize the skill that went into their selection.
Ann’s ability to mimic ET’s breathy voice as well as her sincerity, added to the charm and verisimilitude of the event. It was such a loving tribute, with little touches, like purple Mardi Gras beads, a printed program and cupcakes with lavender frosting for all in celebration ET’s birthday this week.
The evening ended with a reprise of the first song. Thank you, Ann, for giving us a clearer picture of the shadow behind that most alluring smile.
Best 5 American Film Schools
In the pulsating world of cinema, aspiring filmmakers seek education and mentorship to carve their path in an industry that thrives on creativity and innovation. Choosing the right film school is pivotal in this journey, as it can provide the necessary skills, network, and knowledge to navigate the dynamic landscape of filmmaking. In this article, we will explore five distinguished American film schools renowned for their exceptional programs, state-of-the-art facilities, and contributions to the film industry. From the bustling streets of Los Angeles to the vibrant culture of New York, each institution on this list has played a significant role in shaping the next generation of cinematic storytellers. As students embark on this transformative educational journey, seeking additional support, such as the option to buy a coursework, can provide valuable assistance in managing academic responsibilities alongside their creative pursuits.
- University of Southern California (USC) – School of Cinematic Arts: Located in the Heart of Hollywood
The University of Southern California’s School of Cinematic Arts stands as an iconic institution synonymous with excellence in film education. With its prime location in the heart of Hollywood, USC offers aspiring filmmakers unparalleled access to industry professionals, studios, and the vibrant filmmaking community. The school boasts an impressive roster of alumni who have left an indelible mark on the industry, from George Lucas to Steven Spielberg. USC’s programs cover various aspects of filmmaking, including production, screenwriting, and animation. The hands-on approach, coupled with cutting-edge technology and world-class faculty, ensures students receive a comprehensive education that prepares them for the multifaceted challenges of the film industry.
- New York University (NYU) – Tisch School of the Arts: East Coast Hub of Creativity
Nestled in the heart of Manhattan, NYU’s Tisch School of the Arts stands as a beacon for aspiring filmmakers on the East Coast. Renowned for its diverse programs in film and television, Tisch provides students with a dynamic and creative environment. The faculty comprises industry professionals and accomplished filmmakers who guide students through an immersive curriculum covering every aspect of film production. The school’s location offers students unique opportunities to engage with the vibrant arts and culture scene of New York City. NYU’s Tisch School of the Arts is not only a training ground for technical skills but also a hub that fosters creativity and encourages students to find their unique voice in the world of cinema. For those seeking guidance in the academic aspects of their film studies, you can find valuable resources here. This site can offer valuable insights into crafting well-researched and articulate essays, complementing the practical skills gained in a creative filmmaking environment.
- American Film Institute (AFI) Conservatory: Crafting Masters of the Cinematic Craft
The American Film Institute Conservatory, located in Los Angeles, is renowned for its commitment to cultivating masters of the cinematic craft. AFI’s Conservatory program focuses on hands-on learning, providing students with the opportunity to work on real film sets and collaborate with industry professionals. The program’s intensity ensures that graduates emerge not only with technical proficiency but also a deep understanding of storytelling and the filmmaking process. AFI has consistently produced award-winning filmmakers, and its emphasis on crafting auteurs has earned it a distinguished place among the top film schools in the United States.
- UCLA School of Theater, Film and Television: Bridging Tradition and Innovation
The UCLA School of Theater, Film and Television stands as a testament to the marriage of tradition and innovation. Situated in the vibrant city of Los Angeles, the school offers comprehensive programs in film, television, and digital media. UCLA’s film school emphasizes both the art and business of filmmaking, ensuring that students are equipped with the skills necessary to thrive in a rapidly evolving industry. The faculty comprises seasoned professionals who bring a wealth of industry experience to the classroom. UCLA’s commitment to fostering a diverse and inclusive environment further enhances the educational experience, preparing students for success in the global landscape of film and television.
- Columbia University School of the Arts – Film Program: Where Intellectual Rigor Meets Artistic Exploration
Columbia University’s School of the Arts Film Program distinguishes itself as a place where intellectual rigor meets artistic exploration. Situated in the cultural melting pot of New York City, the program encourages students to engage deeply with the theoretical and historical aspects of film in addition to honing their practical skills. Columbia’s approach is interdisciplinary, allowing students to draw inspiration from various artistic disciplines. The program’s emphasis on critical thinking and creative expression sets it apart, producing graduates who not only excel in their technical proficiency but also contribute thoughtfully to the intellectual discourse within the world of cinema.
Choosing the right film school is a crucial step in a filmmaker’s journey, shaping not only their technical abilities but also their creative voice and industry connections. The American film schools mentioned above stand as pillars of excellence, each offering a unique blend of resources, faculty, and opportunities. Whether on the West Coast or East Coast, these institutions provide a fertile ground for aspiring filmmakers to cultivate their skills and emerge ready to make a meaningful impact in the dynamic and competitive world of cinema.
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