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Welcome to the Film Education Journal

By bringing together the diverse voices engaged in film education within this single open access journal, the film education journal will explicitly encourage a greater degree of exchange between theory, practice, policy, and pedagogy., film is a distinct medium with a distinct history and, as such, it requires a distinct pedagogy. the film education journal (fej) is the world’s only publication committed to exploring how teachers and other educators work with film, and to involve other participants – policymakers, academics, researchers, cultural agencies, and filmmakers themselves – in that conversation. we distinguish film from wider media. in consequence, pedagogical approaches inherited from other subjects, such as the textual study of literature, are not always appropriate for analysing film. in many parts of the world, the study of film is not yet recognized as a discrete subject and has not become a fully integrated part of the curriculum. fej aims to lead and shape the developing conversation about the place of film education in diverse educational contexts. we have identified four groups routinely involved in the practice of film education: theorists, educators, film practitioners and policymakers, each coming from a different background yet sharing a common interest. the fej exists to occupy the productive middle ground between these groups. we take particular inspiration in this respect from international film cultures that have developed a more holistic sense of how theory, practice, policy, and pedagogy speak to each other., the film education journal  publishes twice a year in, in june and november. we welcome submissions and provide an inclusive, fully non-commercial, open access publishing process. there is no cost to authors at point of submission or publication. articles are published on this site and accessed via a number of subject specific indexers, repositories, and search databases to maximise readership. learn more about our publishing process, how to submit and sign up to our publishing alerts to keep abreast of our calls for papers and new article releases., start reading now . search within the film education journal using the search bar at the top of our page, or view issues here ., most popular articles.

Excitement lies elsewhere: Teenage film-makers and popular culture

Alex Boutellier, Panos Raptis

Teaching virtual production: the challenges of developing a formal curriculum

Film education otherwise: A response to Bergala's dialectics of cinema and schooling

Knowledge Bank - Creative Teaching and Learning

Using film & movies in education knowledge bank, film has been a major feature of popular culture for a hundred years, and the moving image now dominates all aspects of the transmission of information. how can film be integrated into the curriculum.

Using film in education – Sponsored by the National Education Union

Film has been a major feature of popular culture for a hundred years, and the moving image now dominates all aspects of the transmission of information. Schools, however, have been very slow to move away from their dependency on text.  Study after study suggests that children now, particularly boys, need visual stimulates to support their learning and that all children receive a lot of their social and moral learning through film and TV, and forms of social media like YouTube.

Yet where film and moving images are used in education it is considered a pleasant introduction to new concepts, ideas or books, something innovative and a little outside the mainstream of teaching and learning. The research suggests it can and should play a much bigger role; it can be used to support social and moral understanding, to teach values and character, to support the development of information literacy in a visual world. Its techniques can be used to underpin mainstream skills like writing, be it creative narrative or fact-based presentations and perhaps most importantly of all, it can help develop critical reflection and a sceptical knowledge of how to review the way visual meanings are constructed to influence us. The research speaks volumes about the potential of film and the moving image to make learning more relevant and ‘fun’ and how much of that potential is being missed.

In  2011, Film: 21 st Century Literacy, which is backed by the BFI, FILMCLUB, Film Education, First Light and Skillset, conducted an opinion survey of teachers in order to research and report current classroom practices involving film, their benefits to pupils, their impacts on pedagogy and what  the future of the use of film in education might be. 387 people completed the survey; South-east England had the highest amount of teachers already using film, with Wales having the least. English teachers were the most compliant towards film in education with 95 teachers using film techniques in their classrooms; the next closest was MFL teachers at 35. Furthermore, the survey found that further education teachers were 16 percent more likely to use film in their lessons than primary school teachers, which the majority of these also being English teachers. Film making and film watching were the two highest activities done by these teachers.

The survey went on to ask teachers for their opinions on key topics involving film education. The highlight of these were “do you believe that a wide range of films broaden and encourage children’s learning and understanding of the world and culture?” 100 percent of those surveyed agreed that this was the case. The vast majority (99%) also agreed that film is a means of getting young people enthusiastic about their subject.

In perhaps the most interesting section of the survey, teachers were asked about their opinions on the benefits of using film for their students. 83 percent of those surveyed believe that using film would inspire creative thinking in their students. When teachers were asked to rate their most significant three improvements, ‘attitude towards learning/motivation to learn’ was the highest ranked factor.

Teachers were asked if there was one particular demographic group that they noticed undergo a more marked change than others. Many teachers felt that no one group benefitted more than others, but a remarkable amount of teachers commented that using film significantly improved boy’s literacy. For girls, many teachers mentioned improvements in confidence, although this comment was spread quite evenly across ages and genders, as was the comment that motivation improved.

Overall Impacts on Teachers

84 percent of the teachers interviewed agreed that film allowed them to teach a wider range of ability levels, including the more difficult and challenging pupils. The impact of using film is clear. When asked about their personal experiences, 74 percent of teachers believed that there should definitely be more film education opportunities offered to young people at their schools, and that pupils who participated in the film project would want to take part in more film related activities should these be available.

In a separate piece of research conducted independently by the BFI and lead by Mark Reid in order to understand how film is currently used in Europe and how it could be used globally, going forward.  The defined purpose behind film literacy in Europe is: ‘for young people, to provide awareness and knowledge about our film heritage and increasing interest in these films and in recent European films, the ultimate goal being to build a long term audience for European films.

The responses from national representatives indicated a clear set of priorities. The highest priority in the formal curriculum (selected by most countries) was given to the development of film language and filmmaking skills, closely followed by the understanding of film as an art form and critical viewing.

The BFI used the results from their research in order to create recommendations on how to improve film education going forward. The most prominent recommendation was to develop a series of models of film education for Europe, that include appreciation of film as an art form, critical understanding, access to national heritage, world cinema and popular film, and creative filmmaking skills.

The research goes onto look at what strategies are already in place in European countries. The strongest models of provision are those with national strategies jointly devised/ endorsed by both Culture and Education ministries, with strong industry support, and we found few examples of this ‘Only Northern Ireland appears to have a fully integrated national film education strategy. The Scandinavian countries are generally strong. In Finland, although there is no overall film strategy, there are several agencies and non-governmental organisations highly active in the promotion of film education. And in Denmark and Sweden, each respective Film Institute has its own ‘national strategy.’ Finally, the BFI proposed a ‘Translation Fund’ which supports national agencies in adapting strategic approaches from other, similar nations and territories, and supports professional development and exchange of key workers in those agencies in meeting and learning from colleagues in other countries.

There is an ongoing project in Bradford which is increasing writing standards through the use of film. Students are given chances to watch, review and create films. A highlight of this project happened when pupils from Flowery Fields Primary, attended the National Media and Science Museum in Bradford for the film in education screening. The students were then each given a chance to showcase their films and the creative processes behind them on the big stage.

A final piece of research by ‘Scottish Screen’ highlights the impacts of moving image education (MIE). This research found that there are commonly seven generic impacts of MIE, these are:

• Learners’ enjoyment and sense of achievement.
• Disaffected or underachieving learners showing engagement and concentration.
• Increased motivation, confidence, and self-image.
• Increased attainment in literacy.
• Increased skills in collaboration and teamwork.
• Increased knowledge about, and interest in, making moving images.
• Increased interest in watching and talking about moving images.

However, these impacts closely mirror those found in a wide range of research and evaluation on cultural interventions in education. In 2002, a review of the available evidence about the impact of ICT on the learning of literacy associated with moving image texts in English for ages 5-16 was undertaken by Andrew Burn and Jenny Leach. This research portrayed MIE in a positive light and listed the 7 above impacts as the ‘generic impacts.’

References Impacts of Moving Image Education by Cary Bazalgette for Scottish Screen Film Literacy – Raising Writing Standards with Film by Tim Bleazard Screening Literacy: Executive Summary by the British Film Institute (BFI) Teaching Using Film – Statistical Evidence by Film: 21 st Century Literacy

Issues to consider

• In which areas of the curriculum is use of film lacking?
• What resources would we need to use film in a more powerful and active way for learning?
• What are some of the ways in which film has been successfully used in subject teaching at our school?
• What collaborative opportunities are there to use film across the curriculum?
• What information literacy topics can we use film to help address?

Privacy Overview

Exploring pathways of film education throughout students’ experiences of Scottish secondary school

In this article, Kerry Abercrombie, a teacher of Media and English at Larbert High School in Falkirk, Scotland, explores the unique specialist pathway called School of Media, where young people are able to engage with film education throughout their entire experience of high school.    MORE

Keywords : #media #film #education #scotland #secondary schools #sqa

Teaching Film Everywhere: Mark Reid (BFI) and Saskia van Roomen (London Film School) In Conversation

Mark Reid, Head of Film Education at the British Film Institute (BFI) interviews Saskia van Roomen about the range of her work, across formal and informal education, with children, students, film-makers, and parents and families, in practical, creative, terms as well as in the sheer unadulterated pleasure of watching films from all over the world.     MORE

Keywords : #film education #BFI #Into Film #London Film School

Exploring the place of animation in Scottish moving image education

In this article animator and film practitioner Jonathan Charles and academic Robert Munro discuss the benefits and challenges of using animation through a detailed look at a filmmaking project within a primary school in East Lothian. The article also provides, via Jonathan’s personal experience, an overview of animation practices and how its place in film education has evolved over the past decade.   MORE

Keywords : #animation #film education #scotland #primary schools

Sharing lived experiences through the film education project Cinema en curs 

This article explores the Catalonian project Cinema en curs, an annual, recurring and now international programme of film education that takes place with students aged 10–18 in schools and colleges. Set up in 2005-6 by Núria Aidelman and Laia Collel from the arts association A Bao a Qu, the project now runs across various regions of Spain and internationally.   

Keywords : #filmmaking #realism #place-based education

Learning from the Understanding Cinema project in Scotland

This article provides a detailed, first-hand overview of the filmmaking project Understanding Cinema . Author and filmmaker  Jamie Chambers  worked as a tutor on the project between 2013 and 2019 and reflects on both its highlights and challenges. For teachers interested in making films, it provides a detailed account of how ‘a well-designed pedagogy’ can ‘allow simple, yet deep access to cinematic aesthetics’.

Keywords : #filmmaking; #Scotland; 

#primary school ; 

Securing a place for film within a Scottish secondary school   

Michael Daly and Jacqueline Thomso n are English teachers at John Paul Academy , an inner-city secondary school in Glasgow, Scotland. Working together as probationary teachers, they decided to start an after-school film club. From there, film has gradually become a central part of their teaching strategy, and has moved beyond their own English and Media classrooms to become embedded within John Paul Academy’s broader curriculum. MORE

Keywords : #secondary school #Scotland  #film club; #English

Exploring local heritage through a documentary filmmaking project in Chile  

Felipe Correa describes the process of a documentary filmmaking project at a secondary school in Chile . Its aim was to encourage students to engage with the places, crafts and community where they live. Over the course of a year, students watched and analysed documentary films from different periods and cultures, whilst performing practical filmmaking inside and outside the school. MORE

Keywords : #filmmaking; #Chile #documentary ; #cultural heritage

Cinema workshops within marginalised communities in Chile

Alicia Vega is a Chilean film scholar, educator and outreach worker who has run a series of cinema workshops within highly disadvantaged communities across Chile, which provided younger children with formative understandings of cinema, for over 30 years This is a rich and intimate account of how film can be used within community learning and outreach programmes.  MORE

Keywords : #filmmaking #Chile 

#outreach work; #active viewing

Filmmaking about social issues with primary school children in Scotland 

Read about the experiences of Scottish teachers at Granton Primary School in Edinburgh. This case study of the making of the short film See You Tomorrow  is a great first-hand account of some of the benefits and challenges to consider when creating films in a primary-school context . Discover a range of tips and ideas for you to take away and use back in the classroom with your pupils. MORE

Keywords : #filmmaking; #racism; 

#primary school ; #emotional literacy

Discussing films in the classroom with children of different ages in Slovenia

How can we best approach discussing films in the classroom? Mirjana Borcic is one of the foremost figures within Slovenian film education. Explore a range of her ideas on how film can be used as a means of facilitating  discussion in the classroom, and in particular on how to ensure that discussions are pupil-centred and encourage creative thinking. MORE

Keywords : #discussing film #Slovenia 

#student voice; #active viewing

A 16 week course of practical filmmaking with secondary school children in Portugal

Explore the detailed overview of a filmmaking project from start to finish, which provides a useful model for secondary school teachers interested in making films with their students . This case study of film education in Portugal takes readers through the 16 weeks of a filmmaking course, acting almost as a project diary, describing the weekly tasks and outcomes. MORE

Keywords : #filmmaking; #Portugal  #secondary  school; #collaborative;  

Towards an Anti-Racist Syllabus: Inclusive Pedagogy in Animation Studies and Beyond

F antasy/Animation is a free-to-access and peer-reviewed educational resource, webs ite, blog, and podcast dedicated to the relationship between fantasy storytelling and the medium of animation. This article provides the outcome of a roundtable discussion that took place at the Canterbury Anifest event in February 2021, as well as additional links and ideas for classroom activities. MORE

Keywords : #fantasy; #animation #diversity ; #inclusion; #BIPOC; #gender; #race

Film Education Journal

An international peer-reviewed journal that explores how teachers and educators work with film.

Film Education Journal has moved!

Ucl press journals including film education journal have now moved website., you will now find the journal, all publications and submission information, at  https://journals.uclpress.co.uk/fej.

• Volume 6, Issue 2 (12 December 2023)
• Volume 6, Issue 1 (13 June 2023)
• Volume 5, Issue 2 (17 November 2022)
• Volume 5, Issue 1 (14 June 2022)
• Volume 4, Issue 2 (23 November 2021)
• Volume 4, Issue 1 (10 June 2021)
• Volume 3, Issue 2 (26 November 2020)
• Volume 3, Issue 1 (23 June 2020)
• Volume 2, Issue 2 (21 November 2019)
• Volume 2, Issue 1 (12 June 2019)
• Volume 1, Issue 2 (30 November 2018)
• Volume 1, Issue 1 (18 June 2018)

Collection Information

Latest issue.

• i Table of Contents: Film Education Journal 6(2)
• 69 Teaching virtual production: the challenges of developing a formal curriculum
• 82 Vernacular cinema, self-concept and the perceptual–conceptual shift: exploring conversations between film education and developmental psychology
• 101 Don’t teach: exploring the irreducibilities of film education through Japan’s Children Meet Cinema project in conversation with Etsuko Dohi
• 116 Documentary film practice at the Institute of Film and Television, Ghana: truth claims, oral histories and documentary strategies
• 126 Exploring possible approaches and proposals for the development of film education in Bulgaria
• 141 Montage as a gesture of mediation and education

Film Education: A User's Guide

Discover why film education matters and learn how agencies across Europe have successfully advocated for film education.

Learn how to design and start your own film education programme

Film Education: A User’s guide will help you discover amongst other things, why film education matters, different approaches to film education and learn how agencies across Europe have successfully advocated for film education.

From experienced and knowledgeable practitioners from the UK, Germany, Denmark, France, Spain, Slovenia, Italy, Greece and more, you’ll discover how to design, organise, and manage film education programmes for your learners or community. You’ll learn from people working in prestigious film archives and festivals, those training teachers, and those running school-cinema programmes and film education NGOs.

The main aspects will cover:

Film education - why it matters

Watching and choosing, analysing and making film

On film education with pre-schoolers

Film resource

Practice in cinemas, festivals and archives

National framework and why they work

Measuring the impact of film education

Who is the course for?

This course is designed for educators working in the film or media education who are looking to broaden their knowledge and expertise, try out new ideas, and learn about great practice. This course is also designed for policymakers, cinema and festival workers, archive educators, strategic bodies and agents who are looking for good practice and good examples of international film education.

Topics include:

• WHAT do we mean by the terms film and film education?
• WHY should we teach about film?
• WHAT are the key objectives of film education and HOW do we deliver them?
• HOW do we link critical and creative work, and WHICH methods work?
• WHERE is film education delivered?
• HOW do we evaluate and assess the impact of film education?

We encourage you to explore this website and hope that you and your fellow teachers will engage in lively debates and discussions. We also hope you will be inspired to question and develop your own ideas on film education.

Introduction Video

Watch a brief video explaining this resource and its objectives.

Who developed this course

• 1-800-611-FILM

Film School

Hands-on filmmaking degrees, certificates, and workshops.

Filmmakers tell captivating stories through film, television, and new media, using compelling narratives and engaging performances to bring their cinematic vision to life. At NYFA’s Film School, aspiring filmmakers master these skills and techniques, choosing from a variety of Filmmaking degrees, certificate programs, and workshops at our campuses in New York, Los Angeles, South Beach, Gold Coast (Australia), and Florence (Italy), as well as numerous international locations. During these hands-on programs, students learn-by-doing, spending a majority of their studies writing, shooting, editing, directing, and producing original films and digital content.

Through robust coursework, production workshops, and actual on-set experience that reflects the work done within the film industry, students build their confidence as directors and filmmakers. NYFA filmmaking students explore every phase of classical film structure and content creation, receiving a well-rounded education in the always-evolving art of visual storytelling. Our rigorous, accelerated approach provides students with the opportunity to make a number of films during their time at NYFA, and graduates leave our programs with a selection of their best work. Typically, the longer the program, the more content and films students get to create. For students interested in creating non-fiction content, we also offer a number of programs specifically for documentary films.

As the original disruptors of the Hollywood gate-keeping system, NYFA strives to make education in filmmaking accessible to the most diverse, international, and broadest community of students. At our film school, we foster an environment that is creatively challenging, respectful, and actively supportive of each unique student and of a collectively diverse student body.

Related links

Student Showcase

Filmmaking degrees, the filmmaking degrees at nyfa’s film school provide students with a well-rounded education that fully supports their development as directors and filmmakers. in our hands-on programs, students create a number of original films and content, gaining hands-on training and experience on a film set..

Through large-scale production workshops and rigorous coursework, degree students develop a practical skill set that incorporates all major aspects of the filmmaking craft, as well as emerging storytelling mediums such as web series, podcasts, virtual reality, commercials, and music videos. Students also take liberal arts courses closely related to filmmaking, preparing them to develop their unique stories and express themselves cinematically. Our degree students fully explore and gain mastery of filmmaking and visual content, developing their individual style and artistic voice. Students who fully commit to their program emerge with a wealth of experience and expertise in filmmaking, as well as a reel with their own films and video content.

Master of Fine Arts (MFA) in Filmmaking

Master of arts (ma) in filmmaking and media production, bachelor of fine arts (bfa) in filmmaking, bachelor of fine arts (bfa) in entertainment media, bachelor of arts (ba) in media studies, associate of fine arts (afa) in filmmaking, filmmaking certificate programs, the 1-year and 2-year filmmaking certificates are conservatory-style programs where students learn essential creative and technical skills in filmmaking, cinematography, directing, screenwriting, producing, and editing..

Designed for aspiring filmmakers who wish to apply their learned and developed skills as soon as possible, these full-time programs offer students the opportunity to create a variety of original films, gain experience on-set in various roles, and build fundamental knowledge in the craft of filmmaking.

2-Year Filmmaking Certificate Program

1-year filmmaking certificate program, filmmaking workshops.

NYFA offers a range of in-person full-time and part-time filmmaking workshops at our campuses and satellite locations. To learn more about the curriculum and projects in each workshop, please visit the individual pages below. Explore examples of projects NYFA filmmaking students may complete on the filmmaking projects page .

1-Semester Filmmaking Workshop

During the full-time 1-Semester Filmmaking Workshop, students create short films and video content for their own reel. Projects may include a Mise en Scène, Continuity, Montage, and Point of View. Learn More

12-Week Evening Filmmaking Workshop

The 12-Week Evening Filmmaking Workshop is a part-time, 64 hour program typically held in the evenings on Mondays, Tuesdays, and Thursdays. Projects may include a Continuity film, Music and Montage piece, as well as a final film. Learn More

8-Week Filmmaking Workshop

The 8-Week Filmmaking Workshop is a full-time, 160 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects may include a Mise-en-Scène, Continuity, a Music, a Checkovian, and a final short. Learn More

8-Week Cinematic VR Filmmaking Workshop

The 8-Week Cinematic VR Filmmaking Workshop is a full-time, 160 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects include a 360 musical scene, group short narrative video experience, short narrative, and a final experience project. Learn More

6-Week Filmmaking Workshop

The 6-Week Filmmaking Workshop is a full-time, 120 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects may include a Mise-en-scène film, a Continuity film, and a Non-sync final film. Learn More

6-Week Holiday Filmmaking Workshop

The 6-Week Holiday Filmmaking Workshop is a full-time, 120 hour program held in the winter over the holiday break. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects include a Mise-en-scène film, a Continuity film, and a Non-Sync final film. Learn More

4-Week Filmmaking Workshop

The 4-Week Filmmaking Workshop is a full-time, 80 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects may include a Mise-en-Scène, Continuity, and Montage/Music film. Learn More

4-Week Music Video Filmmaking Workshop

The 4-Week Music Video Filmmaking Workshop is a full-time, 80 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects include a Music and Image and Music Video Group Project. Learn More

3-Week Filmmaking Workshop

The 3-Week Filmmaking Workshop is a full-time program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects may include a Continuity and Montage/Music film. Learn More

1-Week Filmmaking Workshop

The 1-Week Filmmaking Workshop is a full-time, 20 hour program. Classes are typically scheduled Monday through Friday with the potential of weekend classes. Projects include a Continuity film. Learn More

2-Day Filmmaking Workshop

The 2-Day Filmmaking Workshop is a full-time, immersive, two-day workshop held in Florence (Italy). Students complete assignments such as Director’s Craft, Screenwriting, and Cinematography exercises. Learn More

2-Day Directing Workshop

The 2-Day Directing Workshop is a full-time, immersive, two-day workshop. In this weekend filmmaking workshop, students are taught by working industry professionals and learn the essentials of directorial style. Learn More

Online Filmmaking Workshops

In addition to our in-person workshops, NYFA has a variety of online filmmaking workshops. These workshops are a great fit for filmmakers, directors, and content creators who want to gain experience creating their own films from the comfort of their own home.

15-Week Online Filmmaking Workshop

The 15-Week Online Filmmaking Workshop is a part-time, 80 hour course held on Tuesday and Thursday evenings. There is an additional class on Wednesday evenings for weeks 14 and 15. Projects may include a Continuity Exercise, a Music and Montage film, as well as a final piece. Learn More

8-Week Online Filmmaking Workshop

The 8-Week Online Filmmaking Workshop is a 120 hour, full-time program held Monday through Friday. Projects may include a Mise-en-Scène, Continuity Exercise, a music and montage film, a subtext film, as well as a final film. Learn More

4-Week Online Filmmaking Workshop

The 4-Week Online Filmmaking is a 80 hour, full-time program held Monday through Friday. Projects may include a Mise-en-Scène, Continuity Exercise, a music and montage film. Learn More

2-Week Online Filmmaking Workshop

The 2-Week Online Filmmaking is a 40 hour, full-time program held Monday through Friday. Projects may include a Mise-en-Scène and Continuity Exercise. Learn More

1-Week Online Filmmaking

The 1-Week Online Filmmaking is a 22 hour, full-time program held Monday through Saturday. In the workshop, each student writes, directs, shoots, and edits a short film project. Learn More

Film School Faculty

The award-winning faculty at NYFA’s Film School actively work in the film, television, and entertainment industries, possessing a wealth of experience in directing, screenwriting, acting for film and stage, cinematography, editing, sound design, and producing. NYFA’s faculty are passionate professionals who live and breathe film, providing the guidance and expertise necessary for students to hone their craft and build their confidence as visual storytellers.

Liz Hinlein

Liz Hinlein is an accomplished DGA director, creative director and visual artist with a vast portfolio of critically acclaimed work across film, commercials, and immersive media. Her debut narrative feature, Other People’s Children, premiered at the Director’s Guild of America and garnered high praise from Variety as “an intriguing debut.” The film received multiple film festival honors, including the prestigious Panavision New Filmmakers Grant, and is currently available for viewing on Apple Tv+ and Amazon Prime.

Liz’s short films have been screened globally at renowned festivals such as the Berlin Film Festival, Slamdance, and The Hamptons Film Festival. In the immersive space, her documentary VR experience, OSAGE ’85, is currently supported by the Venice Biennale. Liz’s work in the VR/AR space has earned recognition from clients such as the NFL, Walmart, Accenture, and Byton Auto, with her Accenture project winning Best VR Branded Content at CES.

As a sought-after director for high-profile commercials, branding videos, and music videos, Liz has worked with a diverse range of brands and artists, including Castrol Oil, Dove, Lifetime, Revlon, Gillette, Maybelline, A&E, Wella, NARS Cosmetics, Bare Minerals, Clairol, and MAC Cosmetics. She has also creatively directed and photographed projects for renowned artists such as Mary J. Blige, Britney Spears, Quincy Jones, Incubus, and Fishbone. She was selected for the DGA Directors Initiative, The Sony Initiative and the Viacom Initiative.

Liz is a graduate of NYU Tisch School of the Arts and holds an MFA in Cinematography from The American Film Institute. She is also the Creative Director of Film and Cinematography at the New York Film Academy, where she created and hosts the popular Zoom talk show series The 20/20 Online Series, which amassed over 1.5 million followers. Currently, Liz is in pre-production on OSAGE ’85, which will premiere at the Venice Film Festival.

Andrea Swift

Chair of Filmmaking

Andrea Swift Chair of Filmmaking

Throughout her experience, A cinematic storyteller with more than 20 years experience, Swift has served as executive producer and director of PBS’ Emmy-nominated documentary magazine series, In the Life . Her films have also been screened at the United Nations Earth Summit and at festivals worldwide, including Raindance Film Festival (Best of Festival Selection), Sundance’s Environmental Film Festival, and Berlin International Film Festival (Best Short Film, Panorama.) She has created content for AMC, History, WE, the NY Knicks, Madison Square Garden, and Clearview Cinemas; and has written for and directed top talent, including Oscar winner Susan Sarandon, Oscar nominees Laura Linney, Patricia Clarkson, and Lesley Gore, and Tony Award winners Alan Cumming, Harvey Fierstein, Denis O’Hare and Cherry Jones. Currently, Swift focuses on writing, story producing, and creative producing on a variety of documentary projects, including “The Crossing Borders Project,” a featured program of National Geographic’s education wing. MFA, Columbia University.

Edward Timpe

Edward Timpe is a highly experienced film and TV producer with nearly 20 years of experience in the industry. After earning a BS in Kinesiology from Indiana University, he went on to pursue a master’s degree in Film Production from Chapman University. He has taught at NYFA – Los Angeles since 2010.

Currently, he is focused on developing new content that pushes the boundaries of storytelling and engages audiences in new and exciting ways. With a passion for innovation and a deep understanding of the industry, Edward is committed to creating content that resonates with viewers and leaves a lasting impact.

Film School Alumni

NYFA’s Film School strives to offer an intensive and focused education with hands-on experience and practical training. The achievements of any NYFA alumni are the result of their hard work, perseverance, talent and circumstances, and NYFA is proud of our graduates who have pursued ambitious creative goals. Many of our alumni now fill roles as Film Directors, Film Editors, Screenwriters, Cinematographers, Producers, and Actors on award-winning films, creative content, and television shows.

Actor | Comedian | Writer

Actor | Producer

Damon Wayans

Writer | Actor | Producer

NYFA New York

NYFA Los Angeles

NYFA Australia

NYFA Florence

Satellite Locations

NYFA at Harvard University

Paris, France

Beijing and Greater China

Spotlight nyfa.

At the New York Film Academy’s film school, faculty members and curriculum are focused on providing students with the real world know-how to help them achieve their goals. These achievements are the result of their hard work, perseverance, talent and circumstances. Below are some of the positions and networks in which our alumni have worked:

FESTIVAL FAVORITE ‘SHIRAMPARI’ DOCUMENTARY HEADED TO 2023 SUNDANCE FILM FESTIVAL

Nyfa new york filmmaking faculty: interview with andrea swift, nyfa filmmaking faculty: interview with claude kerven, a conversation with 1-year filmmaking conservatory alum & director florian gunzenhauser, nyfa new york filmmaking faculty: interview with jonathan whittaker, nyfa los angeles filmmaking faculty: interview with ed timpe , nyfa miami filmmaking faculty: interview with mark mocahbee, nyfa miami filmmaking faculty: interview with herschel faber, a conversation with nigerian filmmaker and nyfa filmmaking alum michael obiazi abadi, nyfa bfa filmmaking alum raquel bordin works on pixar’s ‘lightyear’.

Please note: Equipment,  curriculum , and  projects  are subject to change and may vary depending on location. Students should consult the most recently published campus catalog for the most up-to-date  curriculum .

2022’s Top 30 Film Schools in North America

Art Center College of Design Pasadena, Calif. With core principles revolving around a learn-by-making attitude, Art Center provides students with state-of-the-art equipment and facilities located in Los Angeles, with the film and television world a moment away from campus. Film students utilize the latest in production and post-production tools and are encouraged to begin shooting immediately. “Consumer-grade technology can indeed capture professional-grade motion images. But trying to make a film or TV show without the real-world, essential skills our students learn will likely be an exercise in futility,” says Ross LaManna, department chair, Art Center Film. Specific course tracks include cinematography, editing and directing. Upon completing the program, graduates will have had the opportunity to write and direct a film and develop a reel of individual work. Notable alumni include directors Zack Snyder (“Army of the Dead”) and Michael Bay (“Ambulance”), and veteran cinematographer Don Burgess (“Spider-Man”).

UC Berkeley The department of film & media offers innovative, interdisciplinary programs leading to a B.A. in Film and doctorates in film & media. It also provides curricular support for the designated emphasis in film studies for doctoral students in other departments. The department teaches students to think historically, theoretically, and analytically about film and media within the broad context of humanistic studies. Students and faculty engage with all forms of moving-image culture, including film, still photography, television, and digital media. Courses are offered in screenwriting, curating, and digital video production. Also on offer is an intense, three-course summer sessions program, which introduces students to the various filmmaking and storytelling processes entailed in developing, pitching and producing media content, while providing an understanding of the roles played by various artists and professionals in the production, distribution, and exhibition of content.

Biola University La Mirada, Calif. Focusing on collaboration over competition, students learn the technical and creative skills necessary to enter the world of filmed media. Biola has abundant opportunities for students, including off-campus programs and an on-campus production center with over $3 million worth of state-of-the-art equipment. “The School of Cinema & Media Arts endeavors to be more than just a film school. We’re a four-screen media program, teaching students how to tell stories across all screens we use in everyday life: the movie screen, TV screen, computer screen, and your device’s screen,” says Tom Halleen, founding dean, and former exec VP of programming strategy at AMC Networks. Last year, students participated in 500 independent productions, and plans are in place for an upcoming $76 million studio facility designed to house all aspects of the production process, from ideation, pre-production, production, post-production, and through final presentation.

California Institute of the Arts Valencia The school of film and video offers BFA and MFA tracks, and works in all modes of moving image and sound based artwork, including story and character driven narratives in live-action and animated form. Documentary projects in all forms are fostered at CalArts, as well as experimental cinema that is born out of personal connections between the filmmaker and the subject matter. The extended studies program offers summer courses, as well as classes in character animation and film directing, The center for integrated media concentration is designed specifically for MFA students whose creative use of technology, in particular digital media, goes beyond their primary areas of study. CalArts graduates Michael Rianda and Jeffrey Rowe won the feature prize at the 2022 Annie Awards for their critically acclaimed Netflix hit “The Mitchells vs. the Machines,” which they co-wrote and co-directed.

California State University Northridge

Centro de Capacitación Cinematográfica Mexico City CCC is the premier destination in Mexico for emerging filmmakers, with more than 30 generations of cinematic graduates, and more than 700 national and international awards won. CCC offers camera, sound, lighting and stage equipment, and allows for the simultaneous operation of three film shooting groups in 16mm, S16mm and 35mm, as well as four video units. Complete post-production facilities are also offered in multiple formats, with an emphasis placed on collaboration. “Working in a combined space with teachers and fellow students offers opportunities not only for shared learning, but also a space for questioning our techniques, subjects, and motivations. Contact with colleagues and teachers can give us clues to find our path,” says CCC director Alfredo Loaeza. Gender parity in all academic programs and sustainable environmental production workshops for emerging filmmakers are significant accomplishments that started in 2021.

Columbia College Chicago

Columbia offers concentrations on film, television, and emerging media, along with a comprehensive digital cinematography platform that aligns with current industry practices, while students can also take advantage of multiple guest lecturers throughout the year, as well as the school’s Semester in L.A. multidisciplinary program. Recent shifts in the modes of filmmaking may be ultra-modern, but the school’s core educational values remain constant. “Anyone can make films using iPhones and iPads, but an education at Columbia College Chicago goes beyond the mechanics of shooting and creating something by yourself: it promotes collaboration, critical thinking, and great storytelling taught by industry professionals — essential tools for working in film and television,” says Thelma Vickroy, chair of the cinema and televisions arts department. Situated in the heart of one of the country’s largest media markets, various internship programs are available for students.

DePaul University Chicago DePaul offers in-depth narrative and animated filmmaking courses, and uses greenscreen cycloramas, a scenic shop, Arri and RED cameras, a three-ton grip truck, top-flight stop-motion and motion-capture stages, and high-end editing suites and mixing studios. The school has started offering fully immersive courses in virtual production on its stages at Cinespace Chicago Film Studios, and the MFA in Creative Producing at Sunset Las Palmas Studios in Los Angeles. “Our students are taught by award-winning faculty and have access to state-of-the-art equipment and professional sound stages at our 32,000-sq.-ft. facility. And over 200 alumni are currently working on the shows that shoot at Cinespace,” says Gary Novak, director of the School of Cinematic Arts. The university recently teamed up with Second City, and offers graduate and undergraduate degrees in comedy filmmaking.

Florida State University Tallahassee The past year saw the addition of a 180-degree LED virtual production stage at FSU’s College of Motion Picture Arts, which will launch a specialized track in virtual production in the next admission cycle. Beyond the tech, though, the school remains dedicated to cultivating relationships between students and alumni. People might be able to make movies with the tech in their pocket now, but the college emphasizes team work that’s needed to make successful stories in the industry. “We stress industry practices with a focus on creative collaboration,” says dean Reb Braddock. “This intense work they do together makes for strong bonds of friendship and future creative teams that last for lifetime.” Alumni tend to hire most recent graduates right out of school because of the tight network created. “They know our students know how to work in teams and deliver on the creative vision,” says Braddock.

Ithaca College New York The Roy H. Park School at Ithaca features six B.A. film and media majors, from screenwriting to digital media production. The school offers students several internship programs for hands-on experience, including a semester program where students spend a semester at the school’s Los Angeles campus working at a local production company. In addition, Ithaca College keeps pace with competing schools in offering students state of the art facilities and equipment, and is in the process of developing the Cube, a state-of-the-art production facility. “We spend $400,000 or more per year thanks to our endowment of upgrading our filmmaking equipment,” interim Park School dean Jack Powers says. “And that means our students are always working with the best and most recent equipment available, which is in many cases the same thing that’s being used by movies that are being made with $400 million budgets.”

Los Angeles Film School Established in 1999, L.A. Film School offers bachelor and associate degrees in entertainment fields, both on its Hollywood campus and through online programs. The film degree allows students to pursue concentrations in production, directing, or cinematography. The school partners with the Academy of Motion Pictures Arts and Sciences for the Gold Rising Intern Track, which allows students to receive hands-on experience on active film productions. The school hosts program advisory committee meetings twice a year, in which employers and educators advise school leadership on curriculum and preparing students for the industry. “That’s the biggest thing, how can an entertainment school remain in line with where tech is going and how can we continue to do that,” says Jessica Young, the program manager for entertainment business programs. “So that’s really one of the biggest things that we are, you know, pride ourselves in, we make sure that students are receiving the best.”

University of Michigan Ann Arbor The department of film, television and media has earned a reputation as a standout program in the Midwest and one of the most prestigious public universities in the U.S. Here students can pursue an “integrated major” that brings together critical studies along with hands-on production experiences. There’s also a lauded student-run television production program, where students have the opportunity to become editors, field producers and serve in dozens of other roles. “In classes, you learn collaboration,” says Yeidy M. Rivero, professor and department chair. “You learn from your professors but you also learn from your peers. In terms of our program, I think our uniqueness is we blend history, theory and practice. So, students gain a working understanding of television and cinema aesthetics and storytelling techniques that take them beyond the basics of how to make a movie or TV show.”

University of Nebraska Lincoln The Johnny Carson School of Theater & Film is generously funded by his estate with more than $33 million in total philanthropic support. The program features emerging media arts, design/technical production and acting as tracks. Alums can be found in every corner of entertainment from stunt performer Jessie Graff (“Iron Man 2,” “Bridesmaids”), set designer Timothy Croshaw (“Inception”) to head of rigging Mike Peters (Cirque Du Soleil, Las Vegas). The school also has its eye on preparing graduates for ever-evolving types of storytelling. “A lot of the learning is not done during a lecture, it’s done during a production or something more experimental,” says Richard Endacott, professor of film and associate director of the school. “Either you’re creating a short film or you’re learning how to code a VR experience and we want to provide our students with those opportunities.”

New York Film Academy New York This accelerated program has been turning out talented filmmakers who take their place amongst the most notable creatives in the industry including actor-producer Bill Hader, actor-producer Issa Rae, game designer Chris Swain, producer Lisa Cortes and actor-comedian Damon Wayans. Taught on campuses around the world, the school’s coursework is keenly focused on real world experience and the instructors have professional experience they pass along to students during their projects. “One of the most critical pieces for us is storytelling,” says Michael Young, president of New York Film Academy. “The cinematic techniques that one can use and learn only through practice, only through collaborating with others — that’s what our programs are designed to do for students. From the beginning of the program until their last day on production, they’ll be developing those technical and creative skills in collaboration with others.

University of North Carolina School of the Arts Winston-Salem The filmmaking school here ranks among the top on numerous industry reports. The program also counts alum Shawn Harwell (“Eastbound & Down”) as an adjunct faculty member. Walt Disney Television Animation post-production supervisor Catherine Linebarger and Hulu’s originals content operations manager Tiffany McMichael graduated from the program. UNCSA now funds all thesis films, which includes providing all equipment and a cash budget for every senior project. The thesis program also includes new formats such as documentaries and VR/XR technologies. “To stand on a set and ideate a script is challenging,” says Deborah LaVine, dean of the School of Filmmaking. “So, to be in a space where you’re mentored, guided and nurtured and you’re collaborating is priceless.”

Pepperdine U. Malibu, Calif. Perched on a beautiful campus with easy access to Hollywood, Pepperdine’s Seaver College has teachers and visiting speakers such as network anchor Lester Holt, Morgan Freeman and Randall Wallace. Notable alums include Denise Huth, a producer on “The Walking Dead,” and helmer D.J. Caruso. The program offers a film major, minor and an MFA in writing for film and television. The program is also a co-sponsor of the city of Los Angeles Film Festival. “Pepperdine’s program is interested in developing each individual’s aesthetic voice and style,” says Joi Carr, professor of film and English studies, playwright and director. “We view it as an opportunity to help students develop their mission in life, whether it shows up as a director, actor or screenwriter. We’re more interested in the person and the wholeness of their craft.”

Pratt Institute Brooklyn and Manhattan, N.Y. Pratt recently launched the Peer Mentorship Program, which is designed to create a “culture of care” when a sense of disconnection can be a struggle. The program is for students and by students and focuses on building connection and collaboration. Alums of the film program have had work featured at Tribeca, Toronto and Cannes film festivals. Alums have gone on to work as editors and producers at outlets including USA Networks, MTV and Entertainment Weekly. Pratt’s program is designed to ground students in practical skills while also encouraging experimentation and exploration. “We can access a lot of things through the internet but it’s been cultivated so there’s no true surprise,” says Matías Piñero, assistant professor. “And cinema is not a discipline that you do in solitary. Cinema is a collaborative art, a collaborative discipline. You’ll find a community here at Pratt.”

Savannah College of Art & Design Georgia SCAD offers programs in film and television, animation and dramatic writing as well as immersive reality and interactive design and game development so students looking for a broad curriculum that prepares them for just about any type of storytelling will find what they need here. The school also runs the annual SCAD Savannah Film Festival, which is one of the largest university-run film festivals in the world. The event is eight days long and draws attendees for its excellent short films and documentaries. “At SCAD we’re doing our best to get you ready to be engaged in the professional world,” says D.W. Moffett, chair of the film and television department. “My department is about collaborative storytelling and learning the tenets of storytelling.”

Syracuse University New York With expanded offerings in TV, radio, podcasting, VFX, entrepreneurship and production design, Syracuse is on the cutting edge of entertainment coursework. The department of film and media arts has been ranked as one of the best film schools by Variety and many other sources. The school is also creating film history classes that take an anti-racist and anti-sexist focus from about the middle of the last century until present day. Danny Zuker, VFX supervisor Mike Laskersony and Pixar’s Jim Morris are amongst the alums. “Syracuse University offers aspiring filmmakers a rigorous, collaborative, and encouraging hands-on environment within which they learn the imperative historical, theoretical, conceptual, and political implications of filmmaking in the contemporary moment,” says professor Kara Herold. “We embrace cinema in its many rich, diverse forms — from smartphone filmmaking and music videos to 35mm narrative filmmaking; from Hollywood and independent “classics” to Afrofuturism.”

University of Texas at Austin As part of the Moody College of Communications, the radio-television-film department is consistently ranked among the best film programs in the country. Located in Austin, a city known for its high quality of life and low cost of living, the school also has a notably large green screen (everything is bigger in Texas, right?), motion capture studio and can boast about alums including “BlacKkKlansman” producer Ray Mansfield who return to the campus for industry talks with students. “If you just download tutorials on filmmaking from online, for the most part, you’re just at filmmaking by yourself,” says Miguel Alvarez, assistant professor of practice and production area head. “But when you go to film school you’re in an environment with a bunch of other students who are equally passionate about making films and that exchange of ideas is something that you don’t get anywhere else.”

University of Wisconsin Milwaukee The Peck School of the Arts’ Department of Film, Video, Animation & New Genres offers just as much as the name would indicate. The program offers a wide variety of classes that prepare students to work in the rapidly evolving world of entertainment, whether that means mastering technical skills or new ways of storytelling. Consistently ranked among the top 25 film schools in the past four years, notable alums include Jim Rygiel. Academy-Award winning VFX supervisor who has worked on “Godzilla” and “The Lord of the Rings” trilogy, and Brooke Duckart, a lauded puppet fabricator who works for Laika animation studio. “The iPhone is a nice tool, but shooting footage is only the beginning in a much larger process that includes sound recording [field and dialogue] and image composition, lighting, writing, direction, sound editing and sound design, image editing, and visual effects,” says Kevin Hartman, interim dean, Peck School of the Arts. “We teach all of this, and our students receive not simply a technical degree but rather a fully immersive creative time-based and cinematic arts production degree.”

Vancouver Film School Canada Named the top Canadian Animation Training Program and the Top Intl. Animation Training Program by Animation Career Review, Vancouver Film School designed its programs as a one-year intensive that prepares students to launch immediately after graduation. Students can focus on 3D animation and visual effects, acting for film & television, classical animation, game design, VR/AR design and development and sound design for visual media, among other areas. Famous alums include Neill Blomkamp (helmer and writer of “District 9”), Shakun Batra (Bollywood helmer of “Kapoor & Sons”) and Academy-Award winning animator Chad Moffitt (“The Lord of the Rings”). “What we do in film and animation, it’s team based,” says Colin Giles, head of the School of Animation. “It’s really important to learn how to work as a team and collaborate and you also need to be building your network of people you will work with.”

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Lizzie Bello, a Ph.D. student in entomology, hands a tarantula to a visitor at the 2020 Insect Fear Film Festival. This Saturday, festivalgoers can get up close and personal with tarantulas, desert beetles and cockroaches.

Courtesy of Lizzie Bello

University of Illinois Urbana-Champaign’s Insect Fear Film Festival celebrates the creepy crawly

Lizzie Bello loves insects — and she wants you to love them too.

“They’re really wonderful creatures,” said Bello, a Ph.D. student in entomology at the University of Illinois Urbana-Champaign (UIUC). “They have a lot of cool abilities. They can come in all sorts of different shapes and sizes. … And they’re a very easily accessible organism: Anywhere that you go in the world, you can find an insect.”

Bello will share her love of all things creepy crawly this Saturday as an organizer of the Insect Fear Film Festival at UIUC. For more than 40 years, graduate students and faculty in the school’s entomology department have held the public outreach event to help turn people’s fear of insects into fascination.

“They do have the capacity to harm us in certain situations. So it’s not completely unwarranted, but I think a lot of the fear comes from the unknown,” Bello said. “Even as an entomologist, if I’m out doing fieldwork and a big insect zips by my head and it’s super loud and I don’t know what it is, it still startles me. And I work with them every day.”

Bello said Hollywood has taken advantage of that fear by producing lots of horror films starring insects, some of which have been highlighted by the festival in past years. This year, the theme of the event is “Ant-Men” and will feature movies that shrink people to the size of ants, including Marvel Comics’s Ant-Man .

An Eastern Lubber Grasshopper gets comfortable on a visitor’s hand at the 2020 Insect Fear Film Festival. ‘I feel like once you get to learn more about [insects] and how they benefit the earth ... some of those fears start to ease up,’ said Lizzie Bello, a PhD student in entomology.

“One of the few sources of comfort for us when we’re faced with insect enemies is that at least we’re bigger than they are,” May Berenbaum, head of the UIUC entomology department and festival founder, said in a press release. This year’s films pose the question: “What would happen if we had to deal with them in the same weight class?”

Graduate student Bello hopes the festival, which will include a living ant display and a talk by a leading ant scientist, will help people see eye to eye with America’s least favorite picnic guest.

“Ants are pretty underrated,” Bello said. “Most people probably just think of them as a pest crawling on their counter … but they do a lot of fantastic things. They can be responsible for altering entire ecosystems, they plant forests, they farm fungus …. Some ants can have relationships with aphids that’s kind of similar to how humans have relationships with cows in terms of [raising] cattle.”

The theme of this year’s Insect Fear Film Festival is Ant-Men and features movies that shrink humans down to the size of ants. ‘Ants are pretty underrated,’ said Lizzie Bello, a festival organizer. ‘But they do a lot of fantastic things.’

Courtesy of Grace O’Brien

Ants aren’t the only members of the festival’s many-legged lineup. At one of the event’s most popular attractions, the insect petting zoo, festival goers will have the chance to hold tarantulas, pill bugs and cockroaches — and observe, probably from a distance, a scorpion recently acquired by the entomology department.

“We will be looking for a new name for him,” Bello said. “So if anyone’s interested in naming a scorpion, we’ll be welcoming those suggestions at the festival.”

The Insect Fear Film Festival has gotten hundreds of visitors in previous years, said Bello, including lots of families. There’s an insect art contest for kids and festival T-shirts for sale. It’s all to help people love a creature so many love to hate.

“I feel like once you get to learn more about them and how they benefit the earth and society, and people and all the cool things that they can do, I think some of those fears start to ease up,” Bello said.

The 41st Insect Fear Film Festival takes place this Saturday, Feb. 24 at the Foellinger Auditorium on the campus of the University of Illinois Urbana-Champaign. Doors open at 5:30pm.

Lisa Kurian Philip covers higher education for WBEZ, in partnership with Open Campus . Follow her on Twitter @LAPhilip .

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Freshman drama Obliterated held the dubious distinction of being the most watched Netflix series in the second half of 2023 to be canceled, according to the streamer’s viewership data made publi c today . Released Nov. 30, the action comedy was #20 in the rankings for the six-month period, generating 27M views in its first month of release.

The high position should not come as a surprise as Obliterated spent a respectable six weeks in the Netflix Top 10 for English-language series, peaking at #1 in Week 2.

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Another expensive series, fantasy drama Shadow and Bone , was the most watched title of 2023’s first six months to get the axe , logging 27.9M views over its first two months of release.

Overall, Sex Education was the most Netflix watched series to air its final installment in the second half of 2023. Unlike Obliterated and Shadow and Bone , whose cancellations came months after the premiere of their most recent seasons, Netflix announced ahead of time that Sex Education ‘s fourth season, debuting Sept. 21, would be its last.

Based on the Season 4 performance of the teen sex comedy, which generated 46.3M views through end of 2023 to rank as #6, Netflix likely would’ve liked another installment.

The hyped sixth and final season of The Crown , which covered the death of Princess Diana and Prince William’s romance with Kate Middleton, was outside of the Top 20, landing at #25 with 25.2 million views. The season was released in two batches on Nov. 16 and Dec. 14, giving the final episodes two weeks of release within the measurement window but those are highly trafficked holiday weeks.

The softer than expected performance was probably foreshadowed by the fact that The Crown ‘s sixth season did not land atop Netflix’s weekly Top 10 for English-language series, something Obliterated did once and Sex Education Season 4 twice.

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• SI SWIMSUIT
• SI SPORTSBOOK

Inside the Education of Titans QB Will Levis

Albert breer | may 28, 2024.

• Tennessee Titans

NASHVILLE—Will Levis had been in Tennessee Titans coach Brian Callahan’s office for all of five minutes, still in workout clothes after finishing a May OTA day filled with practice and meetings, and Callahan shot Levis a smirk as he fired up footage of the quarterback’s first start.

I’d asked Callahan to take me through some tape to show why he was so all-in on Levis, to the point where the Titans, in Callahan’s first year and in possession of the seventh pick, didn’t so much as sniff around on the quarterbacks available high in the draft. The first play he showed was a first-and-10 at Tennessee’s 36 in the first quarter, right after the Titans converted a fake punt, with Derrick Henry square behind Levis and tight ends to each side.

“This is one of them,” Callahan says, now smiling as if to anticipate the reaction. “Some of these play-actions, some of these deeper shots. I watched this …”

“This is a stupid f---ing throw,” Levis interjects with a grimace.

“I didn’t have to have to say it,” Callahan responds. “But, yes. That’s the point.”

We’ll go through this particular snap in-depth in a bit. But for now, in a nutshell, what would play out on the screen was a microcosm of how Callahan’s initial, and more thorough, study of his quarterback had gone. On one hand, on this play, the coach saw a 24-year-old make a throw that no more than a couple of dozen people on the planet could execute. On the other hand, as Levis intimated himself, the throw was also the wrong one to make.

So continues the education of Will Levis.

It’s been a weird road here for the first pick in the second round of the 2023 NFL draft. He flashed early on at Penn State from 2018 to ’20, but was stuck behind veteran Sean Clifford. His stock soared after his ’21 transfer to Kentucky, with his arrival coinciding with the hire of offensive coordinator Liam Coen from the Los Angeles Rams. Things weren’t as smooth in ’22 after Coen’s departure, which left Levis’s draft projections—after five collegiate seasons—scattered all over the map. He fell out of the first round and landed with the Titans.

Now, he’s here in Nashville, entrenched as the starting quarterback after nine up-and-down starts last year with a lot to prove. His first NFL coach, Mike Vrabel, is gone. He’s fully aware of how things might’ve gone a different way with a different hire.

Instead, this latest turn just so happened to break his way.

Levis plans on taking advantage of it—and paying off the gamble by Callahan and the Titans. Reaching the comfort level the quarterback and coach have already, with brutal honesty on the agenda daily, is just the start, as Levis sees it.

June’s almost here, offseason programs are in high gear and the NFL break is right around the corner. Here’s what we’ve got in the takeaways …

• Why Patrick Mahomes is even more valuable to the Chiefs than you might think.

• A timeframe for, and the trouble with, an 18-game schedule in the NFL.

• The only player who was the subject of trade talks at the top of the draft.

And a whole lot more. But we’re starting with Levis, the Titans, and the chance for everyone to take advantage of a unique opportunity.

Callahan’s research ahead of the 2023 draft into Levis was cursory at best. He was the OC in Cincinnati, the Bengals have Joe Burrow, and there were better uses of his time than to grind tape on a player his team was never going to pick.

So while a little film work, and a little more from Bengals quarterback coach Dan Pitcher (who’d watched Levis more intently) gave Callahan some depth of knowledge going into his January interviews, he had catching up to do as he prepped for his four Zoom interviews. The one he did with Titans GM Ran Carthon revealed, to both, a level of chemistry everyone wanted to explore, which was one reason why Carthon pushed to get Callahan in-person for a second interview the Monday (Jan. 22) after the divisional playoffs.

With Tennessee up first, and Carolina and Atlanta slotted for their second interviews with him that Tuesday and Wednesday, Callahan crammed on those three. It meant studying rosters in general, quarterbacks in particular and, as part of it, Callahan watched four full games of Levis, along with cut-ups of all of his 2023 pass attempts.

“Every time I watched him, I was like, ’This guy’s a pretty good player,’ ” Callahan says. “And I think everybody was a little shocked that he slipped the way he did [in 2023].”

Callahan communicated to Carthon, president of football operations Chad Brinker, and the rest of the Titans crew what he saw, which was captured succinctly on that Week 8 snap against Atlanta—Levis had what you can’t coach, and could be coached up on what he wasn’t bringing to the table yet.

Callahan told the Titans, in fact, that a lot of what he saw in Levis’s 2023 rookie tape matched the Kentucky tape from ’21, when the quarterback broke through working with Coen.

“You see he’s athletic, he’s strong, he’s tough,” Callahan says. “He’ll stand in the pocket and he’s got a great release. It’s quick. And he’s got a really legitimate arm. And he will play a little bit in that kind of swashbuckling style. He was trying to earn guys’ respect. He was trying to show people he could play. That’s part of earning your way as a young quarterback. He did some things that I think that his teammates rallied around, which was fun to watch.”

Carthon’s instinct on Callahan was confirmed quickly, and the Titans never let him leave Nashville—hiring him that Monday before he could even get on the plane to Charlotte. In turn, with the perception that Tennessee—with Ryan Tannehill a free agent—had uncertainty at quarterback, Callahan acted quickly. His first call after being hired was to two-time All-Pro and captain Jeffery Simmons, and his second call was to Levis.

He told the quarterback he wasn’t going in with any preconceived notions, which was music to Levis’s ears after his personality had been dissected nonstop before the draft. He told Levis he just wanted him to be himself.

"I remember being very at ease,” Levis says. “He instilled a lot of confidence in me as a player and did his best to explain to me what he saw on tape with me and that he was excited to coach me and that he knew that I could be a great player in this league. To hear that from a dude who’s going to be walking in, leading the charge for hopefully a long time from here on out, was cool.”

And as Carthon, Brinker, Callahan and the coaches and scouts dove into their draft prep, it only reinforced what the coach said to the GM in their interview about Levis.

“I’d told Ran the truth,” Callahan says. “I said he has real talent, real ability and I think he’s got a chance to be a very good starting quarterback in the NFL. He’s got enough tools to where his ceiling is high. If he’s all the things mentally you need to be to play quarterback, his physical talent, it’s a high ceiling. He’s got a chance to be (a) really, really good, top-end starting quarterback. And I believe that. …

“[The scouts] still do their due diligence and put grades on guys and all that. I had the conversation with Ran. Part of it was like, If Will’s coming out in this draft class, I don’t know that I feel like anybody is better than him at this point .”

It may sound like a strong statement to make, given the type of class that was coming.

That said, it was backed with actions. The Titans didn’t have any quarterbacks to Nashville for visits prior to the draft, and they didn’t have big contingents at their pro days, either. The assumption had been, from the start, that Tennessee would take a tackle. That’s exactly what it did, selecting Alabama’s JC Latham with the seventh pick.

Meanwhile, the Titans spent the money they were saving in having a cheaper quarterback to support Levis, signing top free agents Calvin Ridley, Tony Pollard and Lloyd Cushenberry, which helped fortify the foundation of younger talent they’d be bringing along.

So, the idea goes, one way or the other, they’ll know if they’re right on Levis faster than they might have otherwise.

Now, we can go back to that first-quarter play against the Falcons, and a few more from that game that explain the gamble, with Callahan holding the clicker and Levis following along.

The two paint a vivid picture of where they’re going.

• On that first play, Levis carries out play-action to Henry to his right, and drops straight back in the pocket. As he sets up, Atlanta clearly isn’t fooled. Nose tackle LaCale London’s quickly in Levis’s face, as he looked to his left. London gets to Levis, knocks him off-balance, and Levis somehow wills the ball deep downfield and to his right, just outside corner Dee Alford and past safety Richie Grant. It fell incomplete, but hit Treylon Burks on the hands.

Meanwhile, tight end Chigoziem Okonkwo was wide open in the opposite flat, releasing late into his route, as the play intended, to give Levis an outlet.

“This was not an advisable throw, nor was it an advisable position to be in,” Callahan says. “It was like, Holy s--t, this is not smart . I look at it as I go. God, if Will can just learn that on a first-and-10, let’s just throw the ball right there in the flat . That’s Chigs in the flat. Chigs in the flat is going to catch this ball, and he’s going to run for 12 yards and it’s going to be first-and-10 again at the 50-yard line. Instead, Will’s trusting his arm and his ability."

"That’s a clear out,” Levis adds. “We’re trying to take the safety out of it, throw the dagger behind it. Dagger slips. I can sort of see out of the corner of my eye that the clear wins. I’m trying to pull him to the sideline. Just come down and take the check down."

“The other part of this, it’s a f---ing unbelievable throw,” Callahan continues. “You watch it from the end zone, there’s a guy in his face, it’s horrendous eyes, horrendous progression, guy bearing down on him. He can’t step into the throw. This guy’s 40 yards down the field, and he just sort of flicks it while he’s getting hit and drops the ball right in his hands. It’s an incredibly accurate throw for what was going on. I’m watching this, I’m like, Goddamn .”

Gathering himself, Callahan then summarizes: “First of all, decision-making can be coached. This right here, you don’t coach that. Will’s mom and dad gave that to him.”

• The next play was a third-and-1 from the Titans 48, with Tennessee down 3–0 at the end of the first quarter. From under center in an I-formation with two tight ends, Levis carries out play-action to his right to Henry, then is patient in letting Henry leak out to the flat.

With Atlanta linebacker Nate Landman blitzing, Levis calmly stands his ground, and feathers a ball over Arnold Ebiketie’s head to Henry, who turns it upfield for 5 yards and a first down.

“I was watching this game and I was like, Man, this reminds me of the junior year tape that I watched from Kentucky ,” Callahan says. “This doesn’t seem like much, but this is a third-and-1, and this is thrown to a back that generally isn’t a great catcher of the football. Just knowing that, he puts it in an accurate spot and puts a little touch on it so he can handle the ball. Small, minor thing, but just shows some awareness.”

"This is one of my favorite plays of this game, too, just for that reason,” Levis adds. “This wasn’t the premier [option on the play]. We’re trying to get to the shallow backside, have him get lost and come back. We always say if we have the back, take it. He’s there. There’s [a linebacker] in my face, not a throw that you necessarily practice. You got to get it up and down, put it in his hands, just let him get the first."

Callahan then says, “What I kept reminding myself of when I’m watching the game, I’m like, This is this kid’s first start . He played the game like someone who’s played the game. It didn’t look, at any moment, like the game looked too big or too fast. I didn’t feel like I was watching a rookie.”

Levis, by the way, hit DeAndre Hopkins for a 47-yard touchdown on the next play.

• From there, Callahan pulls up a third-and-3 with 10:29 left in the first half. Levis identified the coverage, saw a look, and took a shot—standing in with Calais Campbell closing on him, and delivering a perfect pass down the right sideline that hit Treylon Burks on the hands. It was incomplete but subtly showed things the earlier shot did, too.

In watching it, Levis immediately mentions how off-rhythm he is during the play. The key, though, and the reason Callahan is showing it is because it almost didn’t matter.

"Bad timing, bad footwork, but I like the decision,” Callahan says. “I had a feeling that there was probably some alert here and there was a go route that was versus the press. Great, he’s got it, take it. The timing was wrong. The footwork was bad. This is the same idea as the first play. These are all things that are incredibly easy to fix and incredibly easy to impart the knowledge where, OK, good, you want to take the go route .”

Except that, as Callahan continues, “If you knew it was zone coverage and you just wanted to take a completion on third-and-3, that is situational awareness.” 

And, indeed, slot receiver Kyle Philips was open in the flat, running a pivot route out of a bunch look for an easy first down.

“Early in the game, we got pressed and I didn’t throw it,” Levis says. “Coach said next time we get any press with Treylon, let’s hit the go. If it’s first or second down, take it. Or third-and-long, yeah, take it. But that was in my head. It’s third-and-3. I see press, I’m on it, but I know the situation. I know that pivot’s going to get it.”

• After that, Callahan puts up a first-and-10 at the two-minute warning that looks like, well, not much. Levis drops back off play-action, subtly shuffles to avoid the rush, and puts the ball on Okonkwo a little low. Okonkwo drops it, but still there’s a lot for a coach to like.

“Watch his pocket movement, a little slide away from the pressure, trying to buy himself an extra second, off-platform throw but still accurate, puts the ball in a good spot, obviously it’s a drop,” Callahan says. “That’s NFL quarterbacking. That’s what it looks like. That’s what your pocket looks like. That’s what the throws feel like. It was just the subtleness of how that played out, you’re like, This doesn’t feel like he’s making his first start .”

“This is the play all day,” Levis says. “We’re running play-action off split zone. Tight end’s going to take the Will [linebacker] here. He’s thinking he’s blocking it. He’s coming up the pipe. We’re clearing out the safety and the corner on the front side. Those two receivers, it’s really Chig down to the running back. … I could lead him to the sideline more. The movement probably changes the location.”

"If you’re nitpicking,” Callahan adds, “you’d love to see him hit him in stride on the move so he doesn’t have to stop and turn.”

• Callahan wrapped up the film session with the final two big-play touchdowns of Levis’s four-touchdown afternoon. The first one was good for 61 yards to Hopkins and the second for 33 yards to Nick Westbrook-Ikhine.

On the Hopkins score, Callahan says, “He puts the ball … it’s in a great spot. It’s a big touchdown. I don’t know how you couldn’t watch this and not be like, Hell, yeah, I want to coach this guy .”

“Earlier in the game, we were seeing these safeties getting a little [aggressive] with the depth they were playing at, really when they ran their quarters coverage,” Levis adds. “This is his cloud, and he’s still very aggressive inside. Seeing that inbreaker (route), he’s playing that, and we end up, we would call it pump, so we’d pump to the inbreaker. He’s just showing like he’s coming in, safety stutters his feet for a second, throw it behind him.”

Touchdown, Titans.

And on the second snap, playing the tape back, Levis rolled right, had two defenders coming free at him, and threw the ball back to the left corner of the end zone for the score.

“They’re running the corner post here, and you get Jesse Bates in the post who’s a smart player but a little over aggressive and you get the win,” Callahan says. “To throw this ball with two guys bearing down and just putting it in an unbelievable spot, I didn’t need to watch a whole lot more after I watched this game."

Then, there was the other part of the assessment on Levis coming out—his personality.

Some of it Levis understands, and some of it he sees as ridiculous. And headlining the latter category is all of the stuff you’ve seen on social media. That he eats bananas with the peel on. How he puts mayo in his coffee . Which, he gets, is largely his own doing.

Carthon told Callahan that he’d addressed the stunts already with the quarterback. The GM’s stance to his 2023 second-round pick was that if what everyone saw on video really is Levis, then roll with it. But if any of it was an act, or a swing at boosting engagement on Instagram or TikTok or whatever else, he should knock it off.

Callahan called the hysteria over it “really bizarre” and Levis agrees.

“It was mostly people that don’t know me,” he says. “Any team or any coach that got a chance to sit down with me and understand who I am as a person realized that, sure, that’s definitely part of my personality, but it’s nothing that you should be worried about. I don’t regret it at all. I still think it’s funny. It’s still something that I get a laugh at. That’s the reason why I did it. I don’t care how people responded to it.

“It’s something that I enjoyed and got a little laugh out of. And, hopefully, that’s the case [for other people]. Then I’m happy about it. It’s all good, and it’s something that’s going to be tied to me forever. A little Hellman’s marketing deal came out of it, too."

The other part is, well, actually important to Levis’s professional success.

The same way teams raised it in the pre-draft process, Callahan and Carthon discussed it as they got to know each other—Levis can come off as, and really can be, wound pretty tight. And the coach was explaining it this Thursday afternoon as Levis was walking into the room. Callahan didn’t stop, or pause, as the quarterback sat down. “Come on in, Will,” he says before continuing. None of it was anything that they hadn’t already talked through.

“It doesn’t have to be head down all the time,” he says as Levis sits down. “You can be relaxed and you can enjoy the process and you can enjoy practice and you’re gonna enjoy communication back and forth. I think those things are where you start.”

“It’s been tough,” Levis says. “I’m just hard on myself. That’s [the] individual I am. I mean, I have very high standards. And if I’m not perfect, it’s easy for me to get down on myself sometimes. But with a new offense, for the first time, taking the reins and having the ability to be the guy, I definitely felt that at first.”

On the flip side was the intent of not just fishing around the quarterbacks in the draft, but giving Levis the job from the start—the hope being that he, Callahan, OC Nick Holz and quarterbacks coach Bo Hardegree could accelerate the process of establishing trust.

That was key for a guy who hasn’t had the same OC in consecutive years since he was a teenager and, as such, is more at risk of getting confused during the learning process.

“Right now, it’s our first time as a team going through it all,” Levis says. “And I’m able to live in that 100-200 world, but he’s starting to mix in, sprinkle in the different layers and further the things that we could think about doing.”

Callahan then explained how, from his vantage point, it’s part of not just building an offense, but tailoring it to Levis.

The first stage is showing players everything that’s available to them. From there, it’s going over things a second time during OTAs, and then a third time in training camp to figure out what’s best for the group, and the quarterback. That way, when the season starts, gameplans seem like light lifting.

And that’d be much more difficult to pull off if Levis was in some faux competition for the job. As Callahan saw it coming in, that’s one big reason why establishing the guy he saw as clearly the best option at the most important position made sense.

Which, again, worked to unwind any tension Levis had, and strengthen their trust.

"I think you do a disservice to guys, particularly if you’re drafting them, and you make them compete for a job. Guys need to play,” Callahan says. “They need to be put in a position where they are the quarterback. There’s something about that that matters to a team and a locker room. If you’re going to do it, do it. It all sounds good— He should sit . That’s not the reality. That’s not the financial reality of the NFL, either. You’re trying to take advantage of a young quarterback on a rookie contract, that’s the other part of it.

“There’s something about being the quarterback and knowing … when you walk into the building and walk onto the field, you know that you’re the quarterback and you know that everyone around you knows that you’re the quarterback. It allows you some freedom. Especially when you’re a young player, there’s no growth unless you make mistakes.

“The problem is, if you’re competing for a job, you’re not going to be willing to make the mistakes you need to make in order to improve at a rapid rate. You’re more worried about the perception of the mistake than actually learning from the mistake. I think that does guys a disservice, and I think it stunts growth when you have to be constantly worried about it. If I know I can make this throw, but it’s going to be kind of hairy, and I probably shouldn’t, but I’m going to do it anyway. Maybe it takes a hell of a throw, but I can coach off that.”

“It’s the first time in my career where I’ve felt comfortable going to a coach and suggesting something, because I feel like I’m comfortable enough with the offense to where I know the machinations of it.” -  Will Levis

It’d be silly, of course, to say in May that this will all turn out like things did for Callahan, Zac Taylor and Pitcher in Cincinnati with Burrow. Levis is far from that, which, of course, is something he’d readily admit.

But, obviously, all of these guys think that by doing things this way, like Callahan did with Burrow, Levis is getting his best chance to get there. And that’s something Levis feels every day, even in May.

“It’s the first time in my career where I’ve felt comfortable going to a coach and suggesting something, because I feel like I’m comfortable enough with the offense to where I know the machinations of it,” Levis says. “That’s been cool for me, to be able to speak my mind. And even if they say no, I know at least I tried and we talked about it.”

That effectively means that Callahan’s intent, to accelerate Levis’s development by getting him to trust his coaches and make and learn from mistakes, is being carried out.

For now, it’s created a situation where both Levis and Callahan answer quickly when I ask whether they think that the NFL missed on the ex-Kentucky star by letting him fall all the way to the 33rd slot in the 2023 draft.

“Yeah,” Levis says, smiling.

“I do, too,” Callahan says.

Even better, now Levis has the chance to reward the people around him for having that faith in him—both those who were with him last year, and those that are here now.

“It definitely leaves a little bit of a chip on my shoulder and makes me want to go out there and work and keep showing people that teams might have made a mistake by not taking me,” Levis said. “Hopefully I’m that guy that they talk about that did slip, and I can be that example for other kids that are in that same position in the green room like me."

"There’s a part of that, I feel it from Will,” Callahan adds. “I don’t feel this, I’m going to show the world that they were all wrong . I don’t feel that. What I more feel, and this is just my opinion of how I see his demeanor, it’s more about I’m trying to prove these people right.”

"I’m trying to prove this organization right,” Levis says.

And the Titans are giving him every opportunity now to do just that.

ALBERT BREER

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