By

Tags:

"From an early age I was serious about being an actor, so I went out and worked," said Samuel L. Jackson, recipient of the Legend of Cinema Award at the 23rd SCAD Savannah Film Festival. "I don't know how many projects I have been a part of. I lost count along the way."

Jackson has been in over 100 movies, with 189 credits to his name, including television, video games, soundtracks, and production projects. He is revered across every cinematic demographic, from young children who love him as The Incredibles' Frozone, to Star Wars fans who covet Mace Windu's purple lightsaber, to "grandmas who know me from A Time to Kill."

In a conversation filled with laughter and insights moderated by Entertainment Weekly executive editor Sarah Rodman, Jackson gave the audience an honest look at a legendary career.

Samuel L. Jackson:

I consider myself a native son of Georgia. The film scene in Georgia helped propel me in my career. My first film Black Cream was filmed in Atlanta. Then I shot the The Displaced Person in Milledgeville. Recently I have been at Pinewood Studios in Fayetteville for some smaller movies — I'm not sure if anyone has heard of The Avengers?

From the very beginning I was serious about being a professional actor. I worked hard on my craft, and was ready to shoot when "action" was called. If a director said we were starting at seven o'clock, that meant I needed to be on set at six to warm up, get into character, envision my steps, and walk around the set to get a feel of the room. Call time was not the time to start my process. I always encourage young actors to take a similar approach. Be ready. Be professional and know your role.

I also encourage actors to develop their skills on the stage. When I was young, I lived in New York and cut my teeth on Broadway. I learned stage direction, how to project my voice, how to exude emotion, how to speak to the people in the back row even when I had to whisper. Nowadays, I meet so many actors in Hollywood who skipped that step. They were the lead in their small-town play and then moved to L.A. without learning the art of acting. When I was just starting out I took whatever part I was offered. Today it's a little different, but my process hasn't changed.

I am proud to have been part of several iconic franchises and cult classics. Whenever I'm out, I know what film people recognize me from, and I always enjoy seeing people realize it is me. Yes, I do go to the grocery store, and yes it is okay to wave. Older Black women will always come up to me, punch my shoulder and say, "Do you know who you are?" I reply: "I do. Do you?" Parents with smaller children usually introduce me as "super suit guy." And young men quote Pulp Fiction from across parking lots.

I am thankful for the career I have, and I love being a movie star. I think it's important to be passionate about your work. Anytime I am flipping channels and see Pulp Fiction, Jackie Brown, or Deep Blue Sea, as long as I haven't been killed off yet, I watch. My favorite is The Long Kiss Goodnight. Long Kiss Goodnight was the first real girl kick-ass movie. I'd been at a party and saw Geena Davis and told her "I want to be in your movie" and she said, "You got the part."

Things happen when they are supposed to happen. If you're trying to move the needle, you need to look inside yourself and understand why. Success came to me when I forgot about success, and focused on being the best version of me.

Find out more about the honored guests at this year's SCAD Savannah Film Festival.

 

By

Tags:

SCAD AnimationFest returned this year for its fourth annual installment in an all-new virtual setting. Special screenings, presentations, and workshops with major figures in the animation industry made the two-day event an informative experience accessible to all. Key programming included Alumni Voices, a panel comprised of alumni from diverse international backgrounds speaking about their journeys to successful careers in the industry.

"Your work is your passport," said panel participant Sekani Solomon (B.F.A., motion media design, 2014). "That's what's going to get people to notice you and get you in the building. Networking is important, but if the work isn't there you won't get hired."

Solomon, a senior motion designer for CashApp, is a Trinidad and Tobago native whose previous credits include the end title credits for the film Black Panther. He joined four fellow superstar alumni on the panel moderated by Matt Maloney, associate chair of animation, and Dr. Audra Pittman, VP, SCAD Atlanta. The alumni addressed topics including the virtues of SCAD Career Fairs, the challenges of obtaining work visas, and how to navigate a capricious U.S. job market while managing personal and parental expectations of success.

The online panel was attended by SCAD students from diverse degree programs within the SCAD School of Digital Media. Students had the opportunity to video chat and pose questions to panelists Sekani Solomon, Marisa "Ginger" Tontaveetong (executive director, ASIFA-SOUTH; animation producer, School of Humans), Prasad Narse (senior visualization artist/senior animator, The Third Floor, Inc.), Jordan Lyle (founder/creative director, For The Culture Club), and Nadine Promes (freelance story artist; outreach coordinator/programmer, ASIFA-SOUTH). Here are select, insightful comments from each of the alumni participants.

Nadine Promes (B.F.A., animation, 2017): "After graduating from SCAD I went to L.A. where I volunteered in organizations related to the industry. Whenever a competition would pop up, I would enter. That's how I ended up in the mentorship program at Sony Pictures Animation. That led to landing my first industry job as a production coordinator. It was during the making of Spider-Verse, and I learned problem-solving on a high level. It's good to accept that your career will not be a straight path towards a goal, but a set of experiences that become part of who you are."

Prasad Narse (M.F.A., animation, 2013): "Being an international student, going to SCAD was stepping into a new world. My first year I was just gaining experience on how I can communicate my ideas, because I was not yet a fluent English speaker. At SCAD, I developed myself as a person and my ability to learn. As a SCAD student you have this big opportunity with the technologies available, including all the rendering software. I created a film called I M POSSIBLE that won a student Emmy Award. LAIKA/house saw the film and approached me to join their intern program because they liked the subtlety in my character animation. That's where I started my professional journey."

Jordan Lyle (B.F.A., motion media design, 2012): "In your career you will have a lot of rejections. It's ultimately how you handle that and use it as fuel to approach the next challenge. Opportunities will come more than you know at some point. Because one thing doesn't happen the way you want it to, doesn't mean it will never happen again. Maybe you weren't ready, and you can come back with an even better portfolio. You'll understand yourself better and who you are as an artist."

Sekani Solomon (B.F.A., motion media design, 2014): "When you think, why didn't I get this job? Consider it a chance to improve your portfolio. It's about how you react to rejection that can help you get to the next thing. I let it inspire me, or use it as fuel to get better. If I didn't get a job, I'll make my work better so you can't ignore me."

Ginger Tontaveetong (M.F.A., animation, 2017): "It takes a village to create a good animation. In my 2D-3D collaboration class at SCAD we learned to communicate and work together to deliver on a deadline. One of our animations called Starlight won at Atlanta Film Festival, and was Oscar long-listed as well. What I got out of that is that there will be disagreements because there's more than one vision on the table. It's about negotiation and seeing how you can create great work. That's when you find out if the people you work with are people you want to work with in the future."

Thank you to everyone who participated in the Alumni Voices panel, and to the students, alumni, and faculty who made AnimationFest 2020 such a success. Learn more about the SCAD School of Digital Media here.

By

Tags:

Director Nicola Rinciari (B.F.A., film and television, 2020) is a finalist at the 2020 Student Academy Awards for his film Our Side. The 12-minute short, co-written by Rinciari and Emily Dillard (B.F.A., film and television, 2020), will have its Southeast U.S. premiere as part of the "Live Action Shorts" program at this year's SCAD Savannah Film Festival.

Our Side tells the story of an African caregiver named Adillah living in Sicily. When new laws render her visa invalid, Adillah must decide between saving herself or the elderly man in her care. Addressing issues surrounding immigration and discrimination, Our Side was filmed on location during winter quarter. A crew of 21 SCAD students flew to Italy specifically to work on the project.

The film represents something of a homecoming for Rinciari. Born in Palermo, Rinciari spent his childhood sitting in front of his family's television creating an imagined sequel to the 1994 Disney film The Lion King with crayons and colored pencils. "I remember drawing constantly while I watched the behind-the-scenes extras on that VHS tape," Rinciari says. Nicola's mother helped him photograph those drawings, before he scrolled through the images to see his story come to life. "My mom and I became filmmakers in our kitchen."

Today, Nicola lives in Los Angeles and works as a previs artist at The Third Floor, Inc.

Nicola Rinciari:

As a child I was fascinated with movies. Spider-Man was the first film I ever saw in a theater. I loved it, and it ignited my passion for filmmaking. I knew I wanted to get into the film industry, and I understood I needed to come to America to give myself the best chance for success.

When I was looking at film schools, I applied to SCAD. As I was mulling the decision to leave my home, I saw a magazine ad discussing Atlanta's booming film industry and there he was — Spider-Man. The newest installments of the Spider-Man franchise were shot partly in Georgia, and instantly I knew I was going to SCAD. I had never been to America, and Atlanta seemed a world away from Palermo. I packed my bags, and along with my parents made the journey.

When I arrived at SCAD, my family and I met film professor and department chair D.W. Moffett. He heard us speaking Italian and began speaking to us in our language! From then on, D.W. became a mentor to me. Professor Moffett helped me pick the student crew I took to Italy to make Our Side, and spent hours talking to me about the script and final edits. I could not have done it without his expert guidance.

The film was a huge undertaking. We combined the crew of SCAD students with a crew I put together of local residents who helped helped people understand why we were shutting down their streets. The entire experience was incredible, and I am grateful for everyone who made it possible.

I am especially thankful to my partner Emily Dillard. Without her expertise and strength, this Student Oscar nomination would not be possible. The experience has been life changing.

The winners of the 2020 Student Academy awards will be announced on Oct. 21, 2020.

Our Side will screen at the SCAD Savannah Film Festival on Monday, Oct. 26.

Emily Dillard and Nicola Rinciari

 

By

Tags:

There's something good on the event horizon: the 23rd annual SCAD Savannah Film Festival will take place as an all-virtual experience, Oct. 24–31, 2020. The largest university-run film festival in the U.S., the eight-day celebration of cinematic excellence honors professional and student filmmakers and welcomes industry luminaries, including award-winning directors, writers and actors across the big screen.

A key stop on the Academy Awards festival circuit, the SCAD Savannah Film Festival will screen 148 films, including 20 narrative films, 17 documentary films and 111 shorts, with 14 world premieres, four U.S. premieres and four North American premieres. The festival kicks off Saturday, Oct. 24, with the opening-night Gala Screening of I'm Your Woman, directed by Julia Hart and featuring Spotlight Award honoree Rachel Brosnahan. The festival culminates Saturday, Oct. 31, with the closing-night Gala Screening of One Night in Miami, directed by Regina King. Minari will be featured as a Gala Spotlight Screening on Mon., Oct. 26, with a special Q&A with actor Steven Yeun and director Lee Isaac Chung.

The 2020 schedule includes Gala and Signature Screenings, professional and student competition films, Docs to Watch, Shorts Spotlight, Global Shorts Forum, and the Wonder Women and Below the Line panel series. The SCAD Savannah Film Festival has screened more than 125 Academy Award-nominated films and has honored more than 90 legendary actors, directors, producers, writers and filmmakers from around the world. Entertainment Weekly returns as a media partner to help curate this year's programming and moderate select talent panels.

SCAD President and Founder Paula Wallace said, "SCAD screens the stories that matter to our students and to viewers around the globe. And this year, everybody's got the best seat in the house!"

SCAD will honor Yahya Abdul-Mateen II (The Trial of the Chicago 7) with the Distinguished Performance Award, Rachel Brosnahan (I'm Your Woman) and Delroy Lindo (Da 5 Bloods) with the Spotlight Award, Millie Bobby Brown (Enola Holmes) with the Maverick Award, Ethan Hawke (The Good Lord Bird) with the Outstanding Achievement in Entertainment Award, Jennifer Hudson (Respect) with the Virtuoso Award and Glen Keane (Over the Moon) with the Lifetime Achievement in Animation Award.

"We are so excited for the virtual program we've put together this year, from our film screenings to our amazing guests and panelists," said SCAD Savannah Film Festival Executive Director Christina Routhier. "I am even more proud that the festival will be screening films from more than 64 women filmmakers and hosting our annual Wonder Women panels, making us one of the few festivals that continues to highlight the work of women artists from around the world."

Celebrating its 23rd year, the festival and competition provide SCAD students with opportunities as unique as the selected films. This year, the SCAD Savannah Film Festival received more than 1,500 submissions for the competition series. During the festival, students from every academic discipline connect with leaders from the entertainment industry through master classes, coffee talks, lectures, workshops and panel discussions. Savannah, a premier film hub in the Southeast, promotes quality movies produced by independent and studio filmmakers.

For scheduling and programming, visit the SCAD Savannah Film Festival site.

 

By

Tags:

What does a fashion curator do? What is the best part of being a curator? Ask A Curator Day, started in 2010 by MuseumNext founder Jim Richardson, allows the public to engage with curators at institutions across the globe using the social media hashtag #AskACurator. On September 16, the @scadfash social audience addressed questions to SCAD FASH Museum of Fashion + Film executive director Alexandra Sachs. Here are five memorable exchanges from Ask A Curator Day.

1. How do curators decide which designers they will invite for an exhibition at SCAD FASH?

Alexandra Sachs: "SCAD FASH curators work collaboratively to identify artists and designers who reflect the diversity of our student body and community, and who align with our mission to celebrate fashion as an artform and conduit of identity. Curators and staff oversee fashion-focused exhibitions, events, and programs that resonate across the university. Our curators also organize exhibitions at the SCAD Museum of Art, plan an annual summer exhibition at SCAD Lacoste, and assist with the SCAD FASHION runway shows. 


2. What does your typical day look like?


AS: "Every day is dynamic and ever-changing! Whether I’m collaborating with artists, designers, and galleries on exhibitions and events, scrolling the latest fashion news, media, and art books, or writing texts for catalogs and digital publications, I’m constantly seeking new information and connections to bring the best programming to SCAD."



3. What are the most challenging moments of your day?


AS: "Working in a creative field requires adaptability and a willingness to change while still working toward your overall vision. When I find something frustrating — a challenging installation perhaps — it’s often a sign that I need to consider different perspectives and reevaluate my approach to realize my goals.

"

4. What do you love about your job?


AS: "I am extremely fortunate to work with incredible artists, designers, professors, and colleagues. We’ve presented so many spectacular exhibitions in the past five years, including work by Guo Pei, Pierre Cardin, and the indomitable Ane Crabtree, who designed costumes for "The Handmaid’s Tale." For me the most memorable part of the job is the people I meet along the way. They make the work gratifying."

5. What kind of university should someone attend if they’re interested in becoming a curator?

AS: "For a fashion curator, it’s essential to have a solid foundation in fashion history. It also helps to have knowledge of contemporary fine art and art history. SCAD offers a minor in museum studies as part of our art history degree program, enabling students to gain practical experience in our university museums, and interact with museum professionals across different disciplines. If you’re looking for a hands-on, project-based learning experience, SCAD is the place to be!"

SCAD FASH is excited to share what happens before, during, and after an exhibition is on view. We’re expanding the visitor experience by making more behind-the-scenes content, providing a closer look at specific garments on view and in the collection, in a new IGTV series coming this October on @scadfash. Please connect by sending us a DM if you have any questions. We hope to see you at SCAD FASH and for a virtual program soon!

Plan your next SCAD FASH visit. Museum Hours: Thursday–Saturday, 11 a.m.–5 p.m.

 

By

Tags:

More than 200 SCAD students and alumni contributed to Primetime Emmy-nominated productions this season, garnering 275 different credits across 88 unique titles. Nominations for Ozark, Stranger Things, The Outsider, and more highlight the Georgia entertainment industry. Many diverse majors are represented in top productions such as The Mandalorian, Succession, Watchmen, The Marvelous Mrs. Maisel, Westworld, The Last Dance and Rick and Morty. Two alumni, Dirk Valk (B.F.A., animation, 2008) and Garette Warner Rose (B.F.A., film and television, 2007), were directly nominated for Emmy Awards this year for Outstanding Special Visual Effects (Lost in Space) and Outstanding Cinematography for a Reality Program (Queer Eye), respectively. Congratulations to all alumni who contributed to nominated shows – we look forward to continuing to watch your work!

Update: Two alumni won Outstanding Individual Achievement in Animation Emmys this year: Jill Dykxhoorn (B.F.A., animation, 2013), lead background artist, Archer: 1999 (episode: "Road Trip"), and Dan MacKenzie (B.F.A., animation, 2011), character animator, Cosmos: Possible Worlds (episode: "Vavilov"). Congratualtions, Jill and Dan!

The following SCAD alumni worked on these Emmy-nominated and Emmy-winning shows:

#FreeRayshawn: Lori Snow (B.F.A., film and television, 2011).

American Factory: Xiao Hou (M.F.A., sound design, 2015); Cindy Takehara (M.F.A., sound design, 2015).

American Horror Story: J. Jeongyeon Son (B.F.A., visual effects, 2012); Austin Ramsey (B.A., film and television); Zachary Goodson (B.F.A., animation, 2010); Dale Bunten (M.A., visual effects, 2019); DeRon Horton (B.F.A., performing arts, 2015).

Archer: 1999: Jill Dykxhoorn (B.F.A., animation, 2013).

Bad Education: Colin Alexander (B.F.A., sound design, 2005); Patrick O'Keeffe (B.F.A., visual effects, 2010); Kayli Carter (B.F.A., performing arts, 2015).

Better Call Saul: Jimmy Fisher (B.F.A., broadcast design, 2011).

Between Two Ferns: Austin Ramsey (B.F.A., film and television); Bryan Godwin (B.F.A., computer art, 1998); Gabe Gilden (B.F.A., film and television, 2014).

Big Little Lies: Sara Chaisson (B.F.A., film and television).

Big Mouth: Erica Hayes (B.F.A., sequential art, 2012); Katie Tamboer (B.F.A., animation, 2014); Corey Barnes (B.F.A., sequential art, 2006); Hunter Curra (B.F.A., sound design, 2005).

Black Mirror: Reed Lovell (B.F.A., sound design, 2013); Richard Reed (M.F.A., visual effects, 2005).

Bob Hearts Abishola: Austin Ramsey (B.F.A., film and television).

Bob's Burgers: Drew Newman (B.F.A., animation, 2007).

BoJack Horseman: Louisa Lawler (B.F.A., animation, 2018); Tom Soulen (B.F.A., animation, 2010); Christopher Nance (B.F.A., sequential art, 2012); Hunter Curra (B.F.A., sound design, 2005); Michael Britt (B.F.A., sound design, 2018).

Carnival Row: Dixie Pizani (B.F.A., animation, 2010); Matthew Kiefer (B.F.A., visual effects, 2009); Andrew Maynard (B.F.A., visual effects, 2015); Ryan Ng (B.F.A., visual effects, 2016); Mimi Violette (B.F.A., industrial design, 2018).

Central Park: Lexy Naut (B.F.A., animation, 2012); Corey Barnes (B.F.A., sequential art, 2006); Jon Higgins (B.F.A., illustration, 2018); Drew Newman (B.F.A., animation, 2007); Dabney 'Hank' Hamner (B.F.A., animation, 2015); Betty Liao (B.F.A., sequential art, 2015); Sarah L. Pacetti (B.F.A., sequential art, 2011); Tiffany Rishel  (B.F.A., animation, 2014).

Cosmos: Possible Worlds: Michael Pickering (B.F.A., visual effects, 2018); Bria Jones (B.F.A., animation, 2015); Kitty Tomblin (B.F.A., animation, 2016); Erica Hayes (B.F.A., sequential art, 2012); Austin Ramsey (B.F.A., film and television); Josiah Howison (B.F.A., visual effects, 2004); Elliot Thompson (M.A., sound design, 2012), Dan MacKenzie (B.F.A., animation, 2011).

Crank Yankers: Kathryn Molloy (B.F.A., film and television).

Curb Your Enthusiasm: Ric Griffith (B.F.A., video, 1992).

Defending Jacob: Derek Mola (B.F.A., film and television).

Dolly Parton's Heartstrings: Dany Flores Arias (B.F.A., film and television, 2019); Keith Anderson (B.F.A., visual effects, 2011); Matthew X. Trinkle (B.F.A., architecture, 2016); Elizabeth Luis (M.A., production design, 2018).

Drunk History: DeRon Horton (B.F.A., performing arts, 2015).

Dummy: Brian Freesh (B.F.A., film and television, 2005).

El Camino: Jesse Meler (B.F.A., visual effects, 2012).

Euphoria: Brett Hinton (B.F.A., video, 2001).

Family Reuniuon: Sean Amlaner (B.F.A., visual effects, 2007).

Godfather of Harlem: Justin Diamond (B.F.A., computer art, 2003).

Grace and Frankie: Megan Librizzi (B.F.A., dramatic writing, 2018).

Hollywood: Logan Coffey (B.F.A., performing arts, 2016); Michael Metzner; Austin Ramsey (B.F.A., film and television); Zachary Goodson (B.F.A., animation, 2010).

Homecoming: Amy Christensen (B.F.A., computer art, 1997); Brett Hinton (B.F.A., film and television, 2001);

How to Get Away with Murder: Sean Amlaner (B.F.A., visual effects, 2007).

I Know This Much Is True: Michael Pickering (B.F.A., visual effects, 2018).

Insecure: Jordan Bridges (B.F.A., production design, 2019); Nicole Baker (M.A., film and television, 2008); Brian Freesh (B.F.A., film and television, 2005).

Last Week Tonight with John Oliver: Andrew Kaczynski (B.F.A., broadcast design, 2010).

Lost in Space: Cheri Fojtik (M.F.A., animation, 2011); Austin Ramsey (B.F.A., film and television); Dirk Valk (B.F.A., animation, 2008); Kristen Prahl (B.F.A., visual effects, 2005).

Love Is Blind: Nieshia Crawford (M.F.A., film and television, 2018); KP Hendry (B.F.A., photography); George Dunlap (B.F.A., film and television, 2009).

Modern Family: Leslie Merlin (B.F.A., film and television, 2005).

Modern Love: Colin Bright (B.F.A., sound design, 2010); Linzy Elliot (B.F.A., sound design, 2011).

Mr. Robot: Brett Hinton (B.F.A., video, 2001); Dionysius Vlachos (M.F.A., sound design, 2015).

Mrs. America: Ryan Ng (B.F.A., sound design, 2016); Kayli Carter (B.F.A., performing arts, 2015).

Orange is the New Black: Anna Tringali (B.F.A., production design, 2012).

Ozark: Grace Chahine (B.F.A., film and television, 2019); Camden St. Onge (B.F.A., film and television, 2018); Melissa Hansen (B.F.A., film and television, 2018); Rachel Kerby (B.F.A., film and television, 2019); Zachary Goodson (B.F.A., animation, 2010); Alyssa "Grizzly" Goldman (B.F.A., film and television); Layne Brightwell (B.F.A., illustration, 1985).

Pose: Noreen Souza-Bailey (B.F.A., film and television, 2005).

Queer Eye: Garrette Warner Rose (B.F.A., film and television, 2007).

Rick and Morty: Erica Hayes (B.F.A., sequential art, 2012); Kitty Tomblin (B.F.A., animation, 2016); Dan O'Connor (B.F.A., illustration, 1994); Ferguson Winston (B.F.A., animation, 2008); Joey McCormick (B.F.A., animation, 2011); Hunter Curra (B.F.A., sound design, 2005); Michael Britt (B.F.A., sound design, 2018).

Robot Chicken: Alex Kamer (B.F.A., film and television, 2004); Dan MacKenzie (B.F.A., animation, 2011); Savelen Forrest (B.F.A., computer art, 1999); Hunter Curra (B.F.A., sound design, 2005); Michael Britt (B.F.A., sound design, 2018); Steve Gallant (B.F.A., animation, 2012); Charles D'Avignon  (B.F.A., animation, 2016).

S.W.A.T.: Austin Ramsey (B.F.A., film and television).

Saturday Night Live: Milton Ladd (B.F.A., video, 2002).

Sea of Shadows: Dominque Koski (B.F.A., film and television, 2019).

Self Made: Inspired by the Life of Madam C.J. Walker: Ian Chase (B.F.A., sound design, 2017); Steven Blevins (B.F.A., sound design, 2018).

Shameless: Angela Gunn (M.F.A., film and television, 2008); Jie Meng (M.F.A., visual effects, 2015).

Silicon Valley: Chun Seong Ng (M.A., animation, 2007); Sarah Ridenour (B.F.A., animation, 2016).

Space Force: Rob Holland (B.F.A., film and television, 2009); Jonathan Nelson (M.F.A., computer art, 2004).

Star Trek: Short Treks: William Appleby (B.F.A., film and television, 2014); Zach Smith (B.F.A., visual effects, 2019); Sarah Hamilton (B.F.A., animation, 2018); Emily Shock (B.F.A., visual effects, 2015).

Star Trek: Picard: Dan Knight (B.F.A., computer art, 1996); Sean Amlaner (B.F.A., visual effects, 2007); Kristen Prahl (B.F.A., visual effects, 2005); Michael Rhima (M.A., visual effects, 2016).

Steven Universe Future: Julian De Perio (B.F.A., sequential art, 2016); Becky Dreistadt (B.F.A., sequential art, 2008).

Stranger Things: Sophie Wagman (B.F.A., production design, 2017); Chris Harris (B.F.A., sound design, 2007); Heather Fetter; Nathan Alexander (B.F.A., production design); Sarah Okun; Madison Eckler (B.F.A., visual effects, 2018); Steve DiNozzi (M.A., visual effects); Forrest Arnold (B.F.A., computer art, 2000); Burke Roane (B.F.A., computer art, 2003); Lucas Gregg (B.F.A., film and television, 2016); Joe Elfanbaum (B.F.A., sound design, 2016); Erin Choroszylow (B.F.A., film and television, 2012).

Succession: Kenzi Parker (B.F.A., animation, 2012); Grant Anderson (B.F.A., visual effects, 2017); Greg Radcliffe (B.F.A., visual effects, 2010); David Anger (B.F.A., visual effects, 2016); Kelsey Drown (B.F.A., visual effects, 2017); Gabe Gilden (B.F.A., film and television, 2014).

Survivor: Jamie Gordon West (B.F.A., photography, 2011).

Tales from the Loop: Dionysius Vlachos (M.F.A., sound design, 2015).

The Blacklist: Haley Samms (B.F.A., animation, 2017).

The Boys: Kathryn Molloy (B.F.A., film and television); Amber Evans (B.F.A., visual effects, 2015); Ryan Ng (B.F.A., visual effects, 2016).

The Dark Crystal: Noah Hamdan (B.F.A., visual effects, 2012); Nikki (Makar) Pataracchia (B.F.A., computer art, 2004); Ian Chase (B.F.A., sound design, 2017); Steven Blevins (B.F.A., sound design, 2018); Eric Schultz (B.F.A., visual effect, 2014); Michael Rhima(B.F.A., visual effects, 2016); Timothy Preston (B.F.A., motion media design, 2015).

The Good Place: Dionysius Vlachos (M.F.A., sound design, 2015).

The Great Hack: Andres E. Marthe Gonzalez (M.A., sound design, 2018).

The Imagineering Story: Kevin Kabfeld (B.F.A., production design, 2016); Matthew Burgette (B.F.A., film and television, 2003).

The Kominsky Method: Rob Holland (B.F.A., film and television, 2009).

The Last Dance: Ian Chase(B.F.A., sound design, 2017); Steven Blevins (B.F.A., sound design, 2018).

The Mandalorian: Maia Kayser  (B.F.A., electronic arts, 2001); Dan Knight (B.F.A., CMPA, 1996); Steven Quinoñes Colón (B.F.A., painting); Siyu Niu (M.F.A., visual effects, 2018); Jesse Hildreth (B.F.A., visual effects, 2008); Shawn Monaghan (B.F.A., CMPA, 2004); Diana Chu (M.F.A., visual effects, 2019); Cheri Fojtik (M.F.A., animation, 2011); Cameron Kashtan (B.F.A., film and television, 2017); Douglas Addy (B.F.A., visual effects, 2007); William Appleby (B.F.A., film and television, 2014); Delane Leahy  (B.F.A., film and television); Brandon Martin  (B.F.A., animation, 2008); Michael Callahan (B.F.A., film and television, 2003).

The Marvelous Mrs. Maisel: Kenzi Parker (B.F.A., animation, 2012); Grant Anderson (B.F.A., visual effects, 2017); Greg Radcliffe (B.F.A., visual effects, 2010); David Anger (B.F.A., visual effects, 2016); Michael Pickering (B.F.A., visual effects, 2018); Carmine Picarello (B.F.A., sound design, 2006).

The Morning Show: Hilary Gayle (B.F.A., photography, 206); Heather Turner (B.F.A., film and television, 2006); Luis G. Reyes (B.F.A., production design).

The Outsider: Richard Weller (B.F.A., illustration, 1989); Megan Fudge (B.F.A., production design, 2016); Austin Ramsey (B.A., film and television); Zachary Goodson (B.F.A., animation, 2010); Darby Abraham (B.F.A., production design, 2016); Matthew X. Trinkle (B.F.A., architecture, 2016); Nate Foster (B.F.A., computer art, 2001); John Harton (B.F.A., production design, 2015); Ben Dishun (B.F.A., film and television, 2012).

The Plot Against America: Greg Radcliffe (B.F.A., visual effects, 2010); David Anger (B.F.A., visual effects, 2016); Steven Nyberg (M.F.A., film and television, 2015).

The Politician: Steven Nyberg (M.F.A., film and television, 2015); Zachary Goodson (B.F.A., animation, 2010); Morgan Lee Miller (M.F.A., production design, 2013).

The Rookie: Sarah Galley (B.F.A., film and television, 2008); Danielle Aziz (B.F.A., production design, 2012); Ric Griffith (B.F.A., video, 1992).

The Simpsons: Jon Higgins (B.F.A., illustration, 2018); Emma Barker (B.F.A., illustration, 2018); Matt Mantel (B.F.A., animation, 2017).

The Voice: Julie McReynolds (B.F.A., performing arts, 2002).

This Is Us: HanYun Chang (M.F.A., animation, 2019).

Tom Clancy's Jack Ryan: Jaime Morgan (B.F.A., film and television, 2011); Carlos Alarcon(B.F.A., visual effects, 2010); Tommy Love (M.F.A., film and television, 2013); Gabe Gilden (B.F.A., film and television, 2014).

Unbelievable: Drew Huntley (B.F.A., visual effects, 2011); Alex Jansen (B.F.A., animation, 2010); Matt Klimek (B.F.A., sound design, 2011); Nicole Baker (M.A., film and television, 2008).

Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend: Matthew T. Perry (B.F.A., film and television, 2011).

Unorthodox: Steven Blevins (B.F.A., sound design, 2018).

VICE: Brian McGee (B.F.A., visual effects, 2007); Josh Luddeni (B.F.A., film and television, 2008).

Vikings: Brittany Piacente (B.F.A., animation, 2012); Amber Evans (B.F.A., visual effects, 2015); Ryan Ng (B.F.A., visual effects, 2016).

Watchmen: Ziyan Tan (B.F.A., illustration, 2018); Nano Afrane (B.F.A., animation, 2017); Kristen Kuchenbecker (B.F.A., film and television, 2008); Jo Hepburn (B.F.A., fashion); Lauren Driskill (B.F.A., fashion marketing and management, 2010); Chris Richarson (B.F.A., sound design, 2008); William Appleby (B.F.A., film and television, 2014); Nicholas Leone (B.F.A., film and television, 2010); Sarah Okun; Ethan Guice (B.F.A., photography, 2016); Kang Hui (M.F.A., animation, 2019); Josh Tamburo (M.F.A., sound design, 2015); Adam Wagner (M.F.A., film and television, 2018); Jana Acevedo (M.F.A., production design, 2013); Noelle Jean-Baptiste (B.F.A., production design, 2011).

We're Here: Chloe Heidt (B.F.A., film and television, 2017).

Westworld: Dan Knight (B.F.A., computer art, 1996); Sean Amlaner (B.F.A., visual effects, 2007); Patrick Warner (B.F.A., animation, 2008); Casey Roberts (B.F.A., visual effects); William Appleby (B.F.A., film and television, 2014); Sarah Hamilton (B.F.A., animation, 2018); Dustin Colson (B.F.A., visual effects, 2010); Philip Fraschetti (M.F.A., visual effects, 2007; B.F.A., computer art, 2005); Jorge Sanchez (B.F.A., film and television); Erik Zimmermann (M.F.A., visual effects, 2008); Brian Freesh (B.F.A., film and television, 2005).

What We Do In The Shadows: Abhishek Singh (B.F.A., visual effects, 2017).

Why We Hate: Josh Feezer (B.F.A., film and television, 2008); William Atkin (M.F.A., computer art, 2005).

Wu-Tang: An American Saga: Harrison Jaffee (B.F.A., film and television, 2012); Alex Dubois (B.F.A., film and television, 2016); Antonio Aguas (B.F.A., animation); Nathaniel K. Hearns (B.F.A., animation, 2017); Ali Lavoie (B.F.A., animation, 2018); Hannah Saunders (B.F.A., animation, 2018); Nana Boachie (B.F.A., animation, 2011); Laura Ceredona (B.F.A., animation, 2005); Tiffany Rishel Droke (B.F.A., animation, 2014); Reed Gauthier (B.F.A., animation, 2011); Kathy Kissinger (B.F.A., animation, 2013); Travis Lockhart (B.F.A., animation, 2011); Andrew VonGravely (B.F.A., dramatic writing, 2013); Andrew Lainhart (B.F.A., film and television, 2014).

 

See a name missing from the list? Send name and show the alumnus worked on to [email protected].

 

By

Tags:

This year SCAD will host the acclaimed AnimationFest virtually this September 25-26. The SCADFILM festival programming will provide innovative and insightful content every hour on the hour throughout the two-day virtual festival, using leading streaming technology and event management platforms. The virtual festival will feature exclusive screenings, panel discussions, visual presentations and top talent and alumni from Netflix, Epic Games, Pixar, Nickelodeon, Dreamworks, Amazon, and more.

"The profession of animation is one of the creative winners of 2020, because virtual collaboration has long been a practice in the industry, where teams work together from across the world to write, produce, score, and give voice to these films," said President Paula Wallace. "Animation films and shows have actually increased production during the pandemic! SCAD AnimationFest finds the industry riding high, and invites our SCAD students into the very heart of it, to connect with our Bees in the industry and other filmmakers elevating animation to become the leading form in world entertainment."

Dynamic AnimationFest programming will represent many of the university's top ranked degree programs, including animation, visual effects, motion media design, film & television, and interactive design and game development. The festival will showcase many SCAD alumni who have become leaders in their creative careers, as well as standout student work.

Programming highlights for AnimationFest 2020 include: The Making of Amazon Studios' Undone with co-creators Raphael Bob-Waksberg & Kate Purdy; A Conversation with Avatar: The Last Airbender creator Bryan Konietzko; Framestore presents: Behind the FX of HBO's Lovecraft Country; and Behind the Scenes Conversation: CBS All Access' Star Trek: Lower Decks with creator Mike McMahan.

An additional feature, SCAD Animation Studio Presents: The Making of Bearly, will celebrate the recently launched SCAD Animation Studios with department chair Chris Gallagher. The first film created by the SCAD Animation Studios, Bearly was created and produced in a year-long collaborative with students in professional roles including lead animator, producer, visual development artist, story artists, 2D and 3D animators, lighters, compositors and more.

Passes for the two-day festival will be available for purchase on September 15, 2020. SCAD AnimationFest attendees will be able to register and purchase festival passes through a single gateway that will give them unified access across multiple devices to all sessions in the festival. Every hour of programming will also have a dedicated internal producer to ensure top-quality streaming execution and interaction. Passholders will have the opportunity to experience the festival across multiple devices and choose where and how to enjoy the content.

For more information visit the SCAD AnimationFest 2020 site.

By

Tags:

The expressive art practice of Edgar Sanchez Cumbas (B.F.A., illustration, 1994) includes painting, drawing, and found object sculpture. Many of his paintings incorporate multiple layers of thick impasto, which accumulate into allusions to skin and human bodies. The artist uses abstraction and raw material in tandem with his deeper commentary on subjects like colorism, identity, and pervasive racism. The exhibition NO. This Is Not the Color of Flesh at the SCAD Museum of Art includes recent paintings and drawings that demonstrate the artist's varied approach to media.

"When you see the work in the flesh, you can't help but be able to investigate the richness of the pieces," says Sanchez Cumbas. "Even though some are three-dimensional, some are a flat surface, and some are paper drawings, they all have this rich, tactile quality. There's a unity to all of the work."

Sanchez Cumbas injects his abstract compositions with explorations of important contemporary cultural issues. His heavily tactile and layered paintings spring from complex identity politics and are informed by his Puerto Rican heritage.

Sanchez Cumbas: "When I was growing up in Puerto Rico, my grandmother had a popular portrait of Jesus, 'Head of Christ' painted by Warner Sallman. This one was a 3D hologram, and as a little kid I fascinated by it. I kept looking at the side and wanting to see what was behind. It was a visual thing, but at the same time there was a sense of suffering that I saw in that picture, and hope too.

"In 2015, I took a trip down the Danube in Austria and saw the cathedrals. Once I came back from that trip, I knew my work would tie into the intersection between religion and racism. At that moment that picture by Sallman popped up again. I was aggressively pushing the paint to mimic the feel of that print of 'Head of Christ'. It wasn't until I laid down the last color, the flesh tone, that the first thing I said in my head was, 'No, this is not the color of flesh!' At that moment I knew the piece was done.

"That piece is a reinterpretation of a holographic picture, to a sculptural piece. We still have to look to the side and see the details of the violently laid-down paint, the strong, aggressive marks. Then we get to the top surface which is flat and smooth, indicative of our skin and our sensitivity to these issues."

"NO. This Is Not the Color of Flesh," wood, heavy gesso, acrylic polymer paint, and unsanded mortar, 12" x 11" x 8", 2018

 

The title of the exhibition takes its name from the central painting on view. The work, while small in scale, juts out into space with its chunky, accumulated layers of paint in myriad colors, from muted green and subtle brown to deep maroon and saturated yellow. This work, like many of the artist's paintings, rejects the inherent "flatness" of the traditional picture plane, offering viewers an objecthood and corporeality more akin to their own bodies than to painting and image-making.

The top layer of this work is a swath of beige-pink, a color commonly associated with Caucasian skin. Beiges have historically been the unchecked default "flesh tone" of everything from Crayola crayons to makeup foundation to academic painting instruction. In No. This Is Not the Color of Flesh, Sanchez Cumbas confronts the concept of beige as the assumed human coloring. By finishing the top layer of the work in this color while roughly exposing the multihued underlayers on the sides of the work, the artist suggests the violence and suppression of culture that occurs when societies place a higher value on those with lighter skin.

The award-winning SCAD Museum of Art will reopen to the public Thursday, September 10 with a roster of new and extended international exhibitions.

NO. This Is Not the Color of Flesh is curated by Ben Tollefson, associate curator of SCAD exhibitions.

www.edgarsanchezcumbas.com

By

Tags:

"COVID-19 is an ecological health crisis of epic proportion and we've all been impacted," says artist and activist Carrie Mae Weems. "We have indisputable evidence that people of color have been disproportionately impacted. This fact affords the nation an unprecedented opportunity to address the impact of social and economic inequality in real-time."

SCAD has partnered with Weems to launch the artist's new public art initiative, RESIST COVID/TAKE 6!, in Atlanta and Savannah, home to SCAD's two Georgia campuses. The artist-driven project emphasizes the precaution for people to maintain a six-foot distance from one another, and speaks to the urgency of Weems' call to action.

"Not only does RESIST COVID/TAKE 6! raise critical health awareness, it shines a light on how this pandemic has disproportionately affected Black, Latino and Native communities," says President Paula Wallace. "We are pleased to be partnering with Carrie Mae Weems, longtime friend of SCAD, to bring this important work to Atlanta and Savannah."

At the SCAD Museum of Art in Savannah, the museum's street-facing jewel boxes display large-scale photographs accompanied by the initiative's messages including "Don't Worry, We'll Hold Hands Again." RESIST COVID/TAKE 6! is also on view at public locations in and around SCAD Atlanta. Commanding billboards and bus shelters bring its message to the attention of residents in one of the country's highly impacted cities. Flyers, "church-style" fans, and bags will be distributed through Meals on Wheels Atlanta and organizations in Savannah. The printed pieces direct audiences to local resources including COVID-19 testing sites.

The works showcase the realities of the international health crisis while providing notes of gratitude to workers within the health and service industries and making direct appeals for people to take preventive safety measures.

SCAD has over a decade-long friendship with Weems. The artist has collaborated with the university on numerous exhibitions and initiatives to showcase her dynamic work. Weems has been a distinguished visiting professor at SCAD Atlanta and worked with students on a thought-provoking film, "Constructing History: A Requiem to Mark the Moment" for the National Black Arts Festival in 2008. In 2016, Weems was the SCAD deFINE ART honoree and keynote speaker. That same year she had an accompanying exhibition titled "Carrie Mae Weems: Considered" at SCAD MOA in the Walter O. Evans Center for African American Studies.

Most recently, Weems spoke with President Wallace for the ‘On Creativity' podcast where the artist discussed recent and upcoming creative work, the importance of the RESIST COVID/TAKE 6! initiative, and her legacy in the industry.
 
Weems began working on RESIST COVID/TAKE 6! this spring while artist-in-residence at Syracuse University, as the extent of the COVID-19 crisis became apparent. The idea came from a conversation of Weems and her close friend Pierre Loving, lamenting what they saw unfolding. The initiative is also being activated in cities nationwide including New York, Detroit, Dallas, Los Angeles, Chicago, and Philadelphia in support by producing collaborators, THE OFFICE performing arts + film.

"The arts allow us to get closest to our humanity," says Weems. "One of the important things is to understand the circumstances under which we live. This means unmasking inequity, because then you begin to see the power structures that are under it to keep you fighting one another as opposed to really looking at really the source of the problems. Denial does not solve a problem."

Listen to Carrie Mae Weems speak with President Wallace 'On Creativity' here.

 

By

Tags:

On the last day of July, the Guests and Gusto online symposium "Pass the Mic: Conversations with Black Creatives" united leading professionals for three insightful panels exploring how diverse voices impact collaboration and creativity.

The "Black Beauty Matters" panel, moderated by Julee Wilson, beauty director at Cosmopolitan, featured Linda Arrington, former global brand GM at Estée Lauder Companies; Sarah Curtis Henry, chief marketing officer at Tatcha; and Sir John, global makeup artist, activist, and producer. They discussed their formative experiences with the concept of beauty, and the actions necessary to make the industry more inclusive.

Sarah Curtis Henry: "I think of beauty as an individual art form, because it is so unique and specific to each and every person. It's a state of being, a way of holding your head high and way of walking. As a Black woman, I was taught to walk a little taller and hold my head higher because my beauty was not the standard of beauty per se. It really does come from the soul."

Sir John: "I'm not allowing brands use my blackness as a shield or as an umbrella. This is not situational. This is a revolution. These changes are a grand awakening, you know. I've been in this game for almost 20 years now and seen so many different directions, but I feel so anchored in being a truth teller. It feels good to actually speak up for people who don't have a voice."

Linda Arrington: "One of the things that I look for when I'm hiring are people who have a tremendous amount of curiosity. If you have an insatiable curiosity, you're always looking to learn. You're always looking to figure out how you can do better, be better, be smarter and beat the competition. The best advice is to really maintain curiosity and keep learning."

The "Black in Fashion" panel, moderated by SCAD professor and footwear designer Michael Mack, featured leaders in fashion sharing their experiences navigating the industry. Panelists included celebrity stylist and creative director Jason Bolden; Nicole Chapoteau, fashion market director at Vanity Fair; and Lindsay Peoples Wagner, editor-in-chief of Teen Vogue.

Jason Bolden: "Work ethic trumps talent. A lot of times you can be the most talented person, but if you don't have the work ethic, you fall to the wayside. You may not be the most talented designer, but if you have major work ethic that pushes through everything, those are the people who constantly rise higher in their profession."

Lindsay Peoples Wagner: "Editors shouldn't just be like, Oh, let me write up 15 Black brands because we're dealing with this time culturally right now. Have you reached out to them to try to establish a real relationship? Are you going past the performative level of saying that you're doing something? Because look, if you're not doing the real work, we're not interested."

Nicole Chapoteau: "We have to make sure this movement stays public, that it stays out there, and we have a tool now that our parents’ generation didn't have: We have the internet. You can get information out really quickly and let everybody know. We have the prime opportunity to keep it growing."

The day’s final panel, "Behind the Lens" with moderator Tiffany Reid, fashion director of Bustle Digital Group, featured director and photographer Christian Cody (B.F.A., photography, 2016);
 T. Cooper, celebrity makeup artist and founder of Major Face; and Candace Marie Stewart, social media strategist and founder of Black in Corporate. All three spoke about transformational professional experiences.

Christian Cody: "I make sure that whoever I have in front of me, no matter what their tone is, that they represent themselves. Working with Killer Mike for a GQ shoot for their new August issue, it was really great to connect with someone who has a purpose, politically, especially in the Atlanta area. I’m proud of that."

Candace Marie Stewart: "I wanted to find some way to help level the playing field. For me, it was about being in that luxury space and amplifying Black voices. I pride myself on making sure that voices that had never been heard before are able to use this platform. We deserve to have as many opportunities, resources and mentorship."

T. Cooper: "I love doing fashion shows and I love my sisters. A lot of times my team consists of all Black women. That makes me feel like I'm doing something special, because I'm adding an element that just didn't exist in fashion. And we continue to slay."

See more at scad.edu/guests-and-gusto.