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 STUDENT FILMS
 
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  WRITER . DIRECTOR . EDITOR 

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Across the Graveyard, 2018

A gravedigger struggling to adjust to life in a long distance relationship meets and confides in a 75 year old widower at the cemetery where he works. Michael's senior thesis film for the Purchase Film Conservatory. 

 

Full film coming soon, click the thumbnail to watch the trailer!

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Addicted, 2017

A father who is dealing with his own demons becomes suspicious that his son is hiding something from him. Michael's junior thesis film for the Purchase Film Conservatory. 

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Full film online now, click the thumbnail to watch! 

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Seeing Mom, 2016

A short documentary following a son as he attempts to bring happiness to his mother, who is confined to a nursing home and suffering from dementia. Michael's final documentary for the Purchase Film Conservatory, sophomore year.

 

Full film online now, click the thumbnail to watch! 

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Check Out, 2016

A look into the life of Jake, a lonely convenience store cashier, as he encounters a cheating girlfriend customer. Michael's final narrative film for the Purchase Film Conservatory, sophomore year.

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Full film online now, click the thumbnail to watch! 

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Easy A, 2015

An adaptation of the fake sex scene from 'Easy A', the film follows a young high school girl who agrees to put on a fake show at a house party for a tormented gay friend. Michael's crisis, climax, resolution assignment for the Purchase Film Conservatory, sophomore year. 

 

Full film online now, click the thumbnail to watch!  

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Broken, 2015

A contemporary adaptation of the restaurant murder scene from 'The Godfather', the film follows a young man whom meets with two gang members, seeking vengeance for the death of a best friend. Michael's inciting incident assignment for the Purchase Film Conservatory, sophomore year. 

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Full film online now, click the thumbnail to watch! 

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My Mom, 2015

A short documentary following my mom around for a busy day. Michael's process film documentary for the Purchase Film Conservatory, sophomore year. 

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Full film online now, click the thumbnail to watch! 

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Stand by Me, 2015

An adaptation of a scene from 'Stand by Me', the film follows two childhood friends on a walk in the woods, as they discuss life after high school and their futures. Michael's one take adaptation for the Purchase Film Conservatory, sophomore year.

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Full film online now, click the thumbnail to watch! 

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A New World, 2015

A lonely college freshman struggles to make new friends and adjust to the new environment he has just entered. Michael's freshman thesis film for the Purchase Film Conservatory. 

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Full film online now, click the thumbnail to watch! 

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A short horror film about a young woman who hears an eerie noise and decides to investigate where it is coming from. A group project short film for the Purchase Film Conservatory, freshman year. 

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Full film online now, click the thumbnail to watch! 

The Basement, 2014

AN OVERVIEW OF FOUR YEARS

     During my time at Purchase, I wound up writing, directing and editing 17 short film assignments, a mixture of narrative and documentary work, over the course of four years. Since the beginnings of freshman year, the SUNY Purchase Film Program geared the students to learn how to work creatively as writers and directors. By hosting several core directing workshop and screenwriting courses, the program was heavily focused on bringing about engaging, inventive storytellers that would focus on using their art to speak to their audiences in a very personal way. 

     Freshman year served as the introduction for the students to learn the steps of working as writers and directors, while also introducing the students on how to work on sets in the lighting and camera departments through key cinematography classes. By the start of their second semester, freshmen were all ready writing scripts for their freshman thesis films, which they spent all semester writing, gathering a cast and crew together, taking a week to shoot, and then finally edit, all through till the end of the year. As an added bonus, freshman were given only one guideline to follow; their films were not allowed to have any dialogue. This was a tool to teach each filmmaker how to use the camera to visually tell their stories without having the easier pass of using dialogue.  

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     In contrast to the introductory nature of the first year, sophomore year was a totally different ball game. In sophomore year, students were enrolled in both a narrative and a documentary directing class, on top of others, and wound up making at least one film a week. Students would work on quick, shorter assignments and have very little time to complete everything. Although not every film would be perfect due to the lack of time, the year taught students how to properly balance schedules and especially laid out just how stressful following a career in the industry would be for many (and just how possible it was to function on little to no sleep). While spending time doing adaptations in narrative, students worked on various exercises to better familiarize themselves with non-fiction storytelling in documentary. This was the year the program would truly push the students to ask themselves if it was right for them. Upon the completion of the year, the students would ultimately have one final, more in depth film for both documentary and narrative classes, while having a total of 11 films finished by the end of the year, out of the 17 they would go on to make over 4 years. 

     Upon entering junior year, each student was given the choice of choosing a focus of either narrative, documentary, or experimental, (with the rare case of doing two at once) and then given an entire year to make one film and work on every aspect of an entire film's production. Focusing on narrative, I spent one whole semester writing, re-writing, and re-writing again my script. While writing, students were taught (and placed fully in charge of) how to work in a more professional casting environment through holding auditions in New York City, while they also learned a lot about budgeting, crowdfunding, scheduling, location scouting, shot listing, and filling out paperwork to have their films become SAG-student eligible. After all of this was said and done, students were given the next few months to go out and actually shoot their movies (while also crewing for their fellow classmates in various roles). Once the new semester began, and depending on each student's status, students would work on editing their films in their entirety, from start to finish. From organizing dailies to compiling rough and fine cuts, to going back out and doing reshoots and pickups, to finally color correcting and sound mixing down to that final export- each student was fully in control of their own "first and official" short films. 

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     When finally arriving to senior year, the year that would conclude everything and send each student out to venture in their continuing journeys as filmmakers, the students would more or less undergo the same process from junior year. One year, one film, numerous script re-writes, casting, location scouting, countless hours editing, reshooting- all of it was done again as the same process as before, but with one huge difference: they knew what they were doing this time. Senior year was the chance to make things right and learn from mistakes made on their junior films; whether big or small, senior year enabled students to overcome these same mistakes and work as collaborative and talented filmmakers, now knowing what each of their strengths and weaknesses were and where their hearts were guiding them, specifically, in their field. To make matters better, Purchase always gave each student the opportunities to grow in that collaborative environment, as was the case with junior year as well. From day one, students sat in a room with 12 others and two professors and they worked together to workshop each script, each budget, and each plan of intent. Constructive criticism, helpful suggestions, and even new ideas were always brought up by every student, helping them see things in an entire new light and learn to grow from working alongside others. And while the students always have worked together on sets in different roles, by senior year each strength on set had been realized, and students worked together with their peers in their respective fields to not only work, but contribute and incorporate their own artistic ideas into each task. And why would the collaboration stop there. Once their final semester would hit and all attention was directed to editing, students would come in with new material and new cuts and have their peers watch, comment, and suggest what wasn't working. What could work better, what was needed to make something hit more. The environment was truly open-minded and always constantly improving with new ideas and different points of view. By the time seniors would take their seats at the Jacob Burns Film Center in Pleasantville or Lincoln Center in the city in May, where all seniors would screen their final films as a special privilege, nothing but growth and a much deeper understanding of what it means to be a storyteller would be reflected in each film. 

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     Working as a student in the Purchase BFA Film program is one of the most challenging experiences one will probably ever initially face upon working in the industry. It's a huge wakeup call to what will be demanded of you and a great teacher of how difficult and fulfilling working in a career in film could be. Although you're essentially left on your own to find work and start working to achieve your goals the second you cross the stage at graduation, you will leave the program an entirely different person then when you first started. You're more independent, you're well versed in all things film than you ever were when you started, you're engrained into a small community of filmmakers who understand you and admire the work you do and the passion you have, and quite possibly most importantly of all- you understand what it means to be an artist and a storyteller more then you ever have. You understand what goes into a collaboration and you are able to see just how important our voices are in the larger community of filmmakers and storytellers that await you. If it really is for you, you'll know. And you'll hopefully be ready for what's next to come. 

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© 2018 by Michael Scarnati.

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