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He ditched law school for a degree in filmmaking at the New York Film Academy. Today John Sammon, an accomplished filmmaker, is the director of the same Academy, which opens a branch in Abu Dhabi next month.

The art of storytelling is a gift most possess, but the art of visual storytelling has to be learnt.

And this is what John Sammon, director of the New York Film Academy (NFA), has set out to do.

Storytelling is intricately woven in the UAE's culture as many a traditional tale is narrated around winter fires
and cool majlises.

Sammon's plan is to take these stories to the big screen in his latest role as director when NFA opens its third campus next month in Abu Dhabi, its first branch offering yearly courses outside the US.

The reason, states Sammon, is the large population of young talent, the tradition of storytelling and the strong leadership that supports and encourages artistic expression. The Academy aims to educate the region's gifted and talented storytellers.

The opening is part of a bigger vision of the Abu Dhabi Authority for Cultural and Heritage (ADACH) to enliven Abu Dhabi's cultural expression.

Filmmaking wasn't a childhood passion for Sammon, but storytelling was. He wished to draw crowds the way oral tradition drew the Greeks. He thought: what could be better than sitting with others trading stories?

It wasn't until he played an extra in a friend's movie after graduation - and before starting law school - that he found out he could.

He is perhaps the youngest director of a post-secondary institution in the UAE. At 31, he brings more than seven years' experience as an administrator, filmmaker and educator.

The Academy's programme is designed for serious filmmakers. The NFA is recognised as the most innovative school worldwide.

Their integrated approach offers intensive Filmmaking, Screenwriting, Digital Film Making, Computer Animation and Acting for Film Programmes.

Each course is inspired by their philosophy - learning by doing.

"I know the UAE is on the cusp of positioning itself as the centre of filmmaking in the Middle East and is ready to become an international film centre. Our goal is to invigorate the film scene inside out; to bring in talent from outside and build it from the inside."

I
I don't think age is that important in determining success in a chosen profession. It is about what you have to say and what you can do. I have the experience and the motivation to make this happen.

I feel very proud and happy that I founded a Masters of Fine Arts programme at the NFA. I loved being part of those projects and ultimately part of that change. Our is not an institution plagued by stagnancy.

I thrive in a dynamic, changing environment. It challenges me.

I like pressure. I always tell a new student that there are easier ways to make money. But if this is his passion, he will pursue and realise his dreams. Filmmaking is hard work. If you love it, it isn't drudgery, but fulfilment.

I have always been inspired by big ideas. I really admire Jerry Sherlock, founder of the NFA for his foresight and vision. He is an extraordinary entrepreneur.

He brings a constant flow of new ideas, and I am honoured to further his vision.

I admire Wes Anderson's skill as a director. When it comes to control of tone, he is at the top of his game. The film world is unique, and anything can happen.

The colours, performance, style, use of motion, shape ... all introduce elements of creative risk. He creates and preserves a tone for 90 to 100 minutes without losing a beat.

Me
Me and My Childhood

I was born in 1976. I grew up in Long Island, New York. I will turn 32 two days after the NFA opens its doors on February 3. I think Stars Wars was key to developing my passion for filmmaking.

As a kid, I remember enacting scenes from the movie. I did it so often I memorised the entire movie perfectly from beginning to end!

The movie had the uncanny ability to transport me into a another realm. This is what every filmmaker and storyteller wants ... to transport the audience to another realm.

I also love reading Stephen King. The carefully plotted elements of suspense are exquisite; they set the pace for a great story.

Me and my early development
I grew up surrounded by the sea. My grandfather and I would go out fishing every weekend. Anyone who fishes knows it affords time for reflection and dreaming.

They were memorable times, especially at Great South Bay, off Long Island, New York. My grandfather would sing old fisherman songs of drunken sailors and eerie canals. And I would visualise them.

Looking back, the experience helped develop my imagination and in turn, me as a person. I was relieved to find out that Abu Dhabi's coast was the Arabian Sea!

Me and my education
Although I made good grades, I wasn't the most serious student. I would figure ways around or through the system. I have been an 'ideas' guy all along, committed to lateral thinking.

In high school, I played on the football, rugby and wrestling teams. I continued sport even at Wesleyan College. However, I was never in a fraternity. My friends were not athletes; they were artists.

Athletics taught me discipline and management. I learned to work under pressure, and to appreciate it.

I studied English Literature in college, and realised my talent for storytelling. My mother encouraged me to study law, a profession with a decent living standard. So I answered the entrance exam and was accepted in several law schools.

Me and my first movie set
Just before law school, a friend asked me if I would like to act in his movie. When I arrived on the set, I noticed light metres that measured, balanced, and sculpted light.

I was truly amazed by the process of visual storytelling. I knew that I had to withdraw my application to law school.
I called my parents to inform them. They said, "Come home tomorrow, let's have lunch."

On my way over, I devised my plan. I would attend the NFA for eight weeks and then get a Masters from the American Film Institute (AFI). Eventually, I will make films and teach filmmaking.

My mother was a math teacher who aspired to be a lawyer. My father was a stock broker, bonds trader and manager of a Wall Street firm who wanted to be a painter and sculptor.

They were not only supportive of my plan, but made changes in their own lives. I enrolled at the NFA. My father went to art school and mother went to law school.

Me and my filmmaking dream
I wanted to make movies. It wasn't about the promise of great wealth rather about pursuance of my dream. When I explained that this is what will make my life satisfying, they pledged their support.

My mother is now an attorney. My father stays home, does the cooking, and is a part-time college instructor. It was a transformation for the whole family.

I said, "I am going to film school"; mother said, "I am going to law school"; and father said, "I am going to art school."

We are all getting creative fulfilment. (My sister is in law school.)

Me, the New York Film Academy and the American Film Institute I completed an eight-week filmmaking programme at the Academy. I learned a lot about filmmaking in a short period of time.

Each student had to produce four short films. I then moved to California and got a Master of Fine Arts in Filmmaking (directing) at the AFI.

I did small amounts of professional work before I started teaching, editing, and screen writing.

I won the Collin Higgins award, and used the grant to produce St. Christopher's Code, my thesis film. The film played nationally on PBS (The Public Broadcasting Service).

It was about three boys in a boys Catholic high school trying to find the most ingenious way to cheat on finals. It was both a sad and fun film.

People related to the film; they identified with the universal theme that sometimes if you try to help someone you end up hurting them.

I then began working for the NFA, first as an instructor, then an administrator. We decided to offer a Masters of Fine Arts degree, and went through the process to accomplish this.

An instructor, I also ran the school's post-production screenwriting directing and editing courses. I moved into administration, and eventually became the school's director of education.

I worked extensively on new programme development and accreditation. In this role, I helped plan and institute the long-term vision of the school.

After much hard work and dedicated effort, our school was recognised by the National Association of Schools of Art and Design. We are the only ones recognised by the
US Department of Education.

It was hard work. We had to write about 600 pages defining every aspect from the syllabi and curriculum to the management and administration. We went through a series of site visits.

The effort was not without rewards. The NFA has enjoyed a stellar reputation amongst industry professionals. Now we have the seal of approval from government and non- government bodies.

Myself
How is locating in the UAE different from your other international ventures?
We had already expanded internationally. Since the beginning we had programmes running in Milan, Florence, Budapest, Sardinia, Porto Portugal, Seoul, Paris and London. These were mainly summer satellites - four to eight weeks' long.

One reason I really wanted to come to the UAE is that we will have the much-needed time to do 16mm, HD, and 35mm film. Students can learn to direct scenes with complex dialogue and drama.

Moving to the UAE is a fabulous opportunity in so many ways. The future of filmmaking is strong here. Culturally, everything is so new. It is an opportunity to learn.

Also, Warner Brothers is coming to Abu Dhabi. There was a recent alliance between Al Dar, Warner Brothers, and Abu Dhabi Media Company to build a theme park, multiplex theatres and finance and create broad films.

The vision of ADACH is to develop talent and create a platform for indigenous language films.

This means more opportunity to make films in Arabic for distribution in the GCC and the rest of the Middle East. Having a major Hollywood studio making local language films is pretty amazing.

Our vision is sync with that of ADECH. Soon, those who already have bachelor's degree will be able to complete a Masters.

What is it like for someone who loves the craft of filmmaking to be an instructor and administrator?
Our professors are all practitioners. We make movies, teach, and learn simultaneously. I just completed a feature-length documentary called: Big Project.

Ridin' on the City of New Orleans. It features Willie Nelson and Arlo Guthrie on a train to the City of New Orleans (inspired by their hit songs).

It was filmed on the train from Chicago to New Orleans after hurricane Katrina nearly wiped out the entire city. Willie and Arlo stopped at each city on the way and collected instruments, performed at concerts, picked up donations and musicians.

Then, when they got to New Orleans, they gave it all away through the Tipitina's Foundation, a non-profit organisation that is dedicated to uplifting New Orleans's rich music tradition.

As a practitioner and administrator, I learn so much from students. I think making films and educating future filmmakers go hand-in-glove. It is a truly wonderful experience. I often feel inspired by my students to create more work. It is a uniquely cyclical process.

You go, do, learn, communicate, and give back to the students. I love teaching, screenwriting, producing and directing. I consider myself a director and producer, who is also an educator.

When I am not making movies, and not running a film school I enjoy the water. Sailing, fishing, and going out to sea on a power boat, are my preferred leisure activities.