An exclusive look at Christopher A. Nicola, his creative process, storytelling, and the art of physical performance.
We first connected on Instagram, drawn to each other’s artistic vision and passion for storytelling. Christopher A. Nicola is a New York filmmaker, photographer, and clown performer whose work blends whimsy with meticulous craft. Inspired by the city’s energy—from the streets of Brooklyn to the halls of its museums—he channels his surroundings into his creative process and physical performances. In this interview, we explore his world of visual storytelling, the birth of his clown character Capricieux, and how New York’s artistic environment shapes his unique approach to filmmaking and performance.
Before diving into the interview questions, Christopher shared his thoughts on classic cinema and the elements he would love to see preserved in modern filmmaking. “Something that I would preserve from old cinema is the use of film,” he explains. “It is wonderful to still see some movies made on film, even with the advancement of digital technology. Digital technology is great, but film still has something that digital can’t replicate.”
He continues to reflect on other timeless techniques: “I would love to see the return of stop motion animation and matte paintings. Digital tools have made much of the work easier, but there is a magic and charm to these handcrafted elements and elaborately designed sets.” Christopher even has a film project in mind that he hopes to create on actual film, potentially supported through crowdfunding. For him, these elements are part of the art of visual storytelling that continues to inspire his own work as a New York filmmaker and performer.
— Tell me about yourself, your family, your studies, what you read, what interests you, and how the city shapes you.
I was born in Brooklyn, New York on June 8th 1985 to Jack & Tamara Nicola. We moved out about an hour away to Long Island, NY which is the suburbs outside of NYC when I was a year old.
Studied clown in 2016. Took numerous clown workshops and classes through the years following that. Also took acting classes at The Barrow Group from 2018-2020. Studied improv at Upright Citizens Brigade from 2019-2021. Studied stage combat at Neutral Chaos in 2019-2020 focusing on sword and unarmed stage combat. The Hero With a Thousand Faces by Joseph Campbell is one of the most profound books that I read. It got me more involved with the hero’s journey. Also David Lynch’s Catching the Big Fish was another great book to read. Besides filmmaking, photography, theater, clowns, I greatly like attending burlesque shows. It has something to do with the theatrics of it. Have also been a wrestling fan since age 10. It’s the theatrics that got me drawn to it. I like things that are theatrical in general. The city brings me life with the diversity in cultures, foods, arts, museums, the people!
— I see you have a keen eye for the early days of cinema; it’s impossible not to admire the references to Méliès and Chaplin in your videos. You mention them, in fact. Your short films (short in duration) are both modern and timeless. Did you choose silent cinema because it gives space to physicality? To expression?
Yes, the physicality and facial expressions is what really made me choose making silent movies. It was also a visit to the Museum of Fine Arts in Boston in 2019 that had an exhibit of Henri Toulouse-Lautrec.
There were some films shows from the Lumiere brothers. Serpentine Dance was the one particular film that was mindblowing, especially seeing the different hand painted colors onto the film negatives how the dress changes colors.
— Chaplin was very attentive to the political situation—just think of *The Great Dictator*, filmed in the midst of the war. Do you think cinema should be more attentive to current events?
It can be attentive to current events if done right. Chaplin obviously did it right. Other greats that were great with political satire was Monty Python’s Flying Circus. Another movie that really shows the current political climate and current events is Megaopolis, which I feel is still getting a bad reputation. I feel that it was very odd and artful, and greatly misunderstood. I feel that it should be given a chance.
— What would you preserve from old cinema and what from new cinema?
Something that I would preserve from old cinema is the use of film. It is wonderful to still see some movies are still being made with film, even with the advancement of digital technology. Digital technology is great, but film still has something that digital can’t replicate. I actually have a movie project in mind that I would like to make on film. Would need to do a crowdfunding campaign in order to afford it. Another thing that old cinema that I feel should come back is the use of stop motion animation as well as matte paintings. Digital technology has come a long way and make a lot of the work easier, but there is a magic and charm to things like matte paintings, elaborately designed sets.
— Do you think artificial intelligence will make us lose our appreciation for art?
That is something that I often fear about AI. There is more and more of it being used to create music, movies, even paintings. We need to show our work as humans, as creatives that AI cannot take our talents, or hearts away from us. We are here to stay.
— What are you working on now? Can you say anything about it?
Just wrapped up post-production of the fourth Capricieux film, which is titled Capricieux’s Follies. I want to enter it into some film festivals, and have some public screenings of it. Also working on a script with another writer to make a screenplay of the first Capricieux film with talking. It will be more of a drama and grounded in its story.
— What is your relationship with Europe?
My ancestry is from Europe. My father’s side is Italian, my mother is an immigrant from Cuba. Her family’s ancestry originates from Spain. Europe has been great to me in terms of film festivals! Have one from two film festivals based in Italy, was a semi finalist for a festival based in Berlin. I still have not been to Europe yet, but would love to travel there someday. Have only been outside the US once. Went to Canada for a few hours back in 2024.
— Do you have anything in mind regarding Italian cinema? If so, what?
Cinema Paradiso is one of my favorite movies. It has such a beautiful story, and the score is sublime. I honestly need to watch more Italian cinema, especially from the greats like Fellini.
— If you had to describe yourself in a few sentences, what would you say?
I would say that I’m a fairly shy person. Am very determined and devoted to my craft. I believe in going all the way or no way when it comes to creative projects. I consider myself a lifelong learner always open and willing to learn and try new things. We’ll see what comes next.
Christopher A. Nicola’s work reminds us that filmmaking, performance, and the art of clowning are deeply intertwined with personal experience, environment, and a love for storytelling. From the streets of Brooklyn to the halls of museums, from the silent films of early cinema to his own modern creations, his art captures a world both whimsical and meticulously crafted.
We invite you to explore his unique universe through a couple of his films:
Whether you’re a lover of physical performance, visual storytelling, or the charm of classic cinema, Christopher’s work offers inspiration, laughter, and a reminder of the magic that happens when passion meets creativity.
