Alternative to film school?
- Thread starter Logan LeBlanc
- Start date
jazzx
Well-known member
Fine Writers\Poets indeed, though I really think you should avoid (especially Nietzshe and Poe) them if you're in a bad mood, or writing\directing a comedy.
Could you please explain this? In my view every artist has to draw influence from whatever inspires him\her and that could be a book, a painting, an emotion, an incident, a mood and yes absolutely so a movie!
I also have a book to recommend that talks alot about filmaking as creative process and really takes you to discover-find out for yourself the fundamental reason as to why really anyone wants to be in the filmaking process, whether as a director, editor, dp, actor and music composer and alot more you just have to see for yourself.
The book is called: Creative Filmaking From The Inside Out.
Cheers
Ursa
Active member
No I just meant do not draw all your influence from movies. The world already has too many Tarantinoes... I see the wave of violence in modern film as a downfall. Yes it is beautful, yes it has great scripts, now what do you wanna do when you come out of the cinema? You wanna start a fight. I think the art of film should tell people something more than "go out and start a fight". The greatest example being "Fight Club", which had an extremely well-written anti-violent message, and then somewhere in Fincher's direction the message got completely lost. It IS an anti-violent film, so why do everyone want to hit people in the nose when they get out of the cinema?.
I know I know, I sound like a complete christian nerd. But I really do intensely HATE this violence trend in Hollywood for the time being. And people in America can't see that they influence the rest of the world at the same time. Here in Norway you aren't taken seriously anymore if the violence is not portrayed in a beautiful, slick way like in the Hollywood cinema.
So in essence what I meant was: do know when you've seen enough films.
Like I said: I had a depressive breakdown cause I couldn't find inspiration nearly anywhere. I tried movies, but the same old violent escapist crap. I tried magazines, but I felt caught up in a web of commercialism. That's when I turned to reading books. Even though we here in Norway learn about Ibsen when we're 16, it's really not interesting at all when you're that young. So reading it again at 24 was a real new experience to me, and suddenly inspiration was flowing again.
I'm sorry if that seems like a paradox to some: I make movies, but strongly discourage people from watching TV.
I agree you can learn heaps from analyzing movie scenes. The book I recommended: Film Directing Fundamentals" by N. Proferes actually had massive analyzes of three feature films. I learned really a lot. But analyzing is time-consuming, and once you've analyzed a couple, you don't learn that much from analyzing another imho.
But once again: know when you are ready to find your own voice/directing style and stop imitating others.
I know I know, I sound like a complete christian nerd. But I really do intensely HATE this violence trend in Hollywood for the time being. And people in America can't see that they influence the rest of the world at the same time. Here in Norway you aren't taken seriously anymore if the violence is not portrayed in a beautiful, slick way like in the Hollywood cinema.
So in essence what I meant was: do know when you've seen enough films.
Like I said: I had a depressive breakdown cause I couldn't find inspiration nearly anywhere. I tried movies, but the same old violent escapist crap. I tried magazines, but I felt caught up in a web of commercialism. That's when I turned to reading books. Even though we here in Norway learn about Ibsen when we're 16, it's really not interesting at all when you're that young. So reading it again at 24 was a real new experience to me, and suddenly inspiration was flowing again.
I'm sorry if that seems like a paradox to some: I make movies, but strongly discourage people from watching TV.
I agree you can learn heaps from analyzing movie scenes. The book I recommended: Film Directing Fundamentals" by N. Proferes actually had massive analyzes of three feature films. I learned really a lot. But analyzing is time-consuming, and once you've analyzed a couple, you don't learn that much from analyzing another imho.
But once again: know when you are ready to find your own voice/directing style and stop imitating others.
Ursa
Active member
No I just meant do not draw all your influence from movies. The world already has too many Tarantinoes... I see the wave of violence in modern film as a downfall. Yes it is beautful, yes it has great scripts, now what do you wanna do when you come out of the cinema? You wanna start a fight. I think the art of film should tell people something more than "go out and start a fight". The greatest example being "Fight Club", which had an extremely well-written anti-violent message, and then somewhere in Fincher's direction the message got completely lost. It IS an anti-violent film, so why do everyone want to hit people in the nose when they get out of the cinema?.
I know I know, I sound like a complete christian nerd. But I really do intensely HATE this violence trend in Hollywood for the time being. And people in America can't see that they influence the rest of the world at the same time. Here in Norway you aren't taken seriously anymore if the violence is not portrayed in a beautiful, slick way like in the Hollywood cinema.
So in essence what I meant was: do know when you've seen enough films.
Like I said: I had a depressive breakdown cause I couldn't find inspiration nearly anywhere. I tried movies, but the same old violent escapist crap. I tried magazines, but I felt caught up in a web of commercialism. That's when I turned to reading books. Even though we here in Norway learn about Ibsen when we're 16, it's really not interesting at all when you're that young. So reading it again at 24 was a real new experience to me, and suddenly inspiration was flowing again.
I'm sorry if that seems like a paradox to some: I make movies, but strongly discourage people from watching TV.
I agree you can learn heaps from analyzing movie scenes. The book I recommended: Film Directing Fundamentals" by N. Proferes actually had massive analyzes of three feature films. I learned really a lot. But analyzing is time-consuming, and once you've analyzed a couple, you don't learn that much from analyzing another imho.
But once again: know when you are ready to find your own voice/directing style and stop imitating others.
I know I know, I sound like a complete christian nerd. But I really do intensely HATE this violence trend in Hollywood for the time being. And people in America can't see that they influence the rest of the world at the same time. Here in Norway you aren't taken seriously anymore if the violence is not portrayed in a beautiful, slick way like in the Hollywood cinema.
So in essence what I meant was: do know when you've seen enough films.
Like I said: I had a depressive breakdown cause I couldn't find inspiration nearly anywhere. I tried movies, but the same old violent escapist crap. I tried magazines, but I felt caught up in a web of commercialism. That's when I turned to reading books. Even though we here in Norway learn about Ibsen when we're 16, it's really not interesting at all when you're that young. So reading it again at 24 was a real new experience to me, and suddenly inspiration was flowing again.
I'm sorry if that seems like a paradox to some: I make movies, but strongly discourage people from watching TV.
I agree you can learn heaps from analyzing movie scenes. The book I recommended: Film Directing Fundamentals" by N. Proferes actually had massive analyzes of three feature films. I learned really a lot. But analyzing is time-consuming, and once you've analyzed a couple, you don't learn that much from analyzing another imho.
But once again: know when you are ready to find your own voice/directing style and stop imitating others.
GenJerDan
Veteran
Ursa said:
Hmmm...I'd say don't draw the influence from newer movies. They're second, third, and fourth hand. Go back to what the makers drew from, and from what those folks drew from, and so on and so on.
Nothing wrong with being influenced...but you'd best go to the original source, unless you just wanna make cheap knock-offs.
Of course, the original original sources are going to predate films....and you'd be even better off going there.
jazzx
Well-known member
I'd say it's a bad idea to generalise all content produced nowadays and one of the reasons is that it's unfair to the artists producing truthful, strong and influential content right now.
Granted, there is a trend towards violence in movies right now, but I don't consider that a problem to artists or viewers for that matter, that are seeking something different because it is there! It's only a matter of choice. In fact the problem lies more on the predictability-flow (as I call it) on movies being made on the Hollywood and European big budget system, than it lies on violence alone.
However I'm optimistic, take a look at american and european independent movie makers and you'll see a lot of gold in there and people seem to really respond to that content. Jim Jarmusch is an example of that success, as other European, Korean, Chinese and Japanese artists like Takeshi Kitano are. These people have an audience which is quite decent!
It's also a bad idea, it think to blame a medium (Like TV) and not the content. I recently saw Jeremy Clarkscon (From TOP Gear) talking in a BBC Series called Grumpy Old Men and he pretty much said that the amount of good TV content has increased incredibly over the years and as such, the amount of garbage has also increased and I can't agree more to that point. You just have to be more selective nowadays.
My view is let everything that really has an impact on you and is truthful, do it's job on infuencing who you are and your artistic endeavors, drawing lines and generalising all the time won't do much good.
Just my 2c.
Granted, there is a trend towards violence in movies right now, but I don't consider that a problem to artists or viewers for that matter, that are seeking something different because it is there! It's only a matter of choice. In fact the problem lies more on the predictability-flow (as I call it) on movies being made on the Hollywood and European big budget system, than it lies on violence alone.
However I'm optimistic, take a look at american and european independent movie makers and you'll see a lot of gold in there and people seem to really respond to that content. Jim Jarmusch is an example of that success, as other European, Korean, Chinese and Japanese artists like Takeshi Kitano are. These people have an audience which is quite decent!
It's also a bad idea, it think to blame a medium (Like TV) and not the content. I recently saw Jeremy Clarkscon (From TOP Gear) talking in a BBC Series called Grumpy Old Men and he pretty much said that the amount of good TV content has increased incredibly over the years and as such, the amount of garbage has also increased and I can't agree more to that point. You just have to be more selective nowadays.
My view is let everything that really has an impact on you and is truthful, do it's job on infuencing who you are and your artistic endeavors, drawing lines and generalising all the time won't do much good.
Just my 2c.
oneinfiniteloop
Veteran
I think violence is depicted in a strange way in American cinema, but there have been some bigger independent type films that have portrayed it a very real way. Two that come to mind are City of GOd (my all time favorite, thus far) and A History of Violence. Both are very good films and only use violence to tell the story, not for entertainment purposes.
I think good ways to find inpsiration is to be aware of what's around you, and watch how people interact with one another and the world. Utlimately, most stories are about people, so the more the you understand them and how they work, the better off you are. Considering most of us probably feel a little disconnected from the "real world", it is helpful to immerse ourselves into that and find things to motivate us there.
Visually, I think a good place to find inspiration is photo books/art books. Usually when I have a concept for a video or short I will go to the bookstore and look through photo books and art books to find stuff that reflects the tone I am going for in my design. Recently for a music video treatment I went to the store and I was looking through "The Photo Book" and I found this photo that just set something off and I did the treatment and they loved the idea and it got me the job.
Ultimately, it is all about your own creativity and what you experience in your life. That's what makes your ideas your own. And remember what Picasso said:
"Good artists copy, great artists steal"
I think good ways to find inpsiration is to be aware of what's around you, and watch how people interact with one another and the world. Utlimately, most stories are about people, so the more the you understand them and how they work, the better off you are. Considering most of us probably feel a little disconnected from the "real world", it is helpful to immerse ourselves into that and find things to motivate us there.
Visually, I think a good place to find inspiration is photo books/art books. Usually when I have a concept for a video or short I will go to the bookstore and look through photo books and art books to find stuff that reflects the tone I am going for in my design. Recently for a music video treatment I went to the store and I was looking through "The Photo Book" and I found this photo that just set something off and I did the treatment and they loved the idea and it got me the job.
Ultimately, it is all about your own creativity and what you experience in your life. That's what makes your ideas your own. And remember what Picasso said:
"Good artists copy, great artists steal"
jazzx
Well-known member
Absolutely, Which reminds me of the movie "Anything Else" where David Dobel (Woody Allen's character) says to his friend Jason Biggs (Jerry Falk) To strive for originality but if he needs to steal, to do it from the best.
Stanislavski (On an actor is born) also said that when playing a character you're not becoming him and if you do it's wrong. What you actually do is use your own feelings and experiences to relate to the character and display it to the audience.
I guess the bottom line of this is not about copying the exact material or being the next Tarantino, Stone or Kubrick but about finding something in their creations that inspired you and use it in your fashion or expression if you like. Either way it will always be you and your own depiction of things that people will be seeing, unless of course you're carbon copying.
Slimothy
Veteran
Ursa said:
I don't remember anybody leaving the theatres after FIGHT CLUB and wanting to hit somebody in the nose. This is coming from a person who had a "depressive breakdown" because they couldn't find inspiration in tv, movies or magazines.......No further comments.
-----------
I had a friend recently come out and help me out with a shoot, he goes to a very highly regarded school. He takes school very seriously, is very knowledgeable and has a good amount of his own equipment. I had to re-shoot 98% of what he shot. It was pretty bad. I think Film school will provide you with knowledge that you need, but also knowledge that you can get on your own.
I think that if you go to school it will obviously speed things up, but mainly as far as knowledge goes. If you compare a guy who goes to film school for 3-4 years to a guy who has been out there doing it for 3-4 years-Most of the time I think you would see a huge difference in favor of the guy who didn't go to film school.
Of course Film school helps with contacts, but there are plenty of people who will go to School and NOT make very good contacts. It's all about networking and that is up to you. The same guy who is out there doing it has the same opportunity to put himself in a position where he will meet alot of people in the industry. Just like the story: "the man who thought himself into a partnership with Thomas Edison" in the book "Think and Grow Rich" by Napolean Hill.
BTW: That is also a VERY good book-"Think and Grow Rich" by Napolean Hill.
http://www.amazon.com/gp/product/04...104-9146931-3226341?n=507846&s=books&v=glance
zoostory
Well-known member
Hey Logan. I am a third year grad student at USC Film School. So I can give you that perspective and my choice and reasons. Long story short. I worked as an actor as a child for a small stint, went to theater school for undergrad, then I dropped out of performance completely and spent 4 years working as a graphic designer doing a 9 to 5.
I always knew in the back of my mind that I NEEDED to make movies. But how to get there was the big question for me. I, personally, am into more mainstream type cinema (I like it all though)... Luckily my graphic design work was somewhat connected to the film and music industries so I was able to make some contacts and get some good letters of rec for film school. I applied and figured, if I get in, I get in. I am not rich, so I fund my education myself. It's mostly loans, but in grad school after a year or so you can get TAships etc that will significantly lower the cost of your education. As an undergraduate, there are TONS of opportunities to get your education practically for free. I don't care who you are or where you come from, if you want it badly enough, you can get it.
Anyway. I got in and I went and here is what I will say bout that to you:
1) If you want to learn something technical, anyone here on these forums knows 100 times more than most at SC. It's not a technical training ground. The school is about 2 years behind on technology. If you want the latest and greatest, you can look at Full Sail or LA Film School. They are trade schools, but really heavy on the tech.
2) The biggest reason to go is networking. God I've just met so many people and all different levels of filmmaking. And believe me, if you work har, they notice and call you. Or you call them. But it' a good way in to the mainframe.
3) Second to that, it's a place where you will get to make a lot of stuff, or help make a lot of stuff. You'll be frustrated because you'll meet people that have different film opnions than you. Every conversation in every hallway will be about some Won Kar Wai film or something and you'll want to vomit every now and then. This is great because it forces you to realize that you're own vision isn't the only thing out there... there are so many different types of person, so many different tastes in things... it' a big world.
4) you get a degree
but I agree with the above posts. The best way to do it is to just DO IT. There are those that talk and those that do. The more you do, the better you will get. And with technology these days, jeez... I mean in a years time or less high school kids will be making films that will technically be the quality of a theatrical release, it's a wide open market place now... and that is so amazing!
So really look in your gut and ask what you want to do. I personally love the environment. But I used to be a teacher, academia is fun (sometimes) to play around in for me, and I love all the people and contacts. Some people just don't like it.
peace
zoo
I always knew in the back of my mind that I NEEDED to make movies. But how to get there was the big question for me. I, personally, am into more mainstream type cinema (I like it all though)... Luckily my graphic design work was somewhat connected to the film and music industries so I was able to make some contacts and get some good letters of rec for film school. I applied and figured, if I get in, I get in. I am not rich, so I fund my education myself. It's mostly loans, but in grad school after a year or so you can get TAships etc that will significantly lower the cost of your education. As an undergraduate, there are TONS of opportunities to get your education practically for free. I don't care who you are or where you come from, if you want it badly enough, you can get it.
Anyway. I got in and I went and here is what I will say bout that to you:
1) If you want to learn something technical, anyone here on these forums knows 100 times more than most at SC. It's not a technical training ground. The school is about 2 years behind on technology. If you want the latest and greatest, you can look at Full Sail or LA Film School. They are trade schools, but really heavy on the tech.
2) The biggest reason to go is networking. God I've just met so many people and all different levels of filmmaking. And believe me, if you work har, they notice and call you. Or you call them. But it' a good way in to the mainframe.
3) Second to that, it's a place where you will get to make a lot of stuff, or help make a lot of stuff. You'll be frustrated because you'll meet people that have different film opnions than you. Every conversation in every hallway will be about some Won Kar Wai film or something and you'll want to vomit every now and then. This is great because it forces you to realize that you're own vision isn't the only thing out there... there are so many different types of person, so many different tastes in things... it' a big world.
4) you get a degree
but I agree with the above posts. The best way to do it is to just DO IT. There are those that talk and those that do. The more you do, the better you will get. And with technology these days, jeez... I mean in a years time or less high school kids will be making films that will technically be the quality of a theatrical release, it's a wide open market place now... and that is so amazing!
So really look in your gut and ask what you want to do. I personally love the environment. But I used to be a teacher, academia is fun (sometimes) to play around in for me, and I love all the people and contacts. Some people just don't like it.
peace
zoo
andrewbirch
Member
I am in the same boat on deciding whether to go to film school. I'm almost 32, have a BA in English and journalism, tons of newspaper writing experience, then fell out of love with newswriting and hopped aboard the tech boom in the late 90s till early 2002. Hated corporate, cubicle life. Decided to reevaluate, and take some classes.
This past fall I decided to enroll in NYU's intensive filmmaking workshop thru the School of Continuing Education and Professional Studies. I HIGHLY RECOMMEND this program to anyone thinking about film school. It's 12 intensive weeks -- 9 to 5 everyday -- of learning all the fundamentals of filmmaking. You'll know in that time whether film school is for you, and even learn enough to go out on your own. Program costs $7,000 and includes equipment and some film stock, etc. Best of all, you don't have to apply like you do for a college program. Just pay the $7000 and you get a taste of what it' like at NYU. At the end, you walk away with an 8 to 10 minute short shot in 16 mm color negative synch sound.
This past fall I decided to enroll in NYU's intensive filmmaking workshop thru the School of Continuing Education and Professional Studies. I HIGHLY RECOMMEND this program to anyone thinking about film school. It's 12 intensive weeks -- 9 to 5 everyday -- of learning all the fundamentals of filmmaking. You'll know in that time whether film school is for you, and even learn enough to go out on your own. Program costs $7,000 and includes equipment and some film stock, etc. Best of all, you don't have to apply like you do for a college program. Just pay the $7000 and you get a taste of what it' like at NYU. At the end, you walk away with an 8 to 10 minute short shot in 16 mm color negative synch sound.
andrewbirch
Member
Two Schools of Thought
I've done quite a bit of research on whether film school is the way to go or not, and here's what I've found.
There are two main approaches to making films (in general terms IMO). There are the techie guys that know all about the equipment, lighting, sound, camera, etc. and can make something look really good. And then there are the creative guys that are great at story and writing but aren't very technical. Many of the people I've come across that say to skip film school and go out and make a film are usually the techie types that learn very quickly and know how to use the equipment really well. They are great at picking up the hard skills -- stuff that can be easily taught or learned. But I have found that most of these guys lack in the creative story telling department -- the soft skills that require some basic principles of understanding but really can't be taught as a hard skill. Techies are the ones that go on to be camera operators or DPs or guns for hire -- production crew, etc. They are great at the technical stuff and are a great asset to that area. The reverse is true of the creative types.
So if your goal is to be a production crew guy, there are tons of cheap ways to learn that stuff for free or inexpensively, and it would probably do you better to just go out there and shoot or just take a basic film course to show you how to use the equipment, etc. But I think that most people that say, hey I want ot be a filmmaker, are thinking more from a directors perpective, and thus need to pursue the creative route, which is story. Story, story, story is like location, location, location in real estate. And I think you can't just go out and pick up a camera and make a film this way. This is something that needs basic instruction on story telling, then a support network to cultivate your art on your own, which I think is best gotten in a dramatic writing program or film school like Columbia which emphasises story over production. Too many film programs empahasize production over story telling, which is wrong, wrong, wrong.
One other thing I've come across is that no one seems to take the kid out of high school very seriously. You get no respect if you are 18-24 and in college and looking to be the next hot filmmaker after watching Reservoir Dogs or something. My advice to anyone who is in this age category is to skip film school and just reevaluate film school once you get into your late 20s to early 30s when you realize that you've reached maturity and decide what is really impoirtant to you. Something happens to you in your late 20s or so that forces you to commit to something. Don't commit 4 years to film school in your late teens to early 20s. Maybe take an intensive course to get a taste.
I've done quite a bit of research on whether film school is the way to go or not, and here's what I've found.
There are two main approaches to making films (in general terms IMO). There are the techie guys that know all about the equipment, lighting, sound, camera, etc. and can make something look really good. And then there are the creative guys that are great at story and writing but aren't very technical. Many of the people I've come across that say to skip film school and go out and make a film are usually the techie types that learn very quickly and know how to use the equipment really well. They are great at picking up the hard skills -- stuff that can be easily taught or learned. But I have found that most of these guys lack in the creative story telling department -- the soft skills that require some basic principles of understanding but really can't be taught as a hard skill. Techies are the ones that go on to be camera operators or DPs or guns for hire -- production crew, etc. They are great at the technical stuff and are a great asset to that area. The reverse is true of the creative types.
So if your goal is to be a production crew guy, there are tons of cheap ways to learn that stuff for free or inexpensively, and it would probably do you better to just go out there and shoot or just take a basic film course to show you how to use the equipment, etc. But I think that most people that say, hey I want ot be a filmmaker, are thinking more from a directors perpective, and thus need to pursue the creative route, which is story. Story, story, story is like location, location, location in real estate. And I think you can't just go out and pick up a camera and make a film this way. This is something that needs basic instruction on story telling, then a support network to cultivate your art on your own, which I think is best gotten in a dramatic writing program or film school like Columbia which emphasises story over production. Too many film programs empahasize production over story telling, which is wrong, wrong, wrong.
One other thing I've come across is that no one seems to take the kid out of high school very seriously. You get no respect if you are 18-24 and in college and looking to be the next hot filmmaker after watching Reservoir Dogs or something. My advice to anyone who is in this age category is to skip film school and just reevaluate film school once you get into your late 20s to early 30s when you realize that you've reached maturity and decide what is really impoirtant to you. Something happens to you in your late 20s or so that forces you to commit to something. Don't commit 4 years to film school in your late teens to early 20s. Maybe take an intensive course to get a taste.
zoostory
Well-known member
andrew I couldn't agree more about story. And your division of the two types make sense, though it is a generalization, and, as usual, nothing is ever clearly divided, and there are always exceptions and such.
We all want to make a "good story well told." The former and latter of that statement acknolwedging your division.
The only thing I would like to add is that, in my opinion, no one can TEACH you how to tell a good story. People will disagree with me.... but after 7 years of theater/film school and having taken every type of writing/directing class under the sun, I've realized that what they can teach you is how THEY tell a story, how THEY are creative. Everyone is limited by their own experience, even the teachers. Yes they can stimulate thought, but then there is that danger of overthinking things and becoming self-conscious.
So don't go to film school if you think it's an instant way to learn to tell a good story. A large part of it just comes naturally. A large part comes from doing. I'de imagine that getting a PA gig or something on a good TV show or film set and watching the director at work will teach you worlds over sitting in a black box room and talking about Uta Hagen all day long.
What film school really teaches you (me anyway) is how to work with a team. How to understand people (if you're smart and pay attention to your surroundings) and how to complain about movies
We all want to make a "good story well told." The former and latter of that statement acknolwedging your division.
The only thing I would like to add is that, in my opinion, no one can TEACH you how to tell a good story. People will disagree with me.... but after 7 years of theater/film school and having taken every type of writing/directing class under the sun, I've realized that what they can teach you is how THEY tell a story, how THEY are creative. Everyone is limited by their own experience, even the teachers. Yes they can stimulate thought, but then there is that danger of overthinking things and becoming self-conscious.
So don't go to film school if you think it's an instant way to learn to tell a good story. A large part of it just comes naturally. A large part comes from doing. I'de imagine that getting a PA gig or something on a good TV show or film set and watching the director at work will teach you worlds over sitting in a black box room and talking about Uta Hagen all day long.
What film school really teaches you (me anyway) is how to work with a team. How to understand people (if you're smart and pay attention to your surroundings) and how to complain about movies
jazzx
Well-known member
An example of a good storyteller and tech-savvy artist was Stanley Kubrick, his background as a photographer and his eager thirst to learn anything new regarding camera equipment, lenses etc added alot to his already wonderful scripts. He also camera-operated alot in almost all of his movies. In Barry Lyndon for example he struggled and succeded to have a modded superfast lens to use in a scene that was only lit with candles. He didn't go to filmschool. But then again not everyone is the creative genius Stanley Kubrick was.
I have found that almost everything in life does not have clear answer, especially when it comes to the arts. So in the end everyone does and takes the path that is more appropriate and practical to him\her.
I have found that almost everything in life does not have clear answer, especially when it comes to the arts. So in the end everyone does and takes the path that is more appropriate and practical to him\her.
masada1903
Member
John J. Heppe said:
Art Center College of Design in Pasadena has a similar ownership philosophy, though, they're in major transition right now so I can't really recommend them. And they're not cheap either.
And yes, as indicated by others, LA Film School has a good program as well.
As for the quip about learning "real" film -- narrative is film -- everything else is just detail.
Eon42
Active member
What if you're only really interested in digital film production? I'm not really into all that 16mm 35mm stuff. Where should I go after high school? I plan on studying film history, photography, video production, and art in my final year of high school. But I'm interested in writing, directing, and cinematography and I have no clue where I should go. I want to go to a college in Canada (Preferably in Ontario)
JonathanLB
Carbonite Member
This thread is old but it's on the list of resources for directors, so I thought I'd post anyway.
Networking with film school students. That's the issue here that bothers me the most. What kind of networking are you honestly going to do with people who are as unprofessional as you are? So you have a bunch of people in your film school class, you all graduate together, none of you have any work most likely, or maybe one or two people do, what kinds of connections are these? I happened to meet my business partner in film school but we both quit after 7 weeks anyway, few other people are going to be any type of good connection for a LONG time. You'd have to stay in touch with people for 5 years and even then most of them will have quit the industry.
I also met my editor in film school, but it's more the other way around that I'm a good connection for him because I provide him with work opportunities. He is a very good editor, I think, and I love working with him. But the point is, he'd tell you this too and I think he posts here sometimes, there weren't many useful connections there or even people you'd want to keep in touch with.
I made MUCH better connections after I quit film school, REAL professionals, not a bunch of amateurs who have no clue what the heck they're doing and maybe 5-10 years from now are doing something useful. Maybe. No, forget that. Go make your connections in the real world with people already getting paid work. I opened a production company and interviewed at least 100 professionals in the industry across every area of production and now I have connections. I know who to call if I want a great DP, I know who can help me make my productions run smoothly as a unit production manager (and save me money on equipment, locations, etc.), I know reliable crew members to call for other assistance, etc.
The real connections are in the outside world, not in film school. That's a joke and a half. When film school students start making real money out of film school you can say what a great connection they are, but when most of them go back home or start working a day job, don't kid yourselves, those are terrible connections. Real connections are with real professionals, and I only met those once I quit film school. Even most of the teachers weren't as qualified as people I've worked with outside.
Networking with film school students. That's the issue here that bothers me the most. What kind of networking are you honestly going to do with people who are as unprofessional as you are? So you have a bunch of people in your film school class, you all graduate together, none of you have any work most likely, or maybe one or two people do, what kinds of connections are these? I happened to meet my business partner in film school but we both quit after 7 weeks anyway, few other people are going to be any type of good connection for a LONG time. You'd have to stay in touch with people for 5 years and even then most of them will have quit the industry.
I also met my editor in film school, but it's more the other way around that I'm a good connection for him because I provide him with work opportunities. He is a very good editor, I think, and I love working with him. But the point is, he'd tell you this too and I think he posts here sometimes, there weren't many useful connections there or even people you'd want to keep in touch with.
I made MUCH better connections after I quit film school, REAL professionals, not a bunch of amateurs who have no clue what the heck they're doing and maybe 5-10 years from now are doing something useful. Maybe. No, forget that. Go make your connections in the real world with people already getting paid work. I opened a production company and interviewed at least 100 professionals in the industry across every area of production and now I have connections. I know who to call if I want a great DP, I know who can help me make my productions run smoothly as a unit production manager (and save me money on equipment, locations, etc.), I know reliable crew members to call for other assistance, etc.
The real connections are in the outside world, not in film school. That's a joke and a half. When film school students start making real money out of film school you can say what a great connection they are, but when most of them go back home or start working a day job, don't kid yourselves, those are terrible connections. Real connections are with real professionals, and I only met those once I quit film school. Even most of the teachers weren't as qualified as people I've worked with outside.