I rediscovered all of my film school notes over the weekend. Had I gone to class more often I'm sure there would've been even more. I'm not entirely sure what I've stored away here, but I'm fairly certain that there's going to be lots to share.
I'm hoping to pull up some notes on former assignments and show you the resulting projects I did, maybe showcase a few syllabuses to give you an idea of what some of my classes were like, and ultimately archive anything of value for my own sake.
In film school we were told to keep journals as a way to motivate our creativity. At the time it felt like a chore, because frankly, nothing ever feels that creative when you're being forced to do it. Pretty much as soon as I wasn't required to write out my random thoughts anymore I actually felt compelled to. Go figure.
I now see what everyone was on about though. Filmmakers should blog. Creative people should blog. If for no other reason than to indulge your own sense of achievement, blogging has provided me a way to work out my thoughts and frustrations. Sometimes it's simply a distraction, but often it gives me a forum to really think about the things I want to say and in turn, what I want those things to mean.
This is kind of huge if you allow yourself to get past your own self-consciousness and want to learn more about yourself. As a video editor I've always been keen to challenge my perception of the technical side of editing with the emotional side. If I were to try and learn this through my contract editing I might only scratch the surface or maybe never have the opportunity to work out that obscure idea in the back of my mind. Instead, random creations are fueled by my need to blog about something and it's those random creations that then give me something to analyze.
Blogging can then be more than just an exercise in futility, you can actually improve the way you think about things. Knowing that I'm posting things publicly actually helps in some sense, because even if no one reads what I post I feel that I'm being held to a standard outside of my own. When I'm writing an entry it's also one of the few times that I actually slow down to reflect on something that I've learned or something that inspired me.
Filmmaking is a form of communication and there are multiple facets within that framework that build the conversation. You might not see the value in writing out your ideas at the moment, but if there's anything that Editing Luke has given me it's the ability to articulate an idea and explore my own aspirations. This skill is invaluable. Everyone can create, but not everyone can explain their thought process or perspective. Don't kid yourself, creativity takes work and writing is a tried and true approach to overcoming those mental blocks.
But yes, I still hated being forced to write those film journals.
Filters can be the exclamation point to an edit or be the tipping point that unnecessarily complicates the finished product. I've always been proud of the experimenting that I've done in trying to enhance the style and look of my work, and I've had a lot of fun in the process.
Vintage filters are particularly interesting to me. I think my goal has been to pay homage to the style I wanted to recreate digitally, while still keeping in mind that fully achieving an aged look is best done by using aged equipment. Keep that in mind.
One of the early projects that I played with vintage filter effects was, Silent Shoppers. I was in film school and wasn't experienced enough to fully escape the automated options of my software yet, but I did experiment with Photoshop to create a more uniform border around the video. What I mean is that I wanted to recreate the look that a projector gives off by having it lighter in the centre and darker around the edges. I created a frame in this style, reduced the opacity of it within my timeline, and then incorporated it into the digital 'old film' effects available.
I improved on this simple strategy when I created a short trailer to promote the project on my blog.
In another short, Siblings 2, I played around with creating a holga effect for the first time. Holga cameras are cheap plastic toys that frame the edge of your images with a soft dark border that blurs out from the centre. Mixing this style with some heavy handed color correction and tinting, I had a look that suited the nature of the comedy - the joke, by the way, makes more sense if you watch the first part HERE.
While I've followed up with a lot of random edits that play on various styles and formats, one of the most recent examples I've created was for my Newport Beach edit. I was fascinated by some of the home videos that my parents had and how some of them gave the illusion that you were actually looking through a viewfinder. By adjusting my borders and adding a softer glow, I heavily saturated a golden filter to enhance what might be a stereotypical California day at the beach.
Through all of these experiments the goal has been to create looks that are more dynamic than those pre-packaged with your software and that define a certain style both in my personal editing and in the period I might be inspired by at the time. My vintage filters haven't been created to fool anyone that the footage was legit, instead it's been used as a nod to the viewer to make them draw the line between old and new - to give greater context to the theme.
The continuous borrowing and reinvention actually keeps things looking fresh and perhaps most importantly, broadens the scope of choice available in a digital medium. I find experimenting has not only kept my editing sharp, but I also look at it as great inspiration for a wealth of projects that I've yet to make.
I feel like I've ranted, raved, trashed, and glamorized my own film school experience over the last several years, but that's not to say that I don't still have questions regarding the field. Now working two media jobs (largely as an editor) I feel very grateful for the experiences I've had and remember exactly what it was like trying to figure out how I was going to turn a passion into a paycheck. Personal drive seems fundamental to making it in any competitive field, but self-assuredness is something that you best find quickly if you expect to weather the rejection from pursuing a job in creativity. Looking up information I stumbled onto studentfilms.com Film School Advice forum and had fun just exploring all of the discussions. It brought me back to high school and the anxiety I faced as I tried to decide between different film schools - ultimately I settled for the cheapest one.
From screenwriting to directing, from grant applications to film school applications, there are so many facets to film and video that make it possible to really shape the path you take. In my own experience, I returned to a smaller city after film school and actually established/developed my position with both companies with the promise of bringing a new approach to their creative strategies. While I still strive to do narrative/independent production, the work I've been doing since university has been highly self-motivated and full of variety.
I really just wanted to share this Film School Advice forum to get your brain working. Whether you're an aspiring filmmaker, recently graduated, or just interested in film and video, there's a wealth of information to be borrowed (and to make your experience less stressful).
Perhaps the greatest bit of personal advice that I can give is for you to find the answers that work for you. There are thousands of ways to get to where you want to go - something I didn't quite realize until I got there. For more general banter check out my post on Advice for Aspiring Filmmakers.
This was the first book I ever read that focused entirely on filmmaking as a craft; as a series of tasks and skills that needed to be rehearsed and focused on. I think I must have been 14 or 15 when I received Directing 101 as a gift. Up until then (and in a more advanced way now) much of my filmmaking was about trial and error and having this book proved to be a great introduction to how ideas and creating could really be turned into a strategic process.
Directing 101 is written by Ernest Pintoff who taught at USC and UCLA and the real strength of the book is in its general and broad descriptions of all the things that a director needs to consider.
From writing your screenplay to blocking a scene to speaking with your actors and the various roles of a film crew, as a teenager this was incredibly valuable as I hadn't even considered the value or distinction between the roles of a producer or cinematographer or director of photography.
When you're just starting out you're inclined to just point and shoot and hope that everything comes together in post. It was books like this that made me think more critically about what I was doing. There came a point for me where I knew that this was something I wanted to pursue as a career, and suddenly there was just so much to see and do. Despite how amateur my earliest projects were, I still look back and think about how ambitious I was trying to be. As a precursor to going to film school, books like this were a huge motivation and it's why I wanted to write about it. Inside you won't find many things that you haven't heard or thought of before, but they will be explained in a more cohesive way that can really help those who are just getting into film and video. It's a good reference and step by step walk through of what it actually means to be a director. If you want to make more than just a point and shoot video, pick up one of the hundreds of books just like this to put that extra bit of effort into your creative process and to further challenge yourself with relevant lessons. I have my cousin Leslie to thank for this book. It's now one of many that I keep with my film texts as a reminder of my earliest attempts to make better and better movies. There's never a shortage of new things to learn.
Of all the classes I took in film school, none were discussed with more direct disdain by fellow students than film theory courses. It's just talking about movies you say, but in actuality, it's a set of criteria established to define how we approach varying aspects cinema and how time has made such criteria more relevant. In a largely opinionated and biased way, film theory reinforces rules, genres, theme structures, etc. that make the movies the 'artform' that it is.
It may not be an easy pill to swallow, but the truth is (film students) you need to know this stuff whether you get it from a professor, the library, or the video store.
I was never one to do exactly what I was told, especially in film school, but I was still perceptive enough to know that challenging myself was the only way I was going to get better at what I was doing. Film theory, however, was still a hassle to me because I was so determined to make my own work that I wasn't interested in breaking down anyone else's movie. What I failed to initially realize, was that despite my lackluster interest in the classroom, I was actually educating myself on filmmaking theories by watching tons of old movies. As a film student - any serious interest in films outside of your lifespan is to be commended.
Yes, there is a difference between theory and history, but by simply acknowledging the work of Chaplin, early Scorsese, early Spielberg, Wilder, Kazan, and Capra (to name a very select few) I was actually teaching myself a lot about the basics of how to construct a story in numerous styles. My point being that there are numerous routes to the same goal (something reinforced over and over again in film). A filmmaker without knowledge of film theory is essentially mimicking a style that they've seen somewhere, trying to copy someone else's pattern to create comedy or drama. This is because they don't understand that there's a framework that gives meaning to the images they've chosen to showcase. This is both incredibly basic and complex, and can include everything from editing style to the significance of the music chosen, a historical or regional context, and so on. It's not that you can't figure some of these things out by experimenting, it's just that you're wasting your own time trying to discover a formula that countless others have been trying to share with you.
In a simple example, it's the way a relationship can be created by just combining two images together. A shot of a face followed by a shot of an apple could be suggesting that the subject is hungry or has an interest in picking that apple up. Simple things like this help to explain why many student films are so wooden or overly didactic. It's an art to learn how to subtlety convey meaning while naturally encouraging an audiences emotional response. For instance, we don't necessarily need to create a complex shot by shot of a character establishing that he's hungry. Maybe we just need to hear his stomach growl. Why? A stomach growl is a universally recognized sound conveying hunger. Numerous layers can be added to this to establish context and meaning. Theory, for better or worse, is about heavy and repetitive discussions like this that aim to tap you into the culture and influence of the medium.
Relevance is also the essence of film theory; understanding what your work as a complete unit is saying about society and from what perspective it's doing so. From here we can break down scenes, dialogue, style, etc. Lot's of things will overlap.
Think closely about this, as whether you'd like to believe it or not every movie ever created does actually fit into some category or form of classification. What are you trying to say with your work? What does it mean? Why did you do it that way? None of these answers are as simple as they first seem.
This is the last of the film school slide volumes. Look over the images once more and think to yourself about what the story or scene behind them might be and share it if you like. As I've expressed, this is a great exercise for a variety of technically based (film experience related) reasons, but it's also just a great way to wake up your brain.
#11 - Truck Old truck with Saskatchewan plates, what's the owner like or where is he or she?
#6 - Waffle Ceiling Mad Men office space or space office for mad men?
#1 - Window Sask. Legislature, maybe a stately home even, who's inside?
#16 - Papers A million old stories, a lost message, stacks of old observations . . . find something.
And we continue with my film school still frame exercise. What's the story behind these images? What kind of movie would these be from? What's the scene? Do they connect with one another somehow? These were all things we were asked when assigned this project back in the introductory class to the film program. I may have taken the images, but the beauty of the project is that they are what you make of them.
#10 - Alley Building Lens flares, over-exposed, a back alley entrance - quirky address or seedy meeting place.
#14 - Government House Historic home, government grounds, modern day or early 20th century?
#7 - Caution Foreshadowing. What's going on here - crime scene, painting, leaky roof?
#15 - Tree Lined Road Drive to a hospital or prison in the country - a stately manor perhaps?
In continuation of the images I posted yesterday, here are several more slides from the same film school photography assignment. Several of these images were never used in class, so coming across them again after years in a box has me redefining their meaning. The idea behind the project was to consider possible scenes or stories related to the image, as though it was a still frame from a feature film. What do you see?
#2 - Pentax My friend Ward. Shooting each others portrait at the same time - what happened to the picture of me I wonder?
#8 - Fountain Dimly lit, beads of water collecting - someone else was just here.
#5 - Bowling Alley A time gone by, abandoned, nostalgic, what's inside?
#9 - Utility Closet Shades of yellow and orange, full shelves, hidden supplies, someones collection.
A movie, technically speaking, is simply a series of still images played at 24 frames per second to create the illusion of movement. This fact proved to be the central theme of my very first production class and the inspiration behind many of the projects that we were assigned in the winter semester of 2003. Working with the Pentax K1000 (still camera) we were instructed to capture images and then create a back story, soundscape, song, or any cinematic embellishment we wished, to add another layer to the images.
I vaguely remember what I did, but stumbling on to these slides again was a treat. It brings back a lot of memories to see how 7 years ago I was just beginning to explore my love of urban texture and depth - bricks, concrete, peeling paint, retro settings in a modern context, etc. This influence is evident in several of my projects, most notably, Urban Jazz from that same year.
If you imagine these slides as a single frame in a feature film, it's actually a great creative exercise (hence the assignment) to picture what might be going on - Where are we going? What is this leading to? What does the image say about the theme, style, genre? I have my own notes on how I accented these images, but I'll leave it to you to come up with your own stories.
#12 - Western Furs
Bold text, patterned windows, bellowing smoke, canted angle to emphasize scale - this is the cold city. #3 - Piano
Stylized text with Canadian reference, short depth of field - foreshadowing for Keys perhaps?
#13 - Hang Up
Abandoned, desolate, no answer . . .
#4 - The Red Light
Industrial elements, a bright spot of color - welcoming or foreboding?
So by this point you've expressed some interest in filmmaking, hopefully with a general sense of what you might actually like to do. You've made some shorts with your friends, as part of class assignments, or on the other hand, haven't had the opportunity to explore things to your full satisfaction. The question inevitably crosses your mind, should I go to film school? It's true that one of the biggest lessons regarding film school I can address is whether you should even go in the first place. This is a personal issue that will ultimately be decided by your finances, ambitions, opportunities elsewhere, and (here's hoping) your maturity. While these points may seem self explanatory, in a completely independent frame of thought you need to consider what it is that you want to learn, and even more so, what you're willing to sacrifice to do it. No matter what your choice their are immediate obstacles. There's also a reason why it seems that more than half of the people I went to film school with aren't seriously pursuing a career in video anymore (or have simply relegated it to a hobby). There are lots of paths, and film may be a springboard to a variety of careers not on a film set.
Depending on your location, you can always get work as a production assistant on a film set (or similar job) right out of high school. That's an opportunity to move up the ladder in the time that you'd be spending at school, not to mention a way to avoid potential school debt. On the other hand, if you want to focus on theory, make a lot of connections with other people in your situation quickly, or give yourself some time to experiment and develop confidence in your own skills, then university/film school is a widely accepted (if not obvious) way of doing this. There is no right answer, and at the end of the day, you're still going to be driving what you get out of the experiences that come your way.
I chose to go to film school, because frankly, I didn't think there was any other realistic option for me at the time. I banked on the fact that it was a foot in the door.
I knew there was a lot I needed to learn, and wanted practical advice on how I could approach movie-making in 'industry' terms. As someone who had played largely by the rules in high school, film school became my opportunity to challenge myself, stretch my boundaries, and really grow up. The decision to go or not is especially contradicting for me as I spent 6 years in production courses and then left without graduating, only a semester remaining, confident that there was nothing else the experience had to offer. I took the journey, but left without the degree.
My foray into post-secondary media production and studies was more valuable for what I achieved outside of the classroom than what I did in it. Ironically, it was my dissatisfaction with what my film courses were providing me that pushed me to take a more independent approach to begin with. I found success in student film festivals and other online competitions that provided some of the greatest lessons and rewards of my academic life. The opportunity for young filmmakers has only increased by using resources like Facebook, YouTube, etc. as a way to market themselves. All of this stuff really took off during my time in film school and I jumped on board in a big way.
Going to film school for me was just as much about going away. I left the city I grew up in for a place that I knew no one. It wasn't the easiest choice, but the decision thickened my skin and put me in a frame of mind that demanded I try new things, question my reasoning, and (in all ways) progress. Your strength as someone who makes a living creatively can easily grow out of a profound sense of self, and in my story this was the case.
Whether you go to film school or not doesn't matter as much as what the reasoning for your decision is. Film school provides a package deal (an expensive one), but the information and tools are widely available to define your terms and gain experience if you so chose. Be warned though, a committed day job (which you'll begin to justify the longer you're there) mixed with real life can easily crush creative ambition and stagnate your dream if you don't have the ability to motivate yourself. I'd argue that most people in fields like this get stuck, give up, and move on (which is fine) but, if you really want anything you can't stop working towards it.
You might not realize it yet, but your time is valuable.
For years I have asked the question, was film school worth it? I've weighed the financial burden, considered the value in teaching art, and broken down the technical advantages that such a pursuit provides. However, this is a loaded question to begin with and it's only made more difficult by the fact that I really don't know the answer. There are resounding pros and cons, both of which I feel I've experienced the extremes of.
What I have come away with in any case, are a handful of film school lessons. From tips, general advice, actual projects and assignment descriptions, film theory, critical thinking exercises, and ideas on what to expect both personally and in a real world (job) context, not to mention just the general experience of going from a clueless aspiring filmmaker to a less clueless independent filmmaker.
In moving forward, I'd like to inform, inspire, and fill in a few of the blanks for others trying to make the most of their film experience. I hardly have all the answers, but with film school in my past and an ambitious record of personal/creative growth over the last few years, there are a lot of things that I've picked up on and a lot of things that I think would help any other filmmaker interested in creative challenges. I've found myself inspired just by going through old notes and lessons again.
You have to ask yourself, what is it that you want to achieve with your filmmaking? Do you want to direct, edit, write? Narrow these options down, because even though you'll likely have a hand in a lot of these things, refining a specific skill can be more valuable than just general knowledge in numerous fields. Fight the urge to simply say director, when someone asks you what you want to do. In film school, director is practically a given (and it's really a dodge to the question because it's just another way of saying you want to do everything). Even if that's true, challenge yourself to be specific.
Ultimately you want to have a grasp on what a cinematographer, skilled camera person, or editor can bring to your project and how those skill sets can be relied upon to improve your vision (if you're directing). In the same way, learn how to take direction. Understand that your involvement and support in the role you play can be incredibly instrumental in the success of a project. Often when you're in a position that requires you to focus on specific details you're actually the one who can influence creative direction. Plus, it's just good advice knowing when to step back and step in - nothing worse than a set where everyone wants to play director.
It's never too late to revisit questions of purpose and motivation. Working in a creative field requires you to be open minded, willing to adapt, and confident in the choices you make. There are literally so many options to choose from, that your ability to create your own (initial) boundaries and terms will help to define the type of filmmaker you are and want to become.
Naturally, your style and approach will evolve, but if you're indecisive about the choices you make you'll never really see more than the surface. It's like reading a good book. You can read the cliff notes to understand the basic plot, but without investing time in really getting to know the construction of the story (and the natural emotional response it gives you) you'll miss the subtleties and reasoning behind why things were done the way they were. When creating a movie, no matter the size, you're constructing an experience, a series of frames that are meant to engage, question, entertain, and (hopefully) make sense. Unless you want someone else to decide what your work means, you need to appreciate the theory of why things are put together the way they are.
While I'm certainly not passed the point of receiving advice myself (although I guess no one really is) I feel that I have had my share of trials and errors in filmmaking or video-making. From a kid who wanted to make movies, to a film student who wanted to get out of class, to an adult just looking for film work, it continues to be an uphill battle.
There's certainly no correct formula to success, but if you're looking for a few tips on what you can do to improve your own creative ambitions, and maybe take filmmaking beyond a hobby, here are a few things that have helped me out (especially as a student).
1. Don't Assume You Know Everything About Film
Whether you're a film student or not, I've met my share of people who thought they already had it all figured out. There's never a shortage of techniques, concepts, styles, etc. to pick up on. The more willing you are to learn, the more experience you naturally open yourself up to. You don't have to like everything, but try and experience it at least once. The more varied and dynamic your approach, the more credibility you gain when speaking with other artists, and the more likely you are to refine your own tastes.
2. It's Okay To Like The Mainstream
Eventually you're going to encounter someone who will rant about how all Hollywood flicks are awful - formulaic, boring, repetitive, etc. Don't shy away from the debate, but don't feel guilty about stocking your own DVD collection with comedies. The world needs entertainment, and not everything has to be high art.
3. It's Okay To Like The Avant-Garde
Eventually you're going to encounter someone who will rant about how experimental films are cliche, without purpose and overly pompous, and how the only films worth seeing are the ones with A list stars and directors. Again, don't shy away from the debate, but remember to continually test yourself with a wealth of movies outside of the weekends top box office. You'd be surprised how often the avant-garde inspires what later becomes the mainstream. Remember, the world needs art and experimentation, and merging creative substance with accessibility speaks to every quality film made.
4. Create As Much As Possible
If you wanted to be a writer, you'd be told to write. If you wanted to be photographer, you'd be told to take pictures. Same goes for filmmaking: if you want to make movies (whatever facet of the industry you're interested in) practice doing it. Your greatest lessons will come from your own mistakes and successes, and trust me there will be a lot of them . . . mistakes that is. It always looks easier than it actually is, but your own push to see what you can do will pay off as you continue to improve. You most likely won't start off with the best equipment, but use that as part of the challenge. Sometimes limitations help to establish borders which makes it easier to work. The more you create, the more you learn.
5. Watch Critically
Filmmaking at its core is about experiences used to tell a story. Keep this in mind when watching other films, television and the random events in your own daily life. The more you pay attention to, the more material you'll have for your own concepts.
6. You Can't Please Everyone
So don't expect to! One of your biggest challenges is going to be finding a style and approach that you're comfortable with. A style that makes you confident enough to shake the 'you should haves' and 'I don't get its' that all filmmakers inevitably hear. You have to take pride, first and foremost, in what you're producing. If you've already acknowledged your projects flaws and decided to work on them, you may not have a project that everyone likes, but you will have one that meets your own standards. People who do like your work will respect that. And remember, opening yourself up to raw feedback will naturally lead to your ability to receive it and give it - not to mention, it'll thicken your skin.
7. Use The Internet
For an independent filmmaker the Internet is the best tool out there. It's a no-brainer. Use it to upload your work to various sites, create a blog to share it, network with people from around the world, research film terms, theory and history, look up festivals and competitions, get feedback from strangers, etc. etc.
8. Find The Answers You Want
Undoubtedly, you're going to question a lot of things from what type of equipment to use, to film school, to possible jobs, and so on. The beauty of a film career is that there are thousands of different ways to get to the same destination. Search out the info that helps to back up your approach. This may sound pointless, but don't underestimate the benefit of someone else's experience and the motivation you can get from a little positive reinforcement.
9. Promote Yourself, Network
There's nothing like a group of peers to share with, debate with, and draw from. By looking out for the interests of others, you'll have more people looking out for yours. It's a social business, and knowing the right people counts. Also, don't be afraid to promote yourself. It's obviously what I'm doing with this blog. All my online sources link back here, so if anyone wants to search me out it's as easy as typing my name - Luke Fandrich - into Google. The success won't be apparent overnight, but I've been asked to screen my work at different festivals just for the fact that people saw my work and could easily get in touch with me - the online portfolio also speaks to professionalism.
10. Get A Job
With any bit of persistence you're bound to find a job related to the field you'd like to work in. Even if you're just a production assistant it still gets you behind the scenes, and you'll still meet a lot of people. For me, I got my first post-university job because of the work I had submitted to the Medicine Hat Film Festival, where it was the company running the festival that remembered my work and hired me. I'm still currently working as a corporate videographer and editor, which is a great practical start to whatever I move onto next. This all ties back into gaining experience. Whether you like it or not, you can't do everything by yourself. Find a related or semi-related job to broaden your prospects and to get into the field that you really want.
11. Keep At It
The most general and vague advice I could probably give is also the most important. There are going to be times when you feel like no one is paying attention, that what you're doing doesn't matter, and that's it just easier to give up. Remind yourself on a regular basis of what it is you're working towards, and what it is you've accomplished. It's like pulling a heavy wagon up a hill. You may not be able to see the top, but just by keeping at it you naturally work your way higher. If you stop, you'll just slide backwards and have to make up the ground again later.
Hard work talks, persistence talks, passion talks, sitting back and hoping only wastes your time. Working through the tough times not only says that you're serious, it helps prove to yourself how much you want to succeed. Enjoy your experiences, embrace challenges, find ways to motivate yourself, and learn with an open mind. Those who are persistent end up reaping the rewards. The most sound advice I have for aspiring filmmakers is the one thing that I can actually guarantee; Keep at it and you'll find your niche.
I think one of the best lessons any young filmmaker can learn is to search out as many outlets as possible to share, discuss, and promote your work. When I graduated high school in 2002 YouTube wasn't even an option yet, and that's just one outlet that's made it considerably easier to get yourself noticed - and cheaper than film school.
When considering film school you have to weigh your financial situation, etc. to see if going is even feasible. While I'm not entirely convinced that the financial obligation is worth it, what film school does provide is a tremendous opportunity to network, gauge the level of your skill, and the time to experiment and improve. All of this provides you with more options as a filmmaker. Allow me to expand on this:
Networking
Whether it's with your classmates, your profs, the girl you met in Art History, or the friends you made at the campus pub, university lends itself to meeting new people on a daily basis. This is valuable for numerous reasons. The more people you have in your court, the more people you have to support you. You never know when you'll need someone to act in one of your shorts, someone to hold the camera, someone to vote for your movie in a contest, someone to tell you about the contest in the first place, someone to refer you for a job or get you hired themselves. Just like a spider spinning a web, the larger your network the more likely you are to catch opportunity. You have to work at this! People aren't just going to approach you, and you need to teach yourself how to take advantage of Facebook, Myspace, YouTube, etc. not just as a way to waste time, but as a way to build a following. The internet is the cheapest and most global outlet for reaching a lot of people with your ideas quickly.
On the surface I know all this sounds like a no-brainer, but of all the people I've met through film school and various student festivals, so few people actually take the time to do this. Start as soon as possible. The time and work it's taken for my blog and other online accounts to grow to the point of actually being able to significantly help me took months. But, the work does pay off if you're dedicated. This blog itself helped me campaign for votes in early 2008 and helped me win $3500 in an online video contest, as well, when I mentioned it in my job interview with Stream Media in May 2008 it immediately helped me make a strong first impression. I think you get the point.
Gauge Your Skill Level
All first year film students think that they're 'the shit'. We all start off this way because we're young and we've grown up having all our friends and family tell us that we're the next Spielberg because of that one video we made in 8th grade. Don't get me wrong, it's great having people cheer you on, but at some point you have to step up to the plate and ask yourself if working in film is a career choice or just a hobby.
As much as I've been impressed and inspired by my peers time and time again, I've also been incredibly embarrassed by some of the lazy work that I've had to screen my projects with in production classes. While no one is without their occasional flops, having film classes that allow you to talk about and receive feedback on your work allows you to see where you fit in the spectrum of things. It's where I was able to pinpoint my love for editing, and build confidence by giving and receiving critical comments. Just knowing that I'd have to defend the choices I made with my videos in class motivated me to work harder and produce the highest quality of project that I could. The exposure to lots of student films allowed me to see that all the work I had been doing helped put me above the curve.
Time to Experiment
To each their own, but for me, film school allowed me the time to experiment with various types of equipment, software, genres and styles. Had I gone from high school straight into the workforce I wouldn't have had the time to produce the number of short films that I did so quickly. I was able to learn techniques and tricks by being challenged by other peoples standards, and because of that, was able to refine my own style and develop a portfolio of work that represented the variety I was capable of. Practise is the only sure fire way to improve, and often without someone pushing us we don't feel the need to be quite as productive - and certainly in such a short period of time.
Remember that in film, as in any art, you're competing against the person who may not necessarily have the best work, but instead against the person who is able to best sell it. Keeping an open mind, pushing yourself to grow in as many creative directions as possible, and learning to promote yourself will give you plenty of options when opportunity comes knocking.
When I left film school in April 2008, I'd been there for 6 years, straight out of high school, had just a couple of classes remaining and decided that I could do without the degree. It wasn't an easy decision to leave, but the cost was outweighing the benefits by that point. Student life had provided me with the time and means of pursuing my film aspirations predominantly on my own terms. It felt like I was buying time to continue developing my work and skill, but only in the bubble of post secondary hypotheticals.
To be clear, my battle with film school was always the clash between my drive outside of the classroom and the redundant and occasionally time wasting lessons in it. I was more eager to shoot a short than write a paper, build on my experience to complete a project instead of following the lessons intended for those who'd never held a camera, and take a hit on a grade if it meant making a film that was better for my portfolio.
I'd educated myself on film history as a teenager using a book on Academy Award nominees as a jumping off point to watch the so-called 'classics'. I saved what little money I had as a kid and spent $125 on a used camcorder a the age of 12 to shoot my own short films. Without even realizing it, I was teaching myself about framing, composition, camera angles, and how to manipulate my footage. In retrospect, it's surprising how much I was trying to prepare myself.
I wasn't in film school because I thought it was easy, I was there because I was, and am, passionate about making movies. I wanted to be challenged, and I wanted to find a way into the film industry. There was no second guessing for me, I'd known what I wanted to do for as long as I was asked 'what do you want to be when you grow up?'. At 18 film school seemed like the only realistic option, and without growing up in Hollywood or having a family member to follow in the footsteps of, I did what felt right for me.
Still transitioning out my university haze I'm now working as a corporate editor and videographer. I've got numerous festival credits to my name, a diverse portfolio, and a strong foundation to build on. However, I don't think that the answers to achieving the goals that any of us would consider significant are easy to find. Despite my successes I'm still pushing myself to grow, to make new shorts, and to save the money needed to move and make the leap to narrative filmmaking. If you want to work, if you want to put yourself ahead of the curve, and if you want to know 'is film school worth it?' you really need to figure out what it is you want most. At best, you'll just have to make an educated guess. The truth is that you won't know if it was or wasn't worth it until you experience a big enough success or failure on either end of the spectrum to make you justify your decision. However, if you really just want to know if there's value in a film school education? Yes, there is.
I was sitting in my new Directing class last Thursday and it hit me that half of the people in it had glasses. I have nothing against folks with glasses (although I don't wear them), but it was the stereotypical thick rimmed black 'filmmaker' frames that really caught my attention. Do people go out of their way to get these when they decide they want to be a filmmaker? Half of the class is about 10 people, and it didn't matter if it was a guy or a girl they were still wearing the same style.
I've often considered myself outside of the expectation of what a filmmaking student should look like. I'm not 'artsy' looking, and have got the 'well, you don't look like a stereotypical film student' comment from new faces a few times. I'm not saying I've got it right, I just want to know what's the deal with the glasses!?
If the first few paragraphs didn't make it clear, the class lent itself to a lot of reflecting. It's not that don't care about the material (in fact I should be more interested considering it's a 4th year production class) but I feel that in so many ways I've already experienced, and put to use, what the prof is drawing diagrams of on the board. This kind of comes off as arrogant, but to be fair, I've done a handful of festivals so far and have gained a certain level of confidence from having my submissions accepted, and twice as often rejected. This kind of relates to some of the previous posts that I've made where I've expressed my desire to get passed all the prep for something more practical and real. I sat through class mostly feeling anxious about putting the lessons to work, and kept myself focused by doodling. Am I really paying for this? My attentive student skills seemed to have melted away in first year.
Don't get me wrong, there's still plenty I feel I need to learn, however I'm skeptical as to whether I'll learn it here. No matter how much practical training you really get, especially in the arts, it seems twice as valuable to learn through trial and error. There's also a fine line between how much responsibility I think the school has and how much I have in preparing myself for what I want to do. I guess it's fair to say that directing class is getting me thinking, maybe randomly, but in the right direction . . . I hope.
