I graduated from Columbia University School of the Arts in February with an MFA in Filmmaking. Admittedly, you don't need film school to make movies. There were reasons I chose to attend film school and spend five years and a lot of money there. My original plan was to work on movies, and thus learn about the filmmaking process, then spend my money on making a movie instead of school. As part of my plan, I worked on about two dozen shorts as a location sound recordist or boom operator. These were all low budget shoots, generally financed out-of-pocket by the film's director. Some were quite good and quite interesting, and included early shorts by filmmakers like Michael Kang, who just finished his first feature film, The Motel - in festivals now and will soon be released.
Some, however, were quite dreadful. Why did these turn out to be so bad? Some were technically made well -- very pretty pictures, skilled crew involved, etc. These shorts were made by smart, talented people rather than misguided idiots. In most cases, the filmmaker had worked on films before, but this was their first attempt at writing or directing. The answer I came up with in observing this happen repeatedly was that they lacked experience. Not the kind of experience I was getting as a sound recordist, but experience telling stories.
Film school doesn't guarantee you a good job, or any job. Your fate is in the hands of your best work, and fate, same as if you didn't go to school. The top five film schools in the US are all hideously expensive, and excruciatingly difficult to gain admission to. What they do offer, however, is the chance to have writers, directors, and producers with vast experience critique your work at every stage, from spinning ideas, to writing a script, through production and post production. I could teach myself, keep making short films until I made a good one (and spend my life savings), but I reasoned I would gain experience faster in school. If you've ever tried learning yoga from a book, and compared it to taking a really good class, you'll know what I'm talking about.
Was it worth it? Time will tell. You make your choices, you take your chances. I may never have a real answer to that. One surprisingly rewarding aspect of film school, though, was my peers. I hadn't thought of this, but they were as valuable a resource as my teachers, sometimes more so.









1. Hey, Jeff, long time, no speak. Thanks for the shout out.
As a counter point, I want to point out that I never went to film school (though I did go to school for dramatic writing). And I never worked on a set other than my own (briefly I PA'd on a couple friends' projects, but I never made it a career).
I have very mixed feelings about art school in general. I agree with all your points above, but the one thing I found most frustrating about school was that if you were in a class with a Prof (usually a frustrated artist) that didn't like the kind of work you were doing, you were pretty much sh!t out of luck for the semester. It felt very competitive to me and not very supportive generally.
All I needed to learn about film production (the technical aspects), I learned from that first short you worked on "A Waiter Tomorrow." Why do you think I made it so insanely impossible to shoot? Ballistics team, SFX make-up, kung-fu fight, etc. After that, I understood what it really took to shoot a film. How much pizza to buy, what a gaffer is, etc.
All I needed to learn about honing and crafting a feature story, I learned at the Sundance Labs. Admittedly, this is not something people can just go out and do, but I think it is important to point out the big difference between School and the Labs. At the Labs, you are being mentored by working professionals who are going through exactly the same process you are so they understand what is helpful and not helpful in terms of critique. The other main difference is that it is an extermely supportive environment. You don't go in trying to get people's attention. They all understand that you got there for a reason and respect you for that. So even when you are doing a project that isn't quite the taste of a particular advisor, they still give it full attention and respect.
I think the two main things people need to do to learn how to make films is to start making them and then to find a supportive environment that will help them learn how to craft a story. It sounds like you got both from Columbia, but it's not the only way.
Posted at 3:08PM on Sep 7th 2005 by Michael Kang