Last time, we talked about film schools in general. Today, we’re discussing grad school, which is a special case. The circumstances of the students tend to be different, as are the opportunities afforded by different graduate programs.
Who’s Even Wants Grad School?
Back in the day, I used to work at a major film school. The undergraduates were about what you’d expect– recent high school graduates trying to earn their degree between parties and work-study jobs.
The grad students, on the other hand, fell into three distinct categories:
- Experienced Hollywood professionals who want an advanced degree so they can teach at a university.
- Recent college graduates who are afraid to go into the real world.
- Middle-aged people changing careers.
The first group I understand. A lot of universities require you to have a advanced degree in order to teach there. A guest on our podcast, John Lynch, told me he offered to teach a class on the film business at USC, and they turned him down, because he didn’t have an MFA. He was the Head of Production at Amazon Studios at the time!
That alone should tell you all you need to know about how film schools operate.
As for the latter two groups, all I can say is, what is wrong with you? Get off your duff and get working. A masters degree isn’t going to impress most people in the industry, certainly not as much as working credits will.
Just as important, ageism is a thing in Hollywood, even for assistants. It’s much easier to get an entry-level job in your early 20s than your late 20s (or 30s!).
So Is a Post Graduate Degree Pointless?
As you can guess, I’m not exactly hyped about grad school for film. But there is an exception– conservatories.
Schools like The American Film Institute don’t bother with a lot of theory and history. Instead, the students focus not just on making films, but on one particular craft in the filmmaking process, be it cinematography, editing, production design, or whatever.
In the typical film school environment, when it’s time to shoot something, you’re forced to work with whatever friends and classmates are willing to take on a particular role. For example, it’s really hard to find someone who’s interested in doing sound on a student film.
At a conservatory, the experience is pretty much the opposite. Everyone has a particular job that they’re studying for the next two years, so it’s pre-determined you’ll be working with talented people in every area. Thus, you’re learning real skills not just in your chosen department, but you’re learning how to work with other people in other departments, as well.
Academy Award-nominated director Tim Reckart told us this was the most valuable thing he learned at the National Film and Television School in the UK. Directing isn’t just about HaViNg a ViSiOn; it’s about bringing all the different elements of a film together.
Don’t Wait
Grad school can be very useful in certain, specific circumstances. But don’t waste your time simply because you want to delay entry into the professional world.
