{"id":5030,"date":"2015-02-05T18:47:19","date_gmt":"2015-02-05T18:47:19","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=5030"},"modified":"2021-06-01T16:52:24","modified_gmt":"2021-06-01T23:52:24","slug":"film-school-confidential","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/film-school-confidential\/","title":{"rendered":"Film School Confidential"},"content":{"rendered":"

Chalk talk with a class full of Local 600 cinema grads. By\u00a0Pauline Rogers.<\/p>\n

\"Tal<\/a>
Tal Lazar (Tel Aviv University, AFI) Photo Courtesy of Tal Lazar<\/figcaption><\/figure>\n

Today there isn\u2019t anything you can\u2019t learn about the newest in movie-making equipment on the Internet. So why go to film school, when high bandwidth and a working knowledge of navigating the Web are far less expensive?<\/p>\n

Yes, perhaps the Internet has made the technical path easier. But, as a cross-section of Local 600 members who started out with a film school background and who often teach and lecture at various schools advocate, there is so much more to having a solid career in this industry than studying the equipment on a computer screen.<\/p>\n

And there are practical reasons for pursuing the film-school route, as cinematographer Anthony Hardwick (NYU Tisch School of the Arts, 1988) reveals. \u201cTruthfully, those first couple of years out of high school no one is going to take you that seriously out in the working world, so why not take advantage of that time by going to film school?\u201d<\/p>\n

Second AC Tracy Facelli (University of Memphis and Watkins College of Art and Design, 2002) echoes Hardwick, noting that she didn\u2019t feel like she had enough experience or skills to go out and earn a living in the industry. \u201cEquipment was much harder to come by, and it was harder to get practice without spending a lot of money,\u201d Facelli recounts.<\/p>\n

For cinematographer Paul Hughen, ASC (University of Texas, Arlington, 1980), \u201cno value can be placed on the hands-on experience that is important in learning all facets of filmmaking.\u201d Hughen feels that, even today, one of the best reasons for attending film school is to get an education in film history. He says that not only do students develop a library of favorite films, they\u2019re also exposed to a variety of shooting styles and techniques that could never be replaced by an Internet search\u00a0\u2013 even if some of the shots show up on YouTube.<\/p>\n

\"Anthony<\/a>
Anthony Hardwick (NYU Tisch School of the Arts, 1988) on the set of Entourage with Doug Ellin\/ Photo by Claudette Barius<\/figcaption><\/figure>\n

Jordan Livingston, who joined Local 600 in 2011 as a DIT, says he liked how his time at Chapman University (2000-2004) combined a well-rounded education and the world of film. \u201cWhen I attended it was a healthy mix of theory along with practical hands-on training,\u201d Livingston shares. \u201cWe were still primarily working with 16-millimeter film. And now that my professional career has become completely digital, learning the fundamental technical skills required to expose film is something I\u2019ll never forget.\u201d<\/p>\n

Livingston says his years at Chapman provided \u201caccess to professional tools and collaborative resources\u201d that he would never have otherwise touched. \u201cMy technical background and skill sets were incredibly strong emerging from that school,\u201d he reflects. \u201cAnd yet despite even that advantage, the political and economic realities of this career path can probably only be learned by actually working in the industry.\u201d<\/p>\n

True, but many say the time spent in film school formed the foundation for entering the industry. Or as Matthew Irving, who earned an MFA from USC (1993-1996) observes: \u201cI think it\u2019s become fashionable to downplay the importance of film school, but I found it extremely valuable.\u201d Irving says he \u201cthrived\u201d within film school\u2019s structure and social fabric, and that it gave him many opportunities to shoot. \u201cIt\u2019s not [always] about what you learn in class,\u201d Irving adds. \u201cIt\u2019s also about developing a social network of peers you can come up with through the ranks. I shared my time with some terrific filmmakers, including [Local 600 cinematographers] Nathan Hope; Cort Fey, ASC; and Byron Shah. We would crew each other\u2019s projects and learn from one another. Film school works best when it\u2019s done in a spirit of cooperation rather than competition.\u201d<\/p>\n

Hardwick agrees, noting that the broad range of classes at NYU provided an introduction to many essential craft positions. \u201cIn addition to writing, directing and cinematography,\u201d Hardwick remarks, \u201cone of the greatest benefits of film school is that you are given the opportunity to work on a ton of student projects in key crew positions.<\/p>\n

\u201cAlso, by writing, directing and editing your own films, you really begin to understand the whole process of what it takes to make a film,\u201d he continues. \u201cIf you just go into the workforce, PA for a while, and then start working in one craft department, you will learn the skill set of what that department does, but you probably won\u2019t have a great understanding of what goes into the other aspects of making a film. And where else will you get the opportunity to shoot [student films] when you are just starting out?\u201d<\/p>\n

\"Jayson<\/a>
Jayson Crothers, Columbia College Chicago,1999-2001, AFI 2003-2005 \/ Photo by Elizabeth Munch-Morris<\/figcaption><\/figure>\n

Although film memories for Paul Maibaum, ASC,<\/strong> who attended USC from 1972 to 1975, stretch back to a different era, the value of the experience has been everlasting.<\/p>\n

\u201cUSC\u2019s Department of Cinema at the time I attended was still a relatively small facility,\u201d Maibaum recounts. \u201cThe classes were varied, from history to criticism and film screenings. One [perk] was being taught by professionals\u00a0 \u00ad\u2013 I took a class with Blake Edwards and one with John Milius. What a way to learn.<\/p>\n

\u201cWould I recommend film school, even in this digital world?\u201d Maibaum continues. \u201cDefinitely. It is the only time in one\u2019s career where there is an opportunity to learn more from one\u2019s failures by really taking risks and hearing an honest critique.\u201d<\/p>\n

In fact, hearing and accepting creative criticism, in a safe environment, is an aspect of the film-school experience that can\u2019t be replicated on set.<\/p>\n

\u201cThe most interesting part of the AFI program, and the most useful in my opinion, was the class analysis of our first-year films,\u201d recalls cinematographer Jayson Crothers, who attended Columbia College Chicago from 1999 to 2001 and The American Film Institute (AFI) from 2003 to 2005. \u201cThe entire school watches the film, and afterward there\u2019s an open discussion about what you just watched. Then you do the same thing later within your own discipline. After all of your classmates have picked apart the film, your fellow cinematographers do the same thing on a photographic and storytelling basis.\u201d<\/p>\n

\"DIT<\/a>
DIT Jordon Livingston, Chapman University, 2000-2004 \/ Courtesy of Chapman<\/figcaption><\/figure>\n

Crothers says he liked how the process demanded students to think critically about their efforts. \u201cDuring our first class analysis we\u2019d start to explain why we did something or explain the circumstances we were working under that caused certain decisions to be made,\u201d he remembers. \u201cAnd it was quickly made clear that all that mattered was what was on the screen. Of the countless things I learned at AFI, that\u2019s one of the most important. The work has to speak for itself. Period.\u201d<\/p>\n

Film schools need to stress the work. They also need to have the ability to produce and make that work available. That doesn\u2019t always happen when the school is stretched to its limits. Although things have changed at Watkins, Facelli remembers the challenge of such smaller programs that weren\u2019t, perhaps, as important at the school as they are now. \u201cI had hands-on experience [in the real world of production in Nashville] that most students didn\u2019t have, but there were gaps in the curriculum,\u201d she explains.<\/p>\n

\u201cThat actually worked to my advantage, as it allowed me to take classes in every major,\u201d she adds. \u201cI could demand to get into classes like \u2018Intro to Editing\u2019 or a directing class. But I often had to go outside the school for experience. I made good friends, many that I still currently work with on shoots. But I also think it was the simultaneous real-world training that contributed to film school\u2019s being such a good foundation for me.\u201d<\/p>\n

Facelli has kept in touch with Watkins teachers and mentored film students in the Nashville area who are now working in the industry. She says Watkins has streamlined its program, \u201cand the quality of work coming out now is much better than when I was there. The faculty is much more qualified and now includes Local 600 operator Ron Coons.\u201d<\/p>\n

\"Matt<\/a>
Matthew Irving, USC Film School, 1993-1996 \/ Photo by Cort Fey, ASC<\/figcaption><\/figure>\n

Returning to their alma maters as teachers<\/strong> is something many former Guild film grads do. A great example is cinematographer\/teacher Tal Lazar at AFI. Although he was a working Union camera assistant in his native Israel (with a BFA from Tel Aviv University), Lazar went \u201cback to school\u201d when he came to the States.<\/p>\n

\u201cIt was a conversation with a production designer back in Israel that made me decide,\u201d he explains. \u201cHe described his process of working with a cinematographer, the information he requests and the types of discussions they have. These included technical discussions about the nature of optics and photographic processes, as well as artistic discussions about the interaction of color and contrast. I was confident in my abilities at the time, and yet I suddenly realized that I was unable to have a conversation at that level. This started me thinking about AFI.\u201d<\/p>\n

Lazar found what most students realize is a key point to success in this industry: \u201cto learn to collaborate within a team and to be flexible when the unexpected occurs,\u201d he observes. \u201cAFI [and other film schools] teach classes that range from hands-on lighting seminars to lectures about optics, visual elements, video technology and more.\u201d Like Crothers, Lazar says the high level of critique is good industry preparation.<\/p>\n

\u201cThe most interesting thing to me is the intimate discussions with guest cinematographers,\u201d Lazar adds. \u201cEvery time I have a car in the frame, I think of Bill Bennett [ASC] and the techniques he taught us about shooting these highly reflective surfaces. Or, when considering where the fill light should be placed, I remember Bill Pope [ASC], who demonstrated different fill techniques. It\u2019s also reassuring to find that your role models are struggling with the same questions that you have \u2013 or that they feel confident enough to share a trick or two.\u201d<\/p>\n

\"Paul<\/a>
Paul Maibaum, USC Film School 1972-1975 \/ Photo by Prashant Gupta<\/figcaption><\/figure>\n

Sharing a trick or two is something that Lazar is doing himself these days.<\/p>\n

\u201cI was a vocal student and never hid my dissatisfaction in a class or teaching method,\u201d he smiles. \u201cThe fact that Stephen Lighthill, ASC, offered me a teaching position was the perfect \u2018punishment,\u2019 and I accepted the challenge. When I stand in front of the class, I stand in front of cinematographers \u2013 not students.<\/p>\n

\u201cI like to joke that I never left AFI,\u201d he continues. \u201cAs an instructor and alumnus, I get to see the program from both sides, and I believe that it\u2019s now different, and better. Technology advances in the past 10 years have changed the curriculum. A film school needs to follow the changes but also have an element of leadership to try to steer the industry in a positive direction, not unlike the Union in many ways.\u201d<\/p>\n

Lazar constantly sees AFI graduates on campus \u2013 at screenings, lectures, and at the library \u2013 and feels part of a community. \u201cI sit with my students and make it clear that I am not an instructor now, I\u2019m a graduate who comes back to learn. And I try to lead by example,\u201d he states. \u201cA cinematographer is a leader, and as such he or she needs to have an intimate familiarity with the equipment and work in the different departments. A cinematographer is also an artist, and therefore should perhaps have a set of experiences or knowledge that go beyond this craft.\u201d<\/p>\n

\"Tracy<\/a>
Tracy Facelli (University of Memphis and Watkins College of Art and Design, 2002) with actor Edward Albert on the set of No Regrets \/ Photo by Katherine Bomboy-Thornton<\/figcaption><\/figure>\n

While Lazar, like many DPs polled for this article, believes in a \u201cformal film education,\u201d he also says \u201cgoing up the ranks\u201d is key as well.<\/p>\n

It was the combination that worked for me,\u201d Lazar concludes, echoing Facelli\u2019s experience at Watkins. \u201cIt is no longer about the equipment as almost everyone owns high-quality cameras. I believe it takes patience and hard work, a lot of listening and observing, until the moment comes when you realize: \u2018I know this, I can do it.\u2019 And, even then, you sometimes end up realizing that you\u2019re wrong and need to keep learning.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Chalk talk with a class full of Local 600 cinema grads. By\u00a0Pauline Rogers. Today there isn\u2019t anything you can\u2019t learn about the newest in movie-making equipment on the Internet. So why go to film school, when high bandwidth and a working knowledge of navigating the Web are far less expensive? Yes, perhaps the Internet has made the technical path easier. But, as a cross-section of Local 600 members who started out with a film school background and who often teach […]<\/p>\n","protected":false},"author":1,"featured_media":5031,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-5030","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nFilm School Confidential - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/film-school-confidential\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Film School Confidential - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Chalk talk with a class full of Local 600 cinema grads. 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