FURTHER EDUCATION AND CAREER PROSPECTS.
COMMUNICATION
Exercise 1. There are several ways to continue your film education:
Learn filmmaking on your own by shooting films.
Get filmmaking tips from top experts and prominent film directors. Follow books and online filmmaking courses.
Enter a University and join graduate or postgraduate Film, TV and Digital Media Programs to get a degree.
Conduct your own research on different aspects of Film Art.
Discuss pros and cons of each approach. Give as many arguments as you can to prove your ideas.
READING
Exercise 2. Scan the article to find the following information.
1) What are Coppola’s 3 professional rules?
2) What are contemporary producers afraid of?
3) What is Coppola’s side job?
4) What is the theme of “Apocalypse”?
5) How can a filmmaker boost confidence?
6) What outstanding actress and singer has panic attacks?
Filmmaking Tips.
Francis Ford Coppola: On Risk, Money, Craft & Collaboration.
by Ariston Anderson
Over the course of 45 years in the film business, Francis Ford Coppola has refined a singular code of ethics that govern his filmmaking. There are three rules:
1) Write and direct original screenplays.
2) Make them with the most modern technology available.
3) Self-finance them.
But Coppola didn’t develop this formula overnight. Though he found Hollywood success at the young age of 30, he admits that the early “Godfather” fame pulled him off course from his dream of writing and directing personal stories. Like Bergman, Coppola wanted to wake up and make movies based on his dreams and nightmares.
I met Mr. Coppola during the Marrakech International Film Festival, where he shared insights on the filmmaking craft with local students. Rejecting the popular “master class” format, Coppola preferred a simple “conversation,” where he spoke with students and shared his advice generously.
Why did you choose not to teach a master class?
For me in cinema there are few masters. I have met some masters – Kurosawa, Polanski – but I am a student.
I just finished a film a few days ago, and I came home and said, “I learned so much today”. So if I can come home from working on a little film after doing it for 45 years and say, “I learned so much today,” that shows something about the cinema. Because the cinema is very young. It’s only 100 years old.
Even in the early days of the movies, they didn’t know how to make movies. They had an image and it moved and the audience loved it. The cinema language happened by experimentation – by people not knowing what to do. But unfortunately, after 15 – 20 years, it became a commercial industry. People made money in the cinema, and then they began to say to the pioneers, “Don’t experiment. We want to make money. We don’t want to take chances.”
An essential element of any art is risk. If you don’t take a risk then how are you going to make something really beautiful, that hasn’t been seen before? You try to go to a producer today and say you want to make a film that hasn’t been made before; they will throw you out because they want the same film that works, that makes money. That tells me that although the cinema in the next 100 years is going to change a lot, it will slow down because they don’t want you to risk anymore. They don’t want you to take chances. So I feel like I’m part of the cinema as it was 100 years ago, when you didn’t know how to make it. You had to discover how to make it.
Do you feel like you’re more of a risk-taker now?
I was always a good adventurer. I was never afraid of risks. I always had a good philosophy about risks. The only risk is to waste your life, so that when you die, you say, “Oh, I wish I had done this.” I did everything I wanted to do, and I continue to.
You now have all the resources to do your own production, writing, directing. What’s the biggest barrier to being an artist?
Self-confidence always. The artist always battles his own/her own feeling of inadequacy.
How do you overcome that?
I’ve learned an interesting thing. When I was young on a movie set, I would try to stage the scene and the actors would read it, and I said, “Well, you stand here and you sit there, and blah, blah, blah.” They would say, “Well, I don’t think I should sit there, I should stand there. And I don’t think this line is right.” And they would begin to challenge the text.
What I learned, which is a simple idea, is that if you hold out with your vision a little bit, it’s like a cake being put in the oven. The scene doesn’t work immediately, you have to bake it a little bit. It’s unfair, when you begin to create a shot, say, or a scene, that it’s going to immediately be like those beautiful scenes in the movies. It needs a little bit of time to mature. It’s like taking the cake out without letting it be in the oven for more than a minute. Like, oh no, it’s terrible. So you have to be patient, and then slowly everyone starts to see that the ideas are right, or make the corrections. You have to battle the lack of confidence by giving the scene the chance to solidify.
Workshop.
What I Learned Teaching Film School
THE VOW OF CHASTITY
I swear to submit to the following set of rules drawn up and confirmed by DOGMA 95:
1. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot.)
3. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted.
4. The film must be in color. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera.)
5. Optical work and filters are forbidden.
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
8. Genre movies are not acceptable.
9. The film format must be Academy 35 mm.
10. The director must not be credited.
Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.
Thus I make my VOW OF CHASTITY.
Copenhagen, Monday 13 March 1995
b) Do you agree with the principles stated in “The Vow of Chastity” Why? Why not. Give your arguments on its advantages and disadvantages.
READING AND
COMMUNICATION
Exercise 14. You are going to hold a panel discussion “Is Technology killing Art?”
a) Share responsibilities.
– Select a moderator who does not have a conflict of interest with the subject matter of the panel discussion and who will keep the conversation moving and adhere to the guidelines and rules.
– Choose knowledgeable well-educated panelists, allow them time to prepare.
b) Write questions for the panelists. Questions should be open-ended and require more than “yes” or “no” answers. Create more questions than you think you will need in case the panel discussion proceeds more quickly than anticipated.
c) Determine the rules for the panel discussion.
That’s how you wish the panel discussion to proceed.
– Open discussion panel forums usually begin with a question and discussion between panelists.
– Set a time limit for each speaker.
– Determine how questions from the audience will be handled. Some formats allow questions during the panel discussion. Others provide time after the panel discussion for audience members to ask questions of the panelists.
d) Present and introduce the panelists at the beginning of the panel discussion. Introduce the moderator. He should inform the audience of the purpose of the discussion and provide a brief summary of the discussion format and rules. The moderator should give a short biographical introduction of the panelists.
e) Conduct the discussion as planned, following the established rules. The moderator should ask questions and coordinate the discussion as planned.
f) Conclude the panel discussion with a summary and closing remarks. The moderator should thank the audience and panelists, and give any information for follow-up activities or events.
Exercise 15. Create your own “Dogma 20_ _” reflecting your artistic principles and your personal approach to technology. Present it to the audience and answer their questions.
READING, VOCABULARY
AND COMMUNICATION
Exercise 16. a) Skim through the article about Film, TV and Digital Media Programs and Degrees and count the number of its sections and their titles.
b) Scan the article to find the following information:
§ the kind of approaches film, television and digital media programs combine;
§ the difference between Bachelor of Arts and Bachelor of Fine Arts degrees;
§ Master of Arts as distinct from Master of Fine Arts degree;
§ the focus of attention in a PhD program;
§ the average tuition fee per year for a film program at any of the leading US universities;
§ the factors you should take into consideration while choosing a program;
§ career prospects within the film industry as assessed by Margaret Holbrough;
§ degree timing strategy;
§ the difference between Master’s and Doctorate degrees and the availability of on-line education;
§ sources of financial support for international students;
§ what distinguishes the application process to film school.
A Brief Introduction
Film, television and digital media programs combine a theoretical and scholarly approach to the study of visual media with professional training in how to actually produce a piece of original work.
Undergraduates pursuing a Bachelor of Arts (BA) in film studies attend courses that are for the most part “theory heavy” providing scholarly overviews of the various media, the industries involved, their history and recent trends while availing the opportunity to “taste” the field by taking on internships with film companies or trying their hand at working for graduate student films.
Schools that offer Bachelor of Fine Arts (BFA) degrees introduce students to the craft of film making and include courses in animation, art direction, cinematography, directing, editing and sound, producing and screenwriting.
Coming through as a well-educated, determined, imaginative and creative person can heavily tilt the scales in your favour.
Graduate programs dig deeper and make it possible for students to choose between Master of Arts (MA) and Master of Fine Arts (MFA) degrees and the opportunity to enrol for research heavy PhD programs. The MA includes courses in cinema and media studies and is many ways an extension of ground already covered in undergrad studies while the MFA focuses on the actual craft of film/television/digital media “making” whether in terms of production, directing or screenwriting.
Several top schools such as the Columbia University School of the Arts place the MA and MFA programs close together, so that students have ready access to the experience of their counterparts across the MA/MFA divide and some schools even make it compulsory for students to dip in to both theory and practice in equal measure.
Schools offering PhD degrees provide students the opportunity to conduct in depth research in film and media studies often paving the way, among other professions, to academic careers.
Unsurprisingly, getting into the top schools is tough and expensive but the rewards just as sweet in terms of top class training, exposure, influential contacts and nearly always a push to recognition.
Where is Best
Versions of the world’s top ten film and other media programs abound. A recent one compiled by The Hollywood Reporter is probably one of the most comprehensive as it takes into account various not-so-obvious factors such as a school’s commitment to imparting a sense of the “culture of film-making”, the unusual opportunity to complete a debut feature film while still a student, or the benefit of referring to some of the personal papers and film material of filmmakers in the school’s archives.
The top ten film schools in the world according to this list are:
- American Film Institute, Center for Advanced Film and Television Studies, US
- University of Southern California, US
- Beijing Film Academy, China
- New York University Tisch School of the Arts, US
- University of California Los Angeles US
- California Institute of the Arts, US
- Film and TV School of the Academy of Performing Arts in Prague, Czech Republic
- Columbia University School of the Arts, US
- Wesleyan University, US
- National Film and Television School, UK
Timing the Degree
There are two schools of thought on when it is the best time to join film school. The first proposes that given the value attached to youth in the film and digital media industries, wisdom lies in pursuing and completing a degree early on. The other proposes that no matter how much value is placed on youth there is an undoubted advantage in securing a high-quality, competitive degree from a film school of repute and that students gain from attending film school after having tried their hand at working in any of the related industries for a few years.
As an instance, the film school that tops the list of the world’s best according to the Hollywood Reporter, the American Film Institute, is attended by students who are older than the average graduate student (about 27 years old) and usually obtain a place after having worked for at least a couple of years in the industry.
Studying Film & Television: Degrees at a Glance
The U.S. Bureau of Labor Statistics (BLS) suggests that to obtain a higher-level position in the film & television industry, such as director, writer or producer, you may need to have a bachelor’s degree. Even with an undergraduate degree, you will likely need to start in assistant positions and gain several years of professional experience to move up the ranks in this field. Earning a graduate degree in film & television studies can provide you with time to hone your skills, build a portfolio and make connections with industry professionals. Doctoral degrees in film & television studies might appeal to you if you want to teach at the collegiate level.
The BLS predicted that producers and directors would see an 11% employment growth rate (about average) over the 2010-2020 decade, while screenwriters would see a slower-than-average 6% growth during that time. Postsecondary teachers were expected to see a job rate increase of 17% during the same decade.
| Master’s | Doctorate | |
| Who is this degree for? | Individuals who want an advanced overview of the film & television industry so that they might find jobs in production, editing or similar fields | Individuals who want to teach film & television at the postsecondary level or act as consultants |
| Common Career Paths (with approximate median annual salary) | – Director or producer ($71,000)* – Film editor ($53,000)* – Screenwriter (includes all writers and authors - $56,000)* | Postsecondary teacher ($64,000)* |
| Time to Completion | About 2 years | 2-4 years |
| Common Graduation Requirements | – Core film courses – Thesis or graduate project | – Core courses – Possible foreign language requirement – Dissertation – PhD exam |
| Prerequisites | – Bachelor’s degree – Portfolio or resume | Bachelor’s or Master’s degree |
| Online Availability | No | No |
Source: *U.S. Bureau of Labor Statistics (May 2011 figures).
Admission Process
The basic criteria for eligibility includes: evidence of English language proficiency, comparable and verifiable proof of high school grades and certificates when applying as a freshman and those of college education when applying for grad studies. Of equal value is being able to present proof of financial support to pay for your educational and living expenses. Broadly speaking, it is advisable to develop a plan to cover the cost of tuition, fees and living expenses for the entire length of your program and always keep a look out for scholarships exclusive to your school.
Some well-endowed universities such as USC offer merit based scholarships for undergrad studies to international students in which case admission runs concurrently with the financial aid process. But this is quite rare.
International students are, however, often eligible for school-based scholarships and fellowships as and where they exist. International students may also be eligible for loans through private lending sources, which usually require a co-signer who is a U.S. citizen or permanent resident.
What distinguishes the application process to film school or film studies on the whole is the relatively greater weight given to talent, creativity and imagination. Various schools have slightly different ways of gauging this whether by means of a phone or in-person interview, the weight given to portfolios and the student’s statement of purpose (SoP).
Exercise 19. Odd word out.
In each item, cross out one word that is different from the others
in terms of parts of speech.
1. state-of-the-art, eligibility, wisdom, commitment, extension, scholarship
2. hustle, pursue, hone, soak, core, enroll
3. concurrent, comparable, diversity, imaginative, compulsory, annual, hands-on
4. well, extensively, heavily, completely, equally, fiercely, scholarly
5. measure, approach, taste, research, access, conduct, reward, bet, rest
Exercise 20. a) Find the word that doesn’t go with the word in italics.
1. under consideration
the circumstances
your belt
overviews
pressure
construction
a pseudonym
2. hone loans
craft
skill
performance
talents
to perfection
3. look through
up
up to
out
out for
after
off
4. cultural diversity
religious
world
global
increasing
to maintain
to reduce
5. to get scholarship
to receive
to obtain
to attain
to offer
to give
merit based
6. basic criteria
main
objective
admission
eligibility
to satisfy
to meet
to answer
to define
b) Choose any ten expressions and make up your own phrases with them.
Exercise 21. Replace the underlined words with the appropriate synonyms from the article.
1. The programs combine a theoretical and academic approach to the study of visual media with professional training in how to actually produce a piece of original work.
2. Some schools even make it obligatory for students to dip in to both theory and practice in equal measure.
3. The University provides students the opportunity to carry outextensive research in film and media studies.
4. Undergraduates attend courses that are for the most part “theory heavy” providing scholarly overviews of the various media, the industries involved, their history and recent trends while giving the opportunity to “taste” the field by taking on training with film companies or trying their hand at working for graduate student films.
5. Some economically prosperous universities such as USC offer merit based scholarships for undergrad studies to international students.
6. One piece of advice often given to students of film and digital media is not to stop putting effort into what they are doing.
7. Students should be persistent : to make and keep contacts within the industry, go after the company and position of your dreams and demonstrate your unique selling point in order to start the career in this highly competitive and ever changing industry.
8. The basic criteria for eligibility includes: evidence of English language skill, comparable and verifiable proof of high school grades and certificates.
9. As an undergrad you can choose between a wide range of alternatives including a BA in Critical Studies, BA in Film & Television Production, BA in Animation & Digital Arts, BA in Interactive Entertainment and BFA in Writing for Screen & Television.
10. Careers within the film industry are fiercely competitive and opportunities to pursue a technical or practical career will depend on the graduate’s experience and the content of the degree, and whether it focuses more on practical film production skills as opposed to the appreciation, analysis and interpretation of films and film genres.
Language Use.
– Avoid empty phrases like “I’m talented”, “I’m very intelligent”, “I’m a great writer”. Show them through your professional SoP and application portfolio and let them decide if you are amazing enough to attend their institution.
– Avoid being too poetic in applying for creative writing programs. Your writing portfolio is more than enough writing to show your talent.
– Avoid hot air. Adjectives like thrill, passion, excitement, joy, etc., should be avoided like the plague.
– Avoid quotations. You may have “miles to go before you sleep”, “chosen the road less travelled”, or “your-favourite-cliche-quote-from-high-school-here”, but it isn’t a personal statement, is it?
And finally, avoid sending the exact same Statement of Purpose to all the universities to which you’re applying. The admissions committee will easily spot a cookie-cutter essay and more than likely reject you. Admissions committees also notice whether or not you include specific references to people, labs, groups etc., within their departments.
Exercise 26. True or False?
1. SoP is an ecological movement “Save our Planet”.
2. Most admissions committees appreciate a long and elaborate SoP.
3. It is unwise to postpone writing your SoP until the last possible moment.
4. Admissions guidebooks can be intimidating.
5. Your admission entirely depends on your SoP.
6. Most admissions committees arbitrarily select applicants that will comprise next year’s incoming class.
7. The first paragraph shouldn’t be long.
8. The more ideas you include in each body paragraph, the better.
9. You should mention that the chosen course would help to pursue your career.
10. It is recommended to include specific examples from your own experience.
11. Four-letter words would not be appropriate in your SoP.
12. You are not supposed to use a spellchecker.
13. Poets can’t apply for creative writing programmes.
14. Avoid applying for admission in hot weather.
15. Cookie-cutter is a kitchen tool used for cutting cookies.
16. In the closing paragraph you should thank the admissions committee for choosing you.
FURTHER EDUCATION AND CAREER PROSPECTS.
COMMUNICATION
Exercise 1. There are several ways to continue your film education:
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