Hey folks,

Lately I've been pondering my future in this gig.  Writing is all fine and dandy, but it's not gonna get me anywhere unless I have something to show for my time.

I've been writing for about 3 years now.  I'm at my peak.  My writing's not gonna get any better, unless I utilize my vast vocabulary of spectacular words! lol

Anyway, I want to go further by setting myself up for a shot at a Directorial Course at London Film School.

My question, really, is simple:  Is it worth my time?

Or will I be in the exact same situation 2 years from now if I do so?  

This is what I've been doing for the last week.  Alongside that gargantuan project I'm working on.  Hence my absence from the boards.  

In the long run, I wanna direct my scripts.  I want to raise the curtain on Project Destiny and share it in my own unique, visual way.  Like no shaky cam...

So what do you think?  

FILM SCHOOL:
YAY?
NAY?

I'm asking, because I'm debating whether this is right or not... that, and I'm wondering if ANYONE HERE has gone to film school.

Personally, I prefer to just dive right in. Sink or swim. Never been one for school. Whatever you learn there you can learn from just doing it, IMO.

Not having been to film school I would have thought the best element about it, apart from technical education, is the contacts and leads.

I took a two day course in London and just in that time I met people in the industry who want to do things...but...what was clear is that whilst we were there, offers came through of talks with folks in the industry, private screenings with directors and chats with writers.

They are just not happening to me sitting at home. In short, it's networking at the right level.

So, I would expect that if you focused and worked hard it was result in opportunities - the core question is, is this an industry you really want to commit to? And is it worth the money?

All the best and keep us informed.

You going to the LSF festival ?

The only people I know having any success in the business have no formal training. They just did exactly as Dustin said -- jumped right in.

They fronted their own money, built a crew, hired equipment and cast actors, resulting in them producing some relatively well received shorts, which have gone on to be shown at numerous decent festivals (Sundance London, SXSW, London Film Fest, etc.).

The best thing about film school (as I have been told by those who attended) was the availability of cast, crew and equipment.

However, you don't need to go to film school for this, IMO.

Another friend of mine dropped out after 6 months, because he was getting enough work (as a cinematographer) to support himself and claimed to have learned a lot more by taking a hands on approach to learning.

In my opinion, I would recommend putting the money you would pay and using this to fund a short. That is, entirely my opinion though.

I have a friend who went to film school in New York and graduated two years ago. He does janitorial work for a school last I heard.

I know 10 people who went to film school. The most successful ones are three guys who work for small local media companies. They shoot and edit local commercials for the most part...

The people I know who make movies are go getting entrepreneurs with virtually no formal film education.

Movies are a unique thing. You go to school to learn about things you don't know. In reality you've most likely seen thousands of movies. So intuitively you have to have picked up on a ton of stuff. Especially if you have a passion for them (movies). You may not know what an "establishing shot" is in name, as a term, but you've seen it... and... you know it. If you start filming a movie let's say tomorrow, I'm sure a lot of stuff will come to you via your instincts, by what you've seen on TV or at the cinema your whole life. It's more a question of how perceptive a person is and how much have they picked up on things.

Since you can write a script, you have an idea of how movie structure works. How to tell a story in a limited timeline. How it needs to start, grow and end. So you DO know a lot about movies and how they work. Just by saying "no shaky cam" you've noticed what you like and dislike, you have a style in mind.

A LOT of famous directors haven't gone to film school. I read William Friedkin's book a few months back. He started in the mail room at a TV station and in a few years he was directing TV shows and Documentaries. And a few years after that he won an Oscar for best director for the French Connection. No film school, no formal film training. Worked in the mail room for a year or two, told people where to sit and what camera to look into for a few years and then tried and did his own thing.

I read an interview with Frank Darabont a few years back and they asked him what he thinks of screenwriting seminars, classes, books and so on. He said... "if you're talented enough, you'll figure it out on your own.". And I agree, that like with anything, if you have enough enthusiasm and talent, that's all you need. In this case, that and a camera.

You can educate yourself with the use of the internet, you can edit and mix sound on your PC, you can film on your camera. All you need is passion and talent to start off and build on that.

If you can't figure it out on your own, chances are film school wouldn't have helped much in the first place. Movies are a creative thing and creative things are driven by intuition, which is not something someone can teach you. Best they can do is steer you in the right direction.

My 2 cents.

It's really down to the person. Paul Thomas Anderson didn't do too badly after walking out on film schoool, did he. A number of other directors chose not to go to film school. Off the top of my head, I can't think of any major directors who were products of film school? I'd imagine the majority end up doing commercials, which can actually be nicely lucrative anyway.

Ultimately the film industry is about who you know. It's that simple, and whilst film school will help you get a solid technical grounding, if you're not good at networking, connected, or like a dog with a bone, you won't get anywhere. Film school isn't an answer in and of itself.

It, of course, also depends on what you want to do. Direct? Produce? DOP? Sound? Edit? Costume? Hair and makeup? SFX? VFX? SMUFX? Propmaking? Production designer? Writer? IMO, nothing beats getting on sets, making films of your own, and being unafraid of failiing. It's a competitive industry. More people than positions.

I know a few film grads, and a couple have told me they didn't think it was worth the money, cos let's not forget, it costs a lot of money to go to film school. That said, it does depend on the person. Some people benefit from being in that environment and it's the right path.

Simple point is that going to film school isn't the answer to gaining work in the industry. That will depend on your character, your tenacity and / or your ability to network, or if you're fortunate to have $$$ or connections backing you up. Look at the Ellisons. You've got Megan running Annapurna at 25. They're doing great stuff, but would she be in that position if her father wasn't Larry? Highly unlikely. Same with Skaydance and the brother. Skydance is currently working on MI:5. Would he be there without daddy's money? Possibly, because he's building up a decent slate, but would he be there without daddy's money?

Because that's the brutal truth about film. It's all about money. If you want to direct, you cannot make films without money, and there's a dearth of funding opportunities outside traditional streams, no matter what people tell you about the insanely crowded crowdfunding. So when you consider film school, you realise it doesn't, alone, circumvent the practical realities of working in the industry and going through the shit of getting movies made.

Quoted from Leegion Hey folks, Lately I've been pondering my future in this gig.  Writing is all fine and dandy, but it's not gonna get me anywhere unless I have something to show for my time.

I take it by having something to show for it you mean attracting a producer or getting paid for it? And, really unless you're a staff writer with a network or regularly know producers who will take your work, you're right, something's gotta give. Of course you can still write when not doing your day-job.

The only circumstances I would go to film school is if I were eighteen again and living at home or if money was no object and I could be bothered sitting through a bunch of stuff I already know to get to the stuff I don't.

Quoted from Leegion I've been writing for about 3 years now.  [b]I'm at my peak.  My writing's not gonna get any better...

How do you know you're writing's not going to get any better? Hmm, perhaps you just want to do something else like Direct?

I'm with Andrew on this one. There's nothing like getting experience 'on the job' and working your way up. Especially if you want to Direct. Get yourself on a film set and work for nothing to begin with if you have to. And, make yourself known. I don't mean blab on about yourself - that could get you booted out the door.  ;D I mean be there for whatever is needed - be a 'runner' or 'assistant' or work in the production office to start with.

Or do what I did (yonks ago now). Write to whomever you want to work and ask them for a job. If you've got a public broadcaster, start with them - they're more likely to take people on than the commercial stations and pay you and also train you once you've worked for them for a while. It can be that simple. Don't expect you'll be a hotshot overnight though. Hopefully you'll love what you're doing and keep at it.

Our writing always gets better. Our writing is merely the sum of our education and experience.  As we gain in both, so does our writing.

I suppose senility can put a stop to it.

I'm actually making films at the moment. In post with one, in pre-production with another, have yet another on the development slate, alongside several possible features. At the start of this year, I wanted to make my own films but didn't know anyone else at all. I approached people and tried to build a team, almost went in one direction, then met up with an old friend from 30 years ago. We were kids last time we saw each other. Turns out he's a music producer and had done some extra work on set. Now we've set up a production company together.

If you really want to do it, you'll just do it. Film school isn't going to get you an easy in.

Lee,

It doesn't matter if film school is a good idea or a bad idea. Do what your heart directs. I was fortunate enough to get a scholarship and grant for a two year stint at a film school. I learned a lot of wonderful and technical info... About cameras and lenses and structure. But I quickly realized that all I wanted to do was tell stories. Writing became  the most important thing for me. I  found I had no interest in being on set. And film editing became  another passion.  So the point is find what you love and do it. If going to film school is something that comes about - then go for and embrace it. But if it's a means to an end - fuck it. Follow your tingle.

And will second Dustin. He makes a wonderful point . Our writing does get better. There's no end. It gets harder but better. At least in the sense that one grows and learns from experience.

So I've gathered that in order to push the envelope through the mailbox I need to set aside the funds I'd otherwise splash out on a director's course at LFS and film something I've previously written?

I already have a camera...

I do agree with "writing could get better".  I know my way around it.  I've written novels.  I suppose I just have difficulty getting novel-terms and wording into scripts.  That may change at some point or another.

So, with what folks have said.  I'm now at the gate.  Film school seems like the type of place you go if you don't understand the concept of film making.

I know establishing shots, how action scenes should work (no shaky cam) and how to use "shots" for certain things.  Heck, I visualize this when I write the story anyway.

So, with that said and what you folks have added, I now know what I want to do.

I'm not going to film school.  Instead, I'm going to start networking.  LinkedIn seems like the place to start.  Grab me a few professional contacts.

After this, I'm going to set aside some cash every week and, once I have enough, I'm going to purchase Autodesk 3DS Max.  A �5,000 animation suite for CGI movies.  A top of the line suite that I've been eyeballing for a while now.

Eventually, I want to film live action movies.  Project Destiny's 19 at the top of the list.

I guess I need some top-notch contacts in order for this to happen.  Peter Jackson, as a director of LOTR and Hobbit, would be a plus to have on board.  A few actors.  Maybe I'll get in touch with Youtube Composers such as Mattia Cupelli, who recently composed a soundtrack for Red Sand, a Mass Effect fan short.

Thanks for the responses.  I'm glad I didn't slap down that �50 admission now that I know more.

Quoted from Leegion Eventually, I want to film live action movies.  Project Destiny's 19 at the top of the list.

Start with short films.  That is essential "schooling" right there.

Only a fool attempts a feature-length as their first project.

Same goes for these boards.  If you are approached by a "producer" who wants to make your feature as their first project, generally speaking, your response should be "no thanks."  Unless they are crazy rich or something, of course.

I agree with the rest that you need to dive in. Not like a starving artist type of dive though. I would suggest having a job and doing film. That's what I'm going to do.

Fuck waiting around and do the damn thing. Lol. My motto.

Gabe

I'm going to start with a short.  It's part of my Zombie-Verse, known as "Days Gone".  Primary cast of 2 characters with about six-to-ten zombies.

Living in Aldershot provides me with downtrodden buildings owned by the military.  And the MILITARY.  Since this is the "home" of the British Army, I'm sure they won't mind lending me one of their trucks for an exterior shot to show things have gone to hell.

There's a car scrapyard a few minutes away, so getting destroyed/burnt out vehicles won't be a problem for that exterior shot.  A costume shop in town will provide fake blood. A dump down the road will afford me cheap furniture for the interior of the building, like a crappy couch and broken bookshelves.

I'm now on LinkedIn.  I'll put an ad up on Facebook for "looking for extras for short movie production", see where I get with that.

I'm planning on starting in November/December.  The cold may provide more depth.

Guess I'm jumping into the shark pool head first...

Quoted from bert Start with short films.  That is essential "schooling" right there.

Exactly what I'm doing. Making shorts with no money. Well, almost no money. The idea is to show what we can do on such minimal budgets and then attempt to win at the festivals.

Quoted Text Only a fool attempts a feature-length as their first project.

Yep, I'd call that tantamount to suicide unless you have lots of talented people to carry you through.

Quoted Text Same goes for these boards.  If you are approached by a "producer" who wants to make your feature as their first project, generally speaking, your response should be "no thanks."  Unless they are crazy rich or something, of course.

Had my fair share of those guys. As a newb it's easy to take it at face value, look no deeper... but usually these guys are looking for a miracle and they hope you are it. That great script that will attract funding. I've had second and third time producers struggling to get funds.

So, that shows how difficult it is out there to gain funding... but, if you're a bright person, with a bright idea, and you can get people to believe in that idea with you, you're half way there.

Quoted from Leegion I'm going to start with a short.  It's part of my Zombie-Verse, known as "Days Gone".  Primary cast of 2 characters with about six-to-ten zombies. Living in Aldershot provides me with downtrodden buildings owned by the military.  And the MILITARY.  Since this is the "home" of the British Army, I'm sure they won't mind lending me one of their trucks for an exterior shot to show things have gone to hell. There's a car scrapyard a few minutes away, so getting destroyed/burnt out vehicles won't be a problem for that exterior shot.  A costume shop in town will provide fake blood. A dump down the road will afford me cheap furniture for the interior of the building, like a crappy couch and broken bookshelves. I'm now on LinkedIn.  I'll put an ad up on Facebook for "looking for extras for short movie production", see where I get with that. I'm planning on starting in November/December.  The cold may provide more depth. Guess I'm jumping into the shark pool head first...

I use http://www.starnow.co.uk/ to find my cast... you can advertise, but don't wait around for people to come to you. Headhunt them. Watch showreels. Make sure you cast the right people.

The most important thing will be crew. You need somebody to handle sound. A professional, or amateur with decent experience. I found it the hardest to find a sound guy that didn't want to charge the earth.

Cameramen. You only need one for a short. An experienced director. I wouldn't recommend Directing your first film. Set yourself up as AD, assistant director. Your DoP could be the cameraman if he's good enough.

There's quite a bit to consider. It's not as simple as point and shoot.

Also mate, one last bit of advice. Don't pay for anything.

Quoted from DustinBowcot Had my fair share of those guys. As a newb it's easy to take it at face value, look no deeper... but usually these guys are looking for a miracle and they hope you are it. That great script that will attract funding. I've had second and third time producers struggling to get funds. So, that shows how difficult it is out there to gain funding... but, if you're a bright person, with a bright idea, and you can get people to believe in that idea with you, you're half way there.

Sadly, this is very true. I don't even know how many people I've seen just here at SS get so excited about their films getting optioned and talent attached and so on. Then it all hinges on the funding and nothing more happens. I've seen people pour years of their lives into trying to get their features made.

Some day, I'll try one. I've got an idea in the back of my head. Suwannee River...Cedar Key...a houseboat...a married couple...something dark...   ;D  

Unbelievable to me, the actors that were in TTD all want to be in my next one, so I guess the experience can't have been too horrible.

Quoted from Grandma Bear Unbelievable to me, the actors that were in TTD all want to be in my next one, so I guess the experience can't have been too horrible.

Yeah same thing here, with cast and crew, and we are using two of the cast, although one in an assistant director capacity, in our next production. We didn't pay anyone anything, aside from make-up and locations, but even for the nightclub all we had to do was pay one bar staff member's wages for the day. The club itself was free.

If I'm putting in my time for free, then so can everyone else (in terms of cast and crew). If they don't believe in the project then so be it... their loss.

Just through starting to make films I've made some decent contacts. People are interested in people that are doing stuff. It's not about money, because I haven't actually got any (relatively speaking)... all I have is a vision. Smackhead, I've written specifically to win festivals. Because winners are what investors are interested in. Don't go in half arsed. If we don't win, I'll learn the reasons why not and make sure I win next time... or make enough waves so that people see what we can do, that we're not playing around.

What I would also recommend to Lee is to make sure you have somebody impartial read your scripts... or maybe just list them here for reads before plunging right in and making them. If I'd have made the first version of smackhead I was walking into cliché hell. An email gave me some excellent insight and despite kicking and screaming at first, I acknowledged they had a point and wrote a script a thousand times better. It all starts from a great script.

Your writing will also learn a valuable lesson along the way. You will learn to not only write to a budget, but to within the constraints of what you have available. A cabin in the woods isn't so easy if you can't actually get a cabin in the woods.

Quoted from DustinBowcot Also mate, one last bit of advice. Don't pay for anything.

Apart from a sound bod. Next to impossible to get a free sound bod who knows what they're doing.

Quoted from DustinBowcot It's not about money

When you're making shorts.

It's absolutely about money when you're trying to make features. You can get away with a low budget short if you limit locations, and keep it 'small', but if you try and shoot a feature on next to nothing, the production value will be awful, and that is going to kill your film for many, because your set will look like shit, it'll be poorly lit, etc. Low budget can, of course, be done, but if you look at some of the stuff churned out in the 70k-200k bracket here in the UK, the vast majority looks like crap. It certainly doesn't help when the script doesn't correlate to the budget.

Location can be a lot trickier than it first appear. I learned a LOT with TTD. First lesson learned there was, don't plan of filming at the beach (that goes for woods too) at night unless you have access to huge stadium type lights.  Otherwise, the backgrounds will just disappear...second lesson. Don't shoot at National Monuments. ;)

Quoted from Andrew Apart from a sound bod. Next to impossible to get a free sound bod who knows what they're doing.

We did it. But you're right, next to impossible, and you have to pay a pretty penny. One guy offered us £500 for the two day shoot just as a recorder and he would do all the mixing as a special offer, he originally offered £800... but we hit gold in the guy we got, already experienced having made several, very low budget features. Truly worth his weight in gold, shit hot editor as well. He is a walking film school, come to think of it. And all for free. We're giving him co-producer credit... he probably deserves more.

Quoted from Andrew When you're making shorts. It's absolutely about money when you're trying to make features. You can get away with a low budget short if you limit locations, and keep it 'small', but if you try and shoot a feature on next to nothing, the production value will be awful, and that is going to kill your film for many, because your set will look like shit, it'll be poorly lit, etc. Low budget can, of course, be done, but if you look at some of the stuff churned out in the 70k-200k bracket here in the UK, the vast majority looks like crap. It certainly doesn't help when the script doesn't correlate to the budget.

Features have to be done properly. There's just too much involved not to. I'm making shorts as a showcase to appeal for funding on features. I'm trying to spend as little as possible to show that we can manage finances and concentrate on the bottom line. I agree with you though, features need money.

I've watched some great films (British) in that sort of bracket, and I can write to within that budget, but I agree the script must correlate with the budget.

Quoted from Grandma Bear Location can be a lot trickier than it first appear. I learned a LOT with TTD. First lesson learned there was, don't plan of filming at the beach (that goes for woods too) at night unless you have access to huge stadium type lights.  Otherwise, the backgrounds will just disappear...second lesson. Don't shoot at National Monuments. ;)

We do have some of those. Actual floor lights from a theatre. 1000W each. Lighting is something we aren't short of. That's why it's imperative to build teams. The more heads thinking about the story, the filming, the camerawork, the lighting, the better. It's too hard to think of everything yourself.

Quoted from DustinBowcot I use http://www.starnow.co.uk/ to find my cast... you can advertise, but don't wait around for people to come to you. Headhunt them. Watch showreels. Make sure you cast the right people. The most important thing will be crew. You need somebody to handle sound. A professional, or amateur with decent experience. I found it the hardest to find a sound guy that didn't want to charge the earth. Cameramen. You only need one for a short. An experienced director. I wouldn't recommend Directing your first film. Set yourself up as AD, assistant director. Your DoP could be the cameraman if he's good enough. There's quite a bit to consider. It's not as simple as point and shoot.

Just signed up.  That's step 2 of 7 complete.  Thanks for the link.

Quoted from Leegion Just signed up.  That's step 2 of 7 complete.  Thanks for the link.

Add Casting Call Pro for that. We cast from there in a short we made a few weeks ago. Agreed with Justin that you're best to be proactive and search out actors.

Quoted from Dustin One guy offered us £500 for the two day shoot

He's having a laugh with that. £250 a day? £100-150 a day is acceptable if you're getting someone you know will do you a job. If you're getting them for free, then obviously all the better. The big issue, I've found, from not paying crew is that you put yourself at the mercy of losing them at short notice if they get offers of paid work. To circumvent that, it's good to tie in equipment as well, because then you are in effect paying them, and don't put yourself at such a risk. People will be enthused about your script, but being freelance, they're also their own business, so practicalties come into it.

Quoted from Dustin Features have to be done properly. There's just too much involved not to. I'm making shorts as a showcase to appeal for funding on features. I'm trying to spend as little as possible to show that we can manage finances and concentrate on the bottom line. I agree with you though, features need money. I've watched some great films (British) in that sort of bracket, and I can write to within that budget, but I agree the script must correlate with the budget.

In the exact same position. I'm very happy with the short we've recently made (I co-wrote/produced) and I think it'll play well to festivals, but with a whole host of festivals, and the costs of submissions, in addition to getting it through post properly with quality grading, etc, it can be a drawn out process.

We've built up a decent database of festivals, dates for submissions, etc and obviously use Withoutabox, Reelport, etc, but it's only one prong of the strategy.

Good stuff can definitely be made in that range, but you find the same mistakes, it's too ambitious for what money they have. If you look at something like Shifty, Dead Man's Shoes, etc, they've played to their budgets well and kept the story front and centre, which some of the others who focus on slick production values only lose sight of. As a producer, you need to be all over that. Empowering the crew to get each element in place, but never losing sight of how the story plays out to potential audiences, what the potential publicity angles are, etc. Very, very difficult if you're not paying for publicists, don't have distro, etc.

Quoted from Duston That's why it's imperative to build teams. The more heads thinking about the story, the filming, the camerawork, the lighting, the better.

This.

It's a collaborative medium. But again, with features, people need paying (always the major cost), and if you've got a 3, 4, 5 week shoot, you're gonna need a 3, 4, 5 week pre-prod to get everything in place, locations, costumes, props, etc etc.  And then you have post which'll be more like 8+ weeks if you're working to a timetable (as opposed to doing it while you can over a much larger timeframe) and then if you don't have distro, you got to sell the thing!

It hurts my brain just thinking about it. I've just been doing some work on a film with a 5mil budget and it's a stretch to attain that mass market appeal that they want.

All that said, the guy who is doing the low budget, high concept, high production value thing better than anyone right now is Jason Blum. There's a massive gap in the UK for the same thing.

Quoted from Grandma Bear Don't shoot at National Monuments. ;)

I'm presuming you mean with a camera.

What happens if you do?

R

Whether school or group such as this, I'd say network to the best of your ability. Also, there's always room for improvement. I'm sure you're not completely satisfied with every aspect of your works. I believe, writing is a collaboration between you and others, audience, crew, cast... Always room for improvement. That's what professionals do. They hone their skills, and they return to basics. It's a perishable skill. If you do attend, know what you're going for and decide where you want to be once you've completed, give it a value, how many contacts did I make, how many films did I work on, and so on. Anyway, good luck, bro.

BLB

Hey Lee, I'm not going to tell you what to do, whether you should go to film school or not, etc.  A lot of people have already given you good advice.  I haven't directed a film, feature or short, so I have no clue how it works and what specific shit I would need.  However, for a while now I have been toying with the idea of making one of my scripts, but after some thinking, I feel re-writing it to a restrained budget would be doing the story a huge injustice and it deserves more than that, period, pure and simple.

There's a quote in Adaptation that made me pause the movie immediately and write it down.  I already knew it, but I guess it was the coldness that it was said in that really cemented it in my brain.  If you write a screenplay without conflict or crisis, you'll bore your audience to tears.  Of course, there are other components to be spoken of, but most importantly, do not ever, ever bore your audience.  That's the only thing I'll tell you to do.  Do that every time and one day you'll get somewhere.

Also, you don't need to have a big vocabulary of words to write scripts.  Screenplays aren't meant to have perfect grammar and overlong, overwritten descriptions to show us how smart and vast your lexicon of vocab is.  They're about saying as much as possible in as few words as possible.  Now of course that doesn't mean you have to be bland about it.  Take for instance one of the OWCs, "Da Horns."  There's a part where the writer could have been very robotic with a description and said "They run through the woods" but instead went with:  "They hurry through the hollow.  Bare branches reach down, scratch at Jacob. They don't touch Miriella. It's as if the forest wants to lay claim on a fresh soul."  Maybe it could flow a little bit better, but it has style and it doesn't sound robotic.

And, well, maybe there is one other thing I will tell you to do.  Watch as many movies as you can.  Take mental notes of what works and what doesn't - write it down if you have to.  Read as many scripts as you can, amateur and pro, and do the same thing - take notes.  Definitely read pro, because you'll notice the difference between the men and the boys.  Don't get me wrong, I don't think every single script written by a pro needs worshipping but I have opened a shit ton more pro scripts than amateur and, holy shit, the difference is amazing.  So read as much as possible, watch as much movies as possible, and take down those notes.  Otherwise, you won't know what the fuck the components are that make a great film.  You'll just end up writing nonsense.

In closing, Lee, I have read some of your stuff.  I have likes and dislikes.  You're not bad, or terrible, or shitty.  You have a bunch of ideas that have potential to be great.  You crank 'em out like it's nobody's business.  You'll get where you want to be one day.  Do what you gotta do and do what you want to do (but remember, don't bore us!).  Keep your chin up and keep at it.

See you at the Oscars one day, bud.

I'm a high-schooler wanting to get into filmmaking and screenwriting, and I'm at a crossroads. If I do go to film school, I would probably have a great experience, get to know some like-minded people, and also learn a lot (not necessarily related to film). If I don't, I could get a jumpstart in the industry and start in productions much earlier. I just feel stuck, and I know a bunch of strangers on the internet can't possibly make this decision for me, but I think some guidance from people with more experience would help. Thanks to all of you.

Quoted from Josh ...I could get a jumpstart in the industry and start in productions much earlier. ...

If you elaborate on this a bit it would probably be easier to comment. For example: is this a short term/fleeting opportunity, or an actual career starter with the opportunity to  work your way up in the business?

Everyone is different. Do what is right for you. I didn't go to regular school either. I happen to believe that the education provided by the government is all but useless.

I do send my kids to school... but I have four of the little bastards and I just want to get rid of them for a few hours.

Filmmaking as a profession rather than pastime is about financing, thus why I typically rail against writing pie-in-the-sky screenplays as literature in screenplay format.

Screenplay writing is easier than directing the screenplay you just wrote.
Directing is easier than producing. (Directing and producing are actually kinda the most fun parts of the process, IMHO.)
Producing is easier than securing meaningful distribution.
And EFFECTIVE marketing & promotion are the greatest hassle of all.

Marketing & promotion are the keys to meaningful distribution which is the key to financing, and if there's no money for nothing then nothing is what happens.

Find a good director or producer with products that have gone to market and at least made their production budgets in revenue - and ask THEM if you came to them with a filmmaking BFA would they hire you over competitors at a living wage and they'd probably provide a polite answer like "We...

Quoted from Grandma Bear ... want to see your showreel or imdb credits.

"

No one cares about your pedigree.


Good luck & best wishes!


P.S. If you're thinking of putting together some no/lo budget feature films here's something I put together after reviewing/analyzing/dissecting more than a handful of them:
https://www.youtube.com/watch?v=NFbGDtlaNTQ
http://www.indietalk.com/showthread.php?t=44510

Quoted from RayW P.S. If you're thinking of putting together some no/lo budget feature films here's something I put together after reviewing/analyzing/dissecting more than a handful of them: https://www.youtube.com/watch?v=NFbGDtlaNTQ http://www.indietalk.com/showthread.php?t=44510

GREAT JOB!

If only people took the time to watch videos like this online, their short and feature films would be so much more watchable. I can't understand how people go and film shorts and even features without looking at basic stuff like this online or reading a few books. A lot of tips and techniques are out there that cost no money and will make your film look 10 times better. There are filters that give off a more film feel to digital videos, you can color correct and so on. It just takes curiosity to search them out.

It might depend what kind of filmmaker you want to be, Josh. Film school tends to be a pretty amazing place in a lot of ways, connecting you with similarly passionate people and giving you a lot of basic skills. On the other hand, it generally costs a lot of money as well.

If you want to start at the bottom and work your way up the union ranks, film school will probably give you all the information you need to do that quickly (by quickly I mean, over many, many years). If you want to go the indie route, film school will help with connections and foundational knowledge. In both cases, film school isn't the only way to get that knowledge (but it is the most expensive).

I would strongly advise against going to school for screenwriting. I guarantee you can learn more with SimplyScripts and a library card than you can with a year or two at school. If you go to school, choose a production-oriented program.

My biggest suggestion regarding film school would be to get out there with a camera right now and get some experience. See how you like to work, what you like to make, how good you are at different aspects of filmmaking. It's helpful to have some idea of where you wanna end up, even if it's just "big Hollywood director" or "tiny indie director" or whatever.

And, if you are poised to start work in the industry right away, keep in mind that you can always try that route first and then do film school later. You don't need to feel stuck. You've got all the time in the world, and whatever you choose now is just more valuable experience.

Quoted from Demento GREAT JOB! If only people took the time to watch videos like this online, their short and feature films would be so much more watchable. I can't understand how people go and film shorts and even features without looking at basic stuff like this online or reading a few books. A lot of tips and techniques are out there that cost no money and will make your film look 10 times better. There are filters that give off a more film feel to digital videos, you can color correct and so on. It just takes curiosity to search them out.

I'd rather get other people involved that do know what they're doing. I know a smoke machine is a very important piece of kit. Aside from that, filters etc are down to the DP.

Best piece of advice I can think of (and probably applies to everything): don't step outside your own area of expertise. You will mess it up. Which just isn't fair to everyone else involved in the project.