Coffee and Celluloid » Film School

Film School – Triumphs and Failures [Podcast]

Joey — Fri, 05 Mar 2010 18:37:29 +0000

Film School - Episode 3

Daniel, a prospective Film School student and aspiring cinematographer, asks Andrew, Cherie, Carlos and I questions about our FSU Film School experience, thoughts on film school in general, and post film school choices.

For more on Film School, be sure to check out FSU Film School Q&As.

Remember to subscribe in iTunes.

This podcast episode has a Creative Commons Attribution-Share Alike license. Basically you can share and reuse this episode however you like, but all I ask in return is that you also share it and you Coffee and Celluloid by linking back to this page.

FSU Film School Q&As

Joey — Fri, 20 Feb 2009 11:35:41 +0000

I got an email a while ago from a prospective Film School student asking some questions about the film program at Florida State. I figured a lot of people probably have the same questions so I’m sharing my answers below. If you have any additional questions feel free to ask.

(Note: The film program is constantly changing. I suspect the main structure of the curriculum will remain the same, but just keep in mind that by the time you go through the program, things could be completely different.)

1. How much free time do you guys actually have? I hear from absolutely none, to some, to…some more. Do you have enough free time to hang out with non-film students occasionally, or is it really just none?

It’s not as crazy as they make it sound. You’ll have plenty of time to hang out with non-film students. Maybe not as much if you weren’t a film major, but there’s still time.

You go through cycles. You might have a few months of class and workshops a few hours a day, and the rest of the time is free. But once you go into production for a few months, and you’re on set six days a week, 14 hours a day, then the time disappears. But making movies is why you’re here, right?

2. Is the male to female ration really 2:1 for pretty much all film years/classes?

It varies. My class was closer to 1:1, but still male heavy. I think for every class there’s always more guys, but I don’t think it’s been 2:1.

3. Do you get the summer off? One of the administrators on the tour said four consecutive semesters, or 3 and a half years or…something like that. It confused me.

Alright, here’s how it breaks down. If you’re accepted as a Freshmen out of high school, your first year is spent taking the required FSU classes for your degree (Math, English, Science, etc.). I think they started something where you have to volunteer a few hours on set, but for the most part, you don’t really do anything with the film school.

The summer before you start Film School you have off. Then when you start Film School in Fall, it’s full time (Fall, Spring, Summer…Fall, Spring, Summer…Fall) until you graduate in December 2 years later. You get all University holidays off, such as 3 weeks in winter, and 2 weeks before and after summer.

4. Did you and all your classmates really have a 4.0 in high school?

Maybe not 4.0, but most everyone’s was pretty high.

5. Semester abroad…is that not really plausible, or do you just have a specific time in your college career to do it?

Okay, this was one of the lies I was told. While you’re in Film School, you can’t do study abroad. You can either do it the summer before you start Film School (between Freshman and Sophomore year), or stay a semester after you graduate Film School. I heard they might be altering the curriculum to allow study abroad, but as of right now you can’t do it while in Film School.

6. That whole hot meal thing every six hours thing worries me. They say they pay for it, but then some student said they only give you 120 dollars, which does not sound like enough to cover hot meals for a bunch of male film crew.

So the school covers most costs for production (mainly film stock and processing), but it’s still going to cost money. Yes, you need to provide lunch for your crew, along with craft services. But this is only for your films (the ones you direct), and by the time you reach this point you’ll have been on about 20-30 sets, getting free food and lunch everyday, so in the end it all balances out.

And a few hundred dollars is a joke compared to the thousands of dollars the film would cost if you had to pay for everything yourself, like in every other film school.

7. Why did you pick FSU? I mean, do you feel you’re receiving a better education than the programs at USC or NYU or UCLA etc would give you? Their programs start junior year, and I was just wondering what the benefit of one starting sophomore year was.

So I wrote my answer to all the above questions weeks ago because I wanted to think about this one, and it’s funny rereading it because I just had a conversation with someone on how the majority of the students at the Film School never really wanted to go here. FSU was our backup choice, the one our parents made us apply to.

This has nothing to do with the school itself. For me at least, I just wanted to get out of Florida, and as a city New York and LA are much more appealing than Tallahassee.

But the main reason I ended up here, as well as most of my classmates, is price and quality. As a Florida resident FSU is pretty much free for me. But after being here I’m glad I didn’t go any where else.

FSU prepares you to work in the film industry. We’re on set our first semester and we learn everything and do everything. We work by union rules and follow common set protocol.

I wrote about how I was on the Burn Notice set and it felt just like being back on an FSU set, just more people and a bigger production. We’re all really well prepared and not in $100k debt.

8. Is it worth it? Hollywood is kinda terrifying, especially if you look at all the numbers, and the success rate, and all that scary stuff. I know it’s not worth getting into unless you’re 100% insanely obsessed, but…it’s still kinda horrifying to think you go through all this work and education to just direct a couple of Lifetime movies by the time you’re 35. No offense to Lifetime, of course…or their directors. Does the film school prepare you for that, though? Does their Alumni program kind of save you from that fate, assuming you’re talented and hard working?

FSU does have a really big alumni network, and when you graduate they pair you with a mentor to help you out. I can’t really speak to this since I’m not officially out there yet and don’t have a mentor.

The one thing we do lack is that few big name?alumni. We don’t have a Lucas or Scorsese yet. But we also haven’t been around as long as those schools. This is our 20th anniversary, and the undergrad program has only been around for 10 or so years.

Barry Jenkins with his film Medicine for Melancholy is getting pretty big, and he only graduate a few years ago. Right now a strategy the school is pushing is to take advantage of the digital revolution.

One thing Film School provides that is hard to find anywhere else is a great network of people you know and trust. With Medicine, about 5 FSU alum stayed connected, got together and made the film.

But the film industry is crazy and brutal, whether you go to film school or not. But there’s nothing else you’d want to be doing, so you have to do it, right?

That’s a Double Wrap

Joey — Mon, 15 Dec 2008 18:23:32 +0000

So UnderCover has wrapped and I graduated from Film School. Don’t worry, I’ll still be at school editing UnderCover and You 2.0.

In between wrapping the film and graduating, I had so much stuff to catch up on I ended up sleeping at the film school one last night. Then the family arrived for graduation and the screening of our thesis films (Jenny Hicks Must Go Down). The ceremony is great – it’s just for our graduating class, 25 of us, so it’s small, personal, and most importantly, short.

The screening was a ton of fun. There were a handful of films I wasn’t involved in and knew nothing about, so it was great to see something new and be entertained.

Following the screening and reception was an after-party. It still hasn’t sunk in that this was the last time I would see a lot of these people for a while, and definitely the last time we would all be together in the same place. It was a long goodbye – I ended up leaving at 7:30 AM, early enough to see the sunrise.

While I loved graduation, it didn’t feel like a closing since technically I haven’t graduated just yet and will still be living in the film school, in my cold, dark editing room.

I will try to write again, but Wednesday I’m heading to Israel for 10 days. So if there’s a hiatus of posts, you know why.

And to my classmates (alumni-mates?) who are heading off to LA and NY, I know you’ll rock it and I love you all!

Reassurance (And Why I’ll Remain Behind the Camera)

Joey — Sun, 16 Nov 2008 18:11:30 +0000

If you survived the 2 years in Film School, you’ll do fine in Hollywood.

Said by Ali Bell, visiting alumni.

Sorry I can’t write more, I’m in the midst of a perfect storm and potential breakdown (Update: storm has passed).

But on another note, I should probably remain behind the camera:

“I’m here with my mom actually who’s up here for homecoming, we we came to the marketplace to kinda hang out. I mean it’s always fun, it’s kinda cool to see local venues and stuff.” says Joey Daoud, a FSU Film School Student

They actually recorded that on-camera, but for some reason it never aired. I guess I was too articulate for them. I did, however, warn them that I was in fact dragged to the marketplace against my wishes.

And to show how small a film world it is, I found out the person interviewing me is the girlfriend of one of the actors who’s been in many, many films.

Oh, and new Watchmen trailer:

Film School Grad in Hollywood Reporter

Joey — Tue, 11 Nov 2008 15:25:08 +0000

Ali Bell, 30

vp production and development
Montecito Picture Co.

Not everybody can trace their film career to their mother’s love of John Singleton’s “Boyz n the Hood.” “It was a combination of the acting, the cinematography and the way my mom was so rocked by the experience,” Bell says. After film school in Florida, she set her sights on directing but segued to producing after working as a marketing and creative exec at Nickelodeon Films and Heyday Films. For two years she’s been at the production company headed by Ivan Reitman and Tom Pollock; Bell is responsible for projects like “Underage” and “The Occupants” for Warner Bros. — as well as bringing in the upcoming Fox Atomic comedy “The Post Grad Survival Guide.” “My job is to go out and find new writers or directors and guide them to get their movie or passion project made.”

THR Next Gen 2008: Film

Yes, that “film school in Florida” is FSU. Ali Bell graduated in the class of ’99 and she’s actually paying a visit to the Film School this Friday to talk to my soon-to-graduate class.

I also thought it was funny that the Next Gen in New Media only had four guys (though twice as many as Legal).

Geoffrey Gilmore and the Creature from the Black Lagoon

Joey — Thu, 16 Oct 2008 00:04:20 +0000

So right before I went off on documentary making adventures, Mr. Gilmore and I had a rendezvous back in Tallahassee.

First, to belay any doubts I had when I ended my last recount of our adventures, he did remember me. Joining him was Julie Le Brocquy who produced Osama, an amazing film I saw back in High School.

The Film School was hosting its annual Gala and graduate program graduation, where they screen the 4 graduate thesis films, so Geoffrey was one of the distinguished guests. We also screened Ballast, which is a story worth a separate post.

There was a lot of driving around, some cool (free) lunches and Julie was super cool and super European, which makes her even super cooler.

The highlights? They actually had nothing to do with films or screenings. Frank, the Dean, wanted Geoffrey to have a little relaxation, so we all went to Wakulla Springs – one of the largest freshwater springs in the world and the shooting location for cinema gems such as Creature from the Black Lagoon and Tarzan.

I had never been there before but it was absolutely beautiful. It was also a spoiling first time venture since we chartered a tour boat with only 8 passengers, so I was free to roam to any side to snap some cool pics.

The other highlight? Taking Geoffrey and Julie to the mall. With monopoly money being worth more than the Dollar, to Julie and her Euro, everything in America is practically half off, so she wanted to buy some gifts for her son, whom I became a size model for.

Nothing eventful happened, I just like the image that I’m walking around a clothes store at the Tallahassee Mall with the Director of the Sundance Film Festival.

Farewell Greenlit Films

Joey — Sun, 17 Aug 2008 07:22:56 +0000

Thesis films are over. And as far as film school films go, we’ve shot our last frame. Hopefully these won’t be the last films we make.

The realization that this was the end hit me when I was walking to the final location on my set. Perhaps that’s why things dragged on and we went into overtime.

Sure, there’s one semester left. But the frightening and exciting real world is very close. Film school provides such a safety net. Your films will always get made, you’re really close to everyone you work with, and it’s a lot of fun.

I’m in San Francisco right now, working on the Life Hacking Doc, after having just left Los Angeles. It’s weird to visit LA and know I’ll probably be back there soon, but this time to live and work.

I Claim Life Hacking Documentary

I Shoot in Three Days. Don’t Panic.

Joey — Tue, 29 Jul 2008 00:51:04 +0000

I shoot my thesis in three days. I’ve been going with my “everything works out” attitude, and I know it will, but I won’t lie. I’m starting to panic.

I just need a few simple things, such as a cast and locations. Locations look a little more promising than casting. They at least can’t leave Tallahassee for the summer. I should just cast with Legos.

My film is a mix of Mean Girls meets Psycho meets Weeds (new favorite show, but I swear I started watching it after I wrote my script). Whenever someone asks what the film is about I describe it with genre or reference films, such as “a high school dark comedy.”

Unlike my last film (“guy sells his soul for the corner office”), there are two distinct parts to the story which I haven’t figured out how to squeeze into one sentence¹.

It’s about a girl, Amy Dupree, who’s stuck in suburbia. To earn money for college, she takes the SATs for rich students for a couple grand. Later, a scholarship comes up that would solve a lot of her problems, but it goes to Jenny Hicks, the Rachel McAdams equivalent. To sabotage her, Amy fucks up her SAT test which she was just hired to take.

This was all a flashback, told in a constantly moving Gossip Girl-esque style (yes, I watch GG, among other sexuality questioning material). Start up the next act, Amy’s walking down the street when she’s abducted by Bunny, Jenny’s mom. The film turns into a torture scene and showdown in a suburban home.

So I haven’t quite figured out how to put those two very different halves in one sentence. The best I have is slightly vague. “It’s about a girl who will do anything to escape suburbia.”

Location scouting and auditions today. It’ll all work out, right?

Update: I wrote this earlier today and just finished location scouting and auditions. Things are working out. More TK.

I think any pitch longer than a sentence and you’ve lost them ↩

The Visitor and Geoffrey Gilmore [4 of 5]

Joey — Thu, 10 Jul 2008 22:34:34 +0000

This is part four of a five part adventure that involves driving Geoffrey Gilmore (the Director of the Sundance Film Festival) around Tallahassee, Diet Cokes, private jets, The Visitor, tea, a 4 am flight, and of course, coffee. Part one and Part two, and Part three.

Friday felt a lot like Thursday. Geoffrey was going to screen the mystery film again, but this time for all the film students.

The movie was The Visitor, from Tom McCarthy, who also did The Station Agent. After The Station Agent, he got the usual studio offers to do films, but turned them down. When he decided to do The Visitor, he was adamant that the lead had to be Richard Jenkins. I thought he was a fairly known actor, mainly from watching him on Six Feet Under, but apparently not.

The original financiersÂ were going to fund the film as long as the lead was someone more famous than Jenkins. McCarthy was adamant that it had to be him, and he lost the investors. Eventually it was funded by one of the founders of eBay.

Like the casting in The Station Agent, Jenkins was great and perfect for the roll, and it touched on a lot of good issues (immigration, cultures, mid-life change). Afterward, questions were brought up about how to market this film. From the issues I mentioned, it covers a lot of topics and isn’t a straight ‘life changing story’ or ‘love story’ or ‘culture clash story.’

I feel like the trailer does a pretty good job of summing the film up, incorporating all the topics instead of just covering one and marketing it to different groups.

This is a crap year for independent films, and The Visitor will be one of the few indy films to get critical acclaim, be well received by audiences, and a decent box office.

Later that night, I drove Geoffrey and his entourage to the University President’s House for dinner. I went and got a Joey Bag of Donuts at Moe’s (I think I got the better deal, because the following day the Dean was sick with food poisoning).

It would have been neat to go inside the house, but apparently I didn’t miss much after it was noted that the interior design was kind of lacking¹.

This night there was no after party, and I was successfully able to drop Geoffrey off at his hotel for the evening.

After checking out that video I see what was meant. They have a library with no books. ↩

Driving with Geoffrey Gilmore [Part 3 of 5]

Joey — Fri, 04 Jul 2008 11:31:30 +0000

This is part three of a five part adventure that involves driving Geoffrey Gilmore (the Director of the Sundance Film Festival) around Tallahassee, Diet Cokes, private jets, The Visitor, tea, a 4 am flight, and of course, coffee. Part one and Part two.

Geoffrey, the Dean, Paul and I went to Urbane downtown to meet Steve McQueen (I know, awesome name), Director of Seven Days of Opening Nights, for lunch. Urbane is definitely for the politicians and not poor college kids, but they had the most amazing butternut squash ravioli.

As for the lunch conversation, I didn’t take much of an active roll. Everyone had already seen the mystery movie, so it was fun to try to piece together what it was. Richard Jenkins was mentioned, and how the director turned down financing because he had to have him as the lead. And everyone agreed that he was perfect for the roll.

After lunch we took a tour of the Film School. The entire week leading up to the visit, the school went into clean-up mode with the carpets washed, walls painted, furniture fixed, posters displayed, and emails telling everyone to keep everything neat and organized. Walking into the school with Geoffrey, I’ve never seen it so nice. The Dean gave a tour of the school as I followed along and took a few pictures.

We then went over to Gadsden Studios. Gadsden is still a mysterious place to me. It used to be a studio where The Allman Brothers recorded¹. Somehow the Film School bought it, and my first year we used it for crew drills to practice filming. Some thesis films even shot there.

Then we stopped going there. There were rumors it was sold or condemned, but neither seemed to be true. Instead it’s being converted into the offices for Torchlight, another Film School venture. I’m still trying to grasp what exactly Torchlight will do². Hopefully I’ll figure it out before I graduate, since I’m interning with it in the fall.

But the Dean wanted to show Geoffrey what they were planning, so this was the first time I had been back in more than a year. It looked about the same as I remember, besides some new carpet and cleaned up offices. It’s no surprise I have a thing for offices, and seeing these empty ones gave me a rush of potential.

After taking the entourage to a lunch meeting, I drove Geoffrey back to his hotel to get ready for the Seven Days event that night. After sneaking a peak at a rough cut of my F3 and grabbing three Diet Cokes for Geoffrey, I returned to the hotel.

This time it was just Geoffrey and I in the car, a scenario where I was wondering what would happen. What do we talk about? “So…you like movies?”

We talked a bit about the campus layout. I asked if he’d seen Helvetica. He hadn’t. We arrived at the theater, where I dropped him off.

I met up with some friends, had an overpriced on-campus dinner, then wasted some time again. I didn’t want to go home so they wouldn’t have to wait when ready, so I parked in a nearby lot, put the seat back, and took a nap.

Some time later in the middle of deep sleep, I got the call. They were ready. Since I was right around the corner, I didn’t have much time to mentally awake.

When I picked them up they were talking about going to an after party. Fortunately, the Dean saw I was not fully present and rescued me by offering to drive Geoffrey for the rest of the night. One of Paul’s signature Iced Venti Americanos probably would have done the trick, but I didn’t argue. Another day done.

Supposedly. They were formed in Jacksonville, which is about two and a half hours away, so it’s plausible. ↩
Through numerous conversations with the Dean, I’ve gathered it’s a program to connect students with projects faculty and alumni are working on. ↩