Loyola Marymount University’s School of Film and Television offers more than cutting-edge resources, award-winning faculty and panoramic views — it’s a creative community where collaboration and authenticity come first.
LMU welcomes undergraduate and graduate film students of all backgrounds and is recognized for its commitment to educating the whole person and social justice rooted in the university's Catholic, Jesuit identity. Students in LMU's School of Film and Television are united through a shared drive to make a lasting impact as storytellers. And the University’s distinctive spirit of goodwill doesn’t end at graduation: take Karen Joseph Adcock, a Writing and Producing for Television alum and writer on the Emmy-winning series “The Bear,” who is known for recommending LMU SFTV alumni for industry opportunities. Under award-winning faculty like SFTV Distinguished Artist in Residence Amy Vincent, who received the President’s Award from the American Society of Cinematographers, and SFTV Presidential Fellow Janet Yang, who recently served as the President of the Academy of Motion Pictures Arts and Sciences, students receive personal guidance, encouragement, and direct access to industry connections.
In 2025, The Hollywood Reporter and The Wrap named LMU SFTV the No. 5 film school in the U.S. for the second year in a row, underscoring its commitment to academic excellence and its ability to stay at the forefront of the rapidly evolving film industry. Whether your goal is to direct, write, produce, work on sets or in the executive suites, this is a film school that combines both rigor and heart. With a small student-to-faculty ratio, hands-on training with the latest technology, and opportunities to pitch industry professionals and secure competitive staffing roles and representation before graduation, LMU SFTV offers an abundance of resources for new and seasoned filmmakers alike.
FilmSchool.org’s Alexa Pellegrini spoke with the following LMU SFTV faculty and staff to highlight the program’s strengths, share application advice, and explain how film students can thrive:
Professor Weiko Lin is an award-winning screenwriter, producer, and author whose work bridges Hollywood and the global market. He is the Interim Associate Dean for SFTV. Fluent in Mandarin, Lin has developed projects for Disney+ Asia Pacific, The Mark Gordon Company, Ivanhoe Pictures/SK Global, and more. His produced credits include the romantic feature “100 Days (真愛100天),” which premiered at the Hawaii International Film Festival and screened at the Golden Rooster Hundred Flowers Film Festival. Lin’s passion lies in telling diaspora stories and equipping the next generation of creators to succeed in an evolving entertainment landscape.
Lisa Mutnick, associate director of admissions for LMU SFTV, brings over a decade of higher education experience to her role. She works closely with prospective graduate students, guiding them through the application process and helping them understand the opportunities available across LMU SFTV’s four graduate programs. Known for her warm and pragmatic approach, Mutnick assists students from application to enrollment, ensuring they are well-integrated into LMU and prepared for industry careers.
Tom Gutto is an associate vice provost for undergraduate enrollment. For more than 16 years, Gutto has helped first-year and transfer students navigate their path to LMU. His efforts include shaping key updates to LMU’s recruitment process, including moving to SAT/ACT-optional admissions and expanding virtual outreach nationwide. Thanks to Gutto’s guidance, LMU has consistently welcomed record-breaking applicant pools while building increasingly diverse and talented incoming classes. In his current role, Gutto also oversees transfer partnerships that strengthen pathways for future students.
From left to right: Weiko in, Lisa Mutnik, and Tom Gutto. (Source: LMU)
Editor's note: This interview is approximately 15 pages. Part 2 (7 pages) is available exclusively to Supporting Members, without whom in-depth articles and interviews like this one would not be possible as FilmSchool.org is 100% advertisement-free. Supporting Members also enjoy access to our database that tracks upwards of 4,000 film school applications and the full Acceptance Data statistics for each film program that helps demystify common questions about how to construct a winning portfolio, ideal GPAs and GRE scores, and much more.
Weiko Lin: Location, location, location! We’re in Los Angeles, and we're one of the few graduate programs that have a three-year program for Writing for the Screen, and Writing and Producing for Television. It’s really unique because during the first two years, you learn the craft and learn your voice — but during the third year, we really position all the graduate programs to have a professional launch by maximizing our huge alumni network and industry relationships.
You’ll gain so many soft skills that you can't learn on YouTube or with AI, like: What is your portfolio and how professional is it? If you're a writer or a director, how do you navigate gaining representation to get your material read? How do you utilize your skill set in a way that may open up a lot of opportunities? We’re always on the cusp of what's going on right now, and I think that really sets us apart.
Tom Gutto: We are also the top-ranked Catholic-Jesuit school in the United States with regard to film, and I think that that really has an impact in how our students go about this really important work. What differentiates us from many of our competitors and other film schools is that we really lean into our Catholic-Jesuit intellectual tradition as well as our social teaching.
WL: We’re not that type of Hollywood film school that you think of as cutthroat. We definitely don’t have that culture. For us, it’s look to your right, look to your left — we're going to be rising together as storytellers, especially in this social landscape. It’s more important than ever.
Lisa Mutnick: Graduate students at LMU SFTV have the best of both worlds. Students find our main campus to be attractive. Part of campus even looks like a movie set. Up on the bluff, you get views of Hollywood and the beach.
Then a free and quick 10-minute shuttle ride away, there’s the Playa Vista campus, which is surrounded by businesses like Google, Meta, and Peacock. It really feels like a more mature space, walking around Playa Vista. It's just nice to see students working together and traveling between the two.
The main campus has a traditional college library, our beautiful chapel, and lots of places to congregate. What I hear from students is they love having classes in a more professional area with the opportunity to be a part of our main campus.
WL: At Playa Vista, the classrooms in the whole building are made of glass, so we can all see each other. And the community bond is critical because we have four graduate film programs, and all of our graduate classes are there. So, students in production are collaborating with writers and they’re also interacting with Masters Entertainment Leadership Management (MELM) program students. It fosters community and collaboration.
Ultra-modern in design, LMU SFTV’s Playa Vista campus is built to feel welcoming and community-driven. (Source: LMU)
WL: We just launched the Social Impact Filmmaking Lab with Sony where five recent LMU alums were selected to make their short films. Each filmmaker will receive full funding, hands-on mentorship from industry professionals, and exclusive access to Sony equipment to support their creative journey. One of the SFTV faculty advisors include our incredible distinguished artist-in-residence Amy Vincent, a DP of “Hustle and Flow” and countless other extraordinary films — she’s so engaged with students and fosters our access to the most current, state-of-the-art equipment. Students are learning, not from old equipment, but on the technology that they'll be working on when they go professional.
Another thing that’s unique about LMU SFTV is that we really support our new alums. They're not graduating and getting hired right away in terms of like, 'Hey, you’re a director of photography for a studio movie now.' But we’re continuing to support them in building their career after graduation, which is what makes our industry initiatives like the Sony program really incredible.
LM: Students get access to the SFTV This Week newsletter. It’s delivered via email straight to our whole community's inbox at the beginning of every week. It lets you know about events that are happening on campus. We have a staff member who is our film festival advisor. That’s of big interest to students — they want to connect with him and get help getting into film festivals.
We also have a faculty Director of Industry who is a former William Morris Endeavor agent skilled in getting people jobs. We have mentoring workshops with different programs. In SFTV This Week, students are given direct links to internships, jobs, and festivals. They receive a lot of support to help them achieve their creative goals throughout their time in our program.
WL: In last year's fall semester, we had Todd Phillips, director of “The Joker” and “The Hangover” come to campus. As it turns out, he was roommates with one of our faculty. And our theaters are very intimate, so students really get direct engagement with the filmmakers.
LM: That was a funny stage reunion — I think our students really enjoyed it.
WL: Often, there's a personal relationship or community connection, typically with our faculty. We're so current. We're so engaged. That was an incredibly successful event. And then the following spring semester, we had director Jon Chu screen his film “Wicked,” followed by a conversation with students.
LM: During awards season!
WL: Jon was taking selfies and engaging with all our undergraduate and graduate students. That was all because of Janet Yang, our faculty member who just recently finished her term as President of The Academy of Motion Picture Arts and Sciences.
Right after that, I brought in the filmmakers behind “Heretic” starring Hugh Grant, who also did the “Quiet Place” franchise. We shared a manager, and have become friends. Again, our staff and faculty have relationships that bring these folks in. There's a true connection which adds another level of depth.
John Chu discusses his smash-hit film, "Wicked," at LMU SFTV. (Source: LMU)
WL: It’s hands-on almost all the time. If you're talking about undergraduate film, in the first two years, you get into the actual production and screenwriting courses, along with a well-rounded education. Over your third and fourth year, you get into advanced workshops, where you write full-length feature scripts.
At the graduate level, [...] you get the foundation of motion picture analysis and all the elements of features. We’re about hands-on learning, and you learn about the structure of film whether from a writing perspective or from a production perspective, because our students have a range of experiences. Some may come in with a lot of production experience, and they want to continue that in our graduate Production program, but others may have very minimal production experience and they're here to learn and train. That's what we love about our dynamic: We really have a wide range.
In terms of theory in our graduate film program, it doesn’t heavily lean into that, but it's important to know the foundation of storytelling from a well-rounded liberal arts perspective. We offer playwriting classes for the storytelling medium. We offer podcast courses, too.
TG: Each undergraduate degree has a different focus area, which includes program-aligned coursework, especially in the student’s upper division course requirements. From an admission perspective, different programs have different constraints due to space limitations and interest.
For example, Film Production is our most competitive program, while other programs might afford us a little more flexibility. Our application allows students to select up to two different majors, a first choice, and a second choice. We message students that there is no guarantee they will be able to enroll in their first-choice major at a later date if they are admitted into their second-choice major. Suffice it to say, we will contact students admitted into their second choice major to ensure there is understanding.
TG: Within LMU School of Film and Television, Film Production receives the most applications with nearly 1,400 submitted applications on average for just 100 spaces within the program for entering first-year students.
TG: GPA is always a primary consideration for all programs. Talent-based majors, like Film Production, allow us to also consider the skill set of the applicant along with GPA to ensure that we are enrolling the best possible students. Of note, a strong portfolio rating cannot overcome a substandard academic record. Our enrolling students have a perfect combination of strong academic record and high skill.
TG: Unfortunately, LMU cannot accept many transfers due to space and equipment constraints, neither internally nor externally. I tell students that their best shot at admission if they want to study Film Production at LMU is to apply as a first-year student. For the other film programs, we have more flexibility to admit transfer students because those programs are not as constrained, especially Screenwriting.
TG: LMU’s commitment to equity, inclusion, belonging, and justice is rooted in the university’s Catholic, Jesuit, and Marymount identity. Through this educational model, we are wholeheartedly intentional about bringing different voices to the table. These values have been a part of Jesuit education, and certainly Catholic social teaching from the very beginning.
I feel like we're in a moment right now where LMU needs to stand tall, unapologetically, in who we've always been: a place that serves our community. That will never change because it's in our DNA. It's how we operate.
LMU SFTV students can attend Mass at the Sacred Heart Chapel. (Source: LMU)
TG: On the undergraduate side, I think there’s a lot of overthinking in regard to the application. Essays in the age of AI — we can see [a lack of authenticity]. Essays that are too polished or don’t even try shows someone might not be a good fit. But people who are in touch with themselves and have done the work of discerning what they care about, and are able to present that in a way that tells us why it’s going to help LMU and the way we do our work [...] tend to stand out. Be yourself. Listen to where your heart is pulling you.
Now, academics are always going to be important and are a primary consideration. But we want to understand who these students are at their core. The students who can get at that through the essay and the portfolio required for Film Production and Animation, through the extracurricular activities that they're involved in [...] because they're passionate about them. That makes us more likely to invite them to become a part of our undergraduate film program. The film school is what it is because of the people.
LM: To piggyback off what Tom said, storytelling is paramount to the application process. There are several written creative sample requirements amongst our four graduate programs, and it’s important to follow instructions. Pay attention to the word count and make sure that your written samples tell that story concisely. We need to know what your beginning, middle, and end is — the point you're trying to make and how it resonates with the admission committee.
WL: Even in the personal statement, you're telling a story about yourself. Make sure not to repeat the things that are already in your resume or your portfolio. For the Writing for the Screen M.F.A., I want to see that you need to be a storyteller. What does ‘need’ mean? It sounds very dramatic here, but it’s like needing air and water. It’s different than saying, ‘Oh, I want to be in the movie business.’ If you 'need' to be a filmmaker, that means you have something to say — it's the fabric of your being. That's critical to having a long-lasting career.
LM: This year, we no longer require standardized testing for our M.F.A. programs. You do not need to worry about the GRE or the GMAT. If students are taking them for other schools that require them and want to share their scores with us, they're welcome to — but it is in no way required.
For a deeper look at LMU SFTV’s scholarships, interview process, and admissions data; tips to create a stand-out application to its M.F.A. degrees; and how alumni have launched their careers, become a Supporting Member.
FilmSchool.org is 100% advertisement-free, and Supporting Memberships make articles and interviews like this one possible. Supporting Members also enjoy FULL access to the application database (GPAs, test scores, portfolios...), our full Acceptance Data statistics, private student clubs and forums, and other perks.
LMU welcomes undergraduate and graduate film students of all backgrounds and is recognized for its commitment to educating the whole person and social justice rooted in the university's Catholic, Jesuit identity. Students in LMU's School of Film and Television are united through a shared drive to make a lasting impact as storytellers. And the University’s distinctive spirit of goodwill doesn’t end at graduation: take Karen Joseph Adcock, a Writing and Producing for Television alum and writer on the Emmy-winning series “The Bear,” who is known for recommending LMU SFTV alumni for industry opportunities. Under award-winning faculty like SFTV Distinguished Artist in Residence Amy Vincent, who received the President’s Award from the American Society of Cinematographers, and SFTV Presidential Fellow Janet Yang, who recently served as the President of the Academy of Motion Pictures Arts and Sciences, students receive personal guidance, encouragement, and direct access to industry connections.
In 2025, The Hollywood Reporter and The Wrap named LMU SFTV the No. 5 film school in the U.S. for the second year in a row, underscoring its commitment to academic excellence and its ability to stay at the forefront of the rapidly evolving film industry. Whether your goal is to direct, write, produce, work on sets or in the executive suites, this is a film school that combines both rigor and heart. With a small student-to-faculty ratio, hands-on training with the latest technology, and opportunities to pitch industry professionals and secure competitive staffing roles and representation before graduation, LMU SFTV offers an abundance of resources for new and seasoned filmmakers alike.
FilmSchool.org’s Alexa Pellegrini spoke with the following LMU SFTV faculty and staff to highlight the program’s strengths, share application advice, and explain how film students can thrive:
Professor Weiko Lin is an award-winning screenwriter, producer, and author whose work bridges Hollywood and the global market. He is the Interim Associate Dean for SFTV. Fluent in Mandarin, Lin has developed projects for Disney+ Asia Pacific, The Mark Gordon Company, Ivanhoe Pictures/SK Global, and more. His produced credits include the romantic feature “100 Days (真愛100天),” which premiered at the Hawaii International Film Festival and screened at the Golden Rooster Hundred Flowers Film Festival. Lin’s passion lies in telling diaspora stories and equipping the next generation of creators to succeed in an evolving entertainment landscape.
Lisa Mutnick, associate director of admissions for LMU SFTV, brings over a decade of higher education experience to her role. She works closely with prospective graduate students, guiding them through the application process and helping them understand the opportunities available across LMU SFTV’s four graduate programs. Known for her warm and pragmatic approach, Mutnick assists students from application to enrollment, ensuring they are well-integrated into LMU and prepared for industry careers.
Tom Gutto is an associate vice provost for undergraduate enrollment. For more than 16 years, Gutto has helped first-year and transfer students navigate their path to LMU. His efforts include shaping key updates to LMU’s recruitment process, including moving to SAT/ACT-optional admissions and expanding virtual outreach nationwide. Thanks to Gutto’s guidance, LMU has consistently welcomed record-breaking applicant pools while building increasingly diverse and talented incoming classes. In his current role, Gutto also oversees transfer partnerships that strengthen pathways for future students.
From left to right: Weiko in, Lisa Mutnik, and Tom Gutto. (Source: LMU)
Editor's note: This interview is approximately 15 pages. Part 2 (7 pages) is available exclusively to Supporting Members, without whom in-depth articles and interviews like this one would not be possible as FilmSchool.org is 100% advertisement-free. Supporting Members also enjoy access to our database that tracks upwards of 4,000 film school applications and the full Acceptance Data statistics for each film program that helps demystify common questions about how to construct a winning portfolio, ideal GPAs and GRE scores, and much more.
What sets LMU SFTV apart from other film schools, and how do students find a collaborative creative community here?
Weiko Lin: Location, location, location! We’re in Los Angeles, and we're one of the few graduate programs that have a three-year program for Writing for the Screen, and Writing and Producing for Television. It’s really unique because during the first two years, you learn the craft and learn your voice — but during the third year, we really position all the graduate programs to have a professional launch by maximizing our huge alumni network and industry relationships.
You’ll gain so many soft skills that you can't learn on YouTube or with AI, like: What is your portfolio and how professional is it? If you're a writer or a director, how do you navigate gaining representation to get your material read? How do you utilize your skill set in a way that may open up a lot of opportunities? We’re always on the cusp of what's going on right now, and I think that really sets us apart.
Tom Gutto: We are also the top-ranked Catholic-Jesuit school in the United States with regard to film, and I think that that really has an impact in how our students go about this really important work. What differentiates us from many of our competitors and other film schools is that we really lean into our Catholic-Jesuit intellectual tradition as well as our social teaching.
WL: We’re not that type of Hollywood film school that you think of as cutthroat. We definitely don’t have that culture. For us, it’s look to your right, look to your left — we're going to be rising together as storytellers, especially in this social landscape. It’s more important than ever.
How does the campus experience — from the bluff-top main campus to Playa Vista — shape student life and creativity at SFTV?
Lisa Mutnick: Graduate students at LMU SFTV have the best of both worlds. Students find our main campus to be attractive. Part of campus even looks like a movie set. Up on the bluff, you get views of Hollywood and the beach.
Then a free and quick 10-minute shuttle ride away, there’s the Playa Vista campus, which is surrounded by businesses like Google, Meta, and Peacock. It really feels like a more mature space, walking around Playa Vista. It's just nice to see students working together and traveling between the two.
The main campus has a traditional college library, our beautiful chapel, and lots of places to congregate. What I hear from students is they love having classes in a more professional area with the opportunity to be a part of our main campus.
WL: At Playa Vista, the classrooms in the whole building are made of glass, so we can all see each other. And the community bond is critical because we have four graduate film programs, and all of our graduate classes are there. So, students in production are collaborating with writers and they’re also interacting with Masters Entertainment Leadership Management (MELM) program students. It fosters community and collaboration.
Ultra-modern in design, LMU SFTV’s Playa Vista campus is built to feel welcoming and community-driven. (Source: LMU)
What programs, facilities and equipment give LMU SFTV film students the professional-level training they need to excel in today’s industry?
WL: We just launched the Social Impact Filmmaking Lab with Sony where five recent LMU alums were selected to make their short films. Each filmmaker will receive full funding, hands-on mentorship from industry professionals, and exclusive access to Sony equipment to support their creative journey. One of the SFTV faculty advisors include our incredible distinguished artist-in-residence Amy Vincent, a DP of “Hustle and Flow” and countless other extraordinary films — she’s so engaged with students and fosters our access to the most current, state-of-the-art equipment. Students are learning, not from old equipment, but on the technology that they'll be working on when they go professional.
Another thing that’s unique about LMU SFTV is that we really support our new alums. They're not graduating and getting hired right away in terms of like, 'Hey, you’re a director of photography for a studio movie now.' But we’re continuing to support them in building their career after graduation, which is what makes our industry initiatives like the Sony program really incredible.
Can you speak to any upcoming developments to LMU SFTV’s facilities, courses, and events for prospective and current students?
LM: Students get access to the SFTV This Week newsletter. It’s delivered via email straight to our whole community's inbox at the beginning of every week. It lets you know about events that are happening on campus. We have a staff member who is our film festival advisor. That’s of big interest to students — they want to connect with him and get help getting into film festivals.
We also have a faculty Director of Industry who is a former William Morris Endeavor agent skilled in getting people jobs. We have mentoring workshops with different programs. In SFTV This Week, students are given direct links to internships, jobs, and festivals. They receive a lot of support to help them achieve their creative goals throughout their time in our program.
What about a specific event that made an impact on your students?
WL: In last year's fall semester, we had Todd Phillips, director of “The Joker” and “The Hangover” come to campus. As it turns out, he was roommates with one of our faculty. And our theaters are very intimate, so students really get direct engagement with the filmmakers.
LM: That was a funny stage reunion — I think our students really enjoyed it.
WL: Often, there's a personal relationship or community connection, typically with our faculty. We're so current. We're so engaged. That was an incredibly successful event. And then the following spring semester, we had director Jon Chu screen his film “Wicked,” followed by a conversation with students.
LM: During awards season!
WL: Jon was taking selfies and engaging with all our undergraduate and graduate students. That was all because of Janet Yang, our faculty member who just recently finished her term as President of The Academy of Motion Picture Arts and Sciences.
Right after that, I brought in the filmmakers behind “Heretic” starring Hugh Grant, who also did the “Quiet Place” franchise. We shared a manager, and have become friends. Again, our staff and faculty have relationships that bring these folks in. There's a true connection which adds another level of depth.
John Chu discusses his smash-hit film, "Wicked," at LMU SFTV. (Source: LMU)
How does SFTV balance film theory with hands-on production experience across its undergraduate and graduate film degrees?
WL: It’s hands-on almost all the time. If you're talking about undergraduate film, in the first two years, you get into the actual production and screenwriting courses, along with a well-rounded education. Over your third and fourth year, you get into advanced workshops, where you write full-length feature scripts.
At the graduate level, [...] you get the foundation of motion picture analysis and all the elements of features. We’re about hands-on learning, and you learn about the structure of film whether from a writing perspective or from a production perspective, because our students have a range of experiences. Some may come in with a lot of production experience, and they want to continue that in our graduate Production program, but others may have very minimal production experience and they're here to learn and train. That's what we love about our dynamic: We really have a wide range.
In terms of theory in our graduate film program, it doesn’t heavily lean into that, but it's important to know the foundation of storytelling from a well-rounded liberal arts perspective. We offer playwriting classes for the storytelling medium. We offer podcast courses, too.
What are the differences between LMU’s undergraduate film degrees, and can students apply to more than one program?
TG: Each undergraduate degree has a different focus area, which includes program-aligned coursework, especially in the student’s upper division course requirements. From an admission perspective, different programs have different constraints due to space limitations and interest.
For example, Film Production is our most competitive program, while other programs might afford us a little more flexibility. Our application allows students to select up to two different majors, a first choice, and a second choice. We message students that there is no guarantee they will be able to enroll in their first-choice major at a later date if they are admitted into their second-choice major. Suffice it to say, we will contact students admitted into their second choice major to ensure there is understanding.
Which undergraduate film major typically receives the highest number of applications?
TG: Within LMU School of Film and Television, Film Production receives the most applications with nearly 1,400 submitted applications on average for just 100 spaces within the program for entering first-year students.
When reviewing applications, how do GPA and portfolio weigh against each other in admissions decisions? Do you equally consider the two?
TG: GPA is always a primary consideration for all programs. Talent-based majors, like Film Production, allow us to also consider the skill set of the applicant along with GPA to ensure that we are enrolling the best possible students. Of note, a strong portfolio rating cannot overcome a substandard academic record. Our enrolling students have a perfect combination of strong academic record and high skill.
What should undergraduates know about transferring into LMU SFTV, either from another institution or from within LMU?
TG: Unfortunately, LMU cannot accept many transfers due to space and equipment constraints, neither internally nor externally. I tell students that their best shot at admission if they want to study Film Production at LMU is to apply as a first-year student. For the other film programs, we have more flexibility to admit transfer students because those programs are not as constrained, especially Screenwriting.
There’s been an increased focus on diversity, equity, and inclusion in higher education, especially as new challenges arise. How does LMU continue to create an equitable experience for applicants and students?
TG: LMU’s commitment to equity, inclusion, belonging, and justice is rooted in the university’s Catholic, Jesuit, and Marymount identity. Through this educational model, we are wholeheartedly intentional about bringing different voices to the table. These values have been a part of Jesuit education, and certainly Catholic social teaching from the very beginning.
I feel like we're in a moment right now where LMU needs to stand tall, unapologetically, in who we've always been: a place that serves our community. That will never change because it's in our DNA. It's how we operate.
LMU SFTV students can attend Mass at the Sacred Heart Chapel. (Source: LMU)
What are a few common mistakes LMU SFTV applicants make? What tips can you share to help avoid them?
TG: On the undergraduate side, I think there’s a lot of overthinking in regard to the application. Essays in the age of AI — we can see [a lack of authenticity]. Essays that are too polished or don’t even try shows someone might not be a good fit. But people who are in touch with themselves and have done the work of discerning what they care about, and are able to present that in a way that tells us why it’s going to help LMU and the way we do our work [...] tend to stand out. Be yourself. Listen to where your heart is pulling you.
Now, academics are always going to be important and are a primary consideration. But we want to understand who these students are at their core. The students who can get at that through the essay and the portfolio required for Film Production and Animation, through the extracurricular activities that they're involved in [...] because they're passionate about them. That makes us more likely to invite them to become a part of our undergraduate film program. The film school is what it is because of the people.
LM: To piggyback off what Tom said, storytelling is paramount to the application process. There are several written creative sample requirements amongst our four graduate programs, and it’s important to follow instructions. Pay attention to the word count and make sure that your written samples tell that story concisely. We need to know what your beginning, middle, and end is — the point you're trying to make and how it resonates with the admission committee.
WL: Even in the personal statement, you're telling a story about yourself. Make sure not to repeat the things that are already in your resume or your portfolio. For the Writing for the Screen M.F.A., I want to see that you need to be a storyteller. What does ‘need’ mean? It sounds very dramatic here, but it’s like needing air and water. It’s different than saying, ‘Oh, I want to be in the movie business.’ If you 'need' to be a filmmaker, that means you have something to say — it's the fabric of your being. That's critical to having a long-lasting career.
Now that SFTV undergraduate admissions are ACT- and SAT-optional, do graduate applicants still need to submit GRE or GMAT scores?
LM: This year, we no longer require standardized testing for our M.F.A. programs. You do not need to worry about the GRE or the GMAT. If students are taking them for other schools that require them and want to share their scores with us, they're welcome to — but it is in no way required.
Thank you for reading! The interview continues in Part 2…
For a deeper look at LMU SFTV’s scholarships, interview process, and admissions data; tips to create a stand-out application to its M.F.A. degrees; and how alumni have launched their careers, become a Supporting Member.
How to Get Into Loyola Marymount School of Film and Television: Tips from Admissions (Part 2)
Part 2 of our LMU SFTV admissions interview continues with insights on the waitlist, successfully applying to its graduate film degrees, and more from Professor Weiko Lin, director of the Writing for the Screen M.F.A.; Tom Gutto, associate vice provost of undergraduate enrollment; and Lisa...
- Alexa P.
- Category: Supporting Member Exclusives
FilmSchool.org is 100% advertisement-free, and Supporting Memberships make articles and interviews like this one possible. Supporting Members also enjoy FULL access to the application database (GPAs, test scores, portfolios...), our full Acceptance Data statistics, private student clubs and forums, and other perks.
