Inside UCLA TFT’s Professional Programs: A Conversation with Director Brian Patrick Fagan (Part 1)

UCLA's School of Theater, Film and Television's Professional Programs provide an intensive, career-driven education in half the time as a traditional MFA — and at a more affordable price point for many students.

Led by seasoned industry professionals in the heart of Los Angeles, these graduate-level certificate programs have played a key role in helping writers, directors, producers, and actors receive BAFTAs, Humanitas Prizes, Oscar nominations, and Academy Nicholl Fellowships, in addition to earning credits in popular television series and films. Prominent award-winning alumni include Ian Stokell (writer-director-producer, "All Quiet on the Western Front") and James Ponsoldt (writer-director-producer, "The Spectacular Now," "Shrinking," "Daisy Jones & The Six").

Alexa Pellegrini for FilmSchool.org spoke with Brian Patrick Fagan, Director of the Professional Programs, about the application process and curriculum. After earning his MFA in Screenwriting from UCLA, Fagan went on to develop the Professional Program in Directing and co-create both Writing for Television and Acting for the Camera. He has an extensive background as a writer, director, and researcher, having worked on "Law & Order: SVU" and "The Room Actors: Where Are They Now?" (currently streaming on Amazon Prime).

Fagan reveals what you need to know before you apply, how the Professional Programs cultivate a sense of creative community, and the ways in which students learn not only film theory, but also how to thrive in the world of entertainment.

Editor's note: This virtual interview spans approximately 10 pages; currently, it does not speak to the Professional Program in Producing, which is on hold until Summer 2026. For the 2025-26 application cycle, the domestic deadline to apply to Screenwriting (Online/On-Campus), Writing for Television (Online/On-Campus), and Acting for the Camera is August 18. The domestic deadline to apply to Directing is March 2, 2026, while the international deadline is January 5, 2026.

Part 2 (5 pages) of the interview 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 UCLA TFT’s Professional Programs apart from other non-degree film programs, like those at USC and Sundance Collab?​

Brian Patrick Fagan: Our programs are taught by working professionals, to students who are devoted to becoming working professionals themselves. The programs are not for dabblers. We’ve had many students in the past come to study with us after finishing other MFA writing programs, or studying at USC or Sundance or NYU, etc. Many others come from other areas of the film and TV industry because they’re looking to make a change in their career trajectory.

How would you describe the culture and community within UCLA TFT’s Professional Programs?​

BPF: Although our instructors are working professionals, and understand the realities of the industry, our focus is on nurturing our students. Notes from instructors and other students are given with a focus on helping the writer tell their story, and making it the best it can be.

Many students in our programs form ongoing writers groups after the program ends. I know of some groups that have continued for decades as group members rose up in the ranks of Hollywood to become successful feature and TV writers.

Are students in the Professional Program allowed to participate in broader UCLA campus activities, such as film clubs?​

BPF: As our programs do not provide academic credit, our students are considered Guest Affiliates. They get Bruincards, and all of the benefits of those UCLA ID cards. There are a lot of activities available to our students on campus and in the surrounding area, as well as UCLA gym and library memberships.

As far as clubs go, that would depend on the club’s restrictions. Some clubs would require their members to be fully matriculating students. But again, these are graduate-level programs that we offer, and most clubs are for undergrads, so clubs are not generally a consideration for our students in the first place.

What are some common misconceptions about UCLA TFT’s Professional Programs that you’ve encountered?​

BPF: We are in no way affiliated with UCLA Extension — that’s the biggest and most frustrating misconception. Our Professional Programs are competitive, graduate-level certificate programs offered only through the UCLA School of Theater, Film and Television. You cannot just sign up for our programs. You have to be chosen.

Are there any upcoming changes to the Professional Programs and/or application process for the 2026-27 academic year? ​

BPF: This year, our Professional Program in Directing has been moved from the summer to the spring quarter. Our directing students will now be able to meet our writing students and work directly with our acting students in classes with very special industry guests. And all writers, actors and directors will be able to attend the closing certificate ceremony on campus, whether they studied online or on campus.

Can you walk us through how an application is reviewed and how admissions decisions are made in the 20-day window?​

BPF: Since the program began in 1994, it has been our policy not to discuss the specifics of our admissions process. But I can confirm that applications are considered on a rolling basis — and applicants are notified, either way, of their admission status within 20 business days.

How does UCLA TFT weigh GPA against professional experience?​

BPF: GPA is not a consideration. Our requirement is that our applicants have completed at least an undergraduate education in order to be eligible to apply. If a student wishes to be considered without an undergraduate degree, they are welcome to include an additional letter in their application, stating why they believe their life experience and/or industry experience should be considered the equivalent of an undergraduate degree. We ask that they please be specific about their accomplishments over the years.

Although it is uncommon for someone without an undergraduate degree to be accepted into one of our programs, it has happened in the past for those with industry experience.

Is an interview part of the admissions process?​

BPF: An interview is not a requirement in the application process for our writers, producers, and directors. But our actors who receive a callback for the highly competitive Acting for the Camera Professional Program are tasked to record a self-tape that functions like an interview.

What are some of the most common mistakes applicants make, such as missing documents or an unclear statement of purpose?​

BPF: A new mistake we’ve seen recently is people using AI for either their writing sample or their statement of purpose, and thinking that it won’t be noticed. Perhaps someday AI will advance to the point where it will be impossible to tell, but it’s not there yet. My advice is to use your own voice; otherwise, why are you pursuing this career?

Can someone apply to more than one Professional Program at a time?​

BPF: Yes, but they would not be able to take more than one Professional Program at the same time. Class nights conflict with each other. Many of our students take one program, then join us in the following years to take additional programs. My advice is to apply to the program most directly aligned with your immediate career goals.

Do you have any tips for applicants without a college degree to elevate their life or professional experience in the statement of purpose?​

BPF: Tell us who you are, what you’ve done, and what you plan to accomplish in the industry. Did you not graduate, but have a cool web series? Do you have a resume of creative endeavors? IMDB credits? Do you work elsewhere in the industry? If you have absolutely no experience, but are genuinely interested in studying at UCLA, you would likely have a hard time catching up in our programs and would be best served by studying somewhere else first.

What makes a particularly strong Directing application?​

BPF: Your statement of purpose is the most important application element for any of our programs. Who are you? What do you want to accomplish? Let us know what it is about our program that aligns with your creative and professional goals. And for your reel, don’t just show us beautiful shots. Show us a story. Use actors. Showing conflict between two people helps us forget we’re watching a reel.

In what ways can Screenwriting and Writing for Television applicants develop an exceptional five-page writing sample?​

BPF: The goal is to make the reader feel something. Send your best five pages, from anywhere within your script. Have others look at them first. Make them active, and clean, and a ripping read. And please, please don’t start with something active that turns out to be a dream by page three and then goes into your protagonist getting ready for their day. I can’t tell you how many samples we’ve read like that.

For Acting for the Camera applicants, how important is the demo reel or prior training compared to raw potential?​

BPF: Potential is most important. We want to see you genuinely connecting with someone. If you can show us that you are believable, we can help you with the rest.

Do you have specific recommendations for international applicants, especially regarding TOEFL/IELTS scores?​

BPF: International requirements are listed in the application pages of each program on our website. Rather than share them here, it would be best to check the site for the most current information.

Ultimately, should all Professional Programs applicants aim to demonstrate versatility across genres or focus on showing their strength in a specific area?​

BPF: It doesn’t matter. All that matters is how the pages stand out, whether it’s by voice or reinventing genre.

How many students are typically accepted into each cohort, and are applicants ever waitlisted?​

BPF: We accept ten students per workshop in our writing programs, but have numerous workshops each year. So, maybe 50 writers.Our Producing and Directing programs generally stick to about 20 students total per year. Acting is highly competitive with only 16 spots per year. Waitlisting generally happens when a student applies too late, but would otherwise have passed the talent bar to be accepted.

A student who is not yet ready to study in one of our programs would not be waitlisted, but would be encouraged to study elsewhere further before applying to our programs again in the future.

What flexibility do the Professional Programs offer students with full-time jobs and other responsibilities?​

BPF: The Professional Programs were designed for working professionals. Classes only take place at night, allowing time for instructors to work in the industry during the day.

Continue reading…​

Upgrade your membership to read part two of FilmSchool.org’s interview with Fagan, where we discuss the structure and coursework of the Professional Programs and how they prepare students to tackle the industry. Supporting Members also enjoy exclusive interviews with admissions departments at other world-renowned film programs, from the AFI Conservatory to the National Film and Television School.

---

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.