Latest Film School Reviews

I went on the official tour in October (there are several between Sept and Dec) before I decided to apply. You have to sign up and bring an ID to get past security because the whole grad school is on a working film lot in the Brooklyn Navy Yard.

They started with a question and answer session (with some people skyping in). Pretty standard. Then there is the walking tour of the facilities. It doesn't feel like a college campus. It's a studio, in a massive industrial building with views of Manhattan and the East River, and Feirstein takes up the fifth and sixth floors. There are film studios on the floors above where a lot of TV shows are shot. The Feirstein's part of the building has numerous and varied big studios - I lost count. The equipment cage has all brand new equipment, including Arris and everything that I could think of (all digital - no Bolexes here). The classrooms and edit studios all feel like professional high end commercial facilities in NYC or LA.

There is a big communal kitchen, I think I remember that there are even bathrooms with showers.

A new Wegmans just opened at the other end of the Navy Yard, there is a good coffee shop across the street, but I don't think there are a lot of restaurant choices unless you walk two long blocks up to Myrtle Avenue. Pratt Institute is up on Myrtle, so there is a great art supply store and everything else that you would expect around an art school campus. (The actual Brooklyn College campus is far away, on the other side of Brooklyn.)

The proximity to the subway is a drag. I used to live in this neighborhood. Google says that it is a 15 minute walk to the G but it feels further than that, and then you are on the G train. You'll have to change trains to get anywhere. It sounds like there is parking, but I'm not sure how much.

Over all, I am pretty sure that I'm going to commit. As a NY resident, it's pretty inexpensive. I like my life living here in NYC and don't want to move to LA or anywhere else. Tisch is expensive.

The people that are teaching is always the most important thing. The people here, from what I've read so far, look like they are very talented. There are women in prominent positions here, and from the films that they've done, I'm hoping that will translate into a smarter, more introspective cinematic point of view.

I am hoping that Feirstein may be a place where there is more opportunity to build something great compared to a more established film school that may be more ridge and crowded.

I'll try to remember to report back in a year with what the reality turns out to be.

Photographs of their facilities:


"BUILT FROM THE GROUND UP
The Feirstein Graduate School of Cinema is housed in a brand-new 68,000-square-foot facility, purpose-built for a 21st-century film school. Our entirely digital production and post-production environment offers the most current and state-of-the-art workspaces, studios, stages and equipment, affording students the opportunity to create in a fully professional setting."

Fellow filmmakers, this film school is a scam. On the outside, it sure does look like a legit film school but on the inside it's filled with management that is highly racist, biased and extremely rude. Of course not everyone treats the students that way but a vast majority in the management do. To spend a big chunk of your earnings on this institute is a waste of your time, money and effort. I studied there for enough time to know how messed up this institute is from inside. Run by a Director (Bob Swaim) who is accused of sexual assault, you will never feel safe in this institute. Don't believe me? Google it. And especially if you're an international student, you will be asked to learn everything the 'French way' but in situations of need, such as visa renewals, documentations for CAF, insurance and every other basic necessity for an international student, the management will conveniently brush aside. While every university in Paris, helps its students figuring out these things (I know because I have friends in other universities), EICAR is classic example of a money making institute that won't even fix the toilets unless somebody makes a big deal about it. It's only surviving because some of the professors are decent and the only source of encouragement for one to attend the institute. It's just not enough for one invest their life savings for it to only disappoint you. Film school is supposed to be fun, filled with experiences that you cherish, but EICAR is certainly not that. Hit me up at filmcriticstudent@gmail.com if you wish to know more. Be woke, be aware.

It is claimed that they offer scholarships from 2nd Year of education but in reality, that has never happened.​

Ultimately the school lives up to its ranking. It's not a conservatory. Perhaps it should be, but beyond that claim it shouldn't be judged against other conservatories.

Furthermore, the student network is among the most ambitious and collaborative. The attitude among the student population is the reason I decided to go to this school and I haven't regretted it.

If you aren't disciplined and self motivated you can end up getting a little overlooked at the school but with a 3 year program, there is plenty of time to self correct.

The teachers are amazing. All my screenwriting professors have worked in the industry. They are extremely supportive and give good feedback.

The summer intensive film program at Sarah Lawrence was fantastic. We were taught by industry professionals, whom had many years of experience. They gave insight that I learned a lot from. The access to equipment allowed me to learn gear I had not been exposed to before. I thought the ability to make our own film, with the guidance of a supervisor, was very important as it opened my eyes to what running a set is like. Overall a great program great for aspiring filmmakers.

I experienced the most incredible summer at IFI, and I wish I could relive it every day! however, since I cannot , I make do by taking what I learned, and using it to fuel my passion for film. Having the IFI teachers as reliable contacts, and my new friends to share this experience with, I am anxious to see where each of us ends up as story tellers and filmmakers.

I have been engaged with filmmaking since the age of 9 and was searching for a course that could further my knoll which is not always easy to find. I feel IFI was a perfect match. The classes were great where you could always pick something new up no matter how much you feel you know. The timetables were devided up very well giving time for you to study a lot while also socializing with your mates. The theory and practical parts of the course were balanced. Equipment used to shoot with were not industry standard or very high end, but for students first introduced to filmmaking it works fine as it is easy to master.
The instructors were very helpful and a joy to work with!
Overall the IFI program is an amazing program for everyone and actually encourages you to study film at college, opening your eyes to the advantages of lessons everyday.
Highly recommend it!

The Sarah Lawrence Filmmaker's Collective was the top experience I've had at a summer film program. Start to finish, their top priority was that we were making films at a near-professional level. All scripts were written to the industry standard, filming schedules established, casting calls made, and professional equipment was utilized. It certainly didn't hurt that we had an extremely positive crew of instructors guiding us through each early process, but what made the program so helpful was that it left room for things to go wrong. When I had actors dropping for my shoot and planned locations being shut down, they left it mainly in my hands to fix. That is the single most important thing a film school can do for you—give you real field experiences, mistakes and all—cause you'll be better prepared for the real thing on the other end.

I went into this camp uncertain of what I wanted to do in college. When I finished the five week intensive program, I knew what I wanted to do for the rest of my life. I felt like my instructors really cared about my project and were willing to spend time just to make it perfect. C.C Webster, the screenwriting teacher, was amazing. If you enjoy screenwriting, go to this camp. Beyond screenwriting, the program offers excellent classes in directing, working the camera, and even acting. This gives students the entire film experience. We even went to casting calls in the middle of New York City, which was an experience that you can't get very many other places. Overall, if you like film, this is the place to go.

Being a part of IFI’s summer film program has truly changed my life. When I first entered, I knew I was interested in writing but I had barely held a camera in my hand and had zero interest in anything other than writing. However, with the help of some wonderful professors, I found a new passion for being a Director of Photography. Not only did they help me develop the skills necessary to begin as a DP, but they have helped me in finding an internship and writing me a letter of recommendation, truly highlighting the supportive environment that follows you outside of the program.
No matter what level of experience you have or what you plan to do in the future, I highly recommend being a part of such a fantastic program.

I was accepted to the CSUN MFA program in 2018 and took part in in for a full year; however, I recently decided not to go back and complete the program's second year... for a number of reasons.

1) LACK OF NETWORKING OPPORTUNITIES. This was my main peeve with the program. Networking opportunities were non-existent, unfortunately. I asked a few of the professors and the head of the program about this aspect of the MFA many times - as it is crucial to a career in screenwriting - and I was never given a solid answer. I happen to know a few people/execs in the industry as well, who asked me to reach out to CSUN on their behalf because they had internship/job opportunities that they wanted to share with the school. When I gave them the dept. head's contact info, two of them told me they reached out to him and never received a response whatsoever. I followed up with the dept. head and he simply said, "Oh, yes, I do remember seeing that name... Please have them email me again." But by that time, the opportunities were long gone. This is key because not only are you required to find an internship and take an internship course during your last semester of the MFA, but it's also a very important part of the job and working in Hollywood. I know the UCLA and USC have amazing opportunities in this regard; but, alas, I applied to each of those schools and couldn't get in.

2) STRICTLY PEDAGOGIC. The program is much more tailored to those who want to teach screenwriting at the college level than it does for those who actually want to be screenwriters. I say this not only because of my previous reason - lack of networking - but also because I spoke to one of the profs who's been there since the inception of the program who told me as much outright. Additionally, there was a lot of repetition in many of the lessons we learned.

3) VERY STRUCTURE-BASED COURSEWORK. I'm all for studying structure and form, but I also think that people entering a screenwriting Master's program should have a fairly good handle on that before joining. One of the professors who taught two of our courses over the first year taught his very-specific, step-by-step breakdown of how to break a story using his unique concept. It was very specific and odd, and we spent a LOT of time focusing on only his method, when there are dozens out there, many of which have proven to be great! I actually really liked this prof on a personal level, but I do not like that 2 of the 7 course I paid for dealt entirely with his methods and didn't allow for exploration of the many other forms.

4) LOOSE SYLLABI. Unfortunately, about 2 of the 7 courses that were taught didn't have syllabi at all, or really seem to have much of a purpose. In our teaching for screenwriting course, there were 14 of us. Basically, two of us came in each class and gave a lesson each week, and the prof provided very minimal feedback at the end of each lesson. It was like we weren't being taught anything at all. The lessons were all lead by other students in my peer group, and while some of them were great, I didn't expect to have to pay for and take valuable time (driving and attending) out of my nights to listen to other students speculate on what the best way to do _____ might be.

TAKE AWAY: If you don't know anything about screenwriting at all at this point in your life, OR if you're set on teaching screenwriting someday, this might be a good program for you. But if you're looking for industry connections and opportunities, save your money and look elsewhere (unless they revamp the program sometime in the next few years). The best part of the first year of the program, in my opinion, happened to be the two courses we took with adjunct professors who had real-life experience working in writers rooms. They were able to provide excellent feedback and guidance while we were working on our one-hour spec and half-hour original comedy pilots, and I feel that I can take those samples away and actually put them to use.

When I joined this program, I'd already studied screenwriting as an undergrad a bit, and worked some in the industry. I'd written a few episodes for an Emmy-nominated show and sold three concepts to a streaming network as well. I got a tip from a working writer that CSUN's film dept. had just gotten some kind of $8m influx via donations or something, but that wasn't evident in any part of the program, which was fine. That said, I was really hoping that the CSUN program would provide the networking opportunities and the chances to collaborate with other talented student directors, actors, producers, etc.--and it did not.

The school is a complete honeypot, department head Donald.W Moffett has limited film production experience and has not idea how to properly guide the department. Chaos course design. Mediocre student body, most graduate student don’t have any film background experience and knowledge.
Faculties are mainly leftover from the industry who hardly been on any professional productions. Stay away, don’t wast you money and dream.

Emerson opened a lot of doors for me, so I can't dismiss that fact. However, I don't think it was necessary for me to go to Emerson as opposed to another top university for communications (UVA, Boston U, NYU).

Currently in my third year of my MFA at NYU Tisch Grad Film (writing/directing).

I cannot praise this program enough! It exceeded any expectation I had going in, and now I spend most my time trying to make the most of the time I have left until graduation.

NOTE: The tuition range mentioned in this thread is very off. The yearly tuition cost is around $60 K, and with the housing/living costs it's closer to $100 K per year. However, there are lots of scholarships available, both for merit and need.

Most of the faculty split their time between teaching and working in the industry, and some of them have become contacts for life. The curriculum is extremely well put together and I've learned more than I thought was possible within the two years I've been there.

That said -- it's an extremely tough program. People who have done either med school of the millitary say NYU Tisch is harder. Most people in my class agree that film school is some of the hardest things they've ever had to do.

Why? Because it's physically impossible to do all the work they ask with only 24 hours in the day, and every hour of the day forces you to neglect your primary needs -- such as rest, food and hygiene. In return, we get to do what we love ALL THE TIME! AND IT'S THE BEST THING!

The first year is especially hard because there are literally no weekends off; no spring break, no fall break and we have a project over the winter break. We make three films in the first year, on top of homework and 24 hours a week in class + the living in NYC is anything but convenient, so even small things take more time than in other cities.

However, it's the most fun place I can imagine being right now, and I wouldn't have traded it for the world. The class sizes are so small that you become a close-knit family right away.

The equipment and tech support is top notch.
The faculty offers daily revelations that will help you see filmmaking differently.
Every week is a week of growth.
The projects are surprisingly high level for filn school
Well-rounded classes on everything from the technical aspects to the emotional sides of filmmaking -- they cover it all.

I'd give the MFA program at Tisch 5/5 stars -- and more if I could.

I'm currently in my first year of a 2 year MA at the NFTS. I saw these relatively negative reviews about the NFTS before I applied, but I can now confidently say that applying to the NFTS is the best choice I made in a long time.

I tried to think for a long time about the cons, but I really couldn't come up with anything else than these two.

The school's reputation is just completely unrivalled by any other UK film school. When going to industry events we are often the only students there, since other schools are just not really as interesting.

The main strength is the quality and variety of courses. Some courses are unique to the NFTS and not given anywhere else in Europe. The education is excellent and leaves nothing to wish for. I'm in a class of 6 people, this makes it possible to get a very personal form of mentoring. The NFTS seems to do everything it can to provide the tools, knowledge and mentoring to make alumni successful, which is mutually beneficial.

I'm sure I forgot a lot of names, but a few of the people we met the past 6 months include Phil Lord, Chris Miller, Louis Theroux, Alex Garland, Paul Greengrass, David Yates and Paweł Pawlikowski. Having the opportunity to ask questions to these people is not only helpful but also inspiring. Since we sign NDA forms at the beginning of the year these guests feel like they are able to talk about things they would normally never share to the public, and some of these insights truly change how you look at the industry.

In terms of employment: I got a really nice part-time job offer at a UK film company in the first 3 months of my study at a networking meeting the NFTS gave us access to. I took this, and am besides this currently doing a 6 month paid internship at a major studio. This makes me very comfortable in stating that I'm not worried about getting work after I graduate.

All in all, I think the school is as good as it gets. Go there, be inspired by all the Bafta awards displayed and the alumni on the walls, and do apply. You won't regret it.

I just completed my first year and cannot recommend this program more highly-- my TV writing (and writing in general) has improved by leaps and bounds. I'm still grateful to be among the chosen to get in and be among classmates who are all highly talented, motivated and supportive of each other (even when our debates about the merits of shows get lively and geeky).

The spirit at SBU is energizing, rigorous and very-fast paced, just like the TV industry itself. Know that you will work very hard in this program, but that vigor produces results. Have an open mind to new approaches to writing and breaking stories. Even if you've written teleplays or screenplays before coming here (as I have), the knowledge and methods that are enforced here will elevate what you think you know about storytelling and story structure. Need proof? Though this program is brand new, classmates are already winning teleplay competitions-- we're talkin' grand prize, finalists and semi-finalists.

If you're unsure of what your "distinctive voice" is, you will discover it here with the number of scripts you write, read and critique. I'm already confident that I'll graduate with a strong portfolio of work.

There's a lot of care that goes into curating the required TV guest speaker series (and if you take any elective in the film program, sign up for the Master Class with Christine Vachon and Simone Perro!). Between their shows' shoots and productions, show-runners and working writers generously share their writers room experiences, best practices and advice.

This school is invested in your success. If you love to write and love TV stories, you will love this MFA program.

Currently a student wrapping up the 4th semester. My writing has come a LONG way. Every semester builds on itself and you aren't the writer you were a few months ago if you keep up which everyone does because it's very much catered to class dynamics while also making sure that rigorous standards are being met. It's a wonderful combination of both.

I've been blown away by the teachers - all of them work in the industry and brought their own magic sauces to classes. I have learned from each and everyone of them and forged personal connections organically. I went from wanting to begin writing a pilot to being on my third in a short two years. I owe this to the systemic structure of the program that supports your artistic visions and holds them to an industry standard.

A plus is that Directing/Filmmaking grad students are on the same floor as you and there are some crossover in the classes you can take with them. I've taken really interesting electives that have been adjacent to tv writing as it's film related but from a different vector of analysis which was refreshing. I met people outside of my tv writing classes and those different friendships have also elevated the entire MFA experience for me. Overall there is a vibe of inclusivity and supportive creativity. A+

Brilliant professors currently working in the industry on shows you watch/have watched teach the majority of the classes and because it’s a state school, as students we only pay state school tuition (Sub 15k/year!!!). I have friends that went to the Ivys that are jealous because not only is Stony Brook cheaper (and has some of the same professors), they also have an MFA completely dedicated to TV writing. If you want to be a TV writer there is no other choice. This is the best program and it happens to be the best price (by over 100k!!!). It’s also a new program so not many people know of it yet making it a great time to tap into it; within the industry it’s making noise.
The teachers love it because they don’t have to conform to the stale teaching methods and bureaucracy of the expensive schools; instead they get to teach students who are 100% dedicated to TV writing the most modern theories and techniques in practice today. Students love it because they learn how to write from people who are currently writing in the tv industry. It’s an incredibly exciting atmosphere for all, along with heartfelt support that all the writers have for each other, which can only come from a program this size and this focused.

Now in its second year, this program has a deep focus on TV Writing. You write one spec, three pilots, work in a room with a showrunner, develop a mini series, work with actors, write and direct a webisode. Small classes and lots of one-on-one advisement.

I completed USC's MFA screenwriting program in 2018. I'm beyond happy with the education and mentorship I received. Within two months of graduating, I landed my first industry job as a showrunner's assistant on a Netflix drama series. Most of my peers (a total of 32 in my year) are currently employed – a handful in development, a few with features or TV pilots optioned, multiple TV staff writers (yes: multiple, right out of the gate), and a good number of assistants in TV writers' rooms (for shows on Netflix, the CW, CBS, ABC, and more). This follows in the footsteps of the year above mine.

These friendships are what I value most from my time at USC – we're reading scripts and giving notes in writers' groups, we're meeting up frequently for drinks and events, and we're landing each other interviews, connections, and jobs. Working in LA is never easy, but goals feel so much more attainable when surrounded by talented people striving for the same thing. Having intelligent friends who are eager to vouch on your behalf is a further reassurance.

The classes themselves were challenging and rewarding. I pursued a TV thesis track, but I'd say my classmates were split nearly 50-50 between TV thesis and feature thesis. We were forced to write many pages very quickly, and doing so was a crash course on how to generate content and develop a routine. USC allows for some course flexibility – I took a few production classes and was accepted into a size-capped mock writers' room class. The class developed and wrote a four-episode web series, which was produced, filmed, and edited by a companion production department course. We were able to build a large set on one of USC's sound stages, too, so we obtained solid set experience.

Peers of mine took courses on gaming, podcasts, idea pitching, editing, film analysis, directing comedy, interactive media... choral music... so while many courses in the track are solidified for you (for good reason), there is ample room to still forge your own path through the program. The curriculum also includes a business class your second year (covers management, agencies, entertainment lawyers, contracts, IP, fellowship applications...). Frequent lectures by successful screenwriters and producers were also helpful, most of which were only available for MFA screenwriters to attend (i.e., plenty of face time to ask questions and pick brains). Professors also invited working writer-friends to visit classes throughout each semester (and, while at public events asking for contact info is a HUGE no-no, these individuals often wanted to pass along their email addresses to connect further).

While some drawbacks to the program can include cost (there are great scholarship opportunities, but many students ended up without significant aid... the up-side is that the program's only two years), I would choose this program again in a heartbeat. As with any program, your enjoyment of any given class is dependent on other students and on whether you vibe with a professor. Professor diversity is also important to me, so I was personally happy to have an LGBT-identifying professor my first semester. Strides have been taken in recent years to increase diversity among professors even further, I believe. My classmates were an incredibly diverse group, too, which was one of the program's highlights for me.

Final note: the amount of MFA alumni who are working in TV is actually insane. The TV program at USC is pretty innovative (spec courses, pilot courses, pilot re-write courses, structure courses), and everyone in my class who graduated in pursuit of a TV writing career felt very prepared. The program also gave us face-to-face access to successful alumni or other mentors through various end-of-program events (some of which aren't even publicized on USC's website).

I would say my fingers hurt after writing such a lengthy review, but THEY DON'T. Thanks, USC, for preparing me for this moment.