Latest Film School Reviews

I couldn't ask for anything more from a writing program. During my time at USC I interned on two TV shows run by my idols. After I graduated I got an entertainment lawyer and management through a USC professor. Then I was hired by a different USC professor to write and develop IP. Ten months later I was staffed by a yet another USC professor on a TV show. Now I also have a book deal and a
pilot in development with my dream company.

This is obviously not everyone's experience. My results were a combination of extreme hard work and lots of luck. I also came into the program with a lot of experience, TONS of failures under my belt, and very thick skin. I'm not saying the program is perfect, but it can definitely help start your career. In my opinion, that's worth the crazy price tag.

It's so unfortunate that this program hasn't gotten as much attention compared to other MFA writing programs--which is why I felt so compelled to write this review.

Let's talk location. Chicago is a fantastic city and is completely underrated in the face of NYC and LA. Might I add that I lived here for four years of undergrad, and now live back in my hometown of LA (so a girl knows what she's talking about). It's incredibly affordable, since finding a neighborhood that suits your price point is so easy. Northwestern is along the subway line so your commute is just a hop and skip away. Chicago, in general, is incredibly accessible, so kiss your car and insurance goodbye, because she ain't necessary.

Northwestern's campus is beautiful and pristine and sits in cozy little Evanston. The campus sits lakefront so if you get landlocked, you'll find it a-okay. It's nice, the end.

So the program itself, is strong, considering it's about 10 years old. Considering that timeframe, there aren't a ton of notable alumni from this program, although, many are quoted to be working for theaters, TV, and film companies across the nation. However, the general alumni network is substantial especially in terms of comedy and playwriting. Something that makes me hesitate is the lack of TV and film presence in Chicago. As someone who wants to be a feature writer, it's concerning. However, there is a lot of weight in knowing how to write plays, tv, and film as a writer. A lot of the faculty themselves exercise their various writing abilities. A look at the core faculty shows that all are playwrights, but one also writes for TV and the other writes for/works on films. And this is just the core faculty. Because Northwestern, like NYU, utilizes a multi-medium approach; it gives you more power and breadth as the auteur. I think this is a serious consideration when making decisions about film schools: Do you want to be an exceptionally specialized writer in the Hollywood assembly line or do you want the freedom of being a multifaceted independent artist? Both have their pros and cons, so feel out what draws you as a writer.

They expect volition on your part when it comes to producing your own work which I find valuable. Everyone is required to take a production course, sure, that's standard for writers. However, they offer you a $5,000 grant to produce one of your pieces, but it's optional and not required to graduate. It's on YOU to get that together, too, because there aren't other MFA programs in film and/or production at Northwestern. Finding actors shouldn't be an issue though, but editors, producers, directors (if not yourself) requires a bit of networking on your end.

Speaking of money that Northwestern throws at you, they offer every accepted student some nice grants and scholarships. Having an intimate program with only 12 people allows you more opportunities to get funding! All students will receive a $6,000 scholarship their first year (spread over 3 quarters). Your second year, everyone is assigned as a TA for a quarter, receiving a full tuition subsidy for that quarter and a $5,000 spending stipend. I'm sure with a bit more digging, there are plenty more opportunities for scholarships, but these are the ones they quote as a surefire aspect of your acceptance. Everyone is also required to do an internship at some point, and they make sure of that with there being only 12 students. So, if you're sad that you're not in NYC or LA, that's your chance to experience more of the world while gaining experience in whatever area you choose!

I think that Northwestern's Writing for Screen and Stage MFA program has so much to offer! I hope that this helps any potential candidates in the future. I'd love to answer any questions anyone has about Chicago life and so forth.

This is specifically reviewing the Cape Town campus - I can not speak for the other.

AFDA is great at marketing and they are in the business of selling dreams. I spent three years there for my undergraduate (but heard similar issues within MFA students), and although I don't regret it (as I made amazing friends) part of me do wish I attended an institution that would have challenged me more with pushing the medium of film rather than conforming into a supposed structure that will be the yellow brick road to a successful film (yes, this school says f** it to all the established screenwriting structures, made up their own and force their students to use 10 beats in 2 minute films).

I've always thought that education should be a place where one is taught how to challenge the world and the thing that is being studied. This is not AFDA. You are taught to think in a box, and if you at all attempt to step out of it you get penalized.

The positive, however, has been the amount of team work that is required. Filmmaking is teamwork, and AFDA is about 3 years of just teamwork and a lot of practical experience.You can a lot of technical training and experience - and it undoubtedly has some of the best equipment in South Africa (for film schools). One or two of the faculty members are extremely passionate and do what they can within the constricted system to make your studies worth it.

If you want technical experience and build work friends and can afford it, it's not terrible. However, if you want to learn to think go to Wits or UCT and do what you can to intern and work in the industry on the side.

Affordability: For South Africans it is quite expensive
Alumni: It's extensive because they have a million campuses and are the oldest filmschool in the country.
Campus: Could be better.
Career Assistance: Cute.
Facilities: It's decent.
Professors: One or two gems.
Scholarships: Uncertain - but heard it's not very good.

Keep in mind, these are simply my thoughts as a current New York City resident who has applied to the NYU MFA Grad Film program. Some of this is my own personal observation of life in New York City, and some of it is based on research, and some just pure speculation. I didn't submit ratings for certain categories that I simply don't know about yet, such as Career Assistance, Coursework, or Scholarships. I have toured their facilities though (beautiful and well-equipped), and I've managed to make it to the interview round so I'll hope to hear back from them sometime in March for the yay or nay.

I am going to write this review from the rationale of why I chose UCLA, and compare it to the other big film schools that exist in the top four.
UCLA is the best film school out there, but that obviously depends on your goals. They only accept 24 people a year, and even less than that for Narrative Directing. USC MFA selects significantly more twice a year and you are not even guaranteed that you will make one film; at UCLA you are guaranteed to direct 4 films, and unlike AFI and USC you own all the rights to every one of those films and can do with them whatever you please. With UCLA you are also offered a very esteemed network from the number one public university in the country, although AFI is a great network it only provides you the network in the entertainment industry. UCLA TFT also has theater attached to it so it has access to excellent actors, prop and set designers, as well as composers from the music school, and access to a world renown screenwriting program.
The only problem that I have with UCLA is the facilities. We actually have great useful facilities with 6 soundstages, but if you want the most beautiful film school you have ever seen and looks like a palace - go to USC. UCLA is a public school; it has what you need but it is not beautiful. BUT, UCLA is located on a beautiful campus right outside of the gates to Bel Air, and USC is in a not so great neighborhood (take your pick.) AFI is in Hollywood, and if you have ever been there, you either hate Hollywood... or hate Hollywood.

UCLA's program is top notch with wonderful filmmakers and well designed. The curriculum focuses on all aspects of production (Screenwriting, editing, directing, cinematography, producing, etc) which you should know as a good director, but directing is your primary focus. At AFI you only really focus on Directing, or Producing, Screenwriting etc. At USC it is just a degree in production and never really focus on one aspect unless you choose to.

Finally, NYU; Do you want to be in New York or Los Angeles?

I hope this helps. I love every day that I am at UCLA and all the focus that I receive from top notch instructors in order to become a successful filmmaker. I do not feel like I am lost in the machine of a school just trying to pump out students with a graduate degree that will serve me no purpose later on.

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.