NYU Tisch Kanbar Institute of Film & Television Reviews & Admissions Statistics

I am an alum of the Dramatic Writing program at NYU, and loved my experience there. It completely revolutionized my understanding of not just television writing but storytelling in general (and I arrived thinking I had a lot of writing experience). All of my professors were knowledgeable and taught me a lot, and I formed great relationships with several and came to see them as mentors. I left as a wildly better writer with multiple finished scripts that have served me well in my post-grad professional life. That said, tuition is very expensive, and though it's possible to meet people in other departments, the department offers limited opportunities to formally collaborate with them.

First of all, the program does not provide a safety net in terms of job placement. Every year the program admits, at most, 5 people, and the least the teachers running the program could do is introduce us to companies who are in the market to hire. They are (the teachers) some of the most well-connected in the business, and yet I did not feel they provided enough resources or support when looking for a job. In fact, in the last class that graduated, all 5 did not even end up in jobs within entertainment, but rather other fields. It’s a poor sign on the program when its graduates don’t even end up in the field they tried to pivot too. And the teachers running the program, while very nice, are tone deaf when it comes to hearing and acting on student’s needs for post-grad employment.

Second, and leading from the previous point, the program is not structured in a way that allows the students to take full advantage of either the MBA or the MFA program. Chasing two birds with one stone is highly applicable here. Here is how the program is structured:

• 1st Year: Business School
• 1st Year Summer: Film Class
• 2nd Year: Film School
• 2nd Year: Business School Internship / Internship
• 3rd Year: Choice of classes between Film and Business school

Now what’s inherently wrong in this is that the first year when you’re in the business school, the first summer should be your internship summer. But in this program it’s not the case. You have to recruit for an internship in your second year. But by that point in the fall semester, you’re preparing to make your second year film, which is a LOT of work, to the point where you have NO TIME to recruit, which usually takes place in the business school’s fall semester. So by that structure, dual degree students have a very hard time finding an internship, because they DON’T HAVE ANY time to find an internship, which puts them at a disadvantage, and nullifies the usefulness of why we went to an MBA program in the first place. By doing a dual degree, you’re putting your focus in two different directions, which the program does a bad job of managing/structuring.

Within this structure, dual-degree students struggle to build relationships with the filmmaking students whose projects they are meant to produce. While dual-degree students spend their first year in business school, MFA students are already working together, forming strong bonds. By the time dual-degree students join the film school in their second year, they are outsiders rather than integrated members of the cohort. As a result, filmmakers don’t see them as true classmates, making collaboration more challenging.

Third, the dual-degree program fails to teach any hard skills that can’t be learned in a standalone MBA or MFA. It does not justify the three-year commitment or the $200K+ cost. For context, NYU’s Graduate Film program awards the Media Services Producing Award annually to the student who demonstrates the most skill in film producing. In recent years, it has consistently gone to MFA students—not dual-degree students. This raises a fundamental question: If the program doesn’t give its students a competitive edge in producing, what’s the point? The reality is, it doesn’t.

Being a producer is not someone with a business degree (it’s a foreign concept to Hollywood people). It’s just someone that knows how to get things done, and unfortunately, a program for that doesn’t make sense. During my job search, I’ve had two people tell me that the MFA is not worth it and I should take it off. And over time, I’m seeing it as well. The dual degree is nice to have on your resume, but it CANNOT replace work experience.

My recommendation:

• If you want to work in the corporate side of film, get an MBA. It’s a two-year program, gives you dedicated time to recruit for an internship, and costs significantly less.
• If you want to be a film producer, get an MFA. It’s a longer path, but you’ll build stronger industry relationships and gain hands-on filmmaking experience—something a business degree won’t provide. Columbia’s graduate film program, for example, offers a producing track within its MFA but no dual degree, which speaks volumes.
• Prioritize industry experience over degrees. The best way to break into film is by working in the industry and building your network. No one—and I mean no one—cares if you went to school for producing. What matters is your practical experience. Without it, the degree is meaningless.

I had a great time. Like anywhere, you have to make the most of it, making films outside of class, crewing on other people's films, going to events in the school and in the city (there is always so much to do around the city given the location.)

Some professors are not great, but on the whole they are very good and a range of positions, from young filmmakers starting out to working pros who come and go, to retired with a track record. Some are even inspirational (for me, Alrick Brown, John Warren, Mo Ogrodnik.) If you form close relationships professors are very kind and willing to help read scripts/watch cuts of films outside of class.

The facilities in terms of studio space and lighting and cameras are incredible compared to high school and enough for what you need to make, but having seen USC, they do not come close. NYU argue that that is not a bad thing because limitation causes inspiration, and I can see that argument. The school are pretty relaxed about the equipment that they give you (in a group) for the semester and they allow you to film a lot outside of class projects as well if you want to (you should).

The focus is on artistry and finding a voice and less so on setting you up to get a job on graduating. I don't think it is necessarily a bad thing, but worth knowing. But individual professors are more than happy to help you if you get along, as mentioned.

World class education received at NYU Tisch, with some remarkable faculty (those who care to teach are extremely helpful). Lots of bureaucratic nonsense that resulted in administrators lying to class regarding benefits and recourse for missed opportunities due to COVID. Many affected including alumni and current students.

At least one professor on staff has been publicly accused of abetting sexual harassment.

The graduate film program at NYU changed my life. I keep up with most of my classmates and a lot of my professors. I still work with a lot of my classmates on film projects currently.

I loved NYU. I was a pre-med student who transferred in 1999 and graduated 2001. I received two scholarships, multiple grants and loans. They had a Director's Series -- where a director would come in and talk about their movie before it was released (i.e. Wes Anderson and Bill Murray came in to talk about Rushmore), student film festivals, 24/7 editing when finals and midterms were looming. I'm friends with many of my classmates today and majority of us are working in the industry. Having the NYU name definitely helps, especially if an alumni in the industry discovers your commonality. It also prepared me for what the industry would be like -- half of them white guys bossing you around, the other half who'll help you out if you have something that's going to help them first. My classmates were similar (only four women in my transfer class) but I don't blame them, it's what was taught. I highly suggest joining the clubs, the work-study was easy (I worked on the 12th floor for the Television Studios for Koqui and the 3rd floor for Drama) and the internships were amazing. My professors cared about my work and were/are working in the industry. My advisor was an editor for Spike Lee and now does documentaries for HBO. Definitely good for the name, better for the friendships and relationships you create and maintain for the next 20 years.

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.

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.