I've got no insider information, but I've dedicated a lot of time to researching the pros/cons of applying to film school, and here are a couple of items I've found to be generally agreed upon by a majority of more knowledgable sources on the issue:
- Film School is a trade school. It's about refining your craft and developing projects with other people in the program who are pursuing the same things you are. The actual degree doesn't matter at all. Nobody's ever been hired for a job because they have an MFA. People in the industry want to see what you can do, and they'd like, if possible, somebody they trust to vouch for you. The former is certainly more important than the latter, but the latter is still a common component of "breaking in." (see point 3)
- Generally, try to avoid things like "[specific school] is known for [specific type of filmmaking]." There are people at USC aspiring to make small, intimate films, and there are people at NYU aspiring to make large, high-concept films. Those generalities are often just based on the subsequent careers of notable alumni rather than any actual focus or preference. Schools are looking for good work, and they're not looking for bad work. It's generally as simple as that.
- Q: If the degree doesn't matter, then what does?
A: That's entirely up to you. In case you're curious, here a few things that matter to me:
- Access to experts in their field. Since I want to work in the industry, I would prefer my professors to have worked or be currently working in the industry. That's not to say professors who haven't worked in the industry can't be excellent teachers -- I'd just be more comfortable being led into war by a someone who's been there before.
- Industry Integration. I will save the blather about it being "who you know" but not because it's untrue. A strong alumni base can be an incredible resource to have after you leave, and I'd prefer to be at a school that has shown itself capable of producing successful filmmakers. Integration goes beyond successful alumni, however. I'd like my school to teach industry-standard processes and terminology as well. (Another reason I'd prefer professors from within the industry)
- Proximity to the industry. Something that I think isn't given enough credit is a school's proximity to the industry -- essentially LA and NY. There's just not as much access to the industry from places like Austin and Tallahassee. This is really just a rehashing the first two points, but it's worth noting again. There are very few working professionals in cities not named Los Angeles or New York. There are exceptions, certainly -- Richard Linklater, for example. But even features and television shows that are shot in places like Denver, Atlanta, or New Orleans are all written and developed in either Los Angeles or, to a lesser extent, New York.
- Peers. This is not as school-specific, but it is an important reason I've decided to apply to film school. It'd be really helpful to be around a lot of people trying to do the same thing I'm trying to do, and it'd be even better if those people went on to be relationships within the industry as well. Thus, the more of your classmates your school can get working in the industry, the more relationships you graduate with.
- Equipment and Facilities. This doesn't really matter to me as much because I'm applying for screenwriting, but it's a significant factor for any production applicant. It's not as important as it was 20 years ago when there weren't DSLRs to shoot with and NLEs to cut on, but it's still a big advantage to learn on the same high-quality equipment that's being used in the industry.
With regard to money, film school is indeed very expensive, and some schools are much more expensive than others. Tuition costs aren't completely arbitrary, though. The way I view it, I'd rather take on a little more debt to attend an elite school that can provide me with more accomplished professors and more access to the industry than what a sub-elite school might be able to provide at a lower price. It's personal preference where you draw that line, but it's probably important you draw it somewhere.
I'd rather take a more expensive bet (elite school) with better odds (of getting me into the industry) than a less expensive bet with worse odds. If I'm not afforded the opportunity to make the more expensive bet, I'm not sure I'll make any bets. I'll probably take the money I was planning on betting and try and go at it a different way.
All of that being said, successful filmmakers have come from everywhere. Figure out the things you want in a film school, and apply to the places you think will make
you the best filmmaker. Don't worry as much about things like the style of films other people have made at those schools.
Hopefully the stuff above will help you narrow your lists down a bit. End the end, though, remember that it doesn't matter where you went to school, how much you paid for it, or how many connections you've made if you're just not good at what you do.
Find the place that's going to make you the best, and if that's only a couple of places (or no places), so be it.
