So...I visited Berkeley. The environment up there seemed really cool, but my meeting with the Film Department chair really turned me off of the Film Program. It truly seems like a Literature major, just writing long essays on films instead of books. They don't really even have anything else to do or that many resources.
However, I did receive this e-mail from a guy who currently goes there with very interesting advice/info:
"First, I would like to ask: have you gotten into UCLA film school? The film program there is pretty exclusive, and has an interview process. UCLA is a good school for film, and I know this from my friends who go there.
Personally, though, I really like the film program here at Berkeley. I can speak for it.
Berkeley's film program is mostly theory and history, but we do have a burgeoning production program (there is a collective urgency to grow) and an established film club (the GiANT Film Club), which is pushing for more funds so that we can get access to better equipment.
GiANT is great. We do all sorts of things together -- we even attended Sundance in the fall, and Berkeley had the largest turnout of all film students (50% of all in attendance).
There are definitely internships available through the GiANT film club, and it is free to be a member, so I encourage that. There are also many opportunities I've seen through official channels, but you just have to have your name on the right mailing list. Get to know people!
As for variety -- yes, there is enough. There is the basic production class (film 26) where you learn the in's and outs of cameras (at present the Canon 7D, the DVX100b (AWESOME film student cam), the DVC30, and the GL2) and Final Cut.
Then there is 185, where we make 3 short films and have them critiqued for several re-edits. Then 187 where you make one film throughout the whole semester. Then there is 180A and 180B, screenwriting classes, where the whole semester is devoted to a feature script. Mira is the teacher for that and 185, and she is a phenomenal intellect, very sharp but very amiable.
(There's also 186, which is continuity editing, and Mark Berger's Sound Design class -- Mark Berger is an academy award winning sound designer -- he did the work for Apocalypse Now and more).
I don't care much for theory personally -- I like actually making films. Professors for me are more-so opportunities for having my work critiqued rather than receptacles of information I have to take and store myself.
I am actually an English major, and I have taken Screenwriting and Narrative Short Production with Mira Kopell. I am intending to take a lot more production classes, despite being an English major. (By the way, for your theory and history classes, you can totally make films instead of writing papers, if you make your case. This is always a better option)
To answer your question, I have learned a huge amount about the production process from being here. Projects are constantly going on, and EVERYONE wants someone to help out on their set. (especially at GiANT, which you should surely join should you come to Berkeley).
What I've discovered is that if you have the capacity to organize groups of people to help you out on your shoots, you have the ability to be a screenwriter and director. That's fundamentally all it is.
Ask people to help out as a sound mixer, a boom operator, a first ad, a second ad, a production assistant, a script supervisor, a production manager, a caterer, an actor, and an executive producer, if you can. They don't have to be industry professionals to accomplish those tasks. Most of the time you'll be giving some training to new people, but if they like how you roll, they may set aside a lot of time for your next shoots.
That's how Hollywood is. I used to hear many stories about how minimum wage workers would, over the course of a year, become Camera Operators on huge, multimillion dollar studio feature films, having no previous camera experience. They were initially guys some random guy trained -- then they become real pro's.
When you write a script, never be content that it is perfect. Ask everyone who you can, especially a professor, to take a look at it, and get their feedback. Ultimately you want to please as many people as you can with a film, so ask as many people as you can and you'll learn about what to implement to achieve the effect you want.
A good screenplay takes so much time to write, but when you do finally succeed, you'll find that it's very easy to get people to help out on your films -- for free.
And all this filmmaking is totally possible anywhere you go. I sometimes come back to LA and shoot short films for friends. But it's totally possible here, too. There's a lot of talent in the area.
Fundamentally, whatever you decide, it's not where you go but how you handle people that will make you a good writer and a good filmmaker.
I hope this helps you out.
If you have any further questions, please feel free to contact me."
I have no idea where I'll end up now. UCSD, UCLA or Berkeley. Maybe I'll just toss a coin or do inny-meeny-blah...