Archive for the ‘For Students’ Category

So you wanna go to film school….Part 2: Film School Applications: Do’s and Don’ts

Wednesday, October 24th, 2007

Despite (or because of) the so-called “democratization” of film technology, film programs are doing a booming business. Acceptance rates hover around 10% or less at a lot of the more notable programs in the nation. From my own first-hand experience serving on the grad selection committee (in 2006) at Temple University, I can tell you that we accepted something like 8%. The last time I checked, the best med schools in the country aren’t that selective.

So how do you make yourself a competitive applicant?

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So you wanna go to film school….Part 1: Searching for a Program

Sunday, October 21st, 2007

It’s that time of year again, when current and former students start asking me about film schools — where they should apply, if I will write a letter of recommendation, and so on. Whether or not film school is right for an individual is a personal decision and I’m not going to reiterate the pros and cons of film school here. Instead, this two-part post aims to help those who have decided to apply.

This post will address some basic tips on looking for a graduate program in film production. The next post will provide some tips on the application process.

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Filmmaking and the Environment

Saturday, October 13th, 2007

As you probably heard yesterday, the Nobel Peace Prize was awarded to UN Intergovernmental Panel on Climate Change and Al Gore. I’ve not always been a big supporter of Al’s, but I was definitely feeling some pride for the local boy done good (the second native Tennesseean to be awarded the Peace Prize, actually.).

Though the press reports usually got it wrong, as AJ Schnack reminded everyone yesterday, Gore did not win an Oscar for An Inconvenient Truth (because he didn’t direct it), but I have little doubt that the film — because of how it drew attention to the cause of global warming, and because it drew attention to Gore’s advocacy in the process — was a factor in Gore sharing this year’s Peace Prize. Looking over the list of previous Peace Prize winners, I couldn’t think of another instance in which cinema played such a central role in the awardee’s recognition.

Anyway, in the spirit of the announcement, I thought I would share some links and notes on environmentally-friendly filmmaking for those folks out there that, whether or not they like Al Gore, accept the findings of hundreds and hundreds of scientists from around the world that shared the Peace Prize for their work on man-made climate change research…

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Review: The Filmmaker’s Handbook, 3rd Edition

Monday, October 8th, 2007

My earlier post on the 3rd edition of The Filmmaker’s Handbook was written in anticipation of receiving it. Now I’ve got it in hand, and had a chance to look it over.

A lot of people simply want to learn from a review whether or not they should own a book or not. If that’s why you’re reading, the answer is that, generally speaking, if you are a novice-to-intermediate filmmaker, this is an essential book.

Now that we’ve got that out of the way, here are some quickly-jotted observations:

There are lots of changes, but few surprises. And that’s probably a good thing. There’s only one new chapter, at the beginning, which lays out basic questions that filmmakers should consider before beginning their work. Aside from that, the changes are all revisions. The biggest change, because it’s something of a philosophical shift, is that the chapters on Video now take precedence over the chapters on Film. And, of course, the video chapters have been (predictably) overhauled and expanded. The film chapters have largely gone (predictably) untouched.

It’s still essential. I don’t know of any single technical manual related to filmmaking that collects so much information in one place. None of its chapters can compete with my favorite books on sound, lighting, etc. but this is a great place for novices to begin and it’s a great single reference book for the rest of us, particularly on the things that won’t change as quickly as video (sound, lighting, film).

It’s already starting to become obsolete. Steven Ascher notes this in the preface: “Right now, the pace of change in video and computer technology is so rapid, some things in this book could be dated before you get to the end of this sentence.” There is a small, one sentence mention of the Red Camera (bottom of p. 34). I expect there will be more on 4K and RAW imaging in later editions.

There will be new editions, and probably sooner than later. The cover of this edition conspicuously notes that this not the “3rd Edition”, but instead the “2008 Edition.” Aside from noting that, well, it’s still 2007, I have to imagine that this is a hint that we’ll see this tome updated more regularly. And it is a tome.

Readability is reduced. The Handbook has been such a staple of film education because of its (relative) readability. Ascher and Pincus do a fine job of making complex technical concepts understandable for novices. But as the book has grown (see below) it has sacrificed some of its readability. There is simply so much stuff in this new edition that it can be a little difficult to navigate through it to find what you need. Luckily the index is above-average for this type of book.

It’s big. Really big. I remember a film professor of mine once waxing nostalgic about how the precursor to the first edition of The Filmmaker’s Handbook was a small pocket-sized book by Ed Pincus called Guide to Filmmaking. That book, my professor argued, was superior in some ways to editions of The Filmmaker’s Handbook because you could stash it in your back pocket while you filmed. He had a point. This is a “handbook” in name only — it has 830 pages and weighs nearly 3 pounds! (Here’s a similarly sized work of fiction, as a point of comparison.) I wouldn’t recommend eliminating anything, but I do wonder if perhaps the next edition shouldn’t be called The Filmmaker’s Desk Reference.

In sum, while this isn’t my favorite film book, if you are new to filmmaking, or if you are beyond the basics but need a single desk (or on-set) reference for tons of technical stuff, this is probably about the best $16.50 you could spend.

The 25 Greatest Documentaries of All-Time?

Thursday, October 4th, 2007

IndieWire reports today on the International Documentary Association’s list of the “25 Best Documentaries.” As an introduction to the genre for people who have never seen more than one or two non-fiction films (including, say, March of the Penguins) it’s a serviceable list. On the other hand, it will probably upset a lot of people, if the comments after the IndieWire article are any indication.

It’s not worth getting too worked up over these things. Like those AFI best-of lists, they’re not so much a serious study as a marketing tool for the sponsoring organization. Still, I was pretty surprised (and a little sad) to see just how historically short-sighted and Americentric this list is, particularly coming from a group that is comprised of filmmakers and bills itself as an international association.

Almost all the films on the list are American, English-language films. As for representation throughout the decades, the last seven years are represented by ten movies; the ’80s and ’90s are represented by seven more. The other eighty years of cinema are represented by a mere eight films.

I can put aside the fact that lesser-known, esoteric personal favorites (like, say, Ichikawa’s Tokyo Olympiad, Godmilow/Farocki’s What Farocki Taught/Inextinguishable Fire, Jorge Furtado’s Ilha das Flores, or Wiseman’s High School) didn’t make the cut. But a list claiming to represent the “Greatest Documentaries of All Time” that doesn’t feature a single film by Robert Flaherty, Dziga Vertov, Jean Rouch, Michael Apted, Chris Marker, Agnes Varda, much less Claude Lanzmann’s Shoah ? Well, it’s curious, to say the least.

Ok, I said I wasn’t going to get worked up. So I’ll stop.

Here’s the list. Continue the debate in the comments, if you want….

1. “Hoop Dreams,” directed by Steve James, Peter Gilbert and Frederick Marx
2. “The Thin Blue Line,” directed by Errol Morris
3. “Bowling for Columbine,” directed by Michael Moore
4. “Spellbound,” directed by Jeffery Blitz
5. “Harlan County USA,” directed by Barbara Kopple
6. “An Inconvenient Truth,” directed by Davis Guggenheim
7. “Crumb,” directed by Terry Zwigoff
8. “Gimme Shelter,” directed by Albert and David Maysles and Charlotte Zwerin
9. “The Fog of War,” directed by Errol Morris
10. “Roger and Me,” directed by Michael Moore
11. “Super Size Me,” directed by Morgan Spurlock
12. “Don’t Look Back,” directed by DA Pennebaker
13. “Salesman,” directed by Albert and David Maysles
14. “Koyaanisqatsi: Life Out of Balance,” directed by Godfrey Reggio
15. “Sherman’s March,” directed by Ross McElwee
16. “Grey Gardens,” directed by Albert and David Maysles, Ellen Hovde and Muffie Meyer
17. “Capturing the Friedmans,” directed by Andrew Jarecki
18. “Born into Brothels,” directed by Ross Kauffman and Zana Briski
19. “Titticut Follies,” directed by Frederick Wiseman
20. “Buena Vista Social Club,” directed by Wim Wenders
21. “Fahrenheit 9/11,” directed by Michael Moore
22. “Winged Migration,” directed by Jacques Perrin
23. “Grizzly Man,” directed by Werner Herzog
24. “Night and Fog,” directed by Alain Resnais
25. “Woodstock,” directed by Michael Wadleigh