I'll think I'll chime in...

What Robert Rodriguez did was extremely risky - he raised most of his money by subjecting himself to medical tests. That wasn't entirely all of the risk - he was risking thousands of dollars that his one film would be a success.

My point it....if you go to film school - the worst thing that could happen out of all of it is that you get a degree in film and have financial aid debt.

If you go the Robert Rodriguez route...the worst thing that could happen is you have a massive credit card bill...and no college degree. (credit card debt it much worse than financial aid debt)

Making it in this business is extremely risky and rare as a director. There are hundreds, even thousands, just like you wanting to be a director in hollywood - and only a few make it. That isn't to say any of you will...but..

Something to ponder.

-Chris
Studentfilms.com

Actually another way to do it that I just thought of, is to get a degree in something else that interests you, if not film.

In your spare time, intern at local production / post-production places...then just go to Hollywood and start working/interning/pa-ing to get experience and your first job.

You'd have to the the latter anyway even if you got a film degree....but now you have a "real" degree to fall back on if everything doesn't work out.

That would be the extremely conservative approach though. Not a bad one...just gives you more options.

Of course, I loved getting my film degree - it was alot of fun. But then again I also enjoyed the other non-filmmaking courses that I took in college. I even minored in French and spent a year abroad in Grenoble, France - which was probably the best thing that I ever did.

Anyways - there is no set path to get into the business. But on the scale of risky things to do with you hard earned cash...with 1 being no risk and 10 being extremely risky:

Making a film with your money/credit cards hoping to make it: 9
Getting a degree in film school: 6
Getting a "normal" degree and then going to grad school or just start working in the business: 3

Good topic though.

-Chris
Studentfilms.com

---Making a film with your money/credit cards hoping to make it: 9---

make that a 11

"If you go the Robert Rodriguez route...the worst thing that could happen is you have a massive credit card bill...and no college degree. (credit card debt it much worse than financial aid debt)"

I'm not sure if you read his book, but he didn't incur any additional debt to fund El Mariachi... all of the money was either contributed by Carlos Gallardo or himself.

If you earn the money first, then make the film, it's not risky except for in the sense that you converted the money into a film. The film may or may not get distribution, but the money certainly wasn't going to carry you into the industry by itself.

Also from Rodriguez' book - he breaks down his thought process pretty well regarding risk. Fairly logically, he explains that he had researched the direct-to-video Spanish action movie market and knew that they could get *at least* $5-10,000 for the project which cost about that much to make. I guess he was confident that him and Carlos could make a movie that would be as good or better than the normal stuff in that market. It was actually a fairly intelligent move ... and not as risky as spending $25k on something like, say, a 35mm short, which has limited distribution options

What's been said about some succesful filmmakers not finishing college is also true of a lot of succesful musicians, and I think the reason is simple.

Many succesful individuals share a common trait: they realize what they want to do very early in life. Accordingly, their research in their chosen occupation starts early, and by the time they get to college they are already very aware of their strengths and weaknesses. So they do go to school, take whetever there is that they feel they need, and then get the hell outta there.

They set their own path, and college works as long as it is instrumental to their goals. Once they feel the required courses are taking them away from their path, they keep going by themselves (sometimes even taking private lessons instead of a course that must follow an established program or criteria).

"To become a better filmmaker" (or musician, or whatever) is a somewhat generic goal, and chances are those who can't zero in on more specific needs will only get a generic benefit out of any education, and thus get in the industry (if ever) through generic jobs.

You can only hope not to realize what your real goals (needs, purpose, vocation, etc.) are when it's too late (meaning, you're competing against people half your age with twice the experience).

E.

hmm.

you all know that Robert Rodriguez when to film school for about two years and did quite a number of short films there before he tried to do El Mariachi right?

Yes, RFranco. If you read the entire topic you would notice that some of us mentioned it.

well i guess im going to have to sell my body for scientific expieriments like he did.

or become a man *****

This message has been edited. Last edited by: Josh,

Please don't dodge the censors. Thanks.

This message has been edited. Last edited by: Josh,

Think he meant man hore*

*-board edits words

-Kegan

Dude, guys, I was going to tell everyone in a seperate post, but this is a great place to do it.

GET AN INTERNSHIP! Matthew Earl Jones just moved his office literally ten minutes from my house. I met him and got an internship. Hes getting ready to sell shows to the travel channel and things like that. And, get this, hes using top of the lien equipment that I can use.

If I stick with him, he'll lead me to someone higher up, eventually I'll be jumping over him and doing more.

Check it out: http://www.earljonesinstitute.com/

quote:

If I stick with him, he'll lead me to someone higher up, eventually I'll be jumping over him and doing more.

Not be obnoxious, but what makes you think you'll be able to 'jump over him' when you're the one interning at his office?

I say don't go to film school. 35k a year for 4 years is a lot of money to invest in school, considering you might not even get a job after that, and if you do it might be taping wires to the ground anyhow.

Thats a reasonable question Evan, I wouldn't think your being obnoxious.

By "jumping over him," I did not mean to sound like I would become superior. I realized that after you asked. But he's constantly in touch with Hollywood, keeping in touch with all the big timers. Its only a matter of time before I start meeting them, and Mr. Jones starts reccomending me. he's at where he wants to be at, but I want to go on to Hollywood and make it in the "big time." So when I say "jump over him" I mean that I want to go farther and he will help me get there.

Hey well it would be a topic about Robert Rodriguez if i did not toss in my two pence now would it.

There are lots of things to consider. In many ways I did the RR thing in that I made alot of silly shorts, went to film school briefly but did not graduate because i started working. Thought I did not write and direct a big smash hit feature. I don't think that will even be my first out of the gate as I plan to do several staright to video offerings first but it is in the plan.

Lets look at a few things though.
1) Education is NEVER bad, whethere it is film school or other more practical disciplines. Now there are bad film schools out there, people who will fill your head with nonsense and make you doubt yourself, or teach you the wrong things. I had a very supportive department chair when i went who allowed me to go out and prove my theories rather then just dash them to the ground outright (which she later confided she had thought of doing, but after i proved her thoughts wrong was glad she did not) now my DP since film schhol and good friend, he started int he same program 2 years before me and had a different chair. His story is rather funny, of how he accidentally wandered intoa film class and listened to this guy tell all these new students how most wont even show up for the next class let alone do ANYTHING in the industry. The thought that they might is a joke and no one from "this town" will ever work in the majors. That actually drove him to sign up for the class, just to prove him wrong. He makes a very nice living as a DP now.

Film school can use you, or you can use it. I used it for gear, I used it for all important permits and insurance. I got internships and learned of productions that I volunteered on as a PA UNPAID I might add.

While we are on the topic, that is a very good way to start working. You can always contact your local film commission, ask about productions. My friend and I worked with a fire arms prop master that was doing Bad Boys 2, we found out where the production office was and went down there one day... with starbucks! We walked in and said, "We are looking for John Patterson... oh BTW, anyone want a latte?" We worked on several scenes with John until Michael Bay anal retentive coke head that he is got paranoid about "faces he did not know" on his set during key scenes. But it was a great experience and paid pretty good. In whatever you do, be genuione though. A few thins that might help are as follows.

If you get on a production as a PA there are three things you can do right out of the gate to possibly get you work on another show.
1) If call time is 7am, be there at 6:45.
2) When you are asked to get something don't walk, atleast jog. Make an effort to do your task quickly and efficently.
3) If you aren't doing somehting else and you see someone who needs help... help them! (now if you were told "watch this C-stand and don't move" then DON'T MOVE)
4) Be personable, be someone the crew remembers and DON'T spout about the state of cinema today, and the schlock Hollywood puts out ect. Most of these people will be seasoned pros on the smaller end. If they are local they would probablly love nothing more then a cushy union shoot on a big show with less work and more money.

I did these things my first show and was offered a paying spot the next week. The company I work with now I work for in many capacities from Director to editor to Art Director, Dolly grip and even glorified PA at times. They are loyal to me though, and don't care if i have a better gig elsewhere. Mush as I love directing i really can't complain about getting $200 a day to haul a little gear around. I have worked for moving companies before. ALOT more labor intensive and no 2 bills a day. I ahve worked as a PA, or just shooting BTS on several music videos lately where after the shoot I was the one who got to edit them.

So many different approaches, many possible outcomes. One thing to keep in mind. So many are bashing their heads against the ceiling when almost anyone can slide under the fence. It isn't easy, alot of work involved regardless.

I leave you with this thought. If I could convince you I can tell the future, and told you I have seen yours and you do not "Make it". You never make a great film, people never know your name. You make a living but nothing spectacular, you never get that break. If I could tell you that would you still go for it? If yes, then it does not matter what route you take. I cannot imagine doing anything else, and I wont.
-Tizzy