thanks red. always helpful

I have to respectfully disagree, Red.

I'm not sure where you're drawing your information from, but I've found Columbia to be nothing but supportive in all aspects of the program, from housing, academics, and productions. And as a conservatory type school, there is no rigid system you must adhere to. There's a method of teaching, certainly, but all of the professors stress developing your own voice.

Also, from what I've seen, Columbia's undergraduate film program is nearly non-existent and not production based. The top 5 ranking refers to the graduate program, not the undergraduate.

And as far as the egos you mention, I have yet to encounter any.

Bandar,

I was under the impression that this begins at nine in the morning? At least that's what Angela told me in admissions. If that's the case, let's grab coffee afterwards.

Seventh,

Maybe we are talking about two different things. Is there something else going on at AFI on Friday morning?

The Narrative Analysis workshop that I'm talking about is Bill Dills class, where the class screens cycle films and discusses them. That is held from 6:00-9:00pm every Friday.

Perhaps there is something I'm unaware of happening on Friday morning. Fill me in and let me know!

Best,

Bandar

The chick Angela said there is one like that Friday morning at 9:30 where many of the production faculty are present and they screen and discuss cycle films. I will call her tomorrow to confirm that this is correct. I am also planning to spend some time at the campus Thursday afternoon watching some of the thesis films in the library.

Are you talking about tomorrow afternoon or next Thursday afternoon?

Next Thursday, May 8

Hi guys, wanted to speak on a couple of things:

1st off: Columbia is a great narrative school. I've heard nothing but glowing praise for their writing department. They concentrate above all else on story and, truth be told, lately their films have topped all the major film school's in festivals AFI, USC, UCLA, Chapman, and NYU. But the experience you'll get there is definitely not industry based and doesn't prepare you as much for working in the studios as it does for doing independent film. Which is also great. If you're not completely certain please please please contact "Tima" through PM (She's somewhere on the forums or I could point you to her facebook privately). She's a great friend of mine who has been at Columbia for about a year and can give you meaningful insight into the program. (Meaningful, because she is IN the program so what she can tell you is not merely hear-say.)

Secondly-- Chapman's admission reel is just a sampling, not the total of Chapman's work. The films on the reel were from at least 2 graduating classes ago-- maybe more. Chapman's film school has been around for less than a decade with the Marion Knott studios around for only 2 years. Its a baby film school (Can you really compare a 10 year old to a sixty year old fairly?), but it has recently acquired many seasoned professors from AFI, USC, Columbia so basically we're in the learning how to walk stage. This is good and bad-- it means people are working their hardest to "make" the school competitive-- but it also means we're swimming up stream in terms of reputation. The notoriety its received in the past few years its been open should speak volumes-- and its too young a school to have stagnated, resting on it haunches because its already attained famous alumni (This statement is in no way about Columbia, I'm not a part of that program). There have been a few recent thesis/cycle films that don't fit the stereotype people might get from just watching their reel. Also being a baby school, nothing is set, you have ability to change the program and the program will grow with you. In fact, until recently they didn't stress the collaboration between writers and directors-- which is why the majority of stuff seen by many of you was written by the director while the screenwriters spent their time knocking out 3-5 features (many have agents, a few have options or deals). Now, there are more directors realizing that they need writers to make more than surface stories. This will, inevitably change the feel of Chapman films. I'm not saying you should go here, I'm just helping you make a more informed decision. You know you're personality and what you want from a School. I applied to 2 schools last year, got in both. What I wanted in a school was access to equipment and professionals. I knew no one could teach me creativity. I didn't go here to learn that. I came here for access to tools, tuition that wouldn't kill me, and insight into the business I'm getting into.

3-- whoops, there is a 3. Ignore as much as possible other people's "opinions" on where YOU should go. When you visit a school and meet its students, faculty, etc you'll know whats right for you. This is especially true if the people giving advice have never experienced the programs they're advising upon. This is a very personal decision. And what you said about making the movies you want to make, wherever you go is true. No school can really change the type of artist you already are. They can merely give you tools and means of showcasing yourself.

I hope this helps and doesn't just confuse you further.

Great insight, Winter.

And to elaborate on a point she's made, I would absolutely disregard anything anyone says about a program that they're not actually attending or have attended. It will be second-hand information at best, and completely inaccurate and misleading at worst.

Just to clarify: I'm a student in Columbia, as well. Tima is a classmate of mine.

So, along with contacting Tima through Winter, anyone should feel free to PM me with any questions you might have about the program.

BillyD and Winter. Would you guys mind to elaborate on the industry part?
BillyD - what can you expect to be doing right after school if you don't have the budget to embark right away on another independent movie? Are there some "industry" connections? What exactly is the New York industry? is it a myth, or does it actually exist?... I know Columbia has strong ties with Focus features (obviously), but other than that?

Winter - When you say Chapman prepares you better for the industry, how does it manifest exactly? You mentioned in other posts the many of your fellow writers already have agents, and some scripts optioned. Do you know if many directors find agents? Does the school help you with that directly, or is it pretty much completely up to the student to make those connections?

I also have questions about this whole "industry" thing.

BillyD or any other Columbia student, could you field this question? It seems Columbia does have filmmakers that work in Hollywood (Exs: Simon Kinberg writer of Mr. and Mrs. Smith, Greg Mottola director of Superbad, Kim Pierce director of Stop Loss, too name a few).

I don't suspect that going to Columbia will only grant you access to the independent filmmaking world. I truly believe this is a misconception! But please can someone let us know?

I am so excited to be attending Columbia in the fall

Wendja,

Many kids who graduate from Columbia secure agents, some even move to LA to pursue commercial work without a problem.

I know Kimberly Pierce, she graduated from Columbia. She got the funding to direct her first feature film (Boys Dont Cry) only because of the short she made while at Columbia, based on the same subject and storyline.

Now she lives in Malibu and just directed her second, more "HOLLYWOOD" type of film, "STOP-LOSS". I worked on the Campaign for her film while @ Paramount.

Bottom line is, going to Columbia won't prevent you from swaying into the industry, on the contrary. It will make you that much more ready for directing a big-budget film. You will be able to combine an unbelievable story with an obscene amount of funding. The only limit will be your imagination.

Hope that helps!

Obviously, I have nothing to offer re: Columbia or its helpfulness in jump-starting one's industry career. However, I do know a bit about Simon Kinberg, Greg Mottola, and Kimberly Peirce.

In Mottola's case, he WAS an indie filmmaker first; he met Soderbergh, did the Sundance Lab, made "The Daytrippers" on a shoestring, and proceeded to slowly climb up through the directing ranks via television.

In Kimberly Peirce's case, well--"Boys Don't Cry" WAS an indie film, completed with a grant and help from Sundance.

So, there ya go: those are cases of Columbia grads doin' the indie thing damn well.

In Kinberg's case, I believe he sold a pitch to a professor (!) at Columbia. An unlikely entree.

--IA

Icarus Ascending,

Which school are you going to be attending again?

Best,

Bandar

Hi folks!
If you're in the area, please come to Chapman film screenings - FREE to public... We have several screenings in the next 2 weeks...

http://ftv.chapman.edu/news/thesisscreenings.cfm

See what we shoot here.

Arrive earlier - the state-of-art Folino Theater will be packed.

See ya there.

Chapman grad. producer

Bandar,

95% sure I'll be at USC (SW).

--IA

Awesome! Lets stay in touch IA!

Awesome! Lets stay in touch!

To all Columbia students:

If you haven't already seen this, go to the link below where you can actually watch Kinberg tell you what Columbia offers over other film schools, how Columbia has boosted his career, and how he made it into the business.

http://wwwapp.cc.columbia.edu/art/app/arts/film/kinberg.jsp

Andy

ok.

I'm off to Cali tomorrow.
Will be@ Chapman Monday and Tuesday and am scheduled to sit in on three classes.
fundamentals of directing with John Badham
fundamentals of screen writing with Madeline Warren
acting for non actors with Kelly Galindo.

I'm excited.
Will let you know what I learned, and what my conclusions are.
Thanks for the many insightful responses on this thread.

I knew you guys won't let me down.

I wish i could attend both programs, but a decision will be inevitable and will be made in the next week or two at most.