<p>I know there are a few drama schools such as the American Academy of Dramatic arts and the Julliard School which are quite famous. But I was wondering if going to any of these top schools ultimately makes a difference in who gets an audition and who doesn't? Do casting directors look at which school you went to before casting you?</p>
<p>No, they don’t.</p>
<p>They don’t look at what school you went to, or even whether you went to school at all. They just look at your audition.</p>
<p>The thing is, that–ON AVERAGE–people who have some acting training tend to do better at auditions than people who have no acting training. And then–again, ON AVERAGE–people who go to certain drama schools tend to do better than people who went to other schools. So SOMETHING is being taught at these schools.</p>
<p>Usually, they don’t really pay too much attention to your resume until you have given an incredible audition.</p>
<p>Again, these are just general trends. All sorts of people have been known to buck the trend. Really, you should go to the school for the sake of the training it provides, not because you want to put its name on your resume.</p>
<p>KEVP</p>
<p>First off, Juilliard and AADA don’t belong in the same sentence and haven’t for decades, but …
</p>
<p>Yes, it can make all the difference in the world if you’re talking about getting seen for Broadway plays and roles in mid-big budget films as well as guest star and series regular roles on television within the first few of years after graduation. You can’t even get in the rooms to audition for those kinds of roles without a reasonably clouty agent pitching you and the only way you’re usually going to get one of those in your court at first is through a top school’s showcase.</p>
<p>Think about it. Thousands of new college graduates pour into the major markets every summer to try to start acting careers. THOUSANDS. And a decent number of them are actually talented. The powers that be can’t see everyone, so who of those manage to get seen? The ones with representation that they usually got from their showcases. Musical Theatre types sometimes manage to sneak in through open calls and some other occasional exceptions are those with unique special skillsets, but that’s about it aside from those with family connections in the business or who look like Jessica Alba. </p>
<p>Of course, not everyone who graduates from top schools gets a clouty agent or manager and even that doesn’t mean you’ll actually book the jobs they send you for, so no guarantees. And in no way is not having attended a top school a deal breaker in the long run, but to make the global statement that it doesn’t matter at all is naive. This business is not a meritocracy. Never has been. Never will be. But the good news for those who don’t attend top schools is that a career in acting is indeed a marathon - not a sprint - as long as they have what it takes to stick it out. You might want to look up [Jenna</a> Fischer’s blog](<a href=“http://www.myspace.com/pambeesley/blog/141657788]Jenna”>http://www.myspace.com/pambeesley/blog/141657788) because how she describes her early years in LA is the experience of the vast majority of actors who come to town without good rep sewn up and it’s really not much different in New York. And that’s for the talented ones …</p>
<p>I work in the film industry (as a production assistant), and I’ve met several actors who went to smaller schools that aren’t very well known. So it is possible to be successful without going to a school with a reputation like Juilliard’s.
But the person who gets you to the big auditions is your agent. If you want to be picked up by a good agency, going to a well known school will help you with that. They also usually have showcases that agents and casting directors go to.</p>
<p>Why Exactly don’t Julliard and the American Academy of Dramatic Arts belong in the same sentence? Aren’t they both one of the best?</p>
<p>Do a search on this forum for both Julliard and AADA. You will find the discussions enlightening.</p>
<p>Julliard is one of the most selective programs - thousands of people audition for about 20 slots.</p>
<p>There is also a difference in training between Julliard, 4 year college program and a 2-3 year conservatory such as AADA. There can be a world of difference between the programs within as well. You have a lot of research to do to find the right course for you. In addition, any program you must audition for is going to be competitive, there are no safe choices, mostly. Julliard now offers a BFA and an MFA, but did not change how many they take, so the competition for this program continues to be fierce. AADA takes a larger class, the colleges tend towards smaller but the students are mostly between the ages of about 17-20 (takes into consideration gap years and those who graduate from high school early). Some programs are larger but highly highly competitive and require higher GPA’s and test scores (such as Tisch). </p>
<p>The bottom line, do not assume you know based on what someone has told you. These programs are constantly evolving and you will serve yourself well to read the threads and investigate as much as you can.</p>
<p>And keep asking questions…there are a lot of folks on here with a lot of useful information and I cannot imagine having done this without them.</p>
<p>There are certain schools like Julliard and CMU that have such a track record that there’s an automatic boost for their graduates. AADA has no such prestige, but that’s where Anne Hathaway studied (yes she went to Vassar and NYU, but as an English major. And since her mother was an established actress her connections, and lots of her training, came that way.) Jennifer Lawrence didn’t go to college at all. </p>
<p>But of course it matters where you go to drama school! You’ll be training in an art that has power to move hearts and change minds, working closely with teachers who will have an enormous influence over you. You’ll be studying a curriculum that opens all kinds of new doors for you, and the people you study with will be your first collaborators-- some of them will be your lifelong colleagues and friends. </p>
<p>And as Photomom says, these programs are constantly evolving-- so learn everything you can about the possibilities, audition for the ones that appeal to you, visit the ones you get into, pick one, and work, work, work, work toward a fulfilling artistic life.</p>
<p>fishbowl, great post. And others have great advice.</p>
<p>Here’s another way to look at it: Talent is one factor, but there are 10000s of very talented people. In this highly competitive, VERY subjective business, you need EVERY advantage you can get. Some people, like Jennifer Lawrence, are born with model-good looks and wealth, others are the children of this or that producer/top actor/insider.</p>
<p>FOr most mortals we START at a disadvantage, no matter how talented we are. MOst of us are not very wealthy, drop-dead gorgeous in the very particular way the HOllywood cameras love, and do not have serious connections.</p>
<p>So we need to carve out our own advantages. It goes without saying that we need to train ourselves to be the best actor we can be and to know our type and to market ourselves smartly (use a good headshot!). But another huge way to get your foot in the door is through college connections. This is just a fact. A well regarded program with commited faculty and a supportive environment not only trains you but also has great connections. This helps position you with more ‘cards’ in your hand. Yes, of course, you can achieve without it. But it’s just one more ‘card’ to have in your hand. A pretty big-size one. And I disagree with KEVP–Heck, you can’t even get your foot in the door to be SEEN if you don’t have the right agent/connections. Graduating from a good college is one advantage that will help you land an agent, and gives you the connections so that a casting director will even take a look at you.</p>
<p>Excellent post Connections.</p>
<p>Is Ball State a well-regarded program in BFA Acting?</p>
<p>^ I’m not sure I would have known that Ball State had an acting program were it not for having seen it mentioned on for this forum, but that doesn’t mean it isn’t good and you couldn’t learn something. There is, however, something kind of instructive on their website in that they list the attendees of their 2011 LA showcase. </p>
<p>I count 33 and there were actually a couple of people legitimately from the networks there including an Executive VP of Casting who happens to think I’m the bees knees. 
There are also a couple of theatrical and commercial agents from reputable mid-level boutiques and there was one from Innovative Artists who has since gone into casting and is doing quite well for herself. Plus there were a couple of other working casting directors. Otherwise, most of the rest aren’t necessarily people who could do a whole lot to help your career as far as I can tell from a quick check of IMDB Pro. We’re talking mostly lower level agents and managers, casting associates and assistants (not full-fledged CDs), low level producers and even one person who apparently casts background. Not scam artists by any stretch. Just not particularly high on the food chain.</p>
<p>On the other hand, if you saw a list of attendees from the Juilliard showcase from that same year, you’d see packed houses. There would be people from most of the mid-level boutique agencies all the way up to the A List packaging companies. You’d also see top level managers, name producers and directors, a whole host of network and studio execs plus pretty much every working casting director who could get in the door. And that’s just the LA showcase. It doesn’t necessarily reflect the scope of their alumni network on both coasts and pretty much all major regional points between. </p>
<p>Of course, that doesn’t mean that one of the agents at Ball State’s who actually has the clout to get you seen might not just happen have a current need for your type on his roster or that one of the casting people might not become enamored and refer you to someone, but it’s not nearly as wide a net being cast. And at least Ball State does a showcase. I personally think it’s borderline irresponsible for some programs - even a couple of highly selective ones - to not make more of an effort to introduce their graduates to the industry.</p>
<p>I already went on and on about the ins and outs of major college showcases and their aftermath in a couple of posts last year. That thread ended up going all over the place with info that is no longer relevant due to the SAG-AFTRA merger having gone through plus some catching up by some of us “old timers,” but I still stand by my take other than my gratuitous run-on sentences and grammatical errors that seem to be getting worse over time …
<a href=“http://talk.collegeconfidential.com/14053648-post4.html[/url]”>http://talk.collegeconfidential.com/14053648-post4.html</a>
<a href=“http://talk.collegeconfidential.com/14061657-post6.html[/url]”>http://talk.collegeconfidential.com/14061657-post6.html</a></p>
<p>fishbowl, your perspective is always so helpful.</p>
<p>I think what you’re saying, boiled down, is this:</p>
<p>1) Many college programs have excellent training, even if they are not famous.
2) It is important to find out how much they help you with post-grad planning.
3) Showcases and alumni connections are really helpful in getting high-level bookings.
4) Famous schools often have more powerful connections with the industry and more successful alumni.</p>
<p>It would be logical to use this information in choosing a school. Many students at least try to get into a more prestigious, connected school, but of course not everyone does, and not everyone feels the right fit at those schools, for whatever reason. Perhaps someone’s vision of a life in theatre doesn’t include high-powered agents and casting directors - maybe they want to start a small, experimental theatre company in a less populated part of the country, for example. </p>
<p>So if you like and can get into a more prestigious and connected school, yes, it might be advantageous. But good training from anywhere will be beneficial, and people make it in this field with all kinds of backgrounds. Paying attention to things that matter most to you is a good idea, and looking at how any school deals with helping you move on professionally is a good idea. Showcases, alumni connections and other boosts like internships can make a huge difference. Fishbowl gave a really great example of how to use a school’s website to check out these factors.</p>
<p>One more question does it matter if your drama school is in New York or Los Angeles? My basic impression is that LA is for movies and tv but that New York can be for both movies/tv and theater.</p>
<p>And what about drama schools outside these two areas? I mean I know the Florida States provides a good financial aid policy but I’m not sure how good it is from a career standpoint.</p>
<p>Is it possible to get an MFA, at say Pace, if you have a BFA in Acting from another school?</p>
<p>
</p>
<p>Perhaps it should be pointed out, however, that not all theatre students need or want showcases.</p>
<p>My son is a senior in a BFA program that has a New York showcase, but he and a number of his classmates have chosen not to participate. (I just realized that the seniors in his program who are doing the showcase have to provide 75 prints of their profile photo to be distributed there!)</p>
<p>Showcases should definitely be available for the type of graduate who is seeking an agent…especially if that individual wishes to work in film, or is perhaps hoping for Broadway or other NYC professional theatrical casting.</p>
<p>There is a lot of other meaningful work in the world of theatre, apart from the realm of agents, managers and “A-list packaging companies.” College programs without any showcase at all may be perfectly appropriate for many students.</p>
<p>To answer Monintex, yes, you can get into a top MFA program with a BFA degree. I would say about half of the Yale Drama MFA students had a BFA prior. They post their graduating classes resumes, so it is very easy to see. I can’t speak of Pace, but I would assume what is good enough for Yale, is good enough for Pace. :)</p>
<p>MOMMY5, Thank you so much for getting back to me. This is all good to know for now and in the future.</p>
<p>^ Yeah. That’s not unusual at all except that it would be pretty rare to see someone with a BFA from one of the name conservatories to go back to get an MFA. I know of one case, but that’s all. </p>
<p>MilanSavic,
Going to school in one of the big markets can have its advantages, but it’s not all that big a deal as long as the school outside the markets has a good alumni network and a well-attended showcase. When you’re in school at one of those places, you’re so busy that you kind of forget the outside world exists no matter where you are. This is just anecdotal from what I’ve seen, but an example would be CMU and UNCSA graduates who on average seem to be doing as well or better than some of their big market counterparts other than maybe those from Juilliard and the Tisch MFA. </p>
<p>NJTheatreMOM,
I agree in principle, but how many kids really know that when they make their decision as to where to attend when they’re seniors in high school? Did your son know that before he went to school? He didn’t sound like it as I recall. Don’t get me wrong. I think it’s very noble and have all the respect in the world for his choice. However, I’m also glad he got to make it. I had a conversation last spring with a student who goes to one of the selective schools that doesn’t do a showcase and she and some of her classmates who are now upperclassmen seemed to be second guessing their decisions about its potential importance. </p>
<p>I didn’t really care all that much one way or another. What was important to me was to get the most complete classical training I could afford while being distracted by as little gratuitous academic coursework as possible. I didn’t really care all that much about the big name alumni on-screen other than as an exercise in trivia and was mainly looking for them in the bios of the big repertory companies one of which I hoped to eventually become ensconced … Hell, if you had told me I would be making a good living on-camera before some of my classmates from the first school I attended finished their MFAs, I’d have probably laughed and started making “moovie sta” jokes. If you told me I’d be living in LA actually repped by one of the “A-List packaging companies” and willingly allowing myself to go through the insanity known as pilot season so well described in an [article</a> by Gavin Palone](<a href=“http://www.vulture.com/2012/02/polone-pilot-season-auditions-actors.html]article”>Polone: How Pilot Season Ensures That Great Actors Rarely Land the Right Shows) and [Ken</a> Levine’s blog](<a href=“http://kenlevine.blogspot.com/2010/02/guys-are-not-going-to-want-to-■■-her.html]Ken”>By Ken Levine: Guys are not going to want to f**k her), I might have punched you … </p>
<p>Is that degrading or what? At least I booked one this year. The network honchos must want to **** me, so YAY! :rolleyes: </p>
<p>But options are a good thing. The more the better …</p>
<p>
</p>
<p>Hey, CONGRATULATIONS, Fish!! Break legs with the series. From what have read about pilot season, it must be a series that you are appearing in now.</p>
<p>Hmm, shucks, guess I was wrong in my conjecture about your identity. The imdb page of the person I thought you might be shows a film with cool people like Paul Dano and Monsieur Cumberbatch…but no current series…and no “trivia.” Ah well! :D</p>