SCA Film Majors

Colleges and Universities A-Z University of Southern California
1

<p>How to current and future students feel about the film program and specifically how senior thesis films are handled? It's my understanding that the system is set up to replicate the "industry" where all students pitch their film idea to a committee and only few films are selected by the committee to be made. Those students whose films were not selected become the "crew" for the selected student as they make their film.</p>

<p>Does this really mean the non-selected students don't have a thesis film? Aren't those students at a disadvantage without a film to submit to festivals and promote? I understand the concept of teaching the way of the filmmaking world, but wonder if for the price of USC, it's reasonable to not have even a film of your own. (Bad enough that you don't own the work you create at USC, while you do own your films at other schools like Chapman, LMU, etc.).</p>

<p>What do all the film majors out there think about this?</p>

2

<p>I had hoped a current SCA film student might stop in and answer this, norcalimom, but this is the middle of finals and they may be too busy.</p>

<p>These are 2 good questions–and they are the types of issues that get asked to applicants by other film programs who would like to put themselves in a better light vs. USC.</p>

<p>For film production majors, they will be asked to make many of their own films in their production classes. My S made 5 films last semester in 290, a class that was taught, btw, by the great cinematographer who won an Oscar for “Rosemary’s Baby.” I cannot answer how seniors feel who are not selected to helm a final film project. I know one student who chose the DP position, which was also competitive. </p>

<p>Like most film production programs, kids also do lots of indie projects, internships, and other film work to build their reels. One young woman received an internship at the Cannes Film Festival where she made her own films, for example, of the happenings. Simply put, there are a ton of filmmaking opportunities offered to the kids in this program.</p>

<p>Your second question is also important and I’m truly not the expert to explain about copyrights. The answer is available by talking to USC’s SCA or checking the website. Since, technically and in reality, there is literally no actual $$ to be made from short student films the ownership of the films made in SCA do not take anything out of the pockets of their creators. The IP is always owned by the students. However, USC has waivers and contracts or agreements with all the film and technical unions which the students get full use of. They are covered by USC’s insurance, etc. Students are encouraged to enter film festivals and there is an office which helps them do this. Please check further to get the real details as we have not heard of this being a problem–except in the eyes of certain competitive film schools. :)</p>

3

<p>Thank you for your response. It’s comforting to know that film students leave with a promising “reel” even if it doesn’t include a senior thesis. I was aware that “owning” your student films isn’t that huge of deal, it’s more psychological I imagine. </p>

<p>I’d still really appreciate any other input or thoughts from any film people out there.</p>

<p>Also, is it true that you don’t start making films until your junior year? And, what about internships? Are they primarily available to upperclassmen? </p>

<p>My S has already been accepted to LMU film production as EA, but he’s also applied to Chapman and USC. We’re trying to get as much information as possible and will be visiting all 3 next week.</p>

<p>Thanks again for anything anyone would like to share.</p>

4

<p>calimom,
If you have the time check out the USC parents’ thread here. There are some other parents of film students who can give you some insights.</p>

<p>As madbean remarked this is time for finals, so the students are not very active on the boards.</p>

5

<p>I’m the parent of a production major who is right in the middle of this process. The thing is, as I understand it, the process is undergoing a major overhaul. My son is under the impression that he is in the first class that doesn’t get to use film in one of the production sequence classes (although there are other opportunities to use film) and the last class that doesn’t have thesis films under the control of each student. I am not sure how the new system will work; it might be worth getting info directly from the production division of the department.</p>

<p>At present, to the best of my knowledge, this is how it works. As soon as production students finish all of their gen ed requirements, they can enroll in the production sequence, starting with 290 as described by madbean. The students in 290 make I think 5 shorts which they write, film, cast, edit etc. Very intense. </p>

<p>The next production class in the series is 310 in which production students are assigned a partner at random. Over the course of the semester, each student writes, directs, and does the sound design on one short while the other student shoots and edits. The students co-produce and the requirements here can be onerous with casting often with professional actors, permitting through the city and county, requirements for studio teachers, humane society reps if there are animals, and stunt coordinators. The music used in 310’s, if any, must be original so the directors select and work with student composers as well. The resulting films can be quite breathtaking. </p>

<p>Then comes the 480 class, which is, I believe, the thing that is changing. I don’t think production students are required to take 480 – there are other courses that will suffice. But at present 480 is as close as undergrads get to a thesis film.</p>

<p>First, a number of student written scripts are pitched. The faculty select 4 of the scripts to be shot each semester. Then production seniors who have already taken a directing course and worked on a 480 film in a different capacity previously interview to be selected as director of one of the 4 films, and 4 are chosen. This means that under the current system, only 8 students per year get to direct one of these upper level films. The 4 directors then interview other students who apply to work on their films in various capacities. Each film has 2 dp’s; 2 editors; a production designer, sound person, and students functioning in other capacities. Some of these positions are very competitive and n.b. fellow students are making the decision of who gets to do what on each 480 team. There are specialty classes connected to the 480, for example in editing and cinematography, that can only be taken by the students selected for those positions on the 480 films – although, of course, there are other advanced classes in those areas.</p>

<p>To answer some of the questions above: Many students volunteer to help with 290, 310, 480 and even grad. films starting freshman year. Some work at Trojan Vision tv and make original pilots or tv programs there right from the start. Some work on independent projects and students who already know what they’re doing may be hired pretty early on to work on such things as promos or rock videos. There are also different competitions and 48 hour film things in which students can participate right from the start. They can start the official production sequence in their soph. years, and before then there are critical studies courses as well as specialty courses in such things as special effects, sound, cinematography that are quite hands on that they can take.</p>

<p>Part of the reason that gen ed classes have to be finished first is that the courses in the production sequence are extremely time intensive and, actually, just plain intense. The time frames for shooting and finishing various facets of the films are pretty rigorous and there are a lot of very late nights in the lab. The faculty and grad student assistants are extremely supportive and involved in a hands on way. </p>

<p>While many students might like to modify the program in different ways (eliminate all non-film classes! make movies all the time starting just after freshman orientation! have an infinite number of spaces in all classes so you don’t have to wait to take the specialty course you really really must have in your freshman year!), it’s hard to complain too loudly about being in a setting with so many phenomenal and accessible faculty members, talented and committed fellow students, and a general sense of having fallen into hog heaven.</p>

6

<p>I’m a film minor, so I’m not qualified to answer this question, but I know that not all production majors necessarily want to be directors. I worked on a 310 this semester (my first) as a production designer, and I went to both the screenings for my director’s section. They produced some really great films. One of them was full scale Hollywood level, I have no clue how he did it, but the rest of the films were also really quite good. I know my director is planning on submitting his to festivals, and I would be surprised if others weren’t. From what I can tell, some directors have a lot of people working for them, and some have almost no one working for them. For example, the one I mentioned earlier had a ridiculous amount of people listed in the credits, while others would have a handful of names. Ours had more people working on it than most. I think it really depends on the director and the ambition of the project, really. </p>

<p>Sorry this post is more about 310 than 480, that’s just what I know.</p>

7

<p>You can correct me if I’m wrong since my son is several years out of USC, but all students in the film school take 290. He was a critical studies major and he took the course and made his five films.</p>

<p>And, BTW, the pitch thing sounds like what they have been doing at Florida State for years. Only certain seniors get to make their films, but everyone gets to work on the films.</p>

8

<p>norcalimom, hope you liked your visit. </p>

<p>My S is home for winter break and he mentioned how important it has been for his films to be able to cast SAG actors (due to an exclusive arrangement USC has with SAG). According to S, this unique benefit of working with professional actors without payment (and the contract with their union) is a main reason SCA must control ownership of student films. That is–if I understood what he explained correctly. :)</p>

<p>For others who are wondering about what sets USC’s film school apart–here are a few recent items from the SCA newsletter:</p>

<p>“The SCA family made a strong showing at the Academy Awards this year, as the worldwide box-office record holder Avatar, produced by Jon Landau, was nominated for Best Picture, along with eight other nominations, and took home three wins. Jason Reitman’s Up in the Air received six nominations, and Mark Stoeckinger was nominated for Best Sound Editing for Star Trek. 2009 Student Academy Award winner Gregg Helvey’s short film, Kavi, was also nominated for Best Short Film.”</p>

<p>Also…</p>

<p>“SCA hosted in-depth discussions and Q & A sessions with Judd Apatow, Ann Biderman, Roger and Julie Corman, Brian Grazer, Brad Grey, Sumner Redstone, Melissa Roserberg, Lee Unkrich, Ron Howard, Jason Reitman, Jay Roach, Ray Romano, Melissa Rosenbreg, John Singleton, Bryan Singer and Tim Story.”</p>

<p>And here’s a list of alumni TV and Film releases this year–</p>

<p>(All feature USC alums as Exec Producers/ Producers + other key creative positions as noted) 82nd Annual Academy Awards, Bone, Castle, Chuck, The Closer, Desperate Housewives, Dexter, The Event, Grey’s Anatomy, House, Huge, Life Unexpected, Mad Men, Make it or Break It, Melissa and Joey, The Office, Spartacus, Undercovers, United States of Tara, Weeds, Wipeout, Cats and Dogs: The Revenge of Kitty Galore, Date Night, Despicable Me (Writer), Due Date, Fair Game, Get Him to the Greek, Get Low (Director), Iron Man 2, Let Me In (Writer/Director), Lucky (Director), Middle Men, Morning Glory, Paranormal Activity 2 (Writer), Piranha 3D (Writer), Predators (Writer), Prince of Persia: The Sands of Time (Writer/Exec Prod), Ramona and Beezus (Director, Writer), Robin Hood, Salt, Saw 3D (Director), Secretariat, Shrek Forever After (Sup Sound Editor), The Social Network (Dir of Photog), The Sorcerer’s Apprentice (Director, Writer), Step Up 3D (Writer, Director), The Town (Cinematographer), Toy Story 3 (Director/Story), The Twilight Saga: Eclipse (Writer).</p>

9

<p>I am yet another tv/film production parent, with a son in sophomore year at USC. Nester provided a great explanation of the way the sequences work. All I can add is that I’m very happy my son is at a top-25 university where it is required that he has a full and challenging liberal arts experience. He has had some fantastic, tough, eye-opening courses outside of the SCA as he works on fulfilling his general ed requirements. I want him to come out of college with the tv/film background that he wants - and I assure you he’s found plenty of opportunities already, so many I nag him about not neglecting his classes - but also as an educated person. I don’t know enough about Chapman or LMU to compare overall academic quality to USC but I do feel USC is absolutely top notch when it comes to rigor, expectations and the development of critical thinking. I certainly wish it didn’t cost so much, but that’s about my only criticism.</p>

10

<p>jsyk…
USC grads at this year’s Sundance:
DRAMATIC COMPETITION</p>

<p>Circumstance
Title Sequence Designed by Chino Wong ‘05</p>

<p>HERE
Written and Directed by Braden King ‘93</p>

<p>SHORT FILM PROGRAM</p>

<p>The Legend of Beaver Dam
Written and Directed by Jerome Sable ‘09</p>

<p>Living for 32
Edited by Garrett Sergeant ‘08</p>

<p>Stopover
Directed by Ioana Uricaru ‘07</p>

<p>PREMIERES</p>

<p>The Greatest Movie Ever Sold
Produced by Keith Calder ‘04</p>

<p>The Music Never Stopped
Executive Produced by Neal Moritz ‘85</p>

<p>Red State
Executive Produced by Shea Kammer ‘05; 2nd Unit
Cinematography by Todd Dos Reis ‘94</p>

<p>Son of No One
Unit Production Manager Katie Mustard ‘01</p>

<p>U.S. DOCUMENTARY COMPETITION</p>

<p>Beats Rhymes & Life: The Travels of a Tribe Called Quest
Produced by Frank Mele ‘00 and
Edward Parks ‘00</p>

<p>DOCUMENTARY PREMIERES</p>

<p>Becoming Chaz
Field Produced by Ashley York ‘06</p>

<p>Project Rebirth
Produced and Directed by James Whitaker ‘94</p>

<p>SPOTLIGHT</p>

<p>Kaboom
Written, Produced, and Directed by Gregg Araki ‘85</p>

<p>NEXT</p>

<p>The Lie
Associate Produced by Joey Boukadakis ‘01</p>

<p>Restless City
Produced by Katie Mustard ‘01</p>

<p>PARK CITY AT MIDNIGHT</p>

<p>The Woman
Written and Directed by Lucky McKee ‘97</p>

<p>INDIGENOUS SHOWCASE</p>

<p>Grab
Co-produced by Ashley York ‘06</p>

<p>NEW FRONTIER</p>

<p>Jess + Moss
Written, Produced, Directed by Clay Jeter ‘06
Written and Produced by Will Basanta ’06 and Issac Hagy ‘06
Executive Produced by Jason Berman ‘06 and David Gelb ‘06
Cinematography by Will Basanta ‘06 and Clay Jeter ‘06
Edited by Isaac Hagy ‘06
Supervising Sound Editor Mark Stoeckinger ‘82</p>

<p>SLAMDANCE FESTIVAL</p>

<p>5 Dollars
Written, Produced, and Directed by Clay Jeter ’06; Produced by Will Basanta ’06 and Matthew Chavez ‘06
Edited by Brandon Driscoll-Luttringer ‘06
1st Assistant Camera Matthew Chavez ‘06
VFX, Color by Steven Drypolcher ‘06</p>

<p>Hello Caller
Cinematography by Kelly Richard ‘01</p>

<p>Pete Smalls is Dead
Produced by Sean-Michael Smith ‘09</p>

<p>Superheroes
Edited by Doug Blush ’88,
Derek Boonstra ‘07 and Jeff Chen ‘08</p>

<p>source: [USC</a> School of Cinematic Arts - About Events Sundance: USC Festival Cocktail Party](<a href=“http://cinema.usc.edu/about/events/event_20101222.htm]USC”>http://cinema.usc.edu/about/events/event_20101222.htm)</p>

11

<p>I didn’t think to ask this on the tour, but do students incur any costs in making their films in any of these classes? Is there a budget and student pay anything over that? Are things like location permits, labor, transportation of equipment, etc. provided by USC or something students must pay for?</p>

12

<p>No one else has answered this yet, and once someone comes along with a better answer, that will obviously trump mine, but yes, I think students (or at least my director) pay. I don’t know if they are allocated a budget, but I know for the one I worked on, he/the DP rented a dolly & tracks and a UHaul (though they shared that with at least one other production team from the same section), and he was talking about fees to shoot in particular locations. We also rented props from Universal, who offers a USC student discount, I believe. I don’t know if that was my director’s own money or a budget, though. I’m guessing for the bigger scale projects, they do spend their own money–the Hollywood level one I mentioned seemed to have been filmed on some kind of elaborate period set, one that I’m sure cost a lot of money to create, whether it already existed and was a part of Universal’s 1930s New York City or whatever, or whether the students built it themselves, or whether it was CGI (though I don’t think it was).</p>

<p>Sorry this isn’t a very good reply, hopefully someone will come along and answer this better than I have. :)</p>

13

<p>@wisdom thank you … lol I appreciate the answer. Actually, it’s helpful in that it seems similar to answers I’ve received from the other film schools. Much is available at the schools, labor is often the “crew,” discounts are usually available for students, help with permits comes from an office at the school, but certain costs and fees are generally the responsibility of the students. </p>

<p>Certainly, if anyone has specifics they can add, that would be terrific. :-)</p>

14

<p>Here’s what I know, and it’s a little vague but you’ll get the gist of it: </p>

<p>For classes that involve individual projects, like 290 and 310, the student funds the extra expenses, but there’s a lot of equipment that can be borrowed from USC. My son said that he knows some kids who spent $10 on the 310 film, and some who spent $9,000 or so. Some kids raise money online. It varies. It’s normally possible to get composers to work for free, but the orchestra to perform the music is expensive. I think my son composed and performed his own music for his 290 films, but I’m not sure. They often rent props, and they buy “craft” - food for the workers. For a kids without a ton of money, there’s an incentive to innovate! I remember on our tour the grad student who led us around talked a lot about how he’d gotten very good at chatting up restaurant owners and obtaining free food.</p>

<p>There is official budgetary support for the bigger group projects associated with a course. E.g. the 480 class might have a budget of $10k. Individual students pay a lab fee for each of these classes, but they also contribute toward a slush fund. That contribution might be $200 from each participant, but it can vary a lot. The USC budget goes toward approved items that are carefully documented, but the slush fund is for a lot of the incidentals.</p>

<p>My son took a class in which students produced a TV pilot. There’s a big budget - around $24k - for this year-long class. There were more kids in the class, so the slush fund contributions were only $50 per person for the first semester, but then only $15 of that got used. The USC funded part goes to things like carpenters and materials to build an elaborate sound stage, and things like film for the cameras, lighting supplies, etc. It’s a pretty elaborate production, so the school steps up and funds most of it.</p>

<p>Hope this helps!</p>