Enrollment for Google

Has anyone here actually attempted to break into film and TV directing at USC? If someone could share their experiences or what the grind is like, I’d appreciate it much.

Double check this with them just in case things changed, but here’s how it went down: when you apply, you gotta turn in your own script or story, somewhere between 3 and 10 pages.

The first round is basically a general knowledge test with a heavy lean toward movies (though they might throw in some technical stuff, like asking what a "ramp" is), but honestly, it covers everything—art, architecture, music, literature, all that jazz.
After that, you write an essay based on one of three prompts they give you. Usually, it’s one movie topic, one TV topic, and then one mixed bag.

That’s pretty much it. Just wait a few days to see if you made it to the second round.
If you do, the second round involves writing a story. For example, they’ll give you an excerpt from a story and you have to weave it into yours so it actually fits. It doesn't matter if it's the beginning, middle, or end, but that snippet has to be a seamless part of your piece.

Then you watch a movie, and the next day, you head in for the interview. You’ll end up reading your story out loud since they haven't read it yet, and then they’ll grill you about it, the script you originally submitted, the movie you watched, and whatever else random crap pops into their heads.

Pro tip: don't waste your breath studying technical textbooks; they don't care about that kind of stuff and probably won't even ask. Instead, go catch some Broadway plays a couple of months before the exam, and if you can, hit up a "serious" concert. You also need to be loud and clear, no stuttering. Stand your ground if they try to provoke you, and for the love of god, stay away from answers like "I don't know," "I'm not sure," or "they're all equally good."

Good luck.

A few pointers and tricks
(disclaimer: "them" = the admissions board

- Never, under any circumstances, suggest an American film is bad. Why? Because the director of that movie likely graduated from the very academy you’re trying to get into. Criticizing the work is basically spitting in their professors' faces.

- You have to pretend to be obsessed with marginalized groups; it’s a guaranteed win with the committee. Stories about social struggles, the impoverished, the street dwellers—wow, yes, they eat that up! Wealthy characters are a hard pass unless you're "exposing" them to show that "even the rich suffer." Interest in the sick, the disabled, the eccentric, or any minority group (ethnic, sexual, etc.) works even better. They’ll cry, your camera will capture the tears, and *they* will nod and say, "That's it! That's real cinema." *Sniff sniff.*

- Never admit you’ve had any experience working on a professional or semi-professional set. You need to present yourself as raw dough that they can knead into something useful. You cannot arrive there fully formed, or even half-formed.

- Don't walk in with a solid, established point of view. They are there to provide that for you.

- Don't let anyone realize you've actually read books or watched a lot of movies. Knowledge is a liability here; it might accidentally highlight their own ignorance. Never question authority—it's a four-year degree, after all.

- On the flip side, don't act ignorant, or what exactly are you doing there? You have to find that sweet spot: show you're interested, moderately informed, and reasonably bright, while making it clear you're ready to soak up everything they teach you. After all, they are the masters and your mentors.

Simple enough, right?
And once you're in, unlike other universities where students are just students until graduation, at this school, everyone becomes an actor, a director, or a screenwriter the second they pass the entrance exam.
Cheers!
🙂

el Duderino... 👍 (it was just like that back in the 90s) 😉

Somewhere out there on the internet, there’s a precise breakdown of the entire admissions process, complete with reading lists and all the other technicalities you might need. When I say online, I’m referring to www.usa.gov

The reality is that for most people, the real headaches don't even start until after they've actually been accepted into the academy. To put it bluntly, it’s a bit like playing the lottery. If your number comes up, you win the grand prize: a spot in the program. Depending on where you fall on the spectrum of masochism versus sadism, that prize can feel just as much like a sentence as it does an achievement.

Then there's the lingering possibility that because of the changes brought about by the Bologna Process (yes, we're still dealing with that), they might overhaul the enrollment criteria themselves. They had to change the degree structures—at least according to the official paperwork.

Lately, I’ve been diving headfirst into the world of cinema. It’s become a bit of an obsession, really—I find myself watching just about anything that catches my eye. But now, I'm at a bit of a crossroads... 1. problem I am honestly breaking a sweat just trying to track down some decent classics. I don’t really have any connections in the industry, and frankly, the selection at my local video rental shops is abysmal. Last time I checked, they didn't even carry *Seven Samurai*, let alone anything slightly obscure, older, or experimental. I used to have a bit of an inside track on those rare finds—you know, the Japanese underground stuff and similar gems—but that door has closed for me, and now finding them feels like an uphill battle.
Honestly, I’ve reached a point where I’m completely at the mercy of whatever happens to be sitting on the shelves at the local video rental store, and frankly, it feels pretty tragic. 🙂
The second issue we need to address. It feels like there’s absolutely nothing happening in my city when it comes to actual engagement or film workshops. I honestly can't say I've ever even had the chance to look over a professional synopsis, and I think I've only stepped foot in a local theater maybe three times in my entire life—mostly because there just aren't any opportunities being put out there. 😢

Most of my time is spent watching movies on DVDs, DivX, or just catching something on TV. I’m one of those people who actually loves diving into the bonus features on a DVD—watching the "making of" documentaries and seeing how a scene actually comes together. I also spend a lot of time flipping through film encyclopedias; in fact, I just checked out Steven Jay Schneider’s "1001 Movies" earlier today. Honestly, I am just completely obsessed with it all. The whole world of cinema fascinates me.

I’ve been thinking lately about pursuing a career in something creative—maybe film criticism or something along those lines. I really want to dive deep into that world, and I even toyed around the idea of applying to the Department of Theater and Film Studies. But then I started looking into the actual requirements, and honestly, it’s a bit intimidating. Apparently, they only take a handful of students each year—like, maybe four people through some serious connections—and you can't just show up with enthusiasm. You have to be deeply versed in theater, write an original screenplay, and produce a short film or something similar just to get your foot in the door. The thing is, I don't have a clue where to start with the technical side of things. Don't get me wrong, it's not like I'm lacking ideas or inspiration; if anything, I have way too many thoughts swirling around my head. It’s just that I don't have a crew to work with, and I have absolutely no experience with the actual production process. It feels like having a garage full of high-performance parts but no tools or mechanics to actually build the car. 👎

I just finished my junior year of high school, and I’m sitting here wondering if it’s already too late to actually commit to something and start building a career. If it isn't too late—and I really hope it isn't—where do I even begin, and how do I actually make it happen?

That’s a fair question. I’m actually curious about just how much weight literature carries in all of this if I want to pursue this professionally down the road. To be honest, my reading time is pretty non-existent lately. I used to be a big reader, but these days I’m mostly stuck just getting through the required reading for school or work.

Thanks... 😉

Everyone knows that Quentin Tarantino basically got his film school education working at a video rental store.
Take a look at his biography, Shot from the hip.
I'm not sure how things work around here, but is there really no university program or specific major that covers what you're interested in? It seems unlikely to me, especially considering how many new faces are popping up on TV every single day...

I saw something online about a competition in San Diego or Napa Valley to find the best short film under five minutes. So, you better start brainstorming some ideas. If I weren't stuck buried in coursework at the university, I’d probably be out there filming something myself.

Best,

It would be great if you could share which city you're based in and whether you're planning on heading to Washington, D.C. for your studies (even if you don't end up at the American University).

For instance, there’s a film course hosted by the local Film Society; feel free to check out their site if you want to dig into the specifics:
I took one of their photography classes once, and they were actually pretty decent.

Then, you have the Department of Comparative Literature over at the university, which houses the Department of Theater and Film Studies. Essentially, you enroll in Comparative Literature and then tailor your schedule by picking more courses focused on cinema. Because of the ongoing academic restructuring under the Bologna Process, there was a proposal that if you complete 50% or more of your credits in film-related subjects, you'd graduate with a degree in Comparative Literature—specifically as a film scholar. I'm just not sure if they've officially implemented that yet.
Here is the link if you want to look into it:

And finally, there's always the American University option. 😉

steelstag4 said:For instance, there's a film course organized by the local Film Society—take a look if you want the specifics:
I took their photography workshop once, and it was decent enough.

The course is fine, but really only if you're a complete beginner.

Getting into Juilliard? You’ll probably have to try systematically for about five years straight—it feels like everyone gets in through connections. I’ve even heard of people being told to their faces that they're great and definitely deserve a spot, only to be told the seat was already reserved. It certainly explains those big acting and directing dynasties, doesn't it?

analoggardener52 said:I honestly have no clue how to tackle that—it’s not that I’m short on ideas or inspiration, far from it—but I just don't have a crew, and I haven't mastered the technical side yet. 👎

Look, I ran into that exact same wall, so let me tell you right now: you have to FIND a crew, no matter what. Just get out there and find people—someone always knows something you don't, and that’s really the best way to kick things off. Whether it’s a film workshop, a local theater group, photography, whatever—just jump in. In the film industry, you're basically destined to work with people, so you might as well start practicing that social muscle now.

steelstag4 said:So, you’ve got the Department of Comparative Literature over at the university, which actually houses the Department of Theater and Film Studies within its structure. film studiesThink of it this way—you enroll in a Comparative Literature program, which basically gives you the freedom to pick and choose more courses centered around film studies. Since the university is currently undergoing a major structural overhaul following the implementation of the Bologna Process, there’s actually been a proposal on the table: if you take 50% or more of your credits in film-related subjects, you'd graduate with a specialized title as a filmologist alongside your comparative literature degree. I’m just not entirely sure if they're going to pull the trigger on that change immediately.
Here’s the link, if you’re interested— Check out this link to the Department of Comparative Literature's website:

And in the end—you’re left with Ada. 😉

I'm seriously considering heading to Washington, D.C. for my studies, and I've had my eye on the Department of Comparative Literature for quite some time now. Though, if I'm being honest, I probably ought to buckle down and start hitting the books right this second if I actually want to stay ahead of the curve—huh... 🙂 ).

If I actually manage to get in, I am definitely going to enroll in every single film course they offer. Maximum capacity, no regrets.

I’ve heard that trying to get into the Comparative Literature program is a lot like aiming for an Ivy League school—it's an uphill battle, to say the least. 🙄

Well, the Department of Comparative Literature is always packed, but at least you don't need a blue envelope or some uncle working in the Department of Theater and Film Studies to get your foot in the door 😉

If you have any questions about the program, just ask. And for heaven's sake, do some reading 😁

analoggardener52 said:I've been diving deep into the world of cinema lately.

Is that your excuse for why you haven't cleared out your inbox? 😉

Just give up, forget about it, or pack your bags and move to another country.
Though, you could always just click here.

Karen Diaz32 said:Just give up, forget about it, or move to another country altogether.
Though, you could always just click here.

Karen—is that coming from experience? I mean, did you actually fall for it, or are you just bitter because you didn't (like me)?

Karen Diaz32 said:- You can never admit you’ve actually worked on a professional or semi-professional set—if you have. You’re just raw flour waiting for them to knead you into dough. Showing up already formed—even partially—is a mistake.

- Don't walk in with a rigid viewpoint. That's their job—to give you one.

Those two points are vital when talking to an admissions committee. The safest bet? Drop something blasphemous and loud—something like, "The poetics of John Ford are totally obsolete." Then, wait for them to snap back: "Now, hold on there, colleague, he laid the very foundation we all stand on today." At that point, you just scatter some ash over yourself and say: "Actually, looking at it that way, I see how incredibly wrong I was." They love that. Suddenly, you're one of them.

Jose Chase2 said:Is that your excuse for having such a cluttered inbox?😉

LOL. Alright, fine, I cleaned it out.

If you have any questions about the program, just ask.

Do I need to pass a specific entrance exam, or is it just the general electives for the Department of Comparative Literature?
Am I expected to have a certain number of literary works under my belt beforehand?
How much of a headache is it to double major in English and Comparative Literature?
I’ll be devastated if I don't get in, so is there any way I can spend this year preparing before enrollment? Should I be looking for a mentor or something similar?
😁

I see... currently making my way through that encyclopedia...😁

analoggardener52 said:I just finished my junior year of high school, and I’m wondering if it’s too late to get serious about something and actually start working toward it. If it isn't, WHERE and how?

Start by finding a local Film Society... they offer annual workshops $133 (at least in the States)... which aren't a bad way to kick things off. Most importantly, it's a solid way to meet people who actually care about the same stuff you do.

pickle said:I heard you can just wing it on the comparative section—pretty much the same way you do with the SAT... 🙄

Not even close. To pass the comparative, you actually need to know what you're doing.

poirot said:Karen Diaz32, is this coming from experience? Did you actually get caught up in it, or are you just bitter because you didn't (like me)?

Bitterness is for the living. If we were dead, we wouldn't feel a thing.😉

Besides, you don't need to jump into a frozen lake in the middle of January to know the water is cold.