Education

I know there’s a post in the archives about film school, and [whether it’s necessary,](http://johnaugust.com/archives/2003/is-film-school-necessary) but I would love to hear any advice you have on actually applying to film school.

How can someone improve their chances for getting accepted to a MFA program in film production/writing? What in your opinion are film schools really looking for in applicants? Any thoughts on what to avoid in an application?

–Oz
Honolulu, HI

This time, I decided I would go right to the source and ask [Howard A. Rodman](http://imdb.com/name/nm0734912/maindetails), who in addition to being a fine writer and all-around good guy, is the chair of the MFA and BFA programs in screen and television writing of the USC Cinema School.

Here’s what he had to say.

**Howard Rodman:** I read many, many applications. [We just this week finished selecting this fall’s incoming class.] Here’s what we’re looking for:

1. Writing. Good writing. Not necessarily in screenplay format. We’re less interested, at this point, in whether you know what we’re here to teach you, than in whether you can put together a sentence. Tell a story. Create a dimensional character. In short: do you have your very own voice? [P.S. – We know the difference between “its” and “it’s,” and we actually care.]

2. Grades, good enough to pass muster with the larger USC admissions apparatus, and good enough to give us the confidence you’ll be able to execute a demanding program. Four point something GPAs and 1600 SATs (or GREs) are truly lovely, but are not in and of themselves guarantors of anything. We’re looking for writers [see #1 above], but we do need to know you can handle the load.

3. Diversity. Folks with life experience. Folks from strange and wonderful places. Folks who’ve had interesting ‘first’ careers before turning to writing. Not just your typical work/study/get ahead/kill types. The New York Times says that a cinema MFA may be the new MBA; but I’m not sure we’d view it that way.

4. A good mix. Not all Hummers, not all Priuses.

I am 14 years-old and am very interested in screenwriting.
I have read numerous books on the subject. I have four questions:

1. At 14 years-old, what else should I be doing besides reading
   screenwriting books?

2. What screenwriting software do you use and why?
3. In your years of experience, do you find that your creative
   vision makes it to the big screen, without being altered too much?

4. How old were you when you wrote your first script? How old
   were you when your first script got purchased?

Thank you in advance for answering my questions.

–Adam

Usually I answer one or two questions per reader, but I remember when I was
fourteen I had a lot of questions, so I’ll make an exception.

First, at 14 years old you should be watching everything and everybody. I
don’t mean movies. Watch people, try to figure them out, try to listen to the
cadence and content of their speech. People are simply characters without a
plot. They’re your best place to start. And no one thinks a 14-year old is
paying attention, so they’re likely to let you watch and listen.

And of course you should write. But I wouldn’t get too hung up on writing
a whole screenplay just yet. Write snippets. Write stories. Just write whatever
you feel like.

Second, I use Final Draft for the Macintosh. I love it, but there are other
good programs. And remember, a tool is only as good as the person using it.

Third, a screenwriter’s creative vision often does suffer on the way to the
screen. A screenplay is a blueprint, and the actual movie that gets constructed
may not live up to your highest hopes. I was thrilled with GO, but then I also
produced, so I had a pretty big hand in how it would be done. Other projects
haven’t always met my expectations, and it’s usually because choices were made
that I wouldn’t have made. That’s the reality when you’re not the final voice
on a movie.

Fourth, I was 22 when I wrote my first script. I wrote it in film school,
and it was overwritten like most first scripts are. It’s never been produced,
and honestly it never should be. But it got me started. The first script I
was paid to write was HOW TO EAT FRIED WORMS, which is just now making it to
the gate. The first original script I sold was GO.

When I look back to stuff I wrote when I was 14, I’m usually impressed by
the vocabulary and horrified by the subject matter. I wrote about the stupidest
things, most of them related to Dungeons & Dragons. But it’s important
that I wrote those early things, because it gave me the confidence to make
a living at it now.