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...film schools, there is a notion that they’re trying to get you jobs, and that this is an experience that leads you into the industry,” Moss said. “Courses are broken down into the industrial mode: there are courses on cinematography, or scriptwriting, or producing, or directing. We don’t do that. We are interested in film as a way to know the world, as any other discipline here would...
Berman would agree. “You don’t necessarily get the screenwriting and dramaturgical education that you would in a film school,” he said. But Harvard’s methodology has its own advantages. “You don’t get dogma or pressure to conform to a certain dramatic structure,” he added. This creative license is one of the chief benefits of learning filmmaking at Harvard...
...between 300 and 400. From the point of view of a distributor, the bar has been raised. “You’re making fewer films, and being more careful about the ones you’re choosing, so it’s harder to get funding,” McGlade said. “People aren’t getting the same amount of money for deals...
...only due to tax credits. “People are realizing it’s much easier to shoot in Boston than in New York,” he said. “In New York, there’s so many permits you have to get, and it’s so bureaucratic...
...more with my hesitation, because I tend to want to [over]think when the puck is on my stick. In the past weeks, since I’ve been on the top two scoring lines, I’ve had coaches tell me that I have to get the puck off my stick much faster. And that definitely paid off against Clarkson...