I must admit that my path to York’s Film Production program wasn’t an easy one. First, I was an average student during my high school years. Also, I just happened to be part of the massive “double cohort” year of 2003, during which twice the normal number of students graduated from high school, competing for a limited number of university slots.
I bounced around Ryerson University’s Bachelor of Arts program for a year, and then spent another year in their Continuing Education in Film Production.
Everyone had told me that Ryerson was the best school in Toronto for those pursuing a career in Film Production.
Unfortunately, even after two years at Ryerson, I didn’t feel that the school was a good fit for me. Some of the professors were fantastic, but something was just missing. Everyone had told me that Ryerson was the best school in Toronto for those pursuing a career in Film Production. But on the advice of a good friend, I decided to apply to York University’s Film Production department. He was a recent York film grad who had achieved some early success – his fourth year film project played at several international festivals – so his advice carried quite a bit of weight.
Entering York’s Film Program
I entered the York program in second year. One drawback was that I missed learning how their first year classes were structured. Thankfully, I had gained the relevant knowledge at Ryerson and also by making films on my own, so I wasn’t left behind.
First year is similar in both programs. Students are taught about the basics of film theory, while also being introduced to black-and-white 16mm cameras. They are also given a number of short film assignments. These are specifically designed to introduce both technical and aesthetic challenges while providing students opportunities to fill a variety of roles on set.
The structure of second year at York focuses more strongly on specialization. Students who wish to direct can pitch ideas. Those chosen by the professor are crewed by students in the class. Over the span of their second year, students gain experience in a variety or roles (shooting, directing, editing, lighting, sound design) and have a chance to figure out which aspect of film making appeals to them the most.
By third year, most York students have streamed into directing (fiction, alternative or documentary), cinematography, editing or sound design. The directors write scripts, go through a tough editing process, and then draw on talent from the other streams to get their films made. It is a very intuitive process that allows for very dedicated students to stream multiple disciplines at once. Directors can edit other people’s films, cinematographers can do sound work, etc.
Fourth year works much the same as third, but the productions tend to be a little larger, and students seem more at ease with fulfilling just one or two roles. This is where students truly begin to specialize in their area of the craft.
It is important to point out that through each year, there is also a strong emphasis on film theory, and students are also required to complete the requisite humanities, sciences and non-film fine arts courses to complete their diploma. In my own case, I took some history and still photography courses to round out my credits.
York’s Strong Points
While the professors were generally quite good, and the classes mostly enjoyable, what made my experience at York so wonderful were my classmates. This is important because film production is such a team-oriented endeavour. In this case, I met and worked with people who brought just the right mix of humour and talent to the program.
The years I was there, we were blessed with a cohort of film makers who were almost always willing to put ego aside.
I’ve always been the type of person who tries to know everything. Often at film school, egos can clash and the work suffers for it. The years I was there, we were blessed with a cohort of film makers who were almost always willing to put ego aside, to pull all-nighters and lend a helping a hand whenever possible. Many of them have remained my friends and co-workers in the years since, and while I might not have made it known at the time, I am deeply indebted to each and every one of them for making my years at York such a rewarding experience—academically and personally.
There is something about the school itself which fosters this type of camaraderie. All the staff in the film production program were willing to pull the same insane hours, to bend the rules a bit when it mattered, and to generally help you get your film made.
A Few Negatives
At the same time, York has always struggled to maintain its technical prowess, especially since its film program is often compared with the one at Ryerson which is much better funded. I realize that my years at York occurred during a transitional period, and I know that the program is much more current today.
The campus in northwest Toronto is gigantic, and a little bureaucratic – just getting permission to film on the university’s own site can be daunting! On a few occasions I had to butt heads (gently, whenever possible) with faculty to get my film made my way. But this was all valuable training for the real world.
Another VERY important thing to consider about York’s film program is cost. The tuition is comparable to almost any other school out there. But if you intend to produce or direct your own films, this can become a very expensive proposition. Despite wonderful granting opportunities provided by William F. White’s and PS Production Services, and access to all of York’s equipment and studio space, I still managed to spend between $8,000 and $10,000 per year on each of my two film projects.
Of course, there are ways to spend less by being extra “creative,” but to be realistic, you should plan on spending some extra cash.
There aren’t a lot of film-related jobs in the real world, especially if you want to direct.
Life After Film School
Life after film school has been a bit of a shock. This career path is not for the faint of heart, I assure you. There aren’t a lot of film-related jobs in the real world, especially if you want to direct. You can’t simply walk into a studio, say you’re the next Steven Speilberg and expect millions of bucks to produce your dream movie.
We were well prepared for this reality by our professors, but I think we each secretly hoped that we’d be the one who avoided all the pitfalls. For me, thus far, this hasn’t been so.
However, I have worked on a few independent projects in the two years since I finished my degree, and had some success with them. My work has shown at several festivals, my 3rd year film, Fare, was sold for distribution on TV, and I pick up regular freelance work shooting and editing.
That said, I’m still not truly making a living as a film maker, and probably won’t for some years to come. It’s a long haul, but I have no regrets and hope that whatever talent I have, along with some gritty determination to practice the craft I love, will pay off.
Much of the work contained on my demo reel was shot at York, as were my two short films, Fare and The Black Shell. You can see both of these, along with some of my work on other people’s films and more recent projects at www.mknayman.com.
Best of luck.
(1 votes, average: 5.00 out of 5)
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Thanks a lot! Best of luck out there