Professional Motion Picture Production and Distribution NEWS

Columbia College Hollywood (www.columbiacollege.edu) is featured in StudentFilmmakers Magazine's February 2009 Edition on Page 43. Read the accompanying online article here.

An update on the new soundstage at the CCH campus.

Columbia College Hollywood (www.columbiacollege.edu) broke ground last summer with the construction of its new Gail Patrick Soundstage.StudentFilmmakers Magazine talks with Andrew Kesler, Dean of Students at Columbia College Hollywood, for an update on the soundstage.

Could you give us an update on the Gail Patrick Soundstage at Columbia College Hollywood?

Andrew Kesler : It is open and in use. We have one class that meets there per week, and we have been doing “boot camps” on the sound stage. There will be a bit of a learning curve for not just our students, but our faculty as well in how to use the dimmer board, for example. Our Digital Studio Lighting class was having a grand time the first week of the quarter as the inaugural group.

Could you tell us some of the features of the soundstage?

Andrew Kesler : It offers a shooting space of 850 square feet with a height to the lighting grid of 17”6’, and a Smart Fade 1248 Programmable ETC dimmer board. The stage itself is attached to the building, but for access, one must exit our main building. They thought of everything when designing the stage – it even has an eye wash fountain.

What were some of Columbia College Hollywood's goals and objectives for building the soundstage?

Andrew Kesler : To be candid, a sound stage was the one thing we really lacked. We have a state-of-the-art TV Studio, and other stages as well as standing sets, but to offer our students the most complete, in-depth education, we needed a sound stage. The first day said it all. The 12 students in the first class walked into the stage and were in awe, quiet and wide-eyed like little girls and boys. We know it is not the size one would find on a big studio lot, but as a teaching tool and for shooting our projects, it will be swell.

What other benefits will the Gail Patrick Soundstage provide for students and staff?

Andrew Kesler : Aside from the obvious teaching possibilities for cinematography and lighting, it gives our students a sound-proof environment to construct sets and shoot their projects. It is a space we can devote to production, no sharing with classes from a different department. It will provide the students with experience they can take to the professional world. And, for promotional purposes, it is surely a plus.

We think CCH is a great choice for the student who is truly serious about film. Compared to the film department at regular schools, we are just as theoretical and much more hands-on: we graduate filmmakers. Compared to certificate academies, we’re an opportunity to learn the whole art and to develop your whole talent. Especially for Californians—with the state system severely curtailing its opportunities—CCH represents an excellent educational and professional opportunity.

We know that you serve as Dean of Students at CCH, and you also teach script analysis. What would you say is the most common mistake you see in scripts written by beginners and novices? Could you share with us some solutions for this common mistake?

Andrew Kesler : The most common mistake, besides formatting errors, is that students do not realize that a script is a blueprint for all others to do their jobs. If you don’t mention a prop, the prop master can’t have it there for you. If you don’t give at least some indication of who the character is, the casting director cannot help you find the actor, and so forth. Too many students write in a short hand because they know what they mean. Now, if you ask are there errors in structure and ill-advised choices, sure. But that’s why they are novices. That is why there is writing and rewriting. We have to get the students to put it all on the page.

Trends are always changing, and filmmakers and storytellers always want to know: what makes scripts salable? What do you see in the current trends? What are some key things that make scripts salable? Are there specific genres being targeted now?

Andrew Kesler : An agent once said to me that if you could write one sample script make it one that is a “make ‘em laugh, make ‘em cry.”  That’s a good way to show a range as a writer, but it is not necessarily saleable. Action scripts still sell well. Teen comedies are a good way for young writers to break in, though they should not get too identified with the genre. Horror films are on a down cycle right now, but there’s always some market for them. The heartfelt story based on autobiography is the one you either have to raise money and make independently or hold in your drawer until you have the clout to make it with studio money. What makes a script saleable are the current market trends, a good, well-structured story with unexpected twists and turns, something that is do-able for a reasonable budget, and that, well, that someone wants to make. There are thousands of scripts out there. Why yours? Some of it is good fortune; some of it is the right genre at the right time. But, a good story is key. 

What advice would you give to aspiring filmmakers and storytellers when it comes to writing stories and choosing scripts to shoot?

Andrew Kesler : If you want to direct from your own script and you want someone to finance it, it better have a budget they think you can handle. That’s the business side. The scripts you write and the scripts you shoot should be something you can express. They do not have to be directly connected to your experiences, though it helps. Know your crafts. Then, make sure it is a story that resonates. If the audience walks away and they are still thinking about the theme of the film even for a few minutes, you have won.

Want a copy of this issue? Click here to get a copy of the February 2009 Edition of StudentFilmmakers Magazine. If you haven't yet signed up for a subscription, click here today to order your subscription to the #1 Educational Resource for Film and Video Makers.