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We don't have any idea what the film world is going to look like in 20 years, but we
do know young people who are coming to graduate school right now are the people that are going to be determining that.
And what we're hoping is that this becomes a laboratory.
To have a program now that's fresh and isn't burdened by this history of "there's one path
to do this, there's another path to this" is really a great advantage.
They get to interact with this incredible array of working film and art professionals.
They're not reciting facts; they're getting us to think about what we're making.
With the faculty I was working with, I was kind of picking and choosing the different
assets and talents they had to be able to really create my own path.
I really like the producing class here. I think it's more helpful to my future career.
The fact that all of us are working professionals allows for bringing the people that we interact with professionally
into CCA as guest artists.
It's all about working with the individual student to help them find their own distinct voice as a filmmaker and as an artist.
I felt like it would give me freedom -- freedom of expression, just being an artist ...
what it is to be an artist, to really master your craft. I just don't simply want to make a
big-budget film to earn money; I want to make something I'm passionate about.
It's been really great to be able to create the kind of language that I want to traffic in.
It's this chance to be on the ground floor of something that was really gonna be pretty special.
You can see all of this innovation happening in the high-tech sphere.
It's the same kind of energy of let's try things; let's not just accept the way things were done before.
You're taught the rules and you're taught how to break the rules.
If I had to design a film program, remarkably it would look pretty much to what my
experience was since I've been here at CCA.