The late and great film director Stanley Kubrick (Spartacus, 2001, Dr. Strangelove, Clockwork Orange, The Shining, Eyes Wide Shut, and more) described film directing as, “Trying to write War and Peace in a bumper car at an amusement park…”
The film director is in charge of the creative aspects of a film, ensuring their vision of the story gets to the screen in the face of constant chaos. Are you up to the challenge?
If film directing is for you, the Film Connection can help you obtain the necessary skills for becoming a professional director.
With us, you will study inside a real film production company in your city as you develop your movie idea through private instruction with a professional filmmaker.
Then you will fly to Los Angeles or New York to pitch your idea to an executive who could buy or get your movie idea made.
What you will learn<br />as an extern of this program:
Working with Actors
Grip and Electric
The Art of the Interview
How to Make your Day
How to Pitch a Movie Professionally
How to Develop an Idea
How to Write a Treatment
Contracts, Permits, Licensing
With the right experience and connections, you can jumpstart your career in the film industry.
* Not all programs are available in every state. Consult an Admissions Representative to learn more.
Every script begins with an idea. Once you have that idea, it is up to you to become an enthusiastic genius on the topic of your idea. You don’t need to be a genius in quantum mechanics, astrophysics, algebra or geometry. But you do need to know every single thing there is to know about YOUR movie. How do you do that? By understanding the history of the genre you’re working in. You have to know which movies work, which movies don’t work, and why. This lesson is designed to immerse you in movies similar to the one you want…
Let’s face it: very few of us want to sit around and read about history. For some people, it’s hard to see the point, and it can be really boring. But it doesn’t have to be boring. Every time you sit down and watch a movie, you are watching history. Think about this for a minute: if there had never been a movie made before, would you know anything about what a good movie looks like? Every time you sit down and watch your favorite movies, you are building ideas about what you like and what you don’t like as…
Having a strong pitch is almost more important than having a strong script. They’re also much harder to write. A good pitch must reveal your story’s set-up, your characters, the central conflict, as well as hint at a resolution, all in just two minutes. In this lesson, we will help you develop a killer pitch that will leave even the most hardened cynic dying to know more! Continue Reading... « Prev Choose a Lesson... Lesson 1 - Intro to Genre Lesson 2 - History of Film Lesson 3 - Developing a Pitch Lesson 4 - The Script Lesson 5…
If every script begins with an idea, then every film begins with a script. A script is the blueprint for your film. This lesson begins your long and arduous journey of being a full-fledged screenwriter. Time to strap on your seat belt and prepare for the ride! During this lesson, you’ll be learning how to put the building blocks of a script in the right order. You’ll learn how to tell which ideas are good and which are not. You’ll also start outlining your idea during this lesson. An outline is a point-by-point summation of everything that is going to…
As a director, it is important to know and understand the duties of the different people on set. The AD (assistant director) is in charge of all on-set, day-to-day operations. Under him is a second assistant director who is a liaison between the director and the rest of the crews. Things like time cards, call sheets, tracking the daily progress against the production schedule, and maintaining a general sense of order, are the responsibilities of the AD. In this lesson, you will understand the importance of having an AD you can trust. Continue Reading... « Prev Choose a Lesson...…
Time to turn in your first act! The first act is the most important part of any screenplay. Your first act is what is going to sell your film. Hollywood’s a dog-eat-dog world. If your first act isn’t great, whoever’s reading it will stop reading. It’s that simple. You need to have an amazing opening to keep the reader/buyer/producer/whoever interested. During this lesson, you will get to meet with a professional screenwriter who’s been in the business for years! He/she will help you to perfect what you’ve already written, and also offer constructive advice on how to move forward. You…
The sound department is the smallest department of a production. The sound mixer is responsible for on-set sound. Under him are a boom operator and a cable wrangler. There is also the post-production sound designer, who is responsible for developing the various audio textures that are needed to draw an audience into a story and increase “production value.” When going into the filmmaking world, it is extremely important to know everyone’s job. There are a myriad of reasons for this, ranging from being able to call someone out when they’re not working their hardest to being able to jump in…
Here you get to check in with our screenwriter again to evaluate your progress! At this point, you’ll have heeded the screenwriter’s advice: you’ll have gone back and re-written large chunks of your screenplay, if not the entire script. You’re now returning for round two. You’ll have a new and improved script that features content so exciting that you can practically see it leaping off the page. Our screenwriter will sit down with you again and evaluate what you’ve changed, and what new content you’ve generated. The goal of these lessons with our screenwriter is to improve your ability to…
Cinematography is more than a science: it is an art. A good cinematographer can manipulate a camera and a set of lights to capture beautiful, striking imagery. Cinematography has evolved considerably since the beginning of motion pictures. It started out as a duty of the director, and the position itself evolved out of the advancement of technology. As the cameras and lights became more complicated, it became necessary for an entire department to be in charge of cameras and lights. In this lesson, you will learn the finer points of lighting and cinematography, including 3-point lighting, and what is meant…
So you’ve reached the end of your second act. Time to check in with our screenwriter once again! He/she will offer helpful guidance and tips as you prepare to plow forward into the climax of your story! Second Acts are always the most difficult. They require an expert writer who knows exactly how to ratchet up the tension without overdoing things. They are the most difficult part of any screenplay to write, but they are often the most memorable in the finished film. Our screenwriter will evaluate what you have written and assist you in fixing rough spots and eliminating…
Line Producing is one of the areas of the film industry that most people have little to no inkling about. The line producer is someone who assists and oversees the crafting of a budget, the needs of the day-to-day production, and ensures that everything is being done on budget and on schedule. The line producer usually has no say in the creative or narrative sides of a production; he or she is only responsible for the logistical side of production. In order to craft a good budget, you must have several things: a locked script, a total amount to budget,…
Guess what? You’ve just written a feature-length script in only 12 weeks! Congratulations! Now the fun REALLY begins. During the next two weeks, we’ll work with you on revising your screenplay and writing a second draft. Then it’s full steam ahead! Second drafts are where you keep all of the great aspects of your film and you throw away everything else. You’ll be taking your script to the beauty salon and giving it a makeover. You’ll be re-writing everything that doesn’t work about your script. Hopefully, by the end of this lesson, you’ll have a thoroughly awesome second draft of…
It’s a common misconception that you have to be able to draw to make storyboards. Nothing could be further from the truth. With a little creativity and ingenuity, you can make some KILLER storyboards! Storyboards are important because they save time, and therefore save money. Storyboards are what tell the director of photography (DP) and the camera crew what they will be shooting that day. It’s never a good idea to show up to a set and just wing it. Filmmaking is all about preparation. Storyboards are a part of this process. Continue Reading... « Prev Choose a Lesson...…
Every script must be broken down going into pre-production. This typically happens as the producer reviews a finished script, marking certain elements that need to be handled before going into production. Most importantly, a script breakdown is needed before anything can be budgeted. This lesson will teach you how to break down your script so that when it comes time to pitch your story to a Hollywood executive, you’ll be completely 100% PREPARED to answer all the tough questions! Continue Reading... « Prev Choose a Lesson... Lesson 1 - Intro to Genre Lesson 2 - History of Film Lesson…
Pre-production is undoubtedly the most important part of making a movie. Pre-production begins the moment that you have two things: script lock and financing. Script lock is when you are completely, perfectly happy with the script and you don’t want to change a thing. Financing is simply having the money in the bank waiting to be spent. This is the time when you assemble the puzzle. The job that sits before you, the producer, and the UPM and Location Manager is to figure out how you are going to get everything where you want it and when you need it…
Actors can be very difficult people to work with. Having said that, if you cast an actor that is difficult to work with, you have no one to blame but yourself, because you made the decision to hire him/her. Acting is a very creative process that does take a considerable amount of skill. This lesson is designed to help you understand the best ways of communicating with your actors and the kind of language you want to use when speaking with them. Here you will also cast actors in a scene from your completed script! Continue Reading... « Prev…
Shooting a movie can be one of the most challenging, intense, creative and fun experiences a person can have. In this lesson, you’re going to choose one of the most dynamic and interesting scenes from your script, and your mentor is going to help you shoot it! Continue Reading... « Prev Choose a Lesson... Lesson 1 - Intro to Genre Lesson 2 - History of Film Lesson 3 - Developing a Pitch Lesson 4 - The Script Lesson 5 - Hierarchy of a Production Part 1: The AD Lesson 6 - Act One Lesson 7 - Hierarchy of a…
While there’s no longer a “cutting room floor” in the filmmaking business, a video editor still plays an important part in any commercial, tv show, short film, or feature film production. While the director is still the quarterback of the team, consider the editor as a running back. When the director and cinematographer are done with principal photography all of the footage gets handed off to the editor to be put together and assembled into the final product. What You’ll Need It’s been said that a craftsman is only as good as his tools. Of course, it’s also been said…
In today’s fast paced world, most directors attempting to pitch a project create what are referred to as pitch reels, or sizzle reels. They serve as a trailer for the film with the goal of quickly establishing tone and atmosphere. A pitch reel is usually constructed with repurposed footage from films with a similar tone. Are you directing a film about a masked axe murderer who kidnaps a small child? Then you’d use re-contextualized footage from Halloween and Home Alone. Maybe your Dr. Loomis character is intended to be an homage to John McClane, so you include footage from Bruce…
This is the final step of the program. The last few feet until the end zone. The final seconds on the clock. This is crunch time. Your adrenaline should be pumping. You should be excited and nervous. You’ve studied, prepared, and trained for precisely this event. You will have the option of flying out to L.A. or New York to pitch your movie to an established producer who has the resources to GET YOUR MOVIE MADE! Continue Reading... « Prev Choose a Lesson... Lesson 1 - Intro to Genre Lesson 2 - History of Film Lesson 3 - Developing…
There’s no way of knowing whether the Hollywood executive to whom you pitch your script will have any interest in purchasing it. There are tons of variables in play, and it’s more about timing than anything else. So what do you do if the agent doesn’t bite? You do what hundreds of indie filmmakers before you have done: you raise money on your own! So before you leave L.A., we will pair you with someone well-versed in raising cash from the ground up who will offer you a two hour consultation on what’s legal and what isn’t (including how to…
Coursework is delivered via distance education and completed at a location determined by the student. Apprenticeship (Externship) locations can be up to 60 miles away from the student’s address.
The apprenticeship (externship) mentor will work with each student on structuring a specific schedule, the student agrees that he/she will be available to meet with the mentor for a minimum of two sessions per week.
Learn From Industry Pros
The Film Connection film school alternative is endorsed by filmmakers who are making movies, maybe even the movies you love.
Professionals in the film business—including famous producers, screenwriters and directors—endorse Film Connection’s programs for one simple reason: they know our real-world method works.
From his early days in pop music, Hans has written original scores for such films as Batman Begins (2005), The Dark Knight (2008), Gladiator (2000), The Da Vinci Code (2005) Sherlock Holmes (2009) and over 100 others.
Joel Schumacher and RRF have donated to The Endometriosis Foundation of America. This group aims to increase disease recognition, provide advocacy, facilitate expert surgical training, and fund landmark endometriosis research.
Henry Bromell produced, created, directed the series Homeland, and has written and produced the television dramas Northern Exposure, I’ll Fly Away, Homicide: Life on the Street, Chicago Hope, Carnivale, Brotherhood, Rubicon, and Homeland.
“I create music that connects people. It’s what I love to do and I’ve been doing it for over 25 years. I’ve worked with some if the best directors around on a variety amazing of projects in just about every medium there is, including computer games, full-feature and documentary films, websites, radio, television shows, commercials and custom music production.”
Clients: Discovery Channel, MSNBC, History Channel
Richard Brandes (Jeepers Creepers, Penny Dreadful, My Daughter Was Stolen, Lifetime Network) is an accomplished writer, director, and producer of over two dozen feature films which have been released through well known companies including Alliance/Atlantis, Screen Gems, Sony, HBO, CBS, NBC/Universal, and Lionsgate, to name just a few. Known in the industry for creating highly commercial, profitable films, Richard has an impeccable reputation for completing his projects on-schedule and on-budget.
Steve Rausch is owner and operator of focused motion. Focused Motion produces and shoot video content for commercials, industrial videos, surgeries and live sporting events. My company has worked on documentaries, programming for Discovery Networks and reality TV shows.
Adam Weber is a multi-purpose media production addict who has specialized in copywriting, video production, audio production, front-end web development, digital advertising, media planning, and any other role you can think of in regards to making intangible things using software. He also likes to be creative by writing songs with his band Integrow and making delectable craft home brews in his free time.
Aimee Schoof is an entertainment executive, producer, and co-founder of Intrinsic Value Films with Isen Robbins. She has produced more than 30 feature films that have premiered either at Sundance, Tribeca, SXSW, Toronto, Venice, New Directors/New Films, and Berlin.
During his tenure at CCH, Heppe was hired by legendary producer David Foster (The Getaway, Short Circuit, The Mask of Zorro) and quickly climbed to the position of Head of Development where he became involved with Foster’s productions: Collateral Damage starring Arnold Schwarzenegger, Hart’s War starring Bruce Willis and Colin Farrell, and The Core starring Aaron Eckhart and Hilary Swank.
As a hyphenate Producer/Director/Writer/Actor, some of Heppe’s work includes: Production of the docu-drama The Magic Was In The Music, a remake of Short Circuit, adaptations of the 80’s television mini-series V and cop series T.J. Hooker, among others. As an actor, he’s starred in such stage productions as You Can’t Take It With You, Life On The Bowery, Dracula and Picnic at Hanging Rock – several of which he directed.
I began TAPROOT with a passion to create inspiring film and video content that would move people and maybe even make the world a little bit better place. There are projects that TAPROOT pursues and develops based on our interests, but I’m a firm believer that we all have our callings, and that collectively we can have the biggest impact. As a result, TAPROOT partners with businesses, agencies, and other organizations that are doing important work, helping them tell their stories and share their ideas through cinematic filmmaking.
Our team has a multi-disciplinary background that enables us to understand and compellingly translate your messages and ideas to the visual medium of film and video, and we create and execute projects of varying scale from start to finish. I run TAPROOT and provide direction on all our projects, which include: story-based branded content, television commercials, web based video of all sorts, and film series.
If you care about how you’re presenting your work to the world and want to do so in an honest, inspiring manner – we’d make a good match.
Keith Golinski of Fulvew Productions is a Director of Photography, editor and producer. He’s best known for his work on America’s Most Haunted (2013), Talking Dead (2005), and An Ordinary Killer (2003).
UFC 111 fight – Cinematographer, Animal Planet – Most Outrageous – 3 documentaries – EA Sports international commercials Kyrie Irving – NBC – HBO – Full flight features – Very astute cinematographer – Worked on film “21” – Edited TV series “Folk Lorist” – Extreme Makeover – AD Bo Burnham – International campaigns for Coca Cola
Following a spirited and notorious adolescence in Northeastern Pennsylvania, Joe did a stretch at New York University and ended up spending nearly a decade as an accomplished part of the New York City’s lively film and TV industry. During this time, he racked up credits ranging from producing feature films premiering at international film festivals to directing and producing content for a variety of national cable television networks. His most recent film is the locally-shot award-winning feature Forged. Joe is an active board member on the boards of Dress for Success, The Scranton Club and the American Advertising Federation of NEPA. Joe is also a member of the National Academy of Television Arts and Sciences, the American Association of Political Consultants, and two time Pollie award winner.
John Lux is the Chief Operating Officer for the IDEAS media and experience design company, which employs film program graduates nationwide. The projects his company handles stretch from Florida, to Europe, and as far as Shangai, China.
Rebecca Ramon hails from Battle Creek, MI and is a proud Midwestern girl. She believes that’s exactly what keeps her down to earth and youthful. With a BA in Broadcasting & Cable production from Western Michigan University, and an MFA in Film Production from Chapman University, one of the top ten film schools in the nation, she’s definitely standing on her own two feet. Not only does Rebecca have a formal education, her mentor for post production was Paul Seydor, a member of ACE; the honorary society of motion picture editors. Paul edited movies such as “White Men Can’t Jump” and “This Christmas”. In other words, she has learned from the best, and has over ten years of experience, which ranges from pre-production to post-production in several mediums. Most importantly, she has the passion to share her knowledge as a mentor.
The BSP editing facility sets the standard for editing in Colorado. Three video edit suites utilize “Premiere Pro CS6”, “Final Cut Pro” and “DaVinci” and project Panasonic High Definition 1080p images on to 110” Stewart Screens.
Steve is an award winning producer, director and writer of over 250 films, documentaries, television shows and home video properties, including specials from the Olympics, Super Bowls, World Series, NBA and NCAA Championships, and college football bowl games.
Avery O. Williams works steadily in both the film and theater worlds. He is the co-writer of the feature film Directing Eddie starring Valerie Perrine and Jade Barrymore, directed by Lawrence Kaldor which premiered at the 2001 Sundance Film Festival and was voted Best Comedy at the 2001 New York International Independent Film & Video Festival. He wrote and directed the industrial film for the City of Atalanta entitled Surviving Domestic Violence and he wrote and co-produced the film short The Willie Witch Projects, which was showcased at the 2000 Cannes Film Festival and is distributed by Trimark Pictures in their compilation entitled The Bogus Witch Project. Other short subject screenplays that have been made into films include Notes In A Minor Key, The Willie Witch Projects and The Chocolate Factory, Part 1.
Greg Freeman is an award-winning Director of Photography with nearly two decades in news, sports, entertainment, special programming, documentaries, and commercials. Greg has directed projects for nearly every major television network including ABC, Discovery, ESPN, HBO, HGTV, NBC, PBS, and more.
Past productions include LMN’s Monstresses; Investigation Discovery’s Cuff Me If You Can; America’s Most Haunted and UFO’s Crashed my Vacation; America’s Most Secret and I Faked My Own Death for Discovery; National Geographic’s 42 Ways to Kill Hitler and Don’t Try This At Home; Vampire Secrets and Ancient Ink for The History Channel; Las Vegas Bikers for truTV; Weather Channel’s Full Force Nature; True Confessions for WE-TV as well as Beyond Death and Investigative Reports for A&E.
We get it. This isn’t your normal four-year college requiring coursework not associated with your area of interest. We are a post-secondary institution or trade school that's different in its approach. Here's how you can get more info:
A great number of our students come to us because they have an idea for a movie. That’s a great place to start. All great films start with an idea. Film Connection, film directing externship is designed to help you transform your idea into your movie. Here’s how we do it.
THE FILM CONNECTION PATH TO BECOMING A DIRECTOR
The Film Connection believes in another pearl of wisdom from Stanley Kubrick that the “best education in film is to make one.” That’s the fundamental core of the Film Connection for film directing—you come to us with your idea for a movie and we teach you and help you implement all the steps necessary to get your movie made. Using the auteur theory of film directing, we do this in three stages.
We pair you with a professional screenwriter—one who has feature film credits—to help turn your idea into a screenplay.
We teach you all the steps in the filmmaking process through our structured curriculum and your time as an extern inside a local film production company. During this part your education you will create a sizzle reel, based on your screenplay for your film.
We set up a pitch meeting with you and film industry people who can fund your movie. You will be armed with your elevator pitch, sizzle reel, budget breakdown, screenplay and guidance from your mentor—all the necessary ingredients to get to your goal of having your film get the green-light.
WHAT DOES A FILM DIRECTOR DO?
The film director is in charge of the creative aspects of a film, ensuring their vision of the story gets to the screen in the face of constant chaos. Are you up to the challenge?
If so, the Film Connection film directing externship can teach you the necessary skills for becoming a professional director. These filmmaking skills include:
Scene settings and look
Working with actors
Working with the crew
Working with the editor
STORYTELLING: Without a story, there is no film.
Like everything to do with film, we start with the story. A story has a plot, a cast of characters, a setting, a conflict, and a resolution. Storytelling is relevant in all phases of filmmaking from pre-production to production to post-production. In pre-production, locations and actors get chosen for how well they fit the story. In production, the director strives to obtain the best shots and performances to tell the story. In post-production, the sequence and timing of the shots determine how the story is presented to the audience.
While the Film Connection film directing externship emphasizes all aspects of the storytelling process, from concept through editing, in both its curriculum and our externship process which is hands-on and geared towards practical application, our screenwriting portion of the training is done a bit differently. We pair you with a professional screenwriter, one who has feature film screenwriting credits and experience, to work with you in creating a screenplay based on your idea for a movie. We believe this to be a vitally important part of the process, if for no other reason than that ideas cannot be copyrighted but screenplays can. So get that idea fleshed out and developed into a screenplay you can copyright, fast!
SCENE SETTING AND LOOK: The Magic Behind What’s in a Shot.
This is where you start learning how to utilize the technical aspects of filmmaking to bring magic to the screen. Camera angles, lenses and framing determine what’s in the shot and where the eye goes. Lighting sets the tone and mood for the shot. Sets, props and wardrobe also have their influence. While the director isn’t usually the one to do these things, it’s important that they have a working knowledge of what’s involved, what’s feasible and what’s not, in order to convey their ideas to the people responsible for implementing them.
The Film Connection Film Directing externship contains lessons devoted to cinematography, storyboarding, breaking down your script, pre-production and line producing, all of which are integral to the scene setting and look.
WORKING WITH ACTORS: Getting the Performance You Are Looking For.
It may be an overused phrase, “What’s my motivation?” but this is the essential question actors ask of directors. The director must not only know what the point of the scene is but how each character in the scene presents themselves. The director should be able to answer these questions for each actor for each scene.
Who am I?
Where am I coming from?
Where am I?
Who am I with and how do I feel about this person?
What do I want from this person?
What am I doing to get what I want?
Often, films are shot out of sequence and so the above questions help the actor maintain their place and evolution in the story.
The Film Connection film directing externship devotes an entire lesson to dealing with actors: how to deal with their egos; how to respect their creativity; how to let them know you are in charge; and most of all, how to get the best performance possible out of them.
WORKING WITH THE CREW: Making a Movie Requires an Army
The first thing to realize about your film crew is that they are a different beast. They are more apt to look at their profession as a job, rather than a labor of love like many creatives do. This does not mean they aren’t professional, it’s just that they look at the movie differently than the director does. Treating your crew with respect, recognizing the crew hierarchy and ensuring they are well fed will go a long way towards an on-time, on-budget production.
The Film Connection film directing externship inserts you into a professional film production company as an extern under the guidance of their top filmmaker who serves as your mentor. You will be able to observe first-hand while you participate on shoots and gain experience on how a crew works together, how they are managed and what their roles are in making the film.
WORKING WITH THE EDITOR: We’ll Fix It in Post.
The job of an editor is to assemble the raw footage into a coherent sequence. They do this by selecting, rearranging, and splicing scenes to tell the story that began as a screenplay (the writer’s vision), was captured on film by the director (the director’s vision of the screenplay) and turned into a finished film (the editor’s vision of the director’s vision.) Before editing begins, the director and editor discuss what they want the final product to be and then the editor puts together a rough cut. The director and editor then collaborate on polishing the rough cut into the final cut, adding music and sound effects until they are satisfied it’s ready for its audience.
And just in case you’re wondering, the saying, “We’ll fix it in post” should not be a new phrase for the aspiring director. Even though fixing it in post is sometimes a necessary remedy it should be considered a last ditch effort. Ideally, the film director wants to confer with his or her DP and editor prior to the shoot to ensure all the necessary shots for the telling of the story are included in the screenplay and shooting schedule. A lack of sufficient “b roll” and takes essentially leaves the director and editor with not enough material to edit together into a cohesive story and flow of scenes. Ever feel like a particular scene in a movie was too short or that it changed abruptly? Lack of footage is probably the reason behind it.
Because the Film Connection film directing externship places you inside a film production company, you will be able to work with an experienced editor and get an understanding by immersion of how the relationship between director and editor works.
BUDGET CONSIDERATIONS: The Business Part of the Art of Filmmaking
At the end of the day, filmmaking is a business, and like all business ventures there is a bottom line and a desire to turn a profit. Every film deals with budgetary concerns about time and money. To arrive at a budget, the director and producer prepare a breakdown which lists all the elements involved in each scene. The line producer then determines the costs involved for each aspect of the breakdown. The finished budget includes above the line (creative talent) costs, below the line (direct production) costs, post-production costs and other (insurance, completion bonds, etc.) costs. Often, creative compromises must be reached for a film stay within budget.
With Film Connection, film directing externship takes you step by step through both the breakdown process and line producing process. By understanding how and what impacts a budget, the director gains the ability to keep the film on-budget and on-schedule. Learn more about the film production process on the Film Connection blog.
THE NEXT STEP IS UP TO YOU
If you are serious about seeing your idea for a movie turn into fruition, we invite you to apply to the Film Connection. Because the Film Connection film directing externship gets you started learning in-industry, you’ll spend a lot of time inside a film production company, getting your hands dirty working with the gear, immersing yourself in all phases of filmmaking and gaining valuable on-the-set experience.
Additionally, you will be paired with two mentors to help guide you on your path to success: one will be a director at the local film production company you extern at, the other will be a professional screenwriter. At the end of the courses, we will setup you up in a meeting to people in the film industry who can finance your movie. We will get you primed, prepared and ready to pitch your movie concept at this meeting. If you work hard, are dedicated and passionate, you can do all of this in as little as six months. The Film Connection film firecting training is open enrollment, which means you can start anytime. Are you ready to make your movie?