Flocking to film school - minorities and the film industry

Black Issues in Higher Education, Jan 11, 1996 by B. Denise Hawkins

There are already signs that her plan is taking shape, says Campbell, citing recent student success stories. "It signals to me that we not only brought more [students of color] here, but we're creating an environment where all of our students can work productively.

One of the toughest challenges filmschool administrators say they face is helping students convince parents that four years of lights, cameras and action will be money well spent and will lead to a job after graduation.

"It's tough to convince families in general that the arts is a viable field, and it's even more difficult to convince minority parents and immigrants who may be struggling financially," said Campbell who recalls the tough time she had selling her professional parents on the idea of studying art education in graduate school.

Attending the Tisch School as an undergraduate and graduate costs students $19,265, with an additional $8,700 for housing and other expenses. But beyond tuition and room and board, is the other big ticket item-- producing student films.

Campbell estimates that the required graduate-school film can cost about $6,000 but the average for student films, which are about 20 minutes long, is between $10,000 and $12,000. Except for small film allowances provided by the school, students must raise the money for their own projects.

Cinderella Stories

Geoffrey Fletcher, an African-American graduate student, recently learned that his 23-minute student film "Magic Markers," will be produced by John Singleton. Greg Wilson, an undergraduate who is also African American, will have his award-winning film "The Last Call," aired on Showtime early this year. And the "talented" crop of Spike Lee Fellows enrolled this academic year with scholarships funded by director Spike Lee, have already caught Campbell's attention.

Just five years ago, students like Fletcher would have been the exception. Today, Cinderella stories are fast becoming the rule at Tisch, boasts Campbell.

"I can say with a great deal of confidence that there are several more like him. That's a good feeling."

Fletcher's account of the "negotiations" for the feature-length version of "Magic Markers," is matter-of-fact and punctuated with slow smiles.

He "breezed through" meetings in New York and Los Angeles with "Boyz N the Hood" producer John Singleton, "unflustered and relaxed" -- not because such deals are routine, but because the experience seemed so unreal. says Fletcher, who will spend the next several months writing and expanding the script.

"Magic Markers," a true, "surreal love story," about two college students, is a dramatic departure from the types of gritty urban Black films Singleton has produced. But Fletcher says the fact that the movie is different and personal is why Singleton responded.

"He's [Singleton] purposely trying to branch out and do some different projects. If you do an issue that concerns you deeply, people will care about it, given the fact that it is executed properly," says Fletcher.

Fletcher, who describes himself as a filmmaker who happens to be Black, hopes that his films will have cross-over appeal. "My films concern Black people, but people can look at them and not perceive them as being only about a Black experience.