you have to be an Australian citizen... ok... well... thats my lifes dream down the drain... why would it be a shame to open up for paid attendees. If they have 90% Australian students and just a few select very inspired/talented/hardworking foreigners i don't see how that would hurt the school?
It would be a shame because right now the only way you can attend the school is based on merit. they select the best four candidates that apply in a given year based on their showreel and performance at an interview. IN the year I applied, I was told over 600 applied for the four spots. They ask for a reel with examples of finished work (not a showreel montage) and expect it to be two hours worth. My written application was 28 pages long.
8 were shortlisted.
I was interviewed by a panel that included two from the cinematogrpahy department and Peter James ACS. After a pretty intensive grilling (which also included critiquing Peter James's work on Black Robe) i was then brought to a studio with a gaffer and grip.
I had to light several different scenarios such as someone arriving home for work at night. I had a set an actor and was given 30 minustes. They try to trip you up to. You ask for a FULL CTB gel for some moonlight say and the gaffer sticks some purple bit of gel on instead. they're checking to see if you notice and then how you confront it with your crew.
It was one of the most enjoyable afternoons I've ever had on a set.
Needless to say it's pretty damn rigorous and I had a lot of fun doing it.
In last two years i have had some great sessions of practical cinematography. The four of us spent 3 days with Russel Boyd lighting exteriors. We got film, actors grips gaffers etc.
We screened rushes, talked about it and did it all again the next day.
About 2 years ago I did a masterclass with Andrew Lesnie. There were 18 attendees and it was a completely differentt scenario. Because the attendees pay, it's essentially open to anyone. Some had experience comparable to my own, but most didn't. Some had never even been on a film set and were just interested. Therefore, Andrew lesnie had to firstly pare it way back to basics. And then deal with the fact that there were 18 of us and 4 cameras.
The actual one on one time was greatly reduced. the chance to actually explore ideas and really take the time to try things out was not possible in the same way. I got to have a 2 hour block each day where I was the DOP and Russel Boyd (or whatever great mentor you care to mention) looked over my shoulder.
It wasn't about providing a service for someone paying a fee, but exploring and testing myself with a great mentor.
If the school takes on paying students how on earth will it be the same ? More students reduces the contact time. it lowers the benchmarks so that someone that pays rather than someone that has genuine and displayed ability get access to the mentorship. This is after all not a film making 101 course. It's an MA, and they aim to turn out world class graduates. Not graduates who can afford the course. That's what's great about it. It's federally funded to a very high level and money and students ability to pay doesn't come into it.
a btw, could i ask you (or e-mail with you if you would prefer that), how you got to where you are? I would like to be in a similar position in about three years time.
Sure thing...!
You can email me at john@johnbrawley.com