Is Film School Still Worth It? With a Top Dean.

Summary of Is Film School Still Worth It? With a Top Dean.

by The Ringer

35m•December 5, 2025
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Overview of Is Film School Still Worth It? With a Top Dean

This episode of The Town (The Ringer) examines whether film school still makes sense in 2024–25. Host Matt Bellamy interviews Stephen Galloway, dean of Dodge College of Film and Media Arts at Chapman University, about value, cost, career outcomes, and how film education is adapting to a world where anyone can make content on a phone. The conversation balances the practical (job pipelines, internships, craft training) with the ethical (student debt, ROI) and offers guidance for prospective undergrad and grad students.

Key takeaways

  • Film school is not one thing: undergraduate programs, conservatory-style graduate programs, and specialty schools (animation, documentary, etc.) serve different purposes and have different value.
  • Undergraduate film-related study often focuses on broader critical thinking and general education (about 40% of curriculum), which provides long-term benefits beyond craft.
  • Graduate conservatory programs are more craft- and job-focused (cinematography, sound, producing) and can accelerate skills that might otherwise take 10–15 years to learn on the job.
  • Costs and debt are real concerns: top private graduate programs commonly cost $50–60K/year; average U.S. undergraduate debt ≈ $42K and graduate debt ≈ $106K (figures cited by Galloway).
  • The best return comes from using school actively: taking advantage of internships, industry access, mentorship, thesis film funding, and networking.
  • Film schools are adapting: curricula now include writing for web/verticals, entrepreneurship, AI awareness, and training for new platforms and formats.
  • Schools on the New York–LA axis and top programs (USC, AFI, CalArts, etc.) offer stronger pipelines to industry, but niche/top regional programs (e.g., Stanford for documentary) can be excellent for specific goals.

Topics discussed

  • The changing landscape (democratization of tools; shrinking traditional industry).
  • Distinction between undergraduate vs. graduate film education.
  • Conservatory vs. general film studies models.
  • Cost, student debt, and the ethical dilemma for deans encouraging grad school.
  • Practical services: career centers, internships (Chapman cited ~500 internships/year), “Finding a Job” classes.
  • Thesis films: access, funding, and problematic promises by some schools (Chapman subsidizes grad thesis films and limits spend to reduce debt).
  • The value of networks/tribes made in school (e.g., Barry Jenkins/Florida State).
  • New curriculum elements: vertical formats, digital creators, entrepreneurship, and AI literacy.
  • Anecdote: Galloway’s Hollywood Reporter Roundtable memories (Julian Schnabel vs. Julie Taymor exchange).

Notable quotes / insights

  • “Film school is a very broad term.” — underscores divergence across programs.
  • “If you're a cinematographer, you absolutely need that education.” — craft-specific endorsement.
  • “I'm horrified by student debt… I would only pay that myself if I really believed there's an end goal.” — candid take on grad-school costs.
  • “Most people benefit hugely. But it’s not right for everybody.” — balanced view advocating case-by-case decisions.
  • Practical tip: Schools now teach writing for any screen (web, verticals) rather than only feature/TV screenwriting.

Actionable advice for prospective students

  • Clarify your goal:
    • Craft specialist (cinematography, sound, animation) → grad conservatory can be worth it.
    • Writer/director or entrepreneurial creator → weigh cost vs. alternative paths (self-producing, indie routes).
  • Evaluate program type:
    • Conservatory vs. university film studies.
    • Location and industry access (NY/LA axis advantage).
    • Specialty reputation (animation, documentary, virtual production).
  • Check outcomes and resources:
    • Internship numbers, career services, alumni placement, industry visitors/guest access.
    • Availability and funding for thesis/ capstone projects.
    • Faculty with active industry ties and mentorship programs.
  • Financial ROI:
    • Calculate total debt, expected entry-level salaries, and realistic career timeline.
    • Ask whether school limits thesis spend or subsidizes production (Chapman gives ~$20K per grad thesis film).
  • Use school well:
    • Take classes on entrepreneurship, digital formats, and job preparation.
    • Seize internship and networking opportunities—these often make the education pay off.
  • Alternatives:
    • Start working on sets, mailrooms, or in agencies; build a portfolio online; bootstrap projects with low-budget/phone production.
    • Consider selective master’s only if you need concentrated craft training or the school offers a clear pipeline.

Quick facts & numbers cited

  • U.S. undergraduates ≈ 19 million; annual film-related undergraduate degrees: ~5,000–9,000.
  • Example program sizes: Chapman intake ~375 freshmen undergrads; ~110 graduate students.
  • Typical private top film-school tuition: $50K–$60K/year (Chapman cited $51K).
  • Average student debt cited (by Galloway): undergrad ≈ $42K; graduate ≈ $106K.
  • Chapman subsidizes graduate thesis films (~$20K each) and caps student spending.

Episode notes

  • Guest: Stephen Galloway — dean of Dodge College of Film and Media Arts, Chapman University. (He offered his contact: sgalloway@chapman.edu.)
  • Host: Matt Bellamy.
  • The show also includes a brief “call sheet” segment about industry news (Rush Hour 4 / Brett Ratner controversy and studio politics), plus several sponsor reads.

Bottom line

Film school still has clear value for many—especially for craft-specific training, accelerated skill acquisition, and building a professional network—BUT it is not universally the right choice. Prospective students should carefully weigh their goals, the type and reputation of the program, concrete career outcomes, and the financial cost before committing.