One of my students threw a question at me recently that I’ve heard a thousand times: do you need film school to make connections in the film industry? You’ll get different answers depending on who you ask. Some swear by their film school networks, others think it’s a waste of time. Here’s the thing – there’s no right or wrong answer. It’s about what works for you.

Let’s break it down. Sure, spending four years fully dedicated to film has its perks. You’re there, immersed in it, surrounded by other film nerds, building your network. But there’s a flip side – you might get too comfortable in the theoretical bubble. Some students end up spending more time talking about films than making them. They get soft with their hands-on skills, caught up in over-theoretizing and endless “networking” sessions with peers.

The institutional framework of film education presents both structural advantages and inherent limitations. While formal education provides systematic exposure to cinematic theory, technical fundamentals, and industry professionals, it can simultaneously create an artificial environment that distances students from the practical realities of independent filmmaking. The contemporary film industry, however, operates through multiple parallel networks of relationships and opportunities that extend far beyond academic institutions.

This dichotomy is perhaps most notably illustrated in the professional tension between Werner Herzog and Wim Wenders, two seminal figures in New German Cinema. Their divergent approaches to film education and early career development present an instructive case study in contrasting methodologies. Herzog’s criticism of Wenders’ academic approach – specifically, that Wenders produced only five films during his five years of formal study – highlights a fundamental debate in film pedagogy: the balance between theoretical understanding and practical execution.

The contemporary landscape of filmmaking has further complicated this discourse. The democratization of film technology and the emergence of digital platforms have created alternative pathways for networking and professional development. Film festivals, masterclasses, and direct mentor relationships now provide viable alternatives to traditional film school networking. These venues often offer more dynamic, real-world connections that can lead to collaborative opportunities and professional advancement.

The key consideration in this debate isn’t necessarily the inherent value of film school, but rather the alignment between an individual’s learning style, career objectives, and chosen educational pathway. The collaborative nature of filmmaking demands not just technical proficiency or theoretical knowledge, but also the ability to effectively engage with diverse creative professionals – a skill that can be developed through various educational and practical experiences