They break you down to build you up. This relatively familiar tagline is usually associated with military boot camps, but for three days throughout the weekend of Jan. 23 the phrase corresponded to film. About 25 Hopkins students (including one graduate student) participated in Nehst Studio's Film Boot Camp. Most of these undergraduates were film majors or minors, hoping to gain some insight into the film industry. The workshop was directed by Hollywood producer, financier and distributor Larry Meistrich and his fiancée Antonia Ellis, a producer of Sex and the City. Students not only learned a valuable amount of information that comes from years of actually being in the industry, but also were able to pitch one of their own movie or TV series ideas to Meistrich. If Meistrich liked an idea enough, he said he would later contact that student to talk about producing their film or show.
Meistrich is a Hopkins alumnus who graduated in 1989 with a Bachelor of Arts degree in the Writing Seminars program. Introduced to film while in Baltimore, Meistrich was an extra in John Water's film Cry Baby (1990) that starred Johnny Depp. Post graduation, he did grunt work as a production assistant, worked his way up to assistant director, got lucky and eventually climbed the film industry's ladder to become an extremely successful producer, with over 80 accredited films.
But those who watch shows like Entourage may have been surprised not by Meistrich's personality, but by his appearance. Showing up Friday evening for the first workshop of the boot camp, Meistrich was not wearing a jazzy suit or even slacks and a sweater. Instead, he donned a Hopkins hat, a baggy tee-shirt, light blue jeans and sneakers. But his personality, though startling, wasn't unexpected. He was brash and arrogant. He made it crystal clear that he cares about his money and making money and will do everything in his power to make sure that happens. But underneath all his swearing and his "no bullsh-t" attitude, it was also apparent that he is a caring person. Or as Meistrich put it, "I'm a d---. Just not that big of a d---." The fact that he offered the workshop, which is usually designed for adults, to his alma mater at a reduced price exemplifies this. Meistrich clearly believes in Hopkins students and wanted to give them a chance to further their knowledge.
The boot camp started with the facts. The film industry is an "industry of precision," explained Meistrich. To be in it, one can't be sensitive or let his or her feelings get hurt; one has to be tough. Looking around the classroom in Maryland Hall, Meistrich pointed out that the people present had already separated themselves from the masses by showing up and wanting to learn. But that wasn't enough. "You need skill," he declared. This doesn't just mean the ability to write well or make good films (though that is still crucial); one needs to know how to market him or herself. And that is what Meistrich taught. From how to pitch a film or television series idea to a producer to how to distribute one's film internationally once it's made, Hopkins students got a real inside look into what it takes not only to make it in film, but also what it takes to make a successful film.
Much of what students learned this past weekend was about themselves. Some of many of Meistrich's mantras that he drilled into the participants' heads included "Never ever apologize," "Take the criticism, swallow it," and "[There are] no f---ing excuses." Without a clear head and unshakable personality, there is not only no way to get into the industry, but there is also no place for such people. Meistrich believes to be in the industry, "[you] must have a level of arrogance" and "have a f---ing attitude," but not be conceited or ego-maniacal, and never apologize for thinking you belong. He also compelled students to realize that going into film is a life decision, not simply a professional one. "If you want to do this for a living, you have to do it for a living. It's not a job; it's a lifestyle. It's not a nine-to-five gig," Meistrich explained.
With that said, he discussed how to get into the business. He clarified that there are "two entry points: work as crew or cut a check." Either work your way up the ranks from crew or have the money to pay your way in. Since most follow the former entry point, he stressed that the best way to do this is to intern and get as much practice with film as possible. Students at Hopkins have free access to thousands and thousands of dollars worth of film and editing equipment that Meistrich said they should be using every single day because after graduation it costs much more to use. Along those lines, students should be shooting short films every day. This practice will help tremendously in the long run. "The only way to feel like you belong is to have the experience to back up your confidence," Meistrich said. "Work everyday until you are incredibly good at your craft."
Though Meistrich seemed to break down a lot of students' morale in telling the truth about the industry, he reminded them that, "You have Hopkins on your f---ing resume. Don't be afraid to use any advantage you can find for yourself. . . Use the pedigree you paid for." Meistrich warned that Hollywood has cut itself off from younger, new, fresh artists, but not to worry because the Internet has revolutionized film.
After being instructed on how to successfully pitch an idea, every student nearly flawlessly pitched a story to Meistrich. Though he didn't give any hints to whether or not he would pick up any of the students' ideas, Meistrich seemed pleased with their overall performance. The participants can only wait and hope that they get a call from him, and if not, they had a phenomenal opportunity to practice pitching ideas that most people never get.
If anybody wants to go into the film and entertainment industry, it seems best to follow Meistrich's advice: never apologize, be a bit arrogant, and come prepared.
