Learning to put Morals on the Backburner at Film School
At the University of Southern California Film School, there are two main goals: to foster creativity and encourage technical growth. As the Cinema-Television School website states, “This is an environment in which the flow of creativity and shared information crosses disciplinary and technological lines. It is this cross-disciplinary, cross-technology flow of thought and resources that makes the School unique” (USC School of Cinema-Television). The school, one of the top film schools in the nation, prepares students for the growing market of film production in Hollywood and the world, focusing on obtaining its students a career after graduation. Classes center on what the mass markets crave, limiting the students’ perspective to the financially prosperous. Students are taught along a guideline of success and shown what’s necessary to obtain an affluent lifestyle. Basically, success and wealth in the future equals happiness. As John Mearsheimer, a professor at the University of Chicago, states in his 1997 speech “The Aims of Education,” “A Chicago education not only increases the likelihood that you will find an interesting job, but it also makes it more likely that you will be successful in your chosen profession, which in part means that you are likely to make lots of money over the course of your lifetime. To be perfectly candid, a Chicago education is a meal ticket” (150-151). A U.S.C. film school education is based around the absorption of similar presentation.
In his speech, Mearsheimer claims elite, higher education is and ought to be amoral: “Today, elite universities operate on the belief that there is a clear separation between intellectual and moral purpose, and they pursue the former while largely ignoring the latter” (150). U.S.C. film school follows a similar hymn in its curriculum, teaching the students the basics of filmmaking, but leaving little room for morality. This is based on the idea that students should not receive moral instruction but rather develop their own morality independent of their studies and instructors. The film school situates itself in a realm of amorality. Morality and ethics play a very small role in academic instruction, because, in the end, they delineate from the overall goal of the program, which stresses product, success, and learning over any kind of specific morality surrounding a film. Morality, supposedly, has no place in the learning experience. However, in spite of this idea, the film school classes inadvertently take a stance on the issue of moral instruction. Specifically, the Cinema-Television Production program teaches slightly immoral concepts, and in fact, I would argue should even shift its teachings in more immoral direction in order to properly prepare students for the cutthroat world of Hollywood.
The U.S.C. film program presents itself as if it is geared toward amoral filmmaking. Rather than teaching ethics, the program guides students toward “what works” and “what sells” while fostering technical skills and creativity. A film school does not force an opinion on the students, but rather develops a learning environment which allows the students to make their own decisions, whether successful or flawed. This particular type of education is focused on the future goal of gaining a career through skill and hard work. Ethics never really come into play during class discussions because they are not part of the “means to an end” theory. Nothing is taught that does not forward knowledge or status; ethics are simply secondary. Only specific, minor instances of ethics are ever even mentioned, such as stressing that students must pay studio teachers when using minors on set or that a filmmaker needs to research and properly plan for all hazardous conditions involving safety. These rare examples represent the few areas of the moral guidance the film program supposedly offers.
Despite its amoral approach toward education, the film program is actually immoral in its guidance and instruction of its students. The few instances that the program suggests it teaches ethics do not relate to morality at all, but rather illegality and protection of the school. If a studio teacher is not hired or someone is hurt from hazardous conditions on set, the school and student can be brought up on serious, legal charges. Therefore, this is not moral instruction, but rather the school trying to protect itself from future legal action and teach students to avoid a similar fate. The immorality of the school is first noted here because it places more focus on what will endanger the school and the student rather than the minor or the person involved in the hazardous conditions. It is an immoral approach to the problem, avoiding the morality of the situation completely, and focusing on the legality rather than the actual ethics. For example, in 310 production class, in which every student makes a single black and white 16mm short film, my instructor discussed the issue, bringing up a past incident in which a student had secretly tried to use a minor without having a studio teacher, a violation of California law. The instructor then described how he became infuriated, not mentioning his concern for the welfare of the minor, but stating specifically that by not hiring a studio teacher “the student had endangered his (the teacher’s) career and future employment at the university.” This is not a moral or amoral approach to the situation, but rather an immoral one, involving more selfish concern for one’s welfare.
In another recent example, in my directing class, a student used a real needle in one of his films, a major violation of the U.S.C. safety guidelines. The student and his two actors were inadvertently pricked, obviously a very serious health concern within our world of AIDs. The teacher, upon hearing this, first merely chastised the student briefly, before moving onto the next film. However, then in a strange transformation, she suddenly lost control and freaked out, screaming at the student in a grand-standing, fake manner. She was a glaring façade of anger, and it dawned on me that the instant metamorphosis was a realization of the danger the situation placed upon her career if it came back to the administration that she had not properly punished the student. Did she make the students go to the health center to be tested for safety’s sake? No, and in fact, it was never really mentioned, which should have been the real concern of the situation. Was she really angry? According to the student, who had a private meeting with her after class, she was not that upset about the incident. Her outburst was merely a show for the other students to protect herself. Again, selfish concern for one’s own well-being shows a corruption of the few “moral” concepts the faculty claims it teaches.
In my producing class, there are blatant conversations geared toward making active immoral decisions. For example, within a production, producers are in charge of the overall budget of the film. Therefore, they set the budgets for the other departments, including cinematography, production design, etc. In my class, our professor stresses that we should not tell the other departments the actual amount of money they have. He claims this is to “protect them” and the overall film. By “protect them,” he explains that if we were to tell them the real amount of money they had at their disposal, they would go over budget and spend more. Basically, he says we need to work as if the other departments are incompetent, childish, and unrestrained. If we tell them they have less money than they actually do and they go over budget, then technically, we’ve protected them by lying to them. As producers, we are taught to not tell the truth when asked questions by other departments and, therefore, lie. Is this for the overall good of the film? Yes. Is it immoral? Yes, because it involves being dishonest on a regular basis. This is a slightly immoral approach to moral instruction only because it stresses it is for the good of the overall project.
A second example of the immoral teaching revolves around a project our professor discussed that he is personally producing. In order for a film to attract financiers and investors, big name stars need to be attached. However, this is a double-edged sword because stars will not attach to a project, in most instances, unless financing is secured. This is where more lying comes into play. In the professor’s case, he has Christian Slater and several other big names attached, but he only managed to attach them by telling their agents that he had financing secured, which he does not. Through this example, he shows us how to develop a picture with little money behind it but with smooth-talking and lies. By selling ourselves properly and pushing the right buttons, a film project can be green-lighted and brought off its feet with little honesty and hard facts. However, he does not consider it lying or immoral, but rather “manipulating the truth” as a means to an end. But, from an outsider’s perspective, what is manipulation of the truth other than lying?
This brings up the question of the possible self-delusion of the professors within the film program. Are they guilty of being seduced by a world of glitz and glamour and therefore their views of morality skewed? To some extent, yes, their own inability to label the unethical as immoral is proof of the loss of their own moral compass. Having been immersed in the cutthroat, sometimes sadistic world of Hollywood for years, they have grown to believe their own lies. The line of morality for them has been redrawn in a much different direction than that of the norm. They walk a thin line between the amoral and immoral and more-so within the realm of the latter. Their own morality has been long since sacrificed at the gates of Hollywood. Does this mean they are completely lost, immoral souls? No, they are working class individuals doing what they need to survive in an environment where the average successful career is ten years, if that. In a world where many only have fifteen minutes of fame, but everyone wishes to be successful throughout their life, the idea of personal morals is almost absurd, if not impossible. This does not mean that all sense of ethics need be abandoned. A person does not need to murder to succeed (though I’m sure in some cases it has helped), but lying, cheating, and stealing are another issue. Success is fleeting in Hollywood, and when it is obtained, must be fought savagely to be maintained. As a result, ethics often must fall by the wayside.
As a result of this aggressive, dog-eat-dog environment, it is necessary to adapt teaching methods in the U.S.C. film school in a more immoral direction in order to train students to survive in their futures. Importance and emphasis must be placed on social skills and schmoozing as well as creativity and technicality. In certain fields, such as producing, students need to be exposed to the harsh business-nature of Hollywood, therefore preparing them more for it. They need to not only know how to pitch, but strategically handle and manipulate a board meeting and sale in their direction. Whether it is a phone call or a small evening party, students need to be trained to put on a façade of subtle confidence, exuding belief, whether true or not, in whatever project they are currently helming. They must know when to lie and what to lie about in order to help their projects along. Where my producing teacher needed to lie about finances to obtain his actors, perhaps in another instance the reverse would be necessary. Students need to be trained for this instance and know how to strategically manipulate agencies and managers into deals. A job description, such as in the producing bin of “protecting” other departments when discussing budgets, should not be sugar-coated. It is protection, but it is also lying. There is and should be no denying this; the student needs to know what they are doing at all times and not be muddled down by mere semantics. Basically, students need to be taught to “walk-the-walk” and “talk-the-talk” in order to survive and be comfortably successful in Hollywood. And, in order to do this, the U.S.C. film program needs to first come to realistic terms with this level of cutthroat competition of the outside filmmaking world and then train its students like soldiers, making them prepared for every situation, every phone call, and every deal.
Critics of this thinking, including Tai Parks, a New York City prosecutor and graduate of Columbia and NYU law schools, believe this very immorality threatens the social fabric of our society. In his article, “Morality, Individual Responsibility, and the Law,” Parks writes about the importance of morality to the very core of our democratic system, saying, “Eye-rolling cynicism about things like truthis a rot that eats at us. Our system relies so heavily on truthfulness that it cannot long withstand a moral attitude careless about that value” (184). Without truthfulness, in Parks’ opinion, our system would collapse, broken by the anarchy of distrust and immorality. The very basis of what our country stands for would fail with a careless approach to ethics. His argument directly counters the idea of teaching immorality within an institution of higher-learning, feeling it would cripple society in the future. He supports his claim, stating:
Physical safety is only one of the basic social benefits we enjoy and which are endangered if we lose interest in the moral values underlying our society. Economic stability is another. The health of the marketplace relies heavily on accurate information, equally available to all investors. If public confidence in the integrity of this system falters, so does the economy. (184)Continued on Next Page »
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