Film sets are hubs for creation. They are where concepts and ideas turn into visual, captivating works of art. But, unfortunately, television shows and movies aren’t the only thing created on film sets. Historically, film sets have also been notorious for creating tons of waste, pumping plastic water bottles, plates, utensils, coffee cups and more into landfills.
Leading this sustainability charge is current MFA Film student Matt Hudgins, who, after graduating with a bachelor’s degree in history from UGA in 2009 and before enrolling in the MFA Film program in 2022, spent years on film sets working primarily in craft services, providing food and beverages to film and television crews.
“There are tons of sets that don’t have, in practice, a real recycling program,” said Hudgins. “They might throw some recycling bins out, but there is not enough manpower or signage to manage that or advance crew education.”
“Tons and tons of food gets wasted on a lot of sets and goes to the landfill,” he added, “which creates methane gas. Food waste, really, is a resource. If it is treated correctly, it doesn’t become food waste. It becomes a food resource.”
Soon after enrolling in the MFA Film program, Hudgins applied for and received a UGA sustainability grant, which enabled him to serve as the program’s sustainability supervisor. In this role, Hudgins is in charge of purchasing materials needed to improve the sustainability practices of the program, contacting partners and making connections to help the program achieve its goals, and leading the charge on helping the program make it into the Green Film School Alliance (GFSA), a group of film schools across the United States committed to reducing the environmental impact of content production.
“We intend to join The Green Film School Alliance, in good company with all top-tier film schools in the nation, with full compliance of environmentally sustainable set practices: no single-use plastic bottles; all trash must be separated for maximal recycling, and food waste must be composted,” said Neil Landau, executive director for the MFA Film program.
Hudgins has been weighing and tracking the MFA Film program’s waste and practices throughout the year in preparation to submit a GFSA application by the end of the spring 2023 semester.
“The sets I’ve been on that do it well, they have a dedicated sustainability team that will handle all of the waste on set,” said Hudgins. “They have lots of signage. They have people who are dedicated to being there, at the high traffic areas to make sure things go to the right bin, whether that’s compost, recycling or landfill.”
“Even just the attention and commitment to educate and emphasize putting things in the right bin can make a huge difference,” he added. “Our program is eliminating single-use plastics as much as possible. We’re focusing on reusables.”
Landau explained that additional sustainability efforts include encouraging carpooling to and from locations, using reusable canvas bags, and using recyclable cardboard and/or reusable containers for transporting craft services and catering for cast and crew.
The program has already purchased reusable water bottles, which can be filled at water stations both on campus and at Athena Studios, a state-of-the-art learning center and studio space used by the program.
“This is not only good for the planet, but will also save student filmmakers from purchasing bulk water bottles for single use,” said Landau. “It’s win-win for everybody, especially for Mother Nature.”
Applications for the MFA in Film, Television and Digital Media program are due by February 15, 2023. Apply today.
The film industry in Georgia is flourishing. Generating $4.4 billion for the state last fiscal year, productions made in Georgia include a long list of box office top-earning feature films, streaming programming, commercials, music videos and independent films. “Spider-Man: No Way Home,” “Avengers: Infinity War,” “Black Panther,” “Stranger Things,” and “Loki” are just several of the hundreds of productions made in Georgia in recent years.
So, it only makes sense for the University of Georgia to have a top-of-the-line MFA film program, capable of pumping highly trained filmmakers into the marketplace. In this episode, we speak with Neil Landau, the executive director of the Master of Fine Arts in Film, Television and Digital Media program, about what the program has to offer. Landau explains the growth of the program, the new partnership with Athena Studios, which includes a 14,600-square-foot student studio space, the advantage for students provided by Georgia’s bustling film industry, the impact that the program’s many mentors, who are legendary producers, A-list screenwriters and award-winning show runners, have on students enrolled in the program, and more.
Grady College co-sponsors the MFA Film program along with Franklin College of Arts and Sciences.
Listen to the podcast episode on Anchor, or your preferred audio streaming platform, by clicking here or following the links above.
“Professor Landau brings a vast amount of experience not only in the film industry, but in the MFA space, as well,” said Charles N. Davis, dean of Grady College of Mass Communication and Journalism, which co-sponsors the MFA Film program along with Franklin College of Arts and Sciences. “He’s been an amazing addition to the Entertainment & Media Studies department, and he has vision and energy commensurate to the task. Our MFA program in Film, TV and Digital Media truly is one-of-a-kind, and he’s the leader it needs.”
Prior to assuming the Executive Director title, Landau served as Director of UGA’s screenwriting curriculum, where he created the Distinguished Industry Mentor program. The Distinguished Industry Mentor program enlists some of the industry’s most prominent screenwriters, directors, and TV showrunners — including David Koepp (“Jurassic Park”), Allison Liddi-Brown (“Friday Night Lights”), and Peabody Award-winner Steven Canals (“Pose”) — to share their expertise with students via master classes, mentoring sessions, and networking.
Of his new role, Landau says “I’m genuinely excited to be part of building and leading our MFA film, television, and digital media program, based on a production company/active studio model, to meet the rapidly expanding Georgia film and TV production ecosystem.”
Landau describes the MFA Film program as interdisciplinary, providing students with the opportunity to find and hone their unique voices as visual storytellers. They not only write original, feature-length screenplays and TV pilots, but also direct at least three short films. Landau continues, “We’re training them to be hyphenates in the Industry; whether that’s as writer/director or writer/producer, we’re preparing them to be innovators and trailblazers.”
“Neil Landau is instrumental to this program and for its success going forward,” said Nalani Dowling (MFA ’22), a recent graduate. “He makes each student feel like he really cares about our success and genuinely wants to understand our work and where we are coming from.”
Mr. Landau is a graduate of the UGA Narrative Nonfiction Media Writing program in Screenwriting and brings years of academic experience to the job, including more than two decades as a screenwriting instructor at University of California, Los Angeles School of Theater, Film & Television, and several years as Assistant Dean of Special Projects and co-Director of the UCLA MFA Screenwriting program. He has a Bachelor of Arts degree in Film/Television from UCLA.
As a screenwriter, his credits include feature films “Don’t Tell Mom the Babysitter’s Dead” and the global animated blockbuster “The Adventures of Tadeo Jones” (for which he won a Spanish Academy “Goya” Award), and the television series “Melrose Place,” “The Magnificent Seven” and “Doogie Howser, M.D.” Upcoming projects include the worldwide release of the animated feature film “Mummies” from Warner Bros. in late February, and “Little Big Boy,” an animated western, currently in production. His latest original, live-action screenplay, “Flinch,” is currently being produced by Teri Schwartz (“Sister Act,” “Beaches”), in partnership with WME Independent.
The MFA Film program is a two-year intensive program teaching students directing, screenwriting, producing and other skills needed for creative careers in Georgia’s film industry, which brought $4.4 billion to the state in fiscal year 2022.
Jeff Springston, who previously directed the MFA Film, Television and Digital Media program, continues directing the MFA Narrative Media Writing program.
The program, which was approved in Spring 2020 and met for the first time behind masks that fall, held graduation ceremonies August 13, 2022.
“There are so many learning experiences,” said Nalani Dowling (MFA ’22), a member of the inaugural class. “There were really good mentorships, and having the time and resources to explore what it means to be a filmmaker was invaluable.”
Another graduate, Elise Nation (AB ’18, MFA ’22), was attracted to the program because it built on her undergraduate degrees in entertainment and media studies and film. She also liked the idea of having a terminal degree if she wanted to teach one day. In addition to the education, it was the connections that proved most memorable for her.
From the Halloween bonfire the group enjoyed their first year in Athens, to the Friendsgiving celebration they bonded over when they were living in the town of Trilith, Nation admitted it is the friendships that develop over shared experiences that will be lasting.
“It was the summer films that we made in Athens right before we moved to Trilith that I will remember,” Nation recalls. “It was the first time doing our own work, all crewing for each other, that sticks in my mind. They were crazy and long hours, but a wonderful experience. You wanted to be the best you can be for their projects, because you wanted them to be the best they can be for your own project.”
MFA Film Foundations
The MFA Film program is a two-year intensive program teaching students directing, screenwriting, producing and other skills related to move into creative careers in Georgia’s lucrative film business, a $4.4 billion industry in fiscal year 2022.
While the focus is on above-the-line industry positions, each student is educated in a variety of fundamentals, from sound design and lighting, to acting and camera work.
“If the students learn how to do these things and learn the language, they will understand the process better and have greater insight and empathy in the long run,” said Jeff Springston, former director of the MFA programs at Grady College.
The intensive program is designed so that the first year is spent on UGA’s campus in Athens, Georgia, taking core classes and learning production basics including writing, storytelling and filming, among many other skills. The students produce their first film, telling a story in roughly four minutes, using only natural sound or music and no dialogue.
Neil Landau, who is current director of screenwriting and the new director of the MFA Film program, notes that in two years, the students create at least one TV pilot, one feature film and three films.
“It’s extremely rigorous,” Landau admits, “but that’s what works really well — students are trained to be writers and directors, or writers and producers and not trained to do just one thing — they are learning a combination of skills.”
The MFA Film program is led by faculty from both Grady College and Franklin College and blends the curriculum to benefit the students.
One of Nation’s favorite courses for instance, Art Direction for Film and Television, was taught by Julie Ray and included discussions about art in film, color theory and how to merge roles through color and costuming.
“She taught me that film is not just about shots and story, but about color and music, too,” Nation said.
The second year is spent living in the town of Trilith, located next to the studios where Marvel movies are filmed. Classes are conducted in a custom-built suite featuring theater-quality A/V projection and sound system, sophisticated editing bays and collaboration space. Studio space for additional training and productions is available across the street through another MFA program partner, the Georgia Film Academy.
Applications for the MFA Film cohort beginning Fall 2023 will be late November/early December 2022. Visit MFAFilm@uga.edu/apply for more details.
Thesis Film Projects
Students turn to creating their thesis film projects during the second year as they choose between a writing/producing track writing full scripts and producing films their classmates are directing, or a writing/directing track, where they develop full productions that are 8 to 15 minutes in length. The thesis films were screened at graduation in front of parents bursting with pride and faculty and student colleagues who empathized with the personal investment and creative stamina needed to pull them off.
To further their education in real-world scenarios, students were encouraged to participate in real-world exercises ranging from working the backStory group to partner with composers from the Jerusalem Academy of Music and Dance to produce original scores for their films, to pitching their project to a team of faculty and mentors for additional money to produce their films.
“Once students are in the work world, the whole game is about pitching your product,” Springston explained about the pitch competition.
Nation and Dowling were two of three students awarded additional money for their projects, and agreed that the exercise was about more than just the money.
“Pitching our films was a wonderful experience,” Nation said. “It’s a good lesson in how to pitch your own material and get other people excited about it and try to get your vision of it across.”
In a nod to the adage, “write what you know,” both Dowling and Nation directed thesis films that are personal pursuits in several ways. Dowling worked on a project called “Breach,” about the relationship between two sisters-in-law during a stressful pregnancy for one of the characters. Dowling is attracted to themes of female relationships, drawing on the relationship she has with her sister.
Nation directed “Poppy,” a dream sequence following a young girl who pursues adventures like traveling in space and exploring the African wilderness…until the camera comes back to reality and she is in the hospital fighting for her life. This, too, hit close to home as Nation spent time right before the program started caring for her niece who was battling leukemia. Although the short film ends on an uncertain note, Nation’s niece is doing well and attended graduation to cheer on her aunt.
In the end, the film industry is about connections and that is another lesson illustrated many ways throughout the MFA program.
For instance, once the students moved to Trilith, they had to establish a pipeline to accomplish their end goals. These contacts ranged from connecting with the crew from Georgia Film Academy who helped with their thesis films to an impromptu encounter with Dan Cathy, CEO of Chick-fil-A and a main investor in Trilith Studios. Cathy is also a key financial supporter of the MFA Film program at UGA.
Dowling recalls how Cathy was very helpful. He had talked with the group on a call early in the program, telling them they have been challenged to impact the world and storytelling is the most impactful way to do that. Then, he gave the students his cell number. And, the students used it.
“We were meeting at GFA and one of my classmates just texted him to let him know we were there,” Dowling recalls. “He came right over and we just piled in a van and he showed us the studios. They were filming the most recent Spider Man movie and we hadn’t signed waivers or anything, but he was showing us all around the studios.”
After the tour, he took the group out to dinner, one of a few times he did that.
The moral of the story is clear, said Dowling: “Don’t be afraid to ask, and know who to ask.”
Cathy had periodic interactions with the students, including attending the graduation ceremonies.
“Here at Trilith, we are setting the stage to inspire the next generation of storytellers,” Cathy told the graduates. “It’s incredibly exciting.”
The students also connected with an impressive A-list of industry professionals, serving as Distinguished Industry Mentors. Each student was paired with a mentor who shared ideas, taught lessons and helped students network in the industry.
The inaugural class also had a two-hour master class with Stephen Canals, co-creator and executive producer of “Pose.”
Chuck Hayward, acclaimed for his work on “WandaVision” and his co-executive producer role on “Ted Lasso,” mentored new graduate Kelvin Summerhill (MFA ’22) and has already signed on to be an Artist-in-Residence for the new class of MFA Film students. Landau said that Summerhill exceeded his modest goal raising money for his film, “Black Butterfly,” thanks to an attractive contribution by Hayward.
Dowling was paired with Davita Scarlett, writer and co-executive producer of “The Good Fight” and “Evil.”
“Being paired with Davita was awesome,” Dowling said. “Even with her busy schedule, she took the time to read the first TV pilot I wrote in the program. She gave really helpful feedback and notes on how I could improve the episode, as well as my TV writing skills overall.”
With graduation behind them, the students will start using those networks to land jobs.
Nation has taken a job to teach film at Emory, while Dowling has renewed her lease for her apartment in Trilith and will continue working part-time for a small production company she has worked with the past few months.
Most the students will also submit their final projects to film festivals, a popular avenue to garner attention from agents and representation for future projects.
“The success of this program depends 100% on the accomplishments of the students, that they leave happy and are ready to break into a really competitive business,” Landau concluded.
In the meantime, there were a few students from the new cohort of MFA Film students in the graduation audience watching the thesis films, some nervous about their turn but all excited about what’s to come.
Landau, founding director of screenwriting for the UGA MFA Film program, follows the success of the bestselling first edition of his book, supplemeted by interviews with today’s most trailblazing showrunners, including Issa Rae of “Insecure,” Chris Mundy of “Ozark,” Noah Hawley of “Fargo,” Jesse Armstrong of “Succession,” Liz Feldman of “Dead to Me,” Sam Levinson of “Euphoria,” Steven Canals of “Pose,” and Daniel Levy of “Schitt’s Creek,” among others.
“This book reflects the enormous changes that have occurred since the first book came out in 2014,” Landau said about the new edition that focuses exclusively on streaming shows and features several international shows.
Among the topics covered in the new book are a conversation with Hawley about reinventing the Coen Brothers’ classic film; insight from Damon Lindelof of “Watchmen” on world building, and an interview with Alex Pina of “La Casa de Papel” (“Money Heist”) on non-formulaic episodic story structure. Other topics covered by Landau include the power of empathy, family dynamics, antagonists and pitching projects.
Landau explained that at the time the first edition came out, there were very few books about creating and writing an original TV series, and few people know the role of a showrunner, or the person who is the head writer and executive producer of a television show.
“This book is for people who may someday be showrunners,” Landau, who said he was raised on television, continues. “It breaks down the process of what the elements are to writing and creating a successful television pilot and how to sustain it over time. It’s a book for writers and creators.”
Several themes emerged while writing the current edition of the book, according to Landau, including the international impact of entertainment.
“The entire entertainment business, not just television, is global. It’s not a Hollywood-centric business anymore,” Landau said. “You cannot sell a show if it doesn’t have international appeal.”
He further explains that most of the growth happening with Netflix, HBO Max and Paramount+ and other streaming services is occurring because and they are opening offices in cities all over the world and their focus is local programming produced by people who live in that country using the local language of that country.
Landau also said that intellectual property is now driving the entertainment business. He said the Spider-Man and Batman movie franchises are prime examples.
“If you have a built-in marketing hook, like a show based on a best-selling novel or super popular characters from the Marvel Cinematic Universe, entertainment providers know that when they go to air it, they will have a built-in audience,” Landau said. “There are still original shows being written, but most are based on known source material. The value of intellectual property is more crucial than ever to break through the noise of over 560 scripted series across multiple platforms—an all-time record.”
Landau also notes that the lines between cinema and television have blurred.
“Television is not a lesser-form of creativity. It’s actually an artform unto itself.”
He continues: “Because TV is available globally, at its best, it can plant seeds of empathy, and reinforce that we all share a common humanity. Hopefully this book will show that we are in the midst of a creative renaissance and it will inspire people to participate, because your voice matters.”
Landau has numerous screen credits including “Don’t Tell Mom the Babysitter’s Dead,” “Melrose Place,” “The Magnificent Seven” and “Doogie Howser, M.D.” His animated movie projects include “Tad: The Lost Explorer” (“Las Adventuras de Tadeo Jones”) for which he earned a Spanish Academy Goya Award, Gaudi Award, and Cinema Writers’ Circle Award for Best Adapted Screenplay in 2014.
This is the sixth book that Landau has published. Previous books include “TV Writing on Demand: Creating Great Content in the Digital Era,” “TV Outside the Box: Trailblazing in the Digital Television Revolution,” “The Screenwriters Roadmap: 21 Ways to Jumpstart Your Story,” “The TV Showrunner’s Roadmap: 21 Navigational Tips to Create – and Sustain – a Hit TV Series” and “101 Things I Learned in Film School,” reissued by Random House/Crown in 2021.
The groundbreaking business decision affects distribution of many films created here in Georgia. We asked asked Neil Landau, associate professor in EMST and director of screenwriting for the MFA Film program, about the ramifications of this announcement and what it means in regard to evolving viewer habits.
“This is a sea change that will have lasting, if not permanent, repercussions on the movie business — from P&A (prints and advertising) and distribution to exhibition and all-important opening weekend box office tallies,” Landau said.
He says home streaming offers advantages and access to some productions that audiences may not have previously had.
“Depending on the post Covid-19 economic rebound, I believe streaming movies at home is here to stay,” said Landau. ” Not only is it much cheaper for those on a budget, it’s also more convenient and offers more global choices.”
The relationship between movie theaters and streaming services will continue to be defined and Landau says there are some critical questions that must be answered through audience behavior.
“Can both cinemas and movies-on-demand streaming at home co-exist? Will people, who have mainly been staying home to avoid contagion, be compelled to return to the communal movie-going experience,” Landau questioned.
“My hunch is that while the communal experience of cinema will survive, many movie megaplexes will downsize or go out of business (tantamount to book stores and shopping malls in the age of Amazon Prime),” Landau said.
Like all industries that rely on people gathering, Landau says the new landscape must be defined through the public response to medical breakthroughs as COVID-19 treatments are administered. However, he says many of the business decisions are made because streaming profits benefit movie studio groups too.
“We already had signs of what I call “Digital Darwinism,” but Covid-19 has made it impossible for movie theaters to compete,” Landau said. “Once we have a vaccine and we get the economy back on track, it’s anyone’s guess. We all know for certain that sports will remain huge. Ditto for video games. But movies on-demand at home and relatively inexpensive monthly streaming subscriptions are not the competition for the major studios because they own or have a stake in most of these streaming platforms.”
“You could look at HBO Max’s decision to collapse theatrical windows as cannibalizing their own business —until you realize that they’re profiting from increasing their HBO Max subscriptions exponentially,” said Landau. “And a monthly subscription fee and access to customer data are both gifts that keep on giving, not dependent on what’s opening at the movie theater.”
The Department of Entertainment and Media Studies and Grady College are pleased to welcome three new faculty members in the 2020-2021 academic year.
The new faculty members include:
Laurena Bernabo who assumes the role of assistant professor, EMST.
Neil Landau who will serve as associate professor and director of the screenwriting program for the new Master of Fine Arts in Film, Television and Digital Media.
Wunpini Mohammed who begins as assistant professor, EMST.
“Our new faculty invigorate us, and have been busily preparing for the semester ahead,” said Charles N. Davis, dean of Grady College. “They have embraced the spirit of the college already, and we’re all so happy for the infusion of vitality they bring.”
Laurena Bernabo joins the college faculty after serving as a visiting assistant professor at the University of Iowa and, more recently, Christopher Newport University. Her research specializes in the Spanish-language translation of popular U.S. television programs for Hispanic audiences, focusing on translation as texts that emphasize the construction of gender, race, sexuality and other forms of identity. Bernabo also studies the construction of these identities in U.S. programs, and she has presented her work at national and international conferences. Her research is published in peer-reviewed journals such as “Critical Studies in Media Communication” and “Journal of Broadcasting & Electronic Media.”
Bernabo earned her doctorate and master’s degrees in Communications Studies from the University of Iowa, and a Bachelor of Arts in gender and women’s studies from the University of Illinois.
At Grady College, Bernabo will teach sections of Entertainment Media Industries, and Representation and Identity in Entertainment Media in her first semester.
Neil Landau joins the college as an associate professor and director of screenwriting in the new MFA program. Landau previously taught at the UCLA School of Theater, Film & Television where he served as assistant dean and co-director of the graduate screenwriting program.
Landau is an award-winning screenwriter, including the prestigious Spanish Academy “Goya” Award for best adapted screenplay for “The Adventures of Tadeo Jones.”
He has written for many of the leading television and film companies such as ABC Family, MTV, Sony Pictures, Columbia Pictures and 20th Century Fox, just to name a few. His movie credits include the cult movie “Don’t Tell Mom the Babysitter’s Dead,” and television shows “Doogie Howser, MD” and “Melrose Place.” He is currently working as the executive producer for a mini-series entitled “Patient Zero,” the first program to explore the untold story of the AIDS crisis in the USSR in the 1980s and early 1990s. Landau is author of five books, including the bestselling “101 Things I Learned in Film School” (Grand Central Publishing, 2010, reissue by Random House/Crown in early 2021); and “The TV Showrunner’s Roadmap” (Focal Press, 2014; second edition to be published in 2021).
Landau earned an MFA in Narrative Media Writing, Screenwriting, from Grady College in 2018 and he has a Bachelor of Arts in film and television from UCLA.
Wunpini Mohammed joins UGA to teach courses in global media industries, a study of how media companies make and distribute content throughout the world.
Mohammed’s research focuses on Global South media industries, feminism, broadcast media and development communication and the challenge of power politics in media production, distribution and reception. Mohammed has presented her work at national and international conferences, and her research is published in peer reviewed journals such as “Radio Journal: International Studies in Broadcast & Audio Media,” “Communication: South African Journal for Communication Theory and Research” and “Ada: A Journal of Gender, New Media, and Technology.” She has a co-authored article forthcoming in the “Journal of Radio and Audio Media.”
Prior to pursuing a doctorate degree, Mohammed worked as a radio journalist for five years. She later worked in digital media writing where her work has been published on various African and international media platforms such as Al Jazeera and Global Voices
Mohammed earned her doctorate in mass communications from Pennsylvania State University. She also has a Master of Science in rhetoric and technical communication from Michigan Technological University; a Bachelor of Science in English and Spanish from the University of Ghana; and a diploma in Spanish grammar and literature from La Universidad de Cienfuegos “Carlos Rafael Rodriguez” in Cuba.
At Grady College, Mohammed will teach sections of Entertainment Media Analysis and International Media Entertainment.