Picture this: Fresh off their Oscar success for No Country For Old Men, Joel and Ethan Coen are discussing their next film with you, arguing over whether it should be about a botched kidnapping or a botched bank robbery and what Steve Buscemi’s role will be. They turn to ask your opinion, but the phone rings. Putting Drew Barrymore on hold, you suggest making the plot about an impulsive kidnapping due to a failed robbery. And that they should use Frances McDormand instead. And, oh look, there’s Woody Allen.

Now picture your actual job: Michael Cera wants a #2 with no onions and yes, he will have fries with that. And, oh look, there’s Ronald McDonald.

Constantly facing harsh rejections and competing with a steady influx of dreamers vying for their shot, students pursuing a career in the film or television industry can be disheartened. But can a film education from Northwestern give you the much-needed edge? Will a degree from NU leave radio, television and film (RTVF) graduates sipping scotch with Gus Van Sant or waiting tables for Kathy Griffin?

For seven Northwestern alums, the Hollywood dream is their everyday reality: A Nip/Tuck producer and writer who stood on the picket lines at the writer’s strike; a woman who manages Heroes stars Hayden Panettiere and Kristen Bell (formerly of the much adored show Veronica Mars); a writer who has worked with Michael Bay and Russell Crowe; and a feature-film producer who worked on American Pie 2 and American Wedding. But most importantly, besides the famous names, fancy titles and mentions on IMDB, they are alumni and they went through the quarter system just like you.

Screw NYU: NU’s got imagination and freedom

Sure, we’ve got Zach Braff and Stephen Colbert (and damned if we let anyone forget it), but how can you compete with New York University’s alums, such as Martin Scorsese, Ang Lee and Billy Crudup? Whether it’s accomplished alumni, pop culture references or a stellar curriculum, the reputations of film schools at New York University, University of California – Los Angeles or University of Southern California scream one thing: excellence. So what do successful alums of the RTVF program think lets NU go up against such distinguished schools?

“[NYU and UCLA] are like you’re going for the film business, you’re going for the film business and you’re immediately right into the whole scene,” said Emily Gerson-Saines, RTVF ’86, who spoke on campus earlier this quarter about her managing stars such as Hayden Panettiere and Cynthia Nixon. “Whereas, this, there’s still a naivete in people. They have more imagination coming from this environment. I really don’t think there’s such a need to rush life and I think that Northwestern [is] sort of a very nurturing environment.”

Courses for the radio, television and film major include a variety of distribution requirements. Of the eighteen courses outside the department, only about eight must be in a specific area of study, giving majors freedom to explore.

Josh Shader, RTVF ’99, said, “The lack of course requirements outside of RTVF allowed me to take a bunch of courses in a variety of subjects – it was a buffet of choices rather than forced requirements.”

Others were drawn into the RTVF program by chance. Eric Bernt, RTVF ’86 and now a writer and producer for films such as Romeo Must Die, said he came to Northwestern with journalism on his mind. “I was originally in Medill, but transferred into RTVF when I realized I wanted to write movies, not newspaper articles,” Bernt said in an e-mail. “It was at Northwestern that I realized my true passion. I credit the school with helping me realize what I should do with my life.”

From stripper (or at least bio major) to screenwriter

If Diablo Cody’s recent Oscar win for Juno has taught us anything, it’s that your day job doesn’t necessarily have to define your future. Alongside RTVF majors, alums from NU’s other schools (read: strippers) find success.

As a political science and sociology major, Hank Chilton, WCAS ’91, said that his freshmen seminar sociology class led to a newfound appreciation for cinema. “It really opened my eyes to looking at film as more than just entertainment,” said Chilton, who’s now a writer and producer for Nip/Tuck. “From there I basically was too intimidated to become an RTVF major, but I started taking classes in the film department.”

Adam Alcabes, Communication ’06, majored in communication studies but came with an interest in film as well. “If I thought the only way I could [go into the film industry] is by being a film major then I probably would have done that. The fact is, you don’t have to be,” he said.

Something about time at NU

The film department offers a variety of production courses, including those on lighting and cinematography, as well as classes concentrating on film theory, such as one that discusses how gender and sexuality are portrayed in movies.

According to Bernt, “All RTVF majors should take as many courses that involve actual filmmaking. While theory is great, practice is critical.” Still, Bernt said that his favorite class at Northwestern was about not production but theories of persuasion. He said, “Learning to persuade people in Hollywood has been critical to my success.”

The strength of a dedicated, knowledgeable faculty allows students to gain insight into the intricacies of the film industry. With professors like screenwriter Bill Bleich and documentary filmmaker Clayton Brown on hand, RTVF students can learn from insiders.

For Laverne McKinnon, RTVF ’87, a television production class taught a lesson that she remembered while in pursuit of a Hollywood career. An assignment called for students to create a ten-minute talk show. Responsible for everything from directing and production design to casting, McKinnon was upset when she received a “B” because of her choice of actor. “[My professor] told me that as a producer or director you are responsible for every part of your production and that is something that really stuck with me,” McKinnon said. Now a part of 50 Cannon, a production company, she used to be CBS’ head of drama development, influencing shows like Without a Trace and Criminal Minds.

Some alumni mentioned a lack of a connection between the school and Hollywood, which may leave students less prepared to work within the industry. “I feel like there is an unfair stigma associated with Hollywood cinema at most universities, as if it is only a crass, commercial version of filmmaking but not real cinema. But the reality is, most students want to be commercial Hollywood filmmakers,” Shader said. “It would be great to see more people with the type of careers and experiences that the students seek teaching more courses focused on that goal.”

While classes outside of the RTVF department may not have mandatory screenings of Citizen Kane, they can offer knowledge that complements an RTVF education. Heath Corson, WCAS ’95, recommends taking sociology classes to gain insight into human behaviors. “Nothing will give you a better understanding of groups and society,” he said. “Any storyteller has to have an idea of how people think as a culture and as a society. It gave me a great insight into the human condition and all that feeds back into the kinds of stories you’re going to tell.”

Chilton agreed. “Taking political science, sociology and literature courses are all necessary because you need to have a perspective and you need to have a base from which to make film and television,” he said. “Just to learn how to make a movie is only half the battle – you need to know what to make a movie about.”

Cozying up with the NU mafia

Remember how your mother told you to be nice so that people would like you and then give you stuff? Networking with professionals and making contacts is important, but equally valuable are connections made with peers. Most people in RTVF will head in the same direction after graduation and some may gain great success. You want those people on your side and, luckily for RTVF majors, there’s a well-established “NU mafia” in place for alumni. Each person interviewed told story after story of how they became connected to alumni in the business.

“Some of my best friends today, and greatest professional allies, are friends I made at Northwestern,” Bernt said. “The ‘NU mafia’ is a real thing in Hollywood. We all look out for each other.”

The “mafia” is supported by the Northwestern University Entertainment Alliance (NUEA), a club run by and for alumni pursuing careers in entertainment. Networking is facilitated with get-togethers, a membership directory and roundtables, according to the group’s Web site. The considerable number of Northwestern alumni working allows people to further their careers through alma mater connections.

“Often when I tell someone that I attended Northwestern, they respond with, ‘Just how many of you are there out here?’” Shader said.

Joining groups on campus, working with people in film classes and, as Corson stated, “just being the kind of person that people want to be around” will gain allies that carry over to Hollywood. “It’s the people you never thought you were going to be nice to, never thought you would see again,” Corson said. “You’ve got to be nice; they always come back into your life.”

“I can’t believe I am getting paid to do this”

Alright, you’ve got your diploma, won over some people in the industry with your dazzling personality and more impressive impression of Seinfeld’s David Puddy, and it’s now the big time – competing with everyone else to break into the industry. The fact is that life after graduation can be hard and that dream job won’t come overnight. But alums said that Northwestern’s quality and the tight alumni network give you as good a chance as anyone.

“I think if you say you went to Northwestern people are very intrigued. They immediately assume you’re smart, they immediately assume you’re well-rounded,” Gerson-Saines said. “What they don’t necessarily assume is that we’re film prodigies or anything like that. That has to be discovered.”

That discovery can take months or even years to occur, but the need to be part of the industry doesn’t seem to even be a real choice for many. “One thing people told me that I never believed [was that] if you could be happy doing anything else in the world outside of the film industry, do that,” Corson said. “If you know that you have a burning in your belly to do something in the industry then do that, and do it wholeheartedly. You’ve got to be ready to do the work and do the work for years and not stop.”

Finding success in Hollywood may be difficult, it may be crushing and demanding, but the benefits seem to be more than worth it for our seven alumni. “Sometimes you think to yourself ‘I can’t believe I am getting paid to do this.’ I read scripts and talk about movies all day.” Alcabes said.

McKinnon expressed her pleasure in working in the industry as well: “I love it because it’s a world of possibility and we’re only limited by our own imaginations and our ability to persevere.”

Bernt said, “The most exciting thing about my job is the act of creation. Even now, after doing it for more than 20 years, I still love the challenge of writing a good story. It never gets old.”