Have you ever come to a crossroad in your life where you realize—if I keep going down this path, I’m giving up on my dreams?

That was me.

I worked a fun job in Norwegian TV as an editor, and did feature films on the side as a prop master. I made good money, worked with great people, and was working on stuff I liked.

Yet, this wasn’t why I got into filmmaking.

I wanted to tell my own stories. Make up my own worlds.

I wanted to direct.

I knew if I kept going on the path I was on, that dream would slip farther and farther away.

It was change or surrender for me.

One option was to move to Oslo, where most of Norway’s film industry is centered. I figured, if I’m moving to Oslo, I might as well move somewhere I actually want to live. Naturally, I started applying to film schools in Los Angeles.

A few months later, I was invited to interview for a spot at UCLA. I flew to New York, interviewed, and went home.

Did not get in.

I’d pretty much given up on film school that spring and was shopping around to buy my first apartment in the city when I got a call from LMU. Honestly, I only applied to LMU because their application was almost identical to UCLA’s.

But they offered me a spot, and I accepted without thinking too much about it. It felt right.

I was officially moving thousands of miles away from home to a giant city where I knew no one.

Should you go to film school?

To go to film school, or not to go to film school, is the question every budding filmmaker asks themselves.

This could be its own newsletter series, but let me share some quick thoughts.

Film school is unnecessary for most budding filmmakers. You can find everything you need to learn online. You can build your own community and get filmmaking tools for way cheaper than it is to pay for a college education.

But here’s why it worked for me.

As a foreigner who had never even been to LA, film school was a great test drive. Getting a visa as a student is relatively easy, and it allows you to stay in the country for as long as you’re studying, plus an extra year.

This gave me four years to try this LA thing out.

The second thing film school provided for me was structure. I was not able to focus on my directing while working in Norway. Film school gave me a chance to direct several short films, and study in an environment where all my peers were doing the same.

The two key components that an aspiring filmmaker needs are the skills and tools to make movies and a community to do it with.

I got both in film school.

At this point in the story, I was still one foot in LA, one back in Norway. I went back home every Summer to work, so I could finance my short films. I’d take breaks from school to go do work projects like The Amazing Race and the 2014 Winter Olympics.

But things were changing.

It’s kind of a love story

When I went home for Christmas after my first semester in LA I was not sure this was for me. LA was massive, noisy, and chaotic. I did not feel at home.

Then everything changed.

The following semester, I started dating this cute Puerto Rican girl. I fell madly in love, and before we finished school two years later, we decided to get married.

As we graduated from film school, it became clear that LA was our home now. It’s where we met, and it’s where we were building our life together.

For most graduating foreign students, the option to stay in the US permanently is a long shot. The visa process is difficult and never guaranteed. But because my wife is Puerto Rican and an American citizen, I was able to get a green card. (PS: still married 9+ years later)

The decision to stay was less a calculated move and more about following what felt right.

We had both built connections here, and we were launching into our first industry jobs. LA is also a cool-ass place to live for a film nerd once you get to know it.

You might expect some Hollywood ending here, where I go straight from film school to directing my first feature for a major studio.

Still waiting for that to happen.

The truth is, almost everyone who graduates from film school starts at the bottom in our industry. I started working for a small production company as an editor and have worked my way into the editing union over the years.

I’m still working my post-production jobs while directing on the side. Moving to LA is no quick fix for shooting to directing stardom.

Was it the right choice?

It’s hard to imagine my life today had I stayed in Norway or gone back after film school. I’ve lived in LA for almost 13 years and see us staying here.

Moving, taking a chance, and trying something new was the right choice for me. I don’t think I could forgive myself if I didn’t pursue my directing dream all the way.

Does this mean you need to move to LA (or another filmmaking hub) to succeed in filmmaking?

Yes! Come, let’s hang out.

I’m joking. But seriously, if you come to LA, let me know.

Honestly, living in LA as a non-rich person comes with a lot of downsides. It’s so expensive, and you have to work crazy hours in this wild industry just to make ends meet. That makes it even harder to start directing on the side.

What I’ve learned in this process is that the most important thing you need as a budding filmmaker is a supportive community. And that can be anywhere in the world.

If I could go back and change anything, it would be to just start. Start making films where you are. Get your friends involved, find local people who want to help out.

Look for whatever community will support your filmmaking dream.

You can always move to LA down the road.

And cut!

That does it for this week.

As always, thanks for reading.

Hit reply and let me know what you found most helpful this week—I’d love to hear from you!

Next week we’ll talk about the one word every director must know.

See you next Saturday,

Morten

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