Revisit James Stevenson’s 1980 profile of the cult filmmaker John Carpenter.
When Carpenter first arrived at U.S.C., he saw a science-fiction short called “THX 1138,” which George Lucas had made while he was a student there. Lucas was soon developing his short into a feature-length movie. “I thought, This is how I can make it work,” Carpenter says. “So in 1970 I started to make a feature film. It was the kid in the log cabin going out with his friends to make a movie again. I had a thousand dollars from U.S.C. It began on the sound stage at U.S.C.
“Then came ‘Halloween.’ When success comes, it’s a frenzy—wham! People start running; they get a fever. I remember a producer saying to me, ‘You’re hot!’ Everybody’s overreacting. I haven’t changed that much; the only difference is that the film has made money. This is how you’re judged here.” Approximately 70–80 Fellows are chosen annually from hundreds of applicants for the first year Curriculum Program in which they specialize in screenwriting, directing, cinematography, producing, or production design. Those who are accepted exhibit a high level of understanding and proficiency in their field, a broad humanistic background, and the potential to excel in the film arts.
Seth Pinsker, a tall, bright, cheerful twenty-four-year-old from New York City, is standing inside the front door, greeting people he has invited to see a film he has directed as a member of the Conservatory Program. There are three showings tonight—it is a half-hour movie—and the guests flow in and out, up and down the broad marble staircase, overlapping; Pinsker welcomes the arrivals and accepts the congratulations of those who are leaving. “I went to U.S.C.
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