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Ask five people working in entertainment what they “do,” and you’ll get five answers that somehow all describe the same set. A film gets financed like a business, written like a novel, shot like a photograph, scored like a concert, and marketed like a product launch — often by people who started in one lane and drifted into three others.
For most of the last decade, there has been a particular purgatory reserved for pop artists who were too good to ignore and too strange for radio. Fan communities named it the khia asylum, borrowed from Khia, the early-2000s rapper whose defining single “My Neck, My Back” never translated into sustained commercial recognition. To be stuck there is to have a devoted fanbase, critical praise, and climbing streaming numbers while the radio-play gatekeepers look elsewhere. Escaping it is the moment everything changes.
There’s something exciting about the first week of a new term. New projects, new classmates, fresh ideas, and plenty of opportunities to grow. It can also feel a little overwhelming, especially if you’re balancing new equipment, deadlines, and getting back into a creative routine.
Every summer, thousands of people wait in line for six hours, put on capes, and scream when a panel moderator says a title out loud before the trailer even starts. It looks like spectacle. It’s actually one of the better classrooms in the industry. Comic-Con isn’t just about costumes, it’s about the mechanics of fandom, adaptation, and worldbuilding, on display in real time, with the audience reacting live and unfiltered. For writers, that’s the whole curriculum.
For nearly two years, students walking to campus on Sunset Boulevard have passed a dark marquee and a boarded-up dome. That changes this August, when construction begins on restoring the Cinerama Dome and the former ArcLight Hollywood complex.
For Hollywood, it’s the return of one of the city’s most recognizable theaters.
Few people understand the emotional power of sound in film better than Phillip Bladh.
Sound of Metal, directed by Darius Marder (The Place Beyond the Pines) and starring Riz Ahmed (Nightcrawler, Jason Bourne, Rogue One) and Olivia Cooke (House of the Dragon, Bates Motel), relied heavily on the expertise of its sound professionals to tell the touching, poignant, and at times sonically imposing story of a heavy-metal drummer going through the life-altering experience of losing his hearing.
Today, we are celebrating the induction of select films from director Mike Mills’ body of work into the Criterion Collection as a collection titled I’ll Remind You of Everything, which compiles the director’s deeply personal, semi-autobiographical trilogy of films mapping out parent-child relationships, including Beginners, 20th Century Women, and C’mon, C’mon.
For Oscar-winning sound mixer Phillip Bladh, sound has never just been technical — it’s an emotional audio journey for audiences that can make or break a film.
Long before winning a Best Sound Academy Award for his groundbreaking work on Sound of Metal, the Los Angeles Film School alumnus was a musician obsessed with microphones, recording equipment, and the invisible ways sound shapes human experience.
The Los Angeles Film School is featured in FILMMAKER Magazine’s 2026 Film School Guide, marking its fourth straight year among the nation’s top film education programs. The recognition runs in the magazine’s Summer 2026 issue (No. 135), on newsstands now.