How has the School of Cinematic Arts changed your view of your discipline filmmaking? I learned a lot from Peter Robinson's 475 class. It's on directing. I learned directing terms, acting terms, theater terms, the like. I learned what it takes to communicate with actors. I sure took that for granted before taking the class.

What advice do you have for prospective students looking at applying to your program? I'd say, learn how to write good stories. Take screenwriting classes if you can. A good, scripted story makes a short film stand out like no other.

How has the School of Cinematic Arts prepared you so far for a career in filmmaking? The advanced production class had us students performing specialized roles. Sound design interests me, so I worked on set as a boom operator. And in post-production, I was a sound editor and mixer. By going through every step of the film's sound design, I feel pretty good about my job prospects. It's okay to say that sound makes up half of the viewer's experience, right?

What have been the biggest challenges for you at USC? This is a tough one to answer. I guess what was tough for me was accepting the fact that there are so many unique sensibilities out there. I've had to remind myself not to compare my sensibility with those of others. And another big thing I've taken away from the experience here: I have to be okay with being judged if I want my stories to be honest.

What in your past has given you inspiration or a unique point of view which you bring to USC? Music is a big part of my life. A lot of my friends are musicians and singers. I think it affects how I approach editing. One time I was editing to a metronome, and the result wasn't bad. I guess experimentation's our boon after all.