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Film and Television Summer Institute – Creative Producing

College students study the role of the creative producer or executive while engaging in entertainment industry internships

Study the contemporary film industry while building relationships with industry professionals

Creative Producing lets college students study the role of the creative producer or executive while participating in entertainment industry internships with companies located in Los Angeles. In class, students study the history of the Hollywood studio system and gain a critical perspective of the contemporary industry. In their internships, students apply those skills “on the ground” and build important relationships with industry professionals. In this way, the Creative Producing track is the perfect combination of theory and practice and contributes to a well-rounded liberal arts education that will benefit a wide range of majors from the humanities.

Fees and Payment Info

The program fee includes the unit fees for the UCLA coursework offered as part of the program and thus varies by UC student status. In addition to the program fee, students are assessed other campus and administrative fees during the summer. This is a summary of fees that commonly apply to the selected student type.

Actual tuition and fees are subject to change by the University of California. Visit the fees, payment, and financial aid section for important disclaimer, as well as more details on fees, payment instructions, and information on delinquency, refunds, and financial aid.

Program Fee $4,129
Ackerman Student Union Fee $13.20
Ackerman / Kerckhoff Seismic Fee $22.80
Wooden Center Fee $7.20
SPARC Fee $22.80
Undergraduate Student Association Fee $48.03
PLEDGE Fee $19.42
IEI Fee $61
Document Fee (incoming UCLA students only) $50

Meet your instructors

Alex Franklin

Instructor, FILM TV 183A – Introduction to Producing

Alex Franklin is a lecturer in the Department of Film, Television and Digital Media where he teaches graduate-level courses about the development and production of feature films and television projects. He also teaches several courses for the Undergraduate Honors Collegium and the Department of Global Studies at the UCLA International Institute. His courses include “Hollywood and Cultural Diversity in America,” “Hollywood and Global Responsibility” and “Hollywood and America’s Global Image.” In these classes, students explore Hollywood’s portrayals and representations of different countries, races and groups, and their impact on our culture. In 2018, Franklin was awarded the Eugen Weber Honors Program Distinguished Teaching Award for his work with the Honors Program at UCLA. He began his entertainment industry career in Hollywood at New Line Cinema where he assisted senior VP of production Richard Saperstein on the feature film Frequency and on the Denzel Washington film John Q. He then moved with Saperstein to Artisan Entertainment where he became a creative executive. At Artisan, he worked with Kevin Feige and the Marvel team developing numerous titles including The Punisher. He subsequently moved to Lionsgate Films where he worked with noted genre producer Peter Block on numerous horror and genre titles including the Saw franchise. After Lionsgate, Franklin worked at Dimension Films on the reboot of the Halloween franchise with director Rob Zombie, and on the Scary Movie franchise, which fulfilled a lifelong dream of working with director David Zucker (Airplane,T he Naked Gun). His last film as a development executive was Youth in Revolt, directed by Miguel Arteta. Currently, Franklin works at Zero Gravity Management overseeing their production department. Franklin is a graduate of Harvard University and has an M.F.A. from the USC Peter Stark Producing Program.

Bryan Wuest

Instructor, FILM TV 182 – Power, Identity, and Justice in the Film Industry

Bryan Wuest holds a PhD in Cinema and Media Studies from the University of California, Los Angeles. He researches and teaches film analysis, queer media, digital media, media industry studies, genre, media and politics, and film history, and his work has appeared in Film History, Journal of Film and Video, and the edited collection Queer Youth and Media Cultures.