Next!
Dean Green, deans, university leadership, faculty, staff, parents, friends, and the 2015 class of New York University's Tisch School of the Arts. Thank you for inviting me to celebrate with you today. Tisch graduates, you made it.
And you're fucked. Think about that. The graduates from the College of Nursing, they all have jobs. The graduates from the College of Dentistry, fully employed.
The Leonard N. Stern School of Business graduates, they're covered. The School of Medicine graduates, each one will get a job. The proud graduates of the NY School of Law, they're covered.
And if they're not, who cares? They're lawyers. The English majors are not a factor. They'll be home writing their novels.
Teachers, they'll all be working. Shitty jobs, lousy pay, yeah, but still working. The graduates in accounting, they all have jobs.
Where does that leave you? Envious of those accountants? I doubt it. They had a choice.
Maybe they were passionate about accounting, but I think it's more likely that they used reason and logic and common sense to reach for a career that could give them the expectation of success and stability. Reason, logic, common sense at the Tisch School of Arts?
Are you kidding me? But you didn't have that choice, did you? You discovered a talent, developed an ambition, and recognized your passion.
When you feel that, you can't fight it. You just go with it. When it comes to the arts, passion should always trump common sense.
You aren't just following dreams, you're reaching for your destiny. You're a dancer, a singer, a choreographer, a musician, a filmmaker, a writer, a photographer, a director, a producer, an actor, an artist. Yeah, you're fucked. The good news is that that's not a bad place to start.
Now that you've made your choice, or rather succumbed to it, your path is clear. Not easy, but clear. You have to keep working.
It's that simple. You got through Tisch, that's a big deal. Or to put it another way, if you got through Tisch, big deal. Well, it's a start.
On this day of triumphantly graduating, a new door is opening for you a door to a lifetime of rejection. It's inevitable. It's what graduates call the real world. You'll experience it auditioning for a part or a place in a company.
It'll happen to you when you're looking for backers for a project. You'll feel it when doors close on you while you're trying to get attention for something you've written and when you're looking for a directing or a choreography job. While preparing for my role today, I asked a new, a few Tisch students for suggestions for this speech.
The first thing they said is keep it short. And they said, "It's okay to give a little advice. It's kind of expected, and no one'll mind."
And then they said to keep it short. It's difficult for me to come up with advice for you who have already set upon your life's work, but I can tell you some of the things I tell my own children. For, first, whatever you do, don't go to Tisch School of the Arts.
Get an accounting degree instead. Then I contradict myself and as corny as it sounds, I tell them, "Don't be afraid to fail." I urge them to take chances, to keep an open mind, to welcome new experiences and new ideas.
I tell them then, I tell them that if you don't go, you'll never know. You have to have the. Just to have to be bold and go out there and take your chances.
I tell them that if they go into the arts, I hope they find a a nurturing and challenging community of like-minded individuals, a place like Tisch. If they find themselves with a talent and a burning desire to be in the performing arts, I tell them, "When you collaborate, you try to make everything better, but you're not responsible for the entire project, only your part in it.
You'll find yourself in movies or dance pieces or plays or concerts that turn out in the eyes of the, of critics and audiences to be bad, but that's not on you because you will put everything into everything you do. You won't judge the characters you play, and you shouldn't be distracted by judgments on the works, of the works you are in.
Whether you're working for Edward or Federico Fellini or Martin Scorsese, your commitment and your process will be the same." By the way, there will be times when your best isn't good enough. There can be many reasons for this, but as long as you give your best, you'll be okay.
Did you get straight As in school? If so, good for you congratulations. But in the real world, you'll never get straight As again.
There are ups and there are downs. And what I wanna say to you today is that it's okay. Instead of rocking caps and gowns today, I can see all of you graduating in custom TSOA T-shirts.
On the back is printed, "Rejection: It isn't personal." And on the front, your motto, your mantra, your battle cry, next. You didn't get that part?
That's my point. Next. You'll get the next one or the next one after that. You didn't get that waiter's job at the White Oak Tavern?
Next. You'll get the next one or you'll get the next gig tending bar at Josie's. You didn't get into Julliard? Next. You'll get into Yale or Tisch.
You guys like that joke, so it's okay. No, of course, choosing Tisch is like choosing the arts. It isn't your first choice, it's your only choice.
I didn't attend Tisch, or for that matter, any college, or my senior year of high school, or most of the junior year. But still, I've felt part of the Tisch community for a long time. I grew up in the same neighborhood as Tisch.
I've worked for and with a lot of people who attended Tisch, including Marty Scorsese, class of '64. As you learn your craft together, you come to trust each other and depend on each other. This encourages taking creative risks, because you all have that, the sense that you're in it together.
It's no surprise that we often work with the same people over and over. I did eight pictures with Marty and plan to do more. He did about 25 with his editor, Thelma Schoonmaker, who he met at Tisch when she worked on a student film in the summer of '63.
Other directors, Cassavetes, Fellini, Hitchcock, came back to the same collaborators over and over, almost like a repertoire company. And now David O. Russell and Wes Anderson are continuing that tradition.
Treasure the associations and friendships and working relationships with, relationships with the people in your classes and your early work. You never know what might come from it. There could be a major creative shift or a small detail that can make a major impression.
In Taxi Driver, Marty and I wanted Travis Bickle to cut his hair into a Mohawk, an important character detail, but I couldn't do it because I needed long hair for The Last Tycoon that was starting right after Taxi Driver, and we knew a false we knew, we knew a false Mohawk would look, well, false.
So we were kicking it around one day at lunch and decided to give it one shot with the very best makeup artist at the time, Dick Smith. If you saw the movie, you know that it worked. And by the way, now you know it wasn't real.
Friendships, good working relationships, collaboration, you just never know what's gonna happen when you get together with your creative friends. Marty Scorsese was here last year speaking to the 2014 graduates, and now here I am, here we are, on Friday at a kind of supersized version of one of Allison's student lounge hangout sessions. You're here to pause and celebrate your accomplishments so far as you move on to a rich and challenging future.
And me, I'm here to hand out my pictures and resumes to the directing and producing graduates. I'm excited and honored to be in a room full of young creators who make me hopeful about the future of the performing and media arts. I know you're gonna make it, all of you.
Break a leg. Next. Thank you.
