Rory Curley has been the CEO of Central Film School for over 8 years, and the school is almost unrecognisable from his initial appointment. For close to a decade, he has guided CFS into the Higher Education Institution it is today.
We managed to book in time with Rory to ask some of our burning questions. Read on to find out more about his journey to becoming the CEO of CFS, his plans for the school, and his perspectives on the ever-changing screen industry.
Can you please start by giving us a bit of an intro to yourself and your journey to becoming the CEO of Central Film School?
I’m an educationalist by background and have worked across a wide range of education settings in the UK and internationally, including time in China and Japan. What’s always driven me is a belief in education as a force for positive social change - opening doors, shifting perspectives, and creating opportunities that might not otherwise exist.
Alongside that, I’ve always had a deep passion for film and the screen industries. So when the opportunity came up to lead Central Film School, it felt like the perfect alignment of values and interests. I leapt at the chance to combine education, creativity, and social impact in a really tangible way.
How would you say the school has developed since you joined CFS?
The school has developed enormously over the almost nine years I’ve been here. Some of the key milestones include joining the Office for Students register, significantly expanding our course provision, and moving into our fantastic current campus.
But beyond the headlines, the biggest shift has been cultural - CFS has grown into a confident, values-led institution with a strong sense of purpose and a clear commitment to supporting underrepresented voices in the screen industries.
Do you have any personal highlights from your time at CFS?
There are lots, but a few really stand out. Launching the Carlie Tufnell Spark Fund was hugely meaningful, as was seeing a genuine community of practice develop among students, staff, and alumni. The installation of the Bertha Dochouse Archive at the school is also a pivotal moment for CFS - putting us on the map as a serious place of learning, while also demonstrating our commitment to holding space for documentary.
I’m also incredibly proud of the team we’ve built - a dynamic, ambitious group of people who are deeply committed to students and to doing things properly, but creatively. Watching that culture grow has been one of the most rewarding parts of the role.
Could you tell us a bit about your thoughts on the current creative higher education landscape and any trends you're seeing?
Like everyone else, I’m watching the impact of AI very closely - we’re clearly in the middle of a major paradigm shift. That brings uncertainty, but also enormous opportunity.
At the same time, it’s been really encouraging to see data showing Gen Z and younger audiences returning to cinemas in significant numbers. That gives me real optimism about the future of storytelling and shared cultural experiences.
One of the biggest shifts for graduates is that most careers will now be portfolio careers. I genuinely think that should be seen as exciting rather than daunting - provided you have the skills, knowledge, networks, and openness to adapt as the industry continues to evolve.
Are there any plans you're happy to share for Central Film School in the coming year?
We’ve had a really exciting year already, including securing another capital grant from the Office for Students. It's enabling some major upgrades to our spaces and facilities, which I can’t wait for students to experience.
Academically, I’m particularly excited about the launch of our new BA (Hons) Post-production & VFX and MA Virtual Production programmes. We’re also well underway with our application for our own Degree Awarding Powers - a huge and genuinely transformative step for the school.
If you could give one piece of advice to future filmmakers and creatives, what would it be?
Be open-minded, make the most of being part of a community of practice, and don’t wait for permission. Or, as our 2025 valedictorian so perfectly put it: shoot the damn thing.
If you could only watch one film or TV series for the rest of your life, what would it be?
That’s cruel - I need one of each.
For film, it would have to be Alien (1979). And for TV, something comforting, generous with episodes, and endlessly rewatchable… probably Smack the Pony.
