Spring 2019 Graduate Courses in Film, T elevision Writing and Creative Writing

FLM 506.S60 (#56761) (#56760) – Advanced Master Class in Marketing and Distribution
Christine Vachon and Simone Pero
Mondays, 5:20-8:10 pm, 3 cr.

In this course, students will be guided through a deeper dive examination of best-practices, a changing landscape, and strategies for selling their film, television, &/or digital content projects. The class is structured around marketing, distribution, financing, legal and post-production topics. It will include provocative in-class conversations with working industry professionals such as producers, agents, lawyers, financiers, production managers, marketing experts and distributors. Students will be required to choose their own project to workshop throughout the semester, preparing it for financing, distribution and launch into the world. Assignments will be tailored to student projects, focusing on financing plans, audience building and engagement, creating promotional materials, strategic use of digital and social media marketing, all towards making a project attractive to potential financiers/buyers/audiences/supporters. This course is offered once every two years and is highly recommended for students approaching or in their thesis semester. If you are new to the program your next opportunity for taking this course will be in spring 2021. FLM STUDENTS WHO’VE COMPLETED FLM 500 ONLY

 

FLM 508.S60 (# 56765) - Editing the Genres
Jordan Roberts
Thursdays, 5:20-8:10 p, 3 cr.

Horror, comedy, drama and action. Four different genres, four different editing styles. This course will cover the methods on how to edit these very different pieces of material and why each and every cut that is made has a purpose. We will focus on both the tools of editing as well as the theory of it. Through analyzing film clips, class discussion and hands on lessons, we will break down the fundamental differences in these styles and delve into the process of constructing them. Working with Adobe Premiere Pro, students will have the opportunity to edit various scenes, which will range in style and tone. This course will get you thinking critically about all aspects of filmmaking, including blocking, framing, locations and shot selection, culminating in the edit of the end of the semester productions. Please note that additional class time will be arranged with instructor.  FLM STUDENTS ONLY

 

FLM 537.S60 – Production I (#56762)
Jennie Allen
Tuesdays 5:20pm-8:10 pm, 3 cr.

You will work from the scripts you developed in Fall. In the first weeks of the semester, you will attend workshops in casting, budgeting, scheduling, safety, and running a set while doing all the necessary preparation to bring your vision of the script to the screen. Then we launch into the production phase where you will present, discuss, and troubleshoot each other’s plans in class. Everyone crews on each other’s films in NYC - expect to spend a fair amount of days on set. We will workshop rough cuts and you will present a cut of your film at our final screening.

 

CWL 530.S60 (#56763) - Forms of Scriptwriting: The Advance Party Screenwriting Class
Lenny Crooks
Thursdays, 5:20-8:10 pm, 3 cr.

Course Description: The Advance Party challenges all you know about screenwriting as you progress from a blank page to a short form screenplay. We start with a character - each student creates a single character and learns how to describe his or her character in an authentic way. If the class size is 10 then there will emerge 10 characters and you will choose which of these characters will interact with your own. We then focus on the natural story as an essential element in this organic approach to screenwriting. As we progress each of your stories will evolve, not out of traditional plot driven characterization, but out of the characters' actions and reactions to situations created by you. The Original Advance Party was based upon a challenge to selected first time filmmakers by Lars Von Trier. He charged his collaborators Lone Sherfig and Anders Thomas Jensen to create six characters which were given to the filmmakers around which to create feature scripts. You will be given the original character descriptions as a guide to bringing your own character to life. Andrea Arnold's Cannes Jury prizewinning film "Red Road" (2006) was created in this way. OPEN TO FLM, TV AND CWL STUDENTS

 

FLM 550.S60 (#56764) - Teaching Practicum
Karen Offitzer
Thursdays, 5:20-8:10 pm, 3 cr.

This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative writing, TV writing and filmmaking. This course plunges into the basics of pedagogy, exploring learning styles, discovering a teaching philosophy, designing syllabi for undergraduate courses, creating assignments and rubrics, exploring classroom strategies, and practicing these skills in a classroom setting. You’ll get hands-on experience and mentoring through visits to undergraduate classes and teaching opportunities, and will gain an understanding of what works best for helping undergraduate students learn. Particular focus will be on discussing issues that arise when teaching creative endeavors such as writing and filmmaking.  Please note that additional class time will be arranged with instructor.  OPEN TO FLM, TV AND CWL STUDENTS

 

FLM 576.S60(1) (#56766) - Film Design: Shooting with Style
Jordan Roberts
Tuesdays 8:20-11:10 pm,  3cr.

As important as are story, script, casting and locations, all have to be captured properly…and you first have to learn how to use the equipment that does just that. This workshop will introduce you to the tools that you will have at your disposal to shoot your films. We will further cover set safety, proper handling of the gear, set protocol, the ins and outs of a professional level camera and lens kit, sound equipment, grip and lighting gear. This is the next step to help you create beautiful images that bring your stories to life. FLM STUDENTS ONLY

 

FLM 650.S60 (#56767) - Screenwriting Workshop I
Jennie Allen
Wednesdays, time TBD, 3 cr.

In this course students develop a feature length screenplay idea. Screenings, screenplay readings, and analysis of feature film structure accompany writing exercises and assignments designed to help students develop their idea into a compelling, original story. Students leave with a prose treatment of their story from start to finish as well as the first 30 pages.  OPEN TO FLM, TV (AND CWL STUDENTS WITH FORMER KNOWLEDGE OF FINAL DRAFT AND SCREENWRITING, WITH PERMISSION OF THE INSTRUCTOR)

OR

FLM 650.S61 (#56767) - Screenwriting Workshop I
Christina Kallas
Wednesdays, time TBD, 3 cr.

In this course students develop a feature length screenplay idea. Screenings, screenplay readings, and analysis of feature film structure accompany writing exercises and assignments designed to help students develop their idea into a compelling, original story. Students leave with a prose treatment of their story from start to finish as well as the first 30 pages.  OPEN TO FLM, TV (AND CWL STUDENTS WITH FORMER KNOWLEDGE OF FINAL DRAFT AND SCREENWRITING, WITH PERMISSION OF THE INSTRUCTOR)

 

FLM 536.S61 (#56768) - Forms of T elevision Writing: Short Form/Sketch Comedy 

Ethan T. Berlin

Wednesdays, 8:20-11:10 pm, 2 cr.

Taught by a veteran comedy writer, this workshop covers the fundamentals of late night and sketch writing in the style of  SNL, The Late Show, Full Frontal, and  The Daily Show. Structured like a comedy writers' room, students learn to pitch jokes and sketches live in front of other writers.  Students also gain experience working on a sketch or late night packet. For FLM students

 

FLM 651.S01 (#56769) - Screenwriting II and Script Doctor
Lenny Crooks
Tuesdays, 5:20-8:10 pm, 3 cr.

This course is for students who have written the first act of a feature in Screenwriting Workshop I. The course will offer intensive study of the screenwriting craft with a focus on outline and structure, character development, scene construction, sequences, dialogue and theme.

The second part of each class will analyze one student’s written first act employing the Script Doctor approach. Each week, following an introduction by the selected class member, the class will be a forum for critique and discussion with a view to assisting ALL WRITERS to draft and redraft with renewed confidence. Lenny will lead each discussion and draw on his extensive knowledge of story, character, dialogue and the essential elements of script to help identify areas where each script could be improved. Over the duration of the course all students will come to a greater understanding of the craft through exposure to the work of their peers. The objective of this course will be to complete a full-length feature screenplay. Please note that additional class time will be arranged with instructor. Open to all FLM, TV and CWL Writers with a completed first act or screenplay

 

FLM 536.S60 (56670) - Topics in T elevision: Creating an Original Series - Pilot
Scott Burkhardt
Thursdays, 5:20-8:10 pm, 3 cr.

Each student creates an original series, mini bible and writes a pilot script. Meets 3 hours per week as a class. Building on the skills developed in the Fall semester, each student creates and develops an original series concept. This requires a set of characters and a central conflict that can sustain multiple seasons of compelling stories. The successful series has both this type of story engine and a strong emotional core. From the series concept students move on to creating stories for their pilot episode, outlining and finally writing scenes. Please note that additional class time will be arranged with instructor. For FLM students.

 

FLM 637.S60 (#56771) - Production II
Perry Blackshear
Wednesdays, 5:20-8:10 pm, 3cr.

The primary goal of this flexible workshop is to foster students' individual visions while expanding the scope of their production knowledge and experience. Participants should bring a 5-12 page script to the first class. Classes will focus on directors’ preparation - both creative and practical. For the shoots, students will choose their collaborators and run their own sets.  Please note that additional class time will be arranged with instructor. For FLM students.

 

FLM 690.T60 (#56772) - Professional Internship – Interning on a Feature Film
Magdalene Brandeis/Pamela Koffler

Students work on Killer Films NYC-based production or other productions elsewhere. For FLM and TV students.

 

FLM 691.V01 (#56773) - Thesis Project
David Hinojosa
Southampton, 3 cr.

 

FLM 692.V01 (#56774) - Thesis Paper
David Hinojosa
Southampton, 3 cr.

FLM 536.S65 (# 56775) Pilot I: Creating an Original Series
Burkhardt
Tuesdays, 5:20-8:10 pm;  plus one-on-ones TBD, 4 cr.

Students build on the skills developed in the Fall semester to create a pilot script for an original series.  Working from the ground up, students begin by creating a series concept that has both a powerful emotional core and a story engine that can sustain multiple seasons.   Next, students create stories for their pilot episode and then move on to outlining scripts and writing scenes with dialogue, working toward their finished pilot script.  Paired with one-on-one advisement every other week. T elevision WRITING TRACK ONLY

 

FLM 576.S65  (# 56777) - The Writers Room: Guest Series
Alan Kingsberg, et al
Mondays, TBD, 2 cr.

Six Mondays. Students participate in discussions with industry insiders. The focus is on the writing process and the class is designed to reinforce the Pilot Intensive.  Topics include: story inception, breaking stories, working in a writers room, season arcs, writers on the set.   OPEN TO FLM, CWL AND TV STUDENTS

 

FLM 650.S60 (#96496) - Screenwriting Workshop I
Jennie Allen
Wednesdays, TBD, 3 cr.

In this course students develop a feature length screenplay idea. Screenings, screenplay readings, and analysis of feature film structure accompany writing exercises and assignments designed to help students develop their idea into a compelling, original story. Students leave with a prose treatment of their story from start to finish as well as the first 30 pages.  OPEN TO FLM AND TV STUDENTS

OR

FLM 650.S61 (#96496) - Screenwriting Workshop I
Christina Kallas
Wednesdays, TBD, 3 cr.

In this course students develop a feature length screenplay idea. Screenings, screenplay readings, and analysis of feature film structure accompany writing exercises and assignments designed to help students develop their idea into a compelling, original story. Students leave with a prose treatment of their story from start to finish as well as the first 30 pages.  OPEN TO FLM AND TV STUDENTS

 

FLM 536.S66 (#56778) – Forms of T elevision Writing: Web series
Kris Lefcoe
Mondays, 5:20-8:10 pm, 3 cr.

Each student writes, directs and edits an original webisode for a webseries.   Students shoot in crews of 3-4 and must crew on each others production.  Prerequisites include Skills 1 and 2, Directing for T elevision Writers and Acting. For TV students and, based on availability, FLM with permission of the instructor.

 

FLM 651.S65 (#56779) – Screenwriting FLM/TV: Revision
Courtney Baron
Wednesdays, 5:20-8:10 pm, 3 cr.

Students workshop and revise one or more television scripts. This can include any spec or pilot previously written in the MFA program.  The goal is to revise and polish at least one script to include in the student’s professional portfolio.   TV WRITING STUDENTS ONLY

 

FLM 652.S65 (#56780) – Screenwriting III FLM/TV: Advanced Pilot  III + One on one
Alan Kingsberg
4 cr.

The culminating pilot course of the MFA program. Each student creates an original television series for which they write the pilot episode.  Paired with one-on-one conferences every other week. Plus one on-ones every other Wednesdays between 2-4:30 pm.  TV WRITING STUDENTS ONLY

 

FLM 690.T60 (#56772) Professional Internship – Interning on a Feature Film
Brandeis/Koffler

Students work on Killer Films NYC-based production or other productions elsewhere. For FLM and TV students.

CWL 510.S60 - Forms of Fiction: Humor on the Page and on the Screen
Patty Marx
Mondays, 5:20 – 8:10 pm

A man slips on a banana peel. Not so funny, that sentence. See a man slip on a banana. Now that's funny. We will consider and contrast humor on the page and on screen.  We will read, watch, and write. You will have fun. Or else.

 

CWL 580.S60 - Arts Administration Practicum
Carla Caglioti
Alternate Mondays, 4:00 – 5:00 pm. Hybrid course (in-person, Skype, email). 1 cr.

In this practicum we will look at the opportunities and obstacles in building sustainable arts programming in Manhattan.  The class will be given a budget from which to research, develop, schedule and market a literary event with the goal of building community and establishing traditions for Manhattan.  This practicum will introduce participants to the “business of the arts,” providing an overview of the types of work that arts administrators do and the current issues and trends arts management professionals face. By the end of the course, students will have developed an understanding of the critical areas which arts administrators must manage, including budgeting, marketing/publicity, fundraising, audience development, surveying and analysis, scheduling, and contracts. Permission of instructor and completion of at least 6 program credits required. 

 

CWL 565 - Topics in Literature: Literature and Film - Adaptation, Analysis, and Amazement
Susan Minot
Tuesdays, 5:20 – 8:10 pm

A class open to both writing and film students, this seminar will consist of reading literature in the form of novels and short stories, and of watching their movie adaptation in class and discussing the relationship between the two.  We will look at the general elements of adaptation as well as explore, in each form, what makes each work brilliant…or not. Some writers on the docket: Louise Vilmorin, whose novella Madame de was made into the masterwork The Earrings of Madame de by Max Ophüls, and Alice Munro, whose short stories inspired Pedro Almodovar’s Julieta.Other possible writers: Maile Meloy, Ken Kesey, Raymond Chandler. Other directors: Kelly Reichardt, Alfred Hitchcock, Miloš Forman, Joseph Mankowitz, Bernardo Bertolucci, Terrence Malick, and others to be decided. We will have short writing assignments to be shared in class, as part of our discussions. Students will be free to do extra writing—either fiction or screenplay scenes—per my suggestions.

 

CWL 535 - Writing in Multiple Genres: The Story You Are
Roger Rosenblatt
7 Saturdays, 10:00 am – 4:00 pm, dates: 2/9, 2/23, 3/9, [Spring break 3/16 -3/24], 3/30, 4/13, 4/27, 5/4

Every good writer finds a story or theme that defines his/her work, then returns to again and again. Believe it or not, you can find  Portrait of the Artist in Finnegan, if you're willing to devote a year or two to the hunt. In a way, the pursuit of that one story is the pursuit of a life. And no matter how many times or complicated ways you digress from your story, you always return to it because that story also shows your particular strength as a writer. And by writing it, you are playing to your strength.

This course attempts to help you discover and recognize the story you are—to establish it, to refine it, and to make that story clear to you, so that when you write it again and again you know what you're doing, as you become expert in yourself. You'll write a number of pieces and exercises in different genres. You'll do reading relevant to the subject. Mainly, you'll search and forage for the artist you'll be for the rest of your lives. Warning label: You may not find it, yet.

 

CWL 540.S60 - Creative Nonfiction
Matthew Klam
3 Weekends, Saturdays and Sundays, 10:00 – 5:00, 2/2-2/3, 2/16-2/17, 3/2-3/3. Makeup weekend in case of weather delays TBD.

Most writers need multiple drafts, and when the work succeeds it does so because the author is entangled, involved, a little obsessed. Great creative nonfiction uses all sorts of techniques and tools, uses the intimacy and intensity of great memoir, the confessional power of a first person essay, the disruptive surprise of humor. It uses lists, and stretches of pure dialogue, and plenty of straight up reportage and hard-won observation. The best writing can and should come right at us, should defy our expectations. Creative nonfiction can be structured in a classical or experimental way, or a mix of approaches to fit the subject.

We'll look at examples of the form by Alexandra Fuller, Jon Krakauer, Mary Karr, Mary Gaitskill, Rachel Kaadzi Ghansah, John Jeremiah Sullivan, Katherine Boo, and many others. We'll examine their structure in the way a carpenter might study a beautiful house. We'll look at half page essays and eye witness accounts, masterworks of longform journalism, essays, chapters of books, comics by Allison Bechdel and Adrian Tomine, sections of plays, and whatever else inspires us. How is it that some writers are able to create real character development and tension in a few lines or pages? We'll talk about that too. In this class we'll write, read, and discuss, while also workshopping your pieces-in-progress in a helpful, constructive manner.  

 

Thesis - CWL 599, 1-6 cr.
[Manhattan and Southampton]
Must have thesis planning form on file and approval of thesis advisor to register. Schedule based in Southampton.