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Spring 2024 Graduate Courses
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Spring 2024 Graduate Courses
in Film and TV Writing
Location: 535 8th Avenue, Manhattan
Our spring schedule reflects the kind of courses we regularly offer. Program director and faculty are happy to speak to potential students about how to shape a degree from the courses we offer in Writing, Television Writing, Directing and Producing. Classes in Manhattan unless otherwise noted.
Semester start 1/28, Spring break 3/11-17, Final day of semester: 5/4
Fulltime First Year = 12 credits per semester, Fulltime Second Year & after = 9 credits per semester
FLM 505.S60 (#56446) ADVANCED MASTER CLASS- Christine Vachon - Tuesdays, 5:30-8:20, 3 credits
Master Classes focus on filmmaking as an art form and an industry. Creative and business sectors are at an intersection of unlimited potential, and students will learn how to tap into and exploit the shifting paradigms of filmmaking – or content-making -- as practiced today. Students learn the realities of the independent film business from top industry professionals, including producers, casting agents, designers, actors, and lawyers, as well as distinguished filmmakers.
Overview of territories, worldwide vs. territorial sales International/Worldwide/Domestic Sales Agents Sales estimates/Gap Financiers/Lenders Collection Agencies. This class is a core requirement for the Producing Track in the MFA in Film.
FLM 576.S64 (#56477)- PRODUCER LAB - MARKETING & DISTRIBUTION - Simone Pero – Tuesdays, 2:30-5:20 PM, 3 credits
This course is designed to be taken following the completion of Creative Producing Development Workshop: First Feature Film (or, with instructor approval), and is highly recommended to be completed in conjunction with student thesis projects and/or prior to program completion.
This course is for students preparing to launch their projects into the world. Enrolled students are required to have a cohesive script (film or TV) completed and a lookbook. Students will workshop their projects through building finance, marketing, and distribution plans. Emphasis is on learning strategies and skills to most effectively present projects to collaborators, agencies, financiers, and sales agents for distribution including festivals and grants. Students will dive into audience outreach and tactical marketing techniques for your project’s release into the consumer marketplace. This class will prepare you to realize your project creatively, logistically, and financially. It offers practical application and expert feedback, and equips you with a critical piece of collateral to promote and sell your project, as well as an opportunity to build your own personalized professional brand for career advancement.
Prerequisite: Students are required to submit their project for approval by the instructor prior to the first day of class.
FLM 537.S60 (#56444) – PRODUCTION I - Jennie Allen, Summer Shelton - Mondays 5:30-8:20PM, 3 credits
You will work from the scripts you developed in Fall. In the first weeks of the semester, you will attend workshops in casting, locations, budgeting, safety, and scheduling while doing all the necessary directorial 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 must crew on each other’s films in NYC - expect to spend a fair amount of days on set. Experience is truly the best teacher and you will learn the most from working together outside of the classroom. We will screen rough cuts at the end of the semester.
FLM 550.S01 (#58486) TEACHING PRACTICUM - Karen Offitzer – Thursdays, 9:30 am-12:20 pm, 3 credits
NOTE: required attendance in Manhattan Center, SBU Main Campus, and ZoomThis course open to FLM, TVW, and CWL students
Teaching Practicum: This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative 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 for grading assignments, 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 exploring issues that arise when teaching creative endeavors such as writing and filmmaking. Classes will be held at the Manhattan Center For Creative Writing and Film and Main Campus (Stony Brook) according to the schedule below.
Scheduled Meetings (subject to change): 9:30am-12:20pm Jan 30-May 1 2025:
Jan 30NYC
Feb 6NYC
Feb 13 ZOOM
Feb 20 ZOOM
Feb 27 MAIN
Mar 6 MAIN
Mar 13 ZOOM
Mar 20 SPRING BREAK
Mar 27 NYC/MAIN*
Apr 3 NYC/MAIN*
Apr 10 NYC/MAIN*
Apr 17 NYC/MAIN*
Apr 24 NYC/MAIN*
May 1ZOOM
*NYC/MAIN: For these 5 classes, students will choose main campus or NYC location for Teaching Demos and will attend either location in-person.
FLM 509.S60 (#56448) CINEMATOGRAPHY 1 – SHOOTING WITH STYLE – Jordan Roberts & Niav Conty, 7 Saturdays 11AM-5PM 2/01, 2/08, 2/15, 2/22, 3/01, 3/08, 3/15, 3 credits
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 ONLY, FULLY IN-PERSON CLASS.
FLM 508.S60 (#56445) EDITING THE GENRES (EDITING 1) – Jordan Roberts - Wednesdays, 2:30-5:20 PM, 2 credits
WEDNESDAYS 3/26, 4/2, 4/9, 4/16, 4/23, 4/30, 5/7
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. Additionally, we will workshop the films that you shot in the spring to get them as close to a picture lock as possible. 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 the instructor. FLM STUDENTS ONLY
FLM 609.L60 (#56462) CINEMATOGRAPHY II: INTRO TO THE RED EPIC-W -Jordan Roberts, 2 Fridays: 1/24 & 1/31 11am-5pm, 1 credit
A third class will be held in April to discuss post workflow and color
This intense and highly focused workshop will introduce you to the RED Epic-W, an industry standard cinema camera that is used on scores of professional film sets. We will discuss how to build the camera, prep it for shooting, manipulate images in camera, review various shooting settings and eventually how to capture beautiful imagery. In addition to learning how to use the camera, you will be introduced to some new equipment and we will touch on some more advanced camera and lighting techniques. While our first 2 meetings will focus on how to build, set up and shoot with the camera, our full day Saturday meeting will feature a guest DP to demonstrate some new techniques. Finally, a professional colorist will come in to give -a deep dive tutorial on the software and answer any color questions you may have. Date for this meeting is TBD. By the end of these meetings you will have a firm grasp on how to build, shoot, edit and output material from the RED Epic-W. Prerequisite Prod II or Permission of Instructor. Open to 2nd year film students. THIS IS EQUIPMENT INTRO ONLY and REQUIREMENT FOR ALL DIRECTORS IN PROD II
FLM 609.L61 (#56478) CINEMATOGRAPHY II - Niav Conty- 4 Fridays: 2/07, 2/14, 2/21, 2/28, 11am-5:30pm - 2 credits
This course is a continuation of FLM 609, for those who wish to get more hands-on cinematography experience with the Red Epic-W. In class exercises will explore lighting setups, impactful shots, and scene coverage. Students will develop confidence and flexibility in shooting and proficiency in harnessing the emotion of an image. Open to any 2nd or 3rd year student who has taken FLM 609 or in conjunction with FLM 609. THIS IS NOT REQUIRED BUT RECOMMENDED FOR PROD II DIRECTORS
FLM 637.S60 (#56451) - PRODUCTION II – Perry Blackshear & Summer Shelton, Mondays, 5:30-8:20 - 3 credits
The primary goal of this collective workshop is to foster students' individual visions while expanding the scope of their production knowledge and experience. Participants must bring a 7-10 page script to the first class. Classes will focus on directors’ and producers’ 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 the instructor. For FLM students.
FLM 650.S60 (#56442) SCREENWRITING I - Leonard Crooks, Wednesdays, 5:30-8:20 PM - 3 credits
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 CWL students (with former knowledge of Final Draft and screenwriting)
FLM 652.S60 (#56450) SCREENWRITING III - SCRIPT REVISION – Leonard Crooks, Thursdays, 5:30-8:20, 3 credits
Script Revision course is for students who have completed a narrative feature film script and who are prepared to subject the script to a rigorous health check by their peers. Each class will be a forum for critique and discussion with a view to assisting the presenting writer to redraft with renewed confidence. Later classes will focus on selected sequences or passages from redrafted scripts. Caps at 10.
Bottom line - Open to Second and Thesis Year FLM & TV students with a completed screenplay or with permission of the instructor.
FLM 652.S66 (#56479) SCREENWRITING III / PILOT II - ADVANCED REVISION - Syd Sidner, Wednesdays, 5:30-8:20 PM - 3 credits
Priority given to TV Writers. Open, based on availability, to advanced Film screenwriting students who have completed a pilot, understand TV pilot structure, and have a TV script ready for revision after having completed a first draft. Prereq TV Writing Pilot I for film students, and prior approval of instructor. All applicants must submit pilot script to instructor prior to requesting enrollment. PIlot drafts must accompany registration requests or the request won’t be considered. Enrollment caps at 8
FLM 660.S60 (#56455) ACTING FOR DIRECTORS - Shira-Lee Shalit, Thursdays, 5:30 -8:20 PM, 3 credits
For first year film and TV W students. Students will study the basics of acting techniques and directing actors, including casting, directing and working with professional actors on scenes that they choose. Each student will act, direct and support their classmates’ scenes.
FLM 670.S61 (#56463) - THE MICRO BUDGET FEATURE - PRE PRODUCTION - Perry Blackshear, Mondays 2:30-5:20 pm - 3 credits
Stony Brook’s new micro-budget feature course will pair recent grassroots innovations in filmmaking methodology with on-the-ground faculty experience to provide a year-long intensive feature film development lab. Modern, agile filmmaking isn’t just about making a film for less money... it’s about the freedom to do things that conventional films simply cannot do. This is Part 2.
THE MICRO-BUDGET FEATURE - FILM LAB
In the spring students will prepare their micro-budget feature scripts written in the fall to shoot over the summer. The first half of class will be revising the feature film script. The second half we will workshop your project as a director and then producer using agile production methods. We will break down the unique tactics of a wide range of successful micro-budget features to use as case studies and apply them to our projects.
Our class will continue to leverage once-in-a-lifetime advantages of the thesis period within the graduate school: access to the Red camera, access to student crews and editing equipment, an active brain trust of fellow filmmakers and faculty, and use them all to aid us in preparing to create feature films for the cost of a conventional short. Open to Thesis students only.
Prerequisites: Directing II, Production II, Screenwriting Workshop II, Microbudget Feature Writing
FLM 576.S60 (#56454), 1-6 credits, Brandeis
FLM 669.S60 (#58573) - Thesis Directing Workshop - 3 cr. - Open schedule TBD - Niav Conty
This class is for students in thesis pre-production who seek additional creative prep before shooting. Course will address: script analysis, defining key scenes and their connection to the film's themes, refining the director's vision, and detailed shot-listing. Entire short films or selected key scenes of features will be discussed.
The goal of the course is for students to move into their thesis shoots with a lucid understanding of what their film is about and how to best realize their project.
This course is an elective and can replace the Thesis project requirement. Sessions will be one on one and established around students’ shooting schedules.
Offered year round and to be taken only the semester of your shoot or before your summer or winter shoot. Anticipated thesis shooting dates must be established before enrolling in this course.
REQUIRED Thesis Directing Workshop form
FLM 690.T60 (#56429) PROFESSIONAL INTERNSHIP - Brandeis/Koffler, 1-3 credits
INTERNSHIPS are available to all students in their second year. Students may seek their own internships or apply to intern at Killer Films.
Killer Films: We're looking to onboard our spring interns during the week of 1/13, so we’ll start accepting submissions immediately, with interviews next week. We ask interns to work two days – one day remote, one day in-person – each week based on availability. We'll interview the week of 12/12. Thanks!
FLM 591.T60 (#56461), INDEPENDENT PROJECT, Brandeis - 1-3 credits
An independent study can be taken for variable credit for any non-production related activity, such as writing, editing, cinema theory, with prior instructor approval, discreet meeting times, and specific goals. The goal of the independent study is self-driven work, so it is up to the student to drive the study. Completed independent study forms must be signed by the instructor prior to registration.
REQUIRED Independent Project form
FLM 691.V60 (#56427) THESIS PROJECT – Brandeis, Southampton, 1-3 credits
FLM 692.V60 (#56428) THESIS PAPER – Brandeis, Southampton, 1-3 credits
Thesis projects are administered through Southampton and have a Southampton Component.
TVW 536.S65 (#56467) PILOT I – ORIGINAL SERIES - Scott Burkhardt, Mondays 5:30-8:20 PM plus 1-on-1 - 5 credits
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. TV WRITING TRACK ONLY
FLM 550.S01 (#58486) TEACHING PRACTICUM - Karen Offitzer – Thursdays, 9:30 am-12:20 pm, 3 credits
NOTE: required attendance in Manhattan Center, SBU Main Campus, and ZoomThis course open to FLM, TVW, and CWL students
Teaching Practicum: This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative 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 for grading assignments, 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 exploring issues that arise when teaching creative endeavors such as writing and filmmaking. Classes will be held at the Manhattan Center For Creative Writing and Film and Main Campus (Stony Brook) according to the schedule below.
Scheduled Meetings (subject to change): 9:30am-12:20 pm Jan 30 - May 1 2025
Jan 30 NYC Feb 6 NYC
Feb 13 ZOOM
Feb 20 ZOOM
Feb 27 MAIN
Mar 6 MAIN
Mar 13 ZOOM
Mar 20 SPRING BREAK
Mar 27 NYC/MAIN*
Apr 3 NYC/MAIN*
Apr 10 NYC/MAIN*
Apr 17 NYC/MAIN*
Apr 24 NYC/MAIN* May 1 ZOOM
*NYC/MAIN: For these 5 classes, students will choose the main campus or NYC location for Teaching Demos and will attend either location in-person.
TVW 650.S65 (#56471) SCREENWRITING I - Jennie Allen - Tuesdays, 5:30-8:20 PM - 3 credits
The aim of this workshop is to learn the craft of feature film screenwriting through developing a story idea, analyzing produced feature films and scripts, and critique of student work. We look at character and character arcs, premise, structure, sequences, and scope. Assignments guide students through developing a feature screenplay idea into a completed treatment or outline and first act.
TVW 652.S65 (#56472) – SCREENWRITING III / TV Pilot III + 1 on 1 - Alan Kingsberg – Thursdays, 5:30-8:20 pm - 5 credits
The capstone pilot course of the MFA program. Each student creates an original TV series for which they write the pilot episode. Paired with one-on-one conferences every other Wednesday between 2-4:30 pm. 5 Credits. TV WRITING STUDENTS ONLY.
TVW 660.S65 (#56476) ACTING FOR DIRECTORS - Shira-Lee Shalit - Thursdays, 5:30-8:20 PM - 3 credits
For first year film and TV W students. Students will study the basics of acting techniques and directing actors, including casting, directing and working with professional actors on scenes that they choose. Each student will act, direct and support their classmates’ scenes.
TVW 691.V66 (#56474) – TV REVISION/THESIS – Jim Jennewein - Wednesdays 5:30-8:20 pm - 3 credits
Students workshop and revise one or more TV 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. 3 Credits. TV WRITING STUDENTS ONLY. Thesis projects are administered through Southampton and have a Southampton Component.
TVW 526.S66 (#56465) – FORMS OF TV WRITING -WEB SERIES - Kris Lefcoe - Tuesdays, 5:30-8:20, 4 credits
Capstone class. Each student writes, directs and produces a micro pilot for a webseries. The goal of the class is to shepherd students through the creation of a fully realized, screenable 5-minute story/concept-launching pilot for their own original digital series. Modeled after the tight schedule of real-life film and television production, students will be expected to meet strict deadlines in each phase of pitching, writing, scheduling, prep, shoot and post-production.
TVW 652.S66 (#56473) SCREENWRITING III / ADVANCED REVISION - Syd Sidner - Wednesdays, 5:30-8:20 pm – 3 credits
Open to students who have completed all pilot classes and a revision class. Class can be linked to the thesis.
TVW 576.S66 (#58536) FILM WORKSHOP – COMEDY: TURN STAND-UP COMEDY INTO A TV SERIES - Dan Perlman - Saturdays, 1:00-3:50 pm, 7 to 9 Saturdays, exact schedule TBA - 2 credits
Acclaimed stand-up comedian and co- creator of Showtime’s Flatbush Misdemeanors covers how to turn stand up comedy material into a viable TV series. Working with two widely released one-hour specials, students will form two teams to turn the material into a mini bible for a series. Meets Saturdays from 1 PM to 3:50. There will be seven to nine sessions, exact schedule to come. 2 CR. Open to FLM and CWL but with priority to TVW. By permission of the TVW Program Director.
TVW 692.V65 (#56435) MFA THESIS PAPER – Kingsberg/Burkhardt/Sidner – 1-3 credits - Date TBD
Will include two one-on-one meetings with your thesis advisor. Most work will be done between meetings and prior to final presentation. The goal is to polish ONE SCRIPT so it is as "Industry Ready" as possible. In addition, students will pitch a new series idea and come up with enough about the series concept and pilot stories so that when they graduate, they will have something ready to work on while starting their careers. In addition, there will be a final review involving a panel that includes a second (and possibly third) reader. TV Writing students who have fulfilled all other core requirements only. May not be paired with more than one other class. Times TBD.
TVW 690.T65 (#56433) PROFESSIONAL INTERNSHIP - Kingsberg/Brandeis, 1-3 credits
Students work on Killer Films NYC-based production or other productions elsewhere. For FLM and TV students. Application and contracts required.
TVW 591.T65 (#56469) - INDEPENDENT PROJECT - Kingsberg, 1-3 credits
TVW 576.S65 (#56468) - FILM WORKSHOP - Kingsberg, 1-6 credits
TVW 691.V65 (#56434) - MFA THESIS PROJECT - Kingsberg, 1-3 credits
Stony Brook Manhattan Center for Creative Writing and Film535 Eighth AvenueNew York, NY