Maggie Greenwald

Writer-director: Songcatcher, Sundance Dramatic Competition and Special Jury Award for Ensemble Performance, Sloan Foundation Award, Deauville Film Festival Audience Award, two Independent Spirit Awards, GLAAD Award nominations; The Ballad of Little Jo, Lions Gate Entertainment, Independent Spirit Award, Fine Line Features; The Kill-Off, Sundance Dramatic Competition, Munich (opening night), London, Deauville, Toronto, Edinburgh, Turin (Best Director Award) film festivals, listed by British Film Institute as one of “100 Best American Independents, Cabriolet Films; Home Remedy, Munich, London, and Turin film festivals, premiered at Film Forum in New York City, Kino International Releasing. Television films as director: Good Morning, Killer, TNT; Get a Clue, Disney Channel; Comfort & Joy, Tempted, and What Makes a Family (GLAAD Award), Lifetime. Dorothy Arzner Award, Director’s View Film Festival. Board of Directors of Independent Feature Project, 1994-2000; Sundance Film Festival Jury, 1994. SLC, 2012–

Course Information

Current undergraduate courses

Filmmaking: The Director Prepares

Spring

From screenplay up until the actual shooting of a film, what does a director do to prepare? This class will explore, in depth, some of the many processes that a director may use in order to develop and actualize her or his vision, including: screenplay revision, interpretation and breakdown, character development, how to access and communicate visual ideas for the look of the film, the study of camera styles and movement in order to decide how best to visually realize your story through your shot selection, staging, and casting. Each student will pursue a series of exercises, culminating in the directing, shooting, and editing of two exercises—one scene (a private moment) to develop character through cinematic storytelling, and one scene, with dialogue, from the screenplay—in order to experiment with all of the ideas developed throughout the class.

Faculty
Related Cross-Discipline Paths

Writing the Independent Feature

Fall

This course is for the emerging screenwriter seeking to explore the writing of a long-form screenwriting project. A review of screenwriting fundamentals during the first few weeks, as well as a discussion of the state of each project, will be followed by a rigorous screenwriting workshop experience. Students are expected to enter the course with a strong idea and should be able to “talk out” the basics of the story. Optimally, the course will work toward the creation of an outline or narrative roadmap of the project. Published screenplays, several useful texts, and clips of films will form a body of examples to help concretize aspects of the craft. The aim is for students to complete a tight outline, finish a first draft of a long-form project, and potentially complete a series of rewrites.

Faculty
Related Cross-Discipline Paths

Previous courses

Advanced Projects In Directing

Spring

The class is a production workshop in which advanced filmmaking students will prepare, direct, and edit a short film. At the start of the semester, each student must have a worthy, production-ready, short script in excellent shape to which they are committed and for which they have the wherewithal to mount and complete. In the course, concurrent with final revision of the screenplay, preproduction will immediately ensue; that will include budgeting, scheduling, location scouting, casting, selecting the creative team, and visual preparation. Naturally, shooting and editing the film will follow, ideally early enough in the semester to allow an opportunity to focus on editing, sound effects, music, and the details of postproduction. The aim is a completed festival-worthy short film. The minimum requirement to complete this class is a rough cut of the film.

Faculty

Filmmaking: Advanced Projects in Directing

Spring

The class is a production workshop in which advanced filmmaking students will prepare, direct, and edit a short film. At the start of the semester, each student must have a worthy, production-ready short script in excellent shape to which he/she is committed and for which he/she has the wherewithal to mount and complete. The screenplay and the student’s project overview will determine entry into the class. In the course, concurrent with final revision of the screenplay, preproduction will immediately ensue, including budgeting, scheduling, location scouting, casting, selecting of the creative team, and visual preparation. Naturally, shooting and editing of the film will follow—ideally early enough in the semester to allow for an opportunity to focus on editing, sound effects, music, and the details of postproduction. The aim is a completed, festival-worthy short film. The minimum required to complete this class is a rough cut of the film.

Faculty

The Director Prepares

Fall

From screenplay until the actual shooting of a film, what does a director do to prepare? This class will explore, in depth, some of the many processes a director may use in order to develop and actualize her or his vision, including screenplay revision, interpretation and breakdown, character development, accessing and communicating visual ideas for the look of the film, studying camera styles and movement in order to decide how best to visually realize your story through your shot selection, staging, and casting. Each student will pursue a series of exercises, culminating in the directing, shooting, and editing of two exercises—one scene (a private moment) to develop character through cinematic storytelling, and one scene, with dialogue, from the screenplay—in order to experiment with all the ideas developed throughout the class. 

Faculty