PRN 510: Introduction to Cycle Production — Boot Camp
FIRST TERM
4 CREDIT HOURS

This intensive six-week workshop is meant to introduce Fellows to the AFI Conservatory. There is a focus on narrative storytelling. Classes for all first-year Fellows, orientations into production policies and procedures and discipline-specific workshops will prepare Fellows for both the academic and production work ahead. The production component of this course is the Boot Camp Shoot, a digital video exercise shot in four hours that guides first-year Fellows through Conservatory production procedures. The production teams engage in the processes of development, casting, pre-production, shooting and post-production, resulting in a project three to five minutes in length, to be screened the week following the shoot.

PRN 5111: Cycle Production I
FIRST TERM
4 CREDIT HOURS

Narrative Cycle Project 1 is the first of three collaborative narrative projects that each Fellow will complete during the first year. Narrative Cycle Projects are shot digitally, then edited, evaluated and screened in Narrative Workshop. They cannot run longer than 20 minutes in length, including credits.

PRN 5122 and 5123: Cycle Production II and III
SECOND TERM
8 CREDIT HOURS

This course encompasses narrative Cycle Projects 2 and 3. Narrative Cycle Projects 2 and 3 follow the pattern of Narrative Cycle Project 1. In addition to the above-mentioned required production coursework, other production at the AFI Conservatory may include first-year Cinematography 35mm Visual Essays, as well as other in-class exercises. In all cases, all AFI Conservatory production policies and procedures must be followed. Narrative Cycle Projects 2 and 3 follow the pattern of Narrative Cycle Project 1.

PRN 5211, 5222 and 5223: Narrative Workshop and Analysis
FIRST AND SECOND TERMS
6 CREDIT HOURS TOTAL

At the end of the production process, all first year Cycle films are screened and reviewed for all first year Fellows, key Production faculty members, and staff. Each screening is followed by a critical analysis of the project, specifically for team members, led by a faculty member. Fellows receive feedback from the first-year class, allowing them to broaden their perspective beyond their study discipline. Team members then adjourn for one-on-one analysis with the NW faculty member.

DIR 5131, 5142 and 5143: Story and Storytelling for the Director – An Exploration Through Cycle Film Analysis
FIRST AND SECOND TERMS
4 CREDIT HOURS TOTAL

Through critical analysis of cycle films, Directing Fellows examine all elements of directing craft and visual language as they relate to storytelling. The Director’s incorporation of the following is explored: narrative design and structure, performance, camera, composition, mise-en-scene, narrative point of view, editing and collaboration, with a view to developing a working sense of the Director’s skill set.

DIR 521: Directing the Actor – The Art and Craft
FIRST TERM
2 CREDIT HOURS TOTAL

This seminar presents a variety of topics relating to specialized aspects of directing, directorial process, directing collaborators, directorial conventions, visual storytelling preparation and other techniques and tools of the art and craft of directing.

DIR 525: The Short – And Introduction to Dramatic Writing for Directors
FIRST TERM
1 CREDIT HOUR

This is a one-semester course designed to provide the Directing Fellow with a comprehensive understanding of writing for film and the associated aspects of the craft. Over the course of the semester, each Fellow will develop and write a full short film screenplay; and the Fellows, as a group, will continually critique each other’s works in progress.

DIR 532: Directing the Actor – The Art and Craft, Part 2
SECOND TERM
2 CREDIT HOURS TOTAL

A workshop for Directing Fellows that provides the basics of the actor’s language and methods. The term focuses on acting fundamentals for directors — basic terminology, tools, methods and techniques are practiced through scene study and performance. The second term focuses on directing performance for the camera. A variety of individual acting methods are explored through scene work before the camera. Fellows learn how to communicate with actors to achieve performance consistent with the director’s storytelling goals.

DIR 533: Directing Techniques Workshop
FIRST TERM
2 CREDIT HOURS

This course is focused on the craft of cinematic storytelling.  Through a series of lectures – and by completing three directing exercises – directors will learn how to translate the text (and, more importantly, the subtext) of a screenplay into an emotionally engaging cinematic experience. With each exercise, we will investigate the rationale for each of the shots, movements and edits you have chosen.  No decision should be arbitrary.  Ultimately, each director will leave this course with a much firmer grasp on their strengths – and weaknesses – as a cinematic storyteller.

DIR 548: First Year Storytelling Workshop for Directors
SECOND TERM
2 CREDIT HOURS

DIR 548 is a one-semester workshop, offered as a follow up to “The Short: An Introduction to Dramatic Writing for Directors,” designed to provide the Fellow with a comprehensive understanding of feature film writing. Over the course of the semester, each Fellow will progress from story idea, through outline, to First Act and revision; and the Fellows, as a group, will continually critique each other’s work.

CON 521 and 522: American Approaches to Film
FIRST AND SECOND TERMS
2 CREDIT HOURS TOTAL

An American narrative, live-action screening series of classic and contemporary feature and short films, highlighting the work of each discipline, in order to explore the aesthetic, cultural, historical and social phenomenon of the motion picture arts.

DIR 611 and 612: Advanced Directing Workshop — Techniques in Directing for Film and TV
FIRST AND SECOND TERMS
4 CREDIT HOURS TOTAL

Through analysis of, and exercises utilizing two unproduced feature screenplays of contrasting genre the Fellows explore all elements of directing craft. The following are examined as they relate to successful script to screen execution: script breakdown, story and structure, visual and aural storytelling, character breakdown, casting, locations, sets, props, costume and wardrobe, cinematography, staging, stunts and F/X, scheduling, music and post.

DIR 615: The Rehearsal Process Lab
FIRST TERM
1 CREDIT HOUR
ELECTIVE

In this hands-on lab with talent, Directors learn to conceptualize and execute carbonated, effective rehearsals with their specific performance objectives in mind. The Rehearsal Process Lab is tailored and integral to Thesis class work and filmmaking, and to future feature films & television projects. Focusing on movement, actors’ intentions, transitions within scenes, and abstracting character’s relationships into exercises, Directors hone rehearsals to meet the requirements of their clarity of vision, and artistic growth. Advancing technically and craft-wise throughout the course, Fellows run rehearsals that realize material to its highest, most specific potential.

DIR 621 and 622: Advanced Art and Craft of Directing —Soundstage
FIRST AND SECOND TERM
4 CREDIT HOURS TOTAL

This seminar presents a variety of topics relating to specialized aspects of directing, directorial process, directing collaborators, directorial conventions, visual storytelling preparation and other advanced techniques and tools of the art and craft of directing.

DIR 623/ 624: Improvisation as a Tool of Directing Craft
FIRST OR SECOND TERM
2 CREDIT HOURS

Improvisation is not just for comedy! In DIR 623/ 624: Improvisation as a Tool of Directing Craft, Fellows will learn and apply the basics of improvisation, which they can then apply to their directing and writing.  The techniques explored will help bring scenes alive, and improve communication skills when dealing with actors, crew, and collaborators.  Fellows will also participate in exercises focusing on improving existing scripts as well as writing new material.

DIR 631: Advanced Casting Workshop
FIRST TERM
1 CREDIT HOUR
ELECTIVE

An examination of the process of choosing a casting director, analyzing roles to create a breakdown, searching for the talent, auditioning, and attracting actors to a project.

DIR 661/662: Scene by Scene: The Math Behind a Good Story, Well Told
FIRST OR SECOND TERM
1 CREDIT HOUR
ELECTIVE

An examination of classical, minimalist, and anti-structure script models, exploring the connective tissue of dramatic narrative in film by studying examples of the contrasting approaches seen in a curated range of critically and commercially successful movies.

DIR 670: Internship Practicum
ANY TERM
1–3 CREDIT HOUR(S)
ELECTIVE

The objective of this course is to provide working experience in the film/TV industry as it pertains specifically to the Fellow’s degree/certificate requirements. Specific duties and requirements will be outlined and supervised by the faculty mentor. This internship qualifies an international Fellow for Curriculum Practical Training; approval must be obtained by the international advisor, as well as the faculty mentor prior to enrolling in the course.

DIR 690: Thesis Portfolio — Directing
8 CREDIT HOURS TOTAL

Through the pre-production presentation of thesis projects by the individual Director together with their team, and through the subsequent screening of the Director’s cut, the Fellows examine the criteria for understanding the nature of the screenplay and every aspect of the Director’s craft. Topics covered include genre, tone, premise, theme, and the Director’s creative and personal connections to the material, as well as the dynamics of narrative and drama both within each scene or sequence and across the canvas of the story. These topics are related to the crafts of production design, cinematography and editing as they pertain to a successful realization of the specific project.

CON 621 and 622: World Approaches to Film
FIRST AND SECOND TERMS
2 CREDIT HOURS TOTAL

A non-American narrative, live-action screening series of classic and contemporary feature and short films, highlighting the work of each discipline in order to explore the aesthetic, cultural, historical and social phenomenon of the motion picture arts.

CON 631 and 632: HLMS (Harold Lloyd Master Seminar)/ Seminar Series
FIRST AND SECOND TERMS
2 CREDIT HOURS TOTAL

This second-year seminar features a series of screenings and interviews with leading figures from all aspects of the motion picture, television and digital media arts. The seminars provide Fellows with a broad and varied perspective on contemporary stories being told, directly from the artists creating them