Lights, Camera, Switch Roles: One Script, Endless Possibilities

In the course of 50 minutes, Sophia Ticknor ’27 acted in a classmate’s short film before she found herself in charge of costuming and makeup for another classmate’s interpretation of the exact same script.    

“I found this exercise really fun to do, and very challenging. I loved getting to work in a variety of roles,” said Ticknor. “The activity absolutely felt like a step towards fulfilling my post-grad dream of working as an executive producer.”

This kind of role-switching was central to an assignment designed by School of Film, Television, and Media Arts Assistant Professor Joe Maggio for his Directing Image and Sound class. 

Maggio challenged each student to direct a short film using the same intentionally vague script. When they weren’t directing, students took on crew roles for their classmates’ productions, including boom operator, lighting designer, and makeup artist. The one-page script featured a conversation between three characters discussing how to handle an unnamed, nondescript object. Without specific details or direction, students had to rely on their creativity to shape the story and complete the entire film within a 50-minute class period.

Within that limited timeframe, students rehearsed with actors and managed all technical elements, including camerawork and audio recording.

“I want them to see the benefit of being organized, of having an artistic vision that is clear and realistic, and communicating it to their team,” said Maggio. 

Maggio said no two students interpreted the script in the same way. Some approached it as a comedy, while others leaned into drama or suspense. Creative choices in props and filmmaking techniques further distinguished each project. 

“No one leaves film school and instantly becomes a director,” said Maggio. “Chances are, these students will go on to work on lights, audio…so I wanted them to experience what it’s like to participate in every role.”

Maggio said he learned about the “make a film in 50 minutes” assignment from SOF Assistant Professor Hanadi Elyan, who also uses it in her classes.

Sci-fi or Comedy? Drama or Horror?

Back in Maggio’s class, it was Kai Lee’s turn to direct. A self-described sci-fi fan, Lee ’27 envisioned the script as a conversation between concerned scientists debating what to do with a mysterious robotic being in their possession.

“I wanted to do something that embodies the polyester approach: to use what limited resources you may have to make something that feels real,” said Lee. “This exercise really helped boost my confidence as a filmmaker. I enjoyed managing this group of people and seeing them work together to achieve my vision.”

Laokratis Cios ’26, who hopes to work in editing after graduation, served as sound recordist for Lee’s film.

“The most beneficial aspect of this exercise was definitely being able to use all the different equipment,” said Cios. “It’s very helpful to be able to experiment on set within a low-stakes environment.”

Ryan Porio ’26 was the final student to direct. Inspired by surrealism and symbolic storytelling, Porio aimed to create a visually striking piece through bold costumes and distinctive props.

“I found the exercise fairly daunting: there’s lots of pressure to create something that represents you as a filmmaker,” said Porio.“What was most beneficial to me was learning how people interact on set.” 

Nora Beirne ’27, who acted in Porio’s production, also operated the boom microphone for Lee’s project and reflected on the experience of switching roles. 

“Directing is scarier than people realize,” said Beirne. “You’re not just directing actors, you’re also directing lights, audio, cameras and other technical aspects of the shoot. It’s very exciting, but it can also be quite daunting.”

After filming, students were given one week to edit their films, which will be screened later in the semester.

“I’ve enjoyed this class because it’s such a good opportunity to engage in exploration,” said Beirne. “Activities like these prepare you for the realities of filmmaking, letting us understand how it feels in a controlled, non-professional setting.”