Frederick Michael Strype

BA, Fairfield University. MFA, Columbia University School of the Arts. Postgraduate study: American Film Institute, New York University Tisch School of the Arts. Screenwriter, producer, director. Recent awards, grants, festivals: Grand Prize, Nantucket Film Festival, Tony Cox Award in Screenwriting; Nantucket Screenwriters Colony; World Jewish Film Festival, Askelon, Israel; Tehran International Film Festival; Berlin Film Festival Shorts; Uppsala Sweden Film Festival; USA Film Festival; Washington (DC) Jewish Film Festival; Los Angeles International Children’s Film Festival; Temecula Valley International Film Festival “Best of the Fest”; Portugal Film Festival Press Award; Fade In Magazine Award/Best Short Screenplay; Angelus Film Festival Triumph Award; Austin Film Festival Screenwriting Award; Heartland Film Festival Crystal Heart Award; New Line Cinema Filmmaker Development Award; Hamptons International Film Festival; Schomburg Cultural Grants. Raindance Pictures: projects developed for Columbia/Tristar/Sony, Lifetime, MTM Productions, Family Channel, FX, Alliance/ Atlantis, Capella Films, Turman-Foster Productions, James Manos Productions, FX, Avenue Pictures. SLC, 2003–

Courses taught in Visual Arts

2013-2014
2012-2013

Connect with Frederick Michael Strype

Frederick Michael Strype

Frederick Michael Strype

What do you love about Sarah Lawrence students?
I’m always amazed at how much I learn from my students and how they help me see art in a new way. Students at Sarah Lawrence are uniquely wired; they like to push limits and question everything. In their intrepid exploration, they wind up doing things that should not work, but do.

It happens all the time in class: A student breaks a rule that the screenwriting/filmmaking "gurus" say is hard and fast, but instead of ruining the work, it enhances it. For example, it is usually considered death for a script to start with a talky scene that takes place in one location and goes on and on. One of my students wrote such a scene, which was 12 pages long. It shouldn’t have worked, but it was so well constructed, so perfectly paced, and the characterizations so strong and true that we became completely lost in the film. In these situations I have to say to myself, "I’ve been telling students that tactic doesn’t work, but in this case it does. How is that possible?" And we get to reevaluate the established rules and principles and really examine the creative process.

What do you love about teaching at Sarah Lawrence?
The seminar/conference model affords me the opportunity to talk very specifically with students about their work—I get to actually see the connection of the creator with the created. I’m sure it can be intimidating for students to have someone that far inside their creativity, but obviously it works, and it becomes liberating for students because we develop a strong sense of mutual trust. Navigating the seas of my students’ creativity also triggers thoughts in my brain about my own work. We form a symbiotic relationship, where my students and I learn from one another.