Harry Winer

Harry Winer (born May 4, 1947, in Detroit, Michigan) is an American film and television director, producer, and screenwriter.^[1] With over 30 years in the entertainment industry, Winer has directed notable feature films including Spacecamp (1986) and House Arrest (1996), as well as television projects such as episodes of Alias (2001–2006) and the miniseries JFK: Reckless Youth (1993).^[2][1] He has produced or directed more than 25 films, miniseries, and pilots, along with over 60 hours of series television, and currently serves as president of SMASH Media Productions, where he has overseen projects like The Expatriate (2013) and Hallmark films including Perfect Match (2015) and Bramble House Christmas (2017).^[3][2] Winer's educational background includes a BA from the University of Michigan, an MFA from the University of Southern California School of Cinema, and an American Film Institute Directors Scholarship.^[2][3] In academia, he holds the position of Associate Arts Professor and Director of Sustainability at the Kanbar Institute of Film and Television within NYU's Tisch School of the Arts, mentoring emerging filmmakers.^[2][4] His work has earned recognition.^[3] Winer is married to actress Shelley Hack, with whom he has collaborated professionally on several occasions.^[5]

Early life and education

Birth and upbringing

Harry Winer was born on May 4, 1947, in Detroit, Michigan.^[6] He grew up in Detroit, the son of Sidney J. Winer, an entrepreneur who founded a prominent collection agency in the city in 1936 after graduating from the University of Michigan, and Melba Winer.^[7][8] Winer's childhood unfolded amid Detroit's vibrant cultural scene, particularly during the height of the Motown era, when the label released iconic hits by artists such as The Supremes, fostering an environment rich in music and performance.^[9] As a teenager, he became fascinated by the American space program and classic films like 2001: A Space Odyssey and It's a Wonderful Life, which sparked his early passion for storytelling and filmmaking; this interest was further amplified by the 1969 Apollo 11 moon landing, symbolizing boundless human potential to him.^[9] These formative experiences in Detroit shaped his worldview, leading him to pursue formal education in film.^[9]

Academic background

Harry Winer earned a Bachelor of Arts degree from the University of Michigan, where he developed foundational interests in the arts and humanities.^[2] He advanced his film education by obtaining a Master of Fine Arts degree from the University of Southern California School of Cinematic Arts, a program renowned for its rigorous training in filmmaking techniques, narrative structure, and visual storytelling essential for aspiring directors.^[2] Complementing his graduate studies, Winer was awarded the American Film Institute Directors Scholarship, which provided intensive, hands-on workshops and mentorship in directing, honing his skills in script interpretation, actor collaboration, and cinematic production to prepare him for professional work in film and television.^[2]

Professional career

Early industry work

Harry Winer entered the film industry in the early 1970s following his graduate studies at the University of Southern California School of Cinematic Arts, where he earned an MFA, and a Directors Scholarship from the American Film Institute.^[2] His debut project was the short film There Is a Season in 1973, which he directed under the name Harry Stuart Winer, marking his initial foray into professional filmmaking.^[10] In 1976, Winer directed his first feature film, The Legend of Bigfoot, a pseudo-documentary exploring alleged sightings of the creature, co-written with Paula Labrot and starring Ivan Marx and Peggy Marx as trackers.^[11] The low-budget production, filmed in the Pacific Northwest, blended narrated reenactments with purported evidence, reflecting Winer's early experimentation with documentary-style storytelling on limited resources.^[12] Winer's transition to television began with technical roles, serving as camera operator on the ABC Weekend Special "Portrait of Grandpa Doc" in 1977, a family-oriented episode about intergenerational bonds.^[6] By 1978, he advanced to directing and screenwriting for the ABC Afterschool Special "One of a Kind," which examined a free-spirited mother's evolving relationship with her teenage daughter, starring Diane Baker and earning positive reviews for its emotional depth.^[13] This episode, based on an original story by Marjorie L. Sigley, showcased Winer's growing proficiency in handling sensitive youth themes within the constraints of educational programming.^[6]

Feature film directing

Harry Winer's feature film directing career began with SpaceCamp (1986), a science fiction adventure that follows a group of teenagers at a NASA-inspired space camp who are inadvertently launched into orbit aboard the Space Shuttle Atlantis due to a malfunctioning robot named Jinx. The film stars Kate Capshaw as instructor Andie Bergstrom, alongside young leads Lea Thompson as Kathryn, Kelly Preston as Tish, Tate Donovan as Josh, and Larry B. Scott as Jeremiah. Production utilized the U.S. Space & Rocket Center in Huntsville, Alabama, as a primary location, with extensive special effects sequences simulating shuttle operations and zero-gravity environments posing significant technical challenges for the debut feature director transitioning from television.^[14][9][15] In House Arrest (1996), Winer shifted to family comedy, directing a story about siblings Grover and Stacy Beindorf who lock their divorcing parents and other couples in the basement of their home in an attempt to reconcile the adults' relationships. Jamie Lee Curtis portrays the harried mother Janet Beindorf, with Kevin Pollak as her husband Ned, supported by a cast including Kyle Howard as Grover, Amy Sakasitz as Stacy, and Jennifer Tilly as one of the trapped guests. The film, which emphasized chaotic domestic humor, earned mixed critical reception for its predictable plotting and grossed $6.9 million domestically against a modest budget.^[16][17][18] Throughout his feature work, Winer's directorial approach emphasized character-driven tension, evolving from the spectacle-laden sci-fi perils of SpaceCamp—where visual effects underscored youthful ingenuity under pressure—to the intimate relational dynamics in House Arrest, prioritizing emotional authenticity over elaborate production values.^[19][18]

Television directing and production

Harry Winer began his television directing career in the early 1980s, helming multiple episodes of popular series that highlighted his ability to manage ensemble casts and intricate plots within episodic formats. He directed nine episodes of Hart to Hart from 1981 to 1983, including standout installments such as "Harts and Flowers," "Murder Takes a Bow," and "A Change of Hart," where he collaborated closely with leads Robert Wagner and Stefanie Powers to blend mystery, glamour, and light-hearted adventure.^[20][21] His work on the show emphasized tight pacing and visual flair suited to broadcast constraints, contributing to the series' enduring appeal as a prime-time staple.^[5] In the 1990s and early 2000s, Winer expanded into more dramatic and character-driven television, directing episodes across a range of genres. He helmed three episodes of Dawson's Creek in 2001, capturing the emotional nuances of teen drama, and contributed to Party of Five in 1994, focusing on family dynamics amid personal crises.^[20] Later, he directed five episodes of Veronica Mars from 2004 to 2007, including "Meet John Smith" and "Blast from the Past," which showcased his skill in noir-inflected mysteries starring Kristen Bell.^[20][22] Winer also tackled science fiction and suspense with single episodes of Invasion in 2006 ("All God's Creatures") and What About Brian in 2006, demonstrating versatility in handling speculative elements and relational tensions on cable networks.^[6][22] He directed two episodes of Alias in 2001–2002.^[1] Winer's long-form television work included several impactful TV movies that addressed social issues through intimate storytelling. He directed Heartbeat in 1988, a drama exploring medical and personal challenges starring Kate Jackson.^[10] In 1992, he helmed Taking Back My Life: The Nancy Ziegenmeyer Story, a CBS film based on the real-life rape survivor's memoir, which he also executive produced, earning praise for its sensitive portrayal of trauma and advocacy.^[20] The following year, Winer directed Men Don't Tell (1993), another CBS production starring Peter Strauss and Judith Light, confronting domestic violence against men and highlighting societal stigmas.^[6] He directed the Showtime TV movie Riot (1997), an anthology drama chronicling the 1992 Los Angeles riots through interwoven vignettes of diverse characters affected by the unrest following the Rodney King verdict. The ensemble cast features Mario Van Peebles as a National Guardsman, Luke Perry as a Korean store owner, Cicely Tyson as a community elder, and Melvin Van Peebles in a supporting role, with Winer overseeing segments that highlight racial and social tensions.^[10][23][24] Winer directed the Showtime TV movie Damaged Care (2002), a fact-based drama about physician Linda Peeno, who becomes a whistleblower against exploitative health maintenance organizations after witnessing denied care that leads to patient deaths. Laura Dern leads as Peeno, with James Le Gros as her husband Doug, Regina King as colleague Cheryl Griffith, and Suki Kaiser as nurse Dawn Dubose. It focuses on ethical conflicts in the medical industry, drawing from Peeno's congressional testimony.^[25][26][10] Additional TV movies include Lucky 7 (2003), Infidelity (2004), and The Dive from Clausen's Pier (2005).^[5] These projects underscored his commitment to issue-driven narratives in the TV movie format. Beyond directing, Winer took on production responsibilities, overseeing more than 60 hours of series television and directing pilots that shaped potential network lineups. Notably, he directed the unsold NBC pilot Jake's M.O. in 1987, a crime procedural featuring James Avery, which blended humor and investigation in a compact 90-minute format.^[2][27] His production work on episodic content, including early pilots like Callahan (1982), allowed him to influence creative direction while adapting to the demands of weekly television production.^[10]

Screenwriting and producing roles

Harry Winer began his screenwriting career in the 1970s with contributions to independent and educational films. He wrote the screenplay for the 1976 low-budget horror film The Legend of Bigfoot, which depicted a family's encounter with the mythical creature in the Pacific Northwest. Two years later, Winer co-wrote One of a Kind (1978), a short film exploring themes of individuality and creativity. His writing credits extended into television in the late 1990s, where he authored the teleplay for the biblical miniseries Jeremiah (1998), adapting the prophet's story for a dramatic PAX TV production that emphasized themes of faith and exile. Later, Winer provided the original story for the 2011 Hallmark Channel TV movie Lucky Christmas, a holiday tale centered on family redemption and unexpected romance.^[28][10] As a producer, Winer has been involved in over 25 films, miniseries, and television pilots, often taking on executive producer roles to oversee development and production. Notable examples include his executive producing duties on Taking Back My Life: The Nancy Ziegenmeyer Story (1992), an Emmy-nominated NBC film based on a real-life rape survivor's memoir, and the Peabody Award-winning She Stood Alone: The Tailhook Scandal (1995), an ABC drama addressing military sexual harassment. He also executive produced A Memory in My Heart (1999), a CBS TV movie starring Jane Seymour that delved into amnesia and recovered memories of childhood trauma. For Jeremiah (1998), Winer served as producer alongside his writing and directing contributions, ensuring a cohesive adaptation of the source material.^[2][10][28] Winer's producing work frequently involved collaborative storyline development on socially relevant topics. In Men Don't Tell (1993), which he produced for CBS, the narrative centered on domestic abuse with a focus on male victims, portraying a wife's escalating violence against her husband and challenging societal stereotypes about spousal abuse. This project highlighted Winer's interest in underrepresented issues, contributing to public discourse on gender dynamics in intimate partner violence. In the 2000s and 2010s, Winer continued independent producing through SMASH Media Productions, with projects including Erased (also known as The Expatriate, 2012), Hallmark Channel films such as Perfect Match (2015), A Bramble House Christmas (2017), Falling for You (2018), Autumn in the City (2022), and Long Lost Christmas (2022), as well as The Doorman (2020).^{[10][29][28][5][3]}

Academic and business ventures

Teaching at NYU Tisch

Harry Winer serves as an Arts Professor in the Undergraduate Film and Television Department at New York University's Tisch School of the Arts, where he contributes to the education of aspiring filmmakers through hands-on instruction.^[30] His appointment leverages his extensive industry background to bridge theoretical learning with practical application in the Kanbar Institute of Film and Television.^[2] In addition to his professorial role, Winer holds the position of Director of Sustainability at the Kanbar Institute, guiding initiatives to incorporate environmentally conscious practices into film and television production education. He is also an Executive Board member of the Green Film School Alliance.^[31][32] He emphasizes sustainable filmmaking in his courses, such as Advanced Television Production, where students apply principles like waste reduction, recycling, and reusable materials during actual productions to minimize environmental impact—for instance, eliminating single-use water bottles across multiple projects and earning certifications like the EMA Green Seal.^[33] This approach fosters a holistic mindset, encouraging students to integrate sustainability from pre-production planning through post-production, including choices like public transportation for crew logistics.^[33] Winer teaches specialized courses including "The Director's Process" and "Sight & Sound: Studio," which focus on the nuances of directing and studio-based filmmaking techniques.^[34] Through these classes, he mentors emerging filmmakers by drawing on his over three decades of professional directing and producing experience to simulate real-world set environments, helping students navigate creative decision-making and production challenges.^[2] His teaching philosophy prioritizes practical immersion, enabling students to develop professional skills while addressing contemporary industry demands like ethical and sustainable production methods. As of January 2025, he leads NYU Tisch's Social Impact Filmmaking study abroad program in Madrid.^[33][35]

Establishment of Smash Media

In 2009, Harry Winer established Smash Media, Inc. in Los Angeles as an opportunity to guide film projects from concept to completion, drawing on his extensive experience in directing and producing. He co-founded the company with his wife, actress Shelley Hack, and serves as its president alongside her as co-president.^[4][36] Smash Media specializes in developing and producing content for motion pictures, television, and new media with global appeal, emphasizing innovative business models and entertainment that connects audiences.^[37] The company has focused on a range of genres, including action thrillers and family-oriented dramas. Notable productions include the 2013 international co-production The Expatriate (also known as Erased), an action thriller starring Aaron Eckhart and Olga Kurylenko, which explored themes of corporate espionage and family protection.^[2] Another key output is the 2015 Hallmark Channel television film Perfect Match, a romantic drama centered on matchmaking and personal growth.^[38]

Personal life

Marriage and family

Harry Winer married actress and model Shelley Hack in 1990.^[39] The couple welcomed their only child, daughter Devon Rose Winer, on November 19, 1990, in Los Angeles, California.^[40] Their marriage has provided a foundation of personal stability amid Winer's extensive career in directing, producing, and academia. Winer and Hack have frequently collaborated professionally, blending their personal and creative lives. Notable joint projects include the 1984 television film Single Bars, Single Women, which Winer directed with Hack in the lead role, and the short-lived 1986 ABC sitcom Jack and Mike, where Hack co-starred under Winer's direction. The family primarily resided in Santa Monica, California, purchasing a Craftsman-style home in 1988 and living there for over three decades until its sale in 2021, allowing them to balance high-profile entertainment work with active parenting.^[41]

Philanthropy and interests

Harry Winer has been actively involved in sustainability initiatives within the film industry, serving as Director of Sustainability at the Kanbar Institute of Film and Television at New York University Tisch School of the Arts, where he integrates environmental practices into film education and production.^[4] His personal advocacy extends to leadership roles, including as a board member of the Executive Board of the Green Film School Alliance, an organization dedicated to promoting sustainable filmmaking education across institutions.^[32] Through this alliance, Winer contributes to efforts that train emerging filmmakers in eco-friendly production techniques, emphasizing reduced carbon footprints in media creation.^[32] Winer's commitment to environmental causes is further demonstrated through his work in environmental filmmaking, notably as producer of The Reckoning (2018), a feature-length documentary exploring climate change and climate justice.^[2] This project reflects his interest in using film as a medium to raise awareness about global environmental challenges, aligning with broader advocacy for climate action in the arts.^[2] He has also served as a jury member for the Climate Film Festival, evaluating works that address ecological themes and supporting the visibility of climate-focused storytelling.^[32] In addition to environmental efforts, Winer supports film education through his affiliations and mentorship activities, fostering the next generation of filmmakers via sustainable and creative practices.^[2] His involvement in industry guilds underscores this interest; as a member of the Directors Guild of America (DGA), he has served as a national delegate to DGA conventions and on the DGA Creative Rights Committee, advocating for directors' protections and creative freedoms in television and film production.^[2] These roles highlight his dedication to the ethical and artistic integrity of the industry beyond his professional directing and producing career.^[2]

Recognition and legacy

Awards and nominations

Among other honors, Winer shared a 2002 nomination for the Online Film & Television Association (OFTA) Television Award in the Best Direction in a Drama Series category for his episode work on Alias.^[42]

Festival premieres and influence

Harry Winer's film Damaged Care (2002), which he directed, received notable festival exposure, premiering at the Telluride Film Festival and later at the Shanghai International Film Festival.^[2] Winer has exerted influence on emerging directors through his longstanding involvement with the Directors Guild of America (DGA), where he served as a national delegate to DGA conventions and on the DGA Creative Rights Committee.^[43] These roles enabled him to advocate for directors' rights and mentor up-and-coming talent. In addition to guild activities, Winer's mentorship extends to high-profile collaborations that advanced careers, including working with Jennifer Garner on House Arrest (1996) and Kevin Spacey on Riot (1997).^[43] Winer's legacy also encompasses advocacy for sustainable filmmaking practices, as seen in his role on the Executive Board of the Green Film School Alliance and his presentation at the 9th NYC Green School Conference in September 2025, where he promoted eco-friendly production methods.^[44][45] Furthermore, in September 2025, he served on the jury for the 2nd Annual Climate Film Festival.^[44] His genre-blending work, such as directing SpaceCamp (1986)—a sci-fi family adventure—has influenced hybrid storytelling in family-oriented films.^[14]