Course Title: Establish the creative vision for screen productions

National Element Code & Title:

CUFDRT601A Establish the creative vision for screen productions

Performance Criteria:

1.1 Read available drafts of scripts and arrange meetings with appropriate creative personnel to discuss potential interpretations of the vision 1.2 Assess the intended creative aims of scripts, define proposed objectives and explore how they may be realize visually or through the use of sound. 1.3 Generate and consider a range of ideas for visualizing scripts until a clear narrative emerges. 1.4 Identify research and reference materials to inform creative directors and to assist in providing the context for productions 1.5 Review script drafts in collaboration with writers, agree on the need for any re-writes and organise timetables for completions. 1.6 Prepare clear development notes for script writers to produce scripts re-drafts as required. 1.7 Document perceived visual and dramatic elements in scripts as the basis for shot plans.

Performance Criteria:

2.1 Mark up working script into its component scenes and identify key dramatic elements and technical parameters within each scenic unit. 2.2 Plot key dramatic elements within each scene and between scenes to realise the transformation of the written narrative into its visual representation. 2.3 Consider the whole of the narrative and scenes to determine the location of the characters and other elements for each individual shot. 2.4 Assess the photographic qualities of proposed shots and how they may impact on the story overall and within each scene. 2.5 Ensure overall shot plans allow both narrative and visual aspects to be controlled and carried forward to meet overall production requirements, 2.6 Discuss shot plans with relevant production personnel prior to development of any story boards.

Performance Criteria:

3.1 Identify and document areas of productions that may be affected by script versions and discuss changes with colleagues, 3.2 Arrange sign-off for final script with producers if applicable and ensure it is distributed to relevant creative personnel. 3.3 Maintain an ongoing review of script and shot plans and organize for any further rewrites while production is underway. 3.4 Provide relevant production personnel

FEATURE FILM

1

5/6/18

Introduction: Now what?

So, you’ve written the first draft of your screenplay, you’ve had critical feedback and developed your next draft notes but now what? Over the course of the next semester you will develop your screenplay not only a second draft stage but a market ready third draft screenplay.

In this introductory class, you will be provided with an overview of the semester after which, as a group activity, you will compare and contrast the similarities and differences of a first draft feature film screenplay and a fifteenth draft screenplay.

Each week we’ll have a table reading of everybody’s feature films. You will be required to provide printed copies to your fellow students and assign roles for them to read. A discussion will follow after each reading.

3

19/6/18

The Second Draft Focus: Where to start?

Rewriting a screenplay can sometimes be a daunting task. In this class, we will explore various approaches on how to tackle the jump from the first to second draft by utilizing techniques such as mini-drafts and compartmentalisation.

We will conduct our second table read this week.

5

2/8/18

Theme: What’s it all about?

It’s a common belief that a writer knows what the theme of their story is before they start writing and for some people that’s true. But the vast majority of writers don’t know what the theme of their story is until they’ve finished writing it. Now that you have finished your first draft it’s now time to talk about the importance of theme, defining what your theme is and identifying key parts within your story to express that theme.  

We will conduct our forth table read this week.   

7

16/8/18

Fantasy Movie Making

Filmmaking is a business and in today’s busy marketplace having a marketable idea and a killer script isn’t enough. To get a film produced you need many elements but none of those elements is more important than casting. Without an appropriate cast for your screenplay, the reality in today’s marketplace is that your film will simply not be financed.

In today’s class, you will realistically ‘fantasy’ cast your feature film. You will identify your target audience, the actors that appeal to that audience and present a plan to the class about how you’re going to alter/adapt your screenplay to appeal to those actors.

We will conduct our sixth table read this week.  

9

30/8/18

The Third Draft

Just as the first and second drafts had a specific focus, the third draft also has a focus all of its own. In today’s class, we’re going to be exploring the process of developing a successful third draft, how to complete it as easily and painless as possible and what the key elements to address are.

We will conduct our eighth table read this week.  

11

13/9/18

How not to get screwed: the law and you

Know your rights. At some point in the lifecycle of every feature film ever made, the producer engaged the writer via a contract. That contractual relationship should always be mutually beneficial and in this class, we will identify the various types of contracts and agreements that are typically entered into between screenwriter and a producer/production company as well as the five most important clauses to be aware of in a contract.   

We will conduct our tenth table read this week.     

12

4/10/18

Who are all these people and why do I care about what they have to say? How to take notes without burning the joint down

In filmmaking, everybody has an opinion on your screenplay. From the producer, to the producer’s wife, to the producer’s wife’s intern who got the job not because they’ve just graduated from film school and won a bunch of awards, but because they’re the producer’s wife’s nephew and nothing more.

People are going to have notes but the good thing is you don’t have to take 90% of them. The bad news, that other 10%, you absolutely, positively need to take under consideration. They will be notes given to you by producers, directors, actors, investors, distributors and funding bodies. 

Through a role-playing exercise, in this class we will explore techniques you can implement to maintain your vision for the project as well as serving the needs of your collaborators.

We will conduct our ninth table read this week.  

Assessment 2 Due: Business Plan

14

18/10/18

Consultation

There’s no traditional class this week, although Luke will be available from 5:30 to 9:30 to help with any queries or to provide feedback on any of the assignments.

Assessment 3 Due: 3rd Draft Feature Film

STORY TO SCREEN

1

2nd July 2018

Explanation of course content and assessment requirements – parameters set for short film scripts.

Experience inventory

Overview – short film examples (iPhone film)

Utilising Smartphone Tech for filming

The role of the writer from script to screen

Schedule in-class presentations

Intro to Smart Phone edit apps.

Assessment #1:Presentations scheduled throughout semester

3

16th July 2018

Script to Screen analysis exercise #1 (Screenplay to Screen – what changes, a look at the Director’s Statement)

Script to screen analysis exercise #2 (Mise en Scene: Cinematography, Production Design/Costume)

Script to screen analysis exercise #3 (Sound Design, Editing)

Key creative roles

5

30th July 2018

Studio #1 - intro to camera, lighting, sound, role of production designer on set

Script Development

7

13th August 2018

Assessment #1 Presentations

Intro to Editing

Script development

Assessment Task #2:Storyboard/Director’s Statement (due in-class)

9

27th August 2018

Assessment #1 Presentations

Pre-production Week #2

Marking up a script

Assessment #1: All presentations due to have been completed by this date.

11

10thSeptember 2018

Film Shoots Week #2

12

1st October 2018

Film Shoots Week #3

14

15th October 2018

Editing #2