Course Title: Script edit a feature film
Part B: Course Detail
Teaching Period: Term1 2019
Course Code: COMM7357C
Course Title: Script edit a feature film
Important Information:
This course will be delivered through face-to-face classes, interaction with industry mentors, and the learning support material and resources in Canvas.
School: 345T Media and Communication
Campus: City Campus
Program: C6160 - Advanced Diploma of Professional Screenwriting
Course Contact: Program Administration
Course Contact Phone: +61 3 9925 4815
Course Contact Email: mcvet@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Teacher: Luke Preston
luke.preston@rmit.edu.au
Nominal Hours: 140
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
Enrolment in this elective course at RMIT requires you to have completed all first year courses.
Course Description
In this course you will generate a market appropriate feature film screenplay to an advanced stage, develop the appropriate accompanying short documents as well as a plan for what to do with the project once you graduate. You will also develop the knowledge and skills required by a script editor to work with a writer, either through a film production company or independently, to edit and develop a feature length script.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
PSWFFS605 Script edit a feature film |
Element: |
1. Establish script editing requirements |
Performance Criteria: |
1.1 Identify purpose and requirements for script editing with the producer or other relevant people 1.2 Clarify development schedule and specific requirements for development of script reports with screenwriter 1.3 Establish and confirm timelines with producer or other relevant people |
Element: |
2. Lead the development meeting |
Performance Criteria: |
2.1 Clarify concept and story with screenwriter, producer and other relevant people. 2.2 Review script's themes, conventions and style ensuring that the story is strong and the characterisation is credible and compelling 2.3 Evaluate flow of the narrative and the management of narrative point of view as well as the overall execution of plot and sub-plots 2.4 Identify any structure and character problems against the requirements of the production and suggest strategies to address these 2.5 Build consensus with screenwriter and other relevant people about the strengths and development needs of the script |
Element: |
3. Assist screenwriter to develop the script |
Performance Criteria: |
3.1 Support and encourage screenwriter through the process of redrafting the script in accordance with the outcomes formulated in the development meeting/s 3.2 Review script rewrites and provide constructive feedback on the new draft 3.3 Suggest strategies to address any issues and difficulties that the screenwriter may be experiencing 3.4 Determine workable goals for subsequent drafts with screenwriter |
Element: |
4. Report on the script |
Performance Criteria: |
4.1 Write a script report to provide a clear and balanced assessment of the script's potential 4.2 Estimate work required to develop the script's story, theme, style and character development 4.3 Format report to company or agency requirements and deliver to agreed timelines 4.4 Participate in follow up meetings with the screenwriter to provide face-to-face feedback as required |
Learning Outcomes
Your goal is to not only finish the year with a market ready feature film screenplay, but also a plan on how to drive the project into production and the skills to operate within the creative team.
Details of Learning Activities
In this course, you learn through:
1. In-class activities:
- lectures
- teacher directed group activities/projects
- class exercises to review discussions/lectures
- peer teaching and class presentations
- group discussion
- class exercises to review discussions/lectures
- analysis/critique of students’ writings
2. Out-of-class activities:
- independent project based work
- writing and reading assignments
- online and other research
- independent study
Teaching Schedule
WEEK |
DATE |
CLASS CONTENT |
ASSESSMENT |
ELEMENTS |
1 |
12/02/19 |
Introduction: So what’s this feature film writing thing all about? Screenplays become feature films in a million different ways. Some are commissioned by producers, others are originated on spec. Some have budgets in the tens of millions while there’s even some with a budget of zero. In this first week we will discuss the role of the screenwriter in the Australian industry, what’s expected of them and how to sustain an ongoing career as a feature film screenwriter. You will be provided an overview of the course, the assessments and expectations. You will pitch your projects to the class and be assigned a script editor to work with throughout the semester. Time will be allotted for editors and writers to get to know each other’s projects during this class via an informal chat. You are expected to have a completed first draft screenplay by week eleven. If you already have a completed first draft, great! Then you can send the screenplay to your editor and get started. If you are still working on your first draft, than send your editor the latest outline. Homework: In your editor role, read your writer’s screenplay or outline. The document should be read twice. The first read is for a first impression and the second read is for a more analytical perspective. Each week you will be assigned a film to watch which will be discussed the following week and incorporated into the class. This week the film to watch is BlackkKlansman. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
2 |
19/02/19 |
Pitching and idea generation From week two onwards, each class will begin with a discussion of the assigned viewing. This is from the point of view of a writer and with a focus on how and why the film works (or doesn’t) on a script level. In the last hour of each class for the rest of first semester, you will be have thirty (ish) minutes to come up with a one sentence pitch for a feature film idea and pitch that to the class. The pitch doesn’t need to be any longer than thirty seconds, it doesn’t even need to be any good. The purpose of this exercise is to get you practiced and comfortable at pitching so that no matter the situation you can verbally communicate what your screenplay is about. We’re going to call this Pitch Fest! Homework Movie: Ghostbusters (2016). |
|
PSWFFS605 1, 2 PSWFFS606 1, 2 |
3 |
26/02/19 |
The Five Pitfalls of Screenwriting Discussion of the homework movie, Ghostbusters (2016). After the initial discussion of the homework movie, we will discuss the Five Pitfalls of Screenwriting. These are common issues that most screenplays struggle with which script editors can be on the lookout for whilst working with their writer. 1. Structure 2. Character 3. Style 4. Audience and Theme 5. Dialogue & Subtext Writers and script editors will get together and discuss their first and second impressions of each other’s projects. Pitch Fest! Homework Movie: Logan |
|
PSWFFS605 1, 2, 3 PSWFFS606 1, 2, 3, 4 |
4 |
5/03/19 |
Genre & Market Analysis First up, we’re starting with a discussion of Logan where we cast a critical writer’s eye over the film to identify its strengths and weaknesses. We’ll have an overview of genre and why it’s important to either deliver on the promise of a genre or subvert it as needed. You will then discuss with your editor what genre your screenplay falls into and; a) if it delivers on the promise the genre makes to the audience. b) If not, can you pivot the screenplay project to achieve that, or pivot their project to a more marketable genre. Pitch Fest! Homework Movie: El Mariachi |
|
PSWFFS605 1, 2 PSWFFS606 2, 3, 4 |
5 |
12/03/19 |
Writing to Budget Discussion of the homework movie, El Mariachi. The parameters in which Australian films need to be made is for the vast majority of productions is pretty tight. The more budget conscious a screenplay is, the higher the likelihood it will be made. In this class we will be discussing the techniques which can be employed to bring the budget of a feature film down. Using El Mariachi as a case study, the class will explore how an action film can be made on $5000. Working in their groups, editors and writers will take the most expensive scene in their screenplay and work out three cost effective alternatives to the scene. The results will be shared with the rest of the class. Pitch Fest! Homework Movie: Romeo & Juliette |
|
PSWFFS605 1, 2, 3 PSWFFS606 1, 2, 3, 4 |
6 |
19/03/19 |
Branding: Be Coca-Cola not Sofia Copola Discussion of the homework movie, Romeo & Juliette. Having one feature film in your draw is great, having two or three is even better. There’s going to be times when you pitch your story and it won’t be for that producer. In that situation it’s not uncommon for a producer to ask what else have you got. The key in that situation is to have similar projects on hand. For example if you’re talking to a horror producer and the horror film you pitched wasn’t for them but the only other projects you have are comedies, then it’s probably going to be a short meeting. But, if you have three horror screenplays in your draw then there’s almost a 100% chance that they’re going to read one of them, and you’re going to be known as the writer who does horror. In this class we’re going to explore what your brand is and how you can weaponise it. Pitch Fest! Homework Movie:Raiders of the Lost Ark |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4 |
7 |
26/03/19 |
Structure Discussion of the previous homework movie, Raiders of the Lost Ark with a focus on structure. Outline and discuss the following feature film structures: a) 3 Act Structure b) 5 Act Structure c) 8 Act Structure In a group exercise, the class will break down the structure of Raiders of the Lost Ark. Working within your teams, writers and editors will discuss and dissect the structure their screenplays are using and whether it’s the best structure for their story. Homework: In no more than 300 words, editors write down the major turning points of the screenplay they’re editing. Pitch Fest! Homework Movie:Tin Cup |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4 |
8 |
2/04/19 |
Character Discussion of the homework movie, Tin Cup. Week 8 is all about character and how to develop the hero of a screenplay into an engaging protagonist that people will spend $20 and two hours on. This will cover but is not limited to: a) Creating a character outline b) Creating empathy c) Building unique characters d) Character motivation e) The five types of goals and overcoming obstacles Editors will then work with their writers on creating empathy for both their protagonists and antagonists. Pitch Fest! Homework Movie:The Big Lebowski |
|
PSWFFS605 2, 3 PSWFFS606 1, 2, 3, 4 |
9 |
9/04/19 |
Next Draft Notes & The Script Report Discussion of the homework movie, The Big Lebowski. Writers hate writing Next Draft Notes, but if they want a producer or a funding body to invest (pay) for the next draft, the writer needs to present them with a pitch of what it is they’re going to get for that money. In the first half of this class we will cover the following aspects of composing a set of Next Draft Notes that will be flawless in any application. a) Balancing the good and the bad b) Genre c) Story d) Structure e) Character f) Subtext g) Market h) Execution On the flip side of the Next Draft Notes is the Script Report. It’s not uncommon for both of these documents to be submitted together as part of the same application to a funding body. In the second half of this class we will cover the following aspects of preparing the Script Report. a) The synopsis b) Story c) Character d) Structure e) Dialogue and subtext f) Marketability recommendation Pitch Fest! Homework Movie:Mad Max |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
10 |
16/04/19 |
Open With a Bang Discussion of the homework movie, Mad Max. In detail, outline the seven different types of openings for a feature film. Working with your editor, you will determine the type of opening your project currently uses and brainstorm five more alternate openings to ensure your story opens in the best possible way. Pitch Fest! Homework Movie:Lethal Weapon |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
|
|
Semester break: Good Friday 19 April – Friday 26 April inclusive |
|
|
11 |
30/04/19 |
End With a Bang Discussion of the homework movie, Lethal Weapon. Having last week focused on the importance of a unique and effective opening, in week 11 we’ll focus on the importance of having a satisfactory close to a movie. As a group we will break down the third act of Lethal Weapon and work out not only why it is emotionally effective, genre specific but also the mechanics of how it works. Working with their writers, editors will break down the climax of the screenplays which they are editing and assess if they are effective as they can be. Pitch Fest! Homework Movie: The Silver Linings Playbook |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
12 |
7/05/19 |
Loglines Discussion of the previous homework movie, The Silver Linings Playbook with a writer’s eye. With that film in mind, there will be a discussion of the importance and purpose of a log line, followed by the key elements of how to craft a killer logline. As an exercise you will craft a log line for The Silver Linings Playbook. Then, working in your writer/editor groups, editors will write five loglines with their writer. Pitch Fest! Homework Movie: Rogue One |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4 |
13 |
14/05/19 |
Synopsis Discussion of the previous homework movie, Rogue One with a writer’s eye. “Send me the 1 pager.” This is probably the most uttered phrase from a producer to a writer who has ever pitched them a project. In this particular class we’ll discuss why producers, distributors and funding bodies require this document and the key elements involved in crafting an effective one. Like a screenplay, a successful one page synopsis has a strong basis in structure. Using examples, we’ll take a look at effective one page synopsis’ as well as dismal ones. Writers with their editors, will work out the key turning points in their screenplays and put together an outline for their synopsis. Pitch Fest! Homework Movie: Atomic Blonde |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
14 |
21/05/19 |
Beat Sheets And Treatments Discussion of the homework movie, Atomic Blonde. What is a beat sheet? Why do we use them and how can they help writers from wasting weeks, if not months writing content that may see the delete button. As a group, the class will beat sheet out the first fifteen minutes of Atomic Blonde. Writers and editors break off into their groups and beat sheet out the first fifteen pages of their projects. Pitch Fest! |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4 |
15 |
28/05/19 |
No Class: Semester review TBA |
Assessment Task #1 Due |
|
|
|
Semester Two |
|
|
1 |
9/7/19 |
Introduction: Now what? So you’ve written the first draft of your screenplay, 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 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. |
Assessment Task #2 Due |
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
2 |
16/7/19 |
Screenplay Analysis: What’s broken here? In order to develop a screenplay successfully, you will need to conduct an honest assessment of the condition the screenplay is currently in and will compile a list of strengths and weaknesses. Each week from week two, we’ll have a table reading of everybody’s feature films. Depending on the amount of students in the class, we might need to limit the table reads to the first thirty pages of the screenplay. 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. |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
3 |
23/07/19 |
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 first table read this week. |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
4 |
30/07/19 |
Beat Sheets: Baby steps Not only is creating a beat sheet of your screenplay extremely helpful when creating the first draft, they also can play a helpful role in crafting the second draft as well. In this class we will explore the differences and the pros and the cons of creating a beat sheet after a screenplay is written and how to utilize it to effectively speed up the process. We will conduct our second table read this week. |
|
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
5 |
6/08/19 |
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 your writer/editor development meetings for assessment task #4. |
Assessment Task #3 and #4 Due |
PSWFFS605 3, 4 PSWFFS606 1, 2, 3, 4 |
6 |
13/08/19 |
You Did Too Much: How to cut down your page count In film, every single page costs money. All you need to do is divide your budget by how many pages you have and that will give you a clear indication of how much each page is worth. In development, producers are always conscience of page count and are always asking you to bring the screenplay in with fewer pages added to the total. In this class we will explore five different techniques you can implement to bring your page count down. We will conduct our fourth table read this week. Homework Movie: Kill Bill |
|
PSWFFS605 3, 4 PSWFFS606 2, 3, 4, 5 |
7 |
20/08/19 |
The Style is the Substance Discussion of the homework movie, Kill Bill. The one thing a writer has that no other writer can do, is write like them. The writer’s personal style evolves out of a lifetime of experiences, education, family history and interests. In this you will focus in on what you believe your writer’s style is and how in enhance it so that your style stands out throughout the screenplay. Using as handful of various examples of the writing style of successful screenwriters, students can identify why Quentin Tarantino writes like Quentin Tarantino or why Diablo Cody writes the way she does. Editors will identify the style of the writer they’re working with and using a highlighter read through the first ten pages of their screenplay to isolate those moments of uniqueness. Sometimes a writer is unaware of their own style until it is pointed out to them. |
|
PSWFFS605 3, 4 PSWFFS606 2, 3, 4, 5 |
8 |
27/08/19 |
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 fifth table read this week. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 2, 3, 4, 5 |
|
|
Semester break: Monday 2 September – Friday 6 September inclusive |
|
|
9 |
10/09/19 |
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. |
|
PSWFFS605 4 PSWFFS606 4, 5 |
10 |
17/09/19 |
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 sixth table read this week. |
|
PSWFFS605 4 PSWFFS606 4, 5 |
11 |
24/09/19 |
There’s no traditional class this week, although Luke will be available from 4:30 to 9:30 to help with any queries or to provide feedback on any of the assignments. |
|
|
12 |
1/10/19 |
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 seventh table read this week. |
|
PSWFFS605 4 PSWFFS606 4, 5 |
13 |
8/10/19 |
Business plan: What now? Congratulations, by now you will have completed the third draft of your screenplay or are very close to it. Now the big question is what to do with your one hundred pages of awesomeness now that it’s all completed? It’s at this stage that you need to put away their writer’s cap and put on their business hat. You’ve just created a screenplay, but what you’ve also done is created a product, and now you need a plan as to what to do with that product. In this class we will go into detail about how to put together a business plan for your screenplay which will include the numerous avenues and paths which you can travel down to in order to realise your project. This will include but is not limited to: · Identifying producers · Screenplay competitions · Going rogue (doing it yourself) · Crafting a query letter Table read. |
Assessment Task #6 Due |
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
14 |
15/10/19 |
No scheduled class |
|
|
15 |
22/10/19 |
In this session you will have a one on one meeting regarding feedback on your screenplay. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
Learning Resources
Prescribed Texts
References
Other Resources
You require access to a computer and to the internet for this course. RMIT will provide you with resources and tools for learning in this course through our online systems and access to specialised facilities and relevant software. You will also have access to the library resources.
Overview of Assessment
Assessment is ongoing throughout the course. Your knowledge and understanding of course content is assessed through participation in class exercises, oral presentations and through the application of learned skills and insights to your writing tasks.
This course addresses the following units of competency, clustered for delivery and assessment:
- PSWFFS605 Script edit a feature film
- PSWFFS606 Redraft a feature screenplay
Assessment Tasks
To demonstrate competency in this course you will need to complete all the following pieces of assessment to a satisfactory standard. You will receive written feedback on all assessment (refer to Canvas for assessment criteria).
Assessment Task 1: Short Documents (PSWFFS605 Elements 1, 2, 3, 4; PSWFFS606 Elements 1, 2, 3, 4, 5) : Due 31 May
Assessment Task 2: Treatment (PSWFFS605 Elements 1, 2, 3, 4; PSWFFS606 Elements 1, 2, 3, 4, 5) : Due 14 July
Assessment Task 3: Script Editor's Report (PSWFFS605 Elements 1, 2, 3, 4; PSWFFS606 Elements 1, 2, 3, 4, 5) : Due 11 Aug
Assessment Task 4: Lead a Development Meeting (PSWFFS605 Elements 1, 2, 3, 4; PSWFFS606 Elements 1, 2, 3, 4, 5) : Due 11 Aug
Assessment Task 5: Third Draft Feature Film (PSWFFS605 Elements 1, 2, 3, 4; PSWFFS606 Elements 1, 2, 3, 4, 5) : Due 13 Oct
To demonstrate competency in this course you will need to complete all the assessment tasks to a satisfactory standard. You will receive feedback on all tasks.
If you have not completed an assessment task to a satisfactory standard you will be given an opportunity to resubmit that task within one week of receiving feedback. You will have one opportunity to resubmit your work.
Once you have achieved competency for the unit, you will receive an overall grade for the course according to the rubric attached. This rubric relates to all assessments and your overall performance in the course.
This course is graded. Grades used in this course are as follows:
- CHD Competent with High Distinction
- CDI Competent with Distinction
- CC Competent with Credit
- CAG Competency achieved – graded
- NYC Not Yet Competent
- DNS Did not submit for assessment
Assessment Matrix
The assessment matrix demonstrates alignment of assessment tasks with the relevant Unit of Competency. These are available through the course contact in Program Administration.
Other Information
Please refer to the RMIT student page for extensive information about study support, assessment, extensions, appeals and a range of other matters.
Attendance
Your learning experience will involve class-based teaching, discussion, demonstration and practical exercises. It is strongly advised that you attend all timetabled sessions. This will allow you to engage in the required learning activities, ensuring you the maximum opportunity to complete this course successfully.
Assessment Feedback
You will receive spoken and written feedback on all your work. Where relevant, this feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
Student Progress
Monitoring academic progress is an important enabling and proactive strategy designed to assist you in achieving your learning potential.
Adjustments to Assessment (eg. applying for an extension of time):
If you are unable to complete any piece of assessment satisfactorily by the due date, you can choose to apply for an adjustment to your assessment. RMIT University offers a range of adjustments designed to support you in your studies, including an extension of time to complete the assessment.
Academic Integrity and Plagiarism
RMIT University has a strict policy on plagiarism and academic integrity. Please refer to the website for more information on this policy.
Credit Transfer and Recognition of Prior Learning
Credit transfer is the recognition of previously completed formal learning (an officially accredited qualification).
Recognition of Prior Learning (RPL) is an assessment process that allows you to demonstrate competence using the skills you have gained through experience in the workplace, voluntary work, informal or formal training or other life experiences.
Recognition of Current Competency (RCC) RCC applies only if you have previously successfully demonstrated competence in a unit of competency, and now require to be reassessed to ensure that the competence is being maintained.
Please speak to your teacher if you wish to discuss applying for Credit Transfer, RPL, or RCC for the unit(s) of competency addressed in this course.
Course Overview: Access Course Overview