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ASSIGNMENTS (See Instructions Below) The following basic assignments will be required for successful completion of this course: (1) Project #1- Short Screenplay (10-15 minutes) Treatment + Outline + 3 Drafts or Project #2- Revision of an existing 60-120 minute screenplay or Completion of new 20-30 minute screenplay or Development and completion of a new feature-length length script Treatment + Outline + partial 1st draft (2) Writer's Journal- weekly written reflection on class topics, activities, discussions, creative dilemmas and insights, research observations, and the evolution of your projects. (will be collected bi-weekly) (3) Master Scene Breakdown Analyses-Feature Film (4) Script Coverage (Summary & Evaluation of Commercial Scripts) Additional assignments and exercises may be given to the class or individual students as your strengths and writing issues are assessed.
WRITER'S NOTEBOOK/JOURNAL- Buy a spiral notebook, steno pad, etc. separate from your class notebook. Carry it with you to record sights, impressions, characters , details, story ideas that occur to you. Establish a regular time(s) during your day and/or week to make entries that couldn't do "on the fly." Bring your notebooks with you when you come to class. They will be collected during the semester on an unannounced basis. Be prepared. CLIPPING FILE- Get a sturdy pocket folder. Use it to hold: articles from newspapers and magazines with original story or character possibilities, notes on characters/stories that you might have heard on the radio or TV news on characters/stories that you might have heard on the radio or TV news broadcasts, talk shows, interview programs (e.g. offbeat NPR interviews or profiles) or other programming. Get into the regular habit of clipping articles that intrigue you and file them. Bring it with you to class for unannounced collection. PREMISES- Using Egri's discussion, write 3 premises summarizing your ideas for each story including the elements discussed: Character, Conflict, Resolution, Theme, POV (writer and character), Social Context. Each premise should be no longer than a 1/2 page, single-spaced. You should write 3 paragraphs for each idea (a paragraph = an act). You are encouraged to explore all types of story ideas: features, series pilots, TV movies; "high concept" films, those with socially -relevant themes, ideas based on personal experiences, stories that are essential and need to be told, or ideas that would be "fun" to write. MASTER SCENE BREAKDOWN 1. INT-YOUR RESIDENCE-NIGHT OO:00 Select a film you admire or want to study. View it, and use sluglines (INT-HOUSE-DAY) to mark off each master scene. Describe the action of each scene as it occurs and the CHARACTERS who are involved. Include behavioral descriptions of the characters, significant non-verbal gestures, and other key elements which are part of the construction of each scene. (In parentheses describe any special function or purpose of the scene you perceive as significant along with any other distinctive features e.g. subtext, relation to a later scene). You should also time each MASTER SCENE and keep a cumulative total to get a feel for a scene's duration. (00:04:07) SCRIPT COVERAGE- Select one of the scripts on RESERVE in the Blitman Reading Room (3rd Floor-Annenberg Hall). Summarize the story (MAXIMUM: 1 Page, single-spaced), and write an evaluation of the script based on each of the following: VISUALIZATION, STORY, CHARACTER, PLOT/STRUCTURE, DIALOGUE. INITIAL OUTLINE-Write an initial scene-by-scene outline of your story. Describe the action and characters briefly. (This is an exercise more for you than other readers) Look at the flow of action. Evaluate what additional scenes you might need by each ACT. TREATMENT EXERCISE- You are to write a minimum 4 page narrative prose treatment for a feature-length screenplay. Follow Field's suggestions for describing the action of your screenplay by each act (see p.51). Identify the narrative actions that would serve as the "plot points" or turning points for ACT I and II. STEP OUTLINE- Expand your initial outline and treatment. Number each scene an use sluglines (INT-HOUSE-DAY). Describe the action for each scene. CHARACTER PROFILE- MAKE SURE YOU HAVE READ THE ASSIGNED CHAPTERS FROM FIELD & EGRI before beginning this assignment, and think about the characters you have encountered this semester and our discussion of them as you construct your own. (1) Select a real or imagined character on whom you would like to build a feature length project. (2)In your Writer's Notebook make up a checklist of the types of information you would like to know about this character. (3) Imagine that you had the opportunity for an unrestricted interview with this character. Write down all the questions you would ask of this person according to your checklist. (4) Imagine & Write the Interview. (5) Write a 2-4 page profile of this character detailing what would be revealed about this character within the action of your screenplay. Submit: Profile and Interview. OPENING SCENE-FIRST 10 PAGES Revised 1st 10 Pages 10 SCENES/10 IMAGE ANCHORS- submit a list of 10 visual ideas, elements or approaches for 10 scenes in your Step Outline. The Image Anchor should provide a visual foundation for each of those scenes. Consider if there is the possibility of building a visual motiff or IMAGE SYSTEM (Paul Lucey-STORY SENSE ) that will help unify your script. ACT II-10 Pages Revised 10 Pages-ACTII ACT III-10 Pages including Climax
It is recommended that you consult with me before beginning any substantial work on your final project. My assumption is that you will be working on one of the original screenplay ideas that you will be submitting. It is important that we confer. Raise your concerns about your project either during class discussions or schedule an appointment to see me. MID-TERM EXAM There will also be a Mid-Term Exam on readings and class discussion of theory. |