_{To develop the creative, editorial and reading skills needed for the production of a screenplay, based on the following principles:}

_{-               Focus on visual story telling using minimal dialogue.}

_{-               Introduction to story analysis using published screenplays and clips.}

_{-               Exploration of narrative development.}

         _{-       Emphasis on the paramount importance of receiving and incorporating feedback in order to improve the quality of our work. Writing is re-writing.}

_{To develop the creative, editorial and reading skills needed for the production of a screenplay, based on the following principles:}

_{-               Focus on visual story telling using minimal dialogue.}

_{-               Introduction to story analysis using published screenplays and clips.}

_{-               Exploration of narrative development.}

         _{-       Emphasis on the paramount importance of receiving and incorporating feedback in order to improve the quality of our work. Writing is re-writing.}

_{To develop the creative, editorial and reading skills needed for the production of a screenplay, based on the following principles:}

_{-               Focus on visual story telling using minimal dialogue.}

_{-               Introduction to story analysis using published screenplays and clips.}

_{-               Exploration of narrative development.}

         _{-       Emphasis on the paramount importance of receiving and incorporating feedback in order to improve the quality of our work. Writing is re-writing.}

_{ATTENDANCE REQUIREMENTS:}

_{This class is a WORKSHOP -- Attendance and partecipation constitute 30% of your final grade. More than 3 unexcused absences will result in an F (Fail) grade for Attendance & Participation. More than 5 unexcused absences will result in failing the course. If unexcused, a tardy of more than 15 minutes will be counted as an absence. Leaving class early will also affect your grade.}

_{NB: The use of laptop computers in class for writing purposes is permitted. However, NO INTERNET ACCESS is allowed. Surfing the Internet/Facebooking etc will result in FAILING THE CLASS at once. No other electronic devices (cell phones, texting etc) are permitted.}

_{WEEKLY ASSIGNMENTS:}

_{Constitute 25% of your grade. 3 or more MISSED weekly assignments will result in an F (Fail) grade for this section. 5 missed weekly assignments will result in failing the entire course – even if the student hands in his/her final script.}

_{ORGANIZATION:}

_{Do not wait until week 5 to organize your portfolio! Each day, insert ONE COPY of your written assignments in a folder/binder. An incomplete portfolio will reduce your grade! For class organization, you will need at least THREE copies of each written assignment. Students will not be able to read their assignments in class every week, but everyone must always have their three copies READY.}

_{For all your assignments, you MUST bring enough copies for the entire class and the instructor.}

_{UNLESS EXPLICITLY STATED, WRITTEN ASSIGNMENTS ARE DUE ON THE FOLLOWING CLASS. THIS MEANS THAT IF AN EXERCISE IS ASSIGNED ON A TH. IT WILL BE DUE ON THE FOLLOWING TU. IF IT IS ASSIGNED ON THE TU. IT WILL BE DUE ON TH. NO LATE ASSIGNMENTS WILL BE ACCEPTED!}

_{CLASS SCHEDULE:}

_{WEEK ONE}

_{INTRO TO CLASS. requirements/organization/writing is rewriting/feedback}

_{DECIDE FEEDBACK TEAMS (Of three people)}

_{ASSIGNMENT 1:screening of scenes, selected by students, as examples of effective storytelling. What is effective storytelling? Why? Analysis of the relationship between the selected scene and the entire film.}

_{ASSIGNMENT 2; each writer is given a beginning PARAGRAPH by the instructor. From that starting point, develop a story. READING and feedback.}

_{WEEK 2}

_{The basis of writing: inspiration, description, discipline. Writing is rewriting.}

_{-WHY DO WE TELL STORIES? WHY THAT STORY? –}

_{find your personal connection to your material.}

_{-WHERE CAN WE FIND IDEAS? Stories can come from – tracking publications, personal experience, biography, published materials (adaptations).}

_{-WHAT DO WE NEED TO WORRY ABOUT? GUIDING the audience through a vivid description of details.}

_{-What is POINT OF VIEW? Difference between protagonist and perspective: whose story do you want to tell? From which perspective?}

-_{What is TONE? What is the emotional experience you want to induce in your audience?}

_{---------------------}

_{Writing for the screen.}

_{Writing ONLY through images and sounds.  The importance of dramatic action.}

_{Reading:  “A PLAYWRIGHT’S GUIDEBOOK” Chapter 2: ACTION}

_{WRITING ASSINGMENT: USING A STILL IMAGE, WRITE SIMPLY WHAT YOU HEAR AND SEE. Keep adding details about the content of the image and its mood. Try to connect a feeling, an emotion or an impression you want to convey through this image. If it’s a place, express the feeling you associate to that space. If it’s a person, create a strong portrayal of the character. Reveal something about that image, as a tableau, but WITHOUT TURNING IT INTO A STORY.}

_{----------------------}

_{LECTURE/DISCUSSION}

_{Writing for the screen (CONTINUED). Writing ONLY through images and sounds.}

_{n             Always in the present tense}

_{n             Only events which can be seen or heard.}

_{n             Turning what is invisible into something visible and audible. Dramatizing. Externalizing.}

_{n             Only characters in action (the reader will infer the emotional state from the action)}

_{n             Show/Don’t tell: an action is more meaningful than a 100 lines of dialogue!}

_{Screening of shorts:}

_{PEEL BY JANE CAMPION}

_{TWO MEN and A WARDROBE by R. Polanski}

_{MEAT LOVE BY Svenmaker}

_{Writing assignment}

_{Extend the image from previous assignment into a story. The image can be placed at any point of the story, but it should be a substantial part of the narrative, WITH NO DIALOGUE – focus on images, sounds, and characters’ actions.}

_{Reading and feedback on ASSIGNMENT 3.  Detailed analysis of each story:}

_{1)           WHAT IS THE EVENT IN YOUR STORY?  What are your ‘actions’?}

_{2)           WHAT ARE THE CINEMATIC ASPECTS OF YOUR STORY? WOULD IT WORK ON THE SCREEN?}

_{WEEK THREE}

_{WEEK END watch: THE BIG LEBOWSKI (Cohen)}

_{THE ARCHITECTURE OF SCREENWRITING: THREE ACT STRUCTURE.}

_{-Review chapter on ACTION after lecture/discussion.}

_{-Read feature length screenplay: BILLY WILDER’s “THE APARTMENT”.}

_{ANALYSIS OF SCRIPT STRUCTURE, based on Billy Wilder’s “THE APARTMENT”}

_{Reading: SCREENPLAYS that SELL: Chapter 8 WHAT STORY IS.}

_{SCREENPLAY, Syd Field. Chapter 1 WHAT IS A SCREENPLAY?}

                                              _{Chapter 11 BUILDING THE SCREENPLAY.}

_{Screening of short “WASP”}

_{Answer these questions in writing:}

_{1)           Identify the three-act structure:}

_{2)           what is the inciting incident?}

_{3)           what are the act breaks?}

_{4)           What is the climax and resolution of the story?}

_{5)           Finally, whose story is it? From which perspective is the story told?}

_{LECTURE/DISCUSSION}

_{SCENE WORK – SCENE AS THE CENTRAL UNIT, THE BUILDING BLOCK OF A SCREENPLAY}

_{– characters, drives, conflict, dialogue, text and subtext. What drives the scene? What is the scene about? What is the resolution of the scene?}

_{Screening: clips from:}

_{MINNY AND MOSKOWITZ, by J. CASSAVETES  (the date)}

_{GOODFELLAS, by M. SCORSESE (the bedroom scene)}

_{WELLCOME TO THE DOLLHOUSE, by T. SOLONDZ (the bathroom scene)}

_{THE APARTMENT, by B. Wilder (the bedroom scene; the key scene)}

_{Reading: THE PLAYWRIGHT’S GUIDEBOOK: Chap. 3 Motivation and subtext.}

_{Chap. 4 Conflict.}

_{SCREENPLAY: Chap. 10 the Scene.}

_{SCENE WORK (continued): is it as easy to understand what the scene is about from just reading the screenplay?}

_{IN CLASS EXERCISE: We will be reading scenes from screenplays then watching clips from the same films.}

_{Scenes from scripts: TRUST THE MAN, YOU CAN COUNT ON ME, THE MARATHON MAN. Clips from YOU CAN COUNT ON ME, THE MARATHON MAN.}

_{Writing assignment}

_{Write a scene between two characters, applying the notions explored in class.}

_{ASSIGNMENT IN PREPARATION FOR YOUR FINAL:}

_{PREPARE YOUR PITCH for a SHORT FILM IDEA. you will present it in class and receive feedback on.  Present two ides, and you will decide what to work on based on the feedback.  Students won’t be able to hand in their final SCRIPT unless they first discuss their ideas in class.}

_{WEEK FOUR}

_{ALL STUDENTS PITCH OF IDEA FOR SCRIPT}

_{Home assignment: GIVE WRITTEN FEEDBACK on THE IDEA PRESENTED BY YOUR ASSIGNED PARTNERS.}

_{STUDENTS. (EMAIL THEM AND CC ME ON IT)}

_{WEEK FIVE}

_{LECTURE/DISCUSSION}

_{How to develop and portray characters: Scene’s focus on CHARACTER work.}

_{Screening of clips from:}

_{WELLCOME TO THE DOLLHOUSE, by T. Solondz}

_{THE SAMURAI By J. P. Melville}

_{HAROLD and MAUDE, by H. Ashby}

_{IF by L. Anderson}

_{READING: THE PLAYWRIGHT’S GUIDEBOOK}

_{Chapter 10 CHARACTER}

_{DIALOGUE (use it sparsely/wisely/on the nose/exposition/text vs subtext)}

_{Plus… a few notes on SCREENPLAY FORMAT.}

_{Screening of opening sequence of RESERVOIR DOGS (Tarantino).}

_{READING: THE PLAYWRIGHT’S GUIDEBOOK: Chapter 13. EXPOSITION}

_{READING:  WRITE SCREENPLAYS THAT SELL: Chapter 5 WHAT A SCREENPLAY ISN’T}

_{Chapter 6 WHAT A SCREENPLAY IS}

_{HOME ASSIGNMENT}

_{Define the psychology and back-story of the protagonist of your story (it can be from one of past written exercises or new story).}

_{Once you feel that you really know your character, let’s see him/her in action. Write a scene or a sequence where you explore the character whose backstory you created. The scene should give us some sense of character.}

_{You can also do the opposite: first you write the scene, get a glimpse of that character, then extend him/her beyond the scene. Build his/her character and backstory.}

_{FINAL SCREENPLAYS DUE:  READING AND FEEDBACK on all scripts!}

_{BRING ENOUGH TYPED COPIES FOR EVERYONE IN CLASS: 16 COPIES!}

_{Home assignment: GIVE WRITTEN feedback on SCRIPT presented by your assigned partners.}

_{YOUR FINAL PORTFOLIO IS DUE on TH. WEEK 5. No portfolios will be accepted after that date!}

_{You are required to HAND IN your complete PORTFOLIO, containing all writing exercises, all feedback and final script on THURSDAY, WEEK 5.  Everything needs to be TYPED!}