Download the List of Resources from Robin Swicord

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Download the List of Resources from Robin Swicord

MASTER CLASS Adapting a Screenplay from Source Material with Robin Swicord RECOMMENDED RESOURCES Films discussed in class: ● 3 Days in Quiberon (2018) ● The 400 Blows (1959) ● Animal Kingdom (2010) ● The Bourne Identity (2002) ● The Bureau (French TV Series) (2015) ● Casablanca (1942) ● City of God (2002) ● East of Eden (1955) ● The English Patient (1996) ● Ida (2013) ● Get Out (2017) ● The Godfather (1971) ● Groundhog Day (1993) ● Lady Bird (2017) ● Little Miss Sunshine (2006) ● Little Women (1994) ● Matilda (1996) ● The Matrix (1999) ● Memoirs of a Geisha (2005) ● Moonlight (2016) ● Multiplicity (1996) ● Parasite (2019) ● Selma (2014) ● Some Like it Hot (1959) ● Sound of Metal (2019) ● Thelma and Louise (1991) ● Uncut Gems (2019) ● Wakefield (2016) ● When Harry Met Sally (1989) ● When They See Us (2019) ● The Wizard of Oz (1939) Books, Articles and other Resources: ● On Writing (Writer’s Guild of America, East) - Interviews with screenwriters: including Julie Taymor, Charlie Kaufman, Greta Gerwig, and others ● The Paris Review Interviews ● In the Blink of an Eye by Walter Murch ● The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje ● Writing in General and the Short Story in Particular by Lawrence Rust Hills ● “On the Story Series” Produced by the AustinFilm Festival RECOMMENDED RESOURCES FROM SUNDANCE CO//AB Videos featuring Sundance Advisors, exclusively on Sundance Co//ab: ● Master Class: Finding Your Screenplay’s Story with David Schwab ● Master Class: Screenwriting with Meg LeFauve (Inside Out, Captain Marvel) ● Chloé Zhao on Finding Your Way as a Filmmaker ● Making the $3 Movie with the Duplass Brothers ● A Day in the Life of a Screenwriter ● The Screenwriting Process with Emerging Writers ● Breaking into TV Writing with Lena Waithe and Tom Fontana ● The Art & Craft of Screenwriting with Scott Frank ● Innovation and Adaptation with John August .

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Family in Films
Travail de maturité – ANGLAIS Sujet no 13 Family in Films “All happy families are all alike; every unhappy family is unhappy in its own way.” Anna Karenina, Leon Tolstoy. Whether dysfunctional, separated by exile, torn apart by history, laden with secrecy, crazy, loving, caring, smothering - and even perhaps happy, family is an endless source of investigation about human relations and social groups. In this research paper, you will be able to question Leon Tolstoy’s statement and explore how films envision new and older forms of families. Some examples of films relevant to this research paper: Festen (Thomas Vintenterberg, 1998) Parasite (Bong Joon-ho, 2019) L’Heure d’été (Olivier Assayas, 2008) Family Romance, LLC (Werner Herzog, 2019) Un conte de Noël (Arnaud Desplechin, Crooklyn (Spike Lee, 1994) 2008) Sorry, We Missed You (Ken Loach, 2019) La Fête de famille (Cédric Kahn, 2019) I, Daniel Blake ( Ken Loach, 2016) After the Storm (海よりもまだ深く, Umi yori Jungle Fever (Spike Lee, 1991) mo mada fukaku, Hirokazu Rodinný Film (Family Film, Olmo Omerzu, Kore-eda, 2016) 2015) Nobody Knows (誰も知らない, Dare mo So Long My Son (地久天长, Di jiu tian chang shiranai, Hirokazu Kore-eda, Wang Xiaoshuai, 2019) 2004) Still Life (三峡好人, Sānxiá hǎorén, Jia Like Father, Like Son (そして父になる, Zhangke, 2006) Soshite chichi ni naru, Hirokazu Amreeka (Cherien Dabis, 2009) Kore-eda, 2013) Tokyo Sonata (Kiyoshi Kurosawa, 2008) Our Little Sister (海街diary, Umimachi American Beauty (Sam Mendes, 1999) Diary, Hirokazu Kore-eda, 2015) The Royal Tenenbaums (Wes Anderson, Still Walking
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Quiet and Melancholy. This MUSIC Plays Over All of the Opening Scenes
We begin with MUSIC -- quiet and melancholy. This MUSIC plays over all of the opening scenes: EXTREME CLOSE UP The silent, slo-mo image of a Miss America being crowned. She cries and hugs the runners-up as she has the tiara pinned on her head. Then -- carrying her bouquet -- she strolls down the runway, waving and blowing kisses. INT. REC ROOM - DAY A six year old girl sits watching the show intently. This is OLIVE. She is big for her age and slightly plump. She has frizzy brown hair and wears black-rimmed glasses. She studies the show very earnestly. Then, using a remote, she FREEZES the image. Absently, she holds up one hand and mimics the waving style of the Miss America. She REWINDS the tape, and starts all over again. Again, Miss America hears her name announced, and once again breaks down in tears -- overwhelmed and triumphant. RICHARD (V.O.) There’s two kinds of people in this world: Winners...and Losers. INT. CLASSROOM - DAY RICHARD (45) stands in front of a white-board in a community college classroom. He wears khaki shorts, a golf shirt, sneakers. His peppy, upbeat demeanor just barely masks a seething sense of insecurity and frustration. There are eleven students in a room that could easily fit fifty. RICHARD If there’s one thing you take away from the nine weeks we’ve spent here together, it should be this: Winners and Losers. What’s the difference? 2. Richard turns with a pointer and enumerates his points, which are listed on the white board.
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Oscars and America 2011
AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES I am glad to be here, and honored. I spent some time with Ben this summer in the exotic venues of Oxford and Cambridge, but it was on the bus ride between the two where we got to share our visions and see the similarities between the two. I am excited about what is happening here at Arizona State and look forward to seeing what comes of your efforts. I’m sure you realize the opportunity you have. And it is an opportunity to study, as Karl Barth once put it, the two Bibles. One, and in many ways the most important one is the Holy Scripture, which tells us clearly of the great story of Creation, Fall, Redemption and Consummation, the story by which all stories are measured for their truth, goodness and beauty. But the second, the book of Nature, rounds out that story, and is important, too, in its own way. Nature in its broadest sense includes everything human and finite. Among so much else, it gives us the record of humanity’s attempts to understand the reality in which God has placed us, whether that humanity understands the biblical story or not. And that is why we study the great novels, short stories and films of humankind: to see how humanity understands itself and to compare that understanding to the reality we find proclaimed in the Bible. Without those stories, we would have to go through the experiences of fallen humanity to be able to sympathize with them, and we don’t want to have to do that, unless we have a screw loose somewhere in our brain.
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Wmc Investigation: 10-Year Analysis of Gender & Oscar
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Preview Copy
PREVIEW COPY WriteGirl Publications • Los Angeles This Moment ALSO FROM WRITEGIRL PUBLICATIONS Sound Generation: The Resonant Voices of Teen Girls Emotional Map of Los Angeles: Creative Voices from WriteGirl You Are Here: The WriteGirl Journey No Character Limit: Truth & Fiction from WriteGirl Intensity: The 10th Anniversary Anthology from WriteGirl Beyond Words: The Creative Voices of WriteGirl Silhouette: Bold Lines & Voices from WriteGirl Listen to Me: Shared Secrets from WriteGirl Lines of Velocity: Words That Move from WriteGirl Untangled: Stories & Poetry from the Women and Girls of WriteGirl Nothing Held Back: Truth & Fiction from WriteGirl Pieces of Me: The Voices of WriteGirl Bold Ink: Collected Voices of Women and Girls Threads Pens on Fire: Creative Writing Experiments for Teens from WriteGirl (Curriculum Guide) IN-SCHOOLS PROGRAM ANTHOLOGIES Unstoppable: Creative Voices of the WriteGirl & Bold Ink Writers In-Schools Programs These Moments: The Creative Voices of the WriteGirl In-Schools Program Words & Curiosity: Creative Voices of the WriteGirl In-Schools Program This Is My World: Creative Voices of the WriteGirl In-Schools Program Ready for the Next Chapter: Creative Voices of the WriteGirl In-Schools Program No Matter What: Creative Voices from the WriteGirl In-Schools Program So Much to Say: The Creative Voices of the WriteGirl In-Schools Program Sound of My Voice: Bold Words from the WriteGirl In-Schools Program This Is Our Space: Bold Words from the WriteGirl In-Schools Program Ocean of Words: Bold Voices from the WriteGirl
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Expand the Story. Change the World. Reframe: Advancing Gender Parity in Hollywood
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Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
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Lewisville ISD 2017 Support Staff Summer Conference
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1 STANFORD FALL 2012 COURSE INFO/SYLLABUS: Thatʼs A
STANFORD FALL 2012 COURSE INFO/SYLLABUS: Thatʼs a Great Idea for a Movie: The Making of a Strong Screenplay Required Texts: 1. Robert McKee Story: Substance, Structure, Principles 2. Lajos Egri The Art of Dramatic Writing 3.Linda Seger Making a Good Script Great 4. Michael Arndt Little Miss Sunshine Shooting Script 5. David Small Imogeneʼs Antlers 6. Annie Proux, Larry McMurty, Diana Ossana Brokeback Mountain: Story to Screenplay 7.Screenwriting software. Final Draft is considered the standard in screenwriting software, but retails for $150 or more. Celtx is an open-source program that is free and recommended. It can be found online at versiontracker.com. Note: Other materials will include a combination of online resources and uploaded reading, such as scripts. The films assigned for viewing are available on demand at either Amazon.com or Netflix. Note on the required texts: I will select excerpts from each text. You will not be required to read the above texts in anything close to their entirety (with the exception of the scripts and short stories). They are, however, a good foundation for your screenwriting instruction library and will be useful to you as you continue your journey beyond our ten weeks. Supplemental Reading: Each week, Iʼll provide additional reading or viewing related to the topic at hand. These selections are totally optional, and only in case youʼve finished the assignments and have the time or desire to explore further. 1 Syllabus In Brief: Week One: Screenplays & Ice Breakers: Introductions (10/01-10/07) Lajos Egri on Premise: The Art of Dramatic Writing pgs.
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"Little Miss Sunshine"
FOX SEARCHLIGHT PICTURES In association with Big Beach Present A Dayton/Faris Film A Big Beach/Bona Fide Production GREG KINNEAR TONI COLLETTE STEVE CARELL PAUL DANO with ABIGAIL BRESLIN and ALAN ARKIN Directed by...................................................................JONATHAN DAYTON & .....................................................................................VALERIE FARIS Written by ....................................................................MICHAEL ARNDT Produced by .................................................................ALBERT BERGER & .....................................................................................RON YERXA .....................................................................................MARC TURTLETAUB .....................................................................................DAVID T. FRIENDLY .....................................................................................PETER SARAF Executive Producers.....................................................JEB BRODY .....................................................................................MICHAEL BEUGG Director of Photography ..............................................TIM SUHRSTEDT, A.S.C. Production Design by...................................................KALINA IVANOV Edited by......................................................................PAMELA MARTIN Costumes Designed by.................................................NANCY STEINER Music Composed by ....................................................MYCHAEL
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Jim Gianopulos
JAMES N. GIANOPULOS Chairman and Chief Executive Officer, Fox Filmed Entertainment James N. Gianopulos is Chairman and Chief Executive Officer of Fox Filmed Entertainment, a position he has held since July 2000. He oversees all feature film and television production for the Fox studios, and the marketing and global distribution of Fox’s wide variety of content through all windows and platforms spanning the theatrical, broadcast, cable, home entertainment, digital and mobile markets. Mr. Gianopulos has been involved in the music, film, and television business for more than 30 years, and is considered one of the entertainment industry’s leading executives in the field of media and new technologies. In a business known for its many changes of management, the team led by Mr. Gianopulos and his colleagues has been the longest at the helm of any major Hollywood studio, and 20th Century Fox is widely regarded as the most profitable and effectively managed studio of its peers. During his tenure, the studio has released a broad range of successful films including the Star Wars trilogy, Titanic, the highest grossing movie of all time, Independence Day, Live Free Or Die Hard, Night at the Museum, The Simpson Movie, Borat, the X-Men Series, The Day After Tomorrow, The Devil Wears Prada, Walk The Line, Minority Report, Moulin Rouge, and Taken, to name just a few. Under his leadership the studio’s digital animation division Blue Sky Studios produced the Ice Age series, Dr. Seuss’ Horton Hears a Who, and Robots, among others. This year, the 3D film Ice Age: Dawn of the Dinosaurs, became the highest grossing animated feature of all time internationally, earning more than $870 million in theaters worldwide.
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Reframe and Imdbpro Announce Second Round of Films to Receive Reframe Stamp for Gender-Balanced Production
FOR IMMEDIATE RELEASE Media Contacts: August 28, 2018 For Sundance Institute: Spencer Alcorn 310.360.1981 [email protected] For Women In Film: Catherine Olim 310.967.7242 [email protected] For IMDbPro: Casey De La Rosa 310.573.0632 [email protected] ReFrame and IMDbPro Announce Second Round of Films to Receive ReFrame Stamp for Gender-Balanced Production ReFrame and IMDbPro Celebrate 22 ReFrame Stamp Recipients Including A Simple Favor; Booksmart; Crazy Rich Asians; Late Night; Mary Shelley; and The Wife Los Angeles, CA — ReFrame™ (ReFrameProject.org), a coalition of industry professionals and partner companies founded by Women In Film and Sundance Institute—whose mission is to increase the number of women of all backgrounds working in film, TV and media—and IMDbPro (imdbpro.com/)— the essential information resource for the entertainment industry—announced today the second round of feature films that qualify for the ReFrame Stamp to recogniZe standout, gender-balanced films. The complete list of stamp recipients can be found at ReFrameProject.org/stamp and imdb.com/reframe. The ReFrame Stamp program launched on June 8, 2018 with the announcement of 12 films that earned the stamp out of 100 films surveyed. We then expanded the program by inviting studio and independent films that have secured U.S. domestic theatrical or streaming distribution to submit their films for stamp consideration. The ReFrame Stamp serves as a mark of distinction for projects that have demonstrated success in gender-balanced film and TV productions based on criteria developed by ReFrame in consultation with ReFrame Ambassadors (complete list below), producers and other industry experts.
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