Getting Your Screenplay Produced Networking
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Pitch Sessions
Book one-on-one 10 minute pitching sessions and pitch yourself or your project directly to these leading film industry professionals. Sean Cossey - Casting Director - Aikins/Cossey Casting “13 years ago I jumped head first into casting for film & television and haven’t looked back. As did almost every other casting director I know, I started as an assistant, and the rest is history as they say. I’ve had the great fortune of mentoring under one of Canada’s most renowned Casting Directors and feel truly privileged to have him as my partner-in-crime today. Together, we’ve had wonderful experiences… working with incredible Directors the likes of LAWRENCE KASDAN, CHRISTOPHER GUEST, and SCOTT HICKS and also exciting pop-culture phenomena’s such as the TWILIGHT series. Currently I’m working on a number of pilots for the upcoming season, with one to watch out for currently entitled THE WYOMING PROJECT for the CW being developed by Dan & AmySherman Palladino – creators of the GILMOUR GIRLS. And as for the most meaningful reward I get from doing what I do… seeing an actor grow, develop, and achieve their personal best…and all that comes with that.” Tyman Stewart - Talent Agent - The Characters Talent Agency Tyman Stewart has been working in the film industry for Twenty years as a talent agent. He is Senior Vice President and a partner in The Characters Talent Agency (West), and represents many of Canada’s finest actors. His clients can be seen on many Canadian and American television series, and film. Names include Brendan Fletcher, Carly Pope, Daniel Gillies (Spiderman 2 and 3), Amanda Tapping, Michael Shanks, Grace Park, Tyler Labine, Nancy Robertson, Cynthia Stevenson. -
Writers Professional Materials
Writers Professional Working Materials INTRODUCTION Writers professional working materials and the tools of the trade – they are considered the sales tools for a writer’s work. These will be the most utilised materials when trying to establish yourself as a scriptwriter as either writer-for-hire work or when pitching your own original idea. No Producer or Production Company (locally or internationally) will ever read a script, treatment, logline or synopsis – unless a pre-existing relationship is in place – unsolicited. This means writers first need to be invited to send through materials in the manner that best suits that Producer or Production Companies. This helps to protect copyright or a copyright claim for both parties. It is also important to note that in international territories only Agents are able to introduce writers to Producers and Production Companies. Below each header you will find links to helpful sites and further information. As a screenwriter your job is to write, research, write, learn, write, and adapt. Google is your friend and before you ask Facebook for the answer, ask Google! Or check out the NZWG website for information on knowing your rights, contracting, useful facts and upcoming events. Before going any further, the below link is a must read for newcomers and is aimed at people applying for early development funding. It’s put together by Screen Australia, and is a very basic ‘How To Guide’ for feature filmmakers on application materials included in their application process – logline, synopsis & treatment. https://www.screenaustralia.gov.au/getmedia/ae5708a4-05d9-4db0-b5fb-4f999fdfed57/What-is-a- synopsis.pdf Below are all the materials broken into parts, starting with how to format your works. -
Pitchfest Checklist: How to Prepare and What to Bring
Pitchfest Checklist: How to Prepare and What to Bring Jeanne Veillette Bowerman, ScriptMag Editor Pitching anxiety. We all get it. I bet even the pros get a teeny knot in their stomachs. Honestly, I hope to never lose the barb that snags at my insides. It keeps me on my toes. Yes, despite the contacts I have made at studios and production companies, I pitch at a pitchfests. Why? Because it’s a great way to get your foot in the door and make connections with new executives. It’s not about the sale of one idea; it’s about creating a relationship with new producers, submitting polished work that knocks their socks off, and making a great first impression to show them you’re a professional. First step: Be prepared. I don’t care how seasoned you are, there’s prep work involved in presenting your script for a possible sale. Here’s how I prepare for a pitching event as well as what I bring: 1. Travel arrangements: If you haven’t booked a flight yet, plan to stay an extra night. You’ll be exhausted after the event and need time to chill. This way, you can celebrate the success without having to race to the airport. When my schedule allows, I tack on a couple of extra days to take meetings and connect with my existing network who weren’t at the event. If you can get that extra day in L.A., it’ll also give you a chance to take a meeting with one of your old or new contacts, solidifying the connections. -
Fr, 14.3. Musek Solid Ground, Garage (Bleichstr
2 AGENDA woxx | 14 03 2008 | Nr 945 WAT ASS LASS I 14.03. - 23.03. WAT ASS LASS? Zum zweiten Mal im Sang a Klang: Amerikas Top Jump Band begeisterte schon einmal mit ihrem unvergleichlichen Stil aus Chicago Blues und Texas Swing und schafft das bestimmt auch an diesem Freitag, dem 14. März. FR, 14.3. MUSEK Solid Ground, Garage (Bleichstr. 11-19), KONFERENZ Saarbrücken, 19h. Tel. 0049 681 3 13 31. La représentation des femmes dans la culture arabo-musulmane. Jekyll & Hyde, Musical von Illustrations francophones, par Frank Frank Wildhorn, Saarländisches Wilhelm, lecture de textes littéraires Staatstheater, Saarbrücken, 19h30. francophones par les comédiens Tel. 0049 681 30 92-0. Claude Frisoni et Véronique Fauconnet, WAT ASS LASS Centre culturel de rencontre Abbaye de Julien Arpetti, Brasserie L’Inouï, , Luxembourg, 17h30. Redange, 20h. Kalender S. 2 - S. 9 Neumünster Tél. 26 62 02 31. DJ Shadow S. 4 La politique d‘immigration et BB Brunes, Rockhal, Club, Esch, 20h. Erausgepickt S. 6 d‘intégration au prisme de la CANCELLED! législation, avec Nicolas Schmit, Festival des migrations 2008 - Salon du livre p. 9 Carole Martin, Jean-Yves Carlier, Juan Carmona Septet, flamenco, Fernand Moyse et Alphonse Conservatoire, Luxembourg, 20h. KINO Montserrat, Salle de conférence, Tél. 47 08 95-1. Programm S. 10 - S. 17 Luxexpo, Luxembourg, 19h. Dans le cadre du Festival de la migration, de Der Bettelstudent, Operette von Sweeney Todd S. 12 la citoyenneté et des cultures. Carl Millöcker, Theater, Trier, 20h. Tel. 0049 651 7 18 18 18. EXPO Was bleibt? Karl Marx heute, Podiumsdiskussion, Variété Chat Noir Samsas Traum, Roxy (Brebacher Ausstellungen S. -
Pre-Production Guide for GCSE Film Studies
CONTENTS INTRODUCTION: WHAT YOU HAVE TO DO 3 WRITING A SCRIPT (500 words.) 4 CREATING A STORYBOARD (20 frames.) 8 PRODUCING A FRONT PAGE AND A CONTENTS PAGE FOR A NEW FILM MAGAZINE 14 PRODUCING A MARKETING CAMPAIGN FOR YOUR FILM (At least 4 items.) 20 HOW WILL YOU DO? 22 GCSE FILM STUDIES GUIDE TO PRE-PRODUCTION PRE-PRODUCTION: (ALMOST) THE FINAL FRONTIER! INTRODUCTION: WHAT YOU HAVE TO DO Ok boys and girls, hereʼs the brief guide to making your pre-production, as promised. As you know, this will need to be finished as a first draft BEFORE you come back to school, along with the pitch. This is all your first shot at this, remember, so while it needs to be complete, you WILL be able to improve upon it before final hand in. Thereʼs lots of advice and pictures to help you along the way with your work in your text book, but hereʼs a few more handy hints and tips for completing the work to help you along the way. First, hereʼs what the exam board wants you to do: ʻSelling an Idea – Pitch and Pre-production (30 marks) These two linked pieces are designed to enable an understanding of the ways in which films are created and sold. Students will have already completed their initial research and analysis focussing on a film that they have chosen, the following two elements of the coursework gives them the chance to explore ideas for their own film. They should work on their own with a specific target audience in mind. -
Coproduction Market Guide
COPRODUCTION MARKET GUIDE MEDIA Antena Catalunya MEDIA Antena Andalucía MEDIA Antena Euskal Herria MEDIA Desk Spain The Coproduction Market Guide has been designed to provide independent European producers and distributors with information related to events and markets around Europe where they can meet potential coproducers, distributors, broadcasters and sales agents. Special thanks to the MEDIA Desk Switzeland MEDIA Antena Catalunya Mestre Nicolau 23, entresól 08021 Barcelona Tel.: 34 93 5524940 / Fax: 34 93 5524953 E-mail: [email protected] www.antenamediacat.eu MEDIA Antena Andalucía C/ Levíes, 17 41004 Sevilla Tel.: 34 95 5037258 / Fax: 34 95 5037265 E-mail: [email protected] www.antenamediaandalucia.com MEDIA Antena Euskal Herria Ramón María Lili 7, 1ºB 20002 San Sebastián Tel.: 34 943 326837 / Fax: 34 943 275415 E-mail: [email protected] www.mediaeusk.eu MEDIA Desk Spain Ciudad de la Imagen Luis Buñuel 2, 2ºA 28223 Pozuelo de Alarcón (Madrid) Tel.: 34 91 5120178 / Fax: 34 91 5120229 E-mail: [email protected] www.mediadeskspain.com European Co-Production Meetings The Co-Production Meetings are designed for bringing together film professionals in order to encourage opportunities for international co-production and to contribute actively to the dynamism of the film industry. These one-to-three-day events, such as Cinemart in Rotterdam, B2B in Belgrade, Producers Network in Cannes, Open Doors in Locarno, CineLink in Sarajevo, Crossroads in Thessaloniki and Baltic Event in Tallinn serve as a meeting platform for a variety of industry professionals from all over the world, people who are looking for high-quality international projects, good business contacts and new initiatives for co-operation with other countries. -
Official Feature Film Pitch Deck
Official Feature Film Pitch Deck Written & Directed By Alejandro Montoya Marin Love is not like in the movies... right? Synopsis LOW/FI was created with a delicate balance between comedy and drama. It analyzes the life of Lea, a woman in her early 30’s, who has been heavily influenced by pop culture since childhood. After years of mimicking and adhering to advice conveyed through music and film, she is disappointed to find that life isn’t panning out as expected and she is slipping further away from her dreams. Lea then stumbles across the startling realization that she has fallen for the tricks and lies coerced by mainstream society. But everyone knows as adults, being yourself is what is important and it is a lesson that Lea learns throughout the film. Logline: Lea has spent her whole life thinking that love is like movies and tv. After a series of terrible relationships, Lea decides to purge pop culture from her life in an attempt to find real love and the real meaning of her life. Theme: Pop culture gives us unrealistic expectations about the nature of love and life. Tone: The quirkiness of “Scott Pilgrim vs. The World” meets the quarter-life drama of “Garden State.” Director’s Statement LOW/FI is very near and dear to my heart. Although the main character, Lea, is female, I completely identify with her and my intuition tells me that people from all walks of life and from various generations will, as well. Music is a universal art that spikes emotions at any given time. -
Screenwriting I Film-M213-002 Engl-A313-002
SCREENWRITING I FILM-M213-002 ENGL-A313-002 Course Term: FALL 2020 Course Location: ONLINE Class hours: TU/TH, 3:30-4:45 pm Instructor: Miles Doleac, PhD Office Location: CM Building 412 Phone: (Office) 504-865-3430, (Cell) 601-329-1630 Email: [email protected] Office hours: By appointment “A screenplay is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.” -Syd Field REQUIRED TEXTS: Field, Syd. Screenplay: The Foundations of Screenwriting, rev. ed. New York: Bantam Dell, 2005. McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: HarperCollins, 1997. Rogan, Michael. Screenplay Format Made (Stupidly) Easy. Scriptbully, 2018. COURSE AIM: This course is intended to introduce students to the craft of screenwriting, and, in broader terms, the art of storytelling. In doing so, our focus will be the following: 1) Hollywood paradigms and brilliant scripts that defied them 2) classical dramaturgy, mythology and universal forms: how age-old tropes have been assimilated and appropriated by Hollywood 3) Movie writing as a “combination of art and science” (to borrow Field’s phrase): techniques, tricks and the search for a subject 4) what makes compelling characters and dialogue 5) formal or “traditional” screenwriting structure. NOTE: I place “for- mal screenwriting structure” last in my litany of focus points, because, although important to always keep in mind, the “rules” of screenwriting are often and often quite effectively violated. YOUR CHARGE: By the end of this semester, you will have written 15 or so pages of a NEW screenplay, a self-contained short film. -
NEWM-N-460-Advanced Scriptwriting-SPR2018
NEWM N460 Advanced Scriptwriting Department of Human-Centered Computing Indiana University School of Informatics and Computing, Indianapolis Spring 2018 Section No.: 26875 Credit Hours: 3 Day & Time: Tuesdays, 12 p.m.-2:40 p.m. Location: IT 357, Informatics & Communications Technology Complex 535 West Michigan Street, Indianapolis, IN 46202 [map] First Class: January 9, 2018 Website: https://canvas.iu.edu/… Instructor: John King, M.S., Lecturer Office Hours: TBA Office: IT469 Phone: (317) 278-4145 (Canvas e-mail preferred – I’m rarely at my desk, but often at a computer) E-mail: Canvas inbox only Website: http://soic.iupui.edu/people/john-king/ Prerequisite: NEWM N260 Scriptwriting or ENG W302 Introduction to Screenwriting COURSE DESCRIPTION This course provides a deeper examination of scriptwriting for 3D animation, computer games, and film, building on previously introduced theories and practices. It focuses on an in-depth analysis of the techniques and processes of scriptwriting, including genre, theme, development, character, dialogue, story structure, formatting, style, and revision. Required Textbooks/Software: Trottier, David. (2014). The Screenwriter’s Bible. Los Angeles, CA: Silman-James Press; 6th Edition. ISBN: 1935247026 http://www.amazon.com/Screenwriters-Bible-6th-Complete-Formatting/dp/1935247107/ Drennan, Marie, Vlad Baranovsky, and Yuri Baranovsky. (2013). Scriptwriting 2.0: Writing for the Digital Age. Scottsdale, AZ: Holcomb Hathaway Publishers. ISBN: 9781934432426 http://www.amazon.com/Scriptwriting-2-0-Writing-Digital-Age/dp/1934432423/ A free Celtx.com account or other appropriate software for formatting scripts. Additionally, the instructor will provide handouts, web links, and other materials to supplement the above texts. 1 2 References screenwriting.io johnaugust.com celtx.com Technology Requirements • Your school-required laptop computer • An IU Box account. -
Sonic Vocality: a Theory on the Use of Voice in Character Portrayal
Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 8-11-2015 Sonic Vocality: A Theory on the Use of Voice in Character Portrayal Cindy Milligan Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Milligan, Cindy, "Sonic Vocality: A Theory on the Use of Voice in Character Portrayal." Dissertation, Georgia State University, 2015. https://scholarworks.gsu.edu/communication_diss/64 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SONIC VOCALITY: A THEORY ON THE USE OF VOICE IN CHARACTER PORTRAYAL by CINDY ANN MILLIGAN Under the Direction of Patricia G. Davis, PhD ABSTRACT The primary purpose of this study was to discover whether and how the voice alone can change audiences’ perception of character in films. It further sought to determine some of the specific changes in vocal performance that might construct that difference. Data were gathered from three focus groups that screened film clips between two and five minutes long. The clips were edited from five pairs of matched films—an original and its remake. Films were chosen to represent a variety of genres and release dates, and they included scenes where the dialogue was identical or similar. Although each focus group experienced the same set of edited film clips from the matched film pairs, one group experienced only the sound without any visuals, a second group watched only the visuals of the same clips without any sound, and a third group watched the clips as they were produced with sound and visuals. -
Polish Days 27–29 July 2020
Polish Days 27–29 July 2020 Financed from the resources of Ministry of Culture Co-funded by and National Heritage the Polish Film Institute nowehoryzonty.pl Polish Days co-organized with the Polish Film Institute is the most important industry event of the New Horizons International Film Festival in Wroclaw festival organizers: Konieczna (Wrocław Film Commission), Anna Spisz, Michał Kosmala, Ada Festival Director – Roman Gutek Bogdziewicz (Mazovia Warsaw Film Commission), Monika Głowacka, Wenancjusz Artistic Director – Marcin Pieńkowski Szuster (Łódź Film Commission), Marta Kraus (Podkarpackie Film Commission), Head of Industry – Weronika Czołnowska Jędrzej Sabliński, Hanna Sawicka (DI Factory), Marjorie Bendeck (Connecting Cottbus), Bernd Buder (FilmFestival Cottbus), Jolanta Tokarczyk (Film & TV Guest Office Marcin– Mroziński, Marta Zientkowska Kamera), Filip Kovčin, Urszula Lipińska (FilmPro), Anna Shevchenko, Katarzyna Polish Days Coordinator – Joanna Malicka Grynienko (Film New Europe), Juliusz Pawłowski, Błażej Grzechnik, Stanisław Technical Coordinators – Marcin Marczyk, Alicja Kowalska Abramik, Michał Weksler, Aleksandra Pawełczyk, Joanna Staros (SNH) Industry Assistant – Julia Włodarczyk Proof Reader – Emilia Poisson thank you! Design: etNova – Magda Jakubowska contact details: Polish Days Co-Organizers (Polish Film Institute New Horizons Association and The Ministry of Culture and National Heritage): 1 Zamenhofa Str. General Director of Polish Film Institute – Radosław Śmigulski 00-153 Warsaw Head of International Relations Department -
Course Syllabus Scriptwriting RTVB 1429
Course Syllabus Scriptwriting RTVB 1429 Semester with 32253 Course Reference Number (CRN) Instructor contact Instructor: Russ Armstrong information: Telephone: Email: [email protected] Office Location and Hours: Course https://hccs1.mrooms3.net/login/index.php (ONLINE CLASS) Location/Times: Course Semester Credit Hours: 4 Credit Hours (SCH) Lecture Hours: 3 (lecture, lab) If applicable Laboratory Hours: 2 External Hours: Total Course 80.00 Contact Hours Course Length 12 Weeks (number of weeks) Type of Instruction Online Course Description: Writing scripts for film and electronic media. Emphasizes format and style for commercials, public service announcements, promos, news, documentaries and films. Course PREREQUISITE: Prerequisite(s) • ENGL 1301 FREQUENT REQUISITES • Departmental approval • College Level Reading • MATH 0308 (Introductory Algebra) • College Level Writing Academic 1. Apply cinematographic concepts to film/video projects including camera Discipline/CTE setup, lighting, and scene design. Program Learning 2. Compose effective treatments and scripts for use in common video and Outcomes film genres including documentaries, dramas, commercials, news, and public service announcements. 3. Demonstrate the preparation needed for film and video production, management (including budgeting, supervision of personnel, permitting, scheduling and guild/union relations) and post-production supervision. 4. Describe accepted film industry distribution processes including promotions, advertising, and publicity. 5. Demonstrate industry standard film/video editing and post-production processes used in the completion of shorts, trailers, documentaries, and features. 6. Develop professionally acceptable resumes, demo reels and interview techniques needed for employment within the film industry. Course Student 1. Write commercials and public service announcements. Learning Outcomes 2. Produce documentary and/or narrative scripts for long-form productions.