DOCSLIB.ORG

Aurora Advisors 2010 Syd Field

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aurora Advisors 2010 Syd Field AURORA ADVISORS 2010 SYD FIELD Acclaimed as the “guru of all screenwriters” by CNN, and “the most sought after screenwriting teacher in the world,” by the Hollywood Reporter, Syd Field is the internationally celebrated author of six books on screenwriting. His classic Screenplay, considered “the Bible” of the film industry, and The Screenwriter’s Workbook are now in their 40th printing, published in 26 languages and used in more than 400 colleges and universities across the country. His book The Screenwriter’s Problem Solver has become an integral part of the Final Draft software program. He is a faculty member at the prestigious Masters of Professional Writing program at University of Southern California and has taught at USC, UCLA, AFI, UC Berkeley, Harvard, Yale, Columbia, among others and has conducted screenwriting workshops all over the world. He has led The Art of Storytelling Workshops for: the Disney Studios, 20th Century Fox, Landmark Education, and The Nike Corporation and conducted Catalyst Workshops for the scientists of JPL, NASA, the National Science Foundation, and the National Academy of Engineers. A screenplay consultant for 20th Century Fox, Touchstone Pictures, TriStar Pictures and Universal Studios, he has worked intimately with several prominent filmmakers such as: Judd Apatow, (40 year old Virgin, Knocked Up), Alfonso Cuaron (Harry Potter: The Prisoner of Azkaban, Y Tu Mama Tambien,), Gary Marshall (Princess Diaries), Luis Mandoki (When a Man Loves a Woman, White Palace), Laura Esquivel (Like Water for Chocolate), Roland Joffe (The Mission, City of Joy), James L. Brooks (Broadcast News, As Good As It Gets), Michael Haneke (The Piano Teacher; 3 time winner of Palm D’Or, at Cannes,), Tony Kaye (American History X, Black Water Transit) and Rakeysh Mehra (Rang De Besanti) nominated for Best Foreign Film, 2206 BAFTA awards. He has just completed the screenplay Pauch Karav – 5 for Rakeysh Mehra for 2010 production, and was a script consultant on the feature My Name is Khan, for Karan Johar, for 2010 release. By special invitation of the Ministries of Culture, Field has taught screenwriting workshops in Barcelona, Buenos Aires, Brussels, Berlin, Cairo, Frankfurt, Genoa, London, Madrid, Mexico City, Munich, Oslo, Paris, Rio de Janeiro, Rome, Vienna, Warsaw, Zurich, and Johannesburg, South Africa. He has conducted workshops for the Canadian Film Industry in Toronto, Montreal, Vancouver and Edmonton, was the keynote speaker at the International Film Festivals in Berlin, Rio de Janeiro, Oslo, Norway, and Warsaw, Poland as well as being the President of the International Film Jury at the 1998 Flanders International Film Festival, Ghent, Belgium. Field was the first inductee into the prestigious Screenwriting Hall of Fame of the American Screenwriting Association in 2001 and is the recipient of the 2006 Final Draft Hall of Fame Award. “If I were writing screenplays...I would carry Syd Field around in my back pocket wherever I went.” Steven Bochco, Writer/Producer/Director “Hill Street Blues”, “LA Law”, “NYPD” CHRISTINE VACHON Christine Vachon is an American movie producer who, along with partner Pamela Koffler, runs NYC based indie icon Killer Films. Christine produced Todd Haynes' controversial first feature, POISON, which was awarded the Grand Jury prize at the 1991 Sundance Film Festival. Since then, she has gone on to produce some of the most acclaimed American independent films including Far From Heaven, Boys Don't Cry, One Hour Photo, Hedwig And The Angry Inch, Happiness, Velvet Goldmine, Safe, I Shot Andy Warhol, Go Fish, Swoon and I’m Not There. She also executive produced the Emmy award winning program This American Life for Showtime. In addition to producing, Christine is also the author of two books: A Killer Life (Simon and Schuster, 2006); and Shooting To Kill (Avon, 1998). Both books were Los Angeles Times bestsellers. MEG LEFAUVE Meg LeFauve is an award winning producer whose films have been nominated for an Emmy, a Golden Globe, an IFP Spirit Award, and a Peabody. She heads her own production company, 1- Eyed Dog Productions, working on studio and independent films, including a film based on the life of Leni Riefenstahl, to be directed by Anand Tucker. As an executive, she was President of Egg Pictures, Jodie Foster's film company, where she worked on such films as Nell, Home For The Holidays, The Baby Dance, Waking The Dead and The Dangerous Lives Of Altar Boys. Most recently LeFauve began her own writing career and was chosen to participates in the Sundance Screenwriting Lab with her partner John Morgan, for their script The Cavanaughs which is gearing for production this fall. She also recently finished writing on staff for Marti Knoxon's new television show Gigantic. LeFauve served as co-chair and taught in the Graduate Producers Program at UCLA's School of Film and Television. LeFauve was a also a mentor at the Sundance Creative Producing lab and ran FIND's screenwriting lab. LeFauve is currently a consultant to Screen New South Wales, and Film Victoria , was a mentor at Screen Australi'as IndieVision Lab, and is a returning participant at CineStory Script Sessions. JOAN SAUERS Originally from New York, Joan Sauers started her career as assistant to director Lindsay Anderson on In Celebration in London in 1974. She moved to Los Angeles in 1976 where she worked as a script reader for Barry Levinson and Francis Ford Coppola. In the early 80s in New York she was casting assistant to Sergio Leone, Tony Scott, Mike Nichols and Milos Forman before forming a production company in 1984 to make documentaries for PBS and the BBC. Joan moved to Sydney in 1987 and became a script editor and writer/storyliner on the TV series Heartbreak High and The Ferals. She has edited many feature screenplays. She has had twelve books published in Australia and the US, and she has been a script workshop adviser and university lecturer in Australia, Europe and Africa. She has been a project manager at Screen Australia and drama consultant at the ABC. She is currently writing a TV series called Orchestra for the ABC which she is co-producing with Amanda Higgs. SCOTT MEEK Born Glasgow 1950, Scott joined the British Film Institute in 1972 as Deputy Manager of the National Film Theatre then as Feature Films Officer of the National Film Archive, responsible for selecting all film for the national collection. Co-author of BFI publications on Robert Aldrich and of Electric Shadows: 50 years of Chinese Cinema. In 1979 organized, with Tony Rayns, Electric Shadows a ground breaking retrospective of Chinese cinema which started in London and led to a rediscovery of Chinese film history worldwide. Wrote regularly on film for Time Out, The Independent, Sight and Sound, The Observer and was regular reviewer for BBC and Capitol Radio. Joined Zenith Productions on its inception in 1984 as Script Editor then 1985 as Head of Development, becoming Head of Creative Affairs, Head of Production, and finally Chief Executive. Left Zenith in 1998. Developed, helped finance and was creative supervisor of all Zenith features and TV drama in this 14 year period (over 20 features). Zenith won awards from the Evening Standard and the British Film Institute for outstanding artistic achievement as a company. Insignificance, Prick Up Your Ears, Patty Hearst, Simple Men,Velvet Goldmine, A Gathering of Old Men, The Reflecting Skin, Slam Dance and Henry Fool (which Scott developed but was not produced by Zenith) were all official selections at the Cannes Film Festival where Prick Up Your Ears, Henry Fool and Velvet Goldmine all won awards. The Hit, Sid and Nancy, Wish You Were Here and Amateur were all shown in the Quinzaine des Realisateurs. Trust and Walking and Talking were both selected for Sundance where Trust won the Best Screenplay Award. The Dead and Velvet Goldmine both had Academy Award nominations (Adapted Screenplay, Costume). Founded Deep Indigo Productions with Nigel Stafford-Clark in 1999 which again won many awards for its television dramas. In 2005 left Deep Indigo to become Head of Drama for the Australian Broadcasting Corporation, then Evaluation Manager of the Australian Film Finance Corporation. In 2009 became a senior creative consultant to Screen Australia. Scott served for many years on the Board of Scottish Screen where he was Chair of the Development Committee and was also Chair of the British Film Institute Production Board, acting on the Board of the BFI. .
Load more

Recommended publications
  • Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama
    Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama John Fraim John Fraim 189 Keswick Drive New Albany, OH 43054 760-844-2595 [email protected] www.midnightoilstudios.org www.symbolism.org www.desertscreenwritersgroup.com www.greathousestories.com © 2017 – John Fraim FRAIM / SS 1 “Eternal truth needs a human language that varies with the spirit of the times. The primordial images undergo ceaseless transformation and yet remain ever the same, but only in a new form can they be understood anew. Always they require a new interpretation if, as each formulation becomes obsolete, they are not to lose their spellbinding power.” Carl Jung The Psychology of Transference The endless cycle of idea and action, Endless invention, endless experiment, Brings knowledge of motion, but not of stillness; Knowledge of speech, but not of silence; Knowledge of words, and ignorance of the Word. T.S. Eliot The Rock “The essential problem is to know what is revealed to us not by any particular version of a symbol, but by the whole of symbolism.” Mercea Eliade The Rites and Symbols of Initiation “Francis Bacon never tired of contrasting hot and cool prose. Writing in ‘methods’ or complete packages, he contrasted with writing in aphorisms, or single observations such as ‘Revenge is a kind of wild justice. The passive consumer wants packages, but those, he suggested, who are concerned in pursuing knowledge and in seeking causes will resort to aphorisms, just because they are incomplete and require participation in depth.” Marshall McLuhan Understanding Media FRAIM / SS 2 To Eric McLuhan Relentless provocateur over the years FRAIM / SS 3 Contents Preface 8 Introduction 10 I.
    [Show full text]
  • CATALOG, POLICIES, and GUIDELINES
    6 LOS ANGELES PERFORMING ARTS CONSERVATORY CATALOG, POLICIES, and GUIDELINES 2016 1404-08 Third Street Promenade Santa Monica, California 90401 310-656-8070 (Phone) 310-656-8069 (Fax) www.laconservatory.com (All classes held at the above address.) 1 MISSION, PURPOSE & OBJECTIVES OF THE LOS ANGELES PERFORMING ARTS CONSERVATORY “To be an exceptional artist, you must first know and be yourself.” Since the inception of the Los Angeles Performing Arts Conservatory the above quotation has expressed the quintessential element of individuality on which the guiding philosophy of the Conservatory is based. The Promenade Conservatory, Inc. is the parent organization of the Los Angeles Performing Arts Conservatory, a for profit private entity. The Los Angeles Performing Arts Conservatory was created to deliver higher education via two degree programs: Associate of Occupational Science in Fine Arts/Screenwriting; and Associate of Occupational Science in Fine Arts/Acting. The Los Angeles Performing Arts Conservatory also offers five non-degree programs: English as a Second Language (ESL), Acting, Screenwriting, Directing, and Acting Post Degree. These programs are designed to meet the career and skill needs of those not seeking a degree. All degree and certificate programs are issued under the authority of the Bureau of Private Post Secondary Education, State of California. The overarching goal of the Conservatory is to go beyond the mundane and obvious, to train and challenge the actor, screenwriter, and director to develop all of the emotional colors that exist within a character’s inner life. The Conservatory also helps refine international student English language skills, necessary for an education and career in the performing arts in the United States.
    [Show full text]
  • 1 Can I Help You Get an Agent? Can I Help You Sell a Script? Can I Help
    CERRITOS COLLEGE ENGLISH 241: SCREENWRITING FALL 2019 (SECTION 20692) IF I TAKE THIS SCREENWRITING CLASS, HOW CAN YOU HELP ME? Can I help you get an agent? Can I help you sell a script? Can I help you find financing for a film? No, no, and no – at least, not directly. So how can I help you? As someone who has studied screenwriting at both the undergraduate and graduate levels, I can help you to craft screenplays with dramatic structures that create conflicts, with actions that reveal characters, with characters that drive stories – the sorts of stories that, with a lot of work and a lot of luck, could conceivably help you get an agent, sell a script, or find financing for a film. Also, as Syd Field points out in our textbook for this semester, there are two activities that anyone who wants to become a screenwriter should do: watch motion pictures and read screenplays. As a former professional film critic, I can help you to analyze produced pictures and published scripts – to see them as a source of not only entertainment, but also education. WAIT: WHO ARE YOU? ARE YOU REALLY A FORMER PROFESSIONAL FILM CRITIC? My name is Chad Greene, and – yes – I am really a former professional film critic. (For you fact-checkers out there, about one hundred of my movie reviews are archived on Rotten Tomatoes.) It was while majoring in English and minoring in Film at the University of Minnesota that I first started to study screenwriting with Thomas Pope (Hammett) and to write movie reviews for the Minnesota Daily.
    [Show full text]
  • Screenwriting
    Screenwriting Main article: Filmmaking 1 Types See also: Screenwriter Screenwriting, also called script-writing, is the art and The act of screenwriting takes many forms across the en- tertainment industry. Often, multiple writers work on the same script at different stages of development with dif- ferent tasks. Over the course of a successful career, a screenwriter might be hired to write in a wide variety of roles. Some of the most common forms of screenwriting jobs include: 1.1 Spec script writing Spec scripts are feature film or television show scripts written on speculation, without the commission of a film studio, production company, or TV network. The con- tent is usually invented solely by the screenwriter, though spec screenplays can also be based on established works, or real people and events.[1] The spec script is a Holly- wood sales tool. The vast majority of scripts written each year are spec scripts, but only a small percentage make it to the screen.[2] A spec script is usually a wholly original work, but can also be an adaptation. In television writing, a spec script is a sample teleplay written to demonstrate the writer’s knowledge of a show and ability to imitate its style and conventions. It is sub- Example of a page from a screenplay formatted for feature mitted to the show’s producers in hopes of being hired to length film. This is an excerpt from the original script of Natural write future episodes of the show. Budding screenwriters Born Killers by Quentin Tarantino. attempting to break into the business generally begin by writing one or more spec scripts.
    [Show full text]
  • Design Your Library Video Like a Hollywood Blockbuster: Using Screenplay Structure to Engage Viewers by Leo S. Lo
    Design Your Library Video Like a Hollywood Blockbuster: Using Screenplay Structure to Engage Viewers By Leo S. Lo ibrary instruction has moved beyond a problem and needs to find solutions. The the traditional classroom based, purpose of the video is to demonstrate the L face-to-face model of delivery, to the answers to the problems. The advantage of “any place, any time” model. Our users expect this type of video is the viewer can easily to have access to information in formats identify with the protagonist. The non- convenient to them. One of these formats is dramatized types are typically lecture style video delivered over the internet. The popular videos, where the viewers tend not to identify video sharing website, Youtube, even dedicates with any “character” in the video. This article a section of their site to educational institutions focuses on the dramatized type of videos, but - youtube.com/edu. Librarians have begun many of the principles can be applied to both producing videos to promote their services and types of video. A dramatized video could be to provide information literacy instructions. a fictional short film, or it could be an Adobe The dynamic medium of online video offers a Captivate type video demonstration, or it could multitude of possibilities in instructional design. be a straightforward slide presentation. What However, a research conducted by TubeMogul makes a dramatized video is the presence of (2008) reveals that viewers of web videos have a story. Any movie you see at the theaters, extremely short attention spans, and “most whether they are fictional or documentaries, online video viewers watch mere seconds, have stories.
    [Show full text]
  • Introduction
    INTRODUCTION What we need today is no less than a revolution. We need to do vio­ lence to the cliche, create havoc with the tried, the tired, arid tested. Larry Gelbart Producers who murder screenwriters. Screenwriters who spend their lives "pitching" rather than writing. Studios that endlessly recycle films that unimaginatively copy previous movies. Such is the stuff of Michael Tolkin's devilishly accurate satire of The Industry, The Player, which delighted and horrified audiences in 1992. Tolkin's script provided director Robert Altman with a new opportunity to do what he had done years ago for a whole generation in his earlier films: he took on American cliches and destroyed them by placing them before us in such exaggerated or perhaps not exaggerated detail that we could laugh out loud and see beyond the cliches. The destruction of cliches in character, story, and structure is at the center of this study. More specifically we are interested here in creating stronger, more vivid, and challenging characters in screenplays that go beyond what Larry Gel bart calls the "tried, tired, and tested." I am speaking of films such as Casablanca, It Happened One Night, The Quiet Man, High Noon, The Treasure of the Sierra Madre, Mildred Pierce, On the Waterfront, The Return of the Secaucus Seven, Thelma & Louise, Down by Law, The Silence of the Lambs, sex, lies and video­ tape, Boyz N the Hood, Unforgiven or, from abroad, The Crying Game, Wild Strawberries, The Bicycle Thief, Closely Watched Trains, Tokyo Story, Rules of the Game, Breathless, 400 Blows, The Loneliness of the Long Distance Runner, Cinema Paradiso, Europa Europa, The Gods Must Be Crazy, The Time of the Gypsies, Little Vera, or My Life as a Dog.
    [Show full text]
  • El Secreto Del Exito
    Dedicación DEDICATORIA DE DONALD J. TRUMP A mis padres, Fred y Mary Trump, a mi hermano Fred Trump Jr., a mis hermanas Judge Maryanne Trump Barry y Elizabeth Trump Grau, a mi hermano Robert Trump, a mis hijos Donald Jr., Ivanka, Eric, Tiffany y Barron, y a mi hermosísima esposa, Melania. DEDICATORIA DE BILL ZANKER Este libro está dedicado a mi amada esposa Debbie y a mis hijos Ediva, Dylan y Vera, quienes siempre me han apoyado para soñar en grande. Agradezco también a todos los empleados de The Learning Annex que utilizan EL SECRETO DEL ÉXITO todos los días. Tabla de contenidos Página de título Dedicación Prólogo Introducción - De Pequeño A Grande 1 - ¿Tienes Lo Que Se Necesita? Explicación De Las Preguntas: ¿Qué Nos Dice Zanker? 2 - ¡Pasión, Pasión, Pasión! Encuentra Tu Pasión Sé Un Hacedor, No Un Soñador Maneja La Presión Haz Lo Que Te Haga Sentir Bien Aprende De Tus Errores La Fórmula Del Conocimiento Nunca Te Rindas Abandona Lo Cómodo Actúa ¿Qué Nos Dice Zanker? 3 - Instintos Básicos Tu Palabra Es Sagrada Algunas Cosas Funcionan Porque No Sabes Que Son Imposibles Cuando La Acción Es Mejor Que La Información El Momento Oportuno Lo Es Todo ¿Qué Nos Dice Zanker? 4 - Crea Tu Suerte Crea Tu Propia Suerte La Buena Suerte Llega Cuando La Oportunidad Y La Preparación Se Encuentran No Temas Arriesgarte Desarrolla Un Vigor Positivo El Poder Del Pensamiento Negativo ¿Qué Nos Dice Zanker? 5 - El Factor Miedo Tan Pronto Tengas Éxito Te Perseguirán Cuídate Y Escucha Haz Que La Gente Te Respete No Confíes En Nadie Todo El Mundo Merece Una Segunda
    [Show full text]
  • Screenplay: Foundations of Screenwriting Free
    FREE SCREENPLAY: FOUNDATIONS OF SCREENWRITING PDF Syd Field | 320 pages | 09 Aug 2011 | Random House USA Inc | 9780385339032 | English | New York, United States Screenplay: The Foundations of Screenwriting by Syd Field - PDF Drive Screenplay: Foundations of screenwriting is one of the bibles of the film trade and has launched many a would-be screenwriter on the road to Hollywood. This third edition is updated to include the specifics of writing via computer. He acted while majoring in literature at the University of California, Berkeley. Then, at the suggestion of one of his instructors, the filmmaker Jean Renoir, he entered film school at the University of California, Los Angeles. His uncle, Sol Halprin, the Academy Award-winning head of the camera department at 20th Century Fox, helped him find a job at the television company Wolper Productions. He started in the shipping department but eventually helped produce the company's documentary series Biography, hosted by Mike Wallace. He left to pursue his dream of writing screenplays. He wrote scripts for several television shows including The Man from U. While writing reviews of screenplays and reading thousands of poorly conceived works submitted to another production company he worked for, he decided aspiring writers needed help and wrote his first book, Screenplay: The Foundations of Screenwriting. He also taught at several universities, served as a consultant to Hollywood studios, and advised scientists on how to write Screenplay: Foundations of screenwriting to stir interest in science as a career. He died from hemolytic anemia on November 17, at the age of Screenplay : The Foundations of Screenwriting.
    [Show full text]
  • Editing Theory
    Editing Theory BFM7121 Basic Editing Fall 2016 Instructor: Tarmo Rajaleid [email protected] Beginning, Middle and End n Frame - the smallest unit in film n Shot – from one cut to the other n Scene – unity of place n Episode – unity of theme n 8 Sequences – unique unit to film medium n 3 Acts n Film The Greek Legacy: 3-Act Story Structure n We have inherited the 3-act structural paradigm of drama from the Greeks. n In 321 B.C., Aristotle laid down the principles of dramatic structure which we still adhere to, in his book Poetics. n French New Wave filmmaker Jean-Luc Godard said “All stories have a beginning, middle and end, but not necessarily in that order” Velikovsky, J. T. A Guide to Feature Film Writing: A Screenwriter’s Workbook The Premise n Premise in feature films generally follows this structure: n A certain type of person has a certain goal, and encounters obstacles that have changed him/her when finally they do (or do not) achieve that goal. n Namely, the structure is composed of: n 1) The Exposition (or SETUP) n 2) The Confrontation (or DEVELOPMENT) n 3) The Resolution (or DENOUEMENT) of the dramatic problem posed by the story... n Or more simply: in Act One you get a person up a tree, in Act Two you throw rocks at them, and in Act Three you get them down again. The Premise n The key philosophy behind a film Premise is: "Somebody want something badly and is having difficulty getting it." Syd Field’s Paradigm n Syd Field, author of Screenplay and The Screen Writer's Workbook, has outlined a paradigm that most screenplays follow.
    [Show full text]