COLLEGE OF MUSIC & FINE ARTS LOYOLA UNIVERSITY NEW ORLEANS MUGN-M430-001: Writing/Directing for New Media (2 hrs)

I. Instructor Jim Gabour, [email protected] or [email protected]

II. Office Information Communications/Music Bldg, Room 428R, 504.865.2720 Office Hours: TUE-THU 12:30-01:30pm, WED 12:00 noon-2:00pm, and by appointment

III. Term of current Course 28 AUG 2012 - 13 DEC 2012

IV. Class Meeting Time & Location TR 02:00-03:15pm, Library 113 (Mac Lab)

V. Bulletin Description An intensive practical experience in writing & directing in digital , video & other new media.

VI. Prerequisites Introduction to Digital Filmmaking (MUGN-M415), or permission of instructor.

VII. Textbooks and other materials to be purchased by student: (1) Recommended highly, though not required: Directing; Techniques and Aesthetics th (3rd Edition – NOT 4 ); Michael Rabiger; Focal Press; ISBN: 978-0-240-80882-6. $22.90. Much cheaper used online. New reprint copies available @ Loyola Bookstore. (2) PEN/PENCILS AND NOTEBOOK are required for some in-class exercises. (3) Min 40 GB External Hard Drive, similar flash drive, or approx 6 DVD-RWs

VIII. Course requirements/Types of Assignments Lectures, interactive class demonstrations, guest speakers, multimedia presentation and discussion, assigned reading & projects, quizzes to assess understanding and retention, multiple practical production exercises. All assignments receive grades adding toward semester total. Late completion of assignments is reflected in lower grade. Projects must be completed in time alloted. First half of the semester devoted to writing formats peculiar to the film/video/new-media industry, with practical exercises in execution. Second half of the semester devoted to directing projects developed in the first eight weeks, very hands-on.

IX. Special Accommodations If you have a disability and wish to receive accommodations, please contact Sarah Mead Smith, Director of Disability Services at 504- 855-2990. If you wish to receive test accommodations (e.g., extended test time), you will need to give the course instructor an official Accommodation Form from Disability Services. The Office of Disability Services is located in Monroe Hall 405. Please see me if you need further information.

X. Content Disclaimer This class contains content which the instructor believes may be problematic for some students. Please read the attached statement carefully and inform your instructor if you require further information or if you feel unable to participate in any or all of the requirements of the class.

XI. Academic Integrity All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin (pp. 46-47 of the 2003-5 Bulletin). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., revised and by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor.

XII. Evacuation Statement In the event that there is an interruption to our course due to the cancellation of classes by the university as a result of an emergency, we will continue our course on Blackboard within 48 hours after cancellation. All students are required to sign on to Blackboard and to keep up with course assignments within 48 hours of evacuation and routinely check for announcements and course materials associated with each class. Class handouts will be posted under “course materials”. Students should be familiar with their responsibilities during emergencies, including pre-evacuation and post-evacuation for hurricanes. This information is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities Additional emergency-planning information is also available: http://academicaffairs.loyno.edu/emergency-planning

XIII. Course objective An intensive practical experience in writing and directing for digital film, video & new media. Lectures, interactive class demonstrations, guest speakers, multimedia presentation and discussion, assigned reading & projects, quizzes to assess understanding and retention, multiple practical production exercises. First half of the semester devoted to writing formats peculiar to the film/video/new-media industry, with practical exercises in execution. Second half of the semester devoted to directing the projects originally developed in the first eight weeks. This Digital Filmmaking course offers a detailed experience of the practical aspects of developing a digital film from word on the page to image on the various screens now available, using a variety of methods and media sources/formats. Students learn to their projects to financiers, to write one-page and timed treatments, to develop a budget, to write an actual working script in proper format, and to conceive and execute and complex production shot lists. Each student personally writes, produces, and directs the three major visual forms: a non-fiction documentary/interview, a live performance, and a final conceptual/fiction project. Students also develop confidence and expertise by each conceiving and directing multiple shoots, reflecting the real-life process by which writer/directors are hired and do business.

XIV. Expected Student Learning Outcome This course offers a more advanced study of two specific aspects of developing projects for new media, using a variety of methods and raw input: (1) writing, both creative/descriptive and logistical/technical for production of fiction/conceptual , live performance and documentaries, including complete scripts; and (2) directing, as differentiated in all three forms above. Emphasis will be placed on commercial applications of visuals in contemporary media marketplace. For their final project, the fiction/non-fiction piece which they have conceptualized and scripted, they must audition a cast, assemble a crew, find a location, shoot the film and supervise editing it – delivering a completed film of their own making. They walk away from the class with their film both in digital formats, and as an encoded DVD, as concrete proof -- something they can hand to any potential employer -- of the knowledge they have obtained through the course. There is also a Service Learning component to this course.

XV. Course Outline (NOTE: Exact calendar sequence of classes may vary slightly, taking into consideration the interests and proficiency of each individual group of students, and the occurrence of field trips.)

Week one: Introducing the basic functions of writing vs directing in the development of visual projects TUE 28 AUG 1. Execute “contract” on logistics and chronological progression of class. 2. View http://www.funnyordie.com/videos/f03d464867/total-eclipse-of-the-heart-literal-video-version-original – be aware of gaps in visual vocabulary. 3. View ’ interview excerpts from “Tales from the Script” (2009): what does a actually do? 4. In-class basic film analysis exercise: use film analysis sheets to breakdown components of two completely different films, analyzing the images on the screen versus the words in their scripts. First, analyze “Casablanca” (1942) http://www.vincasa.com/casabla.pdf -- script diverts very little from screen images, but still manages to insert subplots and underlying visual themes into final movie. Next up, Terry Gilliam’s surrealistic “Brazil” (1985) 5. SUGGESTED TEXT READING: Ch 7 pages 127-142, “ Concepts” 6. ASSIGNMENT: Complete Filmmaking Aptitude Questionnaire and bring to next class.

THU 30 AUG: 1. TURN IN APTITUDE QUESTIONNAIRES, discuss 2. Screen excerpts from “DIRECTORS: Life Behind the Camera” (2009). Terry Gilliam interview. 2. Analyze Gilliam’s “Brazil” (1985) http://sfy.ru/?script=brazil (script) 3. Holds to the general structure of the script but offers constant variations on dialogue, setting and theme. 4. Compare and contrast methods of execution: ie., by what process, and through what filters, do the words on the script become the images on the screen? 5. To you personally as a viewer, which is more successful as a stand-alone work of art? Why? 6. Is your reaction/judgment different when considered intellectually rather than emotionally? 7. WEEK ASSIGNMENTS: a. Complete two film analyses above and bring to class TUE 4 SEP. b. Find any 2000-present film in the library’s DVD collection, plus its corresponding script online at one of the sites listed below, and analyze fifteen minutes of movie, using the Film Analysis Form on Blackboard. Free script sources include: http://sfy.ru/ http://www.simplyscripts.com/movie.html http://www.script-o-rama.com/table.shtml Bring the completed Form, along with those you completed for “Casablanca” & “Brazil”, to next class. 8. SUGGESTED TEXT READING: Ch 8, pages 143-158 “The Writing Process”

Week two: first exercises in “show vs tell” – finding the core of the action TUE 4 SEP: 1. Discuss options offered in Filmmaking Aptitude Questionnaire. 2. Hand in three Film Analyses. 3. Review and critique exercises in visual writing. a. Analyze: 02 Joe Sue script example.doc (21.5 Kb) (1) What is wrong with this page of script? (2) Why does it not work as a useful tool for the director? b. Developing a style that boils down story to fewest possible words: ie, Hemingway story of “The Killers”. 4. Four exercises in visual writing, to include storyboarding. 5. ASSIGNMENT: Complete visual writing exercises for next class.

THU 6 SEP: 1. Review film analyses, questionnaires, assigned exercises. 2. Review visual writing and storyboards on assigned show/tell stories. 3. Screen Portion of “Mystery Science 3000” film to demonstrate lack of continuity, storyline. Viewther examples appropriate to technique in class. 4. SUGGESTED TEXT READING: Ch 9 “Adaptation from Art or Life” pp159-168. 5. ASSIGNMENT: Study five examples of contemporary script format. #23-28 on Bb or: http://sfy.ru/ -- write first page of a script describing two characters performing a simple action.

Week three: making “show vs tell” narrative visual writing work in a script TUE 11 SEP: 1. MISFITS EXERCISE -- first page of by Arthur Miller is loaded with imbedded subtexts and material For both the director and the final audience – remember the director’s subtle visual shadow subtext in “Casablanca”. This is the same sort of development earlier in a film’s life. a. read carefully and examine script for imbedded content. Then ask for subtexts and clues. For example, is there added meaning to “Biggest Little City” title to tie into story? b. describe on paper how you would direct handout scene w/stage directions & storyboards: (1) how is the establishing shot to be set up? (2) list places camera moves are indicated (3) how would you elaborate or make script deeper? (4) how many shots and where? reactions? (5) who do we see? When? 2. Discuss individual interpretations of scene in class. Hand in exercise. 3. Review FD7 software – tutorial -- http://www.finaldrafttutorial.com/ 4. ASSIGNMENT: Read and examine current issue of American Cinematographer Magazine – report on one new useful story for use by cinematographers.

THU 13 SEP: 1. Review again – framing, classic camera triangle and line-of-action discussion. With dialogue, make sure you maintain THE LINE OF ACTION in production so that when you get back to post you don’t find all your shots mismatched. If there is any doubt on whether or not you have “crossed the plane”, shoot alternate takes from different angles.

The TRIANGLE SYSTEM of camera placement is a simple way of describing the three camera positions within a 180-degree arc on one side of the line.

With two people in a dialogue, there are FIVE BASIC CAMERA SETUPS within the triangle: (1) angular shots (MED or CU) (2) master two-shots (see both people) (3) over-the shoulder shots (see both people) (4) POV singles (MED or CU) (5) profile shots

New lines of action can be established by action in the frame, for instance movement of a character within the first line of action, or introduction of a new character into the shot. The new line of action interfaces with the old through what is called the PIVOT SHOT.

2. IN-CLASS EXERCISE: Starting in class, draw titles and situations use the Screen-writing Game (pages 182-187) to begin writing a one/two-page script in a word-processing program in proper format. The story must be a fictionalized simple action that will be easily shot in-camera with classmates in ten minutes or less. You will be graded on how well the script fits the assignment. Must write 1-2 page script in word processing only, but in proper format – do 1st draft in class. 3. ASSIGNMENT: RE-WRITE one-page script above in proper format about common about “an everyday action” – keep in mind that someone else in the class will , and someone else will direct your script. Turn in TWO copies. This assignment must be printed out, and not handwritten. a. screen on-line example: http://www.youtube.com/watch?v=A2yzL5es40k this was from Kevin Corcoran (write), Jared Marcell (storyboard) & Andrea Gomez (direct) b. the script must be written so that it can be shot IN CAMERA easily in an hour DURING CLASS if need be – on a zero budget. Pieces will be judged on practicality as well as creativity. 4. READING: pp 172-173 in text, “36 Dramatic Situations”, and have examples of films that fit at least THREE. Be ready to discuss in class. 5. ADDITIONAL RESOURCES: a. script samples on Blackboard -- 01 screenplay samples.doc (498.5 Kb) 3 different pages from "The Misfits", showing formats -- the dialogue format is not up to date -- place in center three inches b. specific script samples from “The Apartment” -- 01 script apt 2pp_1.doc (253.5 Kb); 01 script apt 2pp.doc (253.5 Kb) -- two consecutive script pages in the more modern style, with centered dialogue and numbered shots

Week four: first exercises in readable formatting of ideas/stories; TECH/GEAR REVIEW TUE 18 SEP: 1. Discuss dramatic situations – report on three films fitting into three “dramatic situations” categories in class. 2. Hand in scripts. Discuss script development and problems. 3. Random drawing in class to assign storyboards 4. READING ASSIGNMENT: Carefully read the camera’s complete instruction manual online: http://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13 051&itemId=94944&catGroupId=14571&modelNo=AG-DVX100B&surfModel=AG-DVX100B Click on "operating instructions" for manual. Each crew member must know how the camera works to complete class assignments. This URL is also available on Blackboard.

THU 20 SEP: 1. Complete Video Tech Review 2. Camera tutorial 3. TURN IN STORYBOARDS. Random drawing for directors, assigning script and storyboards 4. Assign crews. 5. ASSIGNMENT: Directors work out crew assignments, props, locations. Outside actors may be recruited.

Week five: Prepping for the shoot TUE 25 SEP: 1. Basic of equipment use & shoot-day procedures 2. Lighting possibilities on location “run & gun” shoots 3. Use of boom/shotgun 4. Production procedures – steps in calling a shoot to order – “Production Shoot Order” on Blackboard 5. In-class exercises without roll 6. READING ASSIGNMENT: BE SURE to read chapters 32 “Roll Camera” & 33 “Location Sound”.

THU 27 SEP: 1. The “shooting triangle” and “line of action” (Blackboard) 2. Discussion of “Basic Shots in Dialogue” (also on Blackboard) 1. Hand out tapes. Each person shoots 01:00 of tape in class, using proper procedures 2. LIGHTING AND AUDIO CRITIQUES of each shoot 3. ASSIGNMENTS for next week’s shoots: a. Read all relevant blackboard entries. These correspond to supplemental material discussed in class above. b. Check out camera again, to refamiliarize yourself with gear before TUE shoot. c. Bring your own labeled and striped MiniDV tape to class TUE.

Week six: First shoot exercise, “in camera” and on tape. TUE 2 OCT: First half of each crew shoots exercise scripts.

THU 4 OCT: 1. Second half of each crew shoots exercise scripts. 2. SUGGESTED TEXT READING for next week: Ch 10 “Story Development Strategies”, pp169-181

Week seven: Film Fest & Mid-term TUE 9 OCT: 1. First film fest. CRITIQUE. Post-screening discussion of lighting techniques/styles for short films. 2. ASSIGNMENT: Review schedule for rest of semester, and begin to reserve equipment for shoots. 3. READING: Review all materials from first half of semester for mid-term exam. Special focus on writing, format and cam/video tech.

THU 11 OCT: Mid-term exam, 1. Tech and technique questions on directing, camera use. 2. Practicums in writing, both in word-processing and in Final Draft. 3. ASSIGNMENT: Write and memorize preliminary pitch (no longer than thirty seconds) for first proposal for final project, for oral delivery in class TUE 25 OCT. Written version must be handed in.

Week eight: Visualizing and directing another person’s words; Advanced Lighting Techniques TUE 16 OCT: FALL BREAK

THU 18 OCT 1. Lighting technique workshop (DVD) for shooting interior and exterior DV shoots. 2. Break into four NEW docu crews. Crews each assigned a particular school as subject of docu. Crews should meet with interviewees ASAP, gather info, visual & audio materials, and on-camera talent. 3. READING: pp 253-374 “Preproduction” 4. READING: Review Part 4, “Aesthetics and Authorship” 5. ASSIGNMENT: Pitches due next class.

Week nine: Producing multi-cam non-fiction documentary interviews -- the writer/producer/director as historian/storyteller TUE 23 OCT: 1. Deliver pitches, discussion of final projects. 2. Wireless audio tutorial in class. Discuss room noise, nat sound, critical distance. 3. ASSIGNMENT: revise & polish pitches. 4. ASSIGNMENT: Schedule school Interview/performance shoots. All material due to editors TUE 6 NOV.

THU 25 OCT: 1. Turn in final project pitches. Discuss. 2. How does a writer/director efficiently conduct documentary research? Developing a preliminary narrative – remember the whole story can/will change once interviews begin 3. Developing the general structure of how the story will be told 4. Prepping for Q&A – writing the “gentle” question 5. Developing enough background to be able to completely change the direction of the story in mid-stream 6. Handling talent/interviewees 7. Post writing – deciding what the story really is and being able to coherently make that apparent – voice-overs

Week ten: Directing multi-cam performance, docu and fiction shoots. Refined pitch & one-page TUE 30 OCT: 1. Firestore tutorial 2. Review multi-cam shoot techniques with clapper. 3. In-class multi-cam exercises 9. ASSIGNMENT: shoot 01:00 single cam video interview using Firestore – bring file to class THU 1 NOV.

THU 1 NOV: 1. Framing & focal length review. Look over examples – screen scenes from Michelangelo Antonioni’s “Blow Up“, Akira Kurosawa’s “Ran” & “Dreams”, David Lynch’s “Blue Velvet”, Cameron’s “Avatar” 2. ASSIGNMENT: a. Gather more bio material on each school. b. Optional: shoot “performances” by students. c. Begin writing one-page for final project. 3. SUGGESTED TEXT READING: Chapter 28 “Developing a Crew”

Week eleven: production management and logistics TUE 6 NOV: 1. TURN IN ALL SCHOOL MATERIALS FOR EDITORS. 2. Discuss short story “Agadhir” and how its story translates to film. 3. Break down script sample from “Twelve Monkeys” into characters and blocking. 4. ASSIGNMENT: Gather all material for school docu. All video must be submitted as .mov files. You will be graded on quality of shots, audio and video, and also on other visuals graphics, music etc need to make a whole and complete short film. 5. One-page due next THU 8 NOV.

THU 8 NOV: 1. Bringing all various media materials together – shooting for the edit. 2. Screen selected materials – discuss how it will come together 3. Critiques and discussions of materials and process. 4. Screen docus, “Respect”, “Jiro Dreams of Sushi” & I Like Killing Flies”. 5. ASSIGNMENT: one page due next class, read orally with hard copy.

Week twelve: film/video direction/ lecture/practicum exercises TUE 13 NOV: 1. Turn in one-pages. Each student will read full one-page. 2. Preliminary shoot discussions on logistics for final project film production. a. Hardware: camera, lights, mics b. Locations c. Talent d. Permits, legalities 3. Discuss subject possibilities for multi-cam shoot. 4. Film-style multi-cam intro a. without communication (1) pre-production planning (2) day-of-shoot prep (3) mid-performance corrections (4) synch issues b. with communication (1) director does pre-show demonstration of shots and segues between shots (2) shooting sound-check/rehearsal to develop camera movement (3) developing the “voice” for headset directing (a) rhythm for hitting the “take” (b) rapport with camera operators (c) listening to the progress of the music while continuing to call shots (d) working through a technical director (TD) c. Creative team brings one-page/timed-treatment d. Production Designer discusses locations e. Art Director discusses props f. Production team discusses logistics 5. Review shoot-day procedures, shot calling 6. Handling talent -- direction and motivation 7. Director’s role in dealing with props & locations – ie, how do we get that car from there to here? 8. The director as cheerleader 9. Self-motivation – maintaining the necessary energy levels to drive a production 10. Building the right support team within a crew 11. LEGALITIES REVIEW. Releases, contracts, budgets. 12. ASSIGNMENT: a. Prepare preliminary script off feedback on pitch, one-page. DUE THU 12 APR. b. Meet with editor you are assigned for final project 13. READING: Chapter 30, “Breaking Down the Script”, pages 420-432

THU 15 NOV: 1. FINAL PROJECT: you will be assigned an editor who will you will “hire” to cut your final project. 2. It is your responsibility to contact this person, exchange information, review his/her edit needs, and let them what you need (and on what schedule) to have the final piece ready to screen. IMPORTANT NOTE – YOU MUST GET 1ST FOOTAGE TO EDITORS BY 20 NOV before holiday; YOU MUST HAVE ALL FOOTAGE TO YOUR EDITOR NO LATER THAN TUE 29 NOV. FINAL PROJECT IS DUE AT START OF CLASS THU 6 DEC. 3. Screen cinematography overview (DVD) from the American Society of Cinematographers.

Week thirteen: TUE 20 NOV: 1. TURN IN SCRIPTS. 2. Script breakdown exercise. 3. In-class directing exercise. 4. Individual critiques and consultations.. 5. ASSIGNMENT: storyboards due next time 6. READING: Part 7, “Post Production” pages 493-562 for next time IMPORTANT

THU 22 NOV: THANKSGIVING HOLIDAYS

Week fourteen: Re-introduction to editing TUE 27 NOV: 1. Turn in storyboards. Discuss shot lists. 2. Review basics of Final Cut Pro software -- emphasis on story. 3. Demos on importing/capturing. 4. Making the camera invisible. 5. Procedures for making a shoot “quick & painless” – shoot for the edit 6. READING: Chapter 31, “Before the Camera Rolls”, pp 433-436 7. Shot lists due next time. 8. You should be meeting with your editors.

THU 29 NOV: 1. Joint meets with directors and editors. 2. Screen 01:00 of unedited footage. Films will be given anonymous written critiques. 3. READING: Chapter 37 “Monitoring Progress” 4. Turn in shot lists. 5. ALL FOOTAGE DUE TO EDITORS.

Week Fifteen: Final consultation week; FilmFest TUE 4 DEC: 1. JG available for final previewing and focus group interpretations for all students with films for final edit. 2. Make sure you have turned in printed copies of all five development stages of your film. 3. Review all tech material for final exam.

THU 6 DEC: FINAL JOINT FILMFEST WITH EDITORS & AUDIENCE Film fest is open to campus. Audiences will evaluate films and their evaluations will form part of final grade.

Week sixeen -- Final Exam THU 13 DEC 11:30-1:30pm -- FINAL EXAM 1. Writing/format exercises both with and without Final Draft 7 screenwriting software. 2. Storytelling exercise. 3. Storyboarding. 4. Tech/hardware knowledge.

* * *

XVI. Evaluation Grading will be based on a percentage of points earned of 500 total points possible: Quiz 25 Mid-term 75 Assignments 100 Shoots (total) 100 Participation 25 Final Project 100 Final Exam 75 TOTAL 500 points possible

90-100%=A; 80-89%=B; 70-79%=C; 60-69%=D; 59% and below = F

XVII. Policy on attendances/absences, late work, participation/class behavior

ATTENDANCE: With so much information and so many projects, it is especially important that students attend ALL classes, and attend PROMPTLY. The following is the attendance policy for the Department of Music Industry. Attendance is very important for learning. This attendance policy is strictly enforced. There are no unexcused absences. Only school-related activities will be excused as long as it is pre- approved by your instructor. Missing 2 classes during the semester received no penalty regarding your grade. Missing 3 classes during the semester automatically lowers your final grade 7.5%. Missing 4 classes during the semester automatically lowers your final grade 15%. You receive an “F” if you have 5 or more absences. 2 tardies counts as 1 absence. A tardy is recorded if you are not in your seat at the beginning of class.

PARTICIPATION: More importantly, interest in subject matter and active participation in discussions will be emphasized and required, as will be timely completion of assignments. You must be willing to take an active part in the class, or your time will be wasted. Many of the projects in this class, like film/video work in the real world, are team efforts that require interaction with classmates. You must be willing to work both individually and as part of a group.

ASSIGNMENTS: This is a class that deals in producing projects on a time schedule, just like in real life. Students must agree at the outset of the class to deliver work ON TIME. Late work will be subject to serious deductions in grades.

The final project in this class is especially subject to time constraints, and students will be required to verify at the first class that they are able and willing to perform within the required deadlines.

XVIII. Course materials Extensive reading and exercise materials for this course are posted on Blackboard. A working knowledge of these materials is required of all students, and will furnish the bulk of quiz and exam questions. All class handouts and background information are also posted on Blackboard.

XIX. Other information A great deal of material for this class will be furnished through email, as the media world changes daily and you will be receiving information, websites and on-line resources constantly throughout the semester. Students must check email regularly. If you have a non-loyno.edu address that you use more frequently, please furnish it at the beginning of the semester.

Procuring posted and emailed material for the class is student’s responsibility.