Film Pre-Production Screenwriter

Total Page：16

File Type：pdf, Size：1020Kb

Screenwriter Pre-Production Journal Screenwriter Pre-Production Journal NAME_____________________ PERIOD 1 2 3 4 5 6 NAME_____________________ PERIOD 1 2 3 4 5 6 ! Title blog post: FILM NAME Screenwriter Pre-production Journal ! Title blog post: FILM NAME Screenwriter Pre-production Journal ! Use Section Headings in blog post ! Use Section Headings in blog post Summary Summary ! Describe script writing process for your film ____ ! Describe script writing process for your film ____ ! Include at least 4 Cinematic Storytelling elements ! Include at least 4 Cinematic Storytelling elements (example: 31. Flashback) (example: 31. Flashback) ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ ! Element number and name: ___ ___________ ____ Drafts of Script Drafts of Script ! Explain of developments / changes ____ ! Explain of developments / changes ____ ! Attach pdf files ____ ! Attach pdf files ____ Correctly formatted script Correctly formatted script ! 12‐point Courier font ____ ! 12‐point Courier font ____ ! Single spacing ____ ! Single spacing ____ ! Correct columns ____ ! Correct columns ____ ! Correct size paper ____ ! Correct size paper ____ Characterization Development Characterization Development ! Describe evidence of characterization from script ____ ! Describe evidence of characterization from script ____ Influences from Movies Influences from Movies ! Name screenwriters ____ ! Name screenwriters ____ ! Describe how they influenced your work ____ ! Describe how they influenced your work ____ ! Detail other influences ____ ! Detail other influences ____ Pitch Pitch ! Embed evidence of the pitch as media (example: YouTube) ____ ! Embed evidence of the pitch as media (example: YouTube) ____ Treatment Treatment ! Include sample of treatment as text ____ ! Include sample of treatment as text ____ Costume / Props that Help Characterization Costume / Props that Help Characterization ! Identify evidence from the script ____ ! Identify evidence from the script ____ What I Learned What I Learned ! Explain what you learned & a problem you solved ____ ! Explain what you learned & a problem you solved ____ ! Use proper grammar; (i.e. ‘i’, complete sentences) ____ ! Use proper grammar; (i.e. ‘i’, complete sentences) ____ 20 POINTS TOTAL ____ 20 POINTS TOTAL ____ REVIEW’S NAME _______________________________ REVIEW’S NAME _______________________________ .

Copy Link

Recommended publications

A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
[Show full text]
FILM-1020: Story: Pre-Production Methods and the Art of Story in Motion Media 1
FILM-1020: Story: Pre-production Methods and the Art of Story in Motion Media 1 FILM-1020: STORY: PRE-PRODUCTION METHODS AND THE ART OF STORY IN MOTION MEDIA Cuyahoga Community College Viewing: FILM-1020 : Story: Pre-production Methods and the Art of Story in Motion Media Board of Trustees: 2018-05-24 Academic Term: Fall 2021 Subject Code FILM - Film and Media Arts Course Number: 1020 Title: Story: Pre-production Methods and the Art of Story in Motion Media Catalog Description: Study dramatic theory while writing an original script. Explore cultural uses of storytelling. Take real-life scenarios and respond to them with arguments constructed by the traditional elements of drama. Learn to write outlines, log lines, treatments, and character descriptions. Discuss facets of pre-production. Introduction to organizational tools and techniques used in ﬁlm industry to prepare a script for production. Credit Hour(s): 3 Lecture Hour(s): 2 Lab Hour(s): 3 Requisites Prerequisite and Corequisite ENG-0995 Applied College Literacies, or appropriate score on English Placement Test; or departmental approval. Note: ENG-0990 Language Fundamentals II taken prior to Fall 2021 will also meet prerequisite requirements. Outcomes Course Outcome(s): Apply knowledge of story structure to a written treatment for a motion media production. Objective(s): 1. Identify the theme and dramatic or persuasive intent of the story. 2. Apply the art of storytelling to achieve a communications need (motivate and persuade) by creating a script for a short commercial or public service announcement (PSA). 3. Deﬁne the phases of a production from initial concept, treatment, pre-production, production, post-production and distribution.
[Show full text]
Project Information Form
PROJECT INFORMATION FORM - THEATRICAL This Project Information Form (PIF) should be filled out by an existing Directors Guild of America signatory company for each new theatrical film, low budget film or documentary film project or by a company requesting DGA signatory status. Please note that more detailed information may be required pending review by the Guild. Submission of this form does not constitute signatory acceptance. Please print clearly: Signatory Company: _________________________________________________________________________________________ Company Contact: ____________________________________________ Phone : _________________ E-Mail: _________________ Project Title: _______________________________________________________________________________________________ Copyright Holder: _______________________________________ Contact: ________________________ Phone: _______________ Screenwriter/s :_______________________________________________________________________________________________ Type: Feature Freelance Short Documentary Other:______________________ Low Budget Agreement : Yes No Budget: (U.S. ) $ ________________________________ Produced on : Film Digital Other (specify):__________________ Length (in minutes) : _______ Location/s: ________________________________________________________________________ Start Dates: Pre-Production:________________ Principal Photography :____________________ Wrap: _________________ EMPLOYEE INFORMATION (Name all, print clearly) : Print Full Name: Position: ‘ Director ‘ UPM ‘
[Show full text]
Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen.
[Show full text]
Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps.
[Show full text]
Steinhart Runaway Hollywood Chapter3
Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs.
[Show full text]
Glossary of Filmmaker Terms
Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
[Show full text]
Film Crew Film Crew
FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A Producer is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; this person is involved with the project from start to finish. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process.
[Show full text]
FAQ About Film Production — 1 Action Movie Makers Training
Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki.
[Show full text]
Film & Television Conservatory
FILM & TELEVISION CONSERVATORY GRADES 9-12 SCHOOL OF FINE & MEDIA ARTS Conservatory Overview Sample Curriculum The Film & Television Conservatory offers students comprehensive training in ﬁlm Audio Design and television production, editing, screenwriting, sound design, cinematography, Cinematography directing, and producing. Through a rigorous, hands-on curriculum, professionally Directing trained faculty members challenge and mentor students to be their best selves, both Documentary Filmmaking artistically and individually. Students are encouraged to use their work to Editing (Adobe Premiere Pro) demonstrate visual invention and curiosity, collaboration and individual expression, Film History and Criticism solid technical craftsmanship, and captivating storytelling that creates a thoughtful Film Production exploration of the human condition. Students are provided access to a full working Industrial Video Production television studio, a ﬁlm studio, a Foley stage, digital cameras and equipment, editing Screenwriting suites, and more. The Film & Television Conservatory is both a pre-collegiate Stop Motion Animation cinematic arts school and an industry-prep program, allowing students to discover Television and Live Event Production their own cinematic voices in an innovative and cutting-edge environment. APPLY ONLINE TODAY! www.ocsarts.net/ApplyNow 1010 N. Main Street, Santa Ana, CA 92701 | 714.560.0900 Performance Opportunities Film & Television students screen work each semester at the conservatory’s Cineplex Film Festival in Chapman University’s Folino Theatre, and student work is highlighted each year at the Back-to-School Film Festival and Newport Beach Film Festival. Film & Television students also have the opportunity to participate in OCSA’s Season Finale, a schoolwide event in late spring presented at the prestigious Segerstrom Center for the Arts.
[Show full text]
Who Makes a Film?
Development Production management Casting Follow the Producer Director Screenwriter director Line Locations Assistant arrows to find producer manager director out how an idea becomes Turning an idea into a script Careful planning and organisation a film... Technical Craft Director of Gaffer Grip Sound mixer Script Production Costume Hair and make-up Construction Special effects photography supervisor designer designer designer manager designer Making sure it all gets captured perfectly Creating the look of the film Making sure it all gets perfectly captured Post-production Sales and distribution Distribution Marketing Editor Colourist Sound editor VFX Subtitler Programmer producer executive manager Audience Shaping and polishing the final product Selling the film and making sure people see it (you and me) Who makes a film? Production designer Editor How a fi lm is made Who makes a fi lm? The production designer decides how the fi lm The editor puts together all the rushes from will look, everything from the art on the titles the various scenes to tell the story in the Everyone likes watching a good fi lm whether they Producer to the props and the style of the sets. best way. see it at the cinema, on TV or on their phones. But The producer is the boss. Producers are not everyone knows how a fi lm is made. This is how a responsible for the whole production. They Costume designer Colourist raise the money and hire the director. The costume designer designs or buys the Films are shot in a way that makes it fi lm goes from being a thought in someone’s head to costumes.
[Show full text]
Glossary-Of-Film-Terms.Pdf
Glossary of Terms While there are many job descriptions on a film or television set, these are the people you might come into contact with: Assistant Director (A.D.): Carries out the Director’s instructions and runs the set. The First A.D. is responsible for preparing the production schedule and script breakdown, making sure shooting stays on schedule and on budget. The Second A.D. is responsible for distributing information and cast notifications, keeping track of hours worked by cast and crew, management of extras, signing actors in and out, preparing call sheets and is in charge of the Production Assistants. Buyer : Responsible for buying or renting props, furniture, costumes and other items on behalf of the Art Department. Art Director : Reports to the Producion Designer and directly supervises the art department as they design sets and create graphic art for the production design of the film. Works closely with the Construction Coordinator to oversee set construction. Best Boy: Chief assistant to either the gaffer or key grip. Responsible for the daily running of the lighting or grip department. Camera Operator: Operates the camera under instruction from the Director of Photography. Casting Director: Supplies actors for the film or television show. Construction Coordinator : AKA the Construction Manager, this person supervises and manages the physical construction of sets and reports to the Art Director and Production Designer. Craft Services: Provides on-set snacks and drinks for cast and crew. Not the same as the caterer. Director: The person in charge of the overall cinematic vision of the film and the performance of the actors.
[Show full text]