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A Six-Session Workshop on the Art and Craft of Storytelling for Screen

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A Six-Session Workshop on the Art and Craft of Storytelling for Screen A six-session workshop on the art and craft of storytelling for screen SESSION 1 – WHAT IS STORY? © LORNE FILM 2021 RESOURCES From Sophocles to Spielberg, storytelling Screen Tales draws on the trainer’s has adhered to elemental organic form own personal experience – along with over centuries. Existing within a set of the work of a world-renowned tenets dictated by nature, stories theorists on the art of storytelling. continue to find echoes deep in the These include: human psyche, particularly through film. Robert McKee, Story Through seeking a definition of storytelling, Screen Tales provides the Aristotle, Poetics learner with a fundamental Richard Walter, Screenwriting understanding of what makes a film Blake Snyder, Save the Cat story work, or the reverse. Joseph Campbell, The Hero with a Ideal for aspiring screenwriters, those Thousand Faces who would critique film, or most Lajos Egri: The Art of Dramatic importantly – those who LOVE film, Writing Screen Tales examines through practise the meaning, structure, and telling of a Christopher Vogler: The Writer’s primeval art increasingly relevant in a Journey contemporary world. 1 WORKSHOP OBJECTIVES & DARREN MARKEY - OUTCOMES FACILITATOR Screen Tales aims to provide you with a SCREEN TALES was developed and is greater understanding of what makes a facilitated, by DARREN MARKEY. film story work. Through examination of Darren is founder and director of existing films such as BLADE RUNNER, LORNE FILM. AMERICAN BEAUTY, TAXI DRIVER, THE GODFATHER, FINDING NEMO, ROCKY, After a successful career in theatre, STAR WARS, JAWS, and others, you will Darren left Australia in 2002 for recognise the structure and Hollywood, where he completed his first components necessary to a complete a screenplay, LILLY - before getting lost in film story, as well as identifying why a giant martini somewhere on Sunset... some Screen Tales don’t work. Darren was writer and associate Screen Tales will also provide the producer on the feature supernatural learner with an understanding of the thriller THE UNLIT – released in Australia practise of contemporary storytelling, in 2020 and currently being distributed placing the art in the context of a internationally. modern world and the habits of screenwriters. Darren’s supernatural thriller script - THE TUTOR, recently did the rounds at Screen Tales will ask participants to Cannes and is slated for production in complete several practical written 2022. His supernatural cyber/horror exercises – identifying structure, romance, MAGPIE - is slated for archetypes, forces of antagonism etc. in production during the second half of film samples the learner has provided. 2021. Participants will also be proved with extensive written notes summarising the A trainer with over ten years experience, learning materials. Darren's emphasis is on keeping participants engaged and entertained, with a style that resonates with those he trains. He loves all things film and strives to share this passion with those around him - ensuring a quality experience. 2 SESSIONS 1.WHAT IS STORY? 4. ARCHETYPES ON SCREEN Where do stories comes from and why What is a character? are they important? An examination into the definition and An examination into the history of purpose of characters. Includes analysis storytelling and the role it plays in of Carl Jung’s theories on the origin of shaping the collective consciousness. archetypes. You will begin forming an original idea You will recognise the archetypes in your for your own screen story. story and the role they play. 2. STORY ON SCREEN 5. JOURNEY ON SCREEN What makes a screenplay? The Hero's Journey - where does it begin and end? An examination of the classic three-act structure and how stories come to the Analysis of several theories on screen through the building of a screenwriting - The Hero's Journey vs screenplay. Save the Cat. You will apply these principles to your You will deepen your understanding of original idea formed in SESSION 1. the journey your hero is undertaking. 3. GOOD VS EVIL 6. THE TOOLS OF SCREENWRTING How do the forces of antagonism drive a How do screenwriters write? story forward? A close look at the screenwriter’s habits An examination of protagonist vs and the tools used to create a antagonist - and the various forms they screenplay. take. You will use your story idea to create a You will recognise the hero and villain in SYNOPSIS - ready to build into your your story, along with what it is they TREATMENT and/or SCREENPLAY. want. 3 SESSION 1 - WHAT IS STORY? Let’s take a look below at some theories around the definition and purpose of ‘story’. ‘To the film audience, entertainment is ‘Frighten the folks, make them cry, make the ritual of sitting in the dark, them angry: they will stand in line to see concentrating on a screen in order to your movie. Human beings need experience the story’s meaning and, with regularly to experience strong emotions; that insight, the arousal of strong, at it’s how we come to remember we are times even painful emotions, and as the alive. meaning deepens, to be carried to the ultimate satisfaction of those emotions.’ Once the end arrives, and once it has fled, and once the final credits crawl Robert McKee across the screen…the audience should Story feel not superior, not virtuous, but quite the contrary, humbled…each viewer should be left with some sense of his ‘Tragedy, then is a representation of an status as one more wretched sinner… action that is worth serious attention, reminded of his own sweet and sour complete in itself, and of some humanity. There should arise within amplitude; presented in the form of each member a sense that what has action, not narration; by means of pity transpired on the screen is really about and fear bringing about the purgation of him.’ such emotions. Richard Walter …for our pity is awakened by Screenwriting undeserved fortune, and our fear by that of someone just like ourselves – pity for the undeserving sufferer and fear for the man like ourselves.’ Aristotle Poetics 4 SESSION 1 - WHAT IS STORY? We can see then, that among the definitions of ‘story’ – the chief purpose is to make us feel something – to experience emotion. To remind us what it means to be human. Let’s take a look at another purpo se of ‘story’. ‘Our appetite for story is a reflection of ‘Every good play must have a well- the profound human need to grasp the formulated premise. There may be more patterns of living, not merely as an than one way to phrase the premise, intellectual exercise, but within a very but, however it is phrased, the thought personal, emotional experience. must be the same. A great work is a living metaphor that You should not write anything you do says, ‘Life is like this.’ The classics, down not believe. The premise should be a through the ages, give us not solutions conviction of your own, so that you may but lucidity, not answers but a poetic prove it wholeheartedly. Perhaps it is a candour; they make inescapably clear preposterous premise to me—it must the problems all generations must solve not be so to you. A good premise to be human.’ represents the author. Robert McKee Story A premise has to contain; character, conflict and resolution. It is impossible to ‘Somewhere deep inside every worthy know all this without a clear-cut screen story, binding the characters, premise.’ shaping the dialogue, integrating all the scenes lies a unifying thread succinctly Lajos Egri answering the question: so what? The Art of Dramatic Writing This is the move’s theme. After a film’s final frame there ought to be some clear sense of purpose, a reason for all the fuss and bother, a semblance of overall meaning.’ Richard Walter Screenwriting 5 SESSION 1 - WHAT IS STORY? THE CAVES OF ALTAMIRA ‘In Ascent of Man, Jacob Bronowski The chambers were a safe arena to posits an insightful theory on film’s experience intensely frightening nature. The caves at Altamira, Spain, emotions without authentic risk. Light whose walls are emblazoned with was provided by tallow-fuelled torches. primitive paintings, were not domiciles. With the torches flickering very much in The tribes retreated to the caves from the manner of a movie projector, the time to time for the exclusive purpose of images must have appeared to be in viewing the paintings. motion. Indeed, the bison’s walls were drawn with multiple sets of legs, as if to The paintings’ subject is the local fauna, suggest motion. in particular the bison-like creatures that were the hunters prey. The hunters’ very In the caves’ security the hunters could survival depended upon the success in allow their emotions to simulate those the hunt. The animals’ flesh provided experienced in the actual hunt. In protein; the skins supplied shelter and complete safety they could wallow in clothing. But the beasts bore lethal racks fear. Later, in the hunt, recalling the cave of antlers with which to gore predators. experience they could successfully steal They strode on hooves easily capable of themselves against surrendering to their trampling men. What would a man, even panic, which, thanks to the caves, was holding a spear, be likely to do when now familiar to them. faced by a herd of charging buffalo? The natural reaction would be panic and The movie theatre is the modern-day flight. version of the primitives’ cave. A film is a life simulator enabling modern men and The hunters needed, therefore, to learn women to rehears their emotions, to how to control and overcome that panic. experience desperate, painful They needed to train their emotions so sensations in an environment of total that instead of fleeing they would stand safety.’ their ground.
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