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THE RELATIONSHIP SCREENPLAY Semester: Fall, 2011 Section

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THE RELATIONSHIP SCREENPLAY Semester: Fall, 2011 Section USC SCHOOL OF CINEMATIC ARTS CTWR 305 – ADVANCED SCREENWRITING: THE RELATIONSHIP SCREENPLAY Semester: Fall, 2011 Section: 19160D Time: TUES, 10:00AM – 12:50PM Location: SCA 362 Instructor: Tom Abrams Tel:(818)845-0806 Email: [email protected] Office: 412 SCA Office hours: By appointment. COURSE OBJECTIVE: To write a feature length screenplay that focuses on developing and examining meaningful relationships between characters. OVERVIEW: Aren’t all movies “relationship” movies in that they’re about the relationships between characters? If they aren’t they probably should be. For the purposes of this course, we will call “relationship movies” any film in which the relationship between main characters undergoes significant change, and effects the outcome of the story in a dynamic way. Not all relationship stories are created equal and CTWR 305 will emphasize the development of character (and characters’ relationships with one another) over plot. The course is not genre specific, since any type of story should have vibrant, dynamic, and sympathetic characters. LARS AND THE REAL GIRL is a relationship movie, but so are LETHAL WEAPON and DUMB AND DUMBER and SHERLOCK HOLMES and THE GOOD, THE BAD & THE UGLY. Without strong, sympathetic characters and emotional relationships between them, these stories would not move audiences in the way they do. It is a great pleasure to instruct screenwriting that focuses on characters and their relationships. This is a tool that will be invaluable to you, no matter what genre of writing you pursue. If your story creates characters Abrams – CTWR 305 syl – 8/10/11 2 that express a human condition, captivate, horrify, repel or seduce the viewer, you will have written successfully. To that end, our objective is to write a feature length screenplay in one semester, starting with well-developed characters and placing them in conflict with one another in a story that springs from their wants, needs and personal traits. ASSIGNMENTS: --Written biographies for the main characters. --A Logline and three page 3 Act Synopsis for the story. --A Sequence Breakdown or Step Outline for the script. --A completed screenplay, with Acts 1, 2, and 3 due at different stages during the semester. EXPECTATIONS: You are expected to have fun. That doesn’t mean your script can’t be deep or dark or intellectually challenging, but if you’re not engaged and entertained by what you are writing, asking people to read and comment on it is just cruel. You are expected to be yourself. As a professional screenwriter you’ll be selling your imagination, personality, experiences and personal ethos. They are your tools and learning how to use them takes practice. You are expected to finish your screenplays. Students who don’t have a beginning, a middle and an end by the close of the semester will fail the course. The course is a workshop and your participation is an important part of your grade. You are expected to listen to feedback from your classmates, and take notes, with a positive attitude. You don’t have to agree with them but you should take it with good grace. This is valuable training for the industry. You are expected to give candid but constructive feedback to other members of the class. Writing is difficult enough Abrams – CTWR 305 syl – 8/10/11 3 without the fear of public humiliation, but false praise and/or silence is a waste time. You are expected to conduct yourself in a professional manner. Professional means all work delivered on time, neat, printed, well thought out. Hurried or slip-shod work will not be appreciated. Effort makes a difference. GRADING: Areas that will be considered in determining the final grade are: • Character Development and bios: 25% • Synopsis and Outlines: 25% • Class participation: 15% • Final screenplay: 35% Attendance. Absences are not allowed. More than one unexcused absence will result in a lower grade. Tardiness will not be tolerated. DEADLINES: Material will be read and discussed in class, but students are responsible for delivering material AHEAD of class time via email and READING each other’s material BEFORE class. This is vital to the success of the discussion. MATERIAL FOR TUESDAY’S CLASS IS DUE BY 9AM MONDAY MORNING. LAPTOP & TEXTING POLICY: NO OPEN LAPTOPS IN CLASS, except for the person whose work is being discussed, for the purpose of taking notes. NO TEXTING or CELL-SURFING during class. RECOMMENDED READING: The Tools of Screenwriting, by David Howard and Edward Mabley. The Writer’s Journey, by Christopher Vogler. Creative Filmmaking From The Inside Out, by Dannenbaum, Mayer and Hodge. Abrams – CTWR 305 syl – 8/10/11 4 SUGGESTED VIEWING: BRIEF ENCOUNTER HAROLD & MAUDE GO FISH LONGTIME COMPANION WHEN HARRY MET SALLY 500 DAYS OF SUMMER LARS AND THE REAL GIRL MIDNIGHT COWBOY HUSBANDS AND WIVES HANNAH AND HER SISTERS LITTLE MISS SUNSHINE LITTLE CHILDREN SIDEWAYS SLING BLADE THE GRADUATE A NEW LEAF THELMA AND LOUISE NORTH BY NORTHWEST THE 39 STEPS GOOD WILL HUNTING THE GOOD, THE BAD & THE UGLY RAGING BULL THE GODFATHER I & II THE PROPOSAL THE GIRL IN THE CAFÉ LOLITA LETHAL WEAPON THE ELEPHANT MAN MULHOLLAND DRIVE THE BROWNING VERSION BRINGING UP BABY REMEMBER THE NIGHT MY MAN GODFREY THEY DRIVE BY NIGHT REBEL WITHOUT A CAUSE SHE’S GOTTA HAVE IT JUNGLE FEVER SEX,LIES & VIDEOTAPE GROUNDHOG DAY TOOTSIE Abrams – CTWR 305 syl – 8/10/11 5 WEEKLY BEAKDOWN: Week 1 – AUG 23 – Introduction, pitch ideas for stories. Assignment: Whose story is it? Decide on the main characters for your story. Create a logline and a bio for the main character with strengths weaknesses and traits. Week 2 – AUG 30 – Discuss loglines and bios. Assignment: Complete script analysis sheet with character’s want (external objective), need (internal character problem), life dream, polarity, etc. Week 3 – SEP 6 – Discuss analysis sheet. Assignment: Create subplot character list and how they relate to the main characters and each other. Week 4 – SEP 13 – Discuss analysis sheet and subplot characters. Assignment: Create a three page 3 Act synopsis for your story. Week 5 – SEP 20 – Discuss feature synopsis with attention to characters and conflict. Assignment: Create a Sequence Breakdown or Outline for the three Acts. Week 6 – SEP 27 – Screening of a film & analysis. Week 7 – OCT 4 – Discuss sequence breakdown/outline. Assignment: Begin writing. 15 pages. Week 8 – OCT 11 – Discuss writing. Assignment: Continue writing. 10-15 pages. Week 9 – OCT 18 – Discuss writing. Assignment: Continue writing. 10-15 pages. Week 10 – OCT 25 – Discuss writing. Assignment: Continue writing. 10-15 pages. Abrams – CTWR 305 syl – 8/10/11 6 Week 11 – NOV 1 – Discuss writing. Assignment: Continue writing. 10-15 pages. Week 12 – NOV 8 – Discuss writing. Assignment: Continue writing. 10-15 pages. Week 13 – NOV 15 – Discuss writing. Assignment: Continue writing. 10-15 pages. Week 14 – NOV 22 – Discuss writing. Assignment: Continue writing. 10-15 pages. Week 15 – NOV 29 – Last class. Discuss writing. Assignment: Continue writing. 10-15 pages. Week 16 – DEC 6 - DELIVER HARD COPY SCRIPT Note: Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure this letter is delivered to me as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.- 5:00 p.m., Monday through Friday. The telephone number for DSP is (213) 740-0776..
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