SCRIPT to SCREEN with Matthew Mcconaughey

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RTF 367Q: SCRIPT TO SCREEN with Matthew McConaughey

Spring 2019 Syllabus

Instructor: Scott Rice Office Hours: phone: 512.797.4141 CMA 6.150 [email protected] Wed 12:30 – 2pm

TA: Maggie Bailey Office Hours: [email protected] by appointment

Unique #: 09000 Class Time: W 10am – 12:30pm, BMC 4.212 Screening Time: W 5pm – 7:30pm, CMB 2.104 (Occasional)

COURSE DESCRIPTION

Script to Screen takes students behind the scenes of two upcoming films starring Academy Award-winner Matthew McConaughey: THE BEACH BUM, Harmony Korine’s new stoner comedy, and TOFF GUYS, a crime thriller co-written and directed by Guy Ritchie. By studying early scripts, storyboards, shooting schedules, exclusive behind the scenes footage and more, students will garner insight into the making of two major motion pictures. Script to Screen also gives students practical instruction on producing their own content including web series, shorts, commercials and indie features. From guidance on pitching projects to founding a production company, Script to Screen is an essential “how-to” for students who are serious about producing and directing.

REQUIRED READING

The Complete Film Production Handbook (4th Edition) by Eve Light Honthaner Available at the University Co-op under RTF 367Q, Unique #09000

The Beach Bum (Screenplay Draft 1 & 2)

Toff Guys (Screenplay Draft 1, 2 & 3)

Various Handouts

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SCRIPT TO SCREEN

Welcome to Script to Screen. Matthew McConaughey envisioned this class as a way to acquaint students with the evolution of a feature story from concept to finished film. Along the way you will learn the gritty reality of producing major motion pictures, from creative differences in the development process to the intimate relationship between actor and director on set.

Matthew McConaughey, writer-director Harmony Korine and writer-director Guy Ritchie have generously invited us into the process of making THE BEACH BUM and TOFF GUYS. The development and production of both films will be the backbone of the course. As we follow the production process, you will be asked to “declare” before the class your own take on the material. Two examples include the script changes you would order after the first draft, and the shooting plan you’d develop for an action scene. After pitching your creative directions, you will see the decisions the filmmakers made. Keep in mind that this class is not about the right decisions (there is more than one “right answer”). It’s about your decisions.

Through textbook readings, script readings, lectures, guest visits, video presentations and production material presentations, you will develop insight into the sheer enormity of creating a feature film. What’s more, the filmmaking and business principles gleaned from THE BEACH BUM and TOFF GUYS can be applied to producing your own content. From making commercials to founding your own production company, you will learn how to survive and thrive in the marketplace as a producer and/or director.

NON-DISCLOSURE AGREEMENT

For the privilege of reading material associated with THE BEACH BUM and TOFF GUYS, you are required to sign an NDA from each production company. Take this legal contract seriously. Breaches in the contract will be dealt with swiftly and severely. Be professional. Carefully guard your script copies. Do not lose them. Do not photograph or scan them. Do not discuss (neither verbally nor in writing) class materials. Do not share materials or production information (even anecdotal information/opinions from class guests) with anyone – not strangers, friends, roommates nor family members, including spouses. Do not discuss the material in any way on social media. There will be plenty of time to discuss material in the classroom.

Beyond legal action from the production company, any breaches in the NDA, even slight, will be considered a violation of this syllabus’ contract with the student. Such breaches will be deemed violations of the University Honor Code and rules on scholastic dishonesty. Violations will result in dismissal from the class with an F in addition to possible expulsion from the University.

Photographing or taping (video or audio) in-class meetings with guests is considered a violation of the NDA and will be met with the aforementioned consequences. Disclosing the day, time or location of a guest’s campus visit is also a violation. That includes texting people during a visit. Such activity is also a violation of the syllabus.

NDA violations put in jeopardy the University’s ability to offer this class in the future and could put in jeopardy THE BEACH BUM and TOFF GUYS distribution and marketing plans. Please take pride in the secrecy to which you are legally bound. This is how it’s done in the industry. You are officially on the inside. Conduct yourself as the professional that you now are. Also, keep in mind that Harmony Korine and Guy Ritchie have personally authorized the release of this material. Let’s honor their trust and protect their films. RTF 367Q Spring 2019 p. 3

Note: There are circumstances under which you may officially volunteer to photograph, film or record audio of a class visit. Such a project is considered professional and a “work for hire” for the Moody College of Communication. As such, all material must leave set with the assigned producer (i.e. you may not possess this footage, neither audio nor visual, after the shoot).

PROJECT 1

You must do ONE of the seven choices below as your first project/presentation. You may do a second one for 5 points extra credit (half a letter grade) if you inform the instructor in advance. Even though you are only doing one of these projects, you are required to read all the material.

Because of time constraints, there are limited presentation slots per project (see course schedule). You must inform the instructor via email or sign the project sheet regarding which project you prefer to do. This includes projects done for extra credit. You are not guaranteed the project of your choice. Preferences are honored based on when they are received.

SCRIPT NOTES: “THE BEACH BUM” SCREENPLAY DRAFT 1 or 2

Imagine you have only one draft left before the script must be locked for shooting. As producer, pitch the notes you would give to the writer to the class (5 minutes). This assignment requires that you type one single-spaced page of notes (they can be bullet points) to help you clarify the ideas you will verbalize in class. Print out this one-pager and turn it in to the instructor after your presentation. Note: please mark up your script copy with notes/thoughts to help you keep track.

You are allowed one week to read each hard copy screenplay. Scripts must be returned to the instructor the following class period, so carefully pace your reading. If you fail to return your script on time or lose your draft, you are in violation of the NDA and course syllabus. For every day your script is late, you will lose 2 points from your grade. You will lose one full letter grade for each week your script is late. If you genuinely need more time to read your script, kindly ask the instructor for an accommodation in advance of receiving your draft and it will be granted.

SCRIPT NOTES: “TOFF GUYS” SCREENPLAY DRAFT 1, 2 or 3

Follow the instructions and deadlines outlined above.

FILMMAKER FOCUS: HARMONY KORINE or GUY RITCHIE

Give a 5-minute presentation on the work of THE BEACH BUM writer-director Harmony Korine or TOFF GUYS co-writer and director Guy Ritchie. You may feature biographical information, filmography, stylistic touchstones, film clips – pretty much whatever you want. Get creative, but please present a vivid portrayal of your chosen artist that provides the class with concrete examples of his work and sensibilities.

STORYBOARDS: THE BEACH BUM SCENE “SHARK” or “BOAT BURN”

Create a shot list and storyboard for the scene of your choice. Sides provided. Print out your shot list and boards or save them as a PDF to present to class (5 minutes). You must turn in hard copies of both at the end of your talk. The same return deadline for scripts also applies to sides. RTF 367Q Spring 2019 p. 4

STORYBOARDS: TOFF GUYS “SCENE 1”

Follow the instructions and deadlines outlined above.

REWRITE ANALYSIS: TOFF GUYS “SCENE 2 - CLIMAX”

Breakdown the rewriting process for the climax of TOFF GUYS. Also, give your opinion on what are some of the most valuable and most problematic steps in the several-day struggle to get this scene right.

BUDGET & SCHEDULE

You may create a film or TV budget & schedule. This may be done with a partner. See the instructor to clarify the scope of work.

FINAL PROJECT

The final project you choose should fit your immediate needs and interests (and thus advance your career goals). That is why the final project is wide open. You can do anything you want within reason. It cannot be material created for another class. The instructor will determine if your project plan is significant enough in scope, so get the instructor’s sign-off before you begin.

Projects will be shared with the class in a 5-minute presentation at the end of the semester. You must also submit printed material after your presentation for full credit. For those who wish to participate, the Longhorn Creators Foundation (a non-profit that exclusively supports Script to Screen students) will award first, second and third place cash prizes to students with the best final project presentations. Evaluation will be based on an anonymous in-class peer vote along with the quality of the written material you submit to the foundation. Outside of supplying your contact information, you do not have to do anything extra to apply for this award. See your instructor for more details.

Final project suggestions:

• Produce an advanced undergrad or grad film. A typed production journal (to be written during the production process, not after) is required. It should chronicle your responsibilities, the work you performed, observations on how it went, lessons learned, etc. The journal must be no less than 5 single-spaced pages. Also required: a signed letter from the film’s director confirming your participation on the project. • Create a lookbook and/or rippo reel for a project you’d like to produce and/or direct. • Create a production budget and schedule for a project. • Create an original business plan (not from a previous class) for an actual project you’d like to produce (can be a short, doc, feature or tv/web series). • Write a documentary proposal and/or treatment (ask instructor for samples). • Write an Austin Film Society Grant proposal or other grant proposal. • Develop a Step Outline and pitch for an indie feature, web series or TV pilot. • Write and budget several spec commercials (see instructor for sample scripts/budgets). RTF 367Q Spring 2019 p. 5

• Start your own production company. Create your own logo/brand, mission statement and reel. Speak to your instructor about alternate requirements (like creating an LLC, balance sheet, positioning statement, client list, website, business checking account, etc). • Ask the instructor about other professional opportunity options and internships. • Your final project can also be your choice of two additional THE BEACH BUM or TOFF GUYS assignments described under “Project 1.” Let the instructor know in advance if you choose this option; presentations to class are required on the assigned day.

PROJECT EXPECTATIONS

Instructor evaluation of your work will be based on the following standards:

Students must take all projects seriously and come prepared. Written material should be properly formatted and include your name. Good producers are good writers. Their job depends on it. You should write, rewrite and proofread your work. That’s how the process works in the film world. Sloppy work will be severely penalized.

Presentations should be well prepared and thoughtful. You can work from notes, but don’t read your presentation. In this class, the exercise of presenting before class is less about performance and more about getting comfortable doing it. It’s okay to be nervous. You can stumble. No pressure. Consider the course a safe and nurturing place to practice. The more you practice, the sooner pitching will feel second nature.

Deadlines must be met to ensure full credit on projects. If you miss your presentation window (there is no opportunity to “make up” a presentation), the project automatically earns a C or lower depending on the quality of the written material. In addition, 1 point per day will be deducted on the written component if late. If you must miss your presentation, inform the instructor in advance with a valid reason to be excused of these penalties.

PARTICIPATION & ATTITUDE

You are required to participate in class discussion. This includes discussion during classmate presentations, lectures and guest speakers. Your opinions and knowledge are highly valued in this course. It is essential to helping your peers grow as filmmakers. If you find participation difficult, try simply asking a question. Questions will spark some of our best discussions.

Do the assigned reading. You cannot engage in class discussion properly without knowing the material. This includes the textbook which you should mark up with questions and highlights of the most important points or concepts you learned. This will help as you study for tests.

Your overall attitude grade is based on constructive thought, professionalism, growth and effort. Please be respectful of students who are presenting material and engaging in discussion. Pay attention (don’t be on your phone or emailing during class time). Be polite during disagreements. If you have critique, please make it constructive.

Because of the workshop nature of this course, attendance is mandatory (see “grading”) and factors into both your participation and attitude grade.

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QUIZZES AND FINAL EXAM

There are three quizzes and one final exam. All are multiple choice and cumulative. You must be in class on test days or else contact the instructor in advance. If the instructor deems the absence legitimate, you have one week to take the test outside of class with the TA. The final exam will be administered on the final class day. Testing will cover material from the textbook readings, script readings, miscellaneous readings, lectures, presented materials, instructor anecdotes, presented films/videos and guest visits. You are expected to take thorough notes during class.

GRADES

Students earn 100 points in this class. The breakdown:

10 – Project 1 10 – Quiz 1 10 – Quiz 2 10 – Quiz 3 20 – Final Project 15 – Participation 10 – Attitude 15 – Final Exam

LETTER GRADES

Final grades will be assigned as follows: 92 - 100 = A 90 - 91 = A- 88 - 89 = B+ 82 - 87 = B 80 - 81 = B- 78 - 79 = C+ 72 - 77 = C 70 - 71 = C- 68 - 69 = D+ 62 - 67 = D 60 - 61 = D- < 60 = F

ABSENSES / TARDINESS

Attendance is graded separately and handled in a subtractive fashion. You are only allowed one unexcused absence from required class time. For each unexcused absence after that, students lose half a letter grade (5 points). There are no exceptions. If you must be absent, provide a legitimate excuse to the instructor in advance (before start of class time) even if you are uncertain about the legitimacy of the excuse. If you are more than 10 minutes late to class, you will be penalized 2.5 points (minus a legitimate excuse; speak to the instructor at the break). You are given only one freebie. Class starts on time. Practice arriving on time, which is critical in the film business.

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RTF PRODUCTION HANDBOOK FOR STUDENT PRODUCERS https://wikis.utexas.edu/display/comm/RTF+Production+Handbook+-+Includes+Forms+And+Release+Documents

MOODY CARE COUNSELOR AND CMHC SUPPORT FOR STUDENTS

Taking care of your general well-being is an important step in being a successful student. If stress, test anxiety, racing thoughts, feeling unmotivated or anything else is getting in your way, there are options available for support.

CARE Counselor in the Moody College of Communication is: Abby Simpson, LCSW • M-F 8-5p | CMA 4.134 | 512-471-7642 (Please *leave a message* if she is unavailable)

FREE Services at CMHC: • Brief assessments and referral services • Mental health & wellness articles -cmhc.utexas.edu/commonconcerns.html • MindBody Lab - cmhc.utexas.edu/mindbodylab.html • Classes, workshops, & groups -cmhc.utexas.edu/groups.html

UNDERGRADUATE WRITING CENTER

The Undergraduate Writing Center, located in the FAC 211, phone 471-6222, http://www.utexas.edu/cola/centers/uwc/ offers individualized assistance to students who want to improve their writing skills. There is no charge, and students may come in on a drop-in or appointment basis.

THE UNIVERSITY OF TEXAS HONOR CODE

The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

SCHOLASTIC DISHONESTY

The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially the same written assignment for two courses without the prior permission of the instructor. By accepting this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonest damages both the student’s learning experience and readiness for the future demands of a work-career. Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For more information on scholastic dishonesty, please visit the Student Judicial services Web site at http://deanofstudents.utexas.edu/sjs

SERVICES FOR STUDENTS WITH DISABILITIES

The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641 TTY.

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RTF SAFETY POLICY

Special safety precautions for your crew, actors and others in the area are required if you are undertaking any hazardous activities while filming, including but not limited to ANY driving or horseback/livestock shots, shooting in or around water or heights, or if you are using stunts, flames, pyrotechnics, squibs or simulated weapons. Please note that unlicensed handguns and other real weapons are never permitted in RTF studios or on location shoots. In addition, you must follow all federal, state and local laws and the rules of any venue or location at which you are filming regarding hazardous activities, including University of Texas at Austin rules if filming is done on campus.

Student filmmakers must submit a detailed safety plan to their course instructor and the RTF Technical Facilities Manager if a script or project involves driving or horseback/livestock shots, shooting in or around water or heights, stunts, flames, pyrotechnics, squibs, weapons or any other hazardous activities (this requirement applies to all shoots, including documentary projects, but please see the special guidelines for documentary driving shots below). It is the responsibility of the student to hire experts in the field and budget at least $600/day for expert consultation and on-set supervision if, in the judgment of the class instructor and the Technical Facilities Manager, such expert consultation or supervision is necessary. In addition, any utilization of pyrotechnics on the University of Texas at Austin campus requires prior review and approval through the Fire Prevention Services office by the University Fire Marshal or their designee. Students should understand that driving while filming will be permitted only in strictly limited circumstances, such as on a private road or drive. In most circumstances, students who wish to undertake driving shots will be required to arrange for a police escort and a city permit. Monitors inside the vehicle will NOT be allowed while filming in a vehicle. Filming from the back of trucks is not considered safe and is not permitted under any circumstances.

Documentary filming of an interview while the interview subject is driving is only permitted if the cameraperson is secured in a seat belt and is not directing the driver of the car in any way, besides engaging in a conversation in which the driver/interviewee has been informed not to look at the camera or the interviewer at all during the interview. In addition, any filming from a vehicle, for drive-by B-roll, must be done by a cameraperson secured in a seat belt, where the driver is not being directed in any way by the director, so that they are driving as they normally would. As noted above, any documentary student planning on filming in any vehicle must submit a safety plan to their course instructor and the RTF Technical Facilities Manager.

Students who fail to comply with this policy will receive a failing grade in this class and will be barred from future access to RTF production and post-production equipment and facilities.

If Police, Fire, or EMS are called to your shoot, or any injuries on your shoot require medical attention, this must be reported to your instructor and the Assistant Director of Production Services, (Keefe Boerner [email protected]), within 24 hours of the incident. There is a form in checkout and on the RTF website that must be filled out and returned within three business days.

You may find the need to use copyrighted material this semester: music, photographs, movie clips, or any other expression. For many of your uses, you need to find the copyright holder and negotiate a license. You own the copyright to the work you produce in this class. As a copyright holder yourself, you understand the importance of copyright ownership. It is your responsibility to secure music and archival footage licenses as well as artwork, location and personal releases. You will find release templates on the RTF website.

For some uses, however, neither you nor anyone else needs to license copyrighted material. This is because copyright law exists to encourage and support creativity. Copyright law recognizes that creativity doesn’t arise in a vacuum. As creators, we all stand on the shoulders of giants. New works of art (such as films, books, poems, paintings) all make use of what has gone before. Thus, copyright law not only protects authors with a copyright that lets them decide who can use their works, but also offers exemptions from the author’s control. For filmmakers, the most important exemption is the doctrine of fair use. You can rely on fair use, where appropriate, in the film and video projects you undertake for this course. If you are making a documentary film, consult the influential Documentary Filmmakers Statement of Best Practices in Fair Use (PDF) which was created by a group of national filmmaker organizations, has been endorsed by the University Film and Video Association, and is now relied on by film festivals, insurers, cablecasters, distributors and public broadcasters. Fair use also applies in the fiction film environment, but not necessarily to the same extent or in the same way. As always, the central question is whether the new use is "transformative" -- i.e., whether it adds significant value by modifying or recontextualizing the original. For more information, visit http://www.centerforsocialmedia.org/ RTF 367Q Spring 2019 p. 9

RELIGIOUS HOLIDAYS

Religious holy days sometimes conflict with class and examination schedules. If you miss a work assignment or other project due to the observance of a religious holy day you will be given an opportunity to complete the work missed within a reasonable time after the absence. It is the policy of the University of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes scheduled on dates you will be absent to observe a religious holy day.

UNIVERSITY ELECTRONIC MAIL NOTIFICATION POLICY

All students should become familiar with the University’s official e-mail student notification policy. It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis in order to stay current with University-related communications, recognizing that certain communications may be time-critical. It is recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e-mail address are available at http://www.utexas.edu/its/policies/emailnotify.html. In this course e-mail will be used as a means of communication with students. You will be responsible for checking your e-mail regularly for class work and announcements.

CAMPUS SAFETY

Please note the following recommendations regarding emergency evacuation from the Office of Campus Safety and Security, 512-471-5767, http://www.utexas.edu/safety/ Occupants of buildings on The University of Texas at Austin campus are required to evacuate buildings when a fire alarm is activated. Alarm activation or announcement requires exiting and assembling outside. Familiarize yourself with all exit doors of each classroom and building you may occupy. Remember that the nearest exit door may not be the one you used when entering the building. Students requiring assistance in evacuation shall inform their instructor in writing during the first week of class. In the event of an evacuation, follow the instruction of faculty or class instructors. Do not re-enter a building unless given instructions by the following: Austin Fire Department, The University of Texas at Austin Police Department, or Fire Prevention Services office.

Behavior Concerns Advice Line BCAL: 232-5050