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Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
Bob Oei Thesis Final Final
ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15 -
Chapter Seven Polychrome's Pitiful Plight the Rain King Got Too
Chapter Seven Polychrome's Pitiful Plight The Rain King got too much water in his basin and spilled some over the brim. That made it rain in a certain part of the country--a real hard shower, for a time--and sent the Rainbow scampering to the place to show the gorgeous colors of his glorious bow as soon as the mist of rain had passed and the sky was clear. The coming of the Rainbow is always a joyous event to earth folk, yet few have ever seen it close by. Usually the Rainbow is so far distant that you can observe its splendid hues but dimly, and that is why we seldom catch sight of the dancing Daughters of the Rainbow. In the barren country where the rain had just fallen there appeared to be no human beings at all; but the Rainbow appeared, just the same, and dancing gayly upon its arch were the Rainbow's Daughters, led by the fairylike Polychrome, who is so dainty and beautiful that no girl has ever quite equalled her in loveliness. Polychrome was in a merry mood and danced down the arch of the bow to the ground, daring her sisters to follow her. Laughing and gleeful, they also touched the ground with their twinkling feet; but all the Daughters of the Rainbow knew that this was a dangerous pastime, so 53 they quickly climbed upon their bow again. All but Polychrome. Though the sweetest and merriest of them all, she was likewise the most reckless. Moreover, it was an unusual sensation to pat the cold, damp earth with her rosy toes. -
We're Off to Save the Wizard
WE’RE OFF TO SAVE THE WIZARD based on Frank L. Baum’s “Tik Tok of Oz” adapted by Craig Sodaro Performance Rights It is an infringement of the federal copyright law to copy this script in any way or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for additional scripts and further licensing information. On all programs and advertising the author’s name must appear as well as this notice: “Produced by special arrangement with Eldridge Publishing Co.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © 2000 by Craig Sodaro Download your complete script from Eldridge Publishing https://histage.com/were-off-to-save-the-wizard We’re Off to Save the Wizard - 2 - STORY OF THE PLAY The Wizard of Oz has been kidnapped! The evil Nome King Ruggedo is demanding he be made king of the world and is holding the Wizard hostage until Ozma, Queen of Oz, agrees to step aside. Ozma begs her old friend Dorothy to take the mechanical man Tik Tok and rescue the Wizard. But the journey will be long and perilous, and Ruggedo.s powers are very strong. Nevertheless, Dorothy will do anything to save her old friend. Along the way, Dorothy and Tik Tok meet Queen Ann.s bungling army, the tail end of a rainbow who.s lost her sisters, a delicate Princess Rose, and a prospector from Colorado who.s looking for his brother. They all decide to find the Wizard, who might be able to solve each of their problems. -
Scenechronize Notes Go To: Click on the Sign up for Free! Badge
Film Production Management FIL6467 Summer B 2010 Scenechronize Notes Go to: https://www.scenechronize.com/ Click on the Sign Up For Free! badge. Pick Solo Scheduling and Feature. Follow instructions for getting your account set up. Upload My Mother script. It will ask you to fix the first two lines at the top of the first page. Make them both Start of Act. To get started on breaking down the script, click on Scenes in the upper left corner. Add elements by highlighting as per the lecture from Edgar on Tuesday – the box will pop up and guide you. For Cast, click on the + button in the Characters element line – the program has already pulled out the cast names form the script, so you only have to click on the right name. It has done the same thing for Sets. Leave Location blank, we don’t know what they are for this exercise. When you have gone through and broken down every scene in the script, click on Stripboard. Pick Sat and Sun as the days off for your schedule. Start your start production for June 14, 2011. Go through the schedule and check for exterior nights, and page count per day, and logic of what days are next to each other. If you make an assumption about how you are putting the days together, include it on the SCHEDULE ASSUMPTIONS form (follows this memo). When ready to print, click on Reports and then One Liner. Print the one liner, double check it for: • Set name consistency • Pager per day count • Typos • No blank set names or scene action lines. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title "Do It Again": Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy's Margins Permalink https://escholarship.org/uc/item/4297q61r Author Baltimore, Samuel Dworkin Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Samuel Dworkin Baltimore 2013 ABSTRACT OF THE DISSERTATION “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins by Samuel Dworkin Baltimore Doctor of Philosophy in Musicology University of California, Los Angeles, 2013 Professor Raymond Knapp, Chair This dissertation examines the ways that various subcultural audiences define themselves through repeated interaction with musical comedy. By foregrounding the role of the audience in creating meaning and by minimizing the “show” as a coherent work, I reconnect musicals to their roots in comedy by way of Mikhail Bakhtin’s theories of carnival and reduced laughter. The audiences I study are kids, queers, and collectors, an alliterative set of people whose gender identities and expressions all depart from or fall outside of the normative binary. Focusing on these audiences, whose musical comedy fandom is widely acknowledged but little studied, I follow Raymond Knapp and Stacy Wolf to demonstrate that musical comedy provides a forum for identity formation especially for these problematically gendered audiences. ii The dissertation of Samuel Dworkin Baltimore is approved. -
Tin Woodman by L
The TIN WOODMAN by L. Frank Baum of Oz CHAPTER 17 - THE WORKSHOP OF KU-KLIP It was not more than a two hours’ jour- beasts. I cannot think of anyone living near here ney to the house where Nimmie Amee had with whom Nimmie Amee might care to live.” lived, but when our travelers arrived there they “Why not go to Ku-Klip and ask him what found the place deserted. The door was partly has become of the girl?” proposed Polychrome. off its hinges, the roof had fallen in at the rear That struck them all as being a good sug- and the interior of the cottage was thick with gestion, so once more they started to tramp dust. Not only was the place vacant, but it was through the forest, taking the direct path to evident that no one had lived there for a long Ku-Klip’s house, for both the tin twins knew time. the way, having followed it many times. Ku- “I suppose,” said the Scarecrow, as they Klip lived at the far edge of the great forest, his all stood looking wonderingly at the ruined house facing the broad plains of the Munchkin house, “that after the Wicked Witch was de- Country that lay to the eastward. But, when stroyed, Nimmie Amee became lonely and they came to this residence by the forest’s edge, went somewhere else to live.” the tinsmith was not at home. “One could scarcely expect a young girl It was a pretty place, all painted dark blue to live all alone in a forest,” added Woot. -
Tik-Tok of Oz
TIK-TOK OF OZ BY L. FRANK BAUM 1914 CONTENTS Preface Chapter One. Ann's Army Chapter Two. Out Of Oogaboo Chapter Three. Magic Mystifies The Marchers Chapter Four. Betsy Braves The Billows Chapter Five. The Roses Repulse The Refugees Chapter Six. Shaggy Seeks His Stray Brother Chapter Seven. Polychrome's Pitiful Plight Chapter Eight. Tik-Tok Tackles A Tough Task Chapter Nine. Ruggedo's Rage Is Rash And Reckless Chapter Ten. A Terrible Tumble Through A Tube Chapter Eleven. The Famous Fellowship Of Fairies Chapter Twelve. The Lovely Lady Of Light Chapter Thirteen. The Jinjin's Just Judgment Chapter Fourteen. The Long-Eared Hearer Learns By Listening Chapter Fifteen. The Dragon Defies Danger Chapter Sixteen. The Naughty Nome Chapter Seventeen. A Tragic Transformation Chapter Eighteen. A Clever Conquest Chapter Nineteen. King Kaliko Chapter Twenty. Quox Quietly Quits Chapter Twenty-One. A Bashful Brother Chapter Twenty-Two. Kindly Kisses Chapter Twenty-Three. Ruggedo Reforms Chapter Twenty-Four. Dorothy Is Delighted Chapter Twenty-Five. The Land Of Love 1 PREFACE To My Readers The very marked success of my last year's fairy book, "The Patchwork Girl of Oz," convinces me that my readers like the Oz stories "best of all," as one little girl wrote me. So here, my dears, is a new Oz story in which is introduced Ann Soforth, the Queen of Oogaboo, whom Tik–Tok assisted in conquering our old acquaintance, the Nome King. It also tells of Betsy Bobbin and how, after many adventures, she finally reached the marvelous Land of Oz. There is a play called "The Tik–Tok Man of Oz," but it is not like this story of "Tik–Tok of Oz," although some of the adventures recorded in this book, as well as those in several other Oz books, are included in the play. -
“The Art and Craft of the Director” Film Directing Audio Seminar Peter D
“The Art and Craft of the Director” Film Directing Audio Seminar Peter D. Marshall Website: http://actioncutprint.com Blog: http://filmdirectingtips.com Email: [email protected] Peter D. Marshall has worked (and survived) in the Film and Television Industry for over 38 years - as a Film Director, Television Producer, First Assistant Director and Series Creative Consultant. Credits & Awards http://actioncutprint.com/credits1 Updated - March 20, 2012 Copyright (c) 2012 Peter D. Marshall /ActionCutPrint.com All Rights Reserved (1) “The Art and Craft of the Director Audio Seminar” Dear Filmmaker, Thank you for purchasing this 2012 version of "The Art and Craft of the Director Audio Seminar” - a comprehensive, multi-media audio course that demystifies the process of directing and fast tracks your way to becoming a working film and television director. When I first created this course in 2007, I wanted it to be an Online insider's reference guide for filmmakers. Having now updated it five times, I believe this 238 page course (with over 1000 online reference links and videos) will help you to become a successful film director by providing you with the “insider” knowledge I have gained from over 38 years in the film and television business. Although the majority of productions I have worked on were Hollywood feature films, television movies and TV series, the information you will find in this course is easily adaptable to your own low budget independent films - anywhere in the world! All you need to do is take the information in this course - and scale it down for your own productions (short films, small indie films, music videos etc.) I talk a lot about PASSION and TRUTH in this audio course because these are two of the essential ingredients to having a successful directing career. -
Screenplay Format Guide
Screenplay Format Guide Format-wise, anything that makes your script stand out is unwise. This may seem counterintuitive. Anything you do to make your screenplay distinctive is good, right? Depart from the traditional format, though, and you risk having your script prejudged as amateurish. A truly conscientious reader will overlook such superficial matters and focus on content. However, if your work looks unprofessional, it may not be taken seriously. To ensure your script gets a fair read, follow these formatting guidelines: It isn’t necessary to file a copyright with the Library of Congress. Your script is automatically protected under common law. However, it’s a good idea to register it, either with an online service, such as the National Creative Registry (protectrite.com), or with the Writers Guild. This being said, the Industry tends to view registration and copyright notices as the marks of a paranoid amateur. You would be wise to leave them off your script. Use a plain cover. White or pastel card stock, not leatherette. Avoid using screw posts or plastic-comb binding. Bind your script with sturdy, brass fasteners, such as those made by ACCOÒ. The ones Staples sells are too flimsy. Readers hate it when a script falls apart in their hands. You can order professional-quality script supplies online from WritersStore.com. Although scripts are printed on three-hole-punched paper, there’s an unwritten rule that speculative scripts are bound with two fasteners, not three. Why this tends to be common practice is unclear. Perhaps it’s because submissions often get copied by the studio’s story department, and it’s easier (and cheaper) if there are only two brads. -
MMDSW501 SCRIPT WRITING a Screenplay, Or Script, Is a Written
MMDSW501 SCRIPT WRITING A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original works or adaptations from existing pieces of writing. In them, the movement, actions, expression and dialogues of the characters are also narrated. The script the actors use during filming is primarily dialogue with minimal stage direction. This is similar to the 'spec scripts' given to agents and producers to generate interest in the work. The primary focus here is on telling the story, the word and actions that convey the message. What sound effects or lighting effects that are important to the actor's performance are noted. But, anything not directly impacting the performance are generally left out. The screenplay is the extra layer with everything that was left out of the script. It may very well be the 'shooting script' in most cases, which is less of an actor's tool and more of a director's tool. The screenplay includes those aspects of filming that are outside the actor's purview, things like camera angles and cut or fade instructions, effects that the audience will see but have no effect on the actor's performance while on set. The script, or screenplay, outlines all of the elements (audio, visual, behavior, and dialogue) that are required to tell a story through movies or TV. A script is almost never the work of a single person. Instead, it will go through revisions and rewrites, and ultimately will be interpreted by the producers, directors, and actors. -
The Screenplay 2
CHAPTER The Screenplay 2 A screenplay is the literary expression of the story, characters, actions, locations, and tone of your fi lm written in a specialized dramatic script format. Whether you write the script yourself or work with someone else’s material, it’s important to remember that the screenplay is not the fi nal product. It is an intermediate step in the production of a fi lm and serves many functions in all stages of the project’s development. It is often said that the screenplay is the blueprint for the entire process of making a fi lm, in the same way that a rendering of a house serves as the blueprint for the construction of a house. In many ways this is true; however, unlike an architectural blueprint, a screenplay should remain a rather more fl exible document throughout the process. It’s important to keep in mind that screenplays evolve. They should be revised and rewritten, at every stage of a fi lm’s pro- gression, as new ideas or circumstances emerge. ■ STAGES OF SCRIPT DEVELOPMENT There are a number of stages in the evolution of a screenplay, and each stage usually requires various drafts. Each stage has a specifi c purpose as you proceed, step-by-step, from a general outline of your story to a script that contains the full dimensions of your fi lm, including locations, actions, dialogue, sounds, movements, etc. This process of working and reworking your fi lm’s story material, adding, cutting, or refi ning details along the way, is called script development.