A Four-Week Practical Course for Emerging Filmmakers Film On

Film on location in New Zealand on your summer break

Discover ﬁrst-hand what draws the global ﬁlm industry here, while creating your own short drama for your showreel.

Screen Tools: A four-week practical Develop your course for emerging filmmakers Tool Kit • Producing for digital and new media Structured around a practical production process You will have access to our high-end production and based on professional television industry practice, editing equipment and facilities to produce multi- • Multi-camera television production Screen Tools is a hands-on course designed to set camera recorded scenes in our television studio, • Single camera location shooting you up with the essential skills you need to launch as well as shooting on location in the beautiful your career in film, television and digital media harbourside city of Auckland. • Digital editing industries. • Script production In a time when people are more often turning to Under the guidance of experienced actor, new digital platforms for their media consumption, • Production management producer and director John Callen, as well as Screen Tools places a focus on the “saleable” guest instructors from the television industry, you value and digital delivery of your final piece. With • Industry production methods will work as a team to develop the pilot episode your production team, you will decide on a target • Casting and directing actors of a serial drama or web series. You will learn and audience and the mode of broadcast for your practice story creation and character development production. • Collaboration in an industry-style for a script you will write, produce, design and production This course is ideal for recent screen production direct. • Directing graduates, or students looking for a study abroad From pre-production to post-production you experience with a practical option. Course field • Post-production will experience first-hand the various aspects of trips include a visit to the Hobbiton movie set in television industry operations, including studio Matamata, and a customised tour of the Academy • Finished product to add to your showreel protocol and the management of a production and Award® winning Weta Workshop and Park Road • Professional credit for your production CV shoot. You will gain an understanding of cameras Post Production facilities in Wellington. and sound recording equipment as you develop your production; and will learn strategies for directing the actors who will bring your story to life. www.auckland.ac.nz/screentools 18 June – 13 July 2018

network member New Zealand screen Field trips industry Hobbiton Movie Set Visit the set of “the Shire” from The Hobbit From low-budget productions to major world- film series and The Lord of the Rings trilogy. wide blockbusters, screen production is a vibrant Accompanied by course tutor John Callen, who industry in New Zealand. The country’s stunning plays the deaf dwarf Oin in The Hobbit, you will hear scenery and government support has attracted first-hand about life on set as you explore hobbit major Hollywood film productions including houses, The Green Dragon Inn, The Mill, the double The Lord of the Rings trilogy, The Hobbit, King arched bridge and other structures and gardens Kong, District 9, Avatar, The Hunger Games, built for the films. The Adventures of Tintin as well as long-running television series including Power Rangers and Tutor: John Callen Hercules. John Callen has over 40 years’ experience as an actor, director and producer in the film and Once Were Warriors and more recent New Zealand television industries, and as a tutor teaching films such as Whale Rider, The World’s Fastest acting skills and television production at tertiary Indian and The Dark Horse have attracted wider level. His most significant film credit to date is international attention and quirky small budget one of the core-cast roles in Peter Jackson’s films such as What We Do In The Shadows, directed Hobbit trilogy where he played the dwarf by Taika Waititi (One Car, One Night; Boy, Hunt For Oin. John has acted in or directed more than the Wilderpeople) and Jemaine Clement (Flight 100 stage plays as well a variety of television of the Conchords, Eagle versus Shark) reached an dramas. John’s expertise in working with actors international audience through inventive crowd and training television directors will be an funding strategies and creative marketing. integral part of the course. Increasingly, emerging filmmakers around the world Guest tutors are bypassing traditional film and television and are Throughout the course guest tutors working in turning to new digital media platforms to showcase New Zealand’s television and screen industry their work. Recognising this trend, the Screen Tools Weta Workshop will be invited to work with students on various course focuses on a range of digital options for the Based in Wellington, New Zealand, Weta Digital is aspects of the production. delivery of the complete episodic drama that you an Academy Award® winning design and digital will produce on the course. effects studio. Founded by two Kiwis in their back Confirmed guest tutor Kathleen Anderson is room in 1987, Weta Workshop has grown into a the Commissioning Editor of Drama for New world-leading company producing sets, props, Zealand’s national broadcaster Television Screen production makeup and digital effects for productions including New Zealand (TVNZ). She has been a writer in Mad Max, The Hobbit, Elysium, Man of Steel, the industry and keeps a close watching brief at the University District 9, Planet of the Apes and Avatar. over New Zealand’s most successful television series, Shortland Street. Kathleen will conduct of Auckland On this field trip, you’ll get an insight into how Weta a story-pitching session with each group in Workshop creates weapons, armour, costumes and Alongside Screen Tools, the University of Screen Tools, helping to develop the central creatures for film. Learn from a Weta Workshop Auckland also offers full degree screen production storyline for the drama production. Prosthetics and Make-up Artists how to make your programmes at both undergraduate and own set of prosethetic hobbit ears, and get your Above: Course instructor John Callen (right) plays Oin in postgraduate level. Student works have screened at hands dirty in the “Art of Fake Blood Workshop”. The Hobbit. PHOTO: Warner Bros. major international film festivals, including Venice, London and New York.

Course dates: 18 June – 13 July 2018 In 2016, four student films have been selected for international screenings. Brendan Donovan’s Course structure: Full-time Monday to Friday screenplay Guilt attracted seed funding and has (approx. 40 hours per week). Structured classes been shortlisted for the Sundance Institute’s Tuesday and Thursday mornings. Screenwriters Lab in 2017. Todd Karehana has Eight to ten hours studio time per week. had two films accepted into major film festivals in Other time is spent in script production, casting, New Zealand, Canada and Australia; and Gorjan on-location filming, post-production, editing Markovsky’s short film, The Prince, was accepted and field trips. into the New York Student Showcase as part of the Big Apple Film Festival. Credit weighting: 15 NZ points (approximately 3-5 US credits). International students may The University of Auckland maintains strong links be able to cross-credit back to your home with local and international creative industries, and institution. is a member of the International Association of Film and Television Schools (CILECT). Programme fee: NZ$6,150 GST inclusive (US$4,235*). Fee includes tuition, accommodation, and field trips to Hobbiton Movie Set and Weta Workshop. “Screen Tools offers a unique opportunity to students who are film enthusiasts and hungry for an adventure Eligibility: This course is designed for students to develop their practical skills in almost every aspect with two years’ undergraduate experience. of screen production. The course is both challenging A background in film or media production, and creatively rewarding. drama, or creative writing is preferred, but “The activities help students get insight into the not essential. Students with only one year of industry, practice with major production roles under undergraduate experience and a strong creative competitive pressure, and they are also just great portfolio are also fun. One of my best memories of the course was eligible for entry. our one-of-a-kind trip to Hobbiton where John www.auckland.ac.nz/screentools [the course tutor] shared stories of his personal Email: [email protected] experiences working in the Hobbit franchise.” *Based on exchange rate at time of publication (May 2017). Mauricio Martinez, Mexico (studying in Canada) Media, Film and Television

MEDIA 317 Screen Tools 2018 Screen Production Short Course

Aim of course writing is preferred, but not essential. If you Method have only one year of undergraduate experience This is a four-week intensive course which meets This course is designed to enable you to produce and a strong creative portfolio you are also for two four-and-a-half-hour sessions per week a self-contained episode of a serial drama, eligible for entry. Please list any extracurricular in the television studio and/or editing suites. recorded in the television studio with inserts activity you have done e.g. theatre, acting, script Out-of-class time will be spent working in teams shot on field location. As well as developing writing, producing, arts administration and to produce the script, preparation for studio technical skills in multi-camera television sports or other cultural activities where you have sessions, location shoots and post production production and single camera location shooting, developed a range of skills which you think are preparation and editing. During the last week you will be introduced to the processes of script relevant for a production course such as this. of the course, the out-of-class and editing time breakdowns, casting and directing actors. This If you have had writing experience but no will increase in order to keep to the production is an intensive, workshop-style production class deadlines. which draws on creative and technical skills production experience you are encouraged to from drama scripting through to acting, directing apply as well as if you have some production, Up to 16 students are accepted into the course, and producing. technical or acting experience. If you have working in three production groups of five with no experience but have studied or are an Executive Producer (EP) coordinating the One of the primary considerations of the course currently enrolled in a theoretical film/media/ three groups. Each group writes, directs and is for participants to develop an understanding of communications degree then you should also edits approximately five-six minutes of drama the collaborative and co-operative nature of the consider applying for this programme. made up of one studio and one location scene. making of drama for film or television within strict The storyline will be decided by the collective time limits. Informed decision making is vital. Credit weighting: 15 points groups then each production group write their The class will produce multi-camera recorded Course dates: 18 June-13 July 2018 contributing scenes. The producers from each group and the Executive Producer will ensure scenes and a short drama (possibly for new In-class course timetable: that each scene is of equal quality and fits within technology markets) structured around a central Weeks 1-3: Tuesdays and Thursdays 8.30am-1pm theme and a small core of characters. The the total narrative. completed drama will be produced by ‘teams’ Week 4: Tuesday and Wednesday 8.30am-1pm A collaborative and co-operative process is of students who will be responsible for certain Screening: Friday 10am-1pm required throughout the entire course. sections of the final drama among themselves and in consultation with other teams. The group- Course Convenor Television and film industry produced episodic drama shot multi-cam in the The course will be taught by John Callen who studio also includes a one-camera location scene. has over 40 years’ experience as an actor and professionals contributing Prerequisites: Academic Head or nominee director/producer in the film and television to the course approval industries and as a tutor teaching acting skills • Commissioning editor of television and television production at tertiary level. His Restriction: FTVMS 317 programming from Television New Zealand most significant film credit to date is one of the (TVNZ – national free-to-air broadcaster). The Convenors: John Callen and core-cast roles in Peter Jackson’s Hobbit trilogy Commissioning Editor will conduct a story Dr Margaret Henley where he played the dwarf Oin. John has acted pitching session with each group contributing in or directed more than 100 stage plays as well Assessment: 100% coursework their chosen narrative. In discussion with the a variety of television drama. Some of his screen Course limit: 16 students editor, the central storyline for the drama will acting credits can be viewed on IMDB – search be chosen and writing duties allocated. John Callen at www.imdb.com Selection criteria • Script editor from the independent television Course eligibility industry. The editor will work with the writers This is a restricted entry course. You will be from each team to finesse their contributing assessed on the quality of your academic record, This is an introductory course and while previous scene. production or writing experience is preferable previous production or creative work and your • Course convenor John Callen’s expertise in it is not necessarily the main criteria governing application. Particular attention is paid to the working with actors and training television acceptance onto the course (see application quality of the application and the originality and directors will be an integral part of the course. form for details). presentation of your proposal for a short drama In addition he will share his experience as programme. The selection of students and the make-up of the a director and actor in fast turn-around This course is designed for students with two production teams will be based on the production television drama and engage you in a ‘behind years’ undergraduate experience. A background and/or creative experience of the candidates to the scenes’ glimpse of working on a major film in film or media production, drama, or creative ensure a balance of skills within each team. production.

www.auckland.ac.nz/screentools Course assessment Director Final cut should be delivered to the Convenor To work with the writer and actors to take a two days before the final class screening. This course is a practical production process scene from script to screen; to contribute to Because of the nature of the course there can be which is based on professional television script elements; to cast roles in collaboration no time over-runs. industry practice. You will be assessed on your with other Directors and the Producer; to creative, technical and organisational skills ensure a high standard of interpretation and individually and collectively as a production Class trips performance and to work with the Producer and team. Attendance and teamwork is a vital part of the EP. You will be given the opportunity to travel to your overall assessment. Matamata in the central North Island to visit Assignment 1: Digital production blog (individual Writer Hobbiton – the film set of the Hobbit village grade) To create work in a collaborative atmosphere from the Lord of the Rings trilogy and The Hobbit. Convenor John Callen will accompany Assignment 2: Completed group scene – one that contributes to the whole story and includes this trip and add a narration of various per production team, mix of individual and the stated intentions of the script and to deliver ‘backstage stories’ from the shooting of The group grade sound scripts in good, useable hard copy. Appropriate formats must be used. The writer Hobbit. Assignment 3: Completed drama – mix of must also follow developments of the script A second trip will be to the Weta Workshop individual and group grade into rehearsal to iron out any deficiencies that ‘Cave’ in Wellington. This trip may include a tour There is no final exam as this course is 100% may be brought up by the actors or directors. of part of the workshop, viewing of a behind-the- internal assessment. The final marks will be Once the script is completed, the writers will scenes documentary and demonstration of the made up of a mix of individual and group marks. continue to check developments and make making of (silicone) synthetic prosthetics, their final adjustments to the script up to a certain application and painting/make-up. There may Class roles point. They will also assume the role of vision also be a demonstration of and participation in switcher in the studio. This will require practice a short workshop on the making of chainmaille You will be assigned one of the following roles: sessions throughout the course. They may also and blood for the screen. be required to assist in other areas. The third trip is to the production set of Executive Producer New Zealand’s primetime television soap opera, The EP oversees all phases of the process Line Producer ‘Shortland Street’, at the South Pacific Pictures and ensures everyone and everything is up to To oversee the management of funds and studio in West Auckland. Students are able to standard without micro-managing. The role personnel; to ensure the steady flow of stand on set and observe the crew working in encompasses planning of post-production editing information from one and all to one and all; the key production roles as they create fast and delivery, quality control of product and to appoint and manage shooting crews in turnaround, multi-camera television drama. personnel, final decision-maker on casting, style collaboration with the producer and the director. Students will also be able to observe the editors of shooting and script elements. The EP must (For instance, the LP will decide who fills what in action and tour the production facility. question everything at all stages where necessary role and then guide each crew person through and will report directly to the Convenor. The EP their task during rehearsals and shooting). needs to exhibit strong organisational and people The Line Producer must find locations, find skills and have the ability to negotiate between make-up and unit persons, organise product groups to ensure delivery of a uniform product to issues and possibly call shots in the studio for meet the required deadline. the vision switcher. The Line Producer also acts as DA/Continuity person on all shoots. The Line Producer Producer acts as ‘treasurer’ for their team. Producers must decide with the EP on the choice of broadcast or niche dissemination of 1stAD/Designer the product and the style of the piece. They To organise and deliver schedules for meetings must also decide on the mode of broadcast and write up minutes, to devise schedules/ delivery and identify and understand the call sheets for rehearsals and shoots; to control target demographic. Commercial imperatives and direct all operations during shooting; ensure are important. Producers must work towards all settings, props and costumes are appropriate producing a ‘product’ that has ‘saleable’ value. for each episode and each location. The 1stAD If the product is for Facebook or YouTube, must provide progress reports to EP and course mobile phone or pod-casting, then the convenor. demographic and format for this delivery system needs to be researched and implemented. Editing Producers and the EP will oversee script meetings, scripts, casting, planning, scheduling. The focus of this course is on collaboration in The producer must take an active ‘creative’ role pre-production and production; good editing is in the development of allocated scenes and the essential to create a good end product but is a overall film. The Producer will also work with the small component of the course and the group Director to achieve a shootable series of shots should select an editor who is already capable in given time and space limitations. this area. The editing system is Adobe Premiere.