FILM SCHOOL DEDICATED The TOWorld’ COMEDYs Only Harold Ramis on the set of National Lampoon’s Vacation. Harold Ramis and Jim Fisher and Harold Harold Ramis Trevor Albert on the Ramis in The Next directing on the set set of Multiplicity. Generation, Second of Groundhog Day. City’s 37th revue. (1969) 2 FROM THE CHAIR It was on a bucolic golf course in And so began the shooting of his When The Second City LetSouth Floridat that ermy real film first film, Caddyshack. approached me about a school education began. named after Harold, I immediately Thus, my first essential lesson sparked to the idea. The year was 1980, and I had from Harold was learned. Turns I loved the possibility of helping been hired as the assistant to a out it’s not that important to start a school that would first-time director named Harold know when to say action or even celebrate the serious business Ramis. I was fresh out of college to know where to put the camera. of comedy and knowing Harold’s and eager to understand every There are lots of wonderful, tech- unique talents would be passed aspect of comedic filmmaking. savvy people who can whisper on to a new generation of comedic I found my new boss to be kind, in your ear and help you look like storytellers. funny, and more than happy to you know what you’re doing. share everything he knew. After Much of Harold’s greatest learning weeks of preparation, the first came as a result of his time at The day of filming finally arrived. But to find a great story Second City in Chicago. It was Harold rehearsed the first scene there that he grew as an artist with the actors, breaking down and nurture it and refine it? on and off the stage, unlocking in detail what dialogue might be That’s the most elusive of skills the power of improvisation and improvised, where it was best collaborative creation. It only to stick to the script, and how to and one that Harold excelled at. makes sense that the film school squeeze every possible laugh out is located in Second City’s storied of the scene. And he also knew how to Piper’s Alley building, steps away ( from the legendary stages where When rehearsal was completed, make those stories funny.. countless comedy careers got the assistant director yelled Little did I know on that golf their start, including Gilda Radner, for quiet on the set. We had course in Florida my partnership Bill Murray, Tina Fey, Steve Carell, sound speed. But as soon as with Harold would continue and Keegan-Michael Key, and of the camera assistant called out, for the next twenty years and course, Harold. “Scene one,take one!” I noticed include projects like National something odd. Everyone, all the Lampoon’s Vacation, Multiplicity, I am honored to have the actors and crew members, were and Groundhog Day, just to opportunity to oversee such just staring at Harold expectantly. name a few. Those years with a valuable asset to the film He looked slightly confused-- Harold included hard work, community and to work with until the A.D. rushed over and endless laughter, and countless gifted educators and an illustrious whispered in Harold’s ear, “It’s the additional lessons from one advisory board. director’s job to yell ‘action.’” of the greatest minds in film Please take some time getting comedy. I guess I can say I was Harold looked delighted as he to know our school and what we really the first graduate of the yelled “Action!” have to offer. We’d be pleased to Harold Ramis Film School. have you come create with us. Chair,–Trevor Harold Ramis Albert Film School Producer, Groundhog Day, National Lampoon’s Vacation, Club Paradise, Multiplicity 3 THE YEARLONG FPROGRAMilmmaker 4 ABOUT THE PROGRAM The Harold Ramis Film School at The Second City is the first and only filmmaking program of its kind. Over the course of the year, students are exposed to comedy theory, the ins and outs of comedy film production, screenwriting, improv, and attend master seminars with working industry professionals. Our program covers all aspects of comedic storytelling, broadening its applications to an expansive list of emerging industries that align closely with the hybrid skills developed here. Even if you’ve studied at other undergraduate or graduate-level film schools, the laser focus of our programming offers students something wholly unique--and relevant to our world. During the yearlong program, students are immersed in all three of these key areas: COMEDY THEORY STORYTELLING FILMMAKING These courses lay the foundation Great comedic filmmakers are Through our unique Filmmaker’s for the creative process. great storytellers. In our writing Laboratory and Directing Students are immersed in the courses, students explore the Workshops, students make methods of The Second City, mechanics and art of telling a films in the studio and in the learning how to use improvisation worthy story. Beginning with field throughout the entire as a tool for collaboration and a foundation in traditional year, learning how a director content generation. Students writing and classic storytelling prepares, how to work with screen great comedic works from techniques, students cultivate actors, and how to collaborate the past and present to absorb and develop their own comedic with the various roles on a film the work of comedians across voice, learning how to transform set. These production classes various media and eras. it onto the screen. All students will put into practice the lessons finish the year having written a on collaboration and storytelling fully completed script. from the other areas and culminate in students making their very own short film. 5 HRFS GET UP CLOSE AND PERSONAL In addition to the core classes, students attend Master Seminars throughout the year. Working artists from the industry lead discussions and hands-on workshops connecting students’ work in the program to the real world. Our extended family of successfulMa comedy writers, directors,ster and producers are readyC and willingla to share sses their insight into working in the business. Producer Gigi Pritzker Master Seminar with Director Paul Feig with HRFS students. Victoria Strouse. talks with HRFS student Dania Khan. 6 Martin Short holds a Q&A for students with Trevor Albert in The Second City e.t.c. Theater. In addition to distinguished Second City alumni and HRFS Advisory Board members Martin Short, Bob Odenkirk, Joe Flaherty and Betty Thomas, past speakers include: Albert Berger Producer, Nebraska, Little Miss Sunshine, HBO’s The Leftovers Paul Feig Master Classes Director, Bridesmaids, Ghostbusters Debbie Liebling Former President of Production, Universal; Production Executive, South Park, Borat, Dodgeball Ralph Millero Senior Vice President of Production at 20th Century Fox Animation Gigi Pritzker Producer, Hell or High Water, Ender’s Game Peter Sagal Playwright, Screenwriter, Host of NPR’s Wait Wait...Don't Tell Me! Victoria Strouse Screenwriter, Finding Dory Bob Teitel Producer, Barbershop, Soul Food, Southside with You Peter Tolan Emmy-winning director, producer, writer, The Larry Sanders Show 7 THE Here is a sampling of the courses offered as part of the yearlong program. For the complete class listing, visit ramisfilmschool.com. COMEDIC FILMS FUNDAMENTALS In this course, you will examine the language, physicality, and OF COMEDIC Custructurer of comedicriculum films STORYTELLING through the prism of the times Students will utilize The Second in which they were made, as City’s approach of creating well as how these films (and from abundance and using their offspring) remain relevant. improvisation as an invaluable By comparing and contrasting tool in the creative process to modern comedies with classics, create characters, situations, you will understand how comedy and premises ideally suited can be used to express not just for comedic storytelling. Class the times in which it was created, workshops focus on taking you but also the universal issues that through the creative process still confront us. To do this, class of in-depth story development presentations will be broken and exploring the art and craft down by specific epochs with of the comedy “punch-up.” The classic comedy films chosen that capstone project for this session illuminate the times and work to is a completed screenplay for a advance the form. short film or an excerpted scene from a pilot or feature, plus a “story bible” for an associated 8 long-form narrative. IMPROVISATION FOR FILMMAKER’S MAKING THE FILMMAKERS LABORATORY SHORT FILM This course is the study of Drawing on students’ own In this workshop-style class, improvisation techniques rooted interests, instincts, and you will take your written script in Viola Spolin’s work. Students observations, you will be given completed earlier in the year and will develop the skills to work the necessary tools to make make a short film. This class is and think in a collaborative a nonfiction film. Students where the filmmaker’s comedic environment, learning solid are encouraged to find the point of view and technical skills scene work steeped in the comedic, absurd, intriguing, and are united with collaboration and tradition of Second City’s dynamic in the world around storytelling in the creation of a techniques and philosophies. them. After shooting, students final film project. After having Students will learn to create with edit their projects and discuss learned different skills needed a focus on Character Point of the choices made both visually to make a film, students will View to drive the content of the and structurally. Students then create something that reflects story. Improvisational concepts transition into fiction narrative their artistic point of view and such as give and take, surrender, and shooting exercises.