Writing the script for your movie

1
Year-End Motion Picture Project

• Writing the script for your movie
• Filming your movie
• Editing your movie
• Watching / Critiquing your movie
• Xtra Credit will be awarded to the class winners
  from various categories (end of project after
  viewing/critiquing)
• Awards will be given to best films from among all
  classes
• Xtra Credit for Red Carpet Academy Awards
  Ceremony

DAY 1
2
Year-End Creative Project

• All notes contained on this PowerPoint
  presentation, as well as some handouts provided
  were taken from David Trottiers The
  Screenwriters Bible (4th Edition). Should anyone
  wish to look through book throughout this
  project, please see me.

DAY 1
3
Todays Activity

• Overview of Project (Individual Idea)
• Coming up with a sample Idea/Premise for a movie
• Creating a fictional central character
• Central characters main opposition/conflict
• Treatment

DAY 1
4
Movies A Whole Other Matter

• Differentiate between novels (thoughts, feelings,
  internal concepts, themes) and scripts (almost
  exclusively verbal, visual, focusing on emotional
  aspects of scene)
• Conflict in a stageplay comes out through the
  action dialogue
• Showing through action usually works better than
  telling with dialogue

DAY 1
5
Script Writing Structure is Important!!!

• The script is a union of form (structure/ order)
  content (affective message)
• Begin with a skeleton on which you hang the meat
  of your story
• Break up movie according to Beginning (25),
  Middle (50), End (25)

DAY 1
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Script Writing Structure is Important!!!
Beginning Middle End
Set up story Grabs readers attention Complicate matters Conclude the story
Establish the situation for conflict Develop Conflict Resolve conflict
Catalyst Big Event (ends Act 1) Conflict rises to a Crisis The payoff for the audience
DAY 1
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Second Turning Point Crisis. Leads to Final
Showdown, forcing central character to take the
final action
Rising Conflict
Pinch Usually the moment toward the middle of
movie when character becomes more committed,
involved or motivated
Showdown Final face-off between character and
opposition
Realization when character and/or audience sees
that the character has changed
Middle Acts 2 3

First Turning Point The Big Event. Ends Act 1
moves reader to Act 2. Often it is the main
characters loss of control over his/her life
Catalyst One turning point early on that gives
main character goal, desire, mission, need, or
problem
Beginning Act 1
End Act 4 Denoue-ment Tie up loose ends
Hook reader from opening scene
8
Brainstorming Activity

• Writing a Treatment (your core story) in three
  paragraphs one for the beginning, one for the
  middle, and one for the end.
• Two Sentences explaining your idea
• Paragraph 1 will end with Big Event
• Paragraph 2 will end with the Crisis
• Paragraph 3 with the final outcome and
  Denouement
• (Obviously you cannot include all characters)

DAY 1
9
CheckpointGet It Right From the Start

• How solid is your idea, premise or concept?
• Will it appeal to a mass audience?
• Is it fresh? Original? Provocative? Commercial?
• Does hearing it make people say, I want to see
  that!?
• Is it large enough in scope to appear on the
  silver screen?
• Does it stand alone without big stars?

DAY 1
10
Your Movie Concept

• You should be able to tell a producer what your
  story is about in 1-2 sentences. You should be
  able to say
• My story presents a character who wants
  (something) and who is opposed by (at least one
  other character). This opposition causes
  (conflict) and a (series of critical events), all
  leading to the (Crisis) and (Showdown) at the
  end.

DAY 1
11
Todays Activity

• Overview of Project
• Group allocations
• Discussion of individual ideas/premises
• Choose one group idea/premise genre

DAY 2
12
Overview of Project

• Choose a genre (action/adventure, Western,
  thriller, romantic comedy, sci-fi, family drama,
  etc)
• First scene should hook your reader, setting
  forth the rules of your story (should convey
  atmosphere or mood, location, emotional setting
  and/or genre)
• Early in the script, introduce your central
  character (protagonist) and his foil (antagonist)

DAY 2
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The Flow of the Story

• The Catalyst occurs early in your story (what
  happens to central character to give him/her a
  goal, desire, mission, need, problem. Kicks
  things out of balance and the main character
  spends the rest of the movie trying to get things
  back into balance.)
• Catalyst often reveals something of the main
  conflict or story premise. It may raise the
  central dramatic question of the film.
• Catalyst may or may not be the Big Event (for
  this assignment, it is not the same)

DAY 2
14
The Flow of the Story

• Warning! Dont provide too much information
  (background or exposition) in Act 1. Give only
  what the audience needs to understand the story
  without getting confused

DAY 2
15
The Flow of the Story

• Act 1 (beginning) of story ends with Big Event
• Central character emerges from Act 1 with desire
  to do something about the difficult situation
  created by Catalyst and/or Big Event
• His/Her action will likely fail, forcing him/her
  to take new actions.
• Act 2 will contain many setbacks and some
  breakthroughs or temporary triumphs
• Middle focuses on this type of rising conflict
  and complication (avoid being too repetitive)

DAY 2
16
The Flow of the Story

• In the middle section of movie, part of the
  rising conflict can be strong subplots that
  crisscross with the main plot
• The Pinch can be the moment when the motivation
  to achieve the goal becomes fully clear, or the
  stakes are raised
• From the Pinch on, central character takes
  stronger actions, perhaps even desperate actions
  that threaten to compromise his/her values. One
  or more temporary triumphs by the central
  character arouse the opposition

DAY 2
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The Flow of the Story

• As a storys conflict intensifies, the pace
  quickens until the worst thing happens (Crisis)
• The Crisis is when all seems lost, or when the
  central character faces a crucial decision, or
  hits bottom. What is the worst thing that can
  happen to your character?
• The Showdown or Climax follows on the heels of
  the Crisis (the central characters goal is on
  the line)

DAY 2
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The Flow of the Story

• Hollywood loves happy endings, but the most
  effective and affective stories are bittersweet
  or tragic in the end
• Dont end your movie with an easy solution it
  was all a dream or the central character does
  his own rescuing at the end
• Dont leave end of story open or ambiguous (bring
  closure to your viewer) Exceptions, discuss
  with me!

DAY 2
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The Flow of the Story

• The Realization occurs during or just after
  the films climactic scene, the central character
  realizing something new about him/herself after
  undergoing great challenges.
• He/she has shown great courage- physical,
  emotional, and moral
• The audiences discovery of the final result of
  the characters challenge is the moment of
  Realization

DAY 2
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The Flow of the Story

• Finally, we have the Denouement where all
  loose ends are tied together and all remaining
  subplots are resolved
• While stories deviate because writers purposely
  avoid formulaic writing, for this assignment,
  please observe the format provided (in that order)

DAY 2
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Other Things to Consider

• You need a titillating title, one that conveys
  something about the concept or theme of your work
  (do this at the end of your project)
• Your movie should strive to begin with a great,
  catchy and original idea
• Every scene is a meaningful part of the whole

DAY 2
22
Todays Activity

• Overview of Project
• Your Story
• Types of Stories
• Genre
• Theme

DAY 3
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A Good Concept Begins With

• Making it easily understood by an 8th grader
• Can be encapsulated in a sentence or two
• Provocative and big, fresh and highly marketable
  idea
• Character plus conflict plus a hook (often the
  Big Event)
• Sounds like an event movie with sequel
  potential
• It can stand alone without great stars playing
  the parts
• It will attract a big star
• Unique with familiar elements

DAY 3
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A Good Concept Can

• Be presented as a premise question
• Hook or fail to hook an agent or producer
• Present extraordinary happenings of someone who
  is ordinary, just like us
• Have universal appeal

DAY 3
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Your Story

• Central character has a conscious goal
• He/she has an unconscious need (self-image,
  finding love, living a better life, etc)
• The need is usually blocked by a character flaw
  (obvious to the audience)
• The flaw is almost always selfishness, pride or
  greed

DAY 3
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Your Story

• The flaw is explained in the backstory, some
  event in the past that deeply hurt the character
• The characters conscious goal usually doesnt
  oppose the need, although it could

DAY 3
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Your Story2 Stories

• There are 2 main stories Outside/Action
  Inside/Emotional
• Each has its own turning points structure
• One is the main plot, the other, a subplot
• The 2 stories should be intertwined
  synergistically (see handout pg 35)

DAY 3
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Your Story

• You will have to choose between 2 basic story
  types
• Plot-Driven Character-Driven
• Plot-Driven focuses on characters goal and the
  action
• Character-Driven focuses on character dynamics, a
  need, key relationships

DAY 3
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Choose a Genre

• Love stories
• Action/adventure
• Thriller
• Horror
• Sci-Fi
• Detective/Mystery
• Drama

DAY 3
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ChecklistStory Must Knows

• Identify the parameters of your story
• What is the genre?
• What is the time and setting?
• What is the emotional atmosphere, and the mood?
• What, if any, story or character limits exist?

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Plot-Driven Story

• character achieves goal
• Loses but gains valuable moral victory
• Sows seeds of own destruction
• Grows by doing the right thing
• Grows up (coming of age/into his own) in quest
  for goal which is either achieved or not
• Learns what he/she needs to be happy
• Fails to ultimately learn lesson (but audience
  does)
• Declines by striving to achieve a worthy goal
  (Godfather)

DAY 3
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Myth Beyond Genre Plot

• The mythological heros journey is usually
  interweaved in the fabric of any story,
  regardless of genre
• Hero lives in ordinary surroundings
• Theres a call to adventure
• Hero is reluctant to the call
• Older person, amulet, or other aid changes his
  mind

DAY 3
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Myth Beyond Genre Plot

• Hero travels to an extraordinary place
• A series of tests or obstacles tests his/her
  heroic valor/determination
• Hero often enters a secret/forbidden place
• He/she seizes the object sought (magic lamp,
  treasure, etc)
• Is chased back to the ordinary world where his
  deeds have blessed the people

DAY 3
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Theme

• What would motivate you to write is the movie
  message or premise, sometimes called the theme.
• Think of your storys moral (may know upfront or
  may develop through writing of script)

DAY 3
35
Todays Activity

• Sketching your Central Character Others

DAY 4
36
10 Keys to Creating Captivating Characters

1. A goal and an opposition the central character
   must want something (specific and measurable
   happiness is not a goal). There must be
   opposition, which creates conflict. Conflict
   makes drama, reveals character, and motivates
   people to learn

DAY 4
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10 Keys to Creating Captivating Characters

1. Motivation central character should be
   motivated. The more personal the motivation, the
   better. Motivation usually grows with conflict
   as the story progresses. Usually motivation
   deepens at the Pinch.

DAY 3
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10 Keys to Creating Captivating Characters

• 3) Backstory Before page one of your screenplay,
  something significant happens to your central
  character. Most often we get brief glimpses of
  what happened (as flashbacks) and this backstory
  usually haunts the character, affecting his/her
  actions.

DAY 3
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10 Keys to Creating Captivating Characters

• 4) The Will to Act We judge a person not by
  their words but by their actions. Action reveals
  character, and crisis reveals his/her true
  colors, what he/she is made of. Action should
  reveal more than dialogue, although this too is
  action for it tells us what is going on inside.

DAY 3
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10 Keys to Creating Captivating Characters

• 5) A Point of View Attitudes Your character
  must have a past and a point of view about life
  based on his/her experiences (the backstory is
  just one event that shaped him/her). What is
  your characters point of view about life? Love?
  Opposite sex? Growing old? Sex? Falling rain?
  Grocery shopping? Career?

DAY 3
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10 Keys to Creating Captivating Characters

• 6) Room to Grow The central character also has a
  point of view of himself/ herself. This is
  his/her self-concept. He/she acts from this point
  of view. Growth comes about through adversity
  and conflict, where his/her true character is
  revealed

DAY 3
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10 Keys to Creating Captivating Characters

• 7) Believability Your role as the writer is to
  make us care about your character and make
  him/her as real as possible, resembling real-life
  human beings with emotions. In finding his/her
  human traits, seek to give 1 dominant trait,
  along with 3-4 other traits to contrast against
  their main flaw.

DAY 3
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10 Keys to Creating Captivating Characters

• 7) Continued
• You dont have to reveal these at one time.
  Ideally, each scene, each contact with a
  different character reveals something new. Give
  character human values, human dimension

DAY 3
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10 Keys to Creating Captivating Characters

• 8) Details these mean a lot. Think of them as
  characterization tools. Idiosyncrasies, habits,
  quirks, imperfections, etc. Personal expressions
  true to the character.

DAY 3
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10 Keys to Creating Captivating Characters

• 9) A Writer Who Cares Character should have a
  life and voice of his own. Let your characters
  take over the story and tell you what they want
  you to do. Investigate a particular background to
  make character more realistic. Even though is
  important, you must see the character in detail.
  Identify complexes, phobias, pet peeves, fears,
  secrets, attitudes, beliefs, etc.

DAY 3
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10 Keys to Creating Captivating Characters

• 9) Continued
• What are my characters values?
• What does he/she do when alone?
• Whats the most traumatic thing that ever
  happened to him/her?
• Whats his/her biggest secret?
• What is her most poignant moment?
• What are his/her hobbies?
• What are his/her special abilities?

DAY 3
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10 Keys to Creating Captivating Characters

• 9) Continued
• What is his/her deepest fear?
• What kind of car does he/she drive?
• How does he/she dress?
• Where does he/she live?
• Whats the worst thing that can happen to
  him/her?
• Whats the best thing?
• What is he/she doing tonight?

DAY 3
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10 Keys to Creating Captivating Characters

• 10) Strong Supporting Cast Well-written stories
  emphasize relationship (opposite personalities is
  one type where each fills anothers need and
  transform the other). Your cast should include
  one central character, a confidant/sidekick, a
  love interest (may also function in another role
  as well). You will want characters with contrasts
  on many levels (attitudes, methods, social
  status, etc).

DAY 3
49
10 Keys to Creating Captivating Characters

• 10) Strong Supporting Cast Well-written stories
  emphasize relationship (opposite personalities is
  one type where each fills anothers need and
  transform the other). Your cast should include
  one central character, a confidant/sidekick, a
  love interest (may also function in another role
  as well). You will want characters with contrasts
  on many levels (attitudes, methods, social
  status, etc).

DAY 3
50
Todays Activity

• Dialogue Scene
• Outlining your Acts/Scenes

DAY 4
51
Dialogue, Subtext Exposition

• In movies, dialogue is not real-life speech (even
  if it sounds like it).
• Dialogue in movies is more focused, less rambling
  (edited speech).
• Avoid monologues. Dialogue is conversational.
• Characters should interrupt, lie to another.
• Let your characters speak in a voice of their own

DAY 4
52
Dialogue, Subtext Exposition

• Voice in Dialogue consists of
• The text, or words
• The subtext, or meaning of words
• Grammar and syntax
• Vocabulary
• Accent and/or regional or foreign influence
• Slang
• Professional Jargon
• Speaking style, including rhythm and sentence
  length

DAY 4
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Dialogue, Subtext Exposition

• Dialogue (what is said) is not as important as
  the subtext (how it is said).
• Dialogue should move the story forward, just as
  scenes do, revealing something about the
  characters attitudes perceptions, traits, values
• Every dialogue scene should include some
  conflict, even if it is just passive resistance

DAY 4
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Dialogue, Subtext Exposition

• Another purpose of dialogue is to communicate
  necessary facts and background info on story
  (exposition)
• Most of the exposition comes out in the beginning
  of the story (only give what is needed for
  audience to understand story)
• When using flashbacks to provide exposition, do
  it only if it will move the story forward

DAY 4
55
How to Make a Scene

• Screenplays are composed of acts
• Acts break down into sequences
• Sequences into scenes
• Scenes into beats

DAY 4
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How to Make a Scene

• Each scene should move story forward in terms of
  plot and character (current scene motivated by
  prior scene will motivate the next)
• All scenes should direct us to the Showdown, the
  biggest scene or sequence of scenes
• Never tell what you can show

DAY 4
57
How to Make a Scene

• Avoid talking heads (ex an argument can be start
  at the breakfast table, continued in the car,
  concluding at a racquetball court)
• Every scene needs a beginning, middle, and end
• Start scene as close to the end of the scene as
  possible
• Cut out from each scene what isnt essential to
  moving plot forward

DAY 4
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How to Make a Scene

• Pace your scenes Follow action scenes with
  dialogue scenes, heavy scenes with light scenes
• Make sure pace quickens as you close on the
  Crisis and Showdown
• Scenes should culminate in something dramatic, a
  punch or tension that leads to another scene
  (decision, reversal, cliffhanger, revelation or
  other event that makes us want to see whats
  going to happen next)

DAY 4
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How to Make a Scene

• Strive to create effective transitions between
  scenes (has nothing to do with editing)
• End one scene with a roulette wheel spinning. The
  next scene begins with a car wheel digging into
  the mud.
• Each scene should contain a definite emotion or
  mood. Focus on that emotion as you craft the
  scene. What is my characters attitude/intention
  in this scene?

DAY 4
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How to Make a Scene

• Focus the scene on a well-motivated conflict
  (regardless of how minor, even two people with
  the same goal will disagree over methods, or just
  get under the others skin)
• Each scene should have a definite purpose

DAY 4
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Tools for Building Suspense

• Evoke emotion create characters we like
  (believable) since they act as conduits through
  which emotion can pass to us
• Create conflict rising conflict creates
  suspense. Since conflict is drama, school fights
  are so fascinating and no one breaks them up
• Provide main character with powerful opposition
  a position of strength, capable of doing damage
  (not just physical)

DAY 4
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Tools for Building Suspense

• Build expectation for trouble (unfaithful husband
  coming home to find his wife answering the phone
  call of his lover)
• Increase tension put audience in superior
  position (dramatic irony contrast between what
  actors know and what audience knows)
• Use surprise throw in an occasional nasty twist,
  or sudden turn of events

DAY 4
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Tools for Building Suspense

• Create immediacy when something vital is at
  stake, that something becomes vital (physical
  safety, emotional fulfillment, the next or
  ultimate goal of main character, etc)
• Establish consequences Heightened suspense can
  follow as the character attempts once again the
  task that nearly killed him/her last time

DAY 4
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Todays Activity

• Story Skeleton break up your story into Acts
  Scenes
• Begin to fill in the meat action dialogue

DAY 5
65
SCRIPT WRITING FORMAT!
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Script Writing Format

• There are 3 parts of a screenplay
• Headings
• Narrative description
• Dialogue

67
Script Writing Format

• There are 3 types of headings
• Master scene headings (camera location, scene
  location, time)
• Secondary scene headings (when breaking up long
  scenes that take place in the same location to
  direct camera)
• Other secondary headings are for flashbacks,
  dreams, montages, series of shots, and so on

68
Script Writing Format

• For entire script, use Courier New 12-point font.
• Use 1 margins (except for left side 1.25)
• Page numbers appear on upper-right corner (insert
  as header). No page number should appear on title
  page.
• Begin with title page (see sample). List all
  group members. On address line (right-justified),
  type
• Mrs. Contreras Period
• 2005-2006 School Year
• G. Holmes Braddock Senior High
• 3601 SW 147 Avenue
• Miami, Fl 33185

69
Script Writing Format

• A FADE IN always appears at the beginning of
  a script (flush to the left margin).
• B Master Scene Heading
• camera location (INT for interior or EXT for
  exterior)
• scene location (where everything is happening.
  Usually 1 to 2 words suffice)
• time of day (DAY or NIGHT or SAME if next
  scene occurs at same time as prior, LATER)
• special notations (dream, year, flashback,
  etc.)

70
Script Writing Format

• C Spacing between scenes (2 spaces before a
  new master scene heading)
• D Montage and Series of Shots (a sequence of
  brief shots expressing the same or similar idea,
  such as passage of time, stream of
  consciousness (the characters thoughts)). This
  format works for flashbacks and dreams as well.

71
Script Writing Format

• E INSERT (also known as CUTAWAY) is used to
  bring something small into full frame (book, news
  headline, sign, contract, letter, etc). You use
  this function when it is important to draw
  attention to the item.

72
Script Writing Format

• Samples
• MONTAGE SUZY AND BILL HAVE FUN TOGETHER
• SERIES OF SHOTS JOHN GETS EVEN
• FLASHBACK EXT. TRAIN TRACKS NIGHT
• DREAM SID IN THE JUNGLE
• DAME NOSTRAS VISION WORLD WAR FIVE
• INSERT THE LETTER
• INTERCUT TELEPHONE CONVERSATION

73
Script Writing Format

• F ESTABLISHING SHOT (often at the beginning of
  the movie, sequence or scene)
• Incorrect
• EXT.NEW YORK CITY DAY ESTABLISHING
• Correct
• EXT. NEW YORK CITY DAY
• Manhattan sparkles in the sunlight.

74
Script Writing Format

• G CAMERA PLACEMENT (beginning with B, the
  camera is inside the classroom, but it can see
  the little girl in pigtails through the window)
• Narrative description is written in present
  tense because we view a film in present time.
  Limit your paragraphs to four lines. Describe
  only what can be seen or heard.

75
Script Writing Format

• I CHARACTER FIRST APPEARANCE (must be
  capitalized)
• K SIGNS, NEWS HEADLINES, BOOK TITLES, NOTES
  LETTERS
• L SOUNDS
• MOS means without sound, such as two lovers
  flirting MOS in the balcony.

76
Script Writing Format

• M SPECIAL EFFECTS
• SUPERS means to superimpose words on a screen,
  such as FIVE YEARS LATER
• N TRANSITIONS
• O POV means point of view which is to see
  something from a characters point of view.

77
Script Writing Format

• P AUTHORS INTRUSION this is only permissible
  if it helps tell the story or clarifies
  something.
• Q CONTINUED when a scene does not conclude at
  the bottom of a given page, it is customary to
  double-space and type (CONTINUED) at the lower
  right (flushed right).
• R CHARACTER CUE the character name or cue
  always appears in CAPS.
• ACTORS DIRECTION just under name, parenthetical
  directions aid the actor/actress to better play
  part.

78
Script Writing Format

• BEAT usually signals a pause the actor/actress
  should take.
• SOLILOQUIES avoid characters talking to
  themselves, unless absolutely necessary.
• S CONTINUING AND CONTD No need to use this in
  scripts. The only time you should do this is if
  youre continuing characters dialogue from
  previous page. Type (MORE) at the bottom of
  first page and BUGSY (CONTD) at the top of the
  next page.

79
Script Writing Format

• P AUTHORS INTRUSION this is only permissible
  if it helps tell the story or clarifies
  something.
• Q CONTINUED when a scene does not conclude at
  the bottom of a given page, it is customary to
  double-space and type (CONTINUED) at the lower
  right (flushed right).
• R CHARACTER CUE the character name or cue
  always appears in CAPS.
• ACTORS DIRECTION just under name, parenthetical
  directions aid the actor/actress to better play
  part.

80
Script Writing Format

• BEAT usually signals a pause the actor/actress
  should take.
• SOLILOQUIES avoid characters talking to
  themselves, unless absolutely necessary.
• S CONTINUING AND CONTD No need to use this in
  scripts. The only time you should do this is if
  youre continuing characters dialogue from
  previous page. Type (MORE) at the bottom of
  first page and BUGSY (CONTD) at the top of the
  next page.

81
Script Writing Format

• T OFF SCREEN (O.S.) and VOICE OVER (V.O.) This
  is a feature used when a character is heard but
  not seen in the camera frame. Voice over is
  typically used when a character is having a
  thought but his/her lips dont move.
• U TELEPHONE VOICE Voices coming through
  telephones, walkie-talkies, radios, etc. are
  VOICE OVERS.

82
Script Writing Format

• V TELEPHONE CONVERSATIONS
• Method 1 dialogue from the second party (off
  screen) is not heard. We deduce what is happening
  from 1st persons conversation.
• Method 2 VOICE OVER is implemented and we hear
  the second voice.
• Method 3 Audience sees and hears both parties
  (split screens)

83
Script Writing Format

• V TELEPHONE CONVERSATIONS
• Method 3 B Use INTERCUT feature to list the
  entire dialogue scheme, rather than use master
  scene headings for each characters exchange.
• MUTE DIALOGUE Signing is not considered
  dialogue since words are not actually spoken.
  When this occurs in a film, the words must be
  spoken orally or through subtitles.

84
Script Writing Format

• W DIALOGUE PUNCTUATION
• Dashes (--) indicate sudden shift or break in
  thought, or to show emphasis.
• Ellipsis () is used for continuity. The
  character will start speaking, then pause, and
  then continue again.

85
Check Yourself

• What is the catalyst that disturbs the normality
  of your characters life, giving your central
  character a direction?
• What Big Event really impacts your characters
  life?
• Is there a strong, rising, conflict throughout
  Act 2?
• Does the conflict build? Or just become
  repetitive?

86
Check Yourself

• Is there a Pinch, a twist in the middle, that
  divides Act 2 Act 3, where your character is
  more fully motivated/ committed and cannot return
  to who he/she was before?
• What terrible Crisis will your character face?
• Will the Crisis force a life/death decision,
  and/or make the audience fret about how things
  will turn out in the end?

87
Check Yourself

• What is the Showdown?
• How does your story end?
• In the end, does your character learn something
  new? Is his/her growth (positive/negative) made
  apparent? Or does he/she receive recognition in
  the end or is his/her own growth recognition
  enough?

88
Last Check

• Do you have a movie title that inspires you?
• Will this title titillate the audience? Is it a
  grabber?
• Does it convey something of your story concept or
  theme?
• Does it conjure up an image or an emotion?
• Is it short enough to appear on a marquee?

89
Last Check

• How will your movie poster look?
• How will your movie trailer look?
• Is there a striking visual image that will stop a
  passerby?
• Is there a headline that plays off the title or
  conveys a high concept?
• Will people want to see this movie?

90
Group Roles

• While some members will have to assume various
  duties, the group should assign a member to one
  or more of the following categories
• Director (involved in all filming, oversees
  entire project, knows whats happening at all
  times)
• Production Assistant (involved in all filming,
  assists Director, knows whats happening at all
  times)
• Cinematographer / Editor (involved in all
  filming, film footage (beginning to end) is
  his/her main responsibility)
• Equipment, Wardrobe, Props Script Assistant
  (involved in all filming, makes sure that all is
  available when needed, closely follows script to
  ensure consistency/notes alterations)
• Actors/Actresses (involved in the actual filming
  of the movie and 2005-2006 Bulldog Academy Awards)

91
Extra Credit

• Bulldog Academy Awards Show
• - director
• - production assistant
• - cinematographers (2 cameras)
• - editors (2)
• - music technician/lighting assistant
• - video screen assistant Bring screen down to
  play red carpet interviews, pre-recorded
  commercials, or category winners. Take up for
  live dance numbers/acts, singing, etc.
• - Red Carpet interviews (stars interviewers)
• - Pre-Recorded commercials (sponsors)
• - Show Host/Hostess
• - Category Announcers

92
Group Book Requirements

• Clear Cover Binder (any color)
• Front inside clear cover (movie Poster)
• Side 2006-2007 Motion Picture Project
• Back inside clear cover (list of credits)
• Inside
• - script
• - treatment
• - wardrobe/prop/equipment list
• - camera diagrams
• - location/shooting schedule
• - group reflections

93
Movie Project (Script-Writing)

• Week of 10/9/06 Brainstorm movie
  concept/premise. Movie Project approval letter
  signature. Read PP slide show for movie project
• Week of 10/23/06 Write up Movie Concept (2
  sentences), Core Story Elements, plot these into
  8 ½ x 14 flowchart, Group Allocation. Character
  development, story development begin outlining
  (Acts/Scenes), Dialogue Action
• Week of 10/30/06 Discuss characters
  development, backstories and interweaving into
  main story (flowchart). Type up Movie Concept,
  Story Elements 8 ½ x 14 flowchart making any
  necessary corrections.
• Week of 11/6/06 After completing information on
  characters, discuss how the characters are to be
  developed throughout the movie (how are they to
  grow or not grow in the story, interact with
  other characters). Amend the typed 8 ½ x 14
  flowchart as needed (email to all group members).

94
Movie Project (Script-Writing)

• Week of 11/13/06 Using typed 8 ½ x 14 flowchart,
  begin to write into detailed 8 ½ x 11 sheets
  (they say Acts I-IV on the side). At the
  beginning of each scene, write the purpose for
  that scene at the top (one sentence). Each scene
  must have a beginning, middle, end and should
  serve to advance the plot in some way (where
  action or interaction of characters provides not
  just characterization - getting to know the
  backstories, motivations, thoughts/perceptions
  and behaviors of characters but is the action
  that keeps the story moving forward). Be as
  thorough as possible in terms of writing on 8 ½ x
  11 sheet what is to take place in that particular
  scene from beginning to end (obviously include
  dialogue between characters). Review Script
  Writing Format (on PP handout), begin to type
  script based on your notes from Act(s)/Scene(s)
  handout. Once you have checked for spelling and
  format, print your script section(s). Once
  printed, next to each Master Scene Heading, write
  out (in pencil) the Act/Scene number as it
  corresponds to groups 8 ½ x 14 flowchart.
  Staple your sections and write your name at the
  top-right corner of top page.
• Week of 11/20/06 Groups will read make
  corrections to individual scripts
• Week of 11/27/06 Groups will read make
  corrections to individual scripts. Decide on
  preliminary shooting schedules (subject to
  parental approval)
• Week of 12/4/06 Movie book due (typed Movie
  Concept, Core Story Elements, Characters,
  Acts/Scenes written sheets, Script, preliminary
  shooting schedule)

95
Movie Project (Filming Schedule)

• Week of 12/11 (Each group bring video camera
  all wiring for inspection).
• Week of 12/18
• Week of 12/25 (Holidays optional)
• Week of 1/1(Holidays optional)
• Week of 1/8
• Week of 1/15
• Week of 1/22
• Week of 1/29
• Week of 2/5
• Week of 2/12
• Week of 2/19
• Week of 2/26
• Week of 3/5
• Week of 3/12

96
Movie Project (Editing Schedule)

• Week of 3/19 Film Editing Training K215 (Monday
  only). Editing Mon-Thur 300pm-600pm.
• Week of 3/26 Editing Mon-Thur 300pm-600pm.
• Week of 4/2 (Spring Break)
• Week of 4/9 Editing Mon-Thur 300pm-600pm.
• Week of 4/16 Editing Mon-Thur 300pm-600pm.
  Film Project Due by end of day Thursday, 4/19.
• Week of 4/23 Movie Opening Nights
• Week of 4/30 Rehearsals for Academy Awards Red
  Carpet Filming
• Week of 5/7 Bulldog Academy Awards

97
Movie Show Times

• Monday, 4/23
• Premiere Showing of Period 1 movies
• Auditorium 300pm (no food/drink)
• Tuesday, 4/24
• Premiere Showing of Periods 3 movies
• Auditorium 300pm (no food/drink)
• Wednesday, 4/25
• Premier Showing of Periods 4 movies
• Auditorium 300pm (no food/drink)
• Thursday, 4/26
• Premiere Showing of Periods 5 movies
• Auditorium 300pm (no food/drink)
• Friday, 4/27
• Premier Showing of Periods 6 movies
• Auditorium 300pm (no food/drink)

98
Bulldog Academy Awards

• Thursday, 5/3
• If you wish to make a Red Carpet appearance to
  be shown during the Bulldog Academy Awards
  Ceremony, you must dress up as either a movie
  star (actors/actresses), fans (non-actors
  friends), or interviewers (pre-approved). Meet by
  Circular Driveway (330pm).