Scriptwriting Workshop Tuesday 17th January 2012

Time 5 5 Activity Iain- Set context, expectations for the session MH introduce self: y Origin of interest y MA y Production + process of getting commissioned y The place of the scriptwriter art and craft y The only original artist on a film What is scriptwriting really about (inc. difference to theatre) Exercise on story in five short silent scenes (Works brilliantly well to play the introduction of Up as the perfect example?) Feedback Play Final Call The process of writing the script: y Initial idea y A grounding image y Developing it into a story (75% before the first word is typed) y Organic development - you find the theme. y Structure primary importance in film (shorts tend to be set up and reveal/sucker punch). Set ourselves the challenge of a full arc y Number of drafts and redrafts (mainly stripping back) y Need to let go e.g. the ending y What collaboration brings to it (e.g. the tone) Iain the structure appropriate for their film y Journey Narrative y Ritual Occasion (http://www.esfmedia.com/page/Chapter+1+Key+Notes ) Iain- Narrative structure exercise y http://www.esfmedia.com/page/Chapter+5+Narrative+Structure Layout use the Final Call script as an example Film is about action, not talking. Think in images and sounds first The role of a scriptwriter is to tell a story cleanly. You should be invisible.

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Most important if you can t see it or hear it then don t write it. No thoughts, no emotions. And avoid flashbacks and voice overs whenever possible it s lazy and it s not screenwriting. 95% of the voice overs we hear are because they re adapted books. Never try to direct the camera that is the director s job. Being invisible directing the camera without ever mentioning it (scriptwriters are subtle) - How would suggest the camera in this situation? Writing a treatment: y What it is y What it s for (give 50s Hollywood example) + part of the pitch y How to write it