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Writing A Short Screenplay:

The MMM Information Packet

Materials and resources assembled by Professor Elisabeth Benfey


Octo be r 1 0, 20 06

Table of co nt ent s

What is the MMM?..3 About the event & Important Dates Short Screenwriting FAQ..4 Some Responses to Commonly Asked Questions & Concerns Idea to Story.. 5-6 How to start creating the short screenplay Story to Screenplay. 7-9 Taking the idea and turning it into a script How Can I Do All This in 8 Minutes?!. 10-11 Some tips for staying sane and organizing your Writing The Treatment. 12 Example & Tips The Step-Outline. 13 Example The Short Screenplay. 14 Where to Find Examples & Formatting Tips Top Ten Tips for Successful Screenwriting. 15 Taken from Creative Screenwriting The MMM Short Screenplay Competition. 16-17 Official Rules & Submission Information Student Filmmaking at Duke. 18 Ways to get Involved & get MMM Practice on Campus

The Movie Making marathon


At-a-Glance Event Summary This fall, the MMM will officially begin with a short screenplay competition open to all Duke undergraduate and graduate students. You will have from October 2 until November 15 to submit these screenplays online by email. The official rules of the competition, tips for writing, and other filmmaking resources are available in this packet as well as on our website, www.duke.edu/web/mmm. Over Winter Break, a selection committee will choose the top 3 short screenplays for use in the Marathon during Spring Semester. In late February, students would would like to compete in the actual filmmaking event will be invited to participate in the MMM Crew Call where they will be given the chance to become a member of one of 10 student filmmaking teams. The Movie Making Marathon officially takes place over the weekend of March 24-25, 2007. Ten student filmmaking teams at Duke University will each work together to produce a short film based on one of the three winning scripts from the fall competition. The teams have 24 hours to make their film, 12 hours to shoot, 12 hours to edit. Their films will then premiere the following day at a campus-wide screening for the Duke community. At this event, industry professionals will judge the competition and give their remarks, with the entire weekend culminating in an Awards ceremony and reception for the student filmmakers. Producer Bill Teitler (Mr. Hollands Opus, Jumanji, The Polar Express) will be in attendance and the Film/Video/Digital department is giving a $500 award to the team that produces the best film. For a more in-depth description of the MMM, please see About the MMM on our website. Important Dates of the MMM OCT 2 Screenplay Competition Begins NOV 1 2nd Screenwriting Workshop (Bryan Center 128, 8-10 PM) OCT 12 Meet & Greet in the BC (9-11 PM) NOV 15 Screenplay Competition Ends OCT 14 - 1st Screenwriting Workshop (Bryan Center 128, 12-3 PM) OCT 19 Meet & Greet in the Marketplace (6-8 PM) WINTER BREAK Screenplays are chosen by the Official Selection Committee FEB 15 The MMM Crew Call MARCH 24-25, 2007 - THE MOVIE MAKING MARATHON

Frequently Asked Questions about Short Screenplay Writing a.k.a. (Dont worry if youve never done this before)
W ha t is a s ho r t s cre e np la y?

It can be as short as a minute, and as long as 40 minutes. In general, one page equals 1 minute of film. For the purpose of the MMM, we are looking for scripts that are no longer than 8 pages long, or 8 minutes onscreen. There can be many sorts of short scripts experimental, animated, documentary, mockumentary, etc. What we are looking for is a short narrative screenplay, which means that we are looking for a script that tells a story.
W ha t is a s to r y?

Too often short films writers resort to creating a situation, instead of a story. In a situation, a stock character tackles with a problem for several minutes without success. A final twist provides the resolution of his troubles often through no action of his own. The character is often unchanged by his experiences. In a story, a character must want something more than anything in the world. The hero must overcome obstacles that create some kind of conflict for him. He must find ways to resolve his predicament. The hero either succeeds or doesnt. In the process, the hero of the story learns something, and is forever changed by his experiences. Those dramatic elements make a story compelling to watch.
Is a s hor t fi l m e as ie r to w ri te tha n a l o ng o ne ?

Yes and no. On the one hand, a short script is more manageable to write than a typical featurelength screenplay, which is between 110-120 pages long. A short script is about one-twelfth of that. The cast of the short film is often limited to two or three main characters, often less fleshed out than in a feature film. The plot of a short screenplay is linear and uncomplicated by the subplots of the longer form. So in this sense, yes, the short script is easier to write. On the other hand, you still have to tell a story and you have only eight minutes to do the following: -Grab your audiences attention. -Set up the location, style and mood of your film. -Create believable characters a main one, and an antagonist. The main character must want something as if his life depended on it, and will have trouble achieving/getting it. This is called conflict. -Deliver a satisfying ending. And all this within eight minutes! You can do it. Turn the page for how to transform your idea into a great story to write a film about.

From Idea to Story


Our First Workshop October 14 12-3 PM in 128 Bryan Center
First, you need to have an idea.

Where do I find an idea to write? Use as a starting point something that captures your imagination or unlocks a powerful emotional reaction. It could be, for instance: -A person (friend, acquaintance, family member, celebrity) so intriguing you cannot get him out of your mind -A snippet of dialogue exchanged between two strangers on a bus ride across the States -A chapter of family lore passed down over generations like what happened to your great-uncle the first time he got his hair cut -An outlandish article in the Enquirer -The color of the ocean on a stormy day -The mournful sound of a train whistle at night -A troubling image in a dream you had a long time ago, but has stayed with you -A situation that made you laugh -An abstract concept (intolerance, loneliness, poverty) What you are looking for is a powerful creative trigger, an event that struck you in one way or another, and you want to write about it. When you explore your options for a story idea, always focus on how you feel about it. Its that FEELING, that EMOTION that are important. Fear, anger, a desire for revenge, a sense of thrill or elation, all are powerful engines behind the desire to write. What you write about has to matter to YOU. If you are not passionate about what you want to tell, you will not be able to make other people care, either.
I have my idea. How do I turn it into a story?

Once you have found the creative trigger for your story, play a game of What if? with it. Playing What if allows you to explore all the possible dramatic situations that can develop from the original idea. It is what professional writers call Brainstorming. The important rule is that you pay attention to the choice you make when you answer the What if? question. Each answer is a choice you make. That choice will determine the next question. Your narrative will start developing in a specific direction. Little by little, the image you started with will be transformed through the decisions you make. Your goal is to come up with the most interesting, dramatic situation possible.

From Idea to Story (continued)


Our First Workshop October 14 12-3 PM in 128 Bryan Center

Brainstorming

Brainstorming using What if allows you to commit to certain characters (to their appearance, values, behavior), to certain events that lead to other events (plot), and to a point-of-view (the ladys). Your main characters. As you play What if? you make important discoveries about your hero (their physical appearance, attitude toward life, main goal), create other characters, and imagine their relationships with each other. A plot and a dramatic moment You have determined a logical series of events, or plot, for your story. The fulcrum of your story is the most dramatic moment. It is the point around which the rest of your story is constructed. It is the moment where the circumstances you imagined intersect with your characters urgent need. In our example, it is when the woman sits in front of the homeless man who is eating her salad. A point of view When you played What If you could have decided that the more interesting story was that of the homeless man. In this case, the choices you would have made would have been different and the story told from his point of you. You would have told a different kind of story.

With your Story ready, Turn the page to turn that story into a Movie

From Story to Movie


(The Short Screenplay)
Our Second Workshop Thursday, November 2 8-10 PM in 128 Bryan Center
What makes a good story for a short film?

Compelling characters. The temptation when you write a short film, and have less time to develop complex characters, is to write your characters in short-hand. If their behavior is simplistic and predictable, your story will be, too. Characters, particularly your heros, is the force that drives your story. Do not shortchange your characters! Give them the full range of human characteristics: Physical: the characters height, weight, gender, age, clothes they wear can all influence how your story develops. Behavioral: there can be unexpected contrast between expected behavior and actual behavior (for instance, a psychiatrist who is obsessively re-arranging the pens on his desk). This disconnect between what is expected and the actual behavior of the character is immediately intriguing and often humorous. A strong need: Character is ACTION. An action is what the character DOES in order to get what he WANTS. Energize your story by making the heros need extreme. What the character wants, he wants passionately. He wants it more than anything in the world. The need of the character must be immediate and urgent, especially in a short film.

The element of conflict. Conflict is the result of what a character want (his goal), and the obstacles he must face to get what he wants. Those obstacles can be another character, nature, society, community. Those are called external obstacles. Sometimes, the obstacles are purely internal an addiction, psychological issues resulting from a trauma, for instance. Watching the hero struggle against those obstacles is what makes a story interesting. Your job is to make the life of you character difficult! The character says: I want this! Say NO! to your character! In the famous short film The Lunch Date, the worst possible obstacle for this wealthy, bigoted, hungry woman takes the shape of a homeless man eating her lunch. The more you intensify the pressure on your hero, the more fun it will be for the audience to watch your movie.

From Story to Screenplay

(CONTD)

Our Second Workshop Thursday, November 2 8-10 PM in 128 Bryan Center


Can you tell your story in pictures?

Films are a visual medium. The best stories are the one that you can tell with images that have a strong dramatic impact. This is not always easy: to be understood by your audience, some stories require a lot of exposition. Exposition is the essential information that you need to reveal to your audience for them to be able to understand the plot. There are two types of information that are the most challenging to reveal. Both deal with the hidden aspects of your characters lives. The first type of exposition deals with the Backstory of your characters: events that took place before the movie begins, but have a direct impact on what is about to take place. How do you make Backstory information immediate? It can be done with simple visual details that tell us instantly all we need to know about the action of the character before the story opens. In The Lunch Date, a short film by Adam Davidson, the movie opens with a lady carrying shopping bags from expensive New York department stores through Grand Central Station. This is a visual shortcut, which rapidly conveys the fact that this is a wealthy woman who spent her day shopping in the city, without ever having to show this. The second type of exposition that is often difficult to handle deals with the internal life of your characters - emotions, thoughts, feelings. In this case, the challenge is to make that information concrete and visible to the audience. Character behavior, or a potent visual can economically externalize all the audience needs to know to participate in the story. In Off-Sides, a short based on a true story which takes place on Christmas Eve 1914, Germans and English soldiers put the war on hold to play a game of soccer in the No mans land between the trenches. Toward the end of the game, flashes of bodies on stretchers and bloody images of battle flash onscreen the reality of the soldiers lives is gradually returning. Not a word is exchanged, but the thoughts and feelings are clear: a ruthless war is on. The game must end. They must return to their trenches. This short film is told almost entirely visually, and so is The Lunch Date. The dramatic situations are so well set-up that dialogue is unnecessary. Show, dont tell!
Structuring your story

A story, any story, has a beginning, a middle, and an end. In a feature film, each part has a specific function: you have about 30mns of Exposition (the beginning) to introduce the characters and their world. The middle, called Confrontation, is about 60mns long. The hero goes on his quest to get or achieve something, encounters a number of obstacles that become harder to surmount as the movie progresses. In the third act (also called Resolution) hero must come faceto-face with the antagonist for the final showdown (or Climax). Then the world returns to a new order, and we get a glimpse of the future for the hero in this new world (the resolution). This can take 10-30 minutes. (Next page)

From Story to Screenplay

(CONTD)

Our Second Workshop Thursday, November 2 8-10 PM in 128 Bryan Center A short film follows the same basic structure in which to organize all the elements of your story, and each act must accomplish the same function as in a feature. Yet, you do not have only minutes to do the same job.
What are the main short story genres?

There are several kinds (called genres when you talk about feature films) of short films: docudramas, satyre, mockumentaries, fable, etc. For the purpose of MMM, we will look at the two types or shapes- of short stories that are the most common: The Journey, and The Magical Encounter. The Journey. It is the oldest kind of story, and the closest in structure to that of a feature. The Hero leaves home on a quest. Along the way, he encounters obstacles, but finds the strength to confront them to achieve his/hers goal. The Heros ordeal has taught him/her a valuable lesson that changes him/her forever. Example of Journey: The Lunch Date (Adam Davidson, Academy Award Winner, short film category, 1990). On her way back to the suburbs of Manhattan, a wealthy woman is the victim of a pickpocket who steals her purse. She buys a salad at the Central Station diner (the quest she wants to eat). She leaves her table for an instant, to get silverware, only to find a homeless man eating her lunch (obstacle). Famished, she overcomes her prejudice (confronting the obstacle) and decides to share the meal with him (she reaches her goal). The homeless man buys her coffee. When she leaves, she realizes that her meal was in fact on another table and that the homeless man had not stolen her food (life-changing lesson). The Magical Encounter. The Magical Encounter emphasizes a particular happening that will greatly affect the fate of the main character of the story. This event is often the arrival of a stranger, or of a magical object in the typical day of the hero, which symbolizes his/her secret dreams or fantasy. For a while, the hero, enabled by the magical object, crosses the line between his real and his imaginary life. He follows the magical object and explores the world of his/her fantasy. In the end, the hero must choose to follow his dream or to return to the reality of his or her life. The resolution shows a glimpse of the life the hero has chosen. Example of Magical Encounter: Le Ballon Rouge: (The Red Balloon, Albert Lamorisse, 1956). On his way to school, a lonely Parisian boy is accosted by a Red Balloon (Magical Object). The boy and the balloon become friends, skip school, and spend a fun-filled day exploring Paris together (the boys fantasy). A gang of children, jealous about the boy and his balloon, chase them and kill the balloon with a sling-shot. Balloons from all over the city rally toward the grieving boy, giving him a chance to fly away and escape his joyless life forever (choice).

How Can I Do All This in 8 Minutes?


Tips for Organizing Your Writing & Staying Sane The first and most important rule-of-thumb: KEEP IT SIMPLE! Start your story as late as possible: Start your story at the moment something is about to happen to the hero. In other words, choose the last possible moment to enter the story and still have it make sense. Create your hero and another main character. Everybody else is an extra. Use polarities to create your protagonist (hero) and your antagonist: think of personalities that are polar opposites in terms of values, age, tastes, social position, sexual inclinations, abilities, behavior, etc. This is a simple way to create conflict as you pit one character against his opposite, and let the situation play out between them. Use Characterization: This means that you externalize the temperament, profession, social status, attitudes, thoughts and feelings of your characters through character behavior. In other words, you make their Backstory and internal life visible visual- on screen. In The Lunch Date, the lady wears a fur coat, brushes past begging homeless people, speaks imperiously to the short order cook, polishes her fork before using it. All these elements are telling clues to the ladys personality. Note that characterization is not caricature: although certain attributes allow the audience to identify the ladys type immediately, the details of her behavior reveal her unique personality. Give your hero one Goal: Keep the characters goal clear and simple. What the hero wants (or needs) to accomplish must be conveyed quickly. Throw one major obstacle in the heros way: The hero faces one major external obstacle, and/or one internal one. In The Lunch Date, the lady must confront the homeless man (external obstacle), and conquer her own obsessive cleanliness (internal obstacle) to get what she wants (the salad). What makes the scene compelling and funny is the attention paid to the details of both characters behavior and on the development of an improbable relationship. (More tips on the next page)

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How Can I Do All This in 8 Minutes?


Tips for Organizing Your Writing & Staying Sane (Contd)

Surprise us: The resolution: there is often a twist at the end of a short film, something that adds interest, or humor to a conventional ending. Its purpose is to make the audience think, or to make them laugh (or both). In The Lunch Date, the woman realizes that her salad the one she really bought- is left untouched in the next booth. This makes her and us- think about prejudice: we never doubted that the homeless man had stolen the ladys salad when, in fact, he was generously sharing his meal with her. Beware the twist that solves the heros problem! If the lady had noticed the other salad (her own) sooner, the conflict would have come to an end without her having any active role in it. The lady would not have struggled to overcome her social and personal aversions. The story would be flat and uninteresting. The Lunch Date could have turned into another boring morality tale instead of winning an Academy Award! Choose a few locations and choose them well. Remember for MMM filmmakers will only have twelve hours to shoot, therefore, when you write your scenes, keep the following parameters in mind for your locations: o Think of access and control: remote locations requiring driving for miles, or busy locations with a lot of traffic and noise will create insurmountable challenges for the teams. o Choose locations that are interesting yet practical: Dorm rooms tend to all look the same, but sets requiring extensive design will use up a lot of precious time to dress. You know campus and the immediate environs. Use your imagination!

Organize your story Two important tools used by writers to organize their story are the treatment and the step-outline. The treatment is a plotting tool. The step-outline will help you to define the content, function, and placement of each individual scene of your movie. Write a one-page treatment: A treatment is a narrative summation of your story. It is always written in the present tense. It is, as Syd Field calls it in his seminal book Screenplay, the roadmap of your movie, and will allow you to get a sense of where your story is going by visualizing and dramatizing the scenes. It is simply a writing tool, which will make the story clearer for YOU. The main purpose of a treatment is to begin plotting your story. The plot is a series of actions, or events that cause something else to occur. You can find an example of treatment in this packet. Write a step-outline: A Step-Outline is a scene-by-scene template of what happens in your screenplay. This includes the slug line (INT. CHURCH DAY or EXT. FIELDS NIGHT) and one or two line description of the scene and includes every scene in your movie. The step-outline of a short film should not be more than a page long probably one or two major, dramatic scenes, at the most. You can also find an example of a step-outline in this packet.

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Writing a Treatment
Example & Tips Example taken from: Proper Treatment,Screenwriting Column 37 by Terry Rossio http://www.wordplayer.com/columns/wp37.Proper.Treatment.html The Mask of Zorro 3/11/94 The opening sequence is told through the eyes of two young brothers, ALEJANDRO and JOAQUIN MURIETTA. It takes place in Alta California, 1822. Mexico is about to win its independence. The Spanish Viceroy of California, MONTERO, realizes his time is up. He has ordered the execution of all political prisoners. The boys sneak into the town Square to watch the hangings. But Montero is foiled again by ZORRO, who sails in and frees the prisoners. Completely heroic, a black apparition in the moonlight, Alejandro and Joaquin watch him in wonderment. But Montero was counting on Zorro's arrival; more soldiers wait in ambush. Zorro is unaware of the trap. Alejandro and Joaquin give warning. Zorro defeats the soldiers. He thanks the brothers, and presents them with the medallion he wears around his neck, and then he is gone. Joaquin, the eldest, claims the medallion over his little brother's objections. Joaquin also finds an abandoned sword ... Zorro rides back to his secret cave behind the waterfall. He emerges in his hacienda as Don DIEGO DE LA VEGA, a wealthy caballero with a wife, ESPERANZA, and two-year-old daughter, ELENA. He starts to tell Elena what he did that night, but Esperanza points out that she's not paying attention. Diego says that someday, she will listen to his stories. And so on. Tips on Treatment Writing A treatment is not a psychological analysis. Write ONLY what is going to take place on the screen. You can write in the style of the film to give an idea of the tone of your movie. Emphasize the visual action of each scene; Strong descriptions or bits of dialogue can effectively give a sense of the specific world of your movie. You want to grab the readers attention: try to provoke an emotion; Highlight what makes your movie special.

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Writing a Step-Outline
Example From http://ourworld.compuserve.com/homepages/eastevens/SceneBreakdown.htm "THE ALLEGATION" Written by: Allison Burnett, draft date: 02/2001 EXT. WESTBROOK, CONNECTICUT HOME - SUMMER EVENING A man and woman make passionate love while discussing the fact that they're going to be late to an event. INT. FORD EXPLORER - DUSK JENNY BARRETT (mid 30s) tells her husband RICHARD BARRETT (late 30s) that her mom's mad at him for not recognizing her in the West Village yesterday; Richard finds it strange as he was in Stamford all day for a meeting. They reach their destination, an old-world estate. INT. BRANCH MANOR LIVING ROOM - AN HOUR LATER Jenny and Richard join a large in-progress party. Richard greets friends and associates and brother-in-law. TOM BRANCH (late 30s);politely turns down the many women who'd like his attention. He gets jealous seeing Jenny dancing with another man, and cuts in. INT. BRANCH MANOR LIVING ROOM - LATER Jenny's father JUDGE ELLIOT BRANCH (late 60s), his wife ESTELLE (60), daughter-in-law SALLY (30s) and the crowd toast Jenny and Richard. Elliot praises Richard. Richard's response tells us that this is their 10th anniversary party. Jenny announces her pregnancy. The BARTENDER (30) glares.

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The Short Screenplay


Examples & Formatting Tips EXAMPLE OF A SHORT SCREENPLAY Go to http://www.dartmouth.edu/~shortflm/mama_script.htm to find the script for Because of Mama More short scripts will be published here shortly. The Lunch Date A Transcript of The Lunch Date is available on our website and at both workshops. FORMATTING YOUR SCREENPLAY There are only three essential format elements (1) THE SCENE HEADING (INT OR EXT, LOCATION, TIME) The scene heading is positioned on your first indent, one-and-a-half inches in from the left hand side of the page. (2) THE VISUAL EXPOSITION or what you would see on screen.

Generally, the first time a character appears in the script, the name is CAPITALIZED, but only the first time he or she appears in the script. Visual exposition should line up below the Scene Heading at the same indent position, one-and-a-half inches in from the left hand side of the page. Both dialogue and visual exposition should be single-spaced. Note: do not use camera directions in your descriptions (such as PAN right, ANGLE ON etc.) (3) THE DIALOGUE

The Dialogue follows the visual exposition, with each character's name CAPITALIZED in the center of the page, followed by the words that are to be spoken, on the next line, centered with the left and right margins approximately two inches in from each side of the page. Do not include emotional or physical direction in parentheses below a character's name before the lines of dialogue.
Template Help & Software

Try Simply Screenplay, which is a template for WORD, an easy and powerful program to use (download the Read Me File). You can compare the most popular freeware and shareware programs as well as get some good advice at http://www.online-communicator.com/swsoftin.html.

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Th e T op T en T ip s fo r Writ ing Sh ort Scr een plays


(Excerpted from A short-cut to Hollywood Success by Linda Cowgill, Creative Screenwriting 05/11/2004)
1. Know who you're making your film for. If you're making it for yourself, that's who you have to satisfy. If you're making it as an entry into the industry, your film needs to work dramatically as well as technically. Competition is stiff. 2. The longer the story, the better the film has to be. Length comes down to what the story dictates. But if a film is over 15 minutes, it really has to be great to keep people watching. I can't tell you how many boring "short" films I've seen because directors can't figure out what they can cut to make it better. 3. Write the script you can produce. Don't write a script with production values you can't achieve. 4. The best ideas are simple. Focus on one main conflict, then develop and explore it in surprising ways. 5. Set up your film in the first 60 seconds. If you're writing a ten-minute (10 page) movie, you can't take the first five pages to introduce your characters before getting to your conflict. Establish your conflict as soon as possible. 6. Make sure conflict escalates. Know what your character wants (the goal) and what's preventing him from getting it (the obstacle), and make sure your audience understands it, too. 7. Try to develop the conflict in one main incident as the set piece of your project. Many great short films develop the conflict in one incident to great effect, exploring character in ways feature films rarely do because they rely more heavily on plot. 8. If your film is less than five minutes, one type of conflict might be sufficient to satisfy your audience. But if your film is over five minutes, you're going to need to various obstacles or complications for your hero to face. 9. Just because your film is short doesn't mean it's impossible to have an effective midpoint and reversal. Anything that keeps your audience from guessing your ending is an asset. 10. Make sure your ending is the best thing about your great film. Your payoff is what you're leaving the audience with, and it's how they're going to remember you.

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The MMM Short Screenplay Competition


Official Rules & Submission Information
(also available on www.duke.edu/web/mmm)

Participants * There can be up to three writers for each screenplay. * Writer(s) must be currently enrolled in a Duke undergraduate or graduate program.

Formatting * Scripts must be submitted in proper format, an example of which can be found here. * Scripts must not exceed 8 pages in length (excluding the title page)

Content * Only original scripts will be considered (i.e. scripts that have been previously produced are ineligible. This includes work done at the University). * While writing, keep in mind that scripts must be able to be realistically shot within and edited the 24 hour time frame. * Successful short films usually have 1 to 2 main characters. Please limit your scripts to no more than 4 main characters. Submission * Scripts will be submitted by email and should be in a widely-read format such as .pdf or .doc. * Scripts should only be labeled with a title. (All other information should be submitted in a separate document title page.) * The separate title page document must include the following information: -Title of the script -Name of the writer(s) Please include the following for each writer if there is more than one. -Email address -Contact phone number -Class Year -Major/Minor * Students may submit as many scripts as they would like to the competition. * Screenplays can be submitted at anytime between October 2, 2006 at 12:00 AM and November 15, 2006 at 12:00 AM. WHEN YOUR SCRIPT IS READY EMAIL IT (WITH YOUR TITLE PAGE) TO MOVIEMAKINGMARATHON@DUKE.EDU Questions? Email us.

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NEED HELP WRITING? Check out our Resources page where you can find many examples on the web of how to write a screenplay for a short film. On that page, youll also be able to download this screenwriting packet. Or, come to one of our MEET AND GREETS and talk with other students about their screenwriting experience. Please stop by, grab some popcorn, and get some helpful advice and tips from experienced screenwriting and film students. Meet & Greets - Thursday, October 12 from 9-11 PM in the Bryan Center Thursday, October 19 from 6-8 PM in the Marketplace COME TO THE WORKSHOP On Saturday, October 14 from 12-3 PM and Thursday November 2 from 8-10 PM, the MMM team will be holding screenwriting workshops on in Bryan Center Classroom 128 led by Professor Benfey. Come with anything- even if its just an idea for a film and well help you take that idea and turn it into a short screenplay. Register to attend by clicking here. IMPORTANT DATES The competition officially begins on October 2, 2006 at 12 A.M. and ends on November 15, 2006 at 12 A.M. During this time period, you can submit your screenplays by email. Meet & Greets - October 12, 9-11 PM in the Bryan Center, Shaefer Mall October 19, 6-8 PM in the Marketplace Screenwriting Workshops - October 14, 12-3 PM in Bryan Center 128 November 2, 8-10 PM in Bryan Center 128

Still have questions? Contact our team at MovieMakingMarathon@duke.edu Or visit our website at www.duke.edu/web/mmm

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Stu dent Filmmak in g at Duk e


FILM/VIDEO/DIGITAL
Officia l Su pp or ter of t he M MM * ww w. duke. e du /w eb/fi lm

Offering classes in everything from film sound design to film animation, the Film/Video/Digital program gives students an opportunity to study the art of filmmaking as part of their curriculum at Duke. Whether you pursue a certificate in the field or simply take a class or two, the Film/Video/Digital department aims to invigorate the study of film and student filmmaking for students of all majors. FROSHLIFE
Crea te d by t he Office of Inf or ma tio n T ech no log y, a n Offi cia l S up p ort er of t he M MM * ww w. duke. e du /we b/fr os h life

The famous iMovie festival created by OIT & Student Affairs is sponsored by Apple Computers. Freshman dorms compete against one another to produce a short film that best captures their first year in college. Now in its fourth year, the festival has become a tradition and a rite of passage of the Duke University experience. CABLE 13
Officia l Part ne r of th e M M M * w ww. ca ble1 3.co m

Duke Union Community Television (Cable 13), Duke's student-run television station, informs educates, and entertains the entire Duke community through diverse and unique programming on a regular basis. Cable 13 offers hands-on television production experience, coverage of campus activities, artistic freedom, and a forum to develop and showcase innovative student productions and alternative perspectives on campus, state and global issues. Working on Cable 13 productions is a great way to get some valuable MMM experience! FREEWATER PRESENTATIONS
Officia l Part ne r of th e M M M * w ww. du ke.e du/w eb/ m ovie s

If youve ever been to a movie at Duke, you should probably be very grateful to Freewater. Year after year, Freewater continues to bring diverse cinema choices to campus, from huge Hollywood-blockbusters to important independent films. Not only can you see a great movie for a decent price, theres always the free water. A division of the Duke University Student Union. FREEWATER PRODUCTIONS
Officia l Part ne r of th e M M M * w ww. du ke.e du/w eb/fr ee wat er

Freewater Productions is a committee of the Duke University Union dedicated to the production of short Super 8 and 16mm films. All styles and genres are encouraged. They operate as a cooperative, with members teaching each other filmmaking and forming the crews of each others productions. They offer a series of workshops on every part of the filmmaking process, from writing to shooting to editing. Members are eligible to apply for grants given out each semester to make short films. They are an entirely student-run group. No previous experience is necessary to join, and everyonestudent and non-studentis welcome. Freewater films are shown to the public at the end of each academic year at our annual screening in Griffith Film Theater. 18

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