Script Analysis: Industry Focus - Understanding Film and TV Storytelling, Study notes of Art

Download Script Analysis: Industry Focus - Understanding Film and TV Storytelling and more Study notes Art in PDF only on Docsity! Page 1 NYU Los Angeles Script Analysis: Industry Focus IMFTV-UT 1084 LA1 Instructor Information ● Jane Goldenring ● Email: ● Office Hours: (Please email for appointments) Course Information ● Script Analysis: Industry Focus ● IMFTV-UT 1084 LA1 ● Wednesdays 6-9 pm ● Room: Course Overview and Goals The goal of Script Analysis at NYU LA is two-fold: 1.) To understand how a screenplay works. This will be achieved by analyzing narrative structure and other important elements that contribute to the success of a film, such as character and plot development, sense of place, dialogue, use of a particular genre, tone and uniqueness. 2.) To evaluate completed scripts prior to their production and provide Coverage and Analysis of scripts as potential properties from the perspective of buyers and other interested parties (eg., producers, production companies, talent, agencies, etc.) Upon Completion of this Course, students will be able to: ● Understand and apply different act structures (Three Act to Five Act). ● Understand and apply a number of different narrative structural templates. ● Understand and apply act breaks, turning points and reversals. ● Understand and apply specific scene functions (e.g., exposition, emotional or physical turning point). ● Understand and apply plot and character dynamics: backstory, defining moments/weaknesses, goals and/or dreams. ● Understand the characteristics of all the major genres and hybrid genres. ● Understand the functions of dialogue. ● Learn to intelligently and constructively evaluate a feature length screenplay with an eye toward balanced criticism. Page 2 Additionally: ● Students will synopsize, criticize and complete coverage for at least 3 screenplays. ● Students will write a set of notes describing one possible direction for a re-write of a screenplay applying the ideas discussed in class. NOTE: WEEKS 1-6 will focus on narrative fundamentals, tools of analysis and structural conceits. WEEKS 7-14 will be devoted to putting analysis and understanding into practice by writing professional-grade coverage and notes for the writer. METHODOLOGY Each class will be divided up into lecture, discussion, in-class student presentations, and screenings; we will view clips, scenes and sequences from a range of media including shorts, features, and TV and streaming. Course Requirements Grading Policy The grade for this course will be determined according to the following formula: Assignments/Activities % of Final Grade Professionalism: punctuality and ability to meet deadlines 10% Class participation 20% Coverage/Analysis assignments 50% Pitching/role-playing assignments 20% *Failure to submit or fulfill any required course component results in failure of the class. Course Schedule Topics and Assignments WEEK 1 – INTRODUCTION/WHAT MAKES A GREAT MOVIE OR TV SHOW? Come to class prepared to introduce yourself and discuss your favorite popcorn movies and TV shows (ones you can’t resist seeing when they’re on); a film or TV show we might be surprised you like; your least favorite movie or TV shows; and the first show or film that inspired you. We want to hear how your life has influenced your taste in what you watch and why you have an interest in being involved in entertainment. Page 5 Reading Assignments for Week 7: TEXT: FINISH Save The Cat! Goes to the Movies The Kinetic Log-Line by Bill Broyles SCREENPLAYS: Review Sample Coverage WEEK 7: COVERAGE FOR FILM AND I.P. Doing the log-line and synopsis Topics to cover: Where material comes from (SCOUTING). Novels, Graphic Novels, Podcasts, plays, documentaries, Webisodes, Original Content, etc. What is coverage, what’s it used for, who uses it, why it’s so important. How to do coverage: coverage template; the art of the log-line; what to think about before you start writing your synopsis and your comments. Break down log-lines using “The Kinetic Log- Line.” How to distill the script’s most important beats into a one-page synopsis. In Class: Review Coverage Samples provided. Students will do log-lines for films and TV shows Assignment for Week 8: Students to write coverage for assigned film script. MUST BE SUBMITTED IN THE GOOGLE DRIVE 48 HOURS before WEEK 9 class day. ALL STUDENTS MUST READ ALL COVERAGE. WEEK 8: COVERAGE FOR TV AND OTHER MEDIA Discuss differences between assessing Film and TV projects, documentaries, novels, plays, podcasts, etc. In Class: Review Student Coverage – is it accurate? Effective? Does it meet the needs of the Executive? Based on this coverage, what story notes should be presented to the writer? Students will do role playing to discuss scripts with their “bosses.” Assignment for Week 9: Students write coverage assigned TV script . MUST BE SUBMITTED IN THE GOOGLE DRIVE 48 HOURS before WEEK 9. ALL STUDENTS MUST READ ALL COVERAGE. WEEK 9: ASSESSING SCRIPTS – MAKING YOUR COMMENTS COUNT What to keep in mind when doing when doing comments. The main points to cover, the art of constructive criticism, taking a stand, being articulate about your POV. Discuss the art of pitching. Guest Speaker: Manager or Agent to discuss importance of coverage to business of packaging. Page 6 WEEK 10: STORY NOTES How to write and give notes. How to work with writers: when to check in, how to help, how to nudge, what to sweat, when to let it go. Writing is rewriting. Guest Speaker: TV Writer In Class: Discuss Student Coverage – is it accurate? Effective? Does it meet the needs of the Executive? Students “pitch” their conclusions to their bosses. WEEK 11: STORY DEVELOPMENT Discuss the process of development for film and TV and streaming – how they are similar and different; who is involved as the project goes through different stages; how you can avoid pitfalls. In Class: Continue role playing to deliver comments on scripts. Speaker: Producer to discuss current development on his/her projects. Discuss scripts to pick for final assignment. You will have a choice between a feature script or a TV pilot. Your final assignment should be seen as an expansion of your coverage assignments. Using an industry template, it should include a log-line; a one page synopsis of the script you have chosen, and comments that provide a detailed overview of the script’s strengths and weaknesses, in terms of act structure and plotting, genre and tone, characterization, and thematic intent. For TV there should be an assessment of whether the characters and idea can sustain over time. The genre commentary should explore how closely the script follows its genre characteristics – see Save the Cat Goes to the Movies – whether it mixes various genres, and how it distinguishes itself from other scripts in the genre. The characterization commentary should focus on believability, character complexity and growth, and the charisma and identification factors: why we want to spend two hours/numerous episodes with this character (or characters)? Or, conversely, in the case of unlikable characters – why would we even want to spend ten minutes with them. The act structure is about how well the turning points and main story events are executed. Is there a hook or surprises? What is the inciting incident? What are the obstacles? And finally: there is thematic intent. All scripts, even the most escapist, mindless, and formulaic, are about something. The great screenplays grapple with themes that concern us all. What themes drive your script of choice? After your thorough and complete analysis, work up a set of notes for the writer that provides a CLEAR PATH FORWARD for the next draft, applying all you have learned in the class. This is an expansion of the “Comments” section you would normally do for coverage and are more geared toward development notes. WEEK 12 Group One splits up into those giving and receiving comments. WEEK 13 Page 7 Group Two splits up into those giving and receiving comments. WEEK 14 INDUSTRY SPEAKER – where this new skill-set can take you and how to break in. Course Materials Required Reading ● The Writer’s Journey: Mythic Structure for Writers – Chris Vogler ● Selections from The 21st Century Screenplay – Linda Aronson ● Selections from Story – Robert McKee ● Elements of Style – Strunk and White ● Save The Cat! Goes to the Movies: The Screenwriter’s Guide to Every Story Ever Told ● Save The Cat! – Blake Snyder ● Assigned scripts from the BLACKLIST ● Assigned produced scripts/pilots that will cover a range of genres including drama, comedy and romcoms, horror, sci-fi and thrillers. Recommended Reading ● Story – Robert McKee (strongly recommended) ● Dan O'Bannon's Guide to Screenplay Structure: Inside Tips from the Writer of Alien, Total Recall and Return Of The Living Dead – Dan O’Bannon ● Hero With a Thousand Faces – Joseph Campbell NOTE: Students are expected to read the assigned texts and screenplay in full and be able to discuss in a meaningful way during class sessions. Please plan your schedule accordingly. HANDOUTS Samples of Professional Coverage from CAA, Sony, ICM, A24 Resources ● Access your course materials: NYU Classes (nyu.edu/its/classes) ● Databases, journal articles, and more: Bobst Library (library.nyu.edu) ● Assistance with strengthening your writing: NYU Writing Center (nyu.mywconline.com) ● Obtain 24/7 technology assistance: IT Help Desk (nyu.edu/it/servicedesk) Course Policies Attendance and Tardiness Study abroad at Global Academic Centres is an academically intensive and immersive Page 10 THE TRAGIC TEMPLATE 1. Anticipation Stage 2. Dream Stage 3. Frustration Stage 4. Nightmare Stage 5. Destruction or Death wish Stage SAVE THE CAT The Blake Snyder Beat Sheet 1. Opening image 2. Theme stated 3. Set-Up 4. Catalyst 5. Debate 6. Break into Two 7. B Story 8. Fun and Games 9. Midpoint 10. Bad Guys Close In 11. All is Lost 12. Dark Night of the Soul 13. Break Into Three 14. Finale 15. Final Image 3 ACTS ORGANIZED AS 8 SEQUENTIAL UNITS Adapted from the Story Lab Page 11 For this specific purpose, we define a sequential unit as a self-contained portion of the entire story, usually about 10 to 15 minutes (pages) in length. With a clear beginning, middle, and end, each sequence has its own short-term tension (not the main tension, but related in some way) along with a central conflict that gives shape to the entire 10 -15 minutes. This Sequence Outline is NOT an absolute formula or perfect recipe to building a feature script, but it is something to work from, because each script is a prototype: new, unique, custom made just for its own story. NOTE: I will use the terms hero and protagonist—they are one in the same: your main character. ACT I The SET UP. By the end of the first act you’re going to be introduced to all the major players of the story, the themes, the location, the scope, the visual image system, the conflicts, and especially the main conflict. NOTE: In the first act – your hero will have revealed their fatal flaw. SEQUENCE ONE — Status Quo (Ordinary World for Campbell devotees) through Inciting Incident. Establishes the central character (protagonist), her/his life, and the status quo and the world of the story. In first minutes of film, audience must know the genre. If it’s a horror film, in your first minutes you must have a scene that will instill fright. If it’s a comedy, you must have a scene (or joke) depicting the brand of humor you will present consistently throughout film — is it dark comedy or a broad romantic comedy— the tone and character details need to support your intentions. Page 3 (around) there will be a line of dialogue or action that depicts theme, i.e.: "what your film is about." This will introduce your screenplay’s “Central Question”. Sequence One typically ends with the INCITING INCIDENT, but this plot point can sometimes appear earlier in the first few minutes of the film if you don’t need a lengthy set-up. Jaws begins with an inciting incident because you do not need to set up a sharp attack. It is what it is. It is this attack that sets the external dramatic action (goal) in motion: catch/kill the shark. The inciting incident unleashes your hero’s desire (WANT – conscious and unconscious) and she or he MUST REACT to the inciting incident (which is why it’s good to put in the PRESENT (not the past/backstory.) The inciting incident SETS THE STORY IN MOTION and MUST BE DEALT WITH AT THE CLIMAX. SEQUENCE TWO — Predicament & Lock In Page 12 Sets up the predicament that will be central to the story, with first intimations of possible obstacles. The main tension will be established at the end of the act. At the end of this sequence, there will be an event that FORCES YOUR HERO TO TAKE ACTION, MAKE A CHOICE — your hero is now LOCKED IN the predicament propelling her/him into a new direction to obtain her/his goal. In hero's journey terms, this is a crossing the first threshold. The Lock In is the turning point into Act II. It occurs 25% into your screenplay. Your B-story will typically be first introduced in Sequence Two. Sometimes it may come as early as Sequence One, other times it may be delayed until Act II. Your B-story (subplot) will often deal with character growth, so it’s often some kind of relationship. Love interest/ friendship/ family — and is often referred to as the "relationship line". Your story’s THEME often comes through via the B-story. (NOTE: you can have more than one subplot, and if you do you must pay careful attention to how they inform the A-storyline and when they come in, and how you pace them.) Sequence Two continues with expository information/scenes: the necessary information/back story required to follow /anchor your narrative. By the end of act I — we have set up character, goals and stakes. ACT II Note: ACT II is made up of obstacles and opportunities—all in service to your protagonist (even the reluctant ones) going after a GOAL that stems from the DESIRE/conflict released in the inciting incident. Act II is where you derive your Major Dramatic Question (aka Central Question). This question is plot-driven and can be answered with a yes or no. e.g. Will Police Chief Brody capture the killer shark? (Jaws) Will Billy Elliot be admitted to the Royal Ballet Company? (Billy Elliot). SEQUENCE THREE — First Obstacle & Raising the Stakes • Pages 25/30-45. Your hero is confronted with first OBSTACLE, and the beginning of the elimination of the alternatives begins. Since our character is locked into the situation and can’t simply walk away, the stakes are higher — there is a lot more to lose. In this early part of Act II, your hero is doing everything she/he can to avoid change. (NOTE: When we react in an old way to a new event, you get conflict. We are forced to react in a new way, and until we do, we have conflict. Closing this sequence — beginning around page 40 is a scene chronicling your protagonist's FIRST WIN and/or SIGNS of GROWTH.) SEQUENCE FOUR — ENDS with First Culmination/Midpoint – 50% into your screenplay. Pages 45-60: You can now see some changes in the behavior of your protagonist. This sequence has your hero in a less reactionary mode. She/he is now facing obstacles and opportunities (real and false opportunities) as you follow the principle of RISING ACTION. Page 15 Final scenes of the narrative in which the strands of the plot are drawn together and matters are resolved. Clarity is important. The end is transformation of your hero. Sequence 8 will most often be shorter than the others—you really don’t need another 15 minutes of screen time to wrap things up. Your A and B stories are resolved. (Your subplots may have been resolved earlier.) Further notes: the REAL structure of any good story is simply circular — a descent into the unknown and eventual return. As I’ve talked about in class, classic three-act structure has guidelines (rules) but it’s paramount that you understand that guidance is a form of support – not a mandate. The very worst thing you can do as writers is take your inspiration and dilute it with a paint-by-numbers approach. If your goal is to have a commercially viable screenplay, you must bring craft to your talent. And breaking down your 3-acts into 8 sequences is just one of many ways you can write a feature-length screenplay. Know that for a 110-page screenplay (a good page count to aim for) – your Act I will most likely be around 25 pages, Act II around 60 pages and Act III also around 25 pages. But know those numbers can vary, depending on genre and how long a resolution you need. THINGS TO CONSIDER 1. What kind of world? What genre? How is the world introduced? 2. Who is the protagonist? 3. What is the inciting incident/call to adventure? (The Hockey Player’s son giving him the finger.) Does it result from a blunder? (His response – the mission statement gets him fired). Does it open up another world? (Yes, fewer clients.) 4. Do the inciting incident and call to adventure take place at different points? Is there a refusal of the call? (Yes, when he tries to stop delivery of the mission statement) 5. What is the character’s story purpose? (To start his own firm.) Is there any element of “the impossible dream?” (Yes/No) 6. Is there a character split (Jekyll/Hyde )? (Yes, Jerry the idealist vs. Jerry the liar.) Is the character’s “divided self” reconciled at the end of the film? 7. Is there a “meeting cute” scene (where the lovers meet)? (The airport.) 8. Is there a “life line,” impact character, mentor figure? (Yes, Rod). 9. Is there a “signature line?” (Yes, “Show me the money!”) 10. Is there a “dirty little secret?” (No) 11. Is there a point of no return? Page 16 12. What is the climax? 13. What’s at stake? 14. What is the premise? (Jerry Maguire is dissatisfied with his life.) DYNAMICS 1. When does the hope and fear dynamic truly kick in? Does it pertain to solving the problem or the love story? SCENE WORK 1. Expository scenes or moments. 2. Plants, payoffs, elements of advertising 3. Ally to antagonist 4. Turning points 5. Aftermath scenes 6. Backstory or defining moments 7. POV moments 8. Reversals 9. Belly of the Whale moments 10. Dramatic irony 11. Plot twists 12. Show stopping scenes OTHER STORY TEMPLATES The Arthurian cycle and the Grail knights: Arthur (the king; hero of the epic), Gawain (the hero of romance; the courtly knight, Lancelot (the flawed but otherwise perfect knight; hero of action), Mordred (the bastard son, the mocker), Percival (later Galahad; the holy fool, whose innocence and virtue make him the perfect Grail knight) Cinderella/Ugly Duckling – Muriel’s Wedding Beauty and the Beast – Silence of the Lambs Faust – Quiz Show Page 17 Jack and the Beanstalk – Being John Malkovich Sleeping Beauty – Thelma and Louise David vs. Goliath – The Verdict