^{(100 points)}

Important Note:  The finished, typed screenplay must be ready to turn in when class starts on FINAL DAY!

One day late (or more) is ½ credit.

1) Work individually or with a partner (no more than 2 people please).

2) The final script will be 20 pages typed. Don’t panic!  There is a lot of white space in a script. Your script must follow the screenplay style and format as seen in other screenplays and from screenwriting assignments: Single spaced with double spacing between character speaking parts. Use the downloadable CELTX screenwriting program to help guide you.

3) The final screenplay must be original writing—you may extend your play or adapt one of your short stories.

4) Do not plagiarize from another movie or TV show. Please keep your screenplays appropriate. No racism, sexism, homophobia, illegal drug references, extreme violence or explicit sexual scenes.

5) Your screenplay should have a beginning, middle, and end. You must have authentic sounding dialogue, strong, believable characters, a good storyline, conflict, and a resolution or some type of ending for the script.

6) Some class time will be dedicated to the screenplay writing and outlining, but plan on writing the bulk of the screenplay on your own time.

7) When planning your screenplay, make sure you consider a setting, characters, plot and resolution that are different or alternative to the usual Hollywood movies.

A 20 page screenplay is about a 20 minute movie since each page roughly equals one minute of movie time.

9) You may also write an original TV show episode or a musical screenplay.

Screenplay Project Rubric

(100 points) (20% of 4^th Qtr. grade)

____(-20) If screenplay is turned in late

Format/Style

____(10) Screenplay is 20+ pages

____(5) Screenplay is typed

____(5) Screenplay is in 12 point courier or similar font, single spaced except between character dialogue and scenes

____(5) White space is used appropriately

____(5) Names are centered above dialogue and all in CAPS

____(10) Different screenplay techniques were used effectively (ie: V.O., O.S. etc.)

Plot and Story Elements

____(15) Screenplay has a strong beginning (setting) and ending (conclusion)

____(15) Screenplay has strong characterization and natural dialogue

____(30) Screenplay has an engaging plot with conflicts and climax. Plot is not predictable. Original ideas. Unique situations.

_____Total points ______%________Grade

Tues (Per.2) or Wed (Per.3)

Your final will be on the Hero’s Journey.

Your Study Guides:

• Steps of the Hero’s Journey handout

• Hero’s Journey Chart for Odyssey, O’Brother Where Art Thou and The Matrix.  If you missed any of these movies, you might want to rent them before the final exam on Tues (Per.2) or Wed (Per.3).

• Some questions on setting, protagonist, foreshadowing.

• There may be a few questions on symbolism as well so keep your symbolism work. I will post the symbolism handout on the blog.

• Keep all your hero’s journey charts and symbolism charts and bring them on final exam day.

Screenplays are due this Friday!

(These will be graded in class! Minus points if late!)

Part I—Alone or with your writing partner answer the following questions:

1. What is the main character’s motivation or quest?

2.  Read some of the dialogue. Reflect on if it sounds authentic and if flows naturally.

3. What type of conflict is occurring in this part of the screenplay?

4. Reflect on whether or not this screenplay takes on a unique perspective or if it has too many stereotypes.

5. Reflect on whether or not any parts of the hero’s journey showed up no matter how minor.

Part II—Alone or with your writing partner profile one of your main characters in order to get to know the character better. Use these questions.

Character Profile (Human or Non-Human)

Name: ____________Height: _______  Age: _________

Birthplace:

Physical description:

Style of dress:

Speech (include voice, accent, style of speech, slang, etc):

Race/nationality:

Family:

Relationship with parents:

Memories about childhood:

Religion: _____________________ Marital status: ____________

Overall health:

Educational background: (street smart? Formal?):

Occupation:

Where does the character live now? Describe home (emotional atmosphere as well as physical)

Interests/Hobbies/Activities:___________________Pets:________

Enemies:

Basic nature:

Personality traits (shy, outgoing, domineering, doormat, honest):

Strengths:

Weaknesses:

Fears:

Proud of:

Ashamed of:

Outlook on life (optimistic, pessimistic, cynic, idealist):

Ambitions:

Politics:

Sees himself/herself as:

Seen by others as:

Will be remembered for:

Part III—Write 1+ handwritten pages more of your screenplay (can be events before the scene from your rough draft or after) on the back of your screenplay or on a separate sheet of paper.

TYPED! Due Thurs 5/20, Block

5 pages of your movie script properly formatted (hopefully using Celtx).

Can be from any part of the script.

TYPED!

Due Thurs 5/20, Block

5 pages of your movie script properly formatted (hopefully using Celtx). Can be from any part of the script.

• Thursday, Block, May 20—Typed, formatted rough draft of Movie Script—any part of the script.

• Monday, May 24^th—LAST DAY for ALL MAKEUP WORK, LATE WORK & EXTRA CREDIT MOVIE REFLECTIONS (do up to 2 EC reflections).

• Thursday, Block, May 27—Assignment Packet due  (so far—Odyssey/Brother Chart, Your Screenplay Chart, Symbolism in Odyssey/Brother/Your Screenplay, 1+ page screenplay conflict brainstorm, + others)

• Friday, May 28^th—20 page Screenplay due!

• Final Exams on Finals Week. June 1-2. (10% of grade)

2 pages typed! Double-spaced. 12 pt. font. One per partnership.

Due on Thursday, Block, May 13^th

Procedures: Watch movie, answer questions on binder paper, and be prepared to share with your classmates.

View one (1) film hopefully depicting a quest.

You may watch and report on the movie with your partner(s).

***You may repeat this assignment 2 more times for extra credit.***

Answer the following questions on binder paper:

Top of page: Film_______________________Genre___________________

Hero(s)___________________

1. What does the hero want? What is the quest or motivation?

2. Is this hero reluctant in any way? Describe.

3. What is the first step that the hero takes on this journey (crossing the first threshold)?

4. What are some of the obstacles/conflicts on this journey? Describe as many as possible.

5. Describe the mentors or helpers.

6. Describe the love interest.

7. Describe any temptations that lead the hero astray.

8. Describe any villains/monsters/foes/antagonists (even the hero can be his or her own worst enemy).

9.Describe any of the  following if found in the film: oracle (doesn’t have to be human), prophecy (could just be words of wisdom), wearing the enemies skin, animal familiar.

10. What other symbols show up in the film?

11. Describe what the hero gets at the end of the quest (the gift, boon, prize, etc.).

12. Describe what the hero learns. Describe how the hero is transformed.

13.Describe what happens to the hero in the end. Does he or she go home or start a new life?

14. Describe some of the themes in this film.

15. Write your final reflection and evaluation of this film.

What’s the Point of this exercise? To introduce you to the style and settings of different screenplays. You should choose scripts that interest you to use as models.

You will be analyzing the beginning of 5 different scripts and answering these following questions for each one. YOU DON’T HAVE TO READ THE WHOLE SCRIPT!!

1. Write down the title of the script.

2. What are the opening lines of the script (write down both the descriptive first scene of the first lines of dialogue)? Explain if they grab or do not grab your attention.

3. What is the setting (time and place)?

4. What is the mood (feeling of the script)?

5. Make a guess at what the theme (general message or meaning) might be.

6. What have you learned about the characters? Describe them the best you can.

7. What is the conflict?

CLICK BELOW for the data base of MOVIE SCRIPTS!!!

http://www.script-o-rama.com/table.shtml

“In truth, writing a script is much more like writing poetry.”

            Many screenwriters go through the same ordeal- you have an idea for your story, but how are you going to write it? Lawrence Kasdan sums up the screenwriting style simply:

“You write what you see”

Write what you see as if the finished movie is playing in front of you. Moment by moment transcribe those events, and you won’t go far wrong, stylistically, in making the film “happen” in the reader’s mind’s eye.  Here are some considerations on the actual nuts- and- bolds act of screenwriting, the putting the words down on paper part.

            Opening Lines:  Director Robert Zemeckis said in an interview that the opening shot of a film is crucial to him, and that is rarely changes once it’s been designed.  That’s because the shot often summarizes, or in some way illustrates, the theme of the picture.  In screenwriting, first impressions are also important- so pay extra attention to the first words of your script, the first paragraph, the first line of dialogue.  Allow yourself some leeway, stylistically, to set the proper tone.

            Grammar: Proper grammar is crucial.  You need perfect grammar, and you also need to break the rules.  Certainly tenses should be consistent, words spelled correctly, and nouns and verbs should agree.  On the other hand, sentence fragments are screenwriter’s stock in trade.  For example, its perfectly acceptable to write:

 Anthony pushes through the jungle, toward the clearing.  Suddenly three loud SHOTS are fired.  Anthony peers through the leaves. One. Two. Three men lie on the ground.  All dead.

 Many grammatical rules being broken here.  But they’re all done on purpose.  The clarity of the scene is not lessened due to the grammatical violations.

 Character names: Use ALL CAPS when a character appears in the descriptive part of script for the first time.  Centered above lines of dialogue, use either the first name or last name of the character, but not both and make sure it is in CAPS.

 Dialogue: Write the dialogue exactly as spoken.  Contractions are of course all right, ‘cause that’s how people talk.  Spell out long numbers; it makes them easier to read.  Try to avoid splitting words with hyphens- if possible, move the entire word down to the next line.  This makes the speech sound better in the reader’s head.

 Parenthetical: The parenthetical directions are how the line is to be delivered; i.e, “angry”, or “sadly” just beneath the character’s name.  The key here, as always, is not too overuse this, and be vulnerable to the accusation of over-directing.  Note that parentheticals can also be used for minor bits of direction, such as “his eyes narrow” or “closing the book.”

 Font/ Style: Use Courier 12 point.  Underlining is okay to add emphasis.

 Vernacular: It’s not as hard as it looks- there are only a handful of specialized words that will appear in any script.  Here are the most commonly used:

 1. INT./EXT. In the scene heading, this designates indoors or outdoors.

2. BEGIN CREDITS/END CREDITS: Not necessary, but you can do it if you’ve consciously designed a credit sequence into your film.

3. (V.O.):  The abbreviation for “voice over”. Place it next to the character’s name.  It implies a narrator, separate from the screen action.

4. (O.S): The abbreviation for “off screen”. This is dialogue coming from a character who is in the scene, but out of camera view.

5. (cont’d): A particular parenthetical, used if a speech has been interrupted by description or a page break.

6.CUT TO: Can be used between every scene, between major sequences, sporadically whenever it’s appropriate to the rhythm of the script, or not at all.

7. DISSOLVE TO: Implies the passage of time.  SLOW DISSOLVE TO: implies the passage of lots of time.

8. (filtered): A particular parenthetical, used when the dialogue is coming from a phone, over a radio, or any electronic device that will modify the vocal.

9. FADE IN/FADE OUT: Used to start and end the script. They can also be used at any point in the screenplay, to delineate major sections of the film.

10.CLOSE UP: If you really want to emphasize a detail, a clue, then this is the way to do it.

11.PULL BACK: To reveal more, Use sparingly or not at all.

12. ANGLE ON/NEW ANGLE: Sometimes its truly important to shift the point of view in a scene- say, when someone is spying on someone else.  Then it’s appropriate to write: “NEW ANGLE-ON JACK”, looking down from second story window. There is also REVERSE ANGLE.

Embedded Information: A real stumbling block for beginning writers.  The tendency is to embed important information into the description of scene, instead of working that information dramatically into the story.  A sort of telling instead of showing.  The trick for the screenwriter is to find inventive, effective, dramatic, filmic ways to get the information across.  At its best, the reading experience should mimic the experience of seeing the movie- which of course hasn’t been filmed yet.  Anything that helps the movie “happen” in the reader’s mind’s eye is a plus.  Anything that gets in the way is a minus.  So how to recreate that dynamic film experience on the page?  Here’s a group of stylistic techniques that can be used:

Capitalization and Underlines: Sound effects and special effects can be capitalized, which has the added effect of the screenplay seeming more active.  “He spins, FIRES as he dives out of the way as the onrushing truck EXPLODES” at least conveys the idea that action is going on.  Similarly, if the entire plot turns on a specific bit of action, it’s perfectly acceptable to underline that action, to set it apart from the rest.

The four line rule: Try to keep all descriptive paragraphs to four lines.  The idea is to keep the script easy to read- to not give anyone an excuse to skip a paragraph because it’s too long.

A lyrical style: People tend to think of screenplays the way they think of novels.  In truth writing a script is much more like writing poetry.  The form and structure are paramount, and the goal is to convey as much information as possible in as compact a form as possible.  Not only does every word count, every syllable counts.  Song lyrics are one for of poetry.  Consider the following line, for example, as if it were the first line of screenplay.

     The screen door slams.  Mary’s dress waves.  Like a vision she dances across the porch as the radio plays.

A screenplay that begins with such a simple, evocative line conveys setting, tone, character, situation, with an incredible efficiency- which is what an effective style is all about.

***Screenwriting Style Questions***

1)     What does Lawrence Kasdan say about screenwriting?

2)      Why are opening lines important? What are the opening lines of Interview With the Vampire? How are they effective in setting the scene?

3)      Write your own attention getting opening line

4)      Proper grammar is crucial, but where is it okay to use sentence fragments?

5)      How do you write the character’s names? Write a line of dialogue with the character’s name above it from the first page of the script Interview With the Vampire.

6)      Now, write your own line of dialogue with the character name properly placed in the center above it and all in caps.

7)      How should you handle dialogue?

8)      What is the parenthetical direction? What is the key to using it?

9)      What font and point size should you use for a professional screenplay? When do you use underlining?

10)  What does INT. / EXT. designate? Write down examples of both INT and EXP direction from Interview With the Vampire.

11)  Write your own examples of both INT and EXT direction.

12)  What does V.O. mean? After looking at the V.O. examples in the play, write your own example of V.O. complete with the direction and a line of dialogue.

13)  What does O.S. mean? Write an example of an O.S. direction and dialogue.

14)  What does DISSOLVE TO: mean?

15)  Give a definition for (filtered)?

16)  When do you use FADE IN / FADE OUT?

17)  CLOSE UP means?

18)  When is ANGLE ON / NEW ANGLE used?

19)  What is embedded information and why is it a problem?

20)  What can you do with words that designate sound effect and special effects?

21)  How many lines should descriptive paragraphs be whenever possible?

22)  How is script writing like writing poetry?

23)  Write a descriptive paragraph that consists of four lines and is lyrical or poetic.

Due on Thurs, Block, April 29^th

Use YouTube, other internet sources or check link below:

http://www.babelgum.com/

Purpose: To look what is possible in a short film in order to inform your own script writing.