Syllabus

School of Entertainment Arts, Department of Film and Television, Savannah

FILM 431 - Film and Television Senior Project I:Preproduction Section: 03 CRN: 23361

SCAD Mission:The Savannah College of Art and Design exists to prepare talented students for professional careers, emphasizing learningthrough individual attention in a positively oriented university environment.

Course Description:Students define the preproduction, production and postproduction stages of their senior projects. Emphasis is placed onanalyzing the script, preparing a budget, determining a schedule, casting, identifying the target audience and deciding on amethod of distribution. Students are expected to focus on very specific career goals, setting expectations and creatingstrategies. Prerequisite(s): FILM 320 or FILM 337.

Course Goals: The following course goals articulate the general objectives and purpose of this course:

1. Students will explore the preproduction of the senior project film.

2. Students will write and revise a screenplay.

3. Students will complete a shooting script.

4. Students will complete a breakdown and analysis of a screenplay.

5. Students will schedule and budget a film.

6. Students will conduct auditions.

7. Students will create a professional quality production book including scripts, breakdowns, schedule, budget,locations, cast, crew and art department.

8. Students will create of a visual design of the film.

Student Learning Outcomes: The following course outcomes indicate competencies and measurable skills that studentsdevelop as a result of completing this course:

1. Students will hone conceptual, preproduction and screenwriting skills.

2. Students will explore casting techniques and develop skills in directing actors in casting sessions.

3. Students will develop artistic and professional vision.

Winter 2014Jesse Wolfe

Office building, room: Adler 309Phone: (912) 525-6419

Office hours: M-Th 1:45-2:45pEmail: jwolfe@scad.edu

Building/Room: ADLER 316 Meeting Times: Tuesday / Thursday

8:00 AM - 10:30 AM

4. Students will clarify artistic goals and previsualization for an independent film production, hone both verbal andwritten communication skills.

Schedule of Classes:

Key events including assignments, projects due dates/exam dates:

Class 1:Tue,

January7, 2014

Introduction and overview of the Senior Project processCourse SyllabusDiscussion of career and artistic goals, assignments, review of pre-production book materialsConcept development workshop

Asignments:

Read How Not to Make a Short Film: Intro and chapter 1 (pages 1-23), also read Rea andIrving: Preface, Intro, and Chapter 1 (pages 1-22)Documentarians: Read Rosenthal: Preface, Intro, Chapters 1-3 (pages 1-24)Editors: In the Blink of an Eye, Pages 1-26

Writers: Your Screenplay Sucks, Part 1, Chapters 1-6DPs: Mascelli, Chapter 1New Media/Installation: If you are interested in mew media work, web series, installation, orexperimental work please contact me for a list of directed reading.

Choose an article from one of the following publications. It should relate directly to a specificinterest in your field. Read it and be prepared to present a report on it. (Sight and Sound, Cineast,Film Comment, Film Quarterly, October, Artforum) http://www.cineaste.com

http://www.bfi.org.uk/sightandsound http://www.filmlinc.com/fcm/fcm.htmhttp://www.filmquarterly.org/index2.html http://www.mitpressjournals.org/loi/octohttp://artforum.com/film/

• Read a review of a film you have screened recently. It should be written by an established criticfrom a noteworthy periodical, i.e. Manohla Dargis, A.O. Scott (New York Times), JonathanRosenbaum, Pauline Kael, Susan Sontag, Andrew Sarris. The review doesn’t necessarily have toagree with your opinion of the film.

• Prepare 1 to 3 concise presentations on options for a Senior Project. Keep them brief and to thepoint. If you already have a script, prepare a half page treatment for presentation.

• Write an artist’s statement. Explain to me who you are as a film artist- why you came to filmas a career choice, your influences and why they speak to you, and what you hope to do in thearena of film.

Keep it brief and geared to a conceptual approach.

½ page typed font size 12 single spaced

Times New Roman or Arial font, standard Word document margins. (No name = no grade)

Class 2:Thu,

January9, 2014

Review and critique of assignments

Due: Presentation of selected article of research Due: Brief written Artistic statementStudents pitch story ideas

Class 3:Tue,

January14, 2014

Review and critique of assignmentsDue: Presentation of selected article of researchDUE: Self-prepared overview of quarter with deadlines Discuss PREMISE and ARTISTICVISIONREADING DUE: How Not to Make a Short Film, Munroe (Ch.2)

Class 4:Thu,

January16, 2014

Concept statement – screen examples of SCAD/other student work for critique of conceptualobjectives. In-class screenplay readings. Discuss PREMISE and ARTISTIC VISIONREADING DUE: excerpts from, Raskin, The Art of the Short Fiction Film

DUE: Presentation of 3-7 possible conceptsDUE: Self-prepared overview of quarter with deadlines

Class 5:Tue,

January21, 2014

Treatment workshop (-or- beat sheet, step outline) Discuss CHARACTER ANALYSISIn-class readings

Assess and discuss non-director objectives.READING DUE: How Not to Make a Short Film, Munroe (Ch.3)

Class 6:Thu,

January23, 2014

Due: character analysis - or- scene analysis (DPs, Editors)Due: Presentation of developed treatments for two concepts (DPs, Editors). Reading Due:(Documentary filmmakers) Rosenthal, pgs 50-81

Class 7:Tue,

January28, 2014

Due: Presentation of selected final project treatment/objectives. In-class screenplay/treatmentreadings

READING DUE: How Not to Make a Short Film, Munroe (Ch.4)

Class 8:Thu,

January30, 2014

Discussion on directing and and selected final projectsIn-class screenplay/treatment readingsReading Due: On Directing Film and (Documentary filmmakers) Rosenthal, pgs 82-128

Class 9:Tue,

February4, 2014

Pre-production book reviewIn-class screenplay readingsDue: In-class presentation of draft sequence outline (collected at beginning of class).

READING DUE: How Not to Make a Short Film, Munroe (Ch.5)

Class 10:Thu,

February6, 2014

Due: first draft screenplays (10 copies collected at beginning of class). In-class readingsASSIGNMENTS CALCULATED FOR MIDTERM GRADE:ALL STUDENTS: Artists Statement & Music Temp Track;WRITER/DIRECTOR: First Draft Screenplay, Character Breakdowns

DOCUMENTARY FILMMAKER: One Page, Treatment, Research Components PRODUCERONLY: Preproduction Schedule, Financial Statement & Budget CINEMATOGRAPHER: CameraTests, Location Tests, Video Storyboards EDITOR: Video Storyboard Editor, PostproductionWorkflow Test, Video Genre Compilation, Scenes List

FEATURE SCREENWRITER:Research Paper, Proposal, Character Study, Monologue Scene

Class 11:Tue,

February11, 2014

In class draft screenplay readingsMidterm conferences: Critique of work in progress

Class 12:Thu,

February13, 2014

Due: Video sketch and temp tracks: discussion and critique In-class draft screenplay readingsIn class review of materialREADING DUE: How Not to Make a Short Film, Munroe (Ch.6)

Class 13:Tue,

February18, 2014

Video sketch and temp tracks: discussion and critiqueCasting and rehearsals workshopPre-production: Crewing, budgeting, schedulingReading Due: Rea and Irving, Chapter 6, Crewing, pgs 83-97 and Chapter 9, Casting, pgs119-128

Class 14:Thu,

February20, 2014

Due: Second draft of screenplayIn-class screenplay table readings and critiqueReading Due: (Documentary filmmakers) Rosenthal, pgs 129-162 – or- Rea and Irving,Chapters 3, 4, and 5

Class 15:Tue,

February25, 2014

Review and critique of video sketches, rehearsals and pre-visualization materials

Class 16:Thu,

February27, 2014

Review and critique of video sketches, rehearsals and pre-visualization materials

Class 17:Tue,

March 4,2014

In-class screenplay table readings and critiqueProduction book workshopSHOOTING SCHEDULE AND EQUIPMENT REQUESTS DUE CASTING PREP DUE

Class 18:Thu,

March 6,2014

View audition tapes and critique(3 for each main role – related interviews for Doc.s)FINAL: Due: Final draft of screenplayIn Class script presentations and critique: Defense of materials.Reading Due: (Documentary filmmakers) Rosenthal, Part Three –or- Rea and Irving, Chapters 1and 8

Black Maria Film Festival

Friday, March 7 - Trustee's Theater (FREE with SCAD ID)

Promoting, illuminating, and advocating innovation in the art of the moving image. A great nightof great short films in all genres.

Class 19:Tue,

March 11,2014

FINAL: ALL ASSIGNMENTS DUE FOR GRADING including Preproduction Books Finalscreenplay, and shot designIn -class presentations and critique: Defense of materials.

All assignments returned; review Senior Project II requirements Individual conferences withprofessor

Class 20:Thu,

March 13,2014

FINAL: ALL ASSIGNMENTS DUE FOR GRADING including Preproduction Books Finalscreenplay, and shot designIn -class presentations and critique: Defense of materials.

All assignments returned; review Senior Project II requirements Individual conferences withprofessor

Grading Opportunities:

Your overall course grade will be computed according to the following breakdown:

Assignment Weight

Exercises and assignments for individual directives (see break downsheet)

50%

Video sketch/Storyboards/Music Tracks

15%

Secondary Project/Crew Work (including written report)

15%

Timely and thorough completion of assigned course work/readings

10%

Class Participation/Critique

10%

Grading Standards Range

Letter grade: A = excellent 90 —100 %

Letter grade: B = good 80 — 89 %

Letter grade: C = * 70 — 79 %

Letter grade: D = * 60 — 69%

Letter grade: F = failing 0 — 59%

*Refer to the student handbooks and departmental standards for minimal acceptance for passing grade.

Course Information:

Field Trip(s):

Required: Black Maria Film Festival Friday, March 7 - Trustee's Theater (FREE with SCAD ID)

Promoting, illuminating, and advocating innovation in the art of the moving image. A great night of great short films in all genres.

SCAD Presents: aTVfest February 6-8, 2014 SCAD Atlanta

Award-winning producers, directors and writers present a series of informative and entertaining panels, discussions and workshops.

SCAD deFINEART February 18-21, 2014 SCAD Atlanta

http://www.scad.edu/event/scad-define-art

Winter 2014 - SCAD Cinema Circle Screenings Optimized for your cinematic pleasure. 4k and 35mm projections with Dolby sound in Trustee’s Theater! FREE with SCAD ID.Public is invited. All films are introduced by SCAD Faculty and students. Discussion follows.

Bonnie and Clyde (1967, Dir. Arthur Penn) January 11, 7PM

The Sting (1973, Dir. George Roy Hill) February 1, 7PM

Dog Day Afternoon (1975, Dir. Sidney Lumet) February 22, 7PM

Lucas Theatre for the Arts -Film Screenings Restored prints of classic films in an art deco revival house. $5 for students.

Harvey (1950, Dir. Harry Koster) Friday, January 24, 7PM

Rear Window (1954, Dir. Alfred Hitchcock) Saturday, January 25, 7PM

Amelie (2001, Dir. Jean-Pierre Jeunet) Friday, February 7, 7PM

The English Patient (1996, Anthony Minghella)

Saturday, February 8, 7PM

Extra Help Session(s):

Anyone who would like extra help is welcome to make arrangements during office hours. Extra help sessions are not intended asmake up classes for sessions missed due to absence.

Extended Learning Opportunities:

Other Course Information:

Course Protocol:

An equal emphasis will be placed on the development of concepts and their technical implementation. Students will be evaluatedand the final course grade determined as follows:

Classroom activity including: (1) professional presentation of assigned work, (2) two or more practical exams based on the readingsassigned for each class meeting and (3) thoughtful and appropriate participation in class discussions.

Learning to meet deadlines is essential. Therefore, all assignments are to be handed in on time. The individual grade for missing anassignment deadline will be penalized one letter grade for every class it is late.

All work must be typewritten; students are responsible for providing multiple copies of work presented in class. Students willprovide the professor with one complete, non-returnable digital copy of their final package at the beginning of class 20.

Students unable to develop and thoroughly define a viable senior project with a competent script package will not be permitted topass this course.

In order to receive a passing grade in this class the student must submit a completed script, completed production book, and, ifSenior Project II is to be taken the following quarter, a production schedule with target dates. There will be no exceptions.Participation in class discussions and critiques are essential to develop the verbal presentation and persuasion skills needed forinteraction with clients, employers, and colleagues.

Journals: Students are REQUIRED to keep a film/video journal and to make daily entries in it. Entries may include, but are notlimited to, observations on films and videos, books, ideas for set-ups, sketches, dialogue, general observations, etc. Students arerequired to keep this journal at all times, carrying it with them in the field and to class.

Despite what you may have been led to believe by the Microsofts and Macs of the world, computers are NOT RELIABLE.

They will freeze up, refuse to print, garble your text, and worse. They are not your friends, and you should plan on thesethings happening to you. Back up often (treat yourself to a new flash drive if needed – they are cheap). Print out hardcopies of stuff. Do what you have to, but remember, “the computer ate my homework” is not an acceptable excuse for anything.

Students are expected not only to be present for all classes but also to actively take part in group discussions and class functions suchas the casting call.

Class participation isn’t simply talking – it’s saying something thoughtful, engaging in dialogue, etc. Try to find a balance; the beststudents contribute to class discussions without dominating them. Come to class with something to say, or perhaps a question thatarose out of our reading. Be engaged.

A NOTE ON CRITIQUE:I encourage you to say what you think, not what you think someone might want to hear. However, addressing creative work can callfor thoughtfulness and tact. While some people come up with ideas out of the thin air, others are likely to use aspects of their ownlives as starting points, and criticism that isn’t meant personally can be taken that way. I expect comments to be made in aconsiderate, helpful manner, and I won’t tolerate meanness. Remember, we are trying to make good art here.

Syllabus Addenda:The following changes are to be applied to any and all production classes and thesis films (undergraduate and graduate) in thedepartment of Film and Television. There will be no exceptions. Any violations will result in an automatic failure of the student(s)involved.

GUNSAny realistic depiction of a gun, whether or not the gun is real or a replica, whether the gun can fire real bullets, blanks, is disabled,or even if it is a toy, will require a licensed armorer and a police officer on the set. This rule applies even if the set is closed or thescene with the gun is shot in the studio.

Proof of payment to the licensed armorer and the police officer and exact hours employed must be provided by the student.Verifiable contact information for the armorer and the police officer must also be provided before any equipment is released to thestudent(s).

MOVING VEHICLESThere will be no moving vehicles of any kind involving actors in any shot unless separate production insurance is purchased thatdetails the specific uses and shots involving the vehicle. This does not apply to any moving vehicles that naturally appear in thedistance or background of a shot. However, if the film crew can be viewed by proximate traffic or if it in any way affects passingtraffic, then an on-duty police officer(s) must be used to control that traffic. Proper permits for this situation must also be obtained.

The department may decline the use of its equipment if the professor(s) determine that optimal conditions for safety are not met (e.g.a professional stunt driver (SAG), a properly rigged process car). In addition, any approved shot that involves a moving vehicleand/or a process car must employ as many on-duty police officers as the city recommends.

There will be no portrayal of any violation of state law involving moving vehicles (e.g. seatbelt and helmet use).

Proof of payment for the police officer(s) and professional driver(s) must be provided. Verifiable contact information for the policeofficer(s) and professional driver(s) must be provided before any equipment is released to the student(s).

CHILDRENAny use of any minor in any production must be approved by the department. Issues that will be looked at include, but are notlimited to: subject matter, the shots involving the minor(s), and a properly maintained professional environment on the set. Aprofessionally maintained environment includes, but is not limited to, such issues as strict adherence to the hours a minor may workper SAG guidelines (including travel), safety of the minor, meal guidelines, and educational guidelines if filming takes place duringthe minor’s school hours.

For each minor on the set, a parent or designated guardian must be present at all times. If a parent designates a guardian, then thatdesignation must be obtained in writing.Proof of compliance to all of the above will be required before any equipment is released to the student(s).

JIB ARMS/CRANES/DOLLIESCamera lighting and grip equipment owned by the college is not allowed to be used with unauthorized jib arms, cranes, or dollies.Such unauthorized and uncertified devices are not allowed to be used on productions without specific approval by the Professor andthe Department Chair.

Course Materials:

Required Text(s):

(For Producing and Directing students)

How Not to Make a Short Film: Secrets from a Sundance Programmer Roberta Marie Munroe, Publisher: Hyperion (January 20, 2009) ISBN-10: 1401309542

Producing and Directing the Short Film and Video (4th edition)By David K. Irving, Peter W. Rea, Focal Press, ISBN-10: 0240811747

(For documentary oriented students)

Writing, Directing, and Producing Documentary Films and Videos By Alan Rosentahl, Southern Illinois University Press; 3rd edition, ISBN:

Independent Filmmaker’s Manual (2nd edition) Wurmfeld / Laloggia; IFP/Los Angeles Focal Press, ISBN:0-240-80585-2

(For editors) In the Blink of an Eye, revised 2nd editionby Walter Murch, Silman-James Press, August 1, 2001, ISBN: 1879505622

Script Supervising & Film Continuity, MIller(For all students) On Directing FilmBy David Mamet

Penguin Books, ISBN: 0140127224

Recommended Text(s):

The Complete Film Production Handbook, Third Edition (Book & CD-ROM)Eve Light Honthane, Focal Press; 3rd edition; ISBN: 0240804198In the Blink of an Eye, revised 2nd editionby Walter Murch, Silman-James Press, August 1, 2001, ISBN: 1879505622Changing Direction: A Practical Approach to Directing Actors in Film and Theatre

by Lenore DeKoven, Focal Press (February 15, 2006), ISBN-13: 978-0240806648

by Lenore DeKoven, Focal Press (February 15, 2006), ISBN-13: 978-0240806648

Directing Actors by Judith Weston, Paperback, Publisher: Michael Wiese Productions (July, 1999),ISBN: 0941188248Crafting Short Screenplays that Connect, 2nd Editionby Claudia H. Johnson; publisher Focal Press, January, 2005, paperback, ISBN: 0-240-80641-7 Script Supervising and FilmContinuity, Third Edition

by Pat P Miller, Focal Press; December, 1998; Paperback; ISBN: 0240802942

Periodicals most pertinent to the course include: American Cinematographer, Filmmaker, MovieMaker, Script, Cineast, Empire,FilmThreat, Film Comment, Film Quarterly, Sight and Sound, and Artforum/Filmforum

Required Material(s):

Students are required to support the scale their production. During Senior Project I, students are responsible for notebooks and paper(white and appropriate colors) for screenplay and pre-production book; writable CDs for music temp track; mini-DV tapes andDVDs for video sketch, mini-DV tape for casting session, and various office supplies required for the completion of assignments.

University Policies:

Academic Integrity: Under all circumstances, students are expected to be honest in their dealings with faculty, administrative staff and otherstudents.

In class assignments, students must submit work that fairly and accurately reflects their level of accomplishment. Any workthat is not a product of the student's own efforts is considered dishonest. Students must not engage in academicdishonesty; doing so can have serious consequences.

Academic dishonesty includes, but is not limited to, the following:1. Cheating, which includes, but is not limited to, (a) the giving or receiving of any unauthorized assistance in producingassignments or taking quizzes, tests or examinations; (b) dependence on the aid of sources including technology beyondthose authorized by the instructor in writing papers, preparing reports, solving problems or carrying out other assignments;(c) the acquisition, without permission, of tests or other academic material belonging to a member of the university facultyor staff; or (d) the use of unauthorized assistance in the preparation of works of art.2. Plagiarism, which includes, but is not limited to, the use, by paraphrase or direct quotation, of the published orunpublished work of another person without full and clear acknowledgment. Plagiarism also includes the unacknowledgeduse of materials prepared by another person or agency engaged in the selling of term papers or other academic materials.3. Submission of the same work in two or more classes without prior written approval of the professors of the classesinvolved.

4. Submission of any work not actually produced by the student submitting the work without full and clear writtenacknowledgement of the actual author or creator of the work.

Attendance and Personal Conduct: Only students who are properly registered for a course may attend and participate in that class. Students are expected toattend and participate in all scheduled classes and examination periods. Absences in excess of four class periods perquarter, or 20 percent of the course, result in the student receiving a failing grade for the course. Tardiness, earlydeparture or other time away from class in excess of 15 minutes per class session is considered absence for the class session.

The student's appearance and conduct should be appropriate and should contribute to the academic and professionalatmosphere of SCAD. The university reserves the right at its sole discretion to withdraw the privilege of enrollment fromany student whose conduct is detrimental to the academic environment or to the well-being of other students, faculty orstaff members, or to the university facilities.

Enrollment policies: Students are responsible for assuring proper enrollment. See the SCAD catalog for information on add/drop, withdrawals,incompletes, and academic standing.

Midterm Conference(s): Each student enrolled in the course will have a midterm conference scheduled outside of class time with the professor.Students are expected to keep this appointment.

Academic Support and Tutoring: Academic support for students at all SCAD locations can be found in MySCAD, under the Student Workspace tab,Department Directory, Academic Resources.

Course Evaluations: SCAD offers students the opportunity to evaluate all scheduled courses during each quarter term. Student feedback isessential to continuously improve academic services at SCAD. Evaluations will be available the end of each quarter at thebeginning of Week 8 and must be completed online by the Monday following Week 10. A sample course evaluation foron-ground courses is available here.In order to access course evaluations, the student should take the following steps:

Log on to MySCAD1.Click on the Student Workspace Tab2.Locate the Course Evaluations link under My Courses channel3.This will bring up a page that says current surveys and lists all the courses that are currently available for evaluation.4.

For more information or questions, contact us at evaluations@scad.edu. Student Surveys:The SCAD Student Survey and the Noel-Levitz Student Satisfaction Inventory will both be administered in Week 6 ofspring quarter . SCAD's office of institutional effectiveness is responsible for gathering and delivering survey results todecision-makers on campus. For more information or questions, contact us at surveys@scad.edu.

Please refer to the college catalog or the student handbook for all college policies and procedures.