Hello Students,
Read all details of this post to learn how to proceed on your final project. In this pre-production phase of your final project you will create, develop and refine the vision of your film. Consider this a guideline or rough sketch for your project. Though many aspects are to be considered this work is invaluable for ensuring your vision is executed with thoughtfulness.
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| Scenes from Mel Stones short film "Red". |
Storyboards, Scripts, Shot lists and Beatsheets:
Only students that have pre-approved project proposals may move onto this planning, or "pre-production" phase.
For you team/solo project you must decide what planning format to use for your project. While professional production will have multi-faceted planning phases, your time is limited to the method that will benefit your project the most. Traditionally, scripts, storyboards and shot lists are all developed to create a solid vision, this is crucial to ensure that project and client budgets are used efficiently.
For
Dialogue heavy, original
drama's or
adaptive projects a
script with minimal scene direction is often of most value.
For
Original works, read up on the popular
Beatsheet method for creating a compelling story arc. details below. If your struggling to come up with an idea that works as a film read the Beatsheet outline below and use it as a guide to create your own vision.
For
documentaries or
experimental films, a
shot list... detailing locations, subjects, context, narration, interviews (also called
A-roll footage) and shots of scenery or places/events (also called
B-roll footage). These shot lists are usually listed in the order that makes the best use of production time, so scenery and related footage is shot in the easiest non-sequential manner and then edited to fit the timeline that is required to tell the story or message in the final edit.
For
creative projects that have a lot of action, special effects, comedy timing, animation etc, a
storyboard with notations of camera movement, visual effects, zooms, pans, reaction shots, closeups, etc is often the best method to make sure the project has strong energy, pacing and a story arc that makes sense.
Required Reading:
Elements of Cinema: Shot Lists and Storyboards
Storyboards, refresh your memory for storyboard requirements:
Art of the Storyboard
Scriptwriting Resources:
How to Write a Screenplay, scriptwriting and examples
Review Sample Scripts from multiple films
Storyboards, Scripts or Shot lists are due by Friday for review and approval! - Mr.W
Email your questions, concerns or final documents to me for feedback and approval. Consider this part of the experience of working remotely.
Original Narrative: Brainstorm and Create a BeatSheet
Create an outline for your teams film by brainstorming ideas for your short film and create a Logline and Beatsheet to develop your 3 act story arc. Create a document that follows the beat sheet format below:
Script Title (Your script or movie title)
____________________________________________________________
Logline (A catchy, one-sentence summary of your script)
Beat 1—Opening Scene
The opening scene is an opportunity for you to give the audience the starting point of the protagonist’s journey. It can be an image of your protagonist, an important setting, a revealing conversation between characters, an object that is essential to the plot, etc. This should give your audience a “snapshot” of what the rest of your film might look like, or what your film is all about. The opening image in the Wizard of Oz depicts Dorothy and Toto running down a dirt road with storm clouds approaching in the background. Once you watch the whole film, you realize how important that first scene really is. And remember, just like the first page of a novel needs to draw the reader in, the opening image of a script needs to draw the audience in. (Describe your opening image in the space below.)
Beat 2—Setting Up the Story
All the important characters (your protagonist, antagonist, and supporting characters) in your main plot will be introduced during the first ten pages, or at least hinted at. You want your audience to know all your characters’ strange tics and behaviors—basically, what makes your characters unique. You will also want to set up your conflict (or what your protagonist wants more than anything and how his or her fears and antagonist are in the way of him or her getting it.) By page ten, your audience needs to fall in love with your characters enough to care about their conflict. (Below, brainstorm character behaviors and events that you might need to write into your script in order to set up your conflict.)
Beat 3—Inciting Incident
In the set-up, you have told us all about the world of your script. The inciting incident (also known as the catalyst) will turn that world upside down. Protagonists get fired, find out they have a long lost brother, get news that they have three days to live, meet the girl or boy of their dreams, get blown somewhere over the rainbow by a powerful tornado, etc. This is what forces your protagonist out of a daily routine and into the adventure of a lifetime. (Describe your inciting incident in the space below.)
Beat 4—The Big Decision
Page 25 is the point of no return. From page 10 until then, your protagonist should be debating whether to embark on his or her journey or just continue living his or her uneventful, everyday life. Unless you want to write a really boring script, your protagonist will choose the more dangerous and exciting path towards his or her goal. But just like it might be hard if you had to decide to leave everything behind, it will be a hard decision for your protagonist. (Below, write two lists from your protagonist’s point of view. One stating why he or she should stay, and one stating why he or she should embark on the adventure.)
Reasons why I should stay:
Reasons why I should embark on the adventure:
Beat 5—Into the Wide Unknown
This is a big moment for your protagonist, and you want to make sure that your audience knows it. He or she is leaving the old world behind, and stepping into a dangerous and unknown world to embark on the adventure. Because these two worlds are so distinct, the act of actually stepping into the new one must be unmistakable. A great example of this is in The Wizard of Oz when Dorothy steps out of her house and into the Munchkin City. (Below, describe the moment where your protagonist steps into the new world.)
Beat 6—Subplot
The subplot, also known as the “B story,” is oftentimes a love story involving the protagonist, but it can also be based around supporting characters or even a brand new gang of characters. The subplot will make your script more dynamic or exciting; the more subplots you have, the more fun your film will be to watch. (Using the space below, brainstorm some ideas for various subplots and how to introduce them into your script. You may want to go back to your “Supporting Character Worksheets,” and see what each of them wants more that anything in the world.)
Beat 7—Having Fun and Getting to Know Your Characters
This is the portion of a film where most of the trailer clips come from. As you might guess, this part of the script is more upbeat; it is less about “your characters moving towards an end goal” and more about “your characters having fun and getting to know each other.” This does not mean that it is less important. This part of your script helps your audience get to know what your characters and your story are all about. For example, this is the part of Wizard of Oz where Dorothy sings and dances with her newly-found friends along the Yellow Brick Road. (Write out some rising action that might fit into this section of your script in the space below.)
Beat 8—The 50% Mark
The fun and games are over, and it is time to get back to the story. The midpoint of your script can be tricky. It is said that, at this point in your script, your protagonist either reaches a point where he or she thinks that things can’t get any better or any worse. The trick is that neither is true. The movie is only halfway over, and things are going to get worse before they are going to get better. This is the moment when Dorothy looks across the poppy field and sees the Emerald City. Though it looks like her journey is almost over, it has only just begun! (Below, describe the midpoint of your script.)
Beat 9—The Antagonist Returns!
Your protagonist has already had some run-ins with the antagonist, and has been successful so far in keeping him or her out of the way. At the 50% Mark, your protagonist may believe that he or she has seen the last of the “bad guy or gal.” Unbeknownst to your protagonist, the antagonist has been getting ready to come back with a vengeance. (Describe how your antagonist rears his or her ugly head again in your script in the space below.)
Beat 10—The “All is Lost” Moment
Just like the 50% Mark, the “All is Lost” Moment is a false defeat. Everything that could go wrong has gone wrong. The antagonist has come back with a bigger army and a brilliant game plan right when your protagonist thought all his or her problems were gone for good (or when he or she thought that things could not get any worse). After such a huge defeat, it is no wonder your protagonist is ready to throw in the towel and give up on his or her dreams. (Describe the “All is Lost” Moment in your script below.)
Beat 11—The “Ah Ha!” Moment
This is the moment when your protagonist pulls him or herself off the floor and back into action. Oftentimes, with the help of the supporting characters, he or she will come up with a brilliant plan (Ah ha!) to finally defeat the antagonist—this time for real. (Describe the “Ah ha!” moment of your script below.)
Beat 12—The Final Push
These final pages of your script typically contain your climax, falling action, and your resolution. This is where your protagonist learns to overcome his or her fears in order to defeat the antagonist, consequently changing—and sometimes even saving—the world! (Describe all the events that make up your climax, falling action, and your resolution below.)
There is a lot of information here. Also, this is a “formula.” It is something that many screenplay writers use to write their scripts, but it not a requirement. You can write an “off-beat” film by rearranging all the beats or by making some longer and others shorter. Many directors experiment with timeline changes, and other experimental processes.
