WRITING THE COMEDY FEATURE. Summer Quarter 2011 Wednesdays 7-10pm. Instructor Dave Polsky. Overview

Transcription

1 UCLA Extension Writers Program Public Syllabus Note to students: this public syllabus is designed to give you a glimpse into this course and instructor. If you have further questions about our courses or curriculum, please contact the Writers Program at (310) or via at writers@uclaextension.edu. We are happy to answer any questions and to help you find the best class to achieve your writing goals. WRITING THE COMEDY FEATURE Summer Quarter 2011 Wednesdays 7-10pm Instructor Dave Polsky Overview This workshop focuses on writing the comedy screenplay--from original concept to final polish--with particular attention paid to concept, character and story structure as the means to the desired end: The Funny. In a supportive workshop environment and through weekly assignments, participants analyze what makes a comedy work--both artistically and commercially--with the goal of completing detailed story outlines and the first act of their screenplays by the end of the course. This intensive workshop is intended for students with a background in screenwriting. Blake Snyder---Save the Cat! Required Reading Paul Joseph Gulino---Screenwriting: The Sequence Approach

2

3 Grading Since the class is a workshop, attendance, participation and professionalism are vital. For credit students the course grade will break down as follows: 10% Attendance 20% Participation (including discussion and in-class critiques.) 50% Finished treatment of screenplay 20% First act of screenplay NOTE: Students who already have movie ideas should bring them to the first class. Class Schedule and s Week 1----The Big Picture Meet the writers Nominate favorite movies to analyze High Concept: What is it? The Grid In-class writing assignment Intentions, agendas, and tips for conduct

4 Read Save the Cat! pages Watch and take notes on CLASS FAVORITE COMEDY #1 (TBD). Develop three feature loglines of your own to present in class. Week Reverse Engineering Our Favorites The Beat Sheet and The Board. Beat Out and Board CLASS FAVORITE COMEDY #1. Review and discuss individual assignments and begin defining, in each potential project, who or what the main antagonist could be. Choose one logline and flesh it out into a one paragraph description. Choose ten words that describe the potential main character. Watch and take notes on CLASS FAVORITE COMEDY #2 (TBD).

5 Week 3---Character Constructing Character: Inner Oppositions, Outer Dilemmas Beat Out and Board CLASS FAVORITE COMEDY #2. Review and discuss individual assignments. Watch and take notes on CLASS FAVORITE COMEDY #3 (TBD). Write an angry letter from your protagonist to your antagonist. Prepare a brief description of the other characters in your series or movie and how they drive the protagonists story along Week 4---Keeping it Real Point of View: the Character s the Writer s More in-class writing assignments Beat Out and Board CLASS FAVORITE COMEDY #3. Review and discuss individual assignments.

6 --- Read Screenwriting: The Sequence Approach pages Watch and take notes on TOY STORY. Prepare a brief synopsis (beginning, middle and the all important end of your story.) Week 5----Keeping the Audience Invested The Big Four Tools for sustaining audience attention Beat Out and Board TOY STORY. Review and discuss individual assignments. Finding comedy buddies. Brainstorm list of produced features that qualify as Most Disappointing Comedies, and select one to rebuild as a class. Draft step outline of your feature. Check in at least once with your comedy buddy. Week 6----Stepping Into the Limelight Review and critiques of step outlines.

7 Whenever desired and time permitting, boarding individual student outlines as a class. Revise step outlines. Week 7 ---Keep Going, Keep Going Listening to your characters and avoiding contrivances. Troubleshooting lingering questions or problems in students individual outlines. Complete the first pages of screenplay. Week 8 ---Leaving Port and Setting Sail Reading and discussion of completed material. The power of strong act breaks and how to craft them. Revise first pages of screenplay and complete First Act of screenplay.

8 Week In Class Readings Cast and read selected first acts What s working? Where are opportunities for improvement? Revise and complete first acts. Watch and take notes on MEMENTO. Week More Thoughts on Concept and Character Discuss MEMENTO: Linear or Non-Linear? Beat Out and Board MEMENTO. Final half of this class will be devoted to a last review of all projects. Addendum to Class Schedule Class curriculum may change at times due to availability of guests and the needs of the class. The Instructor would appreciate receiving (by ) outlines and drafts assignments a day before they are due in class.

9 Class Guidelines With so much ground to cover every week, it's imperative that class start on time. That said, traffic and parking at 7pm in Westwood can be horrific so allow yourself some extra time to get here. Please no food in class. (We'll take a break in the middle.) Discussion in class is strongly encouraged. It's always best to keep criticism positive and constructive.