MAIN RESULTS FROM THE START PHASE OF THE PROJECT

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1 MAIN RESULTS FROM THE START PHASE OF THE PROJECT Pierluigi Richini Transnational Meeting Rome 20 Sept 2014

2 Aim and expected results 1. To obtain useful informations and data for the definition of the professional profiles of the AUDIO VISUAL AUTHOR («RAAV») FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») 2. To identify skills and knowledge to be acquired by participants to training courses, spreading a general training model at transnational level 3. To propose profiles models to Puglia Region (that financed the projects) for a possible implementation in the regional vocational and professional certification catalogue

3 Activities and outcomes 1. Desk analysis Report Working in audiovisual sector today: state of the art and trends (realized) Report The certification of formal and informal learning (realized) 2. Analisys of italian repertoires of professional and vocational qualifications Report The RAAV professional profile in the italian regional training systems (realized) Report The TARSE professional profile in the italian regional training systems (realized)

4 Activities and outcomes 3. Interviews with sectoral experts Six interviews concerning RAAV profile (realized) Five interviews concerning TARSE profile (realized) Tuning the professional profiles (in progress) 4. Transnational survey Survey preparation (CATI or CAWI) (to be realized) Questionnaire design (to be realized) Fieldwork (to be realized) Data processing / Drawing a report (to be realized) 5. Final report

5 The considered catalogues + ISFOL + Italia Lavoro

6 AUDIO VISUAL AUTHOR («RAAV») examined profiles Storyboarder (Lombardia / Italia Lavoro) Scriptwriter (Lombardia / Liguria / Toscana / Orientaonline Isfol / Training need analysis Isfol) Author of dialogues (Lombardia)

7 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») examined profiles First assistant director & script supervisor (Lazio) First assistant director (Lombardia / Liguria) Script supervisor (Lombardia / Liguria) Film Maker (Lombardia / Liguria / Italia Lavoro) Director (Lombardia / Liguria / Isfol) Editor (Lombardia / Liguria / Toscana / Lazio / Basilicata / Italia Lavoro) Casting director (Toscana / Puglia / Sardegna) Director of photography (Lombardia / Liguria / Lazio)

8 AUDIO VISUAL AUTHOR («RAAV») interviews Luca Alcini (TV screenwriter, director) Rocco Aldemaro Barbaro (screenwriter) Francesco Ghiaccio (screenwriter) Marco Kuweiller (screenwriter and producer of documentaries) Kristina Sarkyte (screenwriter) Mattia Torre (screenwriter)

9 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») interviews Doriana Bonora (script supervisor) Cinzia Castania (first assistant director) Roberto Perpignani (editor) Marc Van Put (director of photography) Gian Paolo Vallati (director)

10 AUDIO VISUAL AUTHOR («RAAV») MAIN COMPETENCES To be able to write a subject To be able to propose script and screenplays to the producers To be able to define the treatment and the timing of screenplays To be able to write the screenplay To be able to revise texts To be able to make adaptations of novels

11 AUDIO VISUAL AUTHOR («RAAV») CONSIDERATIONS FROM THE INTERVIEWS 1. Are there differences in writing for cinema, TV or other audiovisual forms? The different media require different modes of writing Specialized training courses There are no differences: the narrative structure is independent from the lenght (full-lenght film, corto, ) or the media Transversal training modules + Specific modules

12 AUDIO VISUAL AUTHOR («RAAV») CONSIDERATIONS FROM THE INTERVIEWS 2. To be able to propose own script Know the market Know the producers and his needs To be able to look beyond the local market To be able to sell himself 3. Flexibility and self-criticism Don t become attached to the screenplay Write the same subject in different manners Be flexible regarding different context conditions (financial opportunities, different target of the screenplay / film / TV product etc.

13 AUDIO VISUAL AUTHOR («RAAV») CONSIDERATIONS FROM THE INTERVIEWS 4. Team working and problem solving Put yourself in somebody shoes (producer, director, editor, photographer etc.) Ready to change, identifying the better solution Creativity (in finding alternative solutions) 5. Communication and relationship abilities

14 AUDIO VISUAL AUTHOR («RAAV») CONSIDERATIONS FROM THE INTERVIEWS 6. Other skills Thinking the audiovisual product also as an editor Thinking the audiovisual product also as a photographer RAAV AS A HIGH-LEVEL LANGUAGES EXPERT

15 AUDIO VISUAL AUTHOR («RAAV») CONSIDERATIONS FROM THE INTERVIEWS 7. How new technologies influence writing? Writing for cinema or TV is independent from tecnological progress (for example, web is only a channel) The future has yet to come (and it implies various fantastic scenarios) Different distribution channels (for example, the web!!!) cause different relations with markets and, consequently, different ways of writing

16 AUDIO VISUAL AUTHOR («RAAV») CONSIDERATIONS FROM THE INTERVIEWS RAAV IS A NEW PROFESSIONAL PROFILE, THAT REQUIRES A SPECIFIC TRAINING RAAV IS NOT A NEW PROFESSIONAL PROFILE, IT IS AN EVOLUTION OF THE SCREENWRITER PROFILE

17 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») MAIN COMPETENCES (in the early preparatory stages of a film or television program) to study the script and examine the necessities in collaboration with the production To arrange for the best conditions of the set To plan activities To control the activities To ensure the continuity (To supervise editing and post-production)

18 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») CONSIDERATIONS FROM THE INTERVIEWS 1. Is this a real new profile that mixes two traditional roles? Or is this an artifice There are important differences that prevent to build a new profile There are just similar experiences of job decription (such as in Latium Region) Distinct specialized training courses New profile and new training programme

19 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») CONSIDERATIONS FROM THE INTERVIEWS 2. Is it important for a TARSE to be able to promote himself? This topic is not clearly solved in the interviews 3. Who is responsible for casting? In Italy the role of the casting director is not yet diffused. This is a task of the director and of first assistant director

20 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») CONSIDERATIONS FROM THE INTERVIEWS 4. First assistant director is mainly a mediator, an important role in resources management Fundamental skills: Leadership (a discreet leadership) Leading groups Communication Problem solving (both from a technical and relational point of view)

21 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») CONSIDERATIONS FROM THE INTERVIEWS 5. How new technologies introduce changes in the TARSE profile? It seems only on a procedure level (facilitating role of innovative technologies) 6. But TARSE must knows what happens in post-production New technologies in post production require a new way to consider the production phase, also for the first assistant director

22 FIRST ASSISTANT DIRECTOR & SCRIPT SUPERVISOR («TARSE») CONSIDERATIONS FROM THE INTERVIEWS 7. There are not specific critical incident. There are continuous incidents that TARSE must solve day-by-day THE ROLE OF MEDIATOR

23 COMMON CONSIDERATIONS FROM THE INTERVIEWS STAGE IS AN IMPORTANT TRAINING OPPORTUNITY Fundamental to learn: the rythm of the narration the consequences of the choices the work experience of other professional roles problem setting and problem solving But only if the stage covers the entire life-cycle of a project

24 COMMON CONSIDERATIONS FROM THE INTERVIEWS The most part of interviewed experts consider the work experience the only one didactic context to learn basic skills (communication, relationship, leadership, team working) Only a minority knows the value of experiential training methodologies

25 TO BE SOLVED Which are the market / organizational conditions requiring these profiles? Are the obtained profiles valid also in other countries? Are there experiences in other countries useful to enrich the profiles?

26 THE NEXT STEP Transnational survey Survey preparation (CATI or CAWI) Questionnaire design Fieldwork Data processing / Drawing a report

Screenwriting The Thirty Minute Script

Department of Media and Cultural Studies Module Outline Academic Year 2011/12 Birkbeck, University of London Screenwriting The Thirty Minute Script MODULE CODE: FFME026S5BCB CREDITS/LEVEL: 30 CATS/Level