Galway, September 18-21, 2018
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1 FOR Designed by Emmanuel Oberg Galway, September 18-21, 2018 (Draft schedule: content, case studies and film clips might change)
2 We are delighted to offer Irish TV and film creative professionals a specially adapted version of our Advanced Development Workshop, designed by Emmanuel Oberg for Screenplay Unlimited. Based on Emmanuel s bestselling book Screenwriting Unchained, this 3-day event has been delivered successfully in the UK as well as in France, Sweden, Ireland, Norway, Finland, Czech Republic, The Netherlands and Germany. It was entirely redesigned in 2014 and it s regularly updated with new film clips and case studies. What s In It for You? Based on the innovative Story-Type Method, this workshop leaves aside rigid rules that lead to predictable screenplays. It also steers clear of supposed formulas for commercial success, which simply don t exist (or we d know!). The aim of the workshop is to equip TV and film writers, directors, producers and story editors with a set of storytelling tools that help develop each project as effectively as possible. It details how participants can identify the story-type of their projects early on and adjust the development process accordingly, making it easier, faster and hopefully leading to stronger screenplays. The workshop puts a strong emphasis on each project reaching the widest possible audience, both at home and abroad, without compromising the filmmakers creative integrity. If you ve ever questioned why screenplays should be written in three acts, eight sequences, fifteen beats or twenty-two steps then this workshop was designed for you. And if you never have well, no time like the present! For more information please visit:
3 Workshop Overview: On the first day, we introduce the Story-Type Method and explain how it offers a new framework for developing screenplays. We discuss how to design each project according to its story-type, starting with developing a plot-led story. We also look at the various storytelling tools used to manage conflict and information. During the next two days, we explore how we can use the same set of tools to develop character-led and theme-led stories, as well as hybrids or exceptions. We then discuss how to bring it all together. Over the whole workshop, we use film clips and case studies to illustrate each dramatic tool and story-type. To make the most of it, the following films should be watched by the participants before the workshop: Misery (R. Reiner) Gravity (A. Cuarón) Groundhog Day (H. Ramis) The Intouchables (E. Toledano and O. Nakache) Crash (P. Haggis) And if possible, to avoid spoilers: Two Days, One Night (L. & J.P. Dardenne) The Lives of Others (F. H. Von Donnersmark) The Secret in Their Eyes (J. J. Campanella) Birdman (A. G. Iñárritu) - 3 -
4 Workshop Schedule: Day 1 September 18, 2018 (9:30 18:30) The Story-Type Method : A New Framework for Developing Screenplays In this session, we introduce the Story-Type Method, starting with five key points about story structure: Story structure is flexible: act breaks have nothing to do with minutes or page numbers The fractal aspect of story structure: the dramatic three-act structure can be used to shape not only the whole movie but also its parts The difference between a plot-led and a character-led story Theme-led stories, or why the three-act structure is optional Even the dramatic three-act structure is only one side of structure We also look at another crucial aspect of the Story-Type Method Is Maslow running the show? Group work: What s Your Type? Film clips: Two Days, One Night (L. & J.P. Dardenne), Frenzy (A. Hitchcock), Silver Linings Playbook (D.O. Russell), Cloud Atlas (T. Tykwer and The Wachovskis), The Lives of Others (F.H. Von Donnersmark) Developing a Plot-Led Story (Part 1) In this session, we first discuss methodology and why it s crucial to understand the way each writer works during the development process. We then dive deep into the details of developing a plot-led story, looking at managing conflict and managing information, exploring how storytelling tools work behind the scenes: Protagonist goal obstacles conflict emotion - 4 -
5 Five essential questions regarding managing conflict Dramatic irony, mystery, surprise, suspense Five essential questions regarding managing information Film clips: Ridicule (P. Leconte), Misery (R. Reiner), Birdman (A.G. Iñárritu), The Bourne Supremacy (P. Greengrass), As Good As It Gets (J. L. Brooks), Hitchcock on suspense, Ridicule (P. Leconte), Billy Elliot (S. Daldry), Cyrano de Bergerac (J.P. Rappeneau), There s Something About Mary (Farrelly brothers), City Lights (C. Chaplin). Day 2 September 19, 2018 (9:30 18:30) Developing a Plot-Led Story (Part 2) In this session, we discuss planting/pay-off, visual storytelling, and how to sequence the action and craft the draft. Planting, pay-off and visual storytelling Sequence the Action and Craft the Draft Film clips: Vince Gilligan on Visual Storytelling, Rio Bravo (H. Hughes), Gravity (A. Cuarón), The Apartment (B. Wilder), Crash (P. Haggis), Misery (R. Reiner), Taken (P. Morel). We finally take an in-depth look at a plot-led movie: Case study: Gravity (A. Cuarón) Group work: What s at Stake? Developing a Character-Led Story In this session, we explore how we develop a character-led story and how to map the change, sequence the evolution and grow the draft. Film Clips: Groundhog Day (H. Ramis), Two Days, One Night (L. & J.P. Dardenne), The Intouchables (E. Toledano and O. Nakache). We then take an in-depth look at a character-led movie: Case Study: The Intouchables (E. Toledano and O. Nakache) Group work: Change, Growth or Steadfast? - 5 -
6 Day 3 September 20, 2018 (9:30 18:30) Developing a Theme-Led Story In this session, we discuss how classical tools can be used to structure multi-stranded narratives, and how, in a theme-led story, we can nail the theme, sequence the strands and weave the draft. Film clips: Parenthood (R. Howard), Crash (P. Haggis) We then take an in-depth look at a theme-led movie: Case Study: Crash (P. Haggis) Group work: Getting Stranded Developing Something Else: Hybrids and Exceptions Many great movies especially independently produced ones are hybrids or exceptions. In this session, we discuss how we can go beyond the main story-types, yet use the same set of tools and principles, just in a different way, with a few examples: The Lives of Others (F. H. Von Donnersmark), The Secret in Their Eyes (J. J. Campanella), Birdman (A. G. Iñárritu). Bringing It All Together If we see the film experience as a communication process, from the filmmakers to the audience, then the development of a screenplay can be seen as a way to improve this communication. Film Clip: Script Doctors (What we want to avoid!) Selling Documents vs Story Design Tools Selling documents needed by the producer to raise development or production finance for the project don t necessarily make the best story design tools for the writer, which can lead to confusion, frustration and even chaos. So let s see how we can try to avoid this. Group work: Story Structure Framework Love it or ditch it? The Rewrite Stuff: 12 Ways to a Stronger Screenplay Conclusion - 6 -
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