THE LOS ANGELES FILM STUDIES CENTER HOLLYWOOD PRODUCTION WORKSHOP

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1 THE LOS ANGELES FILM STUDIES CENTER HOLLYWOOD PRODUCTION WORKSHOP John K. Bucher Jr. MA, Communication (Film) The University of Colorado (323) Jeremy Casper MA, Communication (Film) Regent University (314) Chris Krebsbach Patrick Duff MA, Communication (Film) M.Div. (Theology) Regent University Fuller Theological Seminary (818) (818) Lauren Johnson Spring 2016 SYLLABUS CREDIT: 3 semester credits These recommended credits will be granted by your home institution. They will not be considered for transfer credits. Students who are selected as writers and/or directors earn an advanced credit rating on their CCCU grade reports. OFFICE HOURS: We will be in the office quite often, but our schedule is not necessarily 9-5. Please know that the door is always open. If you have a question you may call us anytime either at the center or at the numbers above. We enjoy working with students (hence, we teach). If you would like to set up an appointment, go out for coffee, or see a movie, we can do that too. As a guide, we ask that you not call us after 11PM or before 9AM, unless there is an emergency. CATALOGUE DESCRIPTION: Students work collaboratively in groups to create a festival-ready piece, including all the legal documentation and rights to enable the finished production to qualify for festival submission. The course offers students the opportunity to make a motion picture production using Hollywood locations, resources, and protocol. Students participate in a competitive vetting process of scripts, pitches, and meetings much like the process of the professional industry. For example, those who want to direct submit reels for review and writers participate in a rigorous development process in the first few weeks of the semester.

2 2 This course operates as a community-building experience where all students participate in at least one key role in the production process. The course also offers small group tutorials for each student s production position. The workshop environment is specifically designed to meet the needs of both novice and experienced students. The major emphases of the course are the importance of each contribution to a production, the process of production, and effective production management. This course compliments the more specialized, skill-focused elective courses and is taught by professional, experienced Christian filmmakers with credits in the Hollywood industry. REQUIRED TEXTS: ALL STUDENTS: Hollyn, Norman. The Lean Forward Moment, New Riders Press THE FOLLOWING REQUIRED TEXTS ARE AVAILABLE TO BE CHECKED OUT AT THE LAFSC LIBRARY AFTER TRACKS ARE DETERMINED. SOUND EDITORS: Rose, Jay. PRODUCING GREAT SOUND FOR FILM & VIDEO, Focal Press, PRODUCERS/1 st AD s: Wales, Lorene M. THE PEOPLE AND PROCESS OF FILM AND VIDEO PRODUCTION: FROM LOW BUDGET TO HIGH BUDGET. Pearson, DIRECTORS: Travis, Mark W. THE DIRECTOR S JOURNEY. Michael Wiese Productions, Weston, Judith. DIRECTING ACTORS: CREATING MEMORABLE PERFORMANCES FOR FILM AND TELEVISION. Ingram, PICTURE EDITORS: Murch, Walter. IN THE BLINK OF AN EYE, Silman-James Press, DIRECTORS OF PHOTOGRAPHY: Lowell, Ross. MATTERS OF LIGHT AND DEPTH, Lowel-Light Manufacturing, Inc., PRODUCTION DESIGNERS: Bellantoni, Patti. IF IT'S PURPLE SOMEONE'S GONNA DIE: THE POWER OF COLOR IN VISUAL STORYTELLING, Focal Press, RECOMMENDED TEXT: Sidney Lumet. Making Movies. Vintage Books, This is a great conversational approach to describing the process of making a film from one of the world s best and most acclaimed filmmakers. It is highly recommended to you.

3 3 OBJECTIVES: Collaboration Strive to work well with others to meet the common goals of every production. Story Demonstrate understanding and improvement in collaboratively developing story ideas through sight and sound. Technique Learn to creatively apply the technical aspects of filmmaking to enhance storytelling. Resource management Learn how to manage time, personnel, equipment, and other resources to complete complex projects efficiently and effectively. Hollywood professionalism Develop the ability to navigate the Hollywood film industry to complete their projects professionally. This includes following industry standards of courtesy and safety. Legal Production Learn the process by which a production is produced legally, with all necessary permits, rights, and releases for festival submission. What objectives do you have for this semester in filmmaking? We will discuss these throughout the semester: METHOD: This is a process-oriented class as much as it is product-oriented. The course starts as a large lecture seminar as all students learn the basics of storytelling, and how they apply to short film. Students align into various crews to shoot the selected projects. In the pro track, students move-on to their crew position tutorial section. Next, students shoot and edit their films, screening their work for the whole class as part of the workshop and critiquing process. Faculty supervise the various productions and crewmembers. Course faculty function as the Studio and reserve the right to override any decisions made in the entire process of the film. Unless indicated, Studio notes are not subjective and must be executed. The course will be structured as follows: WRITING COMPETITION AND CREW SELECTION STAGE Script writing, competition, and selection Above the Line team formation and crew selection Development meetings

4 4 PRE-PRODUCTION STAGE Five weeks of the semester will be dedicated to crew position tutorials Various pre-production assignments according to crew position PRODUCTION STAGE Principal photography Screening dailies POST-PRODUCTION STAGE Picture and sound editing Post-production screenings Final screening Writing Competition/Crew Selection Stage WRITING COMPETITION/SCRIPT DEVELOPMENT Any student (or two person writing team) can participate in a rigorous two week long script development process which culminates in a locked script. Writers must attend all story lectures during orientation week, including those for Narrative Storytelling. Incorporating notes from the HPW faculty, writers will pitch a story idea, write a treatment and deliver a first draft by the second Monday of the semester, 10 page limit. (See schedule for deadlines.) The faculty will then determine which first drafts will continue through the development process. Writers should expect to deliver a minimum of three script drafts (10pp or less) by the third Tuesday of the semester. The class will vote on which scripts will ultimately be produced. (See below.) DIRECTOR SELECTION REQUIRED MATERIALS Demo Reel, 2-3 mins Must be comprised of projects you have DIRECTED; not just something you have shot or edited. We want to see performances of actors and scenes; no montages of clips set to music please. Show through your reel that you can tell a story, create mood and set tone. Can be an entire short or multiple scenes from different projects. Must be uploaded to Vimeo or Youtube prior to arrival in LA 1-2pp Director s Statement In your own words, define the role of the director. Include why you want to direct this semester, a brief description of your leadership/conflict resolution style and a paragraph describing your directing experience. IF YOU HAVE NOT DIRECTED ON FILM Any video of plays or class projects you have directed are fine to submit via the methods mentioned above OR for theater directors, an example director s notebook/lookbook can be used. You must submit the above materials to be considered for a directing position. Directors will not direct projects they have written.

5 5 PROJECT PITCHES Two producers will choose one director to form an Above the Line team to pitch projects to the class on week 3. Students can pitch on multiple projects but must choose one if the class selects more than one of their projects. Pitches are 7 mins long and must include the following: The story/plot (including spoilers) approx. 1 min; Producers intro why you want to produce, why you chose to work with your director, what drew you to the film, etc approx. 2 mins; Director pitch what voice you will bring to the project approx. 1 min; Wrap up approx. 1 min; Q&A approx. 2 mins. We encourage you to use visual elements in your pitch rather than a simple verbal presentation. PROJECT AND CREW SELECTION Following pitches on week 3, the class will vote on which projects will be produced. If Above the Line vacancies occur, others who pitched for similar positions on films that were not chosen can fill them. Selected Above the Line teams will crew their films based on a crew application that will be filled out by all students. Crewmembers will be notified of their positions pending faculty approval. THE PROCESS OF PRODUCTION After the scripts, directors, producers, and crew are selected, the entire production team will take the film through the various steps of production: pre-production (includes casting, scheduling, budgeting), production (principal photography, screening dailies) and post-production (picture and sound editing). PRODUCERS Pre-Production Producers will work with the director to hold auditions, cast the film, get insurance, permits, and releases. They will also budget and schedule the production. The producers main task is to acquire all the necessary resources and manage them to prepare for the production stage. Producers of all films will meet in small group tutorials focused on their roles in the production process. DIRECTORS

6 6 In pre-production, directors will cast their film with counsel from the faculty and the producers. They will also work with their crew in planning the production through storyboards and shotlists. Directors may make use of some of this time for rehearsals with actors. Directors will meet together in small seminars focused on their roles in the production process. They must also meet with other crew tutorial sections at least once, as guided by the faculty. CREW In pre-production, crewmembers will work closely with the director to plan the execution of the production stage. They will also collaborate with producers to plan for resources needed to execute the production and post-production stages. Crew will meet in small group tutorials focused on their roles in the production process. Production PRODUCERS During the production stage, producers will oversee the execution of the production, provide all necessary resources, and assist the director and crew with the execution of the shooting days. They will also continue to collect all necessary documentation for the production notebook. DIRECTORS During production, directors will work with actors and crew to execute the production plan. CREW During production, cinematographers will work with the director to shoot the film. Editors will work as script supervisors. Other crewmembers may be involved in various roles with faculty approval. SCREENING DAILIES All films will screen dailies for class and receive feedback on their production.

7 7 PRODUCERS Post-Production During post-production, producers supervise the editing process and provide the necessary resources. They also finish work on the production notebook. DIRECTORS During post-production, directors work with picture and sound editors to edit the picture, picture-lock, edit sound, and finish with music. CREW In post-production, editors work with the director to edit the film. They also edit the sound track and music. Cinematographers may assist in color timing and effects. ROUGH-CUTS All films will screen rough-cuts for the class and receive feedback before completing the editing process with sound. SOUND SCREENING Sound editors will screen their work for faculty before completing the film. FINAL SCREENING All films will screen at a premiere-style screening party. GRADING: GRADING POLICY Students approach grading in a variety of ways. The topic makes some hyperventilate, others just don t care. We see grading as an assessment of your work in this class and as a means of further promoting learning. It is important to note that grades are not an assessment of your soul, your potential, or even hard work. They are an assessment of the quality of your work in this class. We also ascribe great value to a student s attitude and a demonstration of improvement. The following is the CCCU Student Programs grading policy. This policy is administered by all CCCU Student Programs worldwide. The CCCU prides itself on the competitive nature of its admissions and its courses. Please note that a B is a good grade that represents competent and complete work. A grades are earned only by

8 8 superior work. By that definition, A grades are a minority of grades earned by students. It is not impossible to earn an A, but it is difficult. A = Excellent creative and integrative work, revealing superior analysis and content. Grades at the LAFSC may reflect the level of professional promise and attainment, not just hard work. B = Good work, competent and complete C = Adequate work D = Less than adequate work F = Completely fails to meet expectations We are always open to discussing any concerns about grading. If you have any questions or concerns, please speak to one or both of us directly. *If a crewmember has to be removed from their film by the LAFSC staff, the result will be a complete loss in the peer evaluation grade, as your peers cannot evaluate you if you are not participating in the production. This basically results in the loss of a letter grade before any additional points are subtracted. FINAL GRADE BREAKDOWN* Each student will be graded on the following items. Note that the work for each portion of the semester will differ based on crew position. Equipment Care: 5% Final Screening Attendance 5% Tutorial assignments: 40% (varies by crew position, see Assignments section) Final film grade: 30% Participation: 20% * Please note policies on attendance and tardiness, as they affect your final grade. * Please note policies on grading late work, as they will also affect your grade. * Further grade related information is found in the ASSIGNMENTS section of this syllabus. GRADE PERCENTAGE VALUES Letter grades have the following percentage values: A A B B B (same pattern continues for other letter grades)

9 9 ASSIGNMENTS: ASSISTANT DIRECTORS: Call Sheets: ADs must submit daily copies of call sheets a days prior to principal photography. Call sheets must be in proper format. Copies of call sheets must also be submitted to instructors 12 hours before each production day. Production Reports: ADs must submit production reports by noon following every day of production. Further instructions will be given in class. Additional Forms: ADs will also make sure the emergency forms and talent releases are completed. These forms must be included in the production notebook Production Office Production Designers/Ads will also be responsible to keep the production office (board) clean and tidy. An unprofessional office (board) will result in lost points for the AD. PRODUCERS: For the tutorial section of the class, producers will be required to complete a production notebook. This notebook will contain the paperwork related to the pre-production, production and post-production of the film. These include breakdown sheets, stripboards, budgets, permits and insurance. A complete and detailed list will be given during the semester. Pre-production calendar: Producers are required to turn in a pre-production calendar detailing deadlines of tasks such as equipment reservations, locking locations, equipment pick-ups and returns, preproduction meetings, casting sessions, callbacks, permit procurements, etc. Breakdowns and Schedules: Producers are responsible for breaking down the script in EP scheduling program. Two reports must be generated: the breakdown sheets and the shooting schedule. Both producers will share the same grade for the production notebook.

10 10 Budget: Producers must complete a budget for the film. The budget must include a contingency of 10%. No money can spent before the budget is submitted and approved by instructors. Postproduction Calendar: Producers must complete a post-production schedule detailing deadlines for completion of rough cuts, final cuts, sound editing, etc. Production Notebook: Producers must complete a production notebook that includes the following: Scripts (all revisions) Breakdowns, shooting schedules, stripboards, day out of days (cast) Location releases Permits, certificates of insurance Talent releases (for adults and minors) Budgets, cash flow sheets, receipts, expense reports (this last one must be tallied so that you can get your money, if you are owed a balance) Any equipment rental agreements Crew and cast lists. Contact lists for locations, rental houses, stunts coordinators, etc, you may have used. Call sheets (with maps and directions used) and production reports. All originals. Accident reports (if applicable) The notebook must be a three-ring binder, with corresponding dividers for each section. Notebook must be turned in with the final film. DIRECTORS TUTORIAL For the tutorial section of the class, directors will be required to submit storyboards for their films (see class schedule). Storyboards are worth a portion of the director s final grade. Directors will also participate in a directing actors seminar. The directing assignment is also worth a portion of the director s final grade

11 11 Directors must collaborate with each crewmember. Therefore, during the tutorial of other crew sections, directors will be required to assist in the planning of cinematography, editing, and sound. They will also be required to submit plans of how they will collaborate with their crew. CASTING DIRECTORS TUTORIAL For the tutorial section of the class, casting directors will interact with SAG-AFTRA for those films that become signatory to the union. They will learn how to use Breakdown Express and Eco Cast for casting purposes and will coordinate with producers and director to write breakdowns, schedule and run casting sessions, and facilitate the entire casting process. Once finished with casting, the casting director will work with the producer to determine how best they will be used during production. Casting directors generally help out in such areas as child wrangling, directing background with the 1 st AD and/or general PA duties as needed on set. CINEMATOGRAPHERS TUTORIAL Cinematographers will be required to create a visual scrapbook of images, colors, and other items to use as a blueprint for the visual style of the film. This scrapbook will enable the cinematographers to communicate more efficiently and professionally with the director and other crewmembers. The scrapbook should be an on-going work during the production as new ideas emerge. The scrapbook will be turned in once in the middle of the semester to check on its progress. See class schedule for exact due dates. Cinematographers will also turn in a special equipment list of items that they plan to rent from outside vendors. The purpose of this assignment is to get cinematographers and producers talking to each other about special equipment needs. These lists are due one week after the visual plan. Cinematographers are also responsible to turn in camera reports to the tutorial instructor and to the producers of their film for inclusion in the production notebook. PRODUCTION DESIGNERS TUTORIAL For the tutorial section of the class, Production Designers are responsible for everything that goes in front of the camera (costumes, props, sets, artistry, etc.) and are required to complete paperwork related to the pre-production and production of the film.

12 12 Production Designers will turn in projects relating to the color design, costumes, props, sets, artistry, etc. EDITORS TUTORIAL Editors will be required to make a presentation using storyboards of shots they plan to use in their film. This selection of style/technique must be made in consultation with the director of their film. The presentation will be made in class in the middle of the semester (see class schedule). Editors will also edit short projects using footage from other productions and/or storyboards. SOUND TUTORIAL Sound is a unique and essential challenge in film production. Short films need sound that makes the world of the film seem alive and to tell the story in ways that picture alone cannot. The assignments for this tutorial include a sound/music design plan and spotting sheets. The sound design plan will be made in consultation with the director and must be turned completed in the middle of the semester (see class schedule). Sound designers must have at least temp background and music tracks included in the rough-cut screening version of their film. After the picture is locked on each film, the sound designers must create spotting sheets for background, foley, effects, VO, and music tracks. These spotting sheets will be due during the final week of the semester and will be included as part of the final production notebook (see class schedule). FINAL FILM Filmmaking is a collaborative effort. It takes the work of many people to get a film done well and on time. Therefore, every member of the crew must do their part to see that these films are completed well and on time. Each film will be graded by all instructors independently. The grade from each instructor will be averaged into one grade and will constitute 30% of each crewmember s final grade. Films are graded on execution of story, technique and originality. Films that are late lose 25% credit. After 1 hour they lose 50% credit. After two hours they receive no credit. Films lose one letter grade for every deadline not met in the assigned process. PARTICIPATION

13 13 Success in this class requires valuable contributions from all members of the crew. Students often know better than instructors what has happened during the course of production (most of the work at LAFSC happens outside of class). Therefore, each student s participation will be evaluated by the other members of their crew as well as the faculty. Those evaluations will be averaged and will constitute 20% of each student s final grade for the course. ATTENDANCE Woody Allen has said, the key to success is showing up. We agree. Attendance is required at all classes, the final screening, and special course-related events. Also, all students should plan to participate in all production weekends regardless of their official crew position. Attendance is reflected in the class participation grade. TARDINESS In Hollywood lateness will likely get you fired. Being early is expected, and being on time is considered late. Show up on time to class and all events. 3 tardies will equal an absence for this class. MISCELLANEOUS: SAFETY Students must adhere to the guidelines in the LAFSC Safety Manual and information covered in the safety seminar. Evidence that a film was made in violation of safety guidelines will result in no credit for that project and other possible disciplinary action. When in doubt about safe procedure, seek the counsel of an instructor. EQUIPMENT / PROPERTY Equipment is a scarce and valuable resource in the filmmaking process. Therefore, it must be handled with care and consideration. Students must adhere to all LAFSC guidelines regarding equipment. Patrick, our technical director, will checkout and checkin equipment. If you have problems with a piece of equipment, make sure to let Patrick know. Lost, damaged, late, or stolen items are the responsibility of the production that signs out equipment. You will be charged fines for these items, either late fees or replacement costs. Fines must be paid out of your production budget. Any remainder not paid by the final screening will be charged evenly to each member of the crew. The same system will be used in case of damage to property other than equipment (locations, vehicles,

14 14 etc.). If you do not know how to properly operate a piece of equipment, do not use it until you speak with an instructor. CONTENT / COMMUNITY COVENANT ISSUES We expect you to have good story-based reasons for your decisions regarding content. We expect students to make decisions in their creative ventures that exhibit a reverence for truth. And we believe that the Christian philosopher Arthur Holmes put it best when he said, All truth is God s truth. Having said that, we find that students need advice regarding the LAFSC Community Covenant (CC). The CC prohibits certain actions for students. The depiction of those actions is allowed in films, but it must be simulated. In other words, the depiction of an action is not the thing itself. It is make-believe. This is not just because of the CC. This is filmmaking professionalism. For instance, actors don t drink real alcohol in a film or a commercial. It is something that looks like alcohol. Otherwise, by take 25 you would have a very uncooperative actor. Or, when someone gets killed, it is just make-believe. (We know you know this already, this is just by way of example.) Therefore, depicting behavior that violates the CC is acceptable in films in all cases except smoking. There is no way to simulate smoking. An LAFSC student is not allowed to smoke ever -- not even in films. If smoking makes or breaks your movie, get an actor who is not an LAFSC student. Any LAFSC student seen smoking on film, video or anywhere will be disciplined according to the policies laid out in the LAFSC Student Handbook. ACADEMIC DISHONESTY Academic dishonesty constitutes a serious violation of CCCU student programs that can result in serious penalties and denial of credit and/or program dismissal. Any act that involves misrepresentation of a student s academic work or abridges the rights of other students to fair academic competition is forbidden. Academic dishonesty includes but is not limited to cheating on assignments or exams, plagiarizing, submitting the same (or substantially the same), depriving other community members of necessary academic resources, sabotaging the work of others and using without attribution a concept, resource, program, or any form of media. *The faculty reserves the right to make any adjustments to the syllabus necessary in order to create the best learning environment possible.