Production Project 5

SUMMARY

Role

Screenwriter

Intention (SMART Goal)

By May 10th, as part of my film team, I will use screenwriting beats that end in therefore and but NOT and then to raise tension I will have written a script that conveys the theme of community clearly to the audience.

PRE-PRODUCTION – INQUIRY

Leader(s) in the Field / Exemplary Work(s)

Woody Allen: Bullets Over Broadway (1994), Mighty Aphrodite (1995), Everyone Says I Love You (1996), Deconstructing Harry (1997)

Training Source(s)

10 Screenwriting Tips

tip 1 – 0:38 – Develop your own writing process that makes you happy.

  • After writing think critically about your writing and make notes
  • tip 2 – 3:04 – Don’t confuse the audience.

  • it’s okay to confuse the audience if they feel as though they’re in good hands
  • tip 3 – 4:20 – Rewrite other scenes and fill in the blanks.

  • practice technique
  • tip 4 – 6:07 – Take the oldest stories in the book and reinvent them.

    tip 5 – 7:25 – Take morality out of the question to have interesting characters.

    tip 6 – 8:51 – Write the movie you want to see.

    tip 7 – 11:45 – Do your subtext work.

    tip 8 – 15:58 – Give your characters moral choices.

    tip 9 – 17:37 – Write extensive character backstories to get the best actors.

    tip 10 – Love what you do.

    PRODUCTION – ACTION

    The (FILM, SOUND, or GAME Creation)

    Itch Page

    Skills Commentary

    Through this film project, I developed skills in creating entertaining dialogue that preserved the tension of the film throughout the film. The most notable examples of this took place when the character of Jimmy’s foolishness wasn’t resolved (like it would’ve been if the script overused “and then” statements) but rather, it was used as the main element on tension, angering the director and creating unique conflicts (which allowed the script to be comprised of “therefore” statements).

    POST-PRODUCTION – REFLECTION

    21st Century Skills

    Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)

    Ways of Working (Communication & Collaboration)

    Tools for Working (Info & Media Literacy)

    Ways of Living in the World (Life & Career)

    Reactions to the Final Version

    Self-Evaluation of Final Version

    Grammar and Spelling

    Editor

    Step Brothers – Job Interview – Scene Research

    Justification – We have interviews in our script which are supposed to be funny.

    NotesCue
    – The back of the head of the interviewer is kept in shot while the person being interviewed is talking, but the person being interviewed’s head is not kept in shot while the interviewer is talking.
    – As the interviewer is asking questions, there are cuts to show the facial expressions of the person being interviewed.
    – It is funny to have to give the person being interviewed a joking attitude while the interviewer is serious.
    – The person in control of the interview is shown by who the camera is on while both people are talking
    – It is essential to have people looking the right way. For example if the interviewer is sitting on the left and the person getting interviewed is on the right, then the interviewer must look to screen right always and the person getting interviewed must always look to screen left.
    – It can be refreshing for the viewer to have a shot that pulls slightly away from the people. I.e. a medium long shot.

    Summary – The most important thing is to establish continuity and mood in the interview. This is done by focusing on a person, showing them as dominant and keeping consistent positioning in characters.

    Andrew Stanton Storytelling

    NotesQ
    – Simple opening dialogue, repetitive, stays on topic of the protagonist’s accomplishments, establishing him as an overachiever.
    – Juxtaposition of unusually friendly dialogue of the chief inspector and his cronies with the stern dialogue of the protagonist subtly suggests that the inspector and cronies have ulterior motives.

    – Story goal: like a joke, everything works to the goal of the punchline, make people care
    – Beginning: Make a promise
    – Hide the fact that people are working for their meal
    – Create characters with a subconscious drive in all of their choices
    – Drama is anticipation mingled with uncertainty
    – Create tension/anticipation
    – Storytelling has guidelines, not hard fast rules
    – A strong theme is always running through a well told story
    – Invoke wonder
    – Capture a truth from your experiences
    Summary: In order to tell a compelling story, one must create a sense of tension and wonder throughout the story while maintaining a driving force through the protagonists’ choices.

    Production Project Session 4

    Contrasting Light on Sawtooth Angles
    “Contrasting Light on Sawtooth Angles” by Referenceace – Working! is licensed under

    SUMMARY

    Role

    Screenwriter

    Intention (SMART Goal)

    By March 2nd, as part of my film team, I will explore the screenwriter’s skill pathway by following The Visual Story by Bruce Block and will have created scenes that use contrasted lighting to show a character’s split mind and to create an intense tone over the scenes of our Session 4 project.

    PRE-PRODUCTION – INQUIRY

    Leader(s) in the Field / Exemplary Work(s)

    Billy Wilder

    Wilder’s works are renown for their humorous portrayal of controversial subjects and its hypocrisy of American life. He revolutionized film by including subject matter previously thought to be taboo in society, such as alcoholism, prisoner of war camps, and prostitution. (Barson)

    https://www.britannica.com/biography/Billy-Wilder

    Training Source(s)

    The Visual Story by Bruce Block

    Tone:
    Grey vs. black and white. Portrayal of dichotomy with lighting. Emphasize objects with tone.

    Controlling the Gray Scale:

    • Reflective Control (art direction)
      • Making the overall tone of the shot uniform (ie. light, dark, contrasted)
      • If used for an entire production, the lighting must be flat and shadowless
      • Controlling gray scale with the colors of objects
    • Incident Control (lighting)
      • Controlling the amount of lighting falling on objects
      • Creating tones through lighting, shadows created by objects
    • Exposure (camera and lens adjustments)
      • Adjusting the shutter or f-stop
      • Effects the brightness of the entire shot

    Project Timeline

    Feb 15 – Feb 18: Pre-Poduction

    Feb 23 – 25: Production

    Feb 28 – Mar 4: Post Production

    Proposed Budget

    $2

    PRODUCTION – ACTION

    The (FILM, SOUND, or GAME Creation)

    https://drive.google.com/file/d/1SI8WszKOBHb8p9mWxQWjyRkQVz8wLJ-7/view

    Skills Commentary

    I attempted to implement the contrasted lighting technique from “The Visual Story” by Bruce Block. In order to do so, I intended to use a light box on the protagonist’s profile while he is in a dark room, creating a stark contrast between the light of his face and the darkness of the room.

    POST-PRODUCTION – REFLECTION

    21st Century Skills

    Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)

    In order to create a dolly shot, we pushed the cinematographer while he was on a swivel chair.

    Ways of Working (Communication & Collaboration)

    I collaborated with the sound designer to make accurate sound rhythms.

    Tools for Working (Info & Media Literacy)

    My source for learning was ‘The Visual Story’ by Bruce Block.

    Ways of Living in the World (Life & Career)

    This production cycle gave me experience for when the allotted time for working is shortened.

    Reactions to the Final Version

    James Clark: “The action of the film was well executed and enjoyable to watch because it was done safely.”

    Self-Evaluation of Final Version

    Overall, the film was executed well because of the concise editing and dynamic shots which were used throughout it.

    What I Learned and Problems I Solved

    I learned about how affinity and contrast portray tension. I helped my team to solve the problem of creating a dolly shot without having a dolly by pushing the cinematographer in an office chair.

    Grammar and Spelling

    Edublogs

    Editor

    Nathan Beard

    Visual Story Structure Research TEMPLATE

    Night story
    “Night story” by Dejan Hudoletnjak is licensed under CC BY-SA 2.0

    Seven Visual Story Components

    CueNotes
     Space:
    Shallow shots convey calmness. Dutch angle portrays something is wrong. Emphasize longitudinal planes. Stage objects perpendicular to the picture plane. Dolly in and out. Separate with contrast. Wide angle, telephoto lens.
     Line and Shape:
    Movement in a predictable pattern vs noticeable pattern in unpredictable movement. Squint (linear motif). Light emphasis. Intentional staging. Linear motif storyboard. Simplify.
     Tone:
    Grey vs. black and white. Portrayal of dichotomy with lighting. Emphasize objects with tone.
     Color:
    Orange and teal are two most favorite film colors. Lens filters. Magic hour (when the sun is below the horizon).
     Movement:
    Background affects complexity. Contrast from background. Where character is facing/body language.
     Rhythm:
    Pillars and picket fences create rhythm. Background structure. Sequential similar shapes create a montage.
      

    Summary

    Use light and dark lighting to show a split decision.

    Resources

    Production Project Session 3

    SUMMARY

    Role

    Screenwriter

    Intention (SMART Goal)

    By January 28, as part of my team, I will explore the screenwriter’s skill pathway by aligning the screenplay with specific editing direction. I will use props to externalize character and use location to unify characters while heightening drama. I will use Cinemtaic Storytelling by Jennifer Van Sijll as a source for these techniques.

    PRE-PRODUCTION – INQUIRY

    Leader(s) in the Field / Exemplary Work(s)

    Quentin Tarantino is one of the most critically acclaimed screenwriters of all time. His works utilize nonlinear storytelling, dark humor, stylized violence, extended dialogue, ensemble casts, references to popular culture, alternate history, and neo-noir.

    Training Source(s)

    “Cinematic Storytelling” by Jennifer Van Sijll

    Project Timeline

    Jan 9 – 15 Pre-production

    Jan 23 – Feb 1 Production

    Feb 2 – 3 Post-production

    Feb 4 – Present film

    Proposed Budget

    $45.00

    PRODUCTION – ACTION

    The (FILM, SOUND, or GAME Creation)

    https://drive.google.com/file/d/1DIflY6ryf4OJoKvJtNO_Q8GqMZbtTbUX/view?usp=sharing

    Skills Commentary

    I took influence from Tarantino’s screenwriting technique

    POST-PRODUCTION – REFLECTION

    21st Century Skills

    Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)

    I had to learn how to properly film with the cameras in the abscense of our cinematographer.

    Ways of Working (Communication & Collaboration)

    I collaborated with my group in order to solve problems such as camera placement.

    Tools for Working (Info & Media Literacy)

    My source for learning was Cinematic Storytelling by Jennifer Van Sijll.

    Ways of Living in the World (Life & Career)

    This project cycle gave me experience for when people are missing in a professional setting.

    Reactions to the Final Version

    Moira: “The inclusion of setting description in the script successfully added a band theme to the film.”

    Self-Evaluation of Final Version

    The final version was unfinished and a mess due to the fact that half the group was gone during production.

    What I Learned and Problems I Solved

    I learned the basics of operating the camera and some of Tarantino’s scriptwriting techniques.

    Editor

    Daniel

    Film Theory

    Source: Research Film Theory

    CueNoted
    – What is empty criticism?
    – What is new criticism?
    – New Historicism began from 1970s-1980s as a criticism to New Criticism.
    – Involves asking how historical events are interpreted and what those interpretations show about the interpreters.
    – The belief that history cannot be looked at objectively.
    – Focus on the relationship between knowledge and power.
    Focus on an individual’s use of language in effecting their surroundings.

    Summary

    New Historicism looks at film through its interpretation of history and at the impact of that interpretation on society.

    IB Text Analysis Worksheet: TEMPLATE

    “Director/Conductor” by La Chachalaca Fotografía is licensed under CC BY-NC 2.0

    Summary

    A guide to planning, researching, and creating your IB Film Text Analysis

    • Follow the directions for each step below
    • Include for your notes, where required

    Student Work

    Across The Universe

    Pan’s Labyrinth

    Handmaid’s Tale

    Guidance for Your Work

    The TA is an exam. Failure to turn in the work within the 4 weeks, unless the teacher requests extenuating circumstances directly from the IB, should be considered a fail.” – IB Film

    13.5 Hours To Complete

    • Please track how long it took you for each stage

    Step 1 – Preparation: Spend 2 Hours

    Total Time:

    Step 2 – Pick a Film, Watch It, and Write Notes: Spend 4.5 Hours

    Total Time:

    The goal of IB Film is to expose students to films from all over the world and to increase their critical and practical understanding of film as a creative art form and reflection of its time period, society, and political and cultural environment. As a result, this class requires the viewing of a wide variety of films. In some cases, these films may carry an R rating, or, in the case of films made before 1968 and some foreign films, will have no rating at all. Please be assured that all the films selected for this course have a high degree of artistic merit and that many have won numerous awards and are considered part of the film canon. However, if you object to any film shown that does carry an “R” rating, you will always have the opportunity to request that an alternative film be assigned, and/or be excused from class and not view the film.

    1. Watch the trailers and pick ONE of these films (or the two episodes) (10 minutes)
      • Pan’s Labyrinth [Spain/Mexico] Director Guillermo Del Toro 2006 (Rated R)
      • Across the Universe [USA] Director Julie Taymor 2007 (Rated PG-13)
        • Trailer
        • Available on Hulu and other streaming services
        • Google Drive (Film, Commentary, and Extra Features)
      • The Handmaid’s Tale, Season 1 Ep. 01 and 02 [USA] Director Reed Morano 2017 (Rated R – Mature Rating on Hulu)
    2. Review Drew’s TA Guide Sheet (he scored very high!) (10 minutes)
    3. First Viewing: Watch the film and record your reactions (2 hours)
      • Take notes (below in this post)
        • How does the film (various scenes) affect you?
        • Remember every scene is like a mini-movie
        • Pay attention to which scene best represents the film, for you
    4. Second Viewing: Notice the cinematography, mise en scene, actor movement, wardrobe, sound (diegetic, non-diegetic, music, etc.) choices (2 hours)
      • Review the Big List of Film Terms for cinematic elements, mise en scene (what’s represented on screen), and sound
      • Write notes (below in this post)

    Step 3 – Choose Your Extract, Watch It, Write Notes, and Research: 2.5 hours

    Total Time:

    1. Open your TA Bibliography Google Doc (In Your IB Google Drive Folder – Mr. Le Duc created)
      • You will add your MLA sources as you research
    2. Choose your 5-minute extract (scene)
    3. Re-watch this scene numerous times and write notes in the Task Analysis Guide (below) (15 minutes)
    4. Research to support your notes (1 hour)
      • Cultural context Evidence: Textual analysis and sources
        • Answer these questions:
          • To what extent do you demonstrate an understanding of the cultural context of the film text?
          • To what extent do you support your understanding of the cultural context with research from appropriate and relevant sources?
      • Add to your notes in the Task Analysis Guide
    5. Re-watch your scene numerous times and add to your notes (15 minutes)
    6. Research to support your notes (1 hour)
      • Re-read Criterion B Film Elements Rubric
        • Evidence: Textual analysis and sources
          • To what extent do you evaluate how the extract makes use of film elements to convey meaning in the chosen film?
          • To what extent do you support your observations with the appropriate use of relevant film vocabulary?
      • Write notes (below in this post)

    Step 4 – Compose A Rough Draft using The Text Analysis Guide: 2 hours

    Total Time:

    1. Watch Mr. Le Duc’s Convert a Table into Text with Editpad.org tutorial and do the following: (5 minutes)
      1. Copy and paste the two columns of your Text Analysis Guide notes (below) into editpad.org
        • This will convert your two-column table layout into a regular text document
      2. Copy and paste from editpad.org into your Google Docs TA Paper Template
    2. Thoroughly re-read and examine your work with the Text Analysis Rubric (PDF) (10 minutes)
    3. Compose your rough draft (1.75 hours)
      • Weave in your research the following
      • WHAT: Your observation about a film element in the 5-minute scene
      • WHY: Relate the film element to the shot or scene’s emotional or narrative importance
      • HOW: Explain how the film element works in the context of this scene
      • SO WHAT: Justify it with the cultural context, as needed

    Text Analysis Guide (For your 5 Minute Scene)

    TASK COMPONENTS (INQUIRY)NOTES
    The extract may be up to five minutes in length and must be a single, continuous sequence of the film
    Time of 5-minute clipPLACE 5 MINUTE TIME INTERVAL HERE…
    PART 1 –  The film, your scene, why it is of interest, and how your scene relates to the whole film.
    Brief Summary of ExpositionWriter, Director, Producer, studio, year released Main characters, conflict, identify the genre. Identify the aspect ratio.
    Context of Extract in Film – briefly describe the sceneAt what times does your scene occur, how it begins, and how it ends. Do not describe it further. The judges have seen the movie.
    The Rationale for Selection – relation to the entire movieWhy is it interesting and why does this scene best illustrate the themes of the whole movie?
    PART 2 – Remember to integrate the Director’s intent with each of the following areas in this section
    Narrative
    Script – Not just dialogue but in terms of being the spine of the storyExplain how this scene advances the plot. How do the events of this scene clarify/complicate matters? How does this scene affect/cause future events? What new information is revealed or suggested about a character? Is there anything deliberately withheld? Anything unusual in the dialogue? Word choice? Delivery? Accents? Repetition?
    Cinema Photography
    a) Camerawork – describe shots in specific termsShot size: ELS, LS (stage), full shot, MS, CU, ECU. Camera angles: bird’s eye, high angle, eye level, low angle or Dutch (oblique), camera movement: pan, tilt, dolly or tracking, handheld, Steadycam, or moving crane. Invisible V conspicuous. Are tracking shots motivated by character movement?
    b) CompositionOpen/closed composition, aspect ratio, rule of thirds, Kubrick single-point perspective.
    c) Depth of FieldConsider foreground, mid, ground, and background. Deep focus is associated with wide-angle lenses. Could be flat. Narrow ranges of focus may be the result of telephoto lenses.
    Mise-en-scene – The overall look and feel of a movie
    a) Position of characters and objectsIdentify the dominant, does movement guide our focus, character proxemics patterns (intimate,  personal, social, and public distances). How does the director add meaning to these choices? Is one character encroaching on another’s space? Watch for space being used to portray relationships/changes in relationships. Watch for windows, doors, parallel lines that frame people or objects.  Entrapment. Look for actor placement. Front – actor facing camera, greatest intimacy. One-Quarter Turn – very popular. Profile – character lost in the moment, a bit more distant than the previous two. Three Quarters Turn – useful to convey anti, socialness, Back of Head, most anonymous shot.  Creates a mystery or feeling of alienation.
    b) LightingLow or high key. How does the director use light to focus our attention? Key, fill, and backlighting. What is the source of lighting in the context of the scene?
    c) Color schemeHow does the director use color and what is the director’s intent for doing so? Look for color symbolism or color associated with characters. Color to suggest a mood. Color as foreshadowing. Contrasting colors ( the monolith v white room)
    d) Set/location/propsSet design. Studio or on, location, describe props, scenery, what was the Director ́s intent for using them? How dense is visual information? Stark, moderate, or highly detailed?
    e) Costume, hair, make upPeriod, class, gender (emphasize or diminish), age-appropriate, silhouette (close-fitting or baggy), fabric (plain, sheer, rough, delicate), accessories. Color is very important in relation to character.
    f) Acting/body languageActing style, body language, blocking, period, or contemporary. Individualized (Joker), Stylization. Look for subtext (character says one thing but means something else). Consider typecasting as a shortcut to characterization.
    Sound – watch scene w/o pictureLive sound, sound effects, and music. Sound can be diegetic, meaning characters would hear it, or non, diegetic, meaning that characters would not hear it, such as narration or music over the credits. Explore the relationship between diegetic and non, diegetic sound when appropriate.
    MusicIs the music telling you what to feel?  Music can be used as a counterpoint to the action.
    EditingEllipsis (time compression) and cross-cutting, fades, dissolves (fades between scenes), wipes,  matching cuts, straight cuts, dialogue overlap, and sound bridges. Consider how long each shot lasts.
    Part 3: Analyzing the Film as a Product
    Sociocultural ContextIn what way was this movie a product of its time? What does the audience learn about the culture or historical context of the film?
    Target AudienceTeens/adults or male/female age group, college education art crowd, liberal, conservative, Christian
    Generic Expectationshttp://www.filmsite.org/filmgenres.html also research  http://tvtropes.org/pmwiki/pmwiki.php/Main/Tropes
    ThemesMan V Man, or one of the others, is this film an allegory?
    Motifs/SymbolsWhat specific devices support your definition of the theme? Look for recurring elements.
    Film CriticismBoth contemporary and current. Use brief quotes from two different sources. Record the details:  reviewers’ names and publication names/dates
    TASK COMPONENTS (ACTION)
    Compose Paper
    Part 4: Sources
    Source 1
    Source 2
    Source 3
    Source 4
    Source 5
    Source 6
    Source 7
    Source 8
    Source 9
    Source 10
    TASK COMPONENTS (REFLECTION)
    Revision 1Proofreader:
    Revision 2Proofreader:
    Revision 3Mr. Le Duc

    Step 5 – Get Draft Peer Reviewed: 30 Minutes

    Total Time:

    1. Get it peer-reviewed with the TA Worksheet (PDF) (30 minutes)
      • Peer Reviewer: Look for evidence of each section of the document
      • Look for WHAT, WHY, HOW for each statement in the paper
        • There should be at least one WHY or HOW or every WHAT statement
      • Look for cited research to support statements, where it makes sense
      • Write comments to help the author
        • Add them as “Add Comments” on the side, so you do not add to the word count of the document

    Step 6 – Revise: 1 Hour

    Total Time:

    1. Revise your draft (1 hour)

    Step 7 – Get Feedback from Mr. Le Duc and Revise: 30 Minutes

    Total Time:

    1. Get feedback from Mr. Le Duc
    2. Make final revisions and check format (30 Minutes)

    Step 8 – Finalize Paper and Cover Page: 15 Minutes

    Total Time:

    1. Clear cover page with the Title of Film & Timecode (5-minute film extract)
    2. Sans serif 12 point font
    3. In-text citations
    4. Less than 1,750 words maximum

    Step 9 – Finalize Bibliography and Check Format: 15 Minutes

    Total Time:

    1. Update your TA Bibliography Google Doc (In Your IB Google Drive Folder)
      • Finish and check the format of your MLA sources as you research

    Step 10 – Upload to Turnitin.com: 10 Minutes

    Total Time:

    1. Upload your TA paper (from Your IB Google Drive Folder)
    2. Upload your TA Bibliography Google Doc (from Your IB Google Drive Folder)

    External Assessment Criteria SL and HL

    Peer Review Checklist