Building screenwriting stories

Kate is an award winning Australian film director and producer, and a screen acting coach. In 2002 she raised private finance for and produced the independent low budget film Deeper than Blue with Colin Friels. Her feature film The Caterpillar Wish won both an AFI for Suzie Porter’s performance in a Supporting Role and an IF Award for Best Production Design. Kate is currently developing the psychological thriller Burn and the drama, Wolf of Rostov – and recently produced and directed the supernatural thriller, The Unlit – written by Darren Markey. Kate is also co-founder of distribution company Momo Films and acted as Industry Liaison for the international film event, Lorne Film. During her time at Lorne Film Kate created The Lorne Film Screenwriter Award – a $10K cash prize to an Australian feature film screenplay. Kate brings a wealth of experience in the local film industry and a critical eye as to what will and won’t work on the big screen – coupled with a respect for screenwriters and their craft.

Darren has written, directed, produced and acted in some 13 stage productions with his 2001 production of The Watch in the Window earning critical acclaim from the national press. He worked as Resident Director at Karnak Playhouse, Far North Queensland, completed his first screenplay Lilly, and travelled to Los Angeles where he got lost in a giant martini, somewhere on Sunset. Returning home led to the production  of the planned TV series The Blessed and a subsequent slate of screen projects. Darren’s psychological horror screenplay, The Tutor, recently did the rounds at Cannes 2016 and is slated for production in 2019. Darren was writer and associate producer on the supernatural thriller, The Unlit - due for release in late 2018. Darren’s work with Lorne Film saw him heading up – along with Kate - the Lorne Film Screenwriter Award, leading him to read and assess over 105 Australian screenplays. Also an experienced teacher/trainer, Darren loves film and loves screenwriting – his approach is always about the story – and preserving the essence that makes that story unique.

From Sophocles to Spielberg, storytelling has adhered to elemental organic form over centuries. Existing within a set of tenets dictated by nature, stories continue to find echoes deep in the human psyche, particularly through film.

By defining storytelling, Film Stories provides the learner with a fundamental understanding of what makes a film story work, or the reverse. 

Ideal for film lovers, aspiring screenwriters, those who would critique film, or those simply wanting to increase their knowledge of the craft, Film Stories examines through practise the meaning, structure, and telling of a primeval art increasingly relevant in a contemporary world.  

Film Stories will also put screenwriters in touch with industry professionals - providing the first step towards collaboration on screen projects.

COURSE OBJECTIVES

Film Stories aims to provide the learner with a greater understanding of what makes a film story work. Through examination of existing films, including titles such as BLADE RUNNER, AMERICAN BEAUTY, TAXI DRIVER, THE GODFATHER, FINDING NEMO, STAR WARS, ROCKY, JAWS, and others, the learner will recognise the structure and components necessary to a complete film story, as well as identifying why some film stories don’t work. 

Film Stories will also provide the learner with an understanding of the practise of contemporary storytelling, placing the art in the context of a modern world and the habits of screenwriters. 

Film Stories will ask participants to complete a series of practical written exercises – identifying structure, archetypes, dialogue, forces of antagonism etc. in film samples the learner has provided. Participants will also be provided with extensive written notes summarising the learning materials.

WM Script Services is also able to tailor the delivery of Film Stories to suit particular groups through consultation.

 RESOURCES

Film Stories draws on the trainer’s own personal experience (see Darren Markey, above) – along with the work of world renowned theorists on the art of storytelling. 

These include:

• Robert McKee, Story
• Aristotle, Poetics
• Richard Watler, Screenwriting
• William Goldman, Adventures in the Screen Trade
• Blake Snyder, Save the Cat
• Joseph Campbell, The Hero with a Thousand Faces
• Christopher Vogler, The Writer's Journey

COURSE OUTLINE

Film Stories is broken down into the following components:

1. WHAT IS STORY?

Where do stories comes from and why are they important? An examination into the history of story-telling and the role it plays in shaping the collective consciousness.

2. STORY ON SCREEN

What makes a screenplay? Discusses the concept of the screenplay and how stories come to the screen through the building of a screenplay. An examination of the classic three-act structure.

3. GOOD VS EVIL

An examination of protagonist vs antagonist. How the forces of antagonism drive a story forward. Who is our Hero – and what do they want?

4. ARCHETYPES ON SCREEN

What is a character? The role of characters in conveying a screen story. Examines orchestration of characters and role of archetypes, and Carl Jung’s theories on the origin of archetypes.

5. JOURNEY ON SCREEN

An examination and comparison of popular theories on story structure. The Hero’s Journey – where does it begin and end? Analysis of several theories on screenwriting – The Hero’s Journey vs Save the Cat.

6. THE TOOLS OF SCREENWRITING

How do screenwriters write? Discussion around the screenwriter’s habits and the tools used to create a screenplay. The role of dialogue and the deadly art of exposition.

TO FIND OUR MORE

Contact WM Script Services via the details below.