Associate Degree of Occupational Sciences in Fine Arts/Filmmaking

In the Los Angeles Acting Conservatory’s Film Directing Program, students will acquire the knowledge and skills necessary to become a professional film director. Through this fundamental training program, students will learn the history of American and international cinema, study the classics of American cinema, learn the basics of cinematography (cameras, lenses, lighting, etc.), and propose and develop original stories they’re driven to tell. Students will have the opportunity to brainstorm with guest working professionals to formulate and hone these stories into filming scripts.

Concurrently LAAC film directing students will write and shoot their own short movie. They will acquire, through a mentored rehearsal process, the techniques to work with actors and to develop the abilities necessary to inspire actors to deliver powerful performances. They will show their completed work at our annual film festival. The result is that through a hands-on approach, students of the Film Directing Program, will learn all aspects of filmmaking. From pre-production to production to post-production, students will experience all that is involved in making a movie and will gain confidence in pitching their ideas and understanding the processes

involved, both on set and behind the camera, to realize these ideas.

One thing is to watch, analyze and learn, and another is to do. In our program, students will learn what it’s like to shoot a short movie that they wrote from scratch. They will acquire the techniques to talk to actors and to get them to deliver powerful performances. The result is that they will learn all aspects of filmmaking in a hands-on approach to shooting and will be confident pitching their ideas.

After completing the program our filmmakers will have the skills to go out into the professional world and contribute to the film industry, as well as work that they can show and a full-length screenplay that they can pitch.

1st Trimester September 14th to December 15th 2020

CLASSES

CREDITS

HOURS

SCHEDULE

Film History

4

5

Monday, 10am to 3pm

Golden Box Filmmaking

4

5

Tuesday, 10am to 3pm

Fundamentals of Directing

4

4

Wednesday, 10am to 2pm

Film Analysis

4

4

Thursday, 10am to 2pm

Outline Treatment and Writing Short Film

4

4

Friday, 10am to 2pm

TOTAL Credits: 20

2nd Trimester January 11th to April 3rd, 2021

CLASSES

CREDITS

HOURS

SCHEDULE

Directing Actors

4

4

Monday, 10am to 2pm

Casting

4

4

Tuesday, 10am to 2pm

Cinematography

4

5

Wednesday, 10am to 3pm

Production Design

4

5

Thursday, 10am to 3pm

Production Management

4

4

Friday, 10am to 2pm

TOTAL Credits: 20

15

3rd Trimester May 3rd to July 23rd, 2021

CLASSES

CREDITS

HOURS

SCHEDULE

Directing Scenes

4

4

Monday, 10am to 2pm

Filming the Short

4

5

Tuesday, 10am to 3pm

Film Editing and Post-production

4

5

Wednesday, 10am to 3pm

Write a Full-Length Feature Film

4

5

Thursday, 10am to 3pm

Art of the Pitch, Fundraising

4

4

Friday, 10am to 2pm

TOTAL Credits: 20

CREDIT TOTAL

Credits

Hours

1st Trimester

20

22/week // 264/trimester

2nd Trimester

20

22/week // 264/trimester

3rd Trimester

20

23/week // 276/trimester

TOTAL

60

67/week // 804/trimester

Associate Degree of Occupational Sciences in Fine Arts/Filmmaking

Students will need to earn 60 credits in order to receive an Associate Degree of Occupational Sciences in Fine Arts/Filmmaking. Accelerated programs are available upon request. Any accelerated programs will require the full 60 credits and will be accomplished by increasing the credit load in any trimester and/or attending summer classes. All the classes listed above are core classes.

Notice to Prospective Degree Program Students

This institution is provisionally approved by the Bureau for Private Postsecondary Education to offer degree programs. To continue to offer degree programs, this institution must meet the following requirements:

  • Become institutionally accredited by an accrediting agency recognized by the United States Department of Education, with the scope of the accreditation covering at least one-degree program.
  • Achieve accreditation candidacy or pre-accreditation, as defined in regulations, by [Date that is two years from date of provisional approval], and full accreditation by [Date that is five years from date of provisional approval].

If this institution stops pursuing accreditation, it must:

  • Stop all enrollment in its degree programs, and
  • Provide a teach-out to finish the educational program or provide a refund.

An institution that fails to comply with accreditation requirements by the required dates shall have its approval to offer degree programs automatically suspended.

Description of Equipment Used:

Projector (Powerpoint, Video Examples)

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Computer (Writing, Editing) Camera Equipment (Filming) Lighting Equipment (Filming) Writing Software

Editing Software

Scheduling & Budgeting Software Sound Equipment (Filming)

TV or Screen Copy of Materials

Qualifications of Faculty need to Teach Educational Program: The faculty is required to have a degree in their field as well as at least 3 years of meaningful professional experience in the business. Every Instructor has hands-on experience as a performer and continues to work in the Industry to ensure their teachings are up to date.

TITLE: FILM HISTORY

This course presents an overview of film history in American and International cinema. Topics covered include different genres such as romantic comedies, war movies, film noir, westerns, animation, Golden Age Hollywood movies, musicals, the viewing of films and their relationship to society as a medium. This class will cover major developments in American film history, from silent films to the present day, and explore their connections with the broader historical context.

TITLE: GOLDEN BOX FILMMAKING

The Golden Box class provides the foundation of the Michelle Danner Acting Studio’s theory and approach to acting and directing. It explores a technical map of tools that the actor and director can use to break-down a script and create character. The class explores all the different techniques from Stella Adler, Stanislavski Uta Hagen, Bobby Lewis, Michael Chekhov, to Grotowski, Meisner, Mike Leigh and Ann Bogart. In understanding the concepts behind the Golden Box, students learn to create powerful and riveting characters, and also understand why certain choices are raw and unique. This class will help directors understand an actor’s process and how to collaborate with them on compelling choices.

TITLE: FUNDAMENTALS OF DIRECTING

Structured in both a lecture and workshop format, Directing I will cover all the principles, procedures, and practices of directing for film. We will explore text analysis, the audition process, casting, design & collaboration, principles of composition, blocking & motivation, all in pursuit of the art of storytelling. Exercises, reading assignments, video viewings and lectures will help us through a series of manageable directing projects designed to help aspiring directors learn the basics of the craft of directing.

TITLE: FILM ANALYSIS

We will explore and discuss the imagery, technique, moral and ethical messages, social commentary, and historical significance of these films. Students will demonstrate their understanding of these themes and their critical thinking skills through short written reviews and insights of their discoveries.

TITLE: OUTLINE TREATMENT AND WRITING A SHORT FILM

In this class, we will explore the world of the short narrative script. Through writing exercises and assignments, we will develop the skills needed to write short films and full-length narratives. Students will learn how to implement symbols, metaphors, allegories, and other storytelling devices to help enrich their screenplays.

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TITLE: DIRECTING ACTORS

This class is geared on how to work and talk to actors. This will facilitate a collaboration with the director and actor to achieve a maximum creative journey.

TITLE: CASTING

This class will go through the steps required for casting features and shorts. Casting is everything and when you cast it right 80% of the director’s job is done. We will discuss why certain actors are perfect for certain parts even though they may have not been the first choice.

TITLE: CINEMATOGRAPHY

This class will give you hands on experience with camera and lighting equipment and techniques. A complete understanding of issues related to exposure, f-stops, focal length, composition, digital cinema workflows, and color correction.

TITLE: PRODUCTION DESIGN

Production Design is an examination of the role of the production designer and art director in motion pictures, television or new media. Students will learn what art direction brings to the narrative storytelling process and how to identify this while watching a film or television show. They will work on projects that will give them hands on experience at the design process solving real world problems with skills they learn in class.

TITLE: PRODUCTION MANAGEMENT

The course follows the common practices and protocols of the industry from pre-production, through production and post-production, including discussion of the tangential marketing and distribution business sectors as they relate to production management. It will cover some of the best practices and personal development guidelines that relate to the unique business culture of entertainment, including some historical perspective.

18

TITLE: DIRECTING SCENES

This class is geared on getting hands on experience working with actors in a less pressurized environment. Aspiring filmmakers will pick a scene and cast it from a group of actors from the acting program. This exercise will be repeated twice.

TITLE: FILMING THE SHORT

The time has come. You are on set and filming. This is where you will learn what feels easy and where your challenges are. The filmmaker will learn that they are the point person for everything. Everyone will ask a million questions, and they have to have a good answer for it. They have to think quickly on their feet, be tireless, and inspire their cast and crew in order to fulfill their vision.

TITLE: FILM EDITING AND POST-PRODUCTION

Students will watch the dailies, select the best takes, and piece together what will be their first cut. They will get feedback, go back to the drawing board, and do another cut. They will learn how to pick and add music, do color correction and sound design, and create visual effects if the film requires any. They will understand how to create deliverables for the short including working on a trailer.

TITLE: WRITE A FULL-LENGTH FEATURE

Students will take what they’ve learned from writing a short film, create characters and outline, and start to work on a full-length feature screenplay from begin to end. They will be able to cast actors from the acting program for table readings and receive feedback in class.

TITLE: ART OF THE PITCH, FUNDRAISING

You have a screenplay! Now what? To pitch and raise funds is an art. This class will specifically give tools and ideas on how to go about it and secure funding for your feature.

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Reading Material and Requirements

Acting Theory

  1. Stella Adler on Ibsen, Strindberg and Chekhov
  2. Stella Adler on America’s Master Playwrights
  3. A Sense of Direction by William Ball
  4. Advice to the Players by Robert Lewis
  5. Method or Madness by Robert Lewis
  6. Challenge for the Actor by Uta Hagen
  7. Respect for Acting by Uta Hagen
  8. Sanford Meisner on Acting
  9. A Dream of Passion by Lee Strasberg
  10. On the Technique of Acting by Michael Chekhov
  11. Building a Character by Konstantin Stanislavski
  12. An Actor Prepares by Konstantin Stanislavski
  13. On Method Acting by Edward Dwight Easty
  14. Audition by Michael Shurtleff
  15. The Technique of Acting by Stella Adler
  16. A Sense of Direction by Gideon Lewis-Kraus
  17. A Dream of Passion by Lee Strasberg
  18. A Life by Elia Kazan
  19. An Actor’s Diary Year of the King by Anthony Shear
  20. Being an Actor by Simon Callow
  21. Creative Visualisations by Shakti Gawain
  22. The Family by John Bradshaw
  23. Healing the Shame that Binds You by John Bradshaw
  24. The Drama of the Gifted Child by Alice Miller
  25. The Dark Side of the Light Chasers by Debbie Ford
  26. The Untethered Soul by Michael A. Singer
  27. Being an Actor by Simon Callow
  28. On Making Movies by Sidney Lumet
  1. The Empty Space by Peter  Brook
  1. The Artist’s Way by Julia Cameron
  2. Freeing the Natural Voice by Kristin Linklater
  3. No Acting Please by Eric Morris and Joan Hotchkiss
  4. The Creative Habit by Twyla Tharp
  5. Bird by Bird by Anne Lamott
  6. How to Stop Acting by Harold gustin
  7. Montgomery Clift: A Biography by Patricia Bosworth
  8. James Dean: The Mutant King: A Biography by David Dalton
  9. Songs My Mother Taught Me by Marlon Brando & Robert Lindsey
  1. A Doll’s House by Henrik Ibsen (1879)

Plays

  1. Arms and the Man by George Bernard Shaw (1894)
  1. You Can’t Take It with You by George S. Kaufman and Moss Hart (1936)
  2. Our Town by Thornton Wilder (1938)
  3. Harvey by Mary Chase (1944)
  4. The Iceman Cometh by Eugene O’Neill (1946)
  5. A Streetcar Named Desire by Tennessee Williams (1947)
  6. Death of a Salesman by Arthur Miller (1949)
  7. The Rose Tattoo by Tennessee Williams (1951)
  8. The Crucible by Arthur Miller (1953)
  9. Waiting for Godot by Samuel Beckett (1953)
  10. The Diary of Anne Frank by Frances Goodrich and Albert Hackett (1955)
  11. Long Day’s Journey into Night by Eugene O’Neill (1956)
  12. A Raisin in the Sun by Lorraine Vivian Hansberry (1959)
  13. Who’s Afraid of Virginia Woolf? by Edward Albee (1962)
  14. Dutchman by Amiri Baraka (1964)
  15. Rosencrantz & Guildenstern Are Dead by Tom Stoppard (1966)
  16. Short Eyes by Miguel Pinero (1974)
  17. The Elephant Man by Barnard Pomerance (1977)
  18. Betrayal by Harold Pinter (1978)
  19. Amadeus by Peter Shaffer (1979)
  20. Glengarry Glen Ross by David Mamet (1983)
  21. Fool for Love by Sam Shepard (1983)
  22. Hurlyburly by David Rabe (1984)
  23. Fences by August Wilson (1985)
  24. M. Butterfly by David Henry Hwang (1988)
  25. The Grapes of Wrath by Frank Galati (1988)
  26. The Heidi Chronicles by Wendy Wasserstein (1988)
  27. The House of Yes by Wendy MacLeod (1990)
  28. Three Tall Women by Edward Albee (1991)
  29. Angels in America: Millennium Approaches by Tony Kushner (1991)
  30. Lost in Yonkers by Neil Simon (1991)
  31. Love! Valour! Compassion! by Terrence McNally (1994)
  32. Blasted by Sarah Kane (1995)
  33. How I Learned to Drive by Paula Vogel (1997)
  34. Topdog/Underdog by Suzan-Lori Parks (2001)
  35. Anna in the Tropics by Nilo Cruz (2002)
  36. The Pillowman by Martin McDonagh (2003)
  37. I Am My Own Wife by Doug Wright (2003)
  38. Rabbit Hole by David Lindsay-Abaire (2006)
  39. August: Osage County by Tracy Letts (2007)
  40. War Horse by Nick Stafford (2007)
  41. Ruined by Lynn Nottage (2008)
  42. Water by the Spoonful by Quiara Algerfa Hudes (2011)
  43. The Curious Incident of the Dog in the Night-Time by Simon Stephens (2012)
  44. Vanya and Sonia and Masha and Spike by Christopher Durang (2012)
  45. Chimerica by Lucy Kirkwood (2013)
  46. The Humans by Stephen Karam (2015)
  47. Oslo by J.T. Rogers (2016)
  48. The Ferryman by Jez Butterworth (2017)

Screenplays

  1. Citizen Kane by Herman J. Mankiewicz and Orson Welles (1941)
  2. Casablanca by Julius J. Epstein, Philip G. Epstein, & Howard Koch (1942)
  3. Strangers on a Train by Raymond Chandler, Whitfield Cook, & Czenzi Ormonde (1951)
  4. A Place in the Sun by Michael Wilson and Harry Brown (1951)
  5. The Apartment by I.A.L. Diamond and Billy Wilder (1960)
  6. Doctor Zhivago by Robert Bolt (1965)
  7. Guess Who’s Coming to Dinner by William Rose (1967)
  8. Midnight Cowboy by Waldo Salt (1969)
  9. The Godfather by Mario Puzo and Francis Ford Coppola (1972)
  10. Chinatown by Robert Towne (1974)
  11. One Flew Over the Cuckoo’s Nest by Lawrence Hauben and Bo Goldman (1975)
  12. Network by Paddy Chayefsky (1976)
  13. Annie Hall by Woody Allen and Marshall Brickman (1977)
  14. Kramer vs. Kramer by Robert Benton (1979)
  15. The Shining by Stanley Kubrick and Diane Johnson (1980)
  16. Tootsie by Larry Gelbart and Murray Schisgal (1982)
  17. Broadcast News by James L. Brooks (1987)
  18. Rain Man by Ronald Bass and Barry Morrow (1988)
  19. Do the Right Thing by Spike Lee (1989)
  20. When Harry Met Sally… by Nora Ephron (1989)
  21. Dead Poet Society by Tom Schulman (1989)
  22. Sex, Lies and Videotape by Steven Soderbergh (1989)
  23. Ghost by Bruce Joel Rubin (1990)
  24. Thelma & Louise by Callie Khouri (1991)
  25. The Silence of the Lambs by Ted Tally (1991)
  26. Reservoir Dogs by Quentin Tarantino (1992)
  27. The Piano by Jane Campion (1993)
  28. Schindler’s List by Steven Zaillian (1993)
  29. Forrest Gump by Eric Roth (1994)
  30. Seven by Andrew Kevin Walker (1995)
  31. Sense and Sensibility by Emma Thompson (1995)
  32. Heat by Michael Mann (1995)
  33. Fargo by Joel and Ethan Coen (1996)
  34. Good Will Hunting by Ben Affleck and Matt Damon (1997)
  35. L.A. Confidential by Brian Helgeland and Curtis Hanson (1997)
  36. American Beauty by Alan Ball (1999)
  37. The Sixth Sense by M. Night Shyamalan (1999)
  38. Lost in Translation by Sofia Coppola (2003)
  39. Eternal Sunshine of the Spotless Mind by Charlie Kaufman (2004)
  40. Sideways by Alexander Payne and Jim Taylor (2004)
  41. Brokeback Mountain by Larry McMurtry and Diana Ossana (2005)
  42. Little Miss Sunshine by Michael Arndt (2006)
  43. No Country for Old Men by Joel and Ethan Coen (2007)
  44. Juno by Diablo Cody (2007)
  45. The Social Network by Aaron Sorkin (2010)
  46. Whiplash by Damien Chazelle (2014)
  47. La La Land by Damien Chazelle (2016)
  48. Moonlight by Barry Jenkins (2016)
  49. Get Out by Jordan Peele (2017)
  50. Parasite by Bong Joon-ho and Han Jin-won (2019)

TV Show Pilots

  1. Twin Peaks created by Mark Frost and David Lynch (1990-1991)
  2. The X-Files created by Chris Carter (1993-2002)
  3. The West Wing created by Aaron Sorkin (1999-2006)
  4. The Sopranos created by David Chase (1999-2007)
  5. Six Feet Under created by Alan Ball (2001-2005)
  6. 24 created by Joel Surnow and Robert Cochran (2001-2010)
  7. The Wire created by David Simon (2002-2008)
  8. Deadwood created by David Milch (2004-2006)
  9. The Office created by Greg Daniels (2005-2013)
  10. Grey’s Anatomy created by Shonda Rhimes (2005-Present)
  11. Friday Night Lights created by Peter Berg (2006-2011)
  12. Mad Men created by Matthew Weiner (2007-2015)
  13. Breaking Bad created by Vince Gilligan (2008-2013)
  14. Parks and Recreation created by Greg Daniels and Michael Schur (2009-2015)
  15. Downton Abbey created by Julian Fellows (2010-2015)
  16. The Walking Dead created by Frank Darabont (2010-Present)
  17. Game of Thrones created by David Benioff and D.B. Weiss (2011-2019)
  18. Homeland created by Howard Gordon and Alex Gansa (2011-2020)
  19. American Horror Story created by Ryan Murphy and Brad Falchuk (2011-Present)
  20. Black Mirror created by Charlie Brooker (2011-Present)
  21. Girls created by Lena Dunham (2012-2017)
  22. Scandal created by Shonda Rhimes (2012-2018)
  23. Veep created by Armando Iannucci (2012-2019)
  24. The White Queen written by Emma Frost, Lisa McGee, Malcolm Campbell and Nicole Taylor, directed by James Kent, Jamie Payne, and Colin Teague (2013)
  25. Hannibal created by Bryan Fuller (2013-2019)
  26. Orphan Black created by Graeme Manson and John Fawcett (2013-2017)
  27. The Americans created by Joe Weisberg (2013-2018)
  28. House of Cards created by Beau Willimon (2013-2018)
  29. Orange is the New Black created by Jenji Kohan (2013-2019)
  30. The Blacklist created by Jon Bokenkamp (2013-Present)
  31. Penny Dreadful created by John Logan (2014-2016)
  32. Jane the Virgin created by Jennie Snyder Urman (2014-2019)
  33. The Affair created by Sarah Treem and Hagai Levi (2014-2019)
  34. Transparent created by Jill Soloway (2014-2019)
  35. Outlander created by Robert D. Moore (2014-Present)
  36. Mr. Robot created by Sam Esmail (2015-2019)
  37. American Crime Story created by Scott Alexander, Larry Karaszewski, Tom Rob Smith
  38. Fleabag created by Phoebe Waller-Bridge (2016-2019)
  39. The Good Place created by Michael Schur (2016-2020)
  40. Atlanta created by Donald Glover (2016-Present)
  41. The Crown created by Peter Morgan (2016-Present)
  42. Westworld created by Johnathan Nolan and Lisa Joy (2016-Present)
  43. Stranger Things created by The Duffer Brothers (2016-Present)
  44. Billions created by Brian Koppelman, David Levien, Andrew Ross Sorkin (2016-Present)
  45. The Marvelous Mrs. Maisel created by Amy Sherman-Palladino (2017-Present)
  46. The Handmaid’s Tale created by Bruce Miller (2017-Present)
  47. Barry created by Alec Berg and Bill Hader (2018-Present)
  48. Succession created by Jesse Armstrong (2018-Present)
  49. Bodyguard created by Jed Mercurio (2018-Present)
  50. Dead to Me created by Liz Feldman (2019-Present)

Los Angeles Acting Conservatory

Course Title: Film History

Course Description:

This course presents an overview of the history of American and international cinema. Topics covered include different genres such as romantic comedies, war movies, film noir, westerns, animation, Golden Age Hollywood movies, musicals, etc. There will be a discussion of how these movies impacted society over time. This class will cover major developments in American and international film history, from silent films to the present day, and explore their connections with the broader historical context. This course covers a wide range of topics from the creation of motion pictures and the adoption of synchronized sound (movies with sound) to the spread of international art cinema and the rise of independent cinema and film festivals.

Course Length: 12 weeks/60 hours

Anticipated Student Learning Outcome:

  • The outcome of the class is to think, speak and write about films viewed by making use of critical thinking skills such as interpretation, analysis, comparison and evaluation.
  • To increase their appreciation of diverse styles, genres and periods.
  • To understand the role of genre in American and international film history and to recognize how some of the most popular genres express social and cultural tensions.
  • Review scenes from a plethora of movies and analyze how the time periods affected different style of films.

Course Prerequisites: None

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

  • Lumet, Sydney. Making Movies, Vintage, 1996
  • Lewis, Jon. American Film: A History (1st Edition)
  • Sarris, Andrew. The American Cinema: Directors And Directions, 1929-1968

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report 40%

Attendance

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

WEEK t

INTRODUCTION: THE STUDIO AND STAR SYSTEM

We will go over the various different films before 1960 and analyze how the different time periods affected cinema.

This week we will watch scenes from the following films and discuss their importance. Mr. Smith Goes to Washington (1939), Casablanca (1942), The Navigator (1925), The General (1927)

WEEK 2

THE WESTERN

This week we will watch scenes from the following films and discuss their importance. Red River (1948), The Searchers (1956)

Describe characteristics and conventions of the genre covered, such as themes, storylines, characters, settings, cinematography, editing, special effects and other film techniques.

WEEK 3

THE MUSICAL

This week we will watch scenes from the following films and discuss their importance. Singin’ in the Rain (1952), Funny Face (1957)

WEEK 4

AMERICAN COMEDY

This week we will watch scenes from the following films and discuss their importance. It Happened One Night (1934), Adam’s Rib (1949), Some Like It Hot (1959), His Girl Friday (1940)

WEEK S

INTERNATIONAL CINEMA

This week will give an overview of international cinema from classic to contemporary films and how they reflect themes prevalent in their cultures. The Seventh Seal (1957), Cinema Paradiso (1988), Parasite (2019)

WEEK 6

PRESENTATIONS

Oral presentation on a movie of student’s choice before 1960.

WEEK 7

WAR AND CINEMA

This week we will watch scenes from the following films and discuss their importance. Sands of Two Jima (1949), Paths of Glory (1957)

WEEK S

FILM NOIR

This week we will watch scenes from the following films and discuss their importance. The Maltese Falcon (1941), Strangers on a Train (1950),

WEEK 9-12

MODERN FILMMAKERS

Lecture and exercises on how great filmmakers (Lumer, Spielberg, Altman, Woody Allen, Tarantino, Stanley Kubrick, Hitchcock) have revolutionized  different  genres and affected today’s movies

FINAL REPORT

Written film report on how films before the 1990s have impacted cinema.

Los Angeles Acting Conservatory

Course Title: Golden Box Master Class (Filmmaking)

Course Description:

The Golden Box class provides the foundation of the Los Angeles Acting Conservatory’s theory and approach to acting and directing. It explores a technical map of tools that the actor and director can use to break-down a script and create character. The class explores all the different techniques from Stella Adler, Stanislavski Uta Hagen, Bobby Lewis, Michael Chekhov,  to Grotowski, Meisner, Mike Leigh and Ann Bogart. In   understanding the concepts behind the Golden Box, students learn to create powerful and riveting characters, and also understand why certain choices are raw and unique. This

class will help directors understand an actor’s process and how to collaborate with them on compelling choices.

Course Length: 12 weeks/60 hours

Anticipated Student Learning Outcome:

To provide each student with a diverse array of tools to help actors  find  emotional triggers, with the ability to deploy these triggers rapidly and repeatedly as the scenario dictates, and to teach students how to speak to actors about  endowing  objects  and creating characters with emotional depth. Students in the class will gain a comprehensive understanding of the major different schools of thought in contemporary acting, and will exit the class well versed in methodologies of Sanford Meisner, Lee Strasberg, Stella Adler, Michael Bobby Lewis, Chekhov, Konstantin Stanislavski. So when they are on set, actors and directors will speak the same language.

Course Prerequisites: None

Material and Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s): The Golden Box Technique by Michelle Danner

(Recommended:) A Sense of Direction, William Ball

On Method Acting, Edward Dwight Easty

Required Movies:

  • The Talented Mr. Ripley (1999)
  • Secret and Lies (1996)
  • Whiplash (2014)
  • Seven (1995)
  • Streetcar Named Desire (1951)

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance:

You are allowed three absences.Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction:

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

WEEK t

Orientation and creating actor’s daily ritual. Students will be introduced to daily exercises such as working on voice writing observations, sensory work and finding monologues to work on everyday. A daily artist’s worktool box

WEEK 2

How to build a backstory for the characters. The actors are introduced to the Mike Lee technique and brought up on stage where the class will ask them many questions about their character. They will explore the characters history through the biography exercise where they will speak at length in the characters voice about who they are. This exercise will help them inhabit the role that they are playing in a deep and meaningful way.

Aspiring directors will understand the questions that are vital to ask when working with actors on their character.

WEEK 3

Students will explore emotional triggers whether they are coming from the imagination or their personal life. They will be taught how to use emotion in their work and be able to access it at a moments notice. Directors here will understand how to accomplish the difficult task of opening actors emotionally on set.

WEEK 4

Relationships in the script will be explored and students will break down The Talented Mr. Ripley and go over every single time a relationship becomes redefined. They will apply the same process to watching several scenes from the movie Secrets & Lies.

Directors will understand how to ask actors the important questions with how they feel about the other characters based on the last emotional event that occured with them.

WEEK S

This class will be devoted to understanding the use of objects. The difference between an endowed object when the writer gives it in the scene, and a personal object when the   actor creates a particular object that will help them to reveal inner feeling. Actors will do monologues and scenes focusing solely on the use of objects and watch selected scenes from The Remains of the Day, He Got Game, As Good as it Gets, Sense and Sensibility, A League of Their Own, and A Streetcar Named Desire. Directors will understand how to give value to objects in scenes.

WEEK 6

Students will understand why an author put the scene in a specific place. Whether it’s a courthouse, a church, an emergency room, or a public station. They will work with the scenes and monologues and understand how the language is affected by where you are. They will build a fourth wall in their work and place inner objects on it so they can build their concentration muscle.

WEEK 7

A comprehensive discussion with actors and directors about how the job influences who you are, whether you are an attorney, a surgeon, a dancer, or a construction worker and how the social class that you pertain to affects what someone is doing for a living.

WEEK S

This class explores the super objective of the character, what their overall need is and  how to script analyze finding it in the script and understanding how every want in every scene is supporting that super objective. Exercises will be given to understand the “SO” (super objective) of the character through the student’s own creative “SO”. This will help directors suss out what the spine or the scene is.

WEEK 9

The focus will be intentions, active verb that the character pursues moment to moment.  We will discuss several scenes in whiplash in the movie Seven to understand the power of intention. When directors are able to communicate intentions with actors it brings their work together to a higher level.

WEEK 10

The use of physicality and how to reveal the subtext of a moment through a psychological gesture. Students will be asked to embody different characters showing how they can speak psychologically with their body and find where the character is leading from. When actors and directors agree on psychological gestures they can communicate the themes of the story to an audience on a deeper level.

WEEK 11

Sandy Meisner said, “When you want to cry don’t cry. When you want to get enraged, wait.” Students will understand how to create the masks of the character. All participants will directly, using text, understand how to cover and build to the climax of the scene.

This will help directors to calibrate the arc of the story.

WEEK 12

A review of all the different tools discussed in the previous 11 weeks will culminate on working on a prepared text from a contemporary writer where directors will direct actors and get feedback based on all the concepts that are used in the Golden Box.

Los Angeles Acting Conservatory

Course Title: Fundamentals of Directing

Course Description:

Structured in both a lecture and workshop format, Fundamentals of Directing will cover all the principles, procedures, and practices of directing for film. We will explore text analysis, the audition process, casting, design & collaboration, principles of composition, blocking & motivation, all in pursuit of the art of storytelling. Exercises, reading assignments, video viewings and lectures will help us through a series of manageable directing projects designed to help aspiring directors learn the basics of the craft of directing.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcome

An aspiring director would be able to feel comfortable on set directing. To explore the role of the director as a collaborative individual able to articulate and spare vision while embracing the creativity of the design team and actors.

Course Prerequisites: None

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

    • Laurent Tirard, Moviemakers’ Master Class: Private Lessons from the World’s Foremost Directors
    • Steven D. Katz, Film Directing Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions)
    • Simone Bartesaghi, The Director’s Six Senses: An Innovative Approach to Developing Your Filmmaking Skills
    • Steven D. Katz, Cinematic Motion, Second Edition
    • Michael Rabiger, Directing: Film Techniques and Aesthetics
    • David Mamet, On Directing Film

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activists.

WEEK 1

Introduction to Directing: The responsibilities that a director has on set, staying true to his or her vision in the movie.

WEEK 2

Relationship With Actors, first meeting sharing the vision of the script and theme. Students will do mock interviews.

WEEK 3

Script analysis with first table read and individual rehearsals with actors

WEEK 4-6

Rehearsals with actors. An exploration of the work with actors moment to moment listening. Send ideas intention improving the scene.

WEEK 7

Focus on Blocking the composition of a scene.

WEEK S

Working with the actors on how to incorporate objects in the work.

WEEK 9

Playing with choices and adjustments and how the scene fits in with the overall theme of the movie.

WEEK 10-12

Directors will be assigned actors to work and it will culminate into final presentations

Los Angeles Acting Conservatory

Course Title: Film Analysis

Course Description:

We will explore and discuss the imagery, technique, moral and ethical messages, social commentary, and historical significance of these films. Students will demonstrate their understanding of these themes and their critical thinking skills through short written reviews and insights of their discoveries.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcome:

To learn to perceive, understand, and evaluate films more effectively, with greater assurance, validity, and pleasure. To achieve this objective, we will study the basic principles and techniques of film art, with emphasis upon the choices of the director, the cinematographer, the editor, the screenwriter, and the actors.

Course Prerequisites: None

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

  • Understanding Movies, 11th Edition, by Louis Giannetti
  • Cody, Diablo “Juno.” Film Script, 2007.
  • Zweig, Stefan. “The Grand Budapest Hotel.” Film Script, 2014
  • Luhrmann, Baz. “The Great Gatsby.” Film Script, 2013
  • McCarton, Anthony. “The Theory of Everything.” Film Script, 2014
  • Allen, Woody. “Blue Jasmine.” Film Script, 2013″
  • Seidler, David. “The Kings Speech.” Film Script, 2010
  • Inarritu, Alejandro. “Birdman or (The Unexpected Virtue of Ignorance).” Film Script 2014
  • Miller, George. “Mad Max: Fury Road.” Film Script, 2015
  • Hazanavicius, Michel. “The Artist.” Film Script, 2011
  • Chazelle, Damien. “Whiplash.” Film Script, 2014
  • Mankiewicz, Herman. “Citizen Kane.” Film Script 1941

Course Requirements

Because of the time required outside of class to read the text and to view and study the films, there will be no term paper. You will be evaluated on your one-page essays, your classroom contributions, and the two exams. As emphasized above, engagement in the discussions is very important, but effective classroom performance involves more than

just being vocal. Participation which is outstanding in content, insight, discretion, and consideration of others can raise your score as much as a full letter grade for the quarter. Check your email every day. I will frequently send you information and study materials. For each class, read the assigned pages in the text. Write a one-page essay on an assigned topic for each film, due at the start of class on the day we begin discussing that film.

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activists.

Students are asked to fill out a script analysis worksheet so that they understand how to look at the following movies. They will be looked at with all these concepts in addition   to the emphasis below

WEEK t

INTRO; CHAPTER ONE

Students will write a short written review

WEEK 2

WRITING

J uo

Students will write a short written review

WEEK 3

PRODUCTION DESIGN

The Graud B dapest Hotel

Students will write a short written review

WEEK 4

COSTUME DESIGN

The Great Gatsby

Students will write a short written review

WEEK S-6

PERFORMANCE

The Theory of Everything (Eddie Redmayne), Blue Jasmine (Cate Blanchett) Students will write a short written review

WEEK 7

DIRECTING

Tom Hooper The King’s Speech

Students will write a short written review

WEEK S

PHOTOGRAPHY

Birdman

Students will write a short written review

WEEK 9

SOUND

Mad Max: Fury Road

Students will write a short written review

WEEK 10

MUSIC

The Artist

Students will write a short written review

WEEK 11

EDITING

Whiplash

Students will write a short written review

WEEK 12

FINAL EXAM IN CLASS ANALYSIS

Citizen Kane

Students will write a short written review

Checklist

Genre/Tone:

Moment Before:

Event:

Want:

Relationship:

Stakes:

A trigger:

Physical Choices:

The Michelle Danner Acting Studio On Camera Class

Los Angeles Acting Conservatory

Course Title: Outline Treatment and Writing a Short Film

Course Description:

In this class, we will explore the world of the short narrative script. Through writing exercises and assignments, we will develop your skill in creating outlines, talking about short films and scripts, and utilizing symbols, metaphors, allegories, and other storytelling devices to enrich your script.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcome:

To develop a short script that will be complete enough to take into production. Summarize ways to develop characters. Demonstrate how to properly write dialogue. Define setting, context and plot.

Course Prerequisites: None

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s): Writing Short Films. Cowgirl, Linda J., 2005.

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activists.

Week 1 Introduction

Structure, formula, formatting, cinematic conventions, tricks and techniques.

Week 2

Introduction to the world of short form filmmaking, how shorts differ from features. Selected screenings. Academy Award winning shorts

Week 3

Make a list of ideas and themes from a short moive and write outlines

Week 4

Pitch your ideas to the class

Week 5

Assignment

Write the short story that can be told with no dialogue. Your tools are desire, action and conflict. Create a character, give him/her a conflict to resolve that is difficult to attain and then find a climax and resolution that are unexpected. Length one paragraph- one page.

Week 6

Explore how to find idiosyncratic dialogue for your characters.

Week 7

Plot Structure. Scene by scene

Week 8-10

Beginning Middle and End of your story

Week 11

Casting for your story

Week 12

Bring it in and have actors read it out loud

Los Angeles Acting Conservatory

Course Title: Directing Actors

Course Description:

This class is geared on how to work and talk to actors. This will facilitate a collaboration with director and actor to achieve a maximum creative journey.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcome:

This will demystify how actors work and prepare future directors with a language they can use on set when directing.

Course Prerequisites: none

Materials and Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s): Judith Weston, Directing Actors

Michael Rabiger, Directing Film Techniques and Aesthetics

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance:

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1

How to talk to the actor about who they are, their backstory and the idiosyncratic choices they

make to build it

Week 2

Analyzing the scene beat by beat

Week 3

How to get actors up on their feet and what to say to them. The many adjustments you can give.

Week 4

Work with images ideas with music that can be metaphor that can help communicate with actors.

Week 5-6

The language the director can use to talk to an actor.

Want- intentions,subtext emotional life- objectives, stakes

Week 7

How the place affects the scene it’s very difficult

Week 8

How to block the actor where they go on set is powerful

Week 9

Objects are creative and can anchor the actor. When the script demands it or when you create in the moment.

Week 1o

Everyone has fear, how the director tackles it.

Week 11

How to deal with a difficult actor- what to say and what to do.

Week 12

A written assignment that reviews all the ways you can deal with actors on set.

Los Angeles Acting Conservatory

Course Title: Casting

Course Description:

This class will go through the steps required for casting features and shorts. Casting is everything and when you cast it right 80% of the director’s job is done. We will discuss why certain actors are perfect for certain parts even though they may have not been the first choice.

Course Length: 12 week/48 hours

Anticipated Student Learning Outcome:

The future filmmaker will think about casting outside the box and will become creative about putting the perfect choice for the character’s face.

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

  • Jen Rudin, Confessions of a Casting Director: Help Actors Land Any Role with Secrets from Inside the Audition Room
  • Suzy Catliff, The Casting Handbook: For Film and Theater Makers
  • Hester Schell, Casting Revealed: A Guide for Film Directors

Required Film:

  • Casting By (2012)

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance: You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction:

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1

The perfect dream cast make a list, brainstorm away but be realistic. Who can you afford, who do you have a relationship with.

Week 2

How to get through submission especially when there are thousands of them.

Week 3

How to look at reels.

Week 4

Putting out a casting notice. How the character and story breakdowns goes out.

Week 5

Pick a casting direction that you see eye to eye with- study Casting By documentary.

Week 6

Cast against type, can you cast an actor that is not right for an audition but love them anyway.

Week 7

When you are looking at the tapes of the audition, what are you really looking for?

Week 8

What to look for in a table read in terms of your casting. If you made a mistake can you still change your mind.

Week 9

Meetings or lunch with an actor that is auditioning for you.

Week 10-11

Mock auditions. Learn what to say to actors to get the best performances.

Week 12

Pick a screenplay. Read it and put together a cast list and share it with the class.

Los Angeles Acting Conservatory

Course Title: Cinematography

Course Length: 12 weeks/60 hours Anticipated Student Learning Outcome:

This class will give you hands on experience with camera and lighting equipment and techniques. A complete understanding of issues related to exposure, f-stops, focal length, composition, digital cinema workflows, and color correction.

Course Prerequisites: None

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

  • Katz, Steven. Film Directing Shot by Shot: Visualizing From Concept to Screen, Focal Press. lst Edition l99l
  • Mascelli, Joseph. The Five C’s of Cinematography: Motion Picture Filming Techniques; Silman James Press, lst Edition 2005

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using classroom instruction employing lecture/demonstration, in class exercises, student participation and class activists.

WEEK t

INTRO; SCENE, SHOT & SEQUENCE

Assignment: Screen Visions of Light, Pre-instruction Assessment Read pg. 13-21

WEEK 2

LIGHTING: FILM LIGHTING TECHNIQUES AND THEIR EFFECTS

Assignment: Scene Analysis Due Read pg. 40-51

WEEK 3

LIGHTING: CREATIVE CONTROL, LIGHTING: ADVANCED TECHNIQUES, GRIPS: BASICS IN COMMUNICATION

Assignment: Read pg. 74-86

WEEK 4

GRIP: LIGHTING CONTROL, EXPOSURE: CONTROLLING, EXPOSURE: USING A LIGHT METER

Assignment: Read pg. 110-131

WEEK S

EXPOSURE: ON SET MONITORING, LENSE: BASIC PROPERTIES

Assignment: Visual Poem Due

WEEK 6

LENSE: DEPTH OF FIELD, LENSE: IMAGE CONTROL

Assignment: Read pg. 132-141

WEEK 7

DIGITAL WORKFLOW: BASICS, DIGITAL WORKFLOW: LUTS

Assignment: Scene Recreation Due, Read pg. 149-158

WEEK S

DIGITAL WORKFLOW: FILE WRANGLING, COLOR CORRECTION: BASIC THEORY

Assignment: Read pg. 173-190

WEEK 9

COLOR CORRECTION: Premiere or Final Cut

WEEK 10

WORKSHOP

Assignment: Color Correction Projects Due Read pg. 197-218

WEEK 11

WORKSHOP

WEEK 12

FINAL PROJECT REVIEWS

Los Angeles Acting Conservatory

Course Title: Production Design

Course Description

Production Design is an examination of the role of the production designer and art director in motion pictures, television or new media. Students will learn what art direction brings to the narrative storytelling process and how to identify this while watching a film or television show. They will work on projects that will give them hands on experience at the design process solving real world problems with skills they learn in class.

Course Length: 12 weeks/60 hours

Anticipated Student Learning Outcome:

This course will examine the history and the development of the profession of art direction. This course will examine the difference between the production designer and the art director. The creative process of art directing will be explained from the reading and break down of a script through the development  of a design concept and the implementation of that concept through research, sketches, drawings and models. Students will develop an understanding of the different departments on a production and how an art director interacts with each to further the goals of the design. Students will develop the basic skills necessary to express a design concept through drawing a ground plan and other

pre-visualization methods.

Course Prerequisites: none

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

    • War Preston, What Art Direction Does: An Introduction to Motion Picture Production Design
    • Vincent LoBrutto, The Film Maker’s Guide to Production Design
    • Michael Rizzo, The Art Direction Handbook for Film

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance

The student will be allowed three absences for the quarter. In case of illness, it is the student’s responsibility to contact the instructor.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1

General introduction of class structure, meet and greet. First lecture, “What is Art Direction and what impact does it have on a film?” “History of Art Direction”

Week 2

“The Art Department Staff and all other departments”

Week 3

“Script Break Down, or the what, where, when and the how much does it cost, of Art Direction”

Week 4

“Researching and scouting, the first steps in the design process”

Week 5

“Expressing a design idea, starting with a ground plan and simple elevations”

Week 6

Mid-term Test “Coming up, study! Seventh lecture, Set Construction and Set decoration

Week 7

Mid-term Test “Developing your Design Concept” Show how your Ground Plans are doing Assign Scripts for Final Project Designing a Scene from a Film”

Week 8

Students present ground plan projects “Making a Presentation/Palette Board” and “Designing for a commercial” Assign Scripts for Commercial Concept/ Budget

Week 9

“Sketch-up Class”

Week 1o

Student presentations on art direction’s impact, Group work on commercial concepts & final projects, showing projects in development.

Week 11

Student presentations on art directions’ impact, Present commercial design/budget breakdown projects

Week 12

Present final film design projects

Los Angeles Acting Conservatory

Course Title: Production Management

Course Description

The course follows the common practices and protocols of the industry from

pre-production, through production and post-production, including discussion of the tangential marketing and distribution business sectors as they relate to production management. It will cover some of the best practices and personal development guidelines that relate to the unique business culture of entertainment, including some historical perspective.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcome:

Understand the roles of the studio/network executive, producer (creative, line, “executive”), department heads, technicians, artists and other crafts people in production positions, and how these positions contribute to the nuts-and-bolts production process.

Recognize the creative and business decision processes made during all production phases, and how those decisions can support or detract from a film. TV show or program’s success. Develop awareness of the common practices and various influences that shape day-to-day production decisions and transactions within the industry. Identify the corporate structure of the studio and networked system, and how it has evolved in relationship to the overall global marketplace for entertainment.

Course Prerequisites: None

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

  • Eve Light Honthaner, The Complete Film Production Handbook (American Film Market Presents)
  • Andrew Stevens, Producing for Profit: A Practical Guide to Making Independent and Studio Films
  • Lawrence Turman, So You Want to Be a Producer
  • Donald C. Farber, Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance: You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Weeks 1-2

COURSE OVERVIEW

Introduction syllabus; Introductory discussion of development process to production from Storyboarding-Location Scouting- a discussion about movie magic scheduling and budgeting

Weeks 3-4

PRE-PRODUCTION

Once your in pre-production to production – what are the steps; scheduling/budgeting; license fees/budget/tax credits/deficits; location consideration; financial considerations; discuss one line schedule; connect script to schedule

Weeks 5-6

PRODUCTION

Keeping on budget; discuss deals/guilds/ranges;memo deals with cast and crew; connect schedule to budget; continue to talk about tax credits; how to deal with

SAG-DGA-WGA.

Weeks 7-8

BUDGET WALK THROUGH

A specific review of a budget for a full length feature and a short. Students will write a budget based on a short movie given.

Weeks 9-10

ON SET

A mock demonstration on what happens on set. Students are given 10 scenarios that could happen and how you would creatively deal with them. I.e: You are evacuated because there is a fire!

Weeks II-I2

POST PRODUCTION

Director — Studio — Network; technology: the present and the future

Los Angeles Acting Conservatory

Course Title: Directing Scenes

Course Description:

This class is geared on getting hands on experience working with actors in a less pressurized environment. Aspiring filmmakers will pick a scene and cast it from a group of actors from the acting program. This exercise will be repeated twice.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcomes:

You don’t learn if you don’t do. Our filmmakers will learn how to give adjustments and block actors in simple coverage, over the shoulder, close ups… The more you do the more comfortable you are on set. This will help them as a stepping stone to direct their own short movie

Course Prerequisites:

Material & Supplies: Projector Screen & Scripts, 4K cameras, lenses, lights, notebooks, laptops or tablets for note taking.

Required Text(s):

  • Judith Weston, Directing Actors: Creating Memorable Performances for Film & Television
  • David Mamet, On Directing Film
  • Jason J. Tomaric, FilmSkills Director’s Craft: Master the Art of Directing Actors and the Camera (Behind the Screen) (Volume 3)
  • Elia Kazan, Kazan on Directing

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance: You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction:

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1

Picking the scene and casting it.

Week 2

First read.Talk about character choices.

Week 3

Rehearse the scene, block it out.

Week 4

Rehearse the scene on location with costumes.

Week 5-6

Film the scene depending on locations you are using.

Week 7

Pick a second scene and cast for it.

Week 8

First read. Talk about character choices.

Week 9

Rehearse the scene, block it out.

Week 1o

Rehearse the scene on location with costumes.

Week 11-12

Film the scene depending on locations you are using.

Los Angeles Acting Conservatory

Course Title: Filming the Short

Course Description:

The time has come. You are on set and filming. This is where you will learn what feels easy    and where your challenges are. The filmmaker will learn that they are the point person for everything. Everyone will ask a million questions, and they have to have a good answer for it. They have to think quickly on their feet, be tireless, and inspire their cast and crew in order to fulfill their vision.

Course Length: 12 Weeks/60 hours

Anticipated Student Learning Outcome:

The student will become a director- Learn how a set works and feel the joy of seeing something they wrote come to life.

Course Prerequisites: None.

Material & Supplies:

Required Text(s):

Grading

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance

The student will be allowed three absences for the quarter. In case of illness, it is the student’s responsibility to contact the instructor.

Method of Instruction

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1:

Production Meeting: Go over every department what is needed for each scene.

Week 2:

Equipment – getting familiar with using all the technical equipment.

Week 3:

The First AD will schedule the order of the scenes shot in a soundstage or on location. Make sure

you work with your DP on a shot list. Storyboarding is helpful. Stay on schedule.

Week 4:

Breaking down the script.

Week 5:

Casting

Week 6:

Scheduling Locations

Week 7-11:

Filming

Week 12:

Editing

Week 13:

Final Presentation

Los Angeles Acting Conservatory

Course Title: Film Editing and Post-production

Course Description:

Students will watch the dailies, select the best takes, and piece together what will be their first cut. They will get feedback, go back to the drawing board, and do another cut. They will learn how to pick and add music, do color correction and sound design, and create visual effects if the film requires any.

Course Length: 12 weeks/60 hours

Anticipated Student Learning Outcomes:

Students will familiarize themselves how to put together a scene frame by frame.- The two dimensional plane of screen, three dimensional space of action, the eye trace, stage line spatial continuity. All of these concepts will be a foundation for future editing.

Course Prerequisites:

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

Ralph Rosenblum and Robert Karen, When the Shooting Stops. The Cutting Begins

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance: You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction:

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1-5

Students will be edit scene I

  • 1st assembly
  • 1st cut
  • A couple more cuts
  • Picture Lock
  • Color Correction
  • Sound Design
  • Render and Checked out

Week 6-10

Students will be edit scene II

  • 1st assembly
  • 1st cut
  • A couple more cuts
  • Picture Lock
  • Color Correction
  • Sound Design
  • Render and Checked out

Week 11

Presenting scene

Week 12

Group Discussion on scenes

Los Angeles Acting Conservatory

Course Title: Writing a Full-Length Feature

Course Description:

Students will take what they’ve learned from writing a short film, create characters   and outline, and start to work on a full-length feature screenplay from begin to end. They will be able to cast actors from the acting program for table readings and receive feedback in class.

Course Length: 12 weeks/60 hours

Anticipated Student Learning Outcome:

The filmmaker will understand better the process that writers go through. More and more directors are writing and it helps them be clear about the vision of the film.

Course Prerequisites: none

Material & Supplies: Projector Screen & Scripts, notebooks, laptops or tablets for note taking.

Required Text(s):

Blake Snyder, Save the Cat! The Last Book on Screenwriting You’ll Ever Need

Robert McKee, Story: Style, Structure, Substance, and the Principles of Screenwriting

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance:

You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction:

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1

Structure of screenplay and the theme.

Week 2-4

Write outline for Acts T, TT, TTT, exposition and Climax

Week 5-6

Characters, present them to the class, their personality and dream conflicts

Week 7-8

Dialogue, inciting, incident, scene design.

Week 9-10

Write Act T

Week 11-12

Read Outline of Act T

Los Angeles Acting Conservatory

Course Title: Art of the Pitch, Fundraising

Course Description:

You have a screenplay! Now what? To pitch and raise funds is an art. This class will specifically give tools and ideas on how to go about it and secure funding for your feature.

Course Length: 12 weeks/48 hours

Anticipated Student Learning Outcome:

Students will know how to excite someone into giving them money to make their dream come true

Material & Supplies: Notebooks, laptops or tablets for note taking.

Grading:

Your grade will be based on a pass or fail system. With 60% or above is required to pass and 59% and below is fail.

Attendance

20%

Participation

20%

Presentation

20%

Final Report

40%

Attendance: You are allowed three absences. Three unexcused absences will lead to failure in the class. Arrive late for 2 classes will equal on excused absence.

Method of Instruction:

This course is taught using a classroom instruction employing lecture/demonstration, in class exercises, student participation and class activities.

Week 1-2

Rehearse pitches

Week 3

Talk about how to raise funds

Week 4

Private equity

Week 5

International Pre-sale

Week 6

Tax Incentive

Week 7

Gap Financing

Week 8

Production company signings

Week 9-10

Crowdfunding

Week 11-12

Show Shorts