PIANO DI LAVORO 2015-16
Fa parte di una "bibbia":
1) il Titolo e il Nome degli autori,
2) il Formato (struttura e durata in minuti dei singoli episodi),
3) la Descrizione della serie (spiegare storia proposta e approfondire le sue tematiche),
4) il Profilo dei personaggi (descrizione dettagliata di ciascun personaggio principale, delineandone le caratteristiche fisiche, psicologiche e sociali),
5) gli Ambienti (in cui si svolge il cuore della storia, ad esempio un commissariato di Polizia, un ospedale, un centro commerciale, ecc.) e
6) i Soggetti relativi ai singoli episodi (se si tratta di una fiction a lunga serialità, è sufficiente presentare dei brevi paragrafi riassuntivi relativi alle prime puntate).
Il “trattamento” per il primo capitolo (episodio pilota) di una serie dovrà avere circa 20 pagine in carattere “Courier 12”, equivalente a 5-7.000 parole.
Nel "trattamento" elaborato saranno presentati i personaggi e le azioni della storia, articolati in 3, 4 o 5 atti, e in qualche 30-40 scene.
- - -
29 ottobre: presentazione nell’Auletta dei 3 primi punti della bibbia.
5 novembre: presentazione nell’Auletta dei punti 4, 5 e 6 della bibbia.
19 novembre: consegnare per scritto una sintesi della bibbia in un massimo di 2 cartelle (circa 700 parole).
3 dicembre: presentazione nell’Auletta della storia del episodio pilota (struttura drammatica, personaggi, tematiche implicite, ecc.)
25 gennaio: consegna via email: trattamento dell’episodio pilota
28 gennaio: esame in Auletta (“pitch” di circa 20 minuti per ogni gruppo): presentazione del progetto: plot-line, locandina, storia e personaggi, analisi tematico, ecc.
ABOUT THE EXAM OF “SCENEGGIATURA AUDIOVISIVA”
Each one of the projects needs around 30 minutes to make the "pitch" and to answer the questions. So, let think to have at least 2 hours (from 10am. to 12,30pm.) to complete the whole process.
The way of doing the "pitch" can be like that:
The essentials anyone need to tell and "pitch" a story that movie-going audiences will want to see:
1. Your main character must have a strong goal. Without being overly reductive, don't forget to ask yourself, "what does my main character want?" Establish specific character traits that distinguish this character from any other. This makes him or her memorable, quirky, and ripe for reversals. Make our hero a sympathetic character with whom we can connect. They don't have to be the nicest person in the world, only they must be inherently interesting. I wouldn't want Bobby De Niro in “Ranging Bull” and Nicolas Cage in “Leaving Las Vegas” as my friends or relatives, but heck, they are compelling, and I want, I care, I need to see what happens to them.
2. What or who is keeping our protagonist from achieving his or her goals? Remember, the goal must be an expression of an inner need. Which leads to...
3. Why do they want what they want? This is the stuff that is going on inside wich drives them, and we must find a way to illustrate this externally.
4. And then, how in the end do they achieve or fail to achieve their goal, and why?
5. Do not forget, anyway, this:
You need to have a clear understanding of what story it is you are trying to tell. To help you to do this, you should be able to articulate the answer to these two questions:
a) what is your story about?
b) What is your story about?
I know, I know, at first glance, these two questions appear to be similar, but in fact, they are worlds apart. The first question is one of plot. What is the "A" (main) plot line? What is the dramatic problem or device that drives the film forward?
Now, the second question, which looks deceptively like the first, is simply, "What's your story about, you know, thematically?" What are you trying to say? The theme equals those elements in the film that are going to alter the way the audience thinks of the world after they leave the theatre. This is where you are invited to be a little bit preachy, to have a point of view, to attempt to say something that can and should change the world. (...) You see, the theme is the sinew holding together the bones of the story, it must exist as a subtext, as the roots to the story blossom. The theme resonates throughout the story. [For example, the film Back to the Future deals with the theme of sons’ inheriting the sins of their fathers].
All well crafted stories hinge upon at least one major dramatic question which is established when the inciting incident takes place. Will Harry and Sally ever be able to get together as more than friends? The films's theme is inherent in this question...
Keeping this in mind, each group can distribute their tasks like this:
1. Presentation of the whole season: number and duration of the episodes, main characters and locations, log-line of each one of the chapters, thematic exploration. (5 min.)
Now, focusing in the Pilot Episode:
2. What is your story about? (Plot-line, explaining the narrative structure, division in acts, plot-points, etc.) (5 min.)
3. What is your story “really” about? (Theme, explaining what your work is thematically about, like “how love conquers all”, “crime doesn't pay”, etc.) (5 min.)
4. The characters: explain the evolution of the main ones. (5 min.)
5. The poster. Imagine what the one-sheet (the poster) migth look like for your film. What image would go on the poster? What title and headline might be written across the ad for your picture in the Sunday paper? Write just that one line, imagine and design the poster, and explain it. (5 min.)
So, THERE ARE 5 MAIN TASKS TO BE DONE AND WRITE, distributed and coordinated inside each group. And delivered in the "pitch". Obviously, one person can deliver 2 points.
Remember that YOU ARE WORKING INSIDE A VERY SPECIFIC MORAL PERSPECTIVE. Your story "concept" should be discussed during the delivering of point 3. "What is your story about?" (Theme). And remember that it must be mentioned delivering point 7, but not necessarily all of them.
In my view, this is the simplest way to do the things. If any group want to do the same "pitch" content in a different way, it's ok. But they must first justify that way...
Anyway, as we agreed, we want to have --via e-mail-- the "treatments" on Monday 25th of January, so we can read them befeore the exam or "pitch" or "presentation" that will take place on Thursday 28th of January, at the "Auletta" in Studio TV.