CREAM (Creative Academy of Movies)y Hello, friends, we at the Creative Academy of Movies wish to share an update of our three months combined ACTING\SCREENWRITING\MARKETING training project with you as we announce the release of the course outlay. Please take a peep. SCREENWRITING COURSE OUTLAY THE SCREENPLAY IS ONE ELEMENT IN THE MOVIE MAKING PROCESS THAT HAS A LIFE OF ITS OWN. IN FACT ITS STANDS ALONE AND ACTS AS THE ELIXIR THAT GENERATES INTEREST FROM WOULD-BE INVESTORS IN A MOVIE PROJECT. IT THUS BECOMES THE FOUNDATION FOR EVERYTHING ELSE THAT FOLLOWS. NEITHER FANTASTIC DIRECTING NOR ANY SUPERSTAR ACTING CAN SAVE A POOR SCRIPT. THEREFORE EVERY GOOD MOVIE MUST NECESSARILY DRAW FROM AN OUTSTANDING SCRIPT. THIS TRAINING IS DESIGNED TO UNVEIL THE SECRETS OF CREATING AN INTRIGUING, MARKETABLE SCRIPT. IT PROMISES TO CHALLENGE YOU INTO UNLEASHING THE DEPTH OF YOUR INNER PASSION. TOPICS (A) STORY vs CONCEPT\THEME Here, we clearly define what a story is as against the definition of concept or theme and explore the various conceptual and developmental processes of screenwriting. (B) STRUCTURE AND PLOTS Building of a story structure is as critical as conceiving the story itself. Like a physical structural development, each story block must be laid carefully and systematically. Plotting will determine the technical depth of the screen player (C) THE BASIC ELEMENTS OF SCRIPTWRITING (Characters\conflict\setting\theme\plot\dialogue) These are what I label as the five fingers of a movie script. Detailed analyses of each of these elements shall be treated with the aim of guiding the participants’ understanding of how best to infuse same into their writing. (D) FORMS AND GENRE The mind is wide and open enough to conceive the unimaginable. As such, there’s no end to the types of story concepts that can be conjured. But it’s important to understand that each and every one of these genres have their own writing textures. Understanding the techniques of blending does help the writer to shifter and filter his style and also know what wrong mixes can destroy a story. (E) FORMATS In what form does a screenwriter presents his work? There are various screenwriting formats that set one’s works apart and give professional touch and finishing to one’s work. We shall be looking at the most common formats and their suitability, usability and convenience (F) DEVELOPING THE CHARACTER What moves the other elements of a story is your character. Beyond characterization, the screenwriter needs to be grounded in the art of exploring both the outer and inner motivations of his characters. This topic will be giving an indebt attention during the training (G) AUDIENCE ORIENTATION It’s not enough to equip one’s self with the best writing techniques. It’s equally important to pick an audience for each story\concept you are working on. This helps to streamline the story structure. We shall be teaching participants on how to identify specific audiences for each type of stories we chose to develop. (H) SCREEN LANGUAGE What differentiates a screenwriter from a scriptwriter is the technical knowledge of the screen language. This topic shall take participants through the various camera commands needed to pass across technical instructions as they relate to the story (I) PROTECTING YOUR WORKS Piracy is today’s biggest bane of the creative industry and the screenwriter is in no way immune to this virus. But finding simple ways of keeping your works secured does do a world of good. We shall be revealing a few security tips that helps protect one’s works from tampering and when applied, you may even discover that your work being tampered with is in a way, a blessing in disguise. (J) MARKETING This topic explores the various outlets and avenues for marketing your works. The market space is as big as your vision can conceive. (K) PRACTICAL WORKSHOPS The last few weeks of the training program shall be devoted to practical screenwriting interactions and workshops. This will include groups’ script analyses, tests, question and answer sessions. Please note that all questions treated in our question and answer sessions on CREATIVE SCRIPT FACTORY shall be treated as sub-topics under each of these topic outlays. ACTING COURSE OUTLAY “Acting is a performing art. The more you act, the quicker youll learn”…… Stanislavski Just learn your lines and dont bump into the furniture.……. Spencer Tracy ACTING APPEARS TO BE THE MOST ATTRACTIVE FORCE OF THE ENTIRE ARTISTIC DEPARTMENTS IN THE MOVIE MAKING PROCESS. IT IS NOT SURPRISING THEREFORE THE GLITZ, RAZZMATAZZ AND ATTENTION THAT IT GENERATES. BUT WHY DO ABOUT 98% OF THOSE WHO SHOW INTEREST EVENTUALLY FALL BY THE WAYSIDE? THE SECRETS LIE IN KNOWLEDGE (A) WHAT IS ACTING? We find a lot of assumptions about what acting is. This topic will give a quick definition of what acting truly is. (B) BASIC ACTING TECHNIQUES This topic shall explore all the various known acting techniques and their applications to the different acting media (C) HOW TO BECOME AN ACTOR This topic will be dealing with helping participants learn how they can kick-start their acting career. (D) HOW TO LEARN LINES AND PERFECT YOUR FIRST MONOLOGUE Learning lines may appear simple to an aspiring actor. But experience has taught me that most aspiring actors fail auditions not because they can’t read well, but are unable to deliver the lines with the needed techniques required to pass them off as actors. This topic will teach lines techniques and monologue perfection (E) STEP-BY-STEP GUIDE TO ACTING AUDITIONS (MOVIES AND COMMERCIALS) Attending auditions can be very tricky. Some people have been known to fail auditions not because they are not good enough to get rolls. But just like attending any job interviews, there are other basic things that the assessors look out for, other than your intelligence. This topic will systematically guide participants with tips on how to handle auditions. (F) CHARACTER ANALYSES (GETTING IN AND OUT OF CHARACTER) Being able to act is greatly dependent on one’s ability to handle one’s characters. One of the things most struggling actors fail to understand is that beyond interpreting a roll, the art of getting out of character is as important as getting into it. This topic will teach character analyses, interpretation and floatinig techniques (G) RELATING WITH FELLOW ACTORS ON SET AND STAGE An actor does not stand alone in his performance except he’s on a solo stage performance. It takes great skills and techniques to manage one’s performance relationship with other fellow artists. This topic will teach these techniques and help participants develop the ability to avoid being put off character or putting others off character while on the performance. (H) PACKAGING What does it profit an actor to be perfect in all relevant techniques but does not know how to package his skills for his ultimate benefits? This topic will teach participants how to package their skills for better self presentation. (I). PRACTICAL WORKSHOPS The last few weeks of the training program shall be devoted to practical acting interactions and workshops. Registration process is currently on for our eight participating cities. LAGOS, CALABAR, ENUGU, UYO, ASABA, PORT HARCOURT AND ABUJA For further details, pls contact the facilitator on 08034046121 Thanks
Posted on: Mon, 13 Oct 2014 09:08:06 +0000
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