Table Of Content

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SCREE WRITN VAULT GUIDE TO SCREENWRITING CAREERS CARE DAVID KUKOFF AND THE STAFF OF VAULT © 2005 Vault Inc. Copyright © 2005 by Vault Inc. All rights reserved. All information in this book is subject to change without notice. Vault makes no claims as to the accuracy and reliability of the information contained within and disclaims all warranties. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of Vault Inc. Vault, the Vault logo, and “the insider career networkTM” are trademarks of Vault Inc. For information about permission to reproduce selections from this book, contact Vault Inc., 150 W. 22nd St., 5th Floor, New York, NY 10011, (212) 366-4212. Library of Congress CIP Data is available. ISBN 1-58131-370-5 Printed in the United States of America ACKNOWLEDGMENTS David Kukoff's acknowledgements: I would like to thank Linda Venis and Brandon Gannon at UCLA Extension for providing me with a medium in which to proffer forth my opinions regarding the craft and business of screenwriting. An additional thank you to Joel Fields, who made this book deal possible, as well as Marcy Lerner and Matthew Thornton at the Vault for their limitless patience and truly constructive criticism. And the biggest thanks of all to my wife, Ilana, and children Zachary and Alexandra, who are the best stories my life has ever told. Vault’s acknowledgments: We are extremely grateful to Vault’s entire staff for all their help in the editorial, production and marketing processes. Vault also would like to acknowledge the support of our investors, clients, employees, family, and friends. Thank you! Table of Contents INTRODUCTION 1 THE SCOOP 5 Chapter 1: Screenwriting Basics: Format 7 Outlining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Page Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Title Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Scene Headings and Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Camera Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Screenwriting Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Chapter 2: Screenwriting Basics: The Idea 19 The High-Concept Idea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Blank Meets Blank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Studio vs “Indie” Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Chapter 3: Screenwriting Basics: Character 29 The Protagonist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Antagonists and Supporting Characters . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Chapter 4: Screenwriting Basics: Structure 37 Act I: The Rosetta Stone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 Act II: The Obstacles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Act III: Climax and Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 Tips on Screenplay Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 Visit Vault at www.vault.com for insider company profiles, expert advice, CAREER ix career message boards, expert resume reviews, the Vault Job Board and more. LIBRARY Vault Guide to Screenwriting Careers Table of Contents Chapter 5: Screenwriting Basics: Dialogue and Scene 55 Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 GETTING HIRED 67 Chapter 6: Film Schools/Formal Screenwriting Programs 69 The Film School Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 The Film School Decision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 The “Big Five” Film Schools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Screenwriting Extension Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 Screenwriting Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Chapter 7: Alternate Strategies for Getting In 77 Hiring Script Consultants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 Script Reading and Other Industry Jobs . . . . . . . . . . . . . . . . . . . . . . . . . . .79 Networking and Schmoozing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 ON THE JOB 85 Chapter 8: Agents for Screenwriters 87 What is An Agent? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87 How Do You Get An Agent? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Majors and Boutiques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Smaller Agents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Signing With an Agent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 x LCIABRRAEERRY © 2005 Vault Inc.