<p>I'm preparing scripts to film during the summer so I can submit one in my portfolio to schools this fall. (I'm looking to apply to NYU, USC, Emerson, UNCSA, Wesleyan, and UNC - Wilmington.)</p>
<p>That said, all I have written are short film scripts. What exactly should I be doing with this portion of the application? I feel like even though the rest of my application is telling admissions counselors about my passion for film, this part is actually showing them; this scares me. </p>
<p>I have several scripts but I'm not completely satisfied with any of them. I'm also afraid my actors won't be able to convey on camera what I want them to convey, or that they aren't even suited to the parts (but it's hard to find "actors" in my area.) </p>
<p>Are there any tips anyone can give me before I begin shooting? Please and thank you!</p>
<p>Side note - I think the primary reason I'm stressing so much over this is that this whole process is really reminding me of Dawson Leery, and he had so much accomplished when he applied to schools... and yes, I realize he is a fictional character on a teen drama, and no, that realization does not change my comparative nature.</p>
<p>On scripts: </p>
<p>Did you ever wonder why you came away from some movies loving a character (or hating a character). What drives those emotions? What makes the STORY great? </p>
<p>Make sure that you have the elements necessary for an audience to make that emotional connection:</p>
<p>[ul][li] A Goal. In a film, there is always something at stake, whether it’s something the main character wants (to attain something she wants or something people are competing for). It could be to save the world or it could be to fall in love.</p>[/li]
<p>[li] A conflict or nemesis. Only in a boring (and extremely short film) would the main character achieve the goal quickly and easily. There must be something preventing that person from attaining it. People or circumstances or events get in the way and the main character has to overcome those to attain the goal.</p>[/li]
<p>[li] A character issue. But that’s not all. In the best stories/films, the main character has an issue or burden or fear or or doubt or disability that will also get in the way of succeeding. The script needs to show how the conflict or nemesis can only be overcome if the main character can first conquer this issue/burden/fear/doubt/disability.</p>[/li]
<p>[li] Character development/story arc. By overcoming his or her own issues to defeat the conflict or nemesis, the main character emerges as a stronger/wiser person. This transformation is the main story arc of the film. The concept of change - and change for the better - is extremely important in story-telling. While overcoming the conflict or nemesis is the “bones” of the story, the character’s overcoming his or her issues provides the “heart” that connects with the viewer’s emotions.[/li][/ul]</p>
<p>Now you need to have a structure into which you can place these elements. The typical three-act structure works well for short films:</p>
<p>[ul][li] Act 1: Setup of the characters and environment. This establishes the main characters in their environment and gives a first look into their relationships. The intro will also set up an event that give us an indication of the troubles ahead and also ia glimpse into the character’s issue/burden/etc.</p>[/li]
<p>[li] Act 2: Conflict and Confrontation. This shows the character’s first attempts to face the nemesis or problem between him or her and the goal. But those first attempts are unsuccessful because the main character doesn’t yet have the skills or confidence or strength to overcome. To solve the big problem, the character will first need to face his or her own issues and conquer those, allowing him or her to arrive at an awareness that s/he’s changed, transformed, is stronger and can now deal with the predicament at hand.</p>[/li]
<p>[li] Act 3: Resolution. Finally, this act resolves the main issues, sometime in an exciting climax (from an epic battle to a passionate kiss) where the main character recognizes his or her new strength and uses it to overcome the conflict or nemesis. As part of the emotional resolution, the film must also impart a sense of resolution on the viewer. Did you ever notice how most films end with a crane shot that pulls up and away from the last scene? (In the old days of Westerns, it was the “ride off into the sunset” final scene.) The purpose of this “withdrawal” is to remove the viewer from the film and place them securely back into the theater seat, knowing that all is well.[/li][/ul]</p>
<p>Another “act” which can be used is a “cold open,” the technique of jumping directly into the story even before Act 1 (and perhaps before the opening credits), many times ending in a cliffhanger. This gets the viewer immediately and directly involved in the story and leaves them interested to see how the story will evolve.</p>
<p>Now I know what you’re thinking: "I don’t have time in a short film to do all that!’ But you do… I’ve developed several scripts as teaching tools for middle/high schoolers to demonstrate all of these in only a six-page script.</p>
<p>If you include those elements within that structure, I guarantee you that you will have a successful film.</p>
<p>On actors:</p>
<p>Think outside of your own environment (typically a high school). Look to community theaters or even local TV talent. Actually do casting calls - advertising in the local paper or on craigslist can bring out potential actors.</p>
<p>But the ONE key is to have a solid script BEFORE even trying to cast the film. This will tell YOU who you need and you will know what to look for. In addition, more talented actors will be drawn by a strong script.</p>
<p>GOOD LUCK!</p>
<p>Example of the script elements:</p>
<p>I just saw the movie JAWS for the first time in years. It’s very old now, but really started Steven Spielberg’s career in blockbuster movies. As a matter of fact, it was the movie that defined the term “blockbuster.” You should watch it just for the lesson of structure and script elements.</p>
<p>The cold open is when the movie opens and Chrissie takes a swim… the final swim of her life. You don’t see the shark, and you’ll never see Chrissie again.</p>
<p>The first two minutes of the first act are incredible in terms of how much information is given to you in such a short time. You meet the main character and his wife; you know where they are (on an island); you find out where they’re from (New York, and thus semi-outsiders to the environment); you find out he’s the Chief of Police, and more. It’s a great textbook film for showing that.</p>
<p>The goal, of course, is to defeat the shark. But to do that, Chief Brody can’t do it from the safety of shore. He’s helpless to stop the shark from devouring islanders. He <em>MUST</em> meet the shark in the shark’s environment - the ocean. The character issue: Brody’s fear of the water. As his wife puts it, “There’s a technical term for fear of the water… It’s called… uh… uh…” Brody interrupts her: “Drowning!”</p>
<p>The exciting resolution and climax involves the shark attacking (“You’re gonna need a bigger boat!”) and destroying the boat Brody’s on. Then the shark turns it’s attention to Chief Brody, who is now on a sinking boat, no longer having it’s protection from the shark.</p>
<p>Worth seeing, even though the movie is almost 40 years old.</p>
<p>Thank you so much digimedia! Your advice is extremely helpful. I will definitely update you on how the process goes.</p>
<p>For casting: I agree with Digmedia, try Criags list, and other social media. Is there a dinner theater in your area? How about high school kids with a lot of talent. Are you near a metropolitan area? Is there a local TV station. These are all good places to recruit “talent”. I also suggest you show your scripts to others for criticism and suggestions. Have a tough skin, and take their comments to heart. Is there a drama teacher at your school? How about an English teacher. These might be good sources for feedback. </p>
<p>The purpose of the film is to show you can tell a story visually. It does NOT need to be Oscar worthy; just show what you can do in telling a story. If the production is high quality, you get bonus points- but ADCOMS know that not everyone has access to high quality equipment and editing capability. If you had all that and knew if all, you wouldn’t need film school. The story and how you portray it visually is the most important thing. They don’t expect you to have the best techniques, equipment etc… So try to tell your story to the best of your ability with the equipment you have on hand. Make is interesting, concise, and leave them wanting more.</p>
<p>Thank you, maddenmd, for the help! (I feel like I’m always thanking you and digimedia - I hope you know how helpful you two are!)</p>
<p>Clemxens - That was nice of you to say that. Thanks! And good luck.</p>