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`SYLLABUS

Directing: Working With Actors

CTPR-475-- FALL 2011 Mondays

7-10:00 pm

RZC Stage A

Units: 4 CNTV & Lab Fees INSTRUCTOR: Sheldon Larry ph: 323 839 4200 ; home 323 935 3301 e-mail: lwsheldon@aol.com slarry@usc.edu Office Hours: Wed 5-7 by appointment only SA: Paloma Martinez cpmartin@usc.edu 323-217-4442
The Directors main responsibility.is telling the story. This means finding a structure to the script and setting up events so that they are at once surprising and inevitable. You give the actors direction in order that the actors actions and interactions illuminate and create those events. The actor has a responsibility.to create truthful behavior while following direction and fulfilling requirements of the script. Actors and Directors must respect each other!s creative territory. Judith Weston, DIRECTING ACTORS (p. 9)

Goals and Objectives: To develop in directors the ability to communicate effectively with actors. No matter how good the other creative elements are, unless the actors engage the audience as credible intriguing characters, the film will rarely succeed in any memorable fashion. Directors will discover how to use your actors, your most amazing asset, to enable you to create the performance and film that you envision. Our goal will be to get each director to: increase your awareness of each actors contribution, sharpen your senses of seeing and hearing and feeling clarify what you want from an actor explore methods of getting it recognize if it has been achieved learn ways to adapt and improve your technique . So In this class, directors will learn how to shape the essential structure of a scene by breaking it down into its component parts, and how to guide actors into

2 realizing their roles with spontaneous, organic behavior so as to effectively mount the scene in order to best tell the story. Course Description: Throughout the semester directors will complete a variety of assignments which will help them develop working methods for directing actors on screen. In the initial phase, we will present open scenes (scenes with non-specific dialogue).Students will write a scene analysis and prepare the scene for presentation as a director. They will use the Hagen Six Steps to build their analysis. All directors will also perform in two other open scenes as actors so that they experience both giving and taking direction. Midterm Scene and the Final Scene, Each student will also select two scripted two-character one location dialogue scenes for a rehearsal workshop in class Both will then be shot & edited on location outside of class and subsequently SCREENED in class. The Midterm Scene should be from existing screenplays; the Final Scene has the option of being from other produced material, or adapted, published material (from plays, short stories, poems, etc.), with prior approval by Instructor. You may have the Midterm and Final Scenes come from the same screenplay. But if this is your choice, the scenes must be substantially different and from a different part of the screenplay. DO NOT WATCH THE FILM. YOU MUST NOT HAVE SEEN THE FILM VERSION IN THE LAST FIVE YEARS. The Midterm and Final Scenes will be cast with outside actors, and brought into class for intermediate stages of rehearsal work. It is wasting your and the class time if you cast friends, classmates, roommates, significant others, etc., who lack legitimate acting training. The intent is to discover effective methods of rehearsal, and to develop an eye for truthful performance. This rarely happens with the uninitiated. It is expected that all scenes will be prerehearsed outside of class, and that directors utilize scene analysis methods to make specific choices of dramatic elements such as character description, location, backstory, objectives, key props, wardrobe, etc., so that they enhance authenticity. The Midterm and Final Scenes will be shot on videotape after presentation in class, edited, and then screened in class for final presentation and critique. Both scenes must be accompanied by a Directors Notes, 2 pages, one for casting/rehearsals and one page for shooting and editing with brief details including:

3 Directors casting notes (list of actors considered), scene analysis, rehearsal plan and script with director's notes. First page is due when the scene is rehearsed in class; The 2nd set of notes are due at screening of scenes, and shd contain floor plan, shot list or storyboard, and director's personal reflections is due when the edited project is screened in class. Interspersed with these scene study endeavors, reading assignments will be both discussed in-class and tested (pop or take-home). Required Texts: DIRECTING ACTORS by Judith Weston ACTION! ACTING FOR FILM AND TELEVISION Robert Benedetti DEATH OF A SALESMAN , Arthur Miller
Recommended Reading: I'LL BE IN MY TRAILER: THE CREATIVE WARS BETWEEN DIRECTORS AND ACTORS by John Badham and Craig Modderno VOICE AND VISION A Creative Approach to Narrative Film and DV Production. Mick HurtbisCherrier A CHALLENGE FOR THE ACTOR by Uta Hagen ACTING ON FILM by Michael Caine A SENSE OF DIRECTION by William Ball

Grading: Credit towards your grade cannot, by University Policy be given for simply being present. ACTIVE participation of students is essential. This entails thorough preparation of exercises and scenes. Grading will be based upon the extent & thoroughness of preparation, all written assignments, the presentations of scenes, and the growth evidenced during the semester.
Class participation, attitude, commitment, discipline (class exercise work, rehearsal work, critiques, pop quizzes, CLASS PARTICIPATION) 20% Open Scene Analysis 5% Open Scene 10% Take home Quiz 10% Midterm Scene Directors Notes 10% Midterm Scene 20% Final Scene Directors Notes 10% Final Scene 20% Due Dates: Missing deadlines is generally regarded as unacceptable in the Industry, and so it will be in this class. If you know ahead of time that unavoidable circumstances will prevent delivery, you must notify Instructor immediately, and the circumstances must be documented. Likewise, if an unavoidable calamity prevents timely delivery, it must be a genuine emergency and again must be documented. Unexcused missed due dates will result in reduction of 2/3 of a grade for each full class period past the original due date.

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Not being prepared for in-class presentations will be penalized grade. All papers must be turned in as hard copies. Emails not accepted. You must also make DVDs for your actors. ALL COPIES OF THE SCENE MUST BE WATERMARKED ! SEE BELOW! Attendance/Absence: It is expected that you will attend class, and

if you are unavoidably going to miss class, Instructor MUST be notified in advance in writing (e-mail). Justifications must be verifiable. You will be permitted one unexcused absence. Beyond that, you will receive a reduction of 1/3 OVERALL COURSE GRADE per unexcused absence. SA will keep track of attendance. Late Arrival: I dont like to be petty about tardiness. HOWEVER IT MAKES IT HARD TO TEACH WHEN EVERYONE ISNT ON THE SAME PAGE (i.e, youve missed something that prefaces what Im talking about when you walk in), and IT IS INCONSIDERATE OF YOUR COLLEAGUES. So, please be on time. If you are later than 10 minutes for more than two classes, you will receive a HALF ABSENCE. The SA will keep track of late arrivals (and by how long). CASTING ASSISTANCE Casting is a huge part of the talent of every successful director so you will need to develop your skills with an eye to casting actors who are appropriate both physically, and emotionally., and who will best grasp your directorial style and be responsive to it. There are certain resources available to the entire course, and two that are available only to my section because of relationships I have with the coaches.

1.USC School of Theater actors Auditions Wed. 6 to 10:30 pm Thurs. 6:00 10:30 pm 2. Posting notices on the Internet NowCasting.com, LACasting.com, Breakdown Services.com 3. The Stella Adler School contact: John Jack Rodgers Office 1 323 465 4446 5. Student Production Office

Notes Regarding Video Projects:

(1) For both midterm and final projects, students must select scenes from films that they have either never seen produced or haven't seen in at least five years. It is impossible not to be influenced by something you've seen more recently than that.

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(2) Scenes need to be short, between 2-4 pages, two characters, one location. (3) Directors are responsible for finding locations and getting permission to shoot there. The school may be able to provide rehearsal space and some sound stages for shooting. Make reservations at Zemekis Center desk right across from the entrance to Studio A or at Operations to reserve space in other buildings on campus. (4) Students will have the OPTION of selecting two scenes from the SAME SCRIPT for their respective Midterm & Final Scenes. But if working with scenes from the same screenplay , scenes should be far enough apart in the story chronology to evidence substantial character arc. Compellingly different (i.e., major story reversal) consecutive scenes require securing prior approval from Instructor. Casting need NOT be the same for the Midterm & Final Scenes, unless you so desire and are able to secure that commitment from your actors (Indeed, the NEED to recast may become evident in your Midterm). (5) WE ARE NOT CONCERNED SO MUCH WITH TECHNICAL QUALITY AS WITH IMPACT OF THE PERFORMANCES. BUT I recommend trying to optimize sound quality (i.e., audible similar-quality dialogue), but you will not benefit grade-wise from detailed lighting. If you do choose to light, that is for your own purposes. I will, however, take into consideration SHOT SELECTION and CAMERA PLACEMENT & MOVEMENT as it enhances the impact of performance. (5) Students will be responsible for payment of insurance for usage of school equipment. (6) Student directors must not also operate camera as DP when they are directing. Students MUST assist their peers with one directing while another DPs. Other classmates should try to be available as needed to crew directors projects. Director may opt to use other class members or non-class members as DP and crew. (7) All projects should be presented in-class on DVD. (With an additional DVD as backup.) Presenting Directors must come early on their day of presentation and confirm their DVD will work on the class player and monitor. One DVD may be requested to be left with the instructor at the time of screening. All directors are required also to make DVD dupes of their edited scenes for the actors. And get the actor to sign the waiver below. (8) School-provided video cameras (Sony VX-1000s that take mini- DV tapes) may be reserved in the Zemeckis Center Equipment Room( down the narrow hallway to the right) , and you must give 24-hours notice. You may use your own video camera, but it is your responsibility to insure that outside equipment will be compatible for editing purposes, whether in the AVID lab or other system. Equipment failure will never be considered a justification for a missed delivery. (7) USC does not provide light kits or sound recording equipment for projects in this class. However, students may be granted access to sound equipment from the Equipment Room if they inquire & make reservations far enough in advance. (8) Students may edit their projects in Zemeckis at the Avid Express DV Labs( which allows mini-digital input and output only.) Directors can transfer dailies to mini-digital

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video format in the transfer room if necessary. We will be editing on the Avid Express Pro systems. Two students will be paired on a single drive. You may edit on your own equipment (AVID, Final Cut Pro ), but again, there is no tech support for problems arising from the use of outside equipment. All directors must undergo a short verbal post checkout prior to being allowed to use the facilities in Zemekis. Questions regarding equipment or the schedule should be addressed to the SA. Again, equipment failure will never be an acceptable excuse for missed delivery.

NB CHOICE OF MATERIAL LEGAL ISSUES: In the past, students have used scenes from films without getting permission from the author. This has put the school, the instructor, AND the student into legal jeopardy where we have been sued. Students, in committing to this class, must commit to not use any material that contravenes copyright laws. To that end: 1. Students wishing to use copyrighted material must pursue and receive written permission from the writer and his agent that you have been given the rights to shoot a scene from the material. 2. Students when placing character breakdowns on casting services must NEVER identify the author , the characters name or title of the material being used. A character description and that alone must suffice. 3. No raw dailies should ever be distributed or screened for anyone other than the editor, classmember, or director. 4. The edited version of the scene must be WATERMARKED at the bottom of the image with the following disclaimer: THIS IS A CLASSROOM EXERCISE AND NOT INTENDED FOR DISTRIBUTION 5. We get our access to SAG actors because we given them material. BUT YOU MUST TELL THE ACTOR THAT HE IS EXPRESSLY FORBIDDEN TO PUT MORE THAN 30 ONLINE.and that must contain the WATERMARK. He must understand that he too can be sued for unauthorized use. The actors copy must be watermarked with the same disclaimer as well. While he may retain the finished scene to show professional contacts, he is responsible for making sure that no agent or other individual put the edited scene up on the internet. He will be prosecuted. 6. In addition, the following letter must accompany the dvd given to the actor. Students should retain a second signed copy of the letter for their files as well:

DATE:___________

Dear _______

Please find one copy of my _________ class project entitled_________________________________________. The enclosed DVD is a result of an in-class project and may never be placed on the internet or granted any kind of public screening outside the classroom. It is expressly prohibited by law. You may share it, if appropriate, with your agents, managers or casting directors. Because of the exercise nature of this project and in consideration of the rights, legal and ethical, of the original creative forces, please do NOT place this DVD/project on the internet. In doing so, you may be liable for prosecution by the owners of the copyrights. Your signature below indicates you have read and understood this. Thanks again for your commitment of time and talent.

Student_______________________ Student I.D. _________

Actor___________________________

Date___________

SAFETY: All students are expected to abide by USC School of Cinema-Television Safety Guidelines. Violations of any of the safety guidelines may result in disciplinary

9 action ranging from confiscation of footage to expulsion from the University. Please make special policy regarding the use of minors or weapons which may require the employment of a student teach or off-duty police officer. STUDENTS WITH DISABILITIES: Students requesting academic accommodations based on a disability are required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to the Instructor as early in the semester as possible. DSP is open Monday-Friday, 8:30 am to 5:00 pm. The office is in Student Union 301, and their phone number is (213) 740-0776.

Instructor reserves the right to change this syllabus at his sole discretion.

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