Script Analysis for Film & TV explores how to apply your extensive Two-Year Conservatory training to the needs of the on-camera medium. Every style and genre demand ownership of text. Creating character, understanding relationship, circumstance and stakes are essential building blocks to create a versatile performance. In order to be in full command of your artistic expression, you must first know what is being asked of you in the frame and in the script.
Finding the center of each beat and understanding how to stay present in each moment allows the story to progress frame by frame. Breaking down scripts adhering to what the writer is conveying, basic comprehension of scenes, and understanding how to bring yourself into the choices of the character are top priority in this class.
In the ten weeks we will uncover how to streamline choices, advocate for character and relationships and track character arc by virtue of understanding the shot, the set up and the demands of the piece. This will be tailored to each student. They will have group assignments and singular assignments with scripts, sides and dramaturgical assignments to meet the need of understanding the industry, the people in it, and the need to arrive at the level of the material.
Topics to be discussed include:
-Script analysis and world of the screenplay/TV show,
-Dissecting language from the ground up. Understanding and standardizing an approach for tools such as beats, operatives, objectives, reversals, tone, and style,
-Cold reading technique: discussing how to make educated approximations on character, tone and style,
-Cold reading technique: how to technically offer a dynamic take/adjustment,
-Cold reading for camera as it lends itself to a callback for a different character. Elements of improv and accessing variety in performance,
-Building on script analysis for cold reading techniques while adding the aspect of performance,
-Breaking down a procedural Script. Table read an episode,
-Breaking down a single camera–How to use beats and objectives to match the tone of comedy,
-Breaking down the hour-long drama- Network v. Cable Script,
-Breaking down an indie–How to understand the difference between pace for TV and the atmosphere of independent film,
-The prescreen, the callback, the chemistry test, the producer
“I recently asked Katie to help me audition for a large recurring TV role because she knows how to take the objective of a scene, the arc of a story, and my personal artistic learning curve and combine them to dive deep and find a great performance. (She also does it all without the ego that frequently accompanies such mastery.) I landed the role and now she frequently coaches me before shooting. The days I work with Katie before showing up on set are my most relaxed, confident, and connected. I owe her the world.”
– Mark Gagliardi