Script Breakdown and Schedule 

The underlying goal of your completed scripts and treatments is getting to a detailed understanding of what you will need to shoot. Thus, you need to

(a) Identify each segment (a location, can include a number of different “set-ups”, even “scenes”),

(b) Determine the principal and secondary actors for each segment;

(c) Foresee the kind of “action” that will take place within each segment. It helps tremendously if you

(d) Estimate how much screen time you project each segment to have in the final edit of your project.

You will accomplish this by starting to break down your script and develop a schedule. By class number 9, next week, you should have a fairly complete breakdown of everything that will be necessary for your production. You can use breakdown sheets, legal pads, or software to accomplish this. If you are doing a documentary, you should have a clear idea of where you’re going to shoot, what you’re going to shoot, who you’re going to shoot, and who will be on your crew. At this time, this does not need to be a formal document, but it should have all the information that you need. You can use one of the scene breakdown forms, or, if you choose, scheduling software

This breakdown will be used to begin developing your schedule and, ultimately, the budget. We will begin discussing scheduling and budgeting next week.

The core competencies of the producer’s craft come together in the interrelated acts of scheduling and budgeting. Hence it is extremely important that you are able to successfully develop for your project both a rational schedule and its corresponding budget.

That process is now beginning as you use either software or a spreadsheet application to begin breaking down your script. This will necessarily be an iterative process, with multiple versions over the next few weeks. We know you will need to make many assumptions and quite a few rough estimates in setting up your project in the extremely concrete and precise terms of a schedule timeline and its related budget.

We want to remind you that, as you work on and refine your schedule and budget, you will also be preparing a set of accompanying documents including a formal Funding Proposal and a Production Package, which are detailed below.

In each of the last two classes of the semester, half the combined sections of The Producer’s Craft will make formal presentations for their respective projects. Each student will have 5 minutes. The first part of this will be the “pitch” -- 2 to 3 minutes of words and, possibly, of images or short clips. The remainder of the 5 minutes will be given over to Q&A with the instructors and the rest of the class.

At the conclusion of the semester, you will be expected to turn in a complete production proposal, preferably in electronic form (pdf or Word document). The Production Package for your individual project should include the following:

One Pager: This is a one page document that you can use as a leave-behind after making your pitch to a potential funder, or that you can provide to a potential funder to interest them in learning more about your project. Think of it as a cross between an advertisement and a proposal. As with a proposal, there is no specific format or style for a one-pager, but, at the least it should have the following information:

• Project Title

• Your name, phone, email address, snail mail address

• Length & genre (e.g. a half-hour comedy pilot)

• Premise/Project Description (two short paragraphs at most)

• Tone (sensibility, intent. Here is the place for a comparison to known works = "Sex in the City' meets 'Young Frankenstein' ". Draw parallels to something that is currently on TV or the Internet.)

• Target Audience (Why do you think your project is well suited to the audience.)

• Creative Team (yourself, any other major player on team)

• Talent: (assuming they are big assets in your project)

• Production Plan (very simple: state of pre-production completion, when you'd be ready to shoot, how long the overall production will run.

• At bottom of page: Copyright notice (your name, copyright, 2010)

Proposal: This should be a tightly written, beautifully formatted, professionally presented document of 5 to 7 pages at most. The project title, a logo for the project or your company, your name, and relevant contact information should be on the front page. This should be written as a proposal to a potential buyer or funder, not as an academic paper.

Each proposal is different. There is no definitive format or style – no surprise here. You will need to shape your own proposal form to match the project itself. But, whatever format or style you finally choose; your proposal should have visual appeal. Take some time to design the layout for the document. You may want to consider including a logo for the project (even if just a simple display text for your title), a production company logo, illustrations, charts, photographs, sample frames. Eye candy is not a bad thing. The goal is make your proposal easy to read and memorable. Fair or not, your ability to produce the project may well be judged by the way the proposal is presented.

 Here is a check list of information your proposal should cover (although not necessarily in this order):

• Title

• Contact Info (name, address, email, phone)

• Log line

• Description / Executive Summary

• Goals & Rationale (why should this project be done)

• Type and Length of show

• Audience

• Competitive Landscape

• Creative Team & Key Talent

• Production Plan (very general)

• Next step(s) in production and time frame for execution

• Production platform (DV, HD, IMAX, etc.)

• Shooting style, sets, special needs

• Important rights information including options on third party materials, if appropriate.

• Roll-out, Distribution & Marketing

Production Package: The “production package” includes the final versions of your six “working documents.” These will not necessarily be part of a proposal that you present to potential funding sources, but they indicate your preparedness to move forward, as well as the thoroughness with which you researched and developed your project.

These items are also an important component of the final grade in the course. Please combine into a single document, in the following order:

1. Script: This is your screenplay, treatment, beat outline, storyboards, and/or a combination of elements that represent the most comprehensive and detailed written document you've been able to fashion over the semester. Please include anticipated timings for the different sequences. At the head of the document, please include a note that summarizes how close to a final version you have reached in this pass and what plans you have, if any, for continued writing, revision, or polish. Obviously, for documentaries, the final “script” will not be available at this juncture.

2. Schedule: If possible, design the layout of your schedule so that it can print (or be easily viewed) as a single page. Your timeline based document can be created with software, a spreadsheet application or any other mode, including charts.

The schedule should show the relationship of Pre-Production, Production, and Post-Production phases. Staffing lines at the bottom of the graphic presentation should include all key positions and the time in during which they are working on the project (either paid or “in kind”).

Use the schedule to indicate durations of specific elements of production, for example, the period during which you will be casting. The schedule should also delineate the key assumptions and production parameters you have used to derive your timings. Use days as the scheduling unit during periods when you are shooting and weeks for pre-production and post-production. If possible, find a way to graphically indicate the difference between boxes that show days and boxes that show weeks. You should not overlap the different editing periods: rough cut, fine cut, pix lock, color correct, "sweetening" of audio tracks, audio mix and duplication of tape/hard-drive elements you are obligated to deliver.

3. Creative Team: This is not just a list of people; provide job definitions for the key positions in your production. Be certain to provide your position with its title and the specific responsibilities you will have. Include brief bios for those who are already committed or you would like to attach to the project. Make sure to attach a biography and resume for yourself.

4. Intellectual Property Checklist: You must hand in a listing of all items you will need to "clear" in your production. This should include all title searches, options, music licensing, acquired stills, acquired footage (film or video), writing, appearance & location releases, music cue sheets, etc.

5. Budget(s): Please provide a short explanation (separate from the budgets) of the approach you have taken in developing the budget and whether you are handing in more than one budget. Your statement should include the key assumptions that you used to prepare the budget. This may reiterate some or all of the assumptions you used in developing the schedule, but could also include decisions about how rates were determined, “in-kind” contributions, etc. We welcome budgets that have been prepared using dedicated budgeting software but you may use any spreadsheet template or program you choose.

If you have prepared the budget using one of the Microsoft Excel templates that we have provided, format it for printing with all columns visible within the width of a single page. Of course the number of rows (production lines) will almost certainly require a number of pages.

There should be a summary page which includes subtotals for above-the-line, below-the-line, taxes, fringes, etc. The budget you submit should provide detail for each and every line in the budget.

6. Funding Strategy & Targets: Provide a short summary of your development strategy for the funding of your project. How much will you be able to undertake on your own? Are you “phasing” your project? Who are your stakeholders? What is the schedule for your fundraising efforts?

Try to identify 4 specific targets where you might get production financing. For the two best prospects, develop a profile of what each has done in the past that is similar to your project. Can you find out how much money they have spent on comparable undertakings? Identify for each of the four candidates a list of reasons they are potential stakeholders.