UCLA

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Part 7 of 9

    One of the major points of this blog, or at least supposedly, was to give interesting links, tips and thoughts around writing, both in general and especially regarding TV.
    Hopefully, you appreciated and continue to appreciate the various thoughts gathered on the issue.

    You’ll be Swimming with Sharks in no time.


    Greatest reference ever?

    As we saw again this week, I like to talk about the future of entertainment.
    Nonetheless, in November I wrote a piece on “Why TV is where you must be”.
    Although the article could be seen as an argument on why TV is a good place to be as a viewer, it is mostly in regards to why I (still) believe television is the best place to be, as a screenwriter.

    Very early on I rounded up writing books dedicated to writing, especially television-wise, as well as the TV or Entertainment industry in general.
    A lot of my earlier posts on writing were somehow linked to myths and heroes.

    I had just seen The Dark Knight and was deep in my reading of Joseph Campbell’s The Hero with a Thousand Faces and was very into this whole “Hero/Myth” thing so I wrote two articles on “mythic structures and hero psychology”.
    One more centered on TDK and heroes themselves:

    It especially got me thinking about a post I read a while back about (super)heroes and their flaws.
    I believe TDK correlates directly to that idea, especially for both Bruce Wayne and Harvey Dent.
    To make a hero believable, we need him/her to be flawed. We need him/her to have limits. We need him/her to be vincible.
    Bruce Wayne is a human that becomes a vigilante at night. But he is still a human behind his (too-much-technologically-advanced) suit. This is reminded to us early on in the movie when he is bit by a rottweiler (physical failing).

    Another a more general one about structure and myths:

    Structure has been analysed for centuries, even millenniums, way back when Homer wrote (or rather told) his Iliad.
    In the last decades, this analysis has been transposed to scripts and screenplays. Scripts and movies were broken down and compared to other literary pieces to try to found out the common links, not the least of which being Robert McKee’s Story.
    Besides script acts, and structures, “heroes arcs” and “heroes journeys” have been analysed and also broken down. These mythical archetypes lead obviously to mythic structures.
    This is one of the specialties of mythologists, including Joseph Campbell.
    Campbell wrote a fascinating book around his theories of the journey of archetypal heroes in various mythologies from around the globe. This book led to a memo written by Christopher Vogler (a development exec) to Disney studios about how to use Campbell’s book for screenwriting. This memo led to various critically-acclaimed movies Disney movies such as The Beauty and the Beast, Aladin and The Lion King. Vogler also worked on a small movie called Fight Club.
    Soon after, Christopher Vogler expanded his memo and published a book around it where he explored not only Campbell’s work (and Jung’s) but expanded it to correlate directly to screenwriting.

    Continuing on straight tips and links, there were some about the basics of script registration, an interest technique to land a job on television, as well as interesting online links (when I’m too lazy).

    One of the most vital writing step in breaking in TV is making a spec script.
    Back in March, I gathered some info to make a guide on “What is hot and what is not” to spec.
    I also made a guide to Spec Flashpoint.

    Education-wise, I unearthed a secret Showrunner program at UCLA’s TFT.
    And last but not least there were a few TED talks on creative writing and technology.

    Hope you got some good advice out of those articles and you’ll be able to get some writing done.
    An apple a day keeps the doctor away.
    A page a day keeps your procrastination at bay.
    Speaking of scripts, see you tomorrow.


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    The Showrunner Program

    by Alex on September 23, 2008

    in Daily Business,Writing

    UCLA’s TFT has some kind of “Showrunner program” up its sleeve and they seem to be very secretive about that, really secretive.

    So I tried to dig up some information.

    First, I tried to contact TFT.
    After 3 e-mails or so, I only had a handful of information on that mysterious program.

    Then I googled, I yahooed, I searched everywhere and, finally, I had found something more about the program. Not much, but something.
    What I found was actually TFT’s “strategic plan” for 2005–2010. Actually, I found a cache of the plan (the original having been deleted I suppose).
    Now I won’t talk much about the document but what I will talk about here are the infos I gathered about this “TV Writer-Producer program” AKA “Showrunner program”.

    The first thing I learned was that this program is currently in its second year, that means that it began only a year ago, during the Academic Year 2007–2008, so it is extremely recent (hence, possibly, the lack of feedback around it).
    I also learned that, like other TFT programs, only a handful (read 20ish) of people are selected each year. So as usual, very competitive.

    The strategic plan focused around 10 projects that are to be completed by 2010; the 10th project being the creation of this collaborative program between the MFA Producing Program and the MFA Screenwriting Program, therefore making a “Creative Producing and Writing for Television” program.
    Here is an excerpt from the plan talking about that project:

    Proposal: TFT is committed to establishing a cross-programmatic MFA specialization that trains the next generation of writer/producers for television. Serving a nationally recruited cohort of twenty new students, the Creative Producing for Television Program will put TFT at the forefront of a highly competitive field of enormous social and
    economic importance.

    Analysis: This program is a strategic curricular priority. Unlike the film industry which is a director’s medium, television’s central creative force is the writer/producer or show-runner. A new academic program can have dramatically transformative effect on the art form. Proposed offerings will bring together two of TFT’s most successful and prestigious programs: screenwriting and producing. It is broadly recognized that based on the career of its graduates the Screenwriting Program is the national leader in its field.
    TFT has the competitive advantage of being able to turn to television industry leaders and members of our Executive Board for influential and knowledgeable adjunct faculty.

    Resources: Because writing and producing are neither equipment nor space intensive, only relatively modest resources are required to establish an excellent program. Professionals drawn from the entertainment industry will be available to teach on a pro-bono basis. Major instructional and administrative costs will be covered by Enrollment Initiative funding. Discussed and approved in principle at TFT’s last budget meeting, the use of enrollment initiative funding to support MFA growth has the added advantage of enhancing TFT’s financial stability through the generation of professional fees. Finally, a program of this stature will attract significant support from the television industry.
    Funding for one of the courses is already in place from a private donor and so too is full salary and benefits for an Administrative Coordinator who will be required during the program’s first formative year (see http://www.tft.ucla.edu/producers/start.htm).

    Everything is pretty vague but still pretty interesting.

    The focus of this program I was told is to write your own show that you would ultimately produce, pretty ambitious.

    I wondered how one would apply to such a program as there is basically on the TFT website about it, and I was told that to apply, you needed to go through the Screenwriting application procedure. But, again, there’s nothing on the website to clarify your intention of joining this “TV Writer-Producer program”.

    TFT is currently “gathering information” to post on the website.

    The only thing we can do now I guess is wait, and see.


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    Coming and catching (up)

    by Alex on September 19, 2008

    in My Life 101

    Well I’m back again.
    Sorry for not posting earlier, tons of stuff to do.
    The priority was to first get my new phone.


    Awesome.
    Destroying the iPhone anytime baby!

    I also recently came across this page (although currently down, it wasn’t a couple of weeks ago). Yes, that seems to be an actual TV Writing/Producing program at UCLA. I unfortunately wasn’t able to contact Student Services whilst I was over there last week but I am currently trying to get more information about it, so if anyone of you readers know what the hell this is, feel free to comment.

    Anyway, loads of other stuff to talk about also.
    Dark Knight in Imax (orgasm-alert), Burn After Reading, Pinneaple Express, the Paley Fall Preview Party (Chuck ftw), etc.
    Lots and lots of stuff indeed.

    More to come very soon so stay tuned!


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    ‘Been Thinkin’ ‘Bout the Future…
    ‘Been lying on my bed awake all night, really.
    Sometimes I’m that obsessed.
    I was thinking of “what happens next”.
    All my life I always planned goals and paths to acheive those goals (no, I’m not a character). Well in reality those goals were only steps to a bigger goal: “The World Wide Jump” (WWJ) of 2010, where Heaven (or is it Hell’A?) and Earth collide. Yeah it’s 2 years away, but a one-way trip from Paris to L.A. is one hell of a ride…
    I basically gave myself two options. Either get into graduate school (USC or UCLA for example) or if I don’t get in, do the WWJ, although it will seem even wider.
    Option two is basically gonna happen one way or the other, just that with option one the transition will be smoother. That and I’ll have friends (hopefully) in L.A.
    Also there’s this “visa” problem I keep hearing about…
    Anyhow, in order for either options to happen, several other goals need to also happen.
    This fall I’m going to visit both schools and also take the Graduate Record Exam. If I fail at the latter I can always retake it around February 2009. Also in February ’09 I’ll pass the TOEFL exam, and in the summer should complete all my application requirements, which are comprised of numerous things that go from the basics (transcripts, recommendation letters) to the not-so-basic (essays, “creative challenges”).
    Parallel to all this I have to get all my visa work going. For instance the 2010 Green Card lottery is this fall and I have to start praying. In case that doesn’t fall through, I have to prepare to alternatives, which are, let’s say, pretty complicated to get.

    But why am I rumbling on about all this now?
    Well it is merely intended to point out what purpose this blog will hopefully achieve. That is to help other struggling (international) writers out there in their daily, and not-so-daily problems. Additionally, I hope my trial and errors, like in the immigration department, will help show that nothing is impossible when you pour your heart and soul into it.


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