On Friday I met in the BYFC office with Ike Jones, who is part of the special student cohort* working on ‘SCRIPT LITERACY 101’, our October 17th event at the Brooklyn Public Library. I am directing his scene, GODFATHER’S CRIB, one of the four short scripts we are showcasing October 17th.
Ike is in his late 30s and grew up in Fort Greene public housing. He worked in heavy construction for fifteen years, then got a little lost in life for a few years. He wrote a book and got some help. Now he's trying to gain new skills, so he can find work that truly interests him. You can find copies of his book HUSTLER'S DON, by Ike Capone (his writing name) on Amazon.com. The readers reviews say that it's an engrossing and real story -- that would be even better if the author had had a good editor working with him. And that's still Ike's situation today. He's ready to learn, ready to do. He's just asking for someone to teach him.
(* I happen to really like the word “cohort”. The sound of it is strong, mysterious. It means:
1) A group of warriors or soldiers
2) A group of individuals having a mission or membership in common
3) Companion, colleague
Should we not be all these things?! Therefore, I refer to both the individual student as a “cohort”, and to the student group as a “cohort”. Is this not, “One is all, and all is one” time? )
One of the goals of this blog is to encourage our students to write down their thoughts and ideas. To have something written allows them to step back and observe and better organize their own thoughts and ideas. So when I do a blog entry that pertains to the cohort (as this one does), we have a sergeant-at-arms who will rouse the troops to respond back with their comments.
PROFILE:
The 12 students in this special cohort range in age from twenties and thirties to forties and fifties and one senior citizen. Some of them rush from fulltime or part-time jobs, or other schools, to get to class. Some have extensive skills from prior jobs that might easily translate to film careers --- like hair, tailoring, carpentry, electrical, and construction work. Some are scholarship students who are looking for survival work – and they dare to dream they might actually get survival work that also interests them. Some of the students never planned to take a scriptwriting class (and even feared writing). But we told them, if you want a comprehensive preparation for film work, you need to understand how scripts are shaped and used as blueprints for production.
Ike is in his late 30s and grew up in Fort Greene public housing. He worked in heavy construction for fifteen years, then got a little lost in life for a few years. He wrote a book and got some help. Now he's trying to gain new skills, so he can find work that truly interests him. You can find copies of his book HUSTLER'S DON, by Ike Capone (his writing name) on Amazon.com. The readers reviews say that it's an engrossing and real story -- that would be even better if the author had had a good editor working with him. And that's still Ike's situation today. He's ready to learn, ready to do. He's just asking for someone to teach him.
(* I happen to really like the word “cohort”. The sound of it is strong, mysterious. It means:
1) A group of warriors or soldiers
2) A group of individuals having a mission or membership in common
3) Companion, colleague
Should we not be all these things?! Therefore, I refer to both the individual student as a “cohort”, and to the student group as a “cohort”. Is this not, “One is all, and all is one” time? )
One of the goals of this blog is to encourage our students to write down their thoughts and ideas. To have something written allows them to step back and observe and better organize their own thoughts and ideas. So when I do a blog entry that pertains to the cohort (as this one does), we have a sergeant-at-arms who will rouse the troops to respond back with their comments.
PROFILE:
The 12 students in this special cohort range in age from twenties and thirties to forties and fifties and one senior citizen. Some of them rush from fulltime or part-time jobs, or other schools, to get to class. Some have extensive skills from prior jobs that might easily translate to film careers --- like hair, tailoring, carpentry, electrical, and construction work. Some are scholarship students who are looking for survival work – and they dare to dream they might actually get survival work that also interests them. Some of the students never planned to take a scriptwriting class (and even feared writing). But we told them, if you want a comprehensive preparation for film work, you need to understand how scripts are shaped and used as blueprints for production.
Back to the office and Ike. I am directing his scene, GODFATHER’S CRIB, one of the four short scripts that we selected to showcase October 17th. I am directing two of the scripts, and overseeing student directors (who have never directed before) for the other two.
BACKGROUND:
BYFC offers both it's classes through the Continuing Ed Dept of NYC College of Technology. (The Workforce Development Center there subsidies our scholoarship students.) Our Intro to Script class is normally 3 sessions (9 hours) long. The assignment for the students over the three weeks is to write (and then hopefully rewrite) a scene written within given perimeters -- one location / 2 to 3 characters / must have an escalating conflict and a resolution. In class students stand up and read each others scenes. The emphasis in our class is equally on teaching our students analysis, problem solving, and communication skills, as it is on writing skills. Once their minds are freed up and made agile, their words flow.
BYFC offers both it's classes through the Continuing Ed Dept of NYC College of Technology. (The Workforce Development Center there subsidies our scholoarship students.) Our Intro to Script class is normally 3 sessions (9 hours) long. The assignment for the students over the three weeks is to write (and then hopefully rewrite) a scene written within given perimeters -- one location / 2 to 3 characters / must have an escalating conflict and a resolution. In class students stand up and read each others scenes. The emphasis in our class is equally on teaching our students analysis, problem solving, and communication skills, as it is on writing skills. Once their minds are freed up and made agile, their words flow.
When we decided to plan a public showcase of student scripts, I extended the “Intro to Script” class by another three sessions for this special cohort. At the end of the six weeks, the students and I selected four of the student scenes to present in a "theatrical" manner at the showcase. We are doing them with actors blocking, props, wardrobe, and minimalistic sets. Then I required that all the students take our “Getting Started in Film Careers” class (previously known as “Intro to Production Assistant” ).
I really want the students to have a firsthand experience of how a writer has no control over how his screenplay might get translated to the screen. The director is the director of it all. But the more a writer understands what directors do, how actors work, and the how all the visuals (including wardrobe and props) can be used to advance a story, the better chance the writer has of writing a script the director doesn't want to "fix".
DIRECTING GOALS
A good director personalizes the script and comes up with her own vision of what is most important and interesting in it. Then she uses her full palette -- the actors, sets, wardrobe, props, sounds, colors, locations, music, lighting, and framing to add dimensions to the storytelling, which the written blueprint she is working from (the screenplay) could never have. Along the way the story, as the scriptwriter wrote and meant it, can change drastically with just a few key strokes by the director.
I want students to understand how a good director establishes her own point-of-view towards the story and then plays it out visually, shooting the film (complete with sound) in her head. Knowing this will help them if they want to be directors, or if they want to work with directors. It’s the director’s show and everything, including the script, is meant to be malleable to her vision (limited of course by budget and producer’s contractual power to interfere).
A good director personalizes the script and comes up with her own vision of what is most important and interesting in it. Then she uses her full palette -- the actors, sets, wardrobe, props, sounds, colors, locations, music, lighting, and framing to add dimensions to the storytelling, which the written blueprint she is working from (the screenplay) could never have. Along the way the story, as the scriptwriter wrote and meant it, can change drastically with just a few key strokes by the director.
I want students to understand how a good director establishes her own point-of-view towards the story and then plays it out visually, shooting the film (complete with sound) in her head. Knowing this will help them if they want to be directors, or if they want to work with directors. It’s the director’s show and everything, including the script, is meant to be malleable to her vision (limited of course by budget and producer’s contractual power to interfere).
GODFATHER'S CRIB
When Ike's scene GODFATHER'S CRIB was first read in class, it was one of the scene's that everyone immediately got and liked.
Synposis: The GODFATHER is a low-key, street savvy man who is playing cards in his crib with LEROY, a friend that cheats. TINY, a young man who is staying with him, hurries into the house, goes briefly to another room, and then leaves out again. Seconds later gun shots ring out. The young man hurries back in, pursued by PAT, the person he shot at. It is up to the Godfather to defuse the situation. (Note: I allowed Ike in his first rewrite to add a fourth character to his scene -- the person who was shot at)
Ike wrote great dialogue and vivid character descriptions, and he wrote about a situation that everyone could imagine. But I told Ike something was missing; it was not hitting enough notes. In real life, a person as low-key as the Godfather was written, could conceivably defuse a potentially violent scene. When playing a story though before a film audience, you have to take them on more of a ride, and create more dimensions to the actions of characters.
When we first put GODFATHER'S CRIB up with actor blocking, the student actors were able to recognize areas where they did not have enough information. Who was Tiny to the Godfather where he could just enter freely into his crib? Would it really be so easy for a man to step in-between two hotheads with guns, speak a few calming words, and get them to lower their guns?
If we look to daily newspaper headlines, it would seem that the person who tries to defuse a violent situation is apt to be the first victim. Yet, as director, I wanted to embrace this vision, that peacemakers still have power. What was needed was more back story, for both the Godfather and Tiny. And there needed to be a turning point, where something erupted in the Godfather, recalling old ghosts, and turning him for a second from a lay-back character into someone capable of violence himself. This transformation will shock the two younger characters, Pat and Tiny, who see the Godfather as the embodiment of stability and calm. In that moment of surprise, the Godfather has the power to disarm them.
I looked in the script for a key moment where I could work Godfather's eruption in. I found it when the Godfather gives Pat the money Tiny owed. But instead of being satisfied, Pat waves the gun and starts talking about pride. Here I have the Godfather explode. "GUNS AND PRIDE?!" he cries, as he's thrown back into his own memories of what happens when you mix guns and pride.
The "guns and pride" phase immediately crystalized for the actors, and the rest of the cohort, what the scene was about. I also wanted to play off the word "crib" in the title. Yeah, on the street, it can mean one's home. But in the home "crib" is where we put our babies when we are taking care of them.
So then I turned to Ike, the scriptwriter, and said make these changes. And to the cohort I said, this is what happens to your blueprint -- it gets changed. If you want to be a successful writer, you better be ready to make the changes. The easier you are for the director to work with, the more likely you will be kept on to do re-writes -- rather than a new writer being brought on. I commend Ike on being a great writer to work with.
THE GODFATHER'S CRIB -- How Do You Separate "Guns & Pride" ?
Find out October 17th at our 'SCRIPT LITERACY 101' showcase.
Wow, can't wait till October.
When I first read the the title I immediately thought: How inappropriate. But as I read, I realized the meaning and got deep into the blog.
Sounds like you guys are doing good work.
Wish I was in, but couldn't make it this time.
See all of you soon.
Enrique
It was good, I like the characters and I am kind of nervous because I have to play the God Father himself.
Hi All. For those of you who don't recognize me, I was in both the Scriptwriting and Film Literacy 101 (formerly Production Assistant) classes and I have to tell ya; You don't know what you're missing! Have you ever noticed all the credits that roll up after a movie ended and wondered "wow, how the heck all these people work on one film?!", Well, as stated in the article, it is not rocket science when it comes to film making but its the organization and knowing what your duties are. These two classes offered at Citytech's Cont Ed will take you into this fascinating world of movie-making from script development to production and some.
With Trayce's passion, you're sure to get more than you're bargained for. So... what you're waiting for... SIGNUP FOR CLASSES TODAY!
greatsam aka SSmart
Interesting. Of course now I want to see the GODFATHER script so I can see how the story actually plays out.
2Bit
BYFC has really been a blessing. I've been writing freelance for a while. Be it music, novels or screenplays but the screenwriting 101 class has really given me the confidence I needed to move my career as a film maker into full throttle. The production assistants class has also enlightened me as to all of that is necessary to make a great film and the importance of each member on a film set. If there is anyone who is serious about working on films and would truly like to learn the ins and outs of the business you would definite enjoy taking the film classes offered by the Brooklyn Young Filmmakers. Center.
Ike Capone Jones
I did the Intro to Production Assistant and Screenwriting classes with BYFC. About 2 weeks after finishing the classes I got a part time , low paying job working as a Production assistant for a short 16mm film. I am also acting in the October 17th event, which is what I really want to do. I am beginning to have some confidence in myself and faith that I can actually work in film.
You just gotta believe you can do it. With God all things are possible!Thankyou Trayce!
Anna Beran
I now live in Virginia and I know Ike from the Fort and was out there the night he was shot. And I was touching base with some people from around the way who told me he wrote a book! I am ordering it from amazon tonight and can't wait to read it! For real he was kind of nice on the mic and to see he is doing his thing in literature and film is one of those real positive answers to the "whatever happened to..." question! Ike if you read this you may not remember
my name, but you know my face and it will wish you well on your journey reppin Fort Greene to the fullest! Do your thing!!!