In the aim to reach our target audience, the way we chose to go about it is going to decisive factor. If we aim to reach 16 to 25 year only we need to use the platforms that they use daily, such as Facebook, Instagram and YouTube. This is mainly why we’re releasing this web-series on YouTube and not Vimeo or Dailymotion. YouTube has 30+ million users per day and the number of videos shared last year alone are 5 billion. The number of videos watched on YouTube per day, recorded on January 24 2018 is 5 billion. The demographic of YouTube also plays to advantage, millennials prefer YouTube two to one over traditional television, 3.25 billion hours of content is watched every month, and finally, YouTube attracts about 1/3 of users on the internet. The stats for Instagram on the other hand are as follows; 59% of internet users between the ages of 18 and 29 use Instagram, Instagram has 500 million active users daily, 200 million Instagram users actively visit the profile of a business every day and finally 17% of teens say Instagram is the most important social media site (up from 12% in 2012). Due to the research statistics and numbers, the social platform we need to use most to reach our target audience is Facebook. The daily total of users between mobile devices and desktop users is 2.938 billion, 87% of online users of age 18-29 are on Facebook. If we want to be successful in reaching our target audience, these are the tools that we will need to use. Unlike traditional television channels, advertisement in all of these platforms are cheaper than trying to get a trailer of your television show played between the times of 7pm to 10pm, whereas you’ll be able to reach a large number of people by advertising on Instagram, Facebook and YouTube.
Spec script (short for speculation script) is a script written with the typical screenwriting format, structure and story characterisation, with the intent to have that script optioned or purchased. A spec script serves as a window to the story of said script, and should have enough detail to to draw the reader into the story. Unlike the shooting script, the spec script doesn’t need and camera angles and any technicalities such as the lighting of the scene and so on.
Shooting scripts. This is written under the guidance and direction of the director of film, after the spec script has been optioned/purchased. In this version of the script is where things like camera angles and lighting are worked into the body of the script. Shooting scripts also often times story the process of storyboarding.
I have just come across this online book that will help me on the upcoming project 4. The book gives advice on working with amateur actors. After reading a few chapter of this book I am not so bent toward hiring professional actors over amateur actors, yes having professional actors would make everything easier, but this book has taught me that there’s a way to direct actors that can bring the best out of them. Here are other things I grasped from a few chapters from the book.
Casting– In choosing an actor or actress it is important for the person casting to know the ins and out of the characters being casted for. You have to know the quirks and the dialect or the character. What you’re looking for in the actors is the actor or actress that can embody the characters speech mannerisms, quirks and body language naturally and comfortably.
Working on the lines– In the role of director, it is important when working with your actors, specially in the rehearsal phase, to make sure that they believe the words in the scripts for each of their characters; repetition goes a long way, once an actor truly knows his lines, saying them will become more of a subconscious act. Because we will be working with amateurs, this will be very important in getting great product at the end of Project. Aside from that, I also need to keep in mind that when actors come into play, the flow of dialogue might have to change, it may sound good or terrible when you hear it back or see it being acted out. Adapting to the scene and changing things as we go as far as dialogue is something we need to keep an open mind about in production.
The art of not acting– “Just remember, everything you say is true”. As a director or producer, actors will only be as good as you push them to be. That’s not to say their skillset doesn’t place a big in the overall picture. The actor or actress you’re working with has to understand that they are not like “pretending to be somebody” that need to actually become that person when they are in front of the camera. They must lose themselves in the character! A true performer is able to tap into the mentality of their character and be one with the character.
Chris Loughlin, a former BBC Executive in a article for TheMediaNet.com states that often times in tv, good ideas don’t sell, not because they aren’t good enough, but because they may not be the right idea for the time “Your idea is only REALLY good if it solves a current problem for the commissioner.” he states. In the article he also states that there is an advantage in knowing who you’re selling your idea to, have statistics on your audience and find out everything you can about the channel you are pitching to. The last two point kind of make it harder for us because we haven’t yet aimed for a particular channel to cater our proposal for. This in something we have to sit down and think about as we’re moving forward.
This article by Screencraft is making me what to revisit the script we have just wrote and make changes if applicable. The article features helpful tips to writing better dialogue. seeing things like “don’t bother with small talk” and “write on the nose, make the character say what he or she means” makes me want to just scan the script again to see if we didn’t have any useless dialogue
Project 2 thus far has helped me set up the things I need to do next year. Being that I want to become a show-runner, it was a good start for me to overlook this project and make that my role. Being that i had assigned myself to that position, I have come to understand that it comes with being the person who has the last word in what happens in everything to do with that TV show that you’re running. Show-runner for Everybody Hates Chris Ali LeRoi when asked how its like being a show-runner states that “You’re the guy that has to decide what we’re going to do. You’re the guy that has to decide how the problem is going to be solved. They only bring you questions, and hopefully you have the right answers” I feel like I have gotten better at after this assignment. Before, I had no experience in managing people and assigning tasking and roles, this project gave me that role, even if it was just two people.
A few more quotes from well known show-runner
Joss Whedon, Show-runner: Buffy the Vampire Slayer: I loved being a show-runner. It was the first time in my career that anybody paid attention to me. That was nice. But, also, I was surrounded by extraordinarily talented people and we were all on the same mission. To do that, whether you’re fighting with a network or they’re loving every minute of it, you have this enormous bond. It’s a feeling you don’t get from the movies because there everybody meets, does their thing, and goes their separate ways. On a TV show, for better or for worse, you’re stuck together, unless I fire you. It creates something that becomes more than the sum of its parts.
Damon Lindelof, Show-runner: Lost: I think the Internet had to exist in order to create the story of the show-runner, the rise of the show-runner as you call it. I think that because Lost was what it was and because the writing itself became this thing that a lot of people were curious about — who is making up this story, we are really interested in the story itself — you have to be a serialised storyteller in order to do so. Can you imagine if David Lynch had an interest in and access to the Internet when Twin Peaks came along? I think that with what happened with Carlton (Cuse) and I, David Lynch absolutely would have been on talk shows, communicating directly with his fans. People would have known much more, there would have been a greater sense of authorship there.
This blog was based on the article form USA Today.
I came across a article from The Guardian that touches on building characters and actors. this article mainly breaks down how actors should go about getting into their characters and becoming more in tune with their characters, but it also provided me with good information about building characters for the script.
1. Who am I?
The character and the actor like, must know their background, how they grew up, the influences they had growing up, what they like, what they don’t like and all the thing that make them who they are. This for us in our current stage means that we need to give detailed and vivid breakdowns of who our characters are and how they grew up, so that in the future when we’re casting for actors, they can be more in tune with who our characters are.
2. Where am I?
“We usually behave differently depending on our surroundings. ” depending on the environment, we need to establish the characters rapport with their interior, where they work, and how comfortable they are there or if they are nervous in their work environment, their houses and rooms, if they are comfortable with other people touching their personal belongings or not, and how where they are effects how they act.
3. When is it?
Being that this show will be shot in a modern conventional format (cinematic style) the feel of the show and the location and ambience of the rooms, where the characters live and so on must be dated to what current times.
4. Where have I just come from?
From scene to scene, establish where the characters have just come from…this give the scene a natural feel because the audience is more in tune with whats happening with every scene.
5. What do I want?
What is the characters motives, what is the plot for thats specific episode…should the character have a long term goal. establishing and answering these questions early will give us better character and help the actors be more in tune with the characters.
6. Why do I want it?
justify the characters motives and how he goes about it.
7. Why do I want it now?
“The “now” gives you an immediacy that is crucial in acting and in any drama. You must know why your motivation has to be right now, not before, not later but now.” This will have to be something we keep in mind for with we start writing the script.
8. What will happen if I don’t get it now?
“The stakes should always be high. Otherwise so what?” Though our show is mainly dark humour, there will be some elements of drama and internal fighting amongst the friends.
9. How will I get what I want by doing what?
How they characters go about doing/saying things is something we should be very mindful of.
10. What must I overcome?
Each character has their own personal struggles to overcome, the difference in such string minded and sensitive characters is something that will also make them not see eye to eye in a lot of things.