בפעם הראשונה בישראל סדנה מעשית של ארבעה מפגשים בזום בקבוצה מצומצמת של עשרה עורכים המדמה ראיון קבלה, ניתוח תסריט ועריכת סיקוונס לסרט עלילתי אמריקאי.
מטרת הסדנה להאיר את האחראויות האמנותיות של העורך ותפקידו בעיצוב ומעקב אחרי הנראטיב באופן שבונה הזדהות עם הדמויות, מעצב את הדרמה ועוזר לתסריט להיות הסרט הכי טוב שהוא יכול להיות.
את הסדנה יעביר ג׳ים רקסין, עורך, מפיק ובמאי אמריקאי.
המועמדים לסדנה צריכים להיות:
- חברי איגוד
- בעלי נסיון בבניית נראטיב (עריכת/בימוי סרט קצר/באורך מלא, עריכת/בימוי סרט דוקומנטרי, עריכת/בימוי סדרת טלויזיה עלילתית/דוקו/דוקו ריאליטי)
- מחויבים לתאריכי ושעות הסדנה
- מחויבים לביצוע והגשת שיעורי הבית - קריאת תסריט באנגלית, צפייה בראף-קאט, צפייה בסרט, עריכת סיקוונס
- בעלי יכולות קריאה ושיחה באנגלית
משתתפי הסדנה יבחרו לפי התמהיל הנדרש לשיח יצירתי ומעניין (עורכים המגיעים מרקעים שונים של עשייה) ונסיונם. יהיה מספר שווה של גברים ונשים ותהיה התחשבות במספר שנות החברות באיגוד (במקרה של שני מועמדים דומים, ייבחר המועמד שהצטרף לאיגוד מוקדם יותר)
הסדנה תתנהל בזום בתאריכים ובשעות האלה:
- 22/11/20 20:00-23:00
- 30/11/20 20:00-23:00
- 14/12/20 20:00-23:00
- 23/12/20 20:00-23:00
עלות הסדנה: 320 שקלים
הצגת מועמדות - הגשה עד 11.11.20
הסדנה תתנהל באנגלית, חומרי הגלם שיערכו המשתתפים הם באנגלית והתסריט גם כן. הסדנה פתוחה לחברי איגוד בלבד
SUMMARY:
The purpose of the class is to highlight the creative responsibilities of the editor, not the valuable skills of data management, visual effects, or other more technical responsibilities. Our concern is to apply editing techniques (and therefore storytelling techniques) to developing character and to shaping a clearly tracking narrative that increases empathy, tension, and drama. Everything in the editor's toolkit is fairplay in making the script become the best film it can be.
Editors should achieve a creative role by collaborating with the director and producers in a way that makes the director and producers trust the editor's instincts and seek out the editor's ideas and feedback, including the editors constructive criticism of the ideas of others.
COURSE STRUCTURE:
Preparation for Session #1
15/11/20
You will be given a copy of the shooting script to read before the first session. Please read it once or twice with an eye to any editorial issues that will need to be addressed.
Session #1
22/11/20
If the group desires, we will have a "mock interview" with the "director". Each participant will be presenting themselves to edit the film and will present their views of the script, the storytelling concerns to look at in post-production, character development, story structure, clarity of narrative and more. We will listen to each other as colleagues and consider the different editorial approaches the editor and the director might take.
Preparation for Session #2
23/11/20
After the first session, you will be given a link to a very rough assembly of scenes, many without music. You will be expected to study some scenes more than others: the funeral, the rooftop scene with Steph and Emma, Emma in the township and Steph going off to battle, the beginning of the battle scene. Your should determine based on the script and the rough assembly the purpose of the scene and its importance to the film as a whole.
Session #2
30/11/20
We will stop and start while analyzing much of the assembly together and review specific issues with the assembly, especially with the scenes of special interest.
Preparation for Session #3
1/11/20
On your own time, you will take the rough assembly and revise a scene of your choosing. Without additional raw footage, you will refine the scene based on your own judgement of its purpose, its place in the film, and its internal issues and goals. You will have at least one week and one weekend or more to accomplish this.
Session #3
14/12/20
In the session itself, each participant will share with the group what problems their re-cut was meant to address and what strategies and techniques were used to refine the scene. We will watch the re-edited scene and discuss what the additional revision accomplished. Since each participant will present their scene, this may spill over into the next session.
Preparation for Session #4
15/12/20
A file or a DVD of the final cut of the film will be distributed to you before the session for you to screen on your own.
Session #4
23/12/20
We will discuss the final cut and review the selected scenes and others in detail. Finally we will discuss the overall transformation from rough assembly to final cut.
CAUTION:
Since this is the first time the seminar has been given online, it may have to be extended to a fifth session to allow equal time for all participants to express their ideas and have the benefit of constructive feedback from the others.
The instructor will be available to you by Facetime and is willing to discuss your progress editing the scene as you work on it if you send a QT file of just that scene.
INSTRUCTOR BIO:
Jim Ruxin has been a career film professional in Los Angeles, producing, directing and editing features, documentaries and television programs (mostly unscripted). His credits include:
"Method To The Madness Of Jerry Lewis", produced for Starz and screened at Cannes in 2012, a feature documentary with clips, celebrity interviews and never before seen material form Lewis' private archive.
The first four seasons of "The Apprentice" and five seasons of other shows for Mark Burnett.
Numerous feature films, including the film that is the subject of this webinar, as a producer or supervising editor.
Producer and director of numerous documentaries on the Jewish artist and political cartoonist Arthur Szyk (1894-1951) who created The Szyk Haggadah and published anti-Hitler political cartons daily during WWII. The films have appeared at numerous US and international film festivals.
He has taught film editing and other subjects at UCLA, USC Cinematic Arts, Loyola Marymount Los Angeles, and the DGA.
