אנו שמחים להזמינכם למחזור השני בישראל של סדנה מעשית בת חמישה מפגשים בזום, בקבוצה מצומצמת של שבעה עורכים המדמה ראיון קבלה, ניתוח תסריט ועריכת סיקוונס לסרט עלילתי אמריקאי.

מטרת הסדנה להאיר את האחראויות האמנותיות של העורך ותפקידו בעיצוב ומעקב אחרי הנרטיב 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:

  • בעלי ניסיון בבניית נרטיב (עריכת/בימוי/כתיבה סרט קצר/באורך מלא/סדרה - עלילתי/דוקומנטרי)
  • מחויבים לתאריכי ושעות הסדנה
  • מחויבים לביצוע והגשת שיעורי הבית - קריאת תסריט באנגלית, צפייה בראף-קאט, צפייה בסרט, עריכת סצינה מהתסריט ועריכת 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:

  • 06/01/22 19:00-21:00
  • 13/01/22 19:00-21:00
  • 20/01/22 19:00-21:00
  • 27/01/22 19:00-21:00
  • 03/02/22 19:00-21:00

עלות הסדנה לחברי איגוד: 850 שקלים

עלות הסדנה למי שאינם חברי איגוד: 1450 שקלים

הצגת מועמדות - הגשה עד 25/12/21

לשאלות ניתן לפנות לבני שקלובסקי: 052-3764610 benny.shklovsky@gmail.com 

 

הסדנה תתנהל באנגלית, חומרי הגלם שיערכו המשתתפים והתסריט הם באנגלית.

הגשת מועמדות

 

SUMMARY:

The purpose of the class is to highlight the creative responsibilities of the editor. Our concern is to apply editing 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

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

06/01/22

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.

Analyzing the script, addressing specific scenes, addressing potential problems with character and story development.

 

Preparation for Session #2

You will be given a link to a rough assembly of scenes and study selected scenes. Based on the script and the rough assembly determine the purpose of the scene and its importance to the film as a whole.

Session #2

13/01/22

Story discussion. How does the rough cut stand compared to the script?

Analyzing the assembly as a whole and reviewing specific issues with selected scenes.

 

Preparation for Session #3

Review rough assembly from the last point stopped, take notes of scenes that stand to you as needing special attention.

Session #3

20/01/22

Analyzing the rest of the assembly as a whole and reviewing specific issues with selected scenes.

 

Preparation for Session #4

Take a pre-selected scene from the script and edit it (WORD file) cut down dialogue lines that seem irrelevant, think of the grand story and of character development.

Session #4

27/01/22

Analyzing the selected re-written scene from the script, comparing it to what is visible in the rough assembly.

Further discussion of the importance of the editor as a storyteller.

 

Preparation for Session #5

Revise a selected scene from the rough assembly. Refine the scene based on your own judgement of its purpose, its place in the film, and its internal issues and goals.

After all re-cuts are submitted, you will be given the final cut of the film to view before the final session.

Session #5

03/02/22

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.

Discussing the final cut and reviewing selected scenes in detail.

Concluding the masterclass and discussing the overall transformation from rough assembly to final cut and the relationship between editor and director.

 

CAUTION:

The seminar may have to be extended to a sixth session to allow equal time for all participants to express their ideas and have the benefit of constructive feedback from the others.

 

 

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 from 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 cartoons 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.