Every Frames a Picture

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<ul><li><p>8/8/2019 Every Frames a Picture</p><p> 1/2</p><p>Special Points of Interest:</p><p>Twentieth Century Fox thought that StarWars was going to be a financial disasterand almost sold the film off as a tax shelter.</p><p>Special REQUIREMENTS:</p><p>Chalkboard or dry erase board; large moni-tor (at least 20") with RCA video and audio</p><p>inputs</p><p>Behavioral Studies:</p><p> Knows how a cultures art</p><p>works and artifacts reflects its</p><p>values and beliefs</p><p>Art Connections:</p><p> Knows how visual, aural, oral,</p><p>and kinetic elements are used</p><p>in the various art forms</p><p>Students will:</p><p> Visualize and examine the</p><p>complexity of creating a mo-</p><p>tion picture</p><p> See that a movie requires</p><p>organization, coordination,</p><p>and cooperation to be com-</p><p>pleted</p><p>Its more than just saying</p><p>action, that gets a movie made!Producer, Joel Jenkins, reveals in</p><p>this performance that team-</p><p>work, inventiveness, and afew industry secrets are nec-essary to produce a movie.</p><p>Joel shows the audi-ence that every motion pic-</p><p>ture begins with the powerof words. The screen-</p><p>writers job is to create</p><p>emotion in the audiencethrough a well-written</p><p>script.</p><p>The next step in theprocess is topitch the storyto backers in hopes of se-curing financing for the pro-</p><p>ject. Joel relates how often times a</p><p>writer will only have 30-seconds,the average time it takes to ride an</p><p>elevator from one floor to another,</p><p>to sell their story. Once funding issecured, a production team is as-</p><p>sembled. This group in-</p><p>cludes the director, pro-ducer, and the other profes-sionals required to shoot the</p><p>movie.Joel concludes the</p><p>performance with an explo-ration of how the film is</p><p>edited and packaged for re-</p><p>lease. This process includespost-production, scoring,</p><p>marketing, distribution, and</p><p>how the studio accounts fig-ure return-on-investment.</p><p>Though a movie re-quires hundreds of talented</p><p>and inventive people to produce,</p><p>every project begins with the powerof one persons imagination.</p><p>Performance Description</p><p>Performance</p><p>Description</p><p>Educational</p><p>Artist Bio</p><p>Vocabulary</p><p>List of Resources</p><p>Post-Performance</p><p>Activities</p><p>Inside this guide:</p><p>Kansas City Young AudiencesTeacher Program Guide</p><p>Every Frames a Picture: How a Movies Made Arti s t : Joel Jenkins</p><p>Contact KCYA for</p><p>more information on</p><p>this and otherprograms.</p><p>816-531-4022</p><p>www.kcya.org</p><p>Educational Objectives and Standards</p></li><li><p>8/8/2019 Every Frames a Picture</p><p> 2/2</p><p>Backer: investor(s) that provide fi-nancing for a movie project.</p><p>Best Boy: an assistant or apprentice,such as the assistant to the gaffer orthe key grip.</p><p>Director: the person in charge of theactors and technicians.</p><p>Gate: another term for the box officeor ticket sales a film makes, usually in</p><p>the first weekend of theatrical show-ing.</p><p>Pitch: telling your story to a potentialbuyer.</p><p>Producer: The person exercisingoverall control over the production ofa motion picture and holding ultimate</p><p>responsibility for its success or fail-ure.</p><p>Return-on-Investment (ROI:) theamount of money made from a projectafter all expenses have been sub-tracted; profit.</p><p>Spec Script: The first draft of a</p><p>screenplay, usually written without acommission.</p><p>Talent: A general, informal term foractors.</p><p>1. Develop two or three concepts formovie scripts that include charac-ters, conflict, and resolution. Find</p><p>inspiration for these concepts fromnewspaper stories, magazines, orother news sources. Ask these</p><p>questions as you research thestory: who were the charactersinvolved? Why were they in that</p><p>particular situation? How might</p><p>they have resolved their situation ifcircumstances were different?</p><p>2. Condense your ideas into athree-to-five page synopsis.Have friends, teachers, and fam-</p><p>ily read the synopsis. Is this amovie theyd spend money tosee?</p><p>3. Practice pitching your story.Time yourself and see howquickly you can sell the conceptto someone. Sometimes, you</p><p>only have thirty-seconds to sell aproducer your idea.</p><p>Joel Jenkins, is a story-</p><p>teller. He enjoys using hisimagination to help people</p><p>laugh, inspire learning, and</p><p>look beyond their everyday</p><p>lives.As a producer and</p><p>writer, Joel created WhatsYour Story, Kid?, an in-school</p><p>residency that nurtures chil-drens storytelling skills</p><p>through filmmaking. This suc-</p><p>cessful program has entertainedand educated many students.</p><p>Parents have noted the im-</p><p>provement theyve seen in theirchildrens self-esteem as the</p><p>students learn to focus their</p><p>creativity into producing a</p><p>video presentation.Joel has worked with</p><p>numerous clients including Lu-casfilm and The White House.</p><p>He studiedProducing Chil-drens Television at the Maine</p><p>Workshops and has taught at</p><p>UMKC and the Kansas CityArt Institute.</p><p>Page 2Contact KCYA for more information about this and other programs (816) 531-4022 www.kcya.org</p><p>Artist Bio: Joel Jenkins</p><p>Post-Performance Activities</p><p>BOOKS</p><p>Story: Substance, Structure, Styleand The Principles of Screenwriting</p><p>by Robert McKeeRegan Books; 1st edition</p><p>(December 17, 1997) ISBN: 0060391685</p><p>In the Blink of an Eye by Walter MurchSilman-James Press; 2nd Rev edition(August 1, 2001) ISBN: 1879505622</p><p>Making Movies by Sidney Lumet</p><p>Vintage Books USA; Reprint edition(March 1, 1996) ISBN: 0679756604</p><p>Careers for Film Buffs&amp; Other Hollywood Types</p><p>by Jaq Greenspon</p><p>McGraw-Hill; 2 edition(March 26, 2003) ISBN: 0071405747</p><p>List of Resources</p><p>Joel Jenkins</p><p>Vocabulary</p></li></ul>