www.openchannel.org.au

2014 GUIDELINES &APPLICATION FORM

Feature Film and Television Series Development Course

for Emerging and Early Career Writers, Directors and Producers

CUF60107 Advanced Diploma of Screen & MediaThis course is delivered with Commonwealth Government funding for eligible applicants.People with disablities encouraged to apply.

About Open Channel

scriptshop is Open Channel’s flagship screen project development course. It is the only course of its kind in Australia, designed to develop market-ready projects through a learning and development environment that reflects industry. The course is open to creatives or teams with a specific narrative film or television series (drama, comedy, genre or childrens) project in early-stage development. Great material is what everybody looks for. Develop yours at Open Channel.

About Open ChannelOpen Channel is Victoria’s leading independent screen learning and development centre, working to ensure a highly skilled screen industry. We champion original storytelling, creativity and diversity. Open Channel’s launch of the Victorian Screen Industry Skills Centre at Docklands Studios in 2013 places us in the heart of industry. We are a Registered Training Organisation (TOID 3999) and deliver Nationally Recognised Training as well as short courses across a range of screen disciplines. Open Channel’s professional development programs, events and intiatives create a unique space where early career practitioners such as students in our scriptshop development course can connect with industry, gain mentoring, and advance their careers and projects. These include funded film and television production initiatives, live pitching competitions, seminars, screenings and industry conferences.

Developing Market Ready Projects

Developing People

Designed for Emerging and Early Career Writers, Producers, Directors and Teams

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“You can have the best actors in the world and the best director and the best Director of Photography, but if you’ve got a lousy script then it just doesn’t work.” Jan Sardi, Screenwriter of Shine, Mao’s Last Dancer and The Notebook

“People say that the TV and film industries are nothing without writers and scripts, but Open Channel’s writing development program does more than pay lip service to this idea. I have found working with Open Channel and its student filmmakers stimulating and challenging. For a writer, director or producer with the commitment and ambition to want to find their way in the industry, it’s a natural place to start. Open Channel’s work in this area is encouraging because investment in talent, particularly through story development, is essential to the growth of a competitive local TV and film industry.” Stephen Cleary, International Script Consultant, Director of Eurista.Graduates of Stephen’s training programs have written, directed or produced over 250 feature films and thousands of hours of television drama.

SCRIPTSHOP:DEVELOPING QUALITY, ORIGINAL NARRATIVE FEATURE-LENGTH THEATRICAL FILMS AND TELEVISIONSERIES.

About scriptshop

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About scriptshop

scriptshop is unique course which offers a hybrid of a “project development lab”, alongside formal training in the skills needed to develop high quality screen projects.

With expert industry mentors, participants workshop a screen project and develop scripts. Projects are interrogated creatively, technically and financially in their evolution from concept to screen – and always with the audience in mind. Participants develop tools that will aid the commercial realisation of projects.

This program equips emerging and graduate screen producers, directors and writers with skills in creative and technical screen project development. Participants develop an industry network, and the business knowledge needed to get projects into production.

The course also includes opportunities to connect with industry Producers, through targeted pitching, networking, and matchmaking events.

The program contains eight self-contained Modules which are outlined in detail in the next section of this document. oUrSe oUtlIne

Modules 1-3 in the course focus on creative script development. Modules 4-8 in the course focus on development of the property/package, and your independent screen business. The Business Development “lab” workshops projects from a market-driven perspective, and informs and guides the creative development of the project.

Frid

ay Module 1 (12 weeks)Narrative Structure & Script Development Module 2 (9 weeks)

Scene & Sequence WritingModule 3 (9 weeks)Script Editing & Table Reads

Thur

sday Module 4 (6 weeks)

Understanding the Marketplace

Module 5 (6 weeks)Establishing a Screen Business & Financing Plan

Module 6 (6 weeks)Alternative Project Development & Casting

Module 7 (6 weeks)Take Your Project to the Marketplace

Module 8 (6 weeks)Packaging and Pitching

* Additional 4 weeks to follow Module 8 for assessment support Participants in the course also complete a nationally-recognised qualification, the CUF60107 Advanced Diploma of Screen and Media, and will be issued with a Statement of Attainment for CUFWRT402A - Write Extended Stories, which ensures participants learn quality skills in project development benchmarked against industry standards.2. C

Limited places are available in the course. Entry is selective by application.

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STRUCTU

REModule 1 - Narrative Structure & Script Development

During this module, participants clarify project strengths against structural principles for writing feature films and television series, and define development goals. First or early draft screen projects are then rewritten against these defined goals.

Feature Film and Television Series students engage in separate specialist training during this module, with Television Series participants also learning through development of a group series concept before applying skills to own work.

• Define and refine the idea and premise• Work within the script development environment• Build the creative team and working collaboratively • Revise scriptwriting story and structural skills• Story design and audience emotional engagement• Improve character and characterisation• Learn how to read and assess scripts and write coverage • Generating and using script documents as a development tool

Previous trainers in this module have included Writers Jo Dillon (above), Chris Corbett (Blue Heelers, Stingers), Script Consultant Charlie Carman (ex Film Victoria), Marilyn Tofler (Whatever Happened to That Guy), Writer Michael Brindley (Shame), Karin Altmann (Writer, Something in the Air, Script Consultant Scriptworks).

This module leads to attainment of the following Units:• BSBCRT501A Originate and develop concepts • CUFWRT402A Write extended stories • CUFWRT601A Write Scripts

“New York Times bestselling author Jodi Picoult tells writers: ‘You can always edit a bad page. You can’t edit a blank page.’ Her advice is deceptively simple. What she speaks to is the complicated, often tortured process through which the first flash of a story is turned into a narrative that works for an audience and a chosen medium. This module respects the screenwriter’s inspiration and intent and finds ways – either working alone or with professional development – to help them unlock it and ensure it becomes the best version of the story it can be.”

Jo Dillon (Script and Story Consultant, 2013 trainer) has been developing screen stories in Australia and the UK for almost 10 years. Jo worked at Emmy®-winning UK production company Yipp Films as Head of Development, where she developed factual narratives for network television and established the company’s first drama slate. Jo has worked widely as a Development Consultant and currently works as a Development Executive with Screen Australia.

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SCENES

Module 2 - Scene & Sequence Writing

This module introduces students to the micro level of story flow. Participants will learn to create and control the drama of various types of sequences and scenes. The Module focuses on the structure and rhetoric of a sequence or group of related scenes within a screenplay for a feature film or TV drama. Participants are introduced to the concepts of framing the dramatic question

for a sequence, charting the reversals and will explore a range of storytelling techniques which allow the writer to engage the audience and manage the progress of the drama in the most effective and exciting way possible. The dynamics of opening sequences, nadir sequences, expositional scenes, climaxes and endings are explored. Sessions will consist of a combination of presentation of relevant concepts and exercises in utilising these concepts in the participant’s own scripts. The outcome will be a high level of skill in writing a sequence or group of scenes.Previous guest trainers in this module have included, Producers David Rapsey (above), Daniel Scharf (Romper Stomper), and David Parker (Matching Jack, Hawke). This module leads to attainment of the following Units:• BSBPMG510A Manage Projects • BSBCRT601A Research and apply concepts and theories of creativity • BSBCRT402A Collaborate in a creative process

“Write in a white heat. Let no one tell you there are rules that have to be followed. But then, revise in a cool and level headed mood. In rewriting there are rules which help you engage your audience in the story you want to tell. The most important rule is: Make your characters take risks that the audience can hardly imagine. Risks in love, in war, in peace, in drunkenness and chastity. Tell your story over and over again. If your listeners lose concentration, go back to the drawing board until every moment of your telling has them on the edge of their seat. Camera moves, sound effects, lighting and music can enhance the storytelling, but they count

for nothing if you audience isn’t riveted by your tale of lust, revenge, confusion, panic or horror. Primary coloured emotions. Life lived in a dangerous lane; but remember there is nothing more dangerous than intimacy. If you can write a cinema sequence so that it surprises, delights, engages an audience, you will eventually manage to write the script. Screenwriting, in this sense, is rarely taught in film schools. Learning what McKee or Vogler or even Aristotle said about dramatic structure is not the same thing as writing at the sequence level. But that is how the audience experiences a film. What the audience experiences must be the screenwriter’s first priority.” David Rapsey (Producer of Feature Films Lake Mungo, Blackfellas; Creator/Writer/Producer TV Series Ship to Shore; Story creator team, Lead Writer TV mini series Driven Wild; Story Producer/writer- Miniseries Driven Crazy, Clowning Around I and II ; Story Producer, TV series RAW FM; Writer, Editor TV miniseries Mercury ; Series Director Kicking Around, Falcon Island ; Writer TV Series Pirate Islands ; Writer-Feature Documentary River of Giants, Distant Lens; Adjunct Professor, Creative Media, RMIT; Head of Development and Production, Barron Entertainment; Lecturer, Medieval Literature, UWA; Writer- various radio plays and documentaries, CBC FM Radio Drama Channel

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EDITIN

GModule 3 - Script Editing & Table Reads

The ability to provide feedback, whether verbally or through a script report is an essential skill for anyone working in screen content creation, and underpins the development process of Producers and Directors working together with Screenwriters. These skills also open up the possibility of working as a script consultant for those with talent.

A series of advanced workshops is designed to help you provide constructive feedback to others, and to use this feedback to polish your script. • Provide and use critical script feedback• Write script reports• Polish script and characters • Unlock the cinematic potential within a screenplay

Previous trainers in this module have included Producer Ros Walker (above), Internationally renowned script consultant Stephen Cleary, editors Ken Sallows (Chopper) and Cindy Clarkson (Surviving Georgia), Production Sound Mixer Gary Wilkins (The Pacfic, Where the Wild things Are), Sound Designer Doron Kipen, Production Designers Chris Kennedy (The Road, The Proposition) and Tim Burgin (Charles Bean’s Great War), Cinematographer Ellery Ryan Snr. (The Rage in Placid Lake, I Love You Too), previzualisation artist Jesse O’Brien (Arrowhead), and Film reviewer and Director of the St Kilda Short Film Festival, Paul Harris.

This module leads to attainment of the following Units: • CUFWRT602A Edit Scripts• CUETEM08B Realise Productions

“The live readings are invaluable to allow the students to hear their words come alive and get audience feedback about where the script is working or needs to be strengthened.”

Ros Walker (Producer, course trainer) is one of Australia’s most respected screen production professionals. Her feature film credits include co-producing Peaches, line producing Jabbed, Big Mamma’s Boy and Not Quite Hollywood and production

managing Life and Only the Brave. She produced the documentary Portrait and Remain in Light. From 1998-2002 she was Manager of Film Victoria and has served as the Victorian Chapter Head of SPAA (Screen Producers Association of Australia). In early 2012 Ros travelled to Los Angeles on an International Specialised Skills Institute International Fellowship (funded by Skills Victoria) to study best practice in television writers rooms, meeting with showrunners like Vince Gilligan (pictured, creator of Breaking Bad) and Aaron Sorkin (The West Wing).

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MA

RKETModule 4 - Understanding the Marketplace

Participants examine the Australian and International screen marketplace, and contemporary and traditional methods of development and financing in a rapidly changing global landscape. Meet distributors, sales agents, broadcasters, and online strategists, and look into the business models behind case study film and television productions.

Within the course, conduct group market research into global territories, online markets, and cultural trends and discuss the creative impact on projects of the marketplace.

Previous trainers in this module have included Seph McKenna (Roadshow Films), Alan Finney OAM (Chair AFI) , Tait Brady (ex Palace Films & FFC); Frank Cox (Distributor, Hopscotch), Andrew Mackie (Distributor, Transmission); Nick Batzias (Madman); Michael Wrenn (Arclight, EP The Rocket), Jane Roscoe (SBS), digital media strategists Jim Shomos and Simon Britton (Mediawave), Mike Cowap (Screen Australia), Sue Edwards (Film Victoria), and Peter Tapp (ATOM).

This module leads to attainment of the following Units:• BSBMKG607B Manage Market research• BSBMKG605B Evaluate international marketing opportunities

“If you want a career in the entertainment industry, you have to be prepared to win an audience. You MUST be your target demographics first choice. So much depends on this outcome that whole departments exist to help you maximize your chances from development to marketing. Understanding who these people are, what they think, and how to work with them will give you a serious head start in moving your project forward and ultimately achieving success.”

Seph McKenna, Head of Australian Production, Roadshow Films, pictured right, with Producer David Redman (left).

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FINA

NCE

Module 5 - Establishing a Screen Business & Financing Plan

Give your production company and your production the best possible start with this intensive course in establishing a screen business and developing a financing plan for your project. Projects that get made couple strong material, with a viable business model which matches the scope of the project and revenue potential with the money that can be raised for production.During the course, creative teams learn to• Create a preliminary budget or budget level for your project • Create a viable financing plan for your project • Network in industry, build relationships and strategic partnerships• Work professionally, manage a creative business, and demonstrate leadership• Develop a business plan Previous trainers in this module have included Producers Michael McMahon (Nowhere Boys, The Slap, Home Song Stories), Andrea Buck (The Jammed), Jennie Hughes (COO Screen Queensland, EP Dirty Deeds), Maggie Miles (Van Diemen’s Land), Gus Howard (Blue Heelers), Marc Goldenfein (The Revival Film Co), entertainment lawyers Shaun Miller (Mary and Max) and Jenny Lalor (Billy Elliot), Acccountant Tony Nagle (Japanese Story), Accountant Dean Hood (The Talented Mr Ripley, the Life Aquatic with Steve Zissou, Gangs of New York), and Production Manager Gina Black (Terra Nova)

This module leads to attainment of the following Units:• CUFCMP501A Manage and exploit copyright arrangements• BSBMGT617A Develop and implement a business plan

“The art of producing is bringing great screen ideas together with finance and delivering success on both counts. The more that writers understand early on about the business that sits behind the creative alchemy, the more chance they have of getting their scripts onto the screen and more importantly, entertaining audiences”.

Sue Maslin (Producer, Japanese Story, Enchanted)

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Module 6 - Alternative Project Development & Casting

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CAST

In this highly interactive module, with creative teams, explore alternative approaches to script development, including actor-based development, the writers room, and European development models.Learning how to work with actors, participants then bring their script alive by assuming the role of ‘Director’ to improvise with cast during the development of scripted scenes

and dialogue. This module also prepares participants for a live table read conducted as part of the script editing process in Module 3.This module also includes sessions on developing a casting approach for your film or television project, as part of the creative package, through work with casting professionals.Previous trainers in this module have included Alkinos Tsilimidos (above), Jane Norris (Mullinars Casting), Dina Mann Casting (Head On), Sarah Hallam (Casting, Blue Heelers) Directors David Swann (Stingers); David Cameron (City Homicide), Chris Langman (Blue Heelers), Kate Gorman (Five Moments of Infidelity), Writers Stuart Page (The Doctor Blake Mysteries), Shanti Gudgeon (Conspiracy365) Josh Samuels (You’re Skitting Me) and Andrew Maj (Hamish & Andy). Actors Andrew S. Gilbert (Backyard Ashes), Kim Krejus (A Country Practice), John Brumpton (Underbelly), Gina Morley (City Homicide), Laura Gordon (Saw V) & Georgia Bolton (Better Man).

This module leads to attainment of the following Units:• CUFDRT602A Audition and select performers • CUFDRT501A Direct rehearsals of performers

“I like to create a challenge for people that work with me, and it’s a challenge for myself. And I think without risk life can be pretty boring, so I approach making my films with risk, and risk excites actors. It excites the both of us.” Quote from interview about Tom White on At The Movies, Alkinos talks on his process of directing actors.

Alkinos Tsilimidos (Director, Blind Company, Em 4 Jay, Everynight.. Everynight)

Module 7 - Taking Your Project to the Marketplace

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In an increasingly crowded entertainment landscape, there is an art to capturing audiences. In this six week module, participants work to understand the audience for their film or series in development, plan an approach to connect the project with the audience,

and an optimal strategy on how to deliver the project to the marketplace. The module also provides industry insights into business practices such as audience testing, marketing and publicity strategies, and how to run an advertising campaign for a screen project.

Previous trainers in this module have included Katherine Whiteley, DBM research; Gabbie Oldakker, Madman

This module leads to attainment of the following Units:• BSBMKG609A Develop a marketing plan

“I hope the key things students gained from my course on “Audience” are: most fundamentally an understanding about the marketplace, identifying who is the primary audience, talking with them individually about their projects, pitching, getting them to focus on what is really at the core of what it is that they are writing, and identifying these as assets.” James Hewison Project Consultant; ex Director Melbourne International Film Festival; ex Head of Theatrical Entertainment, Madman Entertainment

AU

DIEN

CE

PITCHIN

GModule 8 - Packaging and Pitching

Teams develop the package and creative pitch that will sell a project.

During the module, creatives have the opportunity to:• Develop pitch tools and practical pitching skills • Create effective supporting materials such as flyers, teaser scenes, concept art, previz,

bibles • Pitch to a panel of industry professionals and use feedback as a development tool

Previous trainers in this module have included Producer David Redman (above), Director Marc Gracie (The Tumbler) and Writer Tim Ferguson (Doug Anthony All Stars, and author of Cheeky Monkey), Writers Glenda Hambly (Home and Away), Giula Sandler (Wentworth) and Kelly Lefever (House Husbands), Producer Ros Tatarka (Something in the Air), Writer Brendan Luno (Snake Tales).

The training component of the lab leads to attainment of the following Units:• BSBCMM401A Make a presentation • BSBWRT501A Write persuasive copy

Testimonial“Sitting alongside David Redman on a Pitching Panel is always a learning experience for me. His precise and relevant analysis and examination of the key elements of a project remind me of the complexity of the film-making process and I can see the appreciation in the eyes of those who have worked so hard in reducing their work to a very short package presentation.” Alan Finney, formerly Vice President and Managing Director, Walt Disney Studios Motion Pictures and Roadshow Film Distributors , presently Chair of The Australian Film Institute, awarded the Order of Australia Medal (OAM) for services to the Australian Film Industry

“The ability to capture the essence of a story in a short summary and to pitch this in a way that excites and connects with an audience is often the difference between a project being made or going to the bottom of a reading pile. In addition the process of looking at your story and the elements that make it unique should form an essential part of the creation process and learning to pitch your story is the basis of this.” David Redman (Producer, Charlie and Boots, Till Human Voices Wake Us, Strange Bedfellows, Little Johnny the Movie)

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Blended/Online Learning

Flexible hours, approximately fifteen hours per project.Course participants receive a substantial block of bespoke script mentoring from experienced professionals, an incredible “value add” for participating projects. Mentors can provide ongoing coaching, advice and evaluation selected for the particular needs of a project. Participants can participate in the selection of a mentor. Past mentors in the program have included:• Ade Djajamihardja (Producer, Kambing Jantan)• Alison Tilson (Writer, Japanese Story)• Billy-Marshall Stoneking, Script Consultant• David Rapsey (Producer, Lake Mungo)• Geoffrey Wright (Director, Macbeth, Romper Stomper)• Greg Woodland (Screenwriter, Chasing Birds)• Karin Altmann (Writer, Something in the Air, Script Consultant Scriptworks)• Lawrence Johnson, (Night)• Dr Lisa Dethridge (worked for Fox, Warner, Working Title, UCLA, RMIT)• Marion Pilowsky (Executive Producer, Little Fish)• Nigel Odell (Producer, Strange Bedfellows)• Ray Mooney (Writer, Everynight... Everynight)• Riwia Brown (Screenwriter, Once Were Warriors)• Stephen Luby (Producer, Bed of Roses)• Tim Patterson (Screenwriter, The Secret)• Warwick Holt (Screenwriter, Good News Week, The Project)

Individual project mentoring and coaching

Flexible hours, approximately ten hours per week. Course participants are expected to commit a minimum of two days per week outside face-to-face time on blended learning activities and structured tasks that support the script and project development, and meet requirements of the accompanying Qualification.

The online components are delivered through MoodleTM, which is accessible from all internet browsers.

This includes components of online learning and supervised individual project work, for example the development of a script or filmed live script reading.

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Outcomes

Participants complete scriptshop with:

• Script at a subsequent draft stage

• Concept documents

• Selling tools such as concept artwork, flyers and taped script readings.

• Market-ready projects

• Pitching materials and strategies

• Strategic, business, financing and marketing plan

• Industry networks

Participants complete scriptshop with:

• Advanced screenwriting and script development skills

• Packaging skills and knowledge of casting process

• Business and management skills

• Critical project assessment tools

• Collaborative development skills

• An understanding of the relationship between business and creativity

• Market insights

Capabilities

“The course put me on the fast track to becoming a producer. I learnt how the industry works and what it takes to thrive. It also gave a structured approach to the project I developed with my creative partner, enabling us to complete four drafts. But above all Open Channel gave me incredible access to working industry professionals through the regular guest lectures and through the mentoring program, all of whom now form part of my professional network.”

Jonathan Roper, Student 2011 Producer of independent feature film I Am Evangeline www.iamevangeline.com

“Unlike other courses, Open Channel’s was focused on actual development nitty gritty - especially good for individuals who have already made short films, some writing and wish to get that last link into actually getting their project ready for the market. Truly insightful and helpful for those of us who are serious in progressing our emerging film careers”

Sacha Rodriguez, Student 2011 Producer of feature film ReCycle

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Staff and Industry Partners

In addition to a wide range of specialist industry guests, program participants and projects are also guided through the development process by experienced filmmakers, such as Producer Ros Walker (Peaches) and Writer/Director Caroline Waters (Festivals and Going Off). Says Ros Walker, “I’m thrilled to be part of a program that both strengthens the core skills of the creative team and through mentoring and input from industry professionals, develops the scripts for the marketplace.”

Industry partners such as Distributors, Exhibitors and Broadcasters meet with students to provide a real world perspective on project development. A “global industry” approach incorporates interaction with international agencies or practitioners with international expertise, providing input into project development with an international perspective.

scriptshop is endorsed as a quality training program by:

Australian Writers Guild www.awg.com.au The Australian Writers’ Guild is the professional association for Australian performance writers including film, television, theatre, radio and digital media.

Screen Producers Australia screenproducersaustralia.org.au Screen Producers Australia acts to unite the Australian screen industry across industrial affairs, commercial relations, government policy and business alliances locally and globally.

Open Channel acknowledges the support of Screen Australia www.screenaustralia.gov.au and Film Victoria www.film.vic.gov.au

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Assessment Information

Participants successfully achieving the course attain a nationally recognised qualification, CUF 60107 Advanced Diploma of Screen and Media through an evidence-based assessment process.

This is the highest-level screen industry vocational qualification, and ensures skills developed during the program meet industry standards.

The broad concept of ‘industry competency’ concerns the ability to perform particular tasks and duties to the standard of performance expected in the workplace. Competency requires the application of specified skills and knowledge relevant to effective participation in an industry, industry sector or enterprise.

Skills learned previously at film school or through independent production experience are also developed and benchmarked against industry standards.

To achieve the full qualification, participants much achieve all 17 Units of Competency described in the course outline. For more information on Units of Competency, visit www.training.gov.au

Assessment in this program is unique in a number of ways: Assessment is formative The program recognises the individual skills and needs of participants. The focus of Formative Assessment is on improving rather than proving. Competency can be achieved at different times for different people. Assessment is contextualised A candidate’s assessment is contextualised to the industry outcome related to the participant’s job role. Assessment is guided by the benchmarks of each Unit, but the means of assessment can vary for Producers, Directors or Writers. Units are also contextualised to their role in project development. Assessment is flexible The specific evidence requirements for assessment are responsive to the participant and their project.

Assessable activities will be directly relevant to the program’s objectives and may include: • Treatments and synopses • Written and verbal pitches • Business planning documents • Observation of development work • Participation in program activities • Script at various stages • The creative and business package

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General Information

scriptshopOpen Channel’s flagship screen project development course is open to emerging and experienced feature film and television writers, directors, producers or teams with a screen project in early development. Graduates are encouraged to apply. As a unique lab/course hybrid, successful completion of the program also leads to attainment of a Nationally-recognised Advanced Diploma of Screen and Media qualification, specialising in script and project development.

Duration Approx. 1015 hours over 34 weeks, not including holidays.

Dates Commences March 27th, 2014 and completes December 12th, 2014.

Times Thursday and Friday, 9:30am – 4:30pm

This is a blended development lab and learning program, and involves on average an additional 2-3 days per week. This may include self-directed learning, or work with an individual script mentor, on script and project development; online tasks; and project work (ie: teaser or live script reading).

Fees Individual (Producer or Writer or Director):

Government subsidised place through National Workforce Development Fund (NWDF) Eligibility criteria apply *

$4,200

Fee for Service (no Government subsidy applies)

$12,600

As part of the enrolment process you will be told when you are expected to pay fees. This may be before training starts or at specific times during the course you are studying.

Fees quoted are for full year, and include all lab tuition, assessment, and student services.

* this training is delivered with Commonwealth Government funding for eligible applicants. See application form for details.

People with disabilities are encouraged to apply.

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Eligibility Criteria

Read this information to check that you are eligible to apply to scriptshop.

General eligibility All applicants to scriptshop must be: • A current financial member of Open Channel, or join on application. See our web site

for details on joining as a member. • 18 years of age or over • Australian citizens or the holder of a permanent visa or the holder of a Special Category

Visa (sub-class 444, New Zealand). No Student Visas are available. • Available to attend classes on the specified study days listed

All applicants must meet the prerequisite of demonstrated industry experience, such as: • Hold a Certificate III in Media, or; • Hold an equivalent (related) qualification, or; • Have a screen credit for the capacity in which they are applying• From 2015, a first draft script is NO LONGER a requirement of acceptance into the

course. Applicants must have at least one developed concept however for a film, TV or online narrative project.

Open Channel is underpinned by the principles of access and equity. Open Channel does not tolerate discrimination on the basis of age, gender, sexuality, disability, or social or cultural background.

Subsidised Place eligibility (National Workforce Development Fund) Students meeting the following criteria may be eligible for a Government-subsidised place through the Australian Government’s National Workforce Development Fund.

Subsidised students must: • Not have previously completed the qualification they are applying for under the Fund • Satisfy course pre-requisites (such as adequate literacy and numeracy) to effectively

undertake the training• Under the Fund, training will be provided to existing workers (including self-

employed screen freelancers), and new workers with a committment of employment on completion of the training. To demonstrate the above, applicants must either be an Australian Business with an ABN, or be employed by/have a committment to be employed by, an Australian Business with an ABN

• Demonstrate the organisation’s current and future business needs and the proposed training and recruitment solutions to address these needs (see Section B: Workforce Plan)

• Demonstrate their financial commitment to the project and make a co-contribution to training costs (student fee component)

• Provide written advice at the half way point of their Approved Project and on completion of the Approved Project about their satisfaction with the training delivered

• Report on the impact of the training delivered under the Fund and any organisational issues such as productivity, performance, staff retention etc. as they arise17

Application and Selection Process

Application Process

Application to scriptshop is through a two-stage process.

Places are strictly limited, and entry is selective and by application.

If you meet eligibility criteria, please read this course outline and application information carefully before applying.

Applicants who do not have a developed draft screenplay are invited to undertake the accredited short course ‘Concept to Script’ at Open Channel as a pathway to this course. Final round application deadline has been extended to Friday 14th March, 2014. Late applications may be accepted after this stage subject to availability.

STAGE ONE - WRITTEN SUBMISSIONComplete and submit the application form included at the back of this booklet, or you can download a separate form from the lab/course web site.

All applicants are required to submit the following supplementary documentation along with the application form:

1. Current Curriculum Vitae, outlining your prior production credits if relevant, and any related experience or qualifications.

Prerequisites: You must ensure you meet the prerequisite requirement of having previously achieved either a Certificate III in Media or similar qualification, or you must have previous related screen industry experience. Do not submit DVD copies of your prior film work at this stage. You may provide URL links to online samples of your work in your CV. Applicants progressing to an interview may be asked to provide copies of work listed in the CV at that stage.

2. A Creative Folio relating to the project you wish to develop in the program, which includes:

a) A 1-2 page synopsis of your project PLUS

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b) (For a Feature Film) First draft or early draft screenplay, OR (For a Television Series) Series concept document/bible that includes an episode guide, character descriptions, plus a sample single episode screenplay (i.e. pilot episode)

PLUS c) A written statement of 2-4 pages in length that addresses the following, as applicable: - your career goals - the background to your submitted project for development - details of any creative personnel already attached to the project - details of any prior commercial interest in the project - why you are interested in this program, and what you hope to achieve during and after the program.

Stage One assesses both the originality and viability of the screen project based on submitted script (folio), and also on the following selection criteria as demonstrated in the CV and Written Statement:

1. Sound written communication skills.2. Demonstrated commitment to screen production as a career. 3. High levels of interest in gaining and furthering development skills and knowledge. 4. Demonstrated commitment to completing the entire program.

Applicants and projects are assessed by a panel comprising at least one training staff and one industry practitioner.

Script documents submitted should comply with standard industry format. Information is available by searching for ‘suggested script layout’ at www.screenaustralia.gov.au

STAGE TWO - INTERVIEW

All shortlisted applicants are interviewed over the phone or in person. If required, attend an interview at Open Channel, Docklands.

If successful in progressing to the next stage, you will be requested to attend a phone or face-to-face Interview with Training staff to ascertain suitability for the lab/course. At this stage applicants may be requested to provide samples of previous screen works. Director applicants may need to demonstrate a strong voice and a clear creative direction for the

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project.If successful at Stage Two, a place will be offered.

You can confirm acceptance of your place in writing and must pay the lab/course fees at this time, subject to Enrolment and Refund conditions.

All applicants will be notified in writing on the outcome of their application. Your folio will not be returned, and will be destroyed or may be picked up on request within four weeks of submission.

If you have any questions please contact us:

Daniel Schultheis,Vocational Education and Training Manager Open Channelc/- Docklands Studios476 Docklands Drive, Docklands VIC 3008training@openchannel.org.au 03 8327 2016

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Application Formscriptshop - Feature Film & TV Series Development Course 2014CUF60107 Advanced Diploma of Screen & Media

Please complete this form and send with (with membership fee if required) to: Open Channel, c/- Docklands Studios Melbourne, 476 Docklands Drive, DOCKLANDS 3008 PERSONAL DETAILS

All personal information collected by Open Channel is protected by The Privacy Act 1988. First Name: Family Name: Street: Suburb: State: P/Code: Phone (H): (W): (M): Email:

Date of Birth: ____________ Gender: F / M Open Channel Member no:__________

How did you find out about Open Channel?

SCRIPTSHOP ENROLMENT DETAILS Fees quoted includes all tuition and student services fees.

Details Course Fees Amount DueAnnual Membership fee (if not a current member.) - membership required to apply

$55 full / $44 concession

Fees payable on acceptance into the qualification course:(OPTION A) Full Fee Enrolment

$12,600

(OPTION B) Subsidised, National Workforce Development Fund (see page 17 for details, Applicants paying this fee must meet relevant eligibility criteria.)

$4,200

Total payable

Victorian Student Number (if known, for under 25 years of age):

Project Title:

Project Format: [ ] Feature Film [ ] Television Series

Project Genre:

One Line Synopsis:

Applying as: (tick all that apply to you)

[ ] Screenwriter [ ] Director [ ] Producer

You need to ensure your application form is accompanied by the relevant documentation as outlined in the Information and Application kit: [ ] Current CV [ ] 1-2 page synopsis [ ] Feature Script or Series Bible with Episode Script (full draft) [ ] Written Statement

Copyright Information:

Is this work an original idea of yours? [ ] Yes [ ] NoIf No attach details on separate sheet.

Name of originator:

You must hold the necessary rights in script/treatment to deal in the copyright of the project. Please include copies of all agreements in this application. [ ] Attached

Is the script or treatment based on an underlying work? (eg short story, novel) [ ] Yes [ ] No

If Yes attach full details of the originator and current copyright holder and include copies of option or assignment agreements in this application. [ ] Attached

Is this script or treatment partly or wholly based on a real life event/person? [ ] Yes [ ] NoIf yes, please attach details on a separate sheet, with regard to the relevant 3rd party and their involvement in the project if any. [ ] Attached

Section A: Project Information

Small Business OverviewContact Name:

Business Name:

ABN:

Address:

Business Description:(profession, specialisation)Which labour market best describes you, working in your business? (select one)

[ ] Indigenous Australian[ ] Youth[ ] Mature age[ ] Living with a disability[ ] From a non-English speaking language[ ] Parent returning to work[ ] Living in a regional area[ ] Woman seeking training in a non-traditional female occupation[ ] Man seeking training in a non-traditional male occupation

No of years your business has been operating:Provide number of years in business, and learning development activities to date for participant/s.

Benefits of undertaking CUF60107 Advanced Diploma of Screen and Media: (for each participant. Link what you will learn to your business goals (as identified earlier in your business description), and your business productivity)

I acknowledge the financial commitment of our business to the NWDF project and that our organisation agrees to make the relevant co-contribution to training costs (student fee compo-nent):

Signed _______________________________ (applicant) _____________ (date)

Section B: Workforce Development Plan (NWDF applicants only)

Schedule 6 Privacy Notice - National Workplace Development Fund (‘the Program’)

I....................................................................................................................... understand that: (insert name)

(a) Open Channel Co-operative Ltd will collect my personal information for the purposes of: training and assessment, reporting, administration and evaluation of the Program;

[ ] training and assessment under the Program; [ ] reporting on the Program; and[ ] administration and evaluation of the Program.

(b) Open Channel Co-operative Ltd may disclose my personal information to the following:[ ] the Department of Industry, Innovation, Science, Research and Tertiary Education

(DIISRTE);[ ] Innovation and Business Skills Australia (IBSA);[ ] Australian Workplace and Productivity Agency (AWPA); and[ ] the contractors or agents of any of the above organisations.

(c) The purposes of the disclosure in (b) above may include:[ ] the administration and evaluation of the Program;[ ] reporting on the Program; and[ ] verifying or reporting on my progress in the Program.

(d) Open Channel, IBSA, AWPA and the Department may also disclose my personal infor-mation to another party without my consent where authorised or required by law.

…………………………………. ……………………………(Signature of participant) (Date)

If the above statement was read to you, please indicate the person who assisted you.

………………………………….. ……………………………..(Name) (Relationship)

Section C: Privacy Notice (NWDF applicants only)

Open Channel maintains a trust account for safeguarding student fees and bonds.

Payment of Fees

Successful applicants will be sent an invoice schedule and first invoice due. Full payment of invoice will be considered an acceptance of an offered place in the course.

Standard Refund and Enrolment Conditions

1. Fees quoted includes all lab/tuition and student services fees. Student services included in fees include access to tea and coffee facilities, kitchen, wireless internet, and room hire, but do not include rental of production equipment. Participants should have own computer and printing available. Participants are however entitled to a 50% discount on any hire of standard production equipment while an enrolled student subject to normal hire conditions.

2. CUF60107 Advanced Diploma of Screen and Media is approximately 1015 Contact Hours in duration. Delivery times are outlined in the course schedule available online, and are subject to change. Scheduled Class Dates are 27 March 2014 – 12 December 2014. Scheduled Classes are Thursday and Friday, 9:30am – 4.30pm plus flexible learning requirements outside of these times of approximately 2 days per week over 40 weeks plus 15 hours of individual project mentoring. It is a condition of enrolment that all students maintain attendance of at least 80%, and comply with the student Code of Conduct as outlined in the Student Handbook provided at orientation. Participants failing to maintain appropriate attendance or failing to comply with the Code of Conduct will be subject to Open Channel’s policies and procedures and may result in withdrawal of your enrolment.

3. Assessment in Units of Competency requires completion of all lab/coursework within negotiated timeframes. Re-attempts at no additional charge are at the discretion of the assessor.

4. Participants are entitled to, at no additional cost, a formal Statement of Attainment on withdrawal, cancellation or transfer prior to completing the qualification, provided the student has paid in full for the tuition related to the units of competency to be shown on the Statement of Attainment.

5. The applicant warrants that they have the right to develop the creative work submitted, and will retain all rights to any program or works being produced as part of the course. The applicant agrees to acknowledge Open Channel with a logo credit in the event that a program developed in the course goes into production. Open Channel will retain rights to use student coursework for Open Channel promotional purposes on a non-commercial basis in perpetuity.

6. By submitting original script or creative materials as part of this application, you automatically agree to the terms of Open Channel’s Unsolicited Submissions Agreement available on the Advanced Diploma of Screen and Media section of our web site.

7. By enrolling herewith, you consent to the use of images taken of our courses in progress to use in any future course marketing, unless you have notified us otherwise that you object to such use.

8. Open Channel reserves the right to change advertised staff and delivery of program without notice.

9. Students must have a course attendance rate of at least 80% to fulfill the requirements of the course.

10. Recognition of Prior Learning / Credit Transfer Recognition of Prior (RPL) or Credit Transfer (CT) is available to participants on request at commencement of the program and assessment at this stage is at the discretion of the program co-ordinator. If you have already gained competency from previous experiences, you may apply for Recognition of Prior Learning (informal learning) or Credit Transfer (formal learning) to be assessed on your existing competency. Participants undertake the assessment component only to attain a nationally recognised Statement of Attainment. Open Channel automatically recognises the AQF qualifications and Statements of Attainment issued by any other Registered Training Organisation (RTO) in Australia.

Section D: Payment Details and Student Declaration

If you wish to apply for RPL or Credit Transfer, tick here and we will contact you with more information.

Refund Conditions

1. Notice of an applicant’s intention to withdraw from a course must be received in writing 21 days before commencement in order to receive a full refund.

2. No refund will apply if an applicant withdraws 21 days or less days prior to commencement of a Qualification course.

3. All eligible refunds will be made within 30 days notification of withdrawal or cancellation.

4. Open Channel reserves the right to reschedule or amend the course schedule. In this event, if a student cannot attend, no refund applies for full Qualification students. In case of cancellation, you can choose to be refunded, or automatically enrolled in the course next time it runs, or transferred to an alternate course.

5. Open Channel’s policy is to contact all enrolled students no later than 48 hours prior to commencement to confirm or, if necessary, cancel scheduled courses.

6. Open Channel reserves the right to reschedule, or amend any part of the lab/course offering. In the event, no refund applies. Open Channel’s policy is to contact all enrolled participants no later than 48 hours prior changes occurring within the course schedule. In the event a course is cancelled, participants are refunded for the amount not yet completed.

Applicant Declaration (must be signed)

[ ] I have read the application kit information for this program

[ ] I have attached a copy of photo identification

[ ] I hereby declare that the information provided in this application is correct, that I meet the eligibility criteria as outlined in the application information, and that I understand and accept the enrolment and refund conditions specified in the Application Form.

…………………………………. ……………………………(Signature of participant) (Date)

The following are questions are collected by Open Channel as a requirement of registeration as a Training Organisation to provide statistical reporting to the Australian Government.

Information provided herein is kept confidential.

Country of Birth: Year of Arrival in Australia: Are you Aboriginal / Torres Straight Islander? [ ] Yes [ ] No Proficiency in spoken English: [ ] Poor [ ] Sufficient [ ] Excellent Do you speak a language other than English at home? If yes, please specify:

Do you have a disability or special needs? If yes, please give details eg. Written / Verbal / Learning / Disability / Health / Living circumstance / Other

Employment Status (ie. self-employed, seeking full-time or part-time work etc):

Main reason for study (ie. build business, to change career, get new skills for my job etc):

Open Channel automatically recognises the AQF qualifications and Statements of Attainment issued by any other Registered Training Organ-isation (RTO) in Australia. OPEN CHANNEL is a Registered Training Organisation, (TOID 3999) with ASQA, authorised to deliver the following nationally recognised training programs: CUF30107 Certificate III in Media and CUF60107 Advanced Diploma of Screen and Media. OPEN CHANNEL is committed to providing students with assessment opportunities that are valid, reliable, flexible and fair. Assessment in nationally-recognised training is based on units of competency taken from the CUF07 Screen and Media Training Package, and other units of competency imported from related Training Packages.

Open Channel Co-operative Ltd ABN 67 060 585 631

476 Docklands Drive, Docklands VIC 3008 T 03 8327 2016 F 03 8672 3335

info@openchannel.org.au web http://www.openchannel.org.au

Section D: Statistical Information - All Applicants

(c) Open Channel 2013