Arik Kaplon, 2 groups, semester A
Workshops: television drama treatment, a script for television drama, developing a bible for a series, writing series, feature structure, documentary research, documentary script, writing for soap operas, editing scripts, designing characters, dialogues and visual syntax, submitting to foundations and broadcasting bodies.
(With the students from the directors program and the production program), during the years at the school, the students are required to participate in at least one course from the directors program curriculum, according to their choice. Among the theoretical courses up for choice are: history of the classic modern cinema, low budget political cinema, documentary classic modern cinema, short foreign cinema, expression in Israeli cinema, cinematic expression in editing, introduction to modern art, the Israeli culture, the melodrama, music for cinema, the comedy, comedy beyond reality, communication map.
Artist workshops and cooperation
During the studies the students participate in international artists workshops performed in English and guided by foreign reputable lecturers. The school also encourages international cooperation with the screenwriting departments in film and television school in Europe. During the passing school year the students have participated in a joint writing workshop with the student of the writing department in the film and television school in Munich (Germany), guided by the foreign teaching staff and participated in a feature preparation workshop which stood at the center of an exposure event for the industry hosted by one of the most know and respected lecturers in Europe, Mrs. Isabell Fabel (Paris).
Open scripts committees
Simultaneously to the work with the teachers and sponsors on annual projects, the students submit scripts to a committee comprised of a special forum of school teachers and outside creators. The committee convenes once a year and discusses the scripts with the class. Among the members of the committee are: Prof. Ram Levi, Tzvika Kertzner, Roni Ninio, Naftali Altar, Eran Kolirin, Yoel Kamintzki, Avi Nesher, Tamar Marom, Emil ben-Shimon, Noam Kaplan and more.
With the end of the second year, a festive event to expose the graduates to the film and television industry is held. Producers, directors, film funds directors, franchise representatives and more. The students present to the professional forum a selection of chosen projects from among their works developed over the second school year (series bible, feature structure, documentary project, television drama). Some of the works presented on these industry nights were developed, produced and backed up after the graduation of the students of the school.
During their studies each student receives personal sponsorships to advance the annual projects.
Every year at the graduation ceremony for the students of the program, the excelling graduates are awarded prizes in the following categories:
A prize in the name of Uzi Rave, contributed by Bank Yahav – for the valedictorian
The channel 10 prize in the name of Yohana ferner – for television drama
The second authority for television and radio – developing a documentary script.
Israeli cinema foundation prize – a grant to develop a full length feature script.
HOT prize – a grant to develop a television series.
A graduation certificate of the screenwriting program from the school will be given at the end of the program. The certificate is approved by the ministry of education and culture.
Pursuant to the school administrations decision a prize in the name of Zach Gordon is awarded for excellent screenwriting – to develop a full length movie (on the basis of the idea developed during his studies). The prize is script editing services and enables the winning graduate to develop his script in a personal sponsorship program until draft.
Cinematic expression 2 hours, semester A
Cinematic genres 3 hours, semester B
The big scripts 2 hours, annually
Fundamentals of the story 2 hours, semester B
Introduction to screenwriting 2 hours, semester A
15 minute script 2 hours, 2 groups, semester B
Creative writing 2 hours, 2 groups, semester A
Screenwriters direction workshop 2 hours, semester A
Acting fro screenwriters 3 hours, semester B
Cinematheque marathons 4 hours, annually
Sponsorships 4 hours, semester B
Total hours semester A : 18
Total hours semester B: 23
Total hours annually: 20.5
Yair Lev, 2 hours, semester A
The course will explore the cinematic language in a wide variety of genres and direction styles. Through scene analysis from different movies we will explore the use of cinematic language tools (camera movement' "framing", use of lighting, editing, angle of camera) and how the film director creates the required effect with the viewer through them. Samples of: "Vertigo", "Rear window" by Hitchcock, "Bonnie and Clyde" (Arthur Penn), "Journey to Cythera" (Angelopoulos), "Balthazar" (Bresson), "High hopes" (Mike Leigh), "The red desert" (Antonioni), "down by law" (Jarmusch) and more.
Nachman Ingbar, 3 hours, semester B
The course will deal with the main Hollywood genres and their relationship with social and cultural issues as well as the repercussions this genre has on the structure and meaning of the script. Among the genres discussed are: the western, the musical, detective, suspense and science fiction. During the course many full length movies and dozens of exerts of each genre will be shown.
The big scripts
Yair Rave, 2 hours, annual
Can a cable script be judged by the same tools as literature and prose? What separates a good script from and excellent one and how can you see it on paper? What are the roles of format, style, rhythm and dialogues in reading the script by the creators and producers of the film? We will learn how to write good communicative script that will help the screenwriter direct the director, while reading the big scripts ("Casablanca", "the apartment", "lost in translation"). In semester A we will focus on the word, sentence, paragraph, page and the lone character. In semester B we will analyze structure, world, relationships, developments and different types of dramatic writing. Practice quick scrip reading skills and acquire the tools to critique and script. Among the scripts read in this semester are: "blade runner", "the witness", scripts by David Mamet, Cameron Crow and more.
Fundamentals of the story
Ronit Matalon, 2 hours, semester B
How does storytelling perspective built in prose? How and with which means does drama form, which relations exist between plot and characters and what is the anti hero's creation course in the prose in the 20th century? This course will deal with these questions and many others during which short stories by Chekov, Maupassant, Joyce, Melville, Kafka, Babel, Agnon, S. Izhar, Yhoshua Kanez and others.
Introduction to screenwriting
Tzvika Kertzner, 2 hours, semester A
The course focuses on defining and analyzing basic terms of screenwriting like format, style and content. Models, narratives, characters and types of conflict will be shown. We will make a comparison between the cinematic tale and prose, as well as getting to know the writing process beginning with the idea until the script stage, while analyzing scenes and dialogues from movies and scripts.
Arik Kaplon, 2 groups, semester A
Very short script writing workshop, without dialogue, based on an object which drives the plot. The goal of the workshop is to address from a directors point of view the basic material of the cinema in order to tell a story without words: the actor, the action, the shot and the editing, selected scripts which will be written during the workshop are intended for direction in semester B by the students of the first year in the directors program.
15 minute script
Sigalit Lipshitz, 2 hours, 2 groups, semester B
During the semester the students will work on scripts for a 15 minute movie according to the criteria of graduation films in the school. The students will present their ideas at the start of the course and those will be discussed in the forum of the workshop. We will focus on the idea and its compliance with the short story format, the essence of the hero, the dramatic move, the central event, the structure and characters. After a synopsis is developed that meets these parameters, the screenwriting stage begins while focusing on writing the scenes and dialogues, solidifying it all into a script mature for production.
Eshkol Nevo, 2 hours, 2 groups, semester A
The goal of this workshop is to improve the "writing voice" of the students and stimulate them into writing through experiential exercises. We will be introduced to basic techniques in building a story and meet surprising texts in order to help every one find what activates his "writing muscle". The classes include writing exercises, feedback on participants texts and joint reading of texts from literature, theatre and cinema.
Direction for screenwriters
Shachar Rosen, 2 hours, semester A
The course will introduce to the students the directors' work with the script, the screenwriter, the camera, the light and his work with the actors. During the course the students will attempt directing shots and short scenes without dialogue in order to deepen the use of cinematic language to tell a story.
Acting for screenwriters
Esti Zakheim, 3 hours, semester B
The workshop will focus on interpreting the script from the actors' point of view: the character and behavior as a reason for the script (and as a result of it), mise-en-scene, conflict, monologue and dialogue. We will address the various ways of an actors work with himself, the meeting of the "me" and building the "character". Acting in this course is based on existing texts written for the stage, for cinema and on texts written by the students.
4 days, opening of the year; David Lynch
The great European spirit – Bergman and Antonioni.
In honor of the film director, David Lynch's visit the film critique and lecturer Nachman Ingbar will dedicate two days to his creations and screen the best of his movies in full as well as exerts. Among the films shown fully: "Blue velvet" 1966; "Wild at heart" 1990; "A simple story" 1999; "Mulholland Drive" 2001. Two additional days will be dedicated to the works of two of the great European spirit directors who passed away this year. From the films of Ingmar Bergman "The seventh seal" 1957; "Wild strawberries" 1957; from the films of Michelangelo Antonioni: "The adventure" 1960; "The red desert" 1964.
Opening two days of semester B: Israeli documentary cinema
The evolution and narrative of the Israeli documentary cinema. Films and exerts will be screened. Full length films which will be shown: "Diary" (David Perlov 1988); "have you ever shot someone" (Michal Aviad 1996); "The inner tour" (Raanan Alexandrowicz 2001); "The cemetery clum" (Tali Shemesh, 2005); exerts will be shown from the following films: "Field diary" (Amos Gitai 1982);"Checkpoint" (Yoav Shamir 2004); "9 star hotel" (Ido Haar 2006); "Balin Habibti" (shai Carmeli-Pollack 2006); "The women next door" (Michal Aviad 1992); " Detained (Anat Even and Ada Ushpiz 2001); "Beyond the veil of exile" (David ben Shitrit 1991); "In Jerusalem" (David Perlov 1963); "Biba" (David Perlov 1977); "Choice and destiney" (Tzipi Reibenbach 1993); "Love inventory" (David Fisher 2000); "Hugo" (Yair Lev 1989); "Because of that war" (Orna Ben Dor 1988); "The last transfer" (Ilana Tsur 1997); "Underdos: a war story" (Rino Tzror and Doron Tzabari 1996).
4 hours, semester B
Drama treatment 50 minutes 3 hours, semester A
Drama script 50 minutes 3 hours, semester B
Developing a bible for a series 2 hours, semester A
Writing a television series 2 hours, semester B
Feature structure 2 hours, semester A
Documentary research 2 hours, semester A
Documentary script 2 hours, semester A (optional)
Writing for soap operas 2 hours, semester A
Script editing 2 hours, semester B
Character design 2 hours, semester A
Dialogue and visual syntax 2 hours, semester B
Submission to foundations and
Distribution companies workshop 2 hours, semester B
Cinematheque marathons 4 hours, annually
Sponsorships 4 hours, semester B
Total hours in semester A: 16
Total hours in semester B: 19
Total hours annually: 17.5
Television drama treatment
Ethan Green, 3 hours, semester A
The treatment, the interim stage between the idea and the script, allows the screenwriter to explore the quality of the idea and the development potential. In order to internalize the format of the television drama, we will watch the best drama's written and produced in Israel and analyze their scripts. The students will work on the format from developing an idea to the treatment stage. The work will be performed in class and by personal sponsorships.
Television drama script
Tamar Marom, 2 hours, semester A
During the course ideas for 6-13 episodes of a television series will be developed. the students will present their ideas to the class for a series according to the genre they chose, synopsis for a full season, exerts from episodes and characters. We will pay special attention to the starting point of the series and the war of unnecessary expositions, to main character design and weaving sub plots into the main plot.
Writing a television series
Tamar Marom, 2 hours, semester B
A continuation course to the bible development for a series where the student are required to write a full episode for a series they developed in semester A and expand the exerts of the other episodes. The finished product will meet all the criteria for submission to a director or franchiser as accepted by the industry. At the end of the course, the program will initiate professional exposure of selected series to professional bodies, and the winning script will receive a financial grant on graduation night.
Avi Nesher, 2 hours, semester A
The workshop will accompany the writing of the exerts for full length movies and deal with solidifying a steady story structure on which the scripts are based. The goal of the workshop is to develop tools enabling the development of communicative scripts that will one day be turned into communicative films.
Eran Turbiner, 2 hours, semester A
What is a good script and who is a good researcher. The definition of the role versus the director and producer. Main information sources and original information sources. Gratification and frustration. A theoretical practical journey into the researches that led to exposures and stories that will be exposed during the course.
The documentary script
Yair Lev, 2 hours, semester B (optional)
The goal of the course is to begin a journey that will lead us eventually to filming a graduating documentary movie. The journey begins with discussing initial ideas and exploring their dramatic-cinematic potential and continuing on to choosing the subject for the movie. Later on the students perform in depth research into the subject chosen. At the end of the research an initial production case is filed comprising of the synopsis and statement of intentions for a documentary graduating film. There is the possibility to continue the project through personal sponsors until the full script stage as well as full production of the project. During the course we will watch exerts of documentary films relevant to the discussions in class and various directing technique of documentary cinema will also be discussed.
Writing for soap operas
Rony Yidor, 2 hours, semester A
The workshop will simulate an authentic process of writing a soap opera: beginning with choosing the world it is occurring in, through building characters, creating the main storylines and their modifications through the many episodes to assigning them in treatments. During the workshop we will address question such as: what sets apart the current Israeli soap opera from the drama? How do you build characters in soap operas? What is the screenwriters' strength?
Editing a script
Arik Kaplon, 2 hours, semester B
The principals of editing a script from the screenwriters' point of view, while keeping the idea line and its translation into a communicative and understood story stimulating interest and excitement. During the workshop, the students' scripts and 5-6 scripts by the students in the directors program that will attend the class, will be analyzed and edited.
Dana Modan, 2 hours, semester A
The character in the film is in actuality the focal point of the plot. Its will, what drives her and how she attempts to achieve her goal and what obstacles stand in her way- all these assemble the story. During the workshop that supports the main annual projects we will try and understand how to build an interesting and complex character that makes us want to take her on her journey, get excited with her, be afraid with her, laugh with her and mostly identify with her. All this so we can learn something about the world around us and mainly about ourselves.
Dialogues and visual syntax
Sigalit Lipshitz, 2 hours, semester B
A practical workshop exploring the role of the dialogue and its function in the script and the film, as well as the role of the unique visual syntax for each script and genre under which it operates. During the workshop the students will examine the role of the dialogues and the colorful world they have created in the central projects of the second year of school.
Submission to foundations and Distribution companies workshop
Tzvika Kerzner, 2 hours, semester B
The goal of this workshop is to improve the writing style of the marketing synopsis towards submitting a proposal to foundations and broadcasting bodies. Introduction to the classic structure of synopsis and pitch, structure synopsis versus idea synopsis, a list of characters, post synopsis, formats and submission procedures to foundation. During the workshop synopsis who received development grants will be analyzed and explored with an emphasis on their writing style and old synopsis' will be rewritten to improve them for submission. In addition, meetings with the heads of drama and documentary departments of the broadcasting channels, representatives of foundations and producers will take place to allow them to present their world view and their demands in submitting production proposals.
4 days, opening of the year
2 days, opening semester B
As detailed in the curriculum of the first year.
Stage 2 – Selection Examinations in the School
The examinations take place in the school and do not require early preparation. The examinations change from year to year and from date to date. Following the results of the home exams and school exams the selection committee decides which candidates will be invited for the personal interview stage.
Stage 3 – personal interview
Applicants who passed stage 1 will be invited for an interview with the committee on dates that will be published later on. The committee will determine the admission/exclusion of applicants.
The administrative board of the school decides each year the annual tuition. The tuition for 2012/13 school year will be 16,000 NIS. An additional fee must also be paid at the amount of 950 NIS during the first year for a subscription to the Cinematheque, books, prints and enrichment activities costs and 400 NIS for the second year.
Independence and changes
The school has the full and sole consideration to change the curriculum and productions. The students will be subject to the schools regulations book.