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Television and CATV Creative Content Workshop Series

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The Art and Science of Creative Brainstorming

Cable Television Content Development and Management

SUMMER 2008

The Dynamics of Studio Film Concept Development and Management Research @ Analysis @ Development @ Management February 2007 Creative Seminar

Translating Short Stories into Horror "pocket stories" is real.  You can find several series of ghost stories that are actually short stories with sometimes "cheesy" ghost pictures.  Usually, a pocket story will range from 10 to 15 pages.  Given that a collection is made up of 5 to 6 short horror stories. 

Coming up with new materials is often difficult. But if you know the structure and components, it is generally less difficult.  But I must admit, scaring people is not a walk in the park. But if you are able to create a winning formula,  chances are, you will be able to capitalize on the business of death.

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Short Story Development and Management Workshop

ampalaya08 ( multiply id)
(Terror Genre : Horror)/ 4 Sessions/
saturdays 2-4pm
Slated For  October 2008


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1. Genre : Horror
a. Components
b. Structure

2. Short Story
a. Rules
b. Elements
c. Point of Views

3. Short Story Components
a. Premise
b. Character
c. Story

4. Short Story Structure
a. Invitation
b. Explanation
c. Shift of Focus
d. Discovery
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For Registration: Please indicate full name and contact number
mobile phone : 09215081060
Fee ( 4,500)
 
1st Creative Minds Brainstorming Clinic
1. Corporate-Media Brainstorming Procedure and Orientation
a. concept development group
b. material development and management unit
c. creative research and analysis group
 
2. Material Development and Management
a. studio archetype
b commercial model
c unique selling point of an idea d studio parameters
 
3. Premise vs. Pitch
a. elements
b. components
c. structure
 
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For Registration: Please indicate full name and contact number
 
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FILM STUDIO BRAINSTORMING...
The Science & Art

 

Want to know how a commercial film production outfit develops projects?

 

Master the principles crucial to make a certified box-office hit movie.

 

Learn how to integrate into your story concept aspects that affect the production of a script.  Know anything from market viability to star system to studio jargons and doctrines.

 

 

Seminar-Workshop:

MARCH 24 & 31

2 Saturdays (9am-1pm)

 

Workshop Fee: P 2,500

 

Email: irish_patatas_entertainment@yahoo.com

 

Creative Seminar Lecture Outline :

First Day (4 hours) : Research & Analysis

- Idea

- Concept

- Premise

- Studio Genre

- What they want vs What you need

- "May Puso" Doctrine

 ------------ --------- --------- --------- --------- --------- ------

 Second Day (4 hours):Development & Management

- Creative Marketing

- Brainstorming

- Group Dynamics : The Collective

- Individual Dynamics : The Self

- Edit & Revision

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A good creative manager, head-writer or creative head unitis able to spot raw talents and guides such talents to absorb skills that are within the parameters of a company or creative team.  The real difficulty is not the training but the spotting.  Contrary to ruthless methods, anger will only make the situation more difficult.  Real talent is often identified through diagnostic trade secrets. 

Creative Management and Development in highly successful multimedia companies are often structured in a think-tank model.  The model presents five distinct types namely; 1) the spotter, 2. the tosser, 3. the pointman, 4. the baseline and 5. enforcer and 6) moderator. The said types are under the moderator who is often the creative head unit or the creative manager.

The baseline provides the initial spread of the creative engagement.  He or she comes up with the raw parameters that are often dictated by the moderator.   The baselines are individuals who present the team with  the initial spread that are often raw and general.   It is then the job of the moderator to evaluate the potential of the baseline's initial spread.

The tosser gives the baseline the creative possibilities. He or she saturates the baseline with  creative inputs that are within the initial parameters of the moderator.  The spotter guides the tosser in terms of interpreting, validating and analyzing the tosser's creative possibilites. The enforcer then edits the the creative output using the analysis of the spotter.   The pointman identifies all the creative options as presented by the creative outputs. In the end, several creative options are presented. The moderator selects the best option and refines the creative output.

A good creative head should know how to classify the members of his or her team.  When the creative head fails to do so, usually, brainstormings are unpleasant and full of useless shouting matches.  Some would argue that anger is a good source for creative outputs... I disagree.  Marketing studies show that when the primary emotion in any creative engagement is anger, creative outputs tend to be shallow and empty. So know what type you are so that you can efficiently use your creativity in a very efficient manner.

 

 

 

 

Writing about Fat People and their collective struggle is not easy specially if you do not know what is behind the fat.  Domestic Movie Studios, trying to embibe the Korean Cinema Sense and Sensibility are unable to capture the real essence of what the struggle is all about. 

Size has a form and a function. Usually,  what we see is the form minus the function. A person who loves food and does not exercise has a different function from a person who loves food and does exercise.  Fat, in its molecular dimension, has its own relative emotional and physical effect to a person. Thus, one must study the molecular dimension of a Fat Person.

The Nutty Professor is a good example in terms of entertaining the viewing public using Fat as the core value of the comedy.  When writers and directors provide a distinct personality behind the "fat", we begin to engage and realize that the "fat' character has an inherent form and function.

I guess, the same treatment is applicable to any sector in society.  If we just show the form, we are not seeing the big picture in terms of character dynamics.  I do understand that entertainment is a huge given in any mainstream material but it will be more entertaining if we get to know Mr. Chubby. After all, more money is gained when the audience is engaged.
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The Sequence As An Action Rather Than A Number Aug 14, '08 6:57 AM
for everyone

 

A sequence is considered as a unit under a script construct.  The conventional appreciation of a sequence relies heavily on quantity as a collective. Meaning, a material with a 60 minutes peg usually have, in general terms, 60 sequences.  This is true if there is symmetry in terms of how you mount a sequence in relation to or with the previous and next sequences.

But what prevails in the alternative digital movie industry is the notion of asymmetrical treatment of sequences. Meaning, a material with a 60 minutes peg relies heavily on quantity in terms of time per sequence. Thus, a sequence may have a different amount of time expenditure compared to the previous and next sequences.

Given the distinction between the two, it is possible for an alternative material to have 40 sequences with a running time of 60 minutes.  This is so possible within the framework of asymmetrical treatment. Thus, this technique is well suited for low budget productions that seek to have big budget look in terms of material deployment.  

 

 

irish_patatas_entertainment@yahoo.com

Love story, love story and love story! The mainstream film industry is full of it and the market is saturated with it. But do love stories really bring home the bacon? To give a sweeping answer to this question is not ideal for an academic discussion. And besides, it is difficult to determine whether or not a love story is a blockbuster considering that we do not have a mechanism for it. I feel that it is not a good idea to rely on professional spin-doctors in the film industry calling a love story a big hit when in fact the real accounting does not give us the fair shake. A love story is not a genre but a plot structure. It is not a story but the spine of the story matrix and the character matrix. Understanding a love story as a plot structure makes it more real as a construct that yields unity, plausibility consistency as it moves from the beginning up to the end. This is the nature of any plot. It provides both the story matrix and character matrix a visible frame. Unity, plausibility and consistency are the elements that make a love story move as a plot structure. This is the triangle from which a story-editor tracks down whenever he or she evaluates a material that uses the said plot. It sounds cut and dry. But believe it or not, this basic triangle does not hold true for both mainstream film industry and alternative digital movie industry.

Certain people will demand for more dialogues while others will demand for less dialogues.  Conventional wisdom states that character driven materials are always given more dialogues compared to story driven materials.  But this is not always the case, sometimes, character driven materials are more effective if less dialogue is employed.

Then again, there is always this question with regards to melodramas.  Usually, melodramas like soaps are often dialogue stereotypes with emphasis on the deliveries of the words and sentences.  But when we deal with character driven "dramas" or "pure dramas", what works with the construct is the principle of "less is more".


When demanding for more dialogues, there is the need to come up with unique models.  Recycled dialogues are rampant specially in television soaps.  When soap wirters write for cinema, the wide screen is transformed into the television screen. Instead of making the central problem cinematic, the audience ends up with emotional sprints.

Melodrama works for television when it is the only tone offered by television networks.  The same is true for cinema.  We always get this over the top melodramas that are only good for 2 minutes and then the whole thing becomes an artificial emotional loop.

Dialogues should describe the physical and emotional flows of the narrative.  "The Dialogue" is not the center of the material or the universe from which all the elements in a material or script are subordinates.  Dialogues augment the milieu, the montage and the mise en scene. " The Dialogue"  is just a part of the cinematic experience and not the experience itself.

To be technical about it, a summary refers to the beginning, middle and end of a story or backstory of a character . A synopsis is different.  It does not refer to the story rather it pertains to the conflict of the material.

  If you check out the backs of your dvds, you will discover that the actual description of the feature tackles the main conflict of the material.  The trick in giving out a "kick ass" synopsis is to determine which part of the conflict is super interesting to the end user. 

Usually, the first 5 or 10 minutes of the outline of the material is the hook of the potential feature.  But there are times that the body of the conflict is far more "gut wrenching" than the others.  Again this is a matter of common sense. There is no magic about.  If you know your conflict, I bet you can write a 1 Page/ Double Spaced Synopsis in 30 minutes or less.

In Hollywood, there are creative individuals whose main bread and butter is come up with "commercially brilliant ideas".  With emphasis on the word "commercially".  Idea, by nature is abstract. An idea is not a concept and a concept is not an idea. A concept is relatively more concrete than an idea. Some may argue that a concept is a collection of ideas. Ideas that are put together in order to form a concrete action plan with regards to the overall material.

Judging an idea is subjective, some may hate your idea while others may adore it. What is important is that the haters are within the parameters of non-decision makers and the lovers are those who call the shots. In the "prelims", the key people are the producers and the creative directors.  Your team mates may hate your idea but what can they do. In the end, the best idea is the idea that sells itself to the immediate consumers and not your immediate

 

 

Unrealized  Slapstick Situational Comedy

Slapstick Comedy depends on broad physical comedy and pantomime for its effect rather than verbal wit or character dialogue. Thus, when a comedy revolves around slapstick, physical routines that provoke audience to laugh are essential.

Word plays and puns are often identified with slapstick.  This is a common mistake.  Action and activities are more related with this mode compared to text and subtext.  This is more or less supported by Slapstick Comedy of the Three Stooges wherein physical comedy is widely applied.

People who do not understand this mode and genre of comedy often label Slapstick to be a comedy with no meaningful content. Partly, this is the fault of comedy writers who are not familiar with and do not respect this comedy sub-genre. Often, they recklessly interchange Slapstick Comedy with Gags. 

Slapstick Comedy provokes the audience to react or act on a funny and physical stimulant. The funny factor of this genre may draw its strength from its form or function. Thus, Slapstick Comedy may either entertain people or engage them in a dialectic discussion of varying topics or issues.

When television introduced Pugad Baboy as a situational comedy, immediately, it was a disaster in the making. The lack of proper research and deconstruction made the whole attempt futile in the first place. Such a promising material was reduced to a meaningless exercise. Some people say, that disastrous sitcom affected the popularity of the franchise in the print media. Somehow, the magic disappeared when inherent weaknesses of the franchise were exposed.

Pugad Baboy is a comic strip that relies on physical comedy as a mode. Characters revolve around routines that are directed to inducing laughter to its immediate audience. Furthermore, the comic strip by nature is made up of visual one-liners. Thus, there are no visible emotional and physical narrative threads. What we see are feedliners and punchlines that constantly interact in order to create what we call "the funnies

Translating a comic strip that is base on visual one liners that utilizes slapstick comedy as a mode requires a lot of structural conversions in order to transform it into a workable situational comedy. For one thing, a sitcom requires visible emotional and physical narrative threads. Thus, the mode of comedy is no longer a function of feedliners and punchlines rather it begins to tell a complete story in terms of components and structure.

The Pugad Baboy sitcom did not exhibit such vital features rather it relied on sentimental popularity that was clearly flimsy because the story and the characters were not deploying a meaningful material whether it was for entertainment or dialectic discussions.

Proper research and deconstruction would reveal that the sitcom was a situation of place. The magic came from the mythology of the place called Pugad Baboy from which the characters and their relationships existed. Take away this urban myth and the characters cease to be alive. I mean, where was the self-conscious dog Polgas in the equation?

The point of this case study is to emphasize the need to understand the dynamics of both the genre and the format. The inability to identify, deconstruct and manage a material will always lead to disastrous consequences. Pugad Baboy could have been a groundbreaking sitcom. It has the potential to use Slapstick Comedy as a genre in engaging its audience in dialectic discussions through the situational comedy format.