2 -Day intensive on everything you ever wanted to know about writing.
Event Director Robespierre Santos ( Producer | Managing Director – Wigile Group):
“STORY TOUR ASIA 2011 ENGLISH FILM & TV WRITING SEMINARS was launched in November 2010 by Australian based organisation The Story Department and Wigile Group as a joint venture to connect with screen industry artists in the Asia Pacific region. In a largely Hollywood dominated industry, our hope was to use this once only opportunity to educate the Asia region on being more competitive internationally in the English screen industry. The product of the venture was to offer two-day intensive seminars open to the public in three cities in the Philippines. We also give private workshops to corporate screen industry clients in the Philippines. Intermediate to advanced English is a prerequisite as the seminars are delivered in English by Karel and Luke. The event dates are scheduled May 7 – 15, 2011. See you there!”
SEMINAR VENUES
Manila, Philippines | NCCA auditorium, 633 NCCA Building, General Luna St. Intramuros
Cebu, Philippines | USC CAFA – USC Technilogical Center, Talmban Campus
Bacolod, Philippines | University of St. La Salle, La Salle Avenue, Bacolod City, 6100
Special Thanks:
Karel Segers (The Story Department)
Luke Devenish (Soap and Glory)
Peque Gallaga
Sophia Erasmo (Managing Director of Story Tour Asia)
Ms Amor Olaguer (ABS-CBN)
Ms. Malou Jacob (Executive Director National Commission for Culture and the Arts), Susan Dayao and Abigail Lazaro
Dr Gloria Fuentes and Ms Marivic Lacson of University of St. Lasalle Bacolod.
Mr Jun Pasaylo (editor/writer PhilStar)
Dr. Joel Espina (Dean of University of San Carlos CAFA)
Mr. Ed Lejano Jr. (Director UP Film Institute) and Yason Banal.
Mr Nick Deocampo (Centre for New Cinema)
Mr Raz De La Torre
Mr Ricky Lee
Mr Raymund Dizon (ABS-CBN)
Mikey Sanchez
Alastair Lambo
Jamiel Nunez
and everyone else who have supported the tour.
STORY TOUR ASIA (PHILIPPINES) 2011 English Seminars and Workshops
Anyone has the potential to write great stories
The seminars and workshops not only introduces participants to the principles of successful storytelling but it gives participants solid grounding on how to craft engaging characters and plots. As blockbuster writer Raz De La Torre proves you don't have to be a film major to succeed as a writer.
Learn to write memorable stories that resonates with the broadest possible audience
The seminars and workshops showcases well-known Philippines writers such as Ricky Lee and Raz de La Torre, and international bestselling Australian writers such as Luke Devenish. They made successful careers out of writing and will give you the inside scoop on how they created stories that connect with audiences on both an emotional and intellectual level.
Learn the language both understood by the people who green light a film
Broadcast executive Raymund Dizon and Producer Amor Olaguer shares their insight into the very heart of the business of screenwriting. Acclaimed motivational script coach and producer Karel Segers tops off the event by giving you a step-by-step guideline for effective plot structure and characterization in your own writing”.
“The writer lives in two worlds – one is his imagination and the other is the professorial world of film and television”.
The premiere of the Story Tour Asia English Film and Television Screenwriting Seminars in the Philippines provides a unique opportunity for any aspiring creative writer, director and producer, screen industry or non-industry professionals to extend their knowledge of the craft of storytelling and to network with other creatives.
Responding to the international film and television industry's rapid change, The Story Department and Wigile Group International in cooperation with thinkCreative Productions are excited to announce the new launch of Story Tour Asia (Philippines) May 2011 – English Film and Television Writing Seminars and Workshops.
We make the talent and expertise of renowned industry professionals from other territories available to established and aspiring writers in the Philippines.
Offering the first comprehensive English film and television storywriting classes of its kind in Philippines, the Story Tour Asia seminars and workshops aim to bridge the gap between screen industries in the East and West.
In a globalised market it is the products with universal appeal that travel beyond national and language borders.
The Story Tour Asia (Philippines) 2011 – English film and television storywriting seminars allows participants interested in creating stories for the screen to identify the elements of this appeal, leading to the creation of internationally successful product.
Attending the Story Tour Asia (Philippine) 2011 seminars are an unmissable opportunity for all aspiring or practicing writers, novelists, playwrights, journalists, directors, actors and producers who want to write stories that capture the imagination of a broadest possible audience.
International & Local Talents
“Course exceeded expectations. It was very good to have a teacher who also works in the field he teaches. The best educational experience I’ve had bar none. Absolutely fantastic” (Soap & Glory workshop participant)
“All I can say is “wow” – I was able to gain new insight into why Hollywood films are so successful” (The Story Department seminar participant)
The Philippine Screenwriting Tour 2011 showcases two internationally experienced screenwriting instructors, Karel Segers (The Story Department) and Luke Devenish (Soap & Glory), and local film and television industry luminary Ricky Lee, broadcast executive Raymond Dizon, blockbuster screenwriter Raz de la Torre, and film executive Amor Olaguer will share their insights on how they created, developed and marketed their own stories for the screen.
On the first day of the weekend seminar in Manila Luke Devenish reveals the mechanics of serial drama writing with particular focus on creating viable, endearing, compelling and sustainable characters and creating storyline character trajectories.
On the second day, Karels Segers discusses how the Hero’s Journey can empower film screenwriters to connect with a universal audience and how to structure an “elevator pitch” of your story to sell your screenplay to film and television executives.
Participants can expect to study clips from TV soaps and Films, and attend either the one day intensive for TV writing or the one day intensive for Film writing or both.
Screen industry executives with projects in development wanting one-one feedback of a full script can get their scripts analysed by Karel Segers (Film) or Luke Devenish (TV).
SPEED NETWORKING NIGHT
Collaborate with other creatives who attended the seminar in the exhilarating social event. Each participant has 5 minutes to pitch their project and ideas. This is a great opportunity to meet other directors, cinematographers, writers, editors, actors, animators, specialists, and cross media professionals. So arm yourself with business cards and swap them later at the after-drinks .
SEMINAR OBJECTIVES
Broadly, the seminar & practitioner workshops will focus on the following areas:
FILM
Karel Segers
- Use the Hero's Journey as a practical tool to test new stories and improve existing ones
- Understanding aspects of the transformational hero character archetypes in film and examples.
- Building on the 3-act & structure and applying the journey in eight sequences in film script development.
- Using loglines and step outline when writing your screenplay or script
- Understanding the differences between movie theme and premise when concepting your idea
- Understanding Point of View and the importance of the Active Hero
- Understanding Turning Points and Sequences, First Look and Scene Structure
- Pitching and Selling your screenplay.
- What you need to know about agents. What do you send.
- Writing blockbuster features for the silver screen.
TELEVISION
Luke Devenish
- Interpreting potential character and story trajectories for TV drama serials
- Creating viable, endearing, compelling and sustainable characters for pre-existing soap concepts
- Creating storyline character trajectories on pre-existing soap working in time frames of days, weeks, months and years, generating viable storylines.
- Creating a viable soap concept from scratch.
- Understanding television structure, acts and scene sequencing
- Understand the mechanics of long running soap series
- Identify the essentials of serial drama and the building blocks for long term success
- Identify the character mix for successful soap creation
- Explore great storylines and examine why they are successful
- Set up pilot episodes
- Explore the dynamics of great characters
- Understand the genre and discuss new developments in the area
- Understanding the importance of character archetypes in television writing.
- Pitching your TV pilot to network executives.
For a more detailed summary read Soap & Glory and The Story Department pages.
LOCAL FILM AND TV LUMINARIES
Raz De La Torre
- How I started and got a job in a major studio in the Philippines.
- I was not a film major
– my only background in writing were a 2-day film scriptwriting workshop and a month-long workshop for TV soap writing (both under Ricky Lee)
- developing storylines for Star Cinema, pitching, revisions
– honing your writing skills by actually writing
- Surviving in the mainstream
- knowing the preferences of commercial film studios
– developing projects for your own self (my short film for the Cinemalaya Independent Film Festival) to nurture my creativity
- Benefit of knowing the 3-act Structure, etc
- having a language both understood by the writer and the producers (who green light the film)
– the struggle of successfully pitching my stories back when the producers did not understand the story and plot elements, and how it is better now that they do
- Success in the mainstream
- why I believe some of my works were successful, despite most of them being of the usual rom-com mold
– there are no new stories, but there are million ways to tell stories. Storytelling is what spells the difference.
Ricky Lee
Raymund Dizon
Amor Olaguer
ADVICE FROM THE EXPERTS
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Rapid change of the international film and television industry
Luke Devenish: “The film and television industry is today more international than ever before. Just as Western product has long held a presence on Asian screens, now the brilliant films and television shows of our region are making a real splash with the audiences of the West. The entertainment industry is globalised. Actors, directors, writers, producers and production crews cross borders to creative stories for the screen. Many of the region's biggest hits have proven highly adaptable, being remade and re-localised to reach new territories. The creators of our region's film and television stories have found ways of generating profit from their work, and extending the shelf lives of their concepts, that didn't exist a decade ago. The skills and experiences of industry professionals from other territories are suddenly of enormous value in this fluid, evolving market place”
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Surviving and succeeding in the mainstream
Blockbuster screenwriter Raz De La Torre states: “You don't have to be a film major to get a job in a major studio in the Philippines. It is about knowing the tools and principles of storytelling, the preferences of commercial film studios, developing projects for your own self, nurturing your creativity. Storytelling is the difference.
To reinforce the difference between simply creating films, and creating stories legendary filmmaker Peque Gallaga states: “Stories are not essential to getting a film produced. It is not very hard to make a film these days with the technology available. The problem is getting it seen. Nowadays, anyone can get hold of a camera and call themselves ‘filmmakers’. They show it to their friends or at festivals. But their films never reach a national or global audience. The problem is the lack of exhibitors and distributors. We need dedicated exhibitors willing to show our films, bring audiences together. We also need the right producers to champion the films, bring artists together, find the required financing and promote their films. We are also good at teaching directors and teaching the technical aspects of filmmaking but what we need is to teach screenwriting”.
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The call for action…in a globalised market it is the products with universal appeal that travel beyond national and language borders
Peque Gallaga: "As a filmmaking nation we are in trouble. Although, we do have some TV shows showing in other countries, and this is the way things are going, filmmaking in the Philippines however is in dire situation. I think what is lacking is a heightened awareness. A world perspective. I am aware that as artists we have to deal with what we know. But we have to go beyond the parochial. We have to set off what we know in relation to the world around us. So, in a very strict sense, filmmakers here limited to always having to try and figure out ‘the right formula’ for acceptance as opposed to simply creating their work and presenting it to the public at large. Because of this mind set, we’ve lost that sense of innovation and imagination. In the past we exported teachers to Korea and taught them how to make movies. Now some of the best films I’ve seen are Korean. World awareness and vision is something that is needed".
Luke Devenish: “Attending the Story Tour Asia (Philippine) 2011 seminars are an unmissable opportunity for all aspiring or practicing writers, novelists, playwrights, journalists, directors, actors and producers who want to write stories that capture the imagination of a broadest possible audience”.
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The need to collaborate with other creatives
Those who attend the seminar are given the opportunity to pitch their project and ideas to other directors, cinematographers, writers, editors, actors, animators, specialists, and cross media professionals.
Attendee and movie producer Michelle Ann Rio (OBRA Multimedia) states:
"Ever since our film won an international award last year, it was depressing that I couldn’t go to all the gala to meet all the people. It was only the director who goes there. I wanted to quit my job however economy is not doing good with all the calamities happening around the world. So I need to be practical but at the same time, not sacrificing my passion. That is why I was really happy to know about story tour asia. So what I expect from the workshop, since I previously had two films done and another workshop that I attended last month is to prepare me for my trip this coming July in Thailand. The director and I will be back there as our full length film which we, oh I mean they, are currently shooting right now will be shown there. So I just want to be ready, have that knowledge and enough confidence to talk to people and make connections abroad".
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