Chapter 8 of 18 from Jodie Foster

Jodie’s Short Film: The Screenwriter-Director Collaboration

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Jodie and Scott go deeper into how to make the relationship between a director and a screenwriter more fruitful and effective.

Topics include: Jodie’s Short Film: The Screenwriter-Director Collaboration

Jodie and Scott go deeper into how to make the relationship between a director and a screenwriter more fruitful and effective.

Topics include: Jodie’s Short Film: The Screenwriter-Director Collaboration

Jodie Foster

Jodie Foster Teaches Filmmaking

In her first-ever online class, Jodie Foster teaches you how to bring stories from page to screen with emotion and confidence.

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Storytelling in action

Go behind the scenes with two-time Oscar-winner Jodie Foster, star of Silence of the Lambs and director of Little Man Tate. In her first online class, she’ll teach you how to bring your vision to life. Jodie brings her experience on both sides of the camera to guide you through every step of the filmmaking process, from storyboarding to casting and camera coverage. Everyone has a story. Learn how to tell yours.

From storyboarding your vision to collaborating with actors, learn filmmaking from an Oscar-winning Hollywood legend.

A downloadable workbook accompanies the class with lesson recaps and access to exclusive supplemental materials from Jodie’s archive.

Upload videos to get feedback from the class. Jodie will also critique select student work.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

overwhelmed by the class and Jodie's insights bith as a director and an actor. I will combine these lessons with those of Ron Howard's.

Helped me think of the greater journey as I'm a writer which can be quite insular.

I enjoyed and valued the genuine openness in Jodie Fosters Filmmaking MasterClass. Film makers are magicians that weave a story to move the heart. Just as Foster does not like directors who manipulate their actors, Film makers might seek the integrity of story purpose and not manipulate the viewers.

I have always had great respect for Jodie Foster as an actress, performer and artist. Now I have a great respect for her as a director and a greater respect and admiration for her as a woman and a human being. Thank you for who you are.

Comments

A fellow student

Where do we find the script they keep referencing? Can’t find where to download it. Thanks!

Carolyn S.

Excellent conversation about collaboration - how difficult it is and how to navigate the often rocky waters of working with others in a creative environment.

morgan

Simplistic brilliance. 1) her drilling down on the : Words get in the way. Experiential . " YOU TALKING TO ME ?". Most Iconic lines and scenes are born from experiential actors. 2) Problem solved, put on your tennis shoes and keep Doing it. And keep doing it ! Thank you.

Vivian

LOTS of great tips on how to collaborate successfully among directors and writers for the BEST screenplay.

ALICIA S.

Once everyone brings ideas to the table, it is about compromising on the choices and modifying the structure as seem fit. Great lesson.

Jerry R.

Very good discussion, especially the part about writer thinking as opposed to director thinking. Writers do tend to think in terms of "dialogue," but not always. Once I had a terrific action scene in a script but a reviewer was very disturbed by it, saying, there's no dialogue, there's no dialogue, but what was the character supposed to do, talk to himself? He was the only one in the scene. I finally did break it up with what another characters were doing at the same time. That was a reviewer though, and not a director. Directors are more cognizant of behavior and what action is important, and when they're done with the scene, they don't want to add more dialogue, unless the scene absolutely requires it.

Daniel

what an amazing class extremely interesting and organic thanks for the insights

Julio J. I.

Really enjoyed this insight. Something that is easily overlooked but so valuable and important.

M.K. B.

Your discussion is so organic and most remarkable. How wonderful that between you both, you can combine the experience, awareness and knowledge of a Producer, Director , Actress and Writer - so many thanks for your sharing and wise words.

Andrea B.

I started this class with the intentions of following along with the workbook. But, I have found watching it all the way through first is the way to go. It's so meaty. Better than I was expecting. Thank you so much. I actually think I'll have a film at the end of it all.

Transcript

So what do you think makes the best screenwriter-director collaboration? - Obviously, every director is different. And you've worked with so many amazing directors. And you have to, I'm sure, turn yourself into a pretzel for some of them. - Well, I think these are shotgun marriages, as I often say. You know, you're thrown into this intense situation. And you've just spent all this time with something. And now, somebody-- usually, most often, the director-- comes in later in the process. And now, they have their own ideas. And it can be rejuvenating. It can be inspiring to have somebody see into your world and have these ideas that make it better. Ideally, it's one and one is three once the director comes on so that you hope, like with all relationships, that you both want the same thing. And you may disagree about specifics, tiny specifics. If we're talking about "under her breath" and things like that, that's fine. But if you're talking about huge character issues, and the direction of the story, and the tone in particular-- because a lot of directors don't understand the tone you might have, or you might just have a simple disagreement. But if you're all, if you're in sync, I find that I try to, in every department, let the racehorse run, and see what people want to do, and try and understand what they're trying to say, and process it. Because you can be defensive. But then, you're killing the conversation. You're not enabling collaboration. And I may be listening to something I know I disagree with or have an issue with, but I want to see where they're going. Sometimes I'll be so instantly annoyed though, and I will make the mistake of jumping on something. And when-- you know-- when you get jumped on, you shut down. So now, you're both-- I'm annoyed. They're defensive. There's no conversation. So it's better to just take it in and listen and try and understand where they want to go. - Yes, full agreement. I've worked with a lot of writer-directors. And sometimes it's the best possible scenario, right? It's a real auteur the way you work. And sometimes I find, as an actor, I find that-- especially inexperienced writer-directors-- is that they tend to feel like the movie is that idea that they had in their hotel room when they were all by themselves, and especially writers who are really used to sitting in a room and typing all by themselves and laughing hysterically at what they've written. Movies don't work that way. There are 125 people. Also, some writers really get bogged down in dialogue and structure because those are the two big components. And it's hard for them to be free enough to see that movies aren't really about what people say. They're about behavior, and about complexity, and about how people do things that are against their nature sometimes. It's hard for them-- sometimes they get very syllogistic, and it's hard for them to see that human behavior doesn't always work syllogistically. Sometim...