{"title":"利用合作:低成本澳大利亚故事片制作中的剧本开发过程","authors":"Susan Cake, Sean Maher, Tony McGrath","doi":"10.1080/17503175.2021.1993650","DOIUrl":null,"url":null,"abstract":"ABSTRACT For independent Australian filmmakers working outside traditional funding sources, the script often provides the sole means of raising finance to take the film into production. In the case of the low budget Australian feature films Pimped ([2018], “Directed by David Barker. Playground Films.” Apple TV) and Watch the Sunset ([2017], “Directed by Tristan Barr and Michael Gosden.” Barr Lipp Productions. STAN), however, script development was elevated and sustained by the filmmakers resisting a rigid adherence to writing, directing, and producing roles and opening up input from actors. This research employs case study analysis supported by interviews with the writers/director of Pimped and co-writer of Watch the Sunset to examine the script development processes that led to the successful completion and distribution of two low budget Australian feature films. Born out of the necessity to self-fund development, Pimped and Watch the Sunset provide insight into script development processes that value flexibility and receptiveness to the contributions of creative practitioners traditionally divided by above and below-the-line roles and exemplify how creative collaboration can facilitate successful development of low budget films operating beyond the constraints of screen funding bodies.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Leveraging collaboration: script development processes in low budget Australian feature filmmaking\",\"authors\":\"Susan Cake, Sean Maher, Tony McGrath\",\"doi\":\"10.1080/17503175.2021.1993650\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT For independent Australian filmmakers working outside traditional funding sources, the script often provides the sole means of raising finance to take the film into production. In the case of the low budget Australian feature films Pimped ([2018], “Directed by David Barker. Playground Films.” Apple TV) and Watch the Sunset ([2017], “Directed by Tristan Barr and Michael Gosden.” Barr Lipp Productions. STAN), however, script development was elevated and sustained by the filmmakers resisting a rigid adherence to writing, directing, and producing roles and opening up input from actors. This research employs case study analysis supported by interviews with the writers/director of Pimped and co-writer of Watch the Sunset to examine the script development processes that led to the successful completion and distribution of two low budget Australian feature films. Born out of the necessity to self-fund development, Pimped and Watch the Sunset provide insight into script development processes that value flexibility and receptiveness to the contributions of creative practitioners traditionally divided by above and below-the-line roles and exemplify how creative collaboration can facilitate successful development of low budget films operating beyond the constraints of screen funding bodies.\",\"PeriodicalId\":51952,\"journal\":{\"name\":\"Studies in Australasian Cinema\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-09-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Australasian Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503175.2021.1993650\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Australasian Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503175.2021.1993650","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
摘要
摘要:对于在传统资金来源之外工作的澳大利亚独立电影制作人来说,剧本往往是筹集资金将电影投入制作的唯一手段。然而,就低预算的澳大利亚故事片《皮皮德》(2018年)和《看日落》(2017年)而言,电影制作人抵制严格的编剧、导演,制作角色并开放演员的投入。这项研究采用了案例分析,并采访了《皮姆佩》的编剧/导演和《看日落》的联合编剧,以考察导致两部低成本澳大利亚故事片成功完成和发行的剧本开发过程。出于自筹资金发展的需要,Pimped和Watch the Sunset深入了解了剧本开发过程,这些过程重视灵活性和对创意从业者贡献的接受度,传统上按线上和线下角色划分,并举例说明了创意合作如何促进低成本电影的成功开发,这些电影超越了电影资助机构的限制。
Leveraging collaboration: script development processes in low budget Australian feature filmmaking
ABSTRACT For independent Australian filmmakers working outside traditional funding sources, the script often provides the sole means of raising finance to take the film into production. In the case of the low budget Australian feature films Pimped ([2018], “Directed by David Barker. Playground Films.” Apple TV) and Watch the Sunset ([2017], “Directed by Tristan Barr and Michael Gosden.” Barr Lipp Productions. STAN), however, script development was elevated and sustained by the filmmakers resisting a rigid adherence to writing, directing, and producing roles and opening up input from actors. This research employs case study analysis supported by interviews with the writers/director of Pimped and co-writer of Watch the Sunset to examine the script development processes that led to the successful completion and distribution of two low budget Australian feature films. Born out of the necessity to self-fund development, Pimped and Watch the Sunset provide insight into script development processes that value flexibility and receptiveness to the contributions of creative practitioners traditionally divided by above and below-the-line roles and exemplify how creative collaboration can facilitate successful development of low budget films operating beyond the constraints of screen funding bodies.