WEA courses

Away from any specific film movements or ‘waves’ relevant to their own countries, some filmmakers seem to earn greater acclaim internationally, often making films set outside their own native country, yet still telling the stories and expressing the themes they wish to portray. We examine what some of these, perhaps universal, stories and themes are, what are the stylistic approaches they use and just how and why these manage to resonate with critics and audiences. Are all these films received with equal praise within the director’s home country, are they seen as ‘selling out’? And regardless of what the director themselves might intend or state, are there still conscious or unconscious echoes of national cinematic movements within their work? And what role might financial sources play? Ang Lee’s Crouching Tiger Hidden Dragon received praise yet the director was regarded by some as ‘selling out’ or ‘exploiting’ himself to the West. Luc Besson’s The Fifth Element could be viewed simply as a Hollywood sci-fi with a French Director, yet does the director add far more as an outsider, making more intellectual comment than one may expect from a commercial genre-movie. Not unlike Peter Wier’s Witness and Jane Campion’s The Piano, so many of these works which despite their creative diversity, also evidence their director’s own unique cinematic voice. Likewise, Wim Wenders recent Perfect Days, set in Japan, how far removed is it from the director’s early underpinnings of German Cinema? Perfect Days (2023), Couching Tiger Hidden Dragon (2000), The Piano (1993), Witness (1985),The Fifth Element (1997).

The purpose of this course is to aid you in finding the confidence and inspiration to apply genuine method in gathering memories into writing, using a fun, friendly and structured approach. This course is ideal for those who would like to learn more about creative writing, whether it be for fact or fiction. We will focus on a number of tips and tricks to bring our words alive.

This which go bump in the night, are some to quick to dismiss anything ghostly or supernatural as ‘horror’? Films which feature haunting and/or the supernatural so often rely on the fear of what might happen, mystery and suspense. As Alfred Hitchcock once said, ‘there is no terror in the bang, only in the anticipation of it’. We examine of this is also true of a good ghostly tale on film, like a thriller keeping the audience wondering what might happen? How do they do this, what techniques do they use? Films such as 1961’s The Innocents are noted as classics of the genre, adapted from a literary source, with memorable shots and scenes it still has the power to unnerve but has some of this been lost as other films copy its template? Ealing’s Dead of Night is now an influential cult classic but an oddball for the studio so noted for its comedy, what does it indicate about immediate post-war Britain? Rosemary’s Baby is now noted as pushing the genre forward into the modern age, from external terrors to fears lurking within society itself, 2001’s The Others attracted a broad audience, with fleeting nods to The Innocents, how did it re-energise the ghost story on film for the 21st Century. Whilst Ghost Story serves as an example of an all too often curio worth seeing for every fan of a ghostly tale. The Innocents (1961), Dead of Night (1945), Rosemary’s Baby (1968), Ghost Story (1974), The Others (2001).

Show don’t tell – so often easier said than done – Just how does an idea turn into a script? How much info do I include in a script? Is it really more than just dialogue? In some ways writing a script requires a very different approach from the writer. We gain knowledge and understanding of the differing requirements of writing for the screen, both what works for TV and what approach is more cinematic, as well as writing for the radio. Radio, so often described as the ‘intimate’ medium, plays in a listener’s head offering scope for greater imagination and powerful emotional effect. We will also explore the creative process, just what is the correct format for each of these mediums, where to start, how to develop an idea into a script, allowing it to grow scene by scene (what even is ‘a scene’). The course will also cover writing/developing a TV series, comedy, writing for ‘soaps’ and feature some more general skills on developing story structure and character development of interest to any budding writer. With a mix of group and individual tasks, discussion, analysis of clips as examples, it is hoped that all will dabble and develop some writing whilst on the course. What makes a good script and what is a bad script? This is an informative and fun course, with some key first hand information, not to be missed.