First Tuesdays with TheFilmSchool


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Every First Tuesday

6:30 p.m. – 8:30 p.m.
Roy Street Coffee & Tea
700 Broadway E Seattle, WA
Free parking at the north end of the 
building & along Broadway after 6pm.

Each first Tuesday join please join us for FREE monthly film-related events that speak to the core of storytelling, which is the essence of programs offered by TheFilmSchool.
 
We mix it up each month with a range of mini-workshops, screenings, networking events, parties and pitch nights.  Check out the schedule here.

TheFilmSchool’s core offering is the 3-Week-Intensive, a 3-week, 6-days-per-week, 12-hours-per-day screenwriting course that has been described by alumni as “brave” and “life-changing.”

If you’d like an email reminder about First Tuesday events, subscribe to our newsletter.

Please join us for these fun and inspiring evenings!

 

  

 

2012 Schedule

Upcoming Events
previous events

May 1 - Constructing Documentaries and the new FilmSchool Documentary Camp
Learn about building a doc from the ground up. Topics include: story development, fundraising, grant writing, international production and trans-media distribution.

Special Guests John W. Comerford (Producer: Icons Among Us: Jazz in the Present Tense, AROUND THE FIRE), John Helde (MADE IN CHINA) and Sandy Cioffi (Director: SWEET CRUDE). RSVP on Facebook.

June 5 – TFS Shorts Night
Watch short films by TFS graduates, faculty and board members and meet some of the filmmakers to learn about the world of making short films and getting them distributed.
 
July 3 – Producing Shorts
A follow up on the previous Roy Street night, meet additional filmmakers who have raised capital, made films, and gotten them out there.
 
August 7 – Casting
Casting Director Jodi Rothfield walks us through the importance of casting well, and the hows of doing it.
 
September 4 – Pitch Night
Writer Andrew Chapman and Executive Director / Faculty-Member John Jacobsen hear your pitches and help improve them
 
October 2  - Horror Night
Eric Morgret, the host of the Maelstrom International Film Festival, talks about making and distributing horror films as first films.
 
November 6 - TBA
 
December 4 - White Elephant Party
Bring your favorite bad DVD to our annual party for filmmakers and exchange it for yet another bad film.  Drink, eat, and meet fellow artists at this large, fun party.


Previous Events

April 3 - The Female Filmmaking Force in Seattle

Hosted by indie director and FilmSchool alum, Sue Corcoran

*** Here’s a rough-cut recording from the live webcast (YouTube) ***

Experience the momentum and strength of some of the strongest and most prolific filmmakers in Seattle. They will discuss their creative inspiration, from scriptwriting & producing, to financing their indie films.  Panelists include award-winning women filmmakers:  Sue Corcoran (Writer/Directer: IRA FINKLESTEIN’S CHRISTMAS), LYNN SHELTON (Writer/Director: HUMPDAY), Jennifer Roth (Executive Producer: BLACK SWAN, THE WRESTLER), Megan Griffiths (Writer/Director: THE OFF HOURS) and Lacey Leavitt (Producer: THE CATECHISM CATACLYSM). Learn More.

March 6 - The Stories Inside Stories
Lyall Bush, executive director of Northwest Film Forum, discusses Synecdoche, NY and the eccentric storytelling craft of Charlie Kaufman.  Kaufman revels in loose ends and lack of neatness, and the film is a virtuoso display of stories that veer and branch into other stories that branch again (and don’t resolve). That is part of his point, and part of the pleasure of this mesmerizing film.  RSVP via Facebook here.

February 7 - Open House /Script Clinic
Meet the TFS Faculty and Get Their Ideas on How to Solve Problems in Your Script
TheFilmSchool faculty will be present to talk about what our school is and does, and the state of filmmaking in Seattle and the world today.  We’re also make time to hear the first ten writers ask us how to solve a key problem in your writing or script and do our best to offer possible solutions.

December 6 – Networking and White Elephant DVD party
Gift-wrap a no-longer-cherished DVD from your home collection–everyone who brings one will receive someone else’s cast-off. And remember to bring your business cards–this is going to be a great opportunity to make new contacts, meet local filmmakers, talk about your projects and find out what’s going on in Seattle’s film community. Grab an espresso or a glass of wine and let’s mingle!

November 1 - Narrative Storytelling in Animation
We’ll screen some excellent examples of narrative in animated shorts, and meet those involved and get a glimpse into their creative process. With guests like THE THOMAS BEALE CIPHER co-producer Jason Sondhi, and short filmmaker Zachary Gore (HERE AND GONE).

October 4 – PITCH NIGHT
Bring your best movie ideas — sign up from 6:00-6:30pm, then wind down
with a glass of wine or rev up with a double espresso — whatever works
for you to deliver your best pitch!

Sign Up – 6:00pm
PITCH! – 6:30pm – 8:30pm

Hosted by professional screenwriters/coaches John Jacobsen, Lisa Loop & Andrew Chapman, this is a great chance to hone your sell! This evening is for the purpose of practice and improving on your pitches.
This is a fun and casual way to improve your game!

For anyone who is at any point in creating a story for film, this is a great night to see how story unfolds, what works, what doesn’t work, and to network with local filmmakers. For observers and participants alike! Pitches should be limited to 3 minutes, afterwards, the pitch will be discussed for 5-10 minutes.

January 4 – Happy New Year! No event this month.

February 1 – 2011 Kick-off: Meet Faculty, Alumni
Meet TheFilmSchool faculty Tom Skerritt, Stewart Stern, Warren Etheredge, John Jacobsen and Rick Stevenson, as well as alumni. We’ll also screen a couple of shorts, and have door prizes!

April 5 – The Importance of Score in Storytelling
Join us for this evening led by special guest, two-time Emmy Award-winner Hummie Mann (ROBIN HOOD: MEN IN TIGHTS, YEAR OF THE COMET).

May 3 – Comedy Night for TV and Film Writing: What Makes Funny?
Help TheFilmSchool welcome special guest, screenwriter and producer George Wing (50 FIRST DATES, OUTSOURCED), who has said “Pain! Pain is the secret of comedy!” Wing will expound on the secret to successful comedy writing.

June 7 – Pitch Night: Bring Your Best Film Ideas
Bring your best movie ideas — sign up from 6:00-6:30pm, then wind down with a glass of wine or rev up with a double espresso — whatever works for you to deliver your best pitch!

Sign Up – 6:00pm
PITCH! – 6:30pm – 8:30pm

Hosted by professional screenwriters/coaches John Jacobsen, Lisa Loop & Andrew Chapman, this is a great chance to hone your sell! This evening is for the purpose of practice and improving on your pitches. This is a fun and casual way to improve your game!

For anyone who is at any point in creating a story for film, this is a great night to see how story unfolds, what works, what doesn’t work, and to network with local filmmakers. For observers and participants alike! Pitches should be limited to 3 minutes, afterwards, the pitch will be discussed for 5-10 minutes.

September 6 – The Artist’s Way in Writing
Led by Gin Hammond, an award-winning actor and director, a playwright, and an educator, who loves The Artist’s Way’s approach to inspiring greater risks, and greater joy, in both art and life. She received her MFA from the A.R.T. at Harvard University/Moscow Art Theatre and has performed nationally at theatres such The Guthrie, Arena Stage, The Longwharf Theatre, Seattle’s ACT, The Pasadena Playhouse, the ART, The Berkshire Theatre Festival and The Studio Theatre in Washington D.C., where she won a Helen Hayes Award for Outstanding Lead Actress for her performance of The Syringa Tree. Internationally, she has performed in Russia, Germany, Ireland, Scotland and England. Ms. Hammond also received New York’s Kathleen Cornell award, an AUDELCO nomination, and WA state grants from Allied Arts, The Mayor’s Office of Arts and Cultural Affairs, Artist Trust, 4 Culture, as well as from the NEA. Her voice(s) can be heard on Jim French’s Imagination Theatre, World of Warcraft, Halo 3 ODST, Super Granny, Cake Mania, Westward, and Nancy Drew video games, a wide range of industrials, audiobooks produced by Redwood and Cedar House Audio. Last year she wrote and performed a 28-character one-woman show both here and at L.A.’s Skirball Center, and its companion piece, a Footlight Award-winning play which she directed, just returned from a successful tour of the Netherlands. She is an Associate Partner atFreehold Theatre in Seattle and is active in leadership roles at The Sandbox Artists Collective.

HOSTS / COACHES:

JOHN JACOBSEN – Writer, Director, TV Host
John Jacobsen is a director and host of The Artist Toolbox. He served as the Vice President of ACT Theatre, is co-founder and faculty member of TheFilmSchool and teaches acting, directing and writing all around the world.

LISA LOOP – Writing Coach
“Lisa Loop is one of the most kick-ass, perceptive, fun and motivating people I’ve ever met. Every writer needs a coach like Lisa. She’s like a secret weapon I would prefer other people not know about.”

- Evan Dunsky, Television Producer, CSI; Co-Creator, Nurse Jackie

ANDREW CHAPMAN – Writer
An accomplished film and TV writer, lives in Seattle but works full time in LA. He has written for Universal, Fox, Disney, Hollywood Pictures, Amblin and a number of indies.

July 5 – How to Recognize and Create Quality Story
PILAR ALESSANDRA is the director of the popular writing program “On The
Page.” A sought after teacher and lecturer, she’s traveled the world teaching screenwriting and is in high demand at major writing conferences and film festivals. As a consultant, she’s helped thousands of writers create, refine and sell their screenplays. Her students and clients have sold to Disney, DreamWorks, Warner Brothers and Sony and have won prestigious competitions such as the Austin Film Festival, Open Door Competition, Fade-In Competition and Nicholl Fellowship.

August 2 – All Writing and No Whining: The Writing Group of your Dreams
with Priscilla Long, Waverly Fitzgerald, David Margolis and Sonya Lea

Are you struggling with finding the discipline to write? Do you need motivation to complete that project? Are you wrestling with rejection? Trying to discover why that piece just isn’t working? Many successful writers have mastered their craft with a simple tool — the support of a functioning and well-organized writing group. If the writing group of your dreams remains an illusive fiction, this is the gathering for you! In this powerful panel discussion with several established, professional writers, we will look at how to create writing groups for producing work, for critique and for sending out material. With fifty-plus years of writing group experience collectively, we will offer you tried-and-true methods to find your group’s writers, establish the group process, keep people on track, define goals and more. In the presentation and Q & A following, learn how to deal with problems with attendance, skill level, workload, professional development, and feedback. Book signing, door prizes, and a chance to form your own writing group after the presentation!

Recent Posts

The Hospital

FADE IN:  To hallway inside a hospital.

INT. Establish Hospital nurses desk in hallway – Night 

Two nurses running inside a room to the sounds of screaming

INT.  Girl laying inside hospital bed screaming hunched over the rolling tray on side of bed. Girl sweating and delirious. 

Alexis   (Narrating)

So I sat there, on the edge of that hospital bed screaming at the top of my lungs, my upper body leaned over the rolling tray that food is usually on. I had no clue what was going on, all I remember was two nurses running into my room asking me

 Nurse 1 (Woman)  

Honey, Honey, are you alright? 

NURSE 2 (MAN)

Do you know what day it is? 

 ALEXIS 

No response (screaming has stopped)

 NURSE 2

 Do you know where you are? 

ALEXIS 

The hospital. 

 ALEXIS (CONT’D)

 Yes, once again I was in the hospital and coming to my senses. I realized what happened to me. I was stoned out of my mind. High as a kite on the beach in the summer. I had no control over my body. Wait, that was it, I had no control over my body. I don’t remember much of what happened after I came back to my senses, but I knew the hospital was the last place I wanted to be. 

NURSE 1 

Honey, did you realize you were speaking in another language? Do you know what you were saying?  

ALEXIS 

What did she just say, I was speaking in another language?  

ALEXIS (CONT’D)

 Umm, I’ve spoken in tongues once at church. 

NURSE 1(Laughs)

Honey I’ve done that at church and that was not what that was. It’s ok now, just get some sleep. 

 Alexis throws her head back on the pillow. She is wondering what has really been happening to her all this time. It was like waking up from a bad nightmare and having someone tell you all your actions in your sleep. 

 ALEXIS 

(Raises up in her bed to talk) 

I needed the hospital, and the hospital needs me. I needed someone somewhere to decide they care enough about people and medical conditions to help me understand what was happening inside my body. I needed a man or a woman one day to decide they wanted to be a nurse to help me when I was not strong enough to help myself. I needed a janitor to come in and help me change my sweaty bed sheets when the morphine made my body lose control. But what I really needed was for someone to spend the night in the hospital room with me to make me feel less alone. But those days were over.  And there I was alone, with no control over my body, stuck in a hospital bed waiting for someone to tell me my blood levels were high enough so that I could go home. But the truth about where I was in my life was that I was having a horrible divorce. My love affair with the hospital had finally ended. I hated her, and she still wanted me. But I needed her, and she needed me, but I hated her. Which means if I hated her, at some point I had to love her

THE HOSPITAL ROOM NOW CHANGES INTO WHAT IT USED TO LOOK LIKE FOR ALEXIS AS A SMALL CHILD. ALEXIS IS STILL IN THE HOSPITAL ROOM NARRATING HER STORY. SHE IS STANDING WITH A HOSPITAL GOWN AND AN I.V. POLE WATCHING HERSELF AS A CHILD WITH A ROOM SURROUNDED WITH PEOPLE FLOWERS, BALLOONS AND GIFTS.  DAY.

Alexis is in the room watching herself play with a yellow power ranger doll her uncle brought her. 

 ALEXIS

 At some point in my life, I was in love with the hospital. I was in love with how she worked her magic powers and got everyone to come see me and be concerned about me and spend the night with me. She could never cook, but as long as someone brought me food instead, she didn’t mind. But now, something in here had changed. The thought of her made me itch. She had lured me in with gifts, and love, and time, only to find out that she was really a house of horrors. But I needed something that was in her that no one could give me. Medicine. Deadly miraculous medicine. Medicine that stopped the pain, IV fluids that helped me get oxygen to my lifeless blood cells. But the promise of rest, oh she could have kept that lie! Every time I closed my eyes, she was sending someone in my room. Nothing she showed on T.V. was remotely nice, and I got to the point where no amount of entertainment she brought made me happy. I hated her, but I needed her and she needed me.  

Alexis (child) is staring at the yellow power ranger doll and watches as the face of the doll turns into demon. There is screaming again the in the background.  The walls in the room turn black, and all the people disappear. The balloons begin to pop, and the room swivels back into the hospital room Alexis is currently in.

 INT. Scene goes back to the hospital room that Alexis was in at the beginning of the story.  Alexis is back sitting on the bed sweating. Night. 

ALEXIS 

Deep inside I knew, if I wanted to be free from her I could. Maybe if I drank enough water, took my medicine, got enough sleep, maybe just maybe, my blood cells would behave, not sickle, and not cause me to be in so much pain that would have to see her again. But there was another sad sad song playing in the background, something that I did not want to admit. I was addicted to her. This addiction surpassed love, hate, and all forms of godliness. I actually liked going to the hospital, I actually liked being sick. I liked the attention, I liked the medicine, I liked the care however short lived. I liked all the plastic packets that needles and I.V. bags came out of. I liked the rush of morphine flowing through my veins and the slight discomfort I felt when it did. I liked the phone calls, text messages, I liked the times of justifiably feeling sorry for myself.  What I did not like was the tremendous amount of pain sickle cell caused my body. There were times I had crisis so bad, that no matter how much morphine I got the pain was still there.  

 INT. Alexis walking her way into the emergency room of a hospital hunched over and screaming, telling the triage nurse her problems. Alexis is holding her back but can’t sit down. Show faces of people in the e.r. looking at her screaming. Alexis trying to hold her head down to not look.

ALEXIS

And that was it, the reality of the prison cell I was sitting in hit me, I didn’t want her anymore. I did not want her anymore because eventually, everyone was used to me being sick. Everyone knew I was going to get out eventually, and so everyone went on with their lives. Me being sick no longer brought my family together. And that was what made me decide I had had enough of her. But I did not know how to function without her. I had spent so much time being sick, who was I outside of being a sick child? Part of my identity was stuck inside the word Sickle cell patient, and it from birth was stuck inside of me. And so there I was, in the middle of the night screaming from being high off of morphine because of the pain of Sickle cell anemia had me back in her arms, hating and loving her, the hospital at the same time. I hated her, but I needed her, and she needed me. 

 INT. Hospital room.  NIGHT. 

 ALEXIS

 There was nothing I could do for myself to get rid of this disease. Of course I could take my medicine and stop feeling the pains of this disease, but I could not get rid of it. But sadly, I don’t think I wanted to get rid of it. See, sickle cell made me different from all the rest of the world. It gave me a social and political platform to stand on besides being a black woman in the south. It gave me a voice, it gave me a reason to talk. It gave me a reason to talk to people to try and show them how much they should value their health. It gave me a reason to be different.  

Alexis rolls over and looks at the clock. It is 5:45 A.M. 

ALEXIS (CONT’D)

 Pretty soon, someone will be walking in my room to check my blood levels. Then after that, the doctors all dressed in white will come and stand and the top of my bed staring at me. They will either tell me I am staying here another day, or they are ready for me to go home based on my blood levels. Then someone will call me asking for my breakfast lunch and dinner choices. Then my nurse will come in. And next thing I know it is eight o’clock in the morning and I haven’t had any sleep. 

 ALEXIS (CONT’D) 

There was a time in my life where the hospital and I were having frequent one night stands. I would get sick, she would invite me to the e.r. And then I would get treated like a drug addict. I couldn’t believe how inhospitable she was being. It was the first time in my life I got a smack in the face that my disease didn’t make me different. Just because i didn’t come in the door screaming and shouting didn’t mean I wasn’t hurting. I had just learned how to be quiet when I walked in to not draw attention to myself and make my pain any worse. But she kept me in her e.r., on several occasions never to see upstairs like I wanted to. They claimed I couldn’t go up stairs because my blood levels didn’t indicate the severity of my pain. 

 NURSE 1

 What is your pain on a scale from one to ten ?

 ALEXIS

 They would ask. 

But then when they take a look at those blood counts and see they aren’t low enough for them to admit me, I knew I would be having a one night stand in the e.r., never to spend the night.  But somewhere in here, things changed. Sometimes, you have to stop feeling sorry for yourself, no matter how scary change could be.  

Alexis gets up out of the bed and gazes out of the window. She turns to go to the bathroom and looks at herself in the mirror.  

ALEXIS (CONT’D)

 So I have decided not to feel sorry for myself anymore, no matter how scary it is for me to imagine myself without sickle cell. The truth is no one really cares anymore, I am no longer a child, and I guess that means I have to change along with everyone else.  

Alexis walks out of the bathroom and walks out of her room into the hallway with the I.V. pole in her hand. The nurses at the desk smile at her. The sign of a healthy patient who is ready to go home is the one who walks down the hall. 

 NURSE 1 

I see you are feeling better today. 

 INT. Alexis is walking down the hallway as it turns into a beacon of light.  END.

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