Selasa, 2 Jun 2009

Program Artis, Komposer & Single


Persatuan Karyawan Malaysia mengambil inisetif untuk menganjurkan satu hub lagu yang dipanggil “Program Artis, Komposer dan Single” yang akan mengetengahkan karya ciptaan para komposer baru dan lama .

Karyawan akan bertindak sebagai pengkalan data lagu-lagu yang dihantar bagi memudahkan para artis yang ingin merakamkan single untuk ke sesi pra-dengar material . Pihak Karyawan juga akan menguruskan beberapa perkara seperti pemasaran single ini melalui sistem muat turun telekomunikasi dan lain-lain aspek berkaitan setelah lagu-lagu dipilih dan dirakam oleh artis.

Ini merupakan satu ruang yang akan membantu banyak pihak didalam industri muzik meliputi para komposer baru dan lama yang ingin mengetengahkan bakat mereka , memberi kemudahan dan pilihan kepada para artis untuk mencari lagu baru seterusnya membuka peluang untuk memasarkan produk mereka.

Program ini terbuka kepada semua komposer dari pelbagai golongan dan genre muzik . Bagi Sesiapa yang berminat boleh menghubungi pejabat Persatuan Karyawan Malaysia ataupun En Ahmad (+6012 3006084)

Majlis Jom Mesra Bersama SWAM

Presiden dan AJK Persatuan Penulis Skrin Malaysia(SWAM)

dengan segala hormatnya mempersilakan

…………………………………………………………………………………………………

ke Majlis Jom Mesra Bersama SWAM

Pada: 10 Jun, 2009

Masa: 8.00 – 11.00 malam

Tempat: Restoran Lemon, G-CQ3 MINES Shopping Fair/Complex, Seri Kembangan

Majlis Jom Mesra Bersama SWAM bertujuan menjalin persefahaman serta merapatkan hubungan di antara para penerbit dan stesen-stesen TV dengan para penulis skrin yang menganggotai SWAM. Dalam pertemuan ini juga SWAM akan membuka kesempatan mengadakan sesi pitching dengan harapan pihak-pihak yang berkenaan berpeluang berurusan secara terus-menerus di antara satu sama lain.

Mohon saudara/saudari dapat mengesahkah kehadiran dengan menghubungi Cik Norrasidah (019 255 9196), Puan Asmira (012 646 3240), Encik Hakimi (012 399 1535) atau email : swamadmin@gmail.com atau faks sebelum atau pada 7/5/2009.

Salam mesra,

DATIN RUSILA HASHIM

Pengerusi Jawatankuasa Majlis

016 2526 836

Tema: Santai tetapi bersemangat Makan Malam

Pengesahan Kehadiran melalui faks (SILA FAKS mukasurat ini ke 03 6141 2319)


Saya/kami dapat hadir Bilangan _________



Saya/kami tidak dapat hadir

Kursus Penulisan Drama TV Bersiri

P E R S A T U A N P E N U L I S S K R I N M A L A Y S I A

S C R E E N W R I T E R S G U I L D O F M A L A Y S I A

Industri skrin bermula di sini !

20hb. Mei 2009

AHLI-AHLI SWAM DAN MEREKA YANG BERMINAT

Tuan/Puan,

PER: KURSUS PENULISAN SKRIN DRAMA TV (BERSIRI)

Dengan segala hormat takzimnya saya ingin memaklumkan bahawa Persatuan Penulis Skrin Malaysia (SWAM) akan menganjurkan Kursus Penulisan Skrin Drama TV (Bersiri) bagi menjayakan program-program pendidikan dan latihan semula (reskilling) penulis-penulis skrin. Kursus ini dianjurkan dengan kerjasama Perbadanan Kemajuan Filem Nasional Malaysia (FINAS), demi pembangunan dan kemajuan industri perfileman dan penyiaran tanah air.

2. Kursus Penulisan Skrin Drama TV (Bersiri) ini akan berlansung selama 40 jam untuk memenuhi syarat sijil bagi pembelajaran “Core Subject” dalam kursus perfileman dalam satu semester. Kursus ini akan diadakan pada setiap hari Ahad selama 5 hari bermula pada 14, 21, 28 Jun, 5 & tamat pada 12 Julai 2009.

3. Objektif kursus ini diadakan ialah untuk

3.1 Memberi latihan kepada penulis-penulis skrin yang sedia ada dengan tujuan melahirkan modal insan yang berkualiti.

3.2 Meningkatkan kualiti karya di kalangan penulis dengan menggunakan pendekatan dan kaedah yang betul dalam menggarapkan karya mereka.

3.3 Memperluaskan kegiatan SWAM kepada masyarakat industri perfileman.

4. Kursus ini ditawarkan kepada semua penulis skrin

4.1 Yang telah atau sedang menulis screenplay drama TV, atau

4.2 Yang berhasrat menulis drama TV

5. Kursus ini dikendalikan mengikut format berikut:

a. Ceramah

b. Aktiviti

c. Latihan

6. Kemudahan yang disediakan selain daripada bilik kuliah dan makan minum adalah seperti berikut:

o 1 atau 2 Komputer dengan pengisian software “Final Draft”

o White board, marker dan duster

o Pemain VCD, projector dan speaker

o Kemudahan Power point

o Kemudahan fotostat dan kertas A4

Semua perserta digalakkan supaya membawa laptop masing-masing jika ada

7. BAYARAN

7.1 Ahli SWAM dikenakan yuran pendaftaran sebanyak RM 30 seorang.

7.2 Bukan Ahli SWAM dikenakan yuran pendaftaran sebanyak RM 300 seorang.

7.3 Bayaran boleh dibuat atas nama Persatuan Penulis Skrin Malaysia dan dihantar kepada alamat berikut:

Persatuan Penulis Skrin Malaysia

Kompleks Studio Merdeka

Jalan Hulu Kelang

68000 Ampang, Selangor

Tel : 012 399 1535 fax: 61412319

8. TARIKH TUTUP

8.1 Tarikh Tutup Permohonan ialah 8 Jun 2009

8.2 Tempat adalah terhad kepada 25 perserta sahaja

SWAM amatlah mengalu-alukan penyertaan daripada ahli, penulis, warga industri, pegawai stesyen penyaiaran dan sebagainya.

Sekian, terima kasih.

Yang menjalankan tugas,

(DATIN RUSILA HASHIM)

Setiausaha Kehormat

Selasa, 26 Mei 2009

My Video Production

video

Find me in "The Oriental Culture of Yeslam- at Starhill, Bukit Bintang"

Bengkel Penulisan Skrip Drama TV By Martias Ali

video
Berlangsung pada 14 Dec 2008 lepas, penulis skrip TV tersohor di Malaysia, Martias Ali mengadakan kursus/bengkel penulisan skrip Tv di Mini Pawagam Finas, dengan sambutan yang amat memberangsangkan. Terima kasih di atas sumbangan beliau dalam memperkayakan industri ini.

Isnin, 25 Mei 2009

THE ART OF PITCHING





THE ART OF PITCHING


Make no mistake; pitching is an art. Every screenplay begins with an idea and if you want to write a screenplay based on your idea, then the chances are you're going to have to pitch it to someone; it could be a producer, a director, a production executive, an agent or anyone in the business.

A pitch is nothing more than a verbal presentation of a notion, concept, situation, idea, or story. It can be augmented with photographs, casting suggestions, newspaper articles, clippings, or anything else that will help you in the "selling" of your idea.

When we talk about pitching, we're talking about the presentation of an idea. That means it's your responsibility to convince a production executive (s), or agent, or producer, whoever it might be, that your idea is so good, so unique, so hip, that they want to develop it into a screenplay and pay you for doing it.

When you pitch, you've got to remember that you're pitching story, and while character and action may be the glue that holds everything together, it all starts within the context of story.
In any pitch meeting you've got about 15 or 20 minutes to do your stuff. That means knowing the key structural points of your story. How you're setting up the story, who the story's about, the changes that he or she goes through; in other words, what is it about your story that will make an audience plunk down the cost of admission to see your movie.

Before you even begin to present your idea, your story line needs to be structured into the key elements from beginning to end. It means knowing the personalities and intricacies of your characters. It means rehearsing your presentation so the person you're pitching is hanging on every word. It's your job to keep the listener, the buyer in this case, perched on the edge of his or her seat.

Your idea must be presented with passion, clarity and confidence. You need to know the beginning, middle and end of your story. Can you name three actors or actresses who could play the lead? Two or three directors who you think would respond to the material. Can you reference your idea with a few movies that have been successful, including the amount of monies those films have grossed. These are valuable aids in the pitching process.

What do studio executives look for in a pitch? That's a question I posed to several top film executives and they all agreed; they want to hear something interesting, something they can turn around and sell. So your manner of presentation, your attitude, even the clothes you're wearing, goes into the whole package of what makes a good pitch.

One executive shared that "when a writer pitches me, I'm always thinking - would I want to see this movie? Is it different than anything I've seen before, or is it the same old thing only with a slight twist? I want to see something original, not a variation on a film that's already out there. I want to see how well the story is worked out. Does the writer know their material cold and, most importantly, is he or she really committed to it. Don't think you're going to sell something to me that you're not committed to, no matter what, because I can smell it. Then I say to myself, if they're not committed to it, how can I be? I look for someone who believes in what they're saying."

Words to think about.

Nobody is immune to the pitching process. Writers pitch to executives. Executives pitch their executive team. Then to the head of production. Then the head of production has to pitch to the CEO. And, so it goes.

What does a "normal" pitching session look like?

"Fifteen or twenty minutes," says one studio executive. "That's the longest. I have writers come in who are wonderful, and they go on and on for forty-five minutes. Sometimes I just cut it short because it's obvious they're rambling. Pitching is the style of presentation; you have to win someone over with the energy and theatrics of it."

In a typical pitch meeting you'll schmooze for a few minutes while waiting for an opportunity to say I'd like to tell you about my idea. Then introduce the idea by telling a few lines about the overview of the story. For example, this is a story about a private detective who's hired by the wife of a prominent man to find out who he's having an affair with. In the process, he becomes involved in several murders and uncovers a major water scandal. That's how the pitch for Chinatown began.

Once you've got your opening three-sentence story line, you can establish the structural dynamics of the story; the beginning, middle and end. Plot Point I and Plot Point II. Design your story line in a way the executive can "see" the story. Now, what's the resolution of the story? Not the specific scene or shot, but the solution; does your character live or die, succeed or fail, win the race or not, get married or not? Perhaps the executive will suggest another ending - what do you do then? Can you get behind it?

Remember, a good pitch is something that gets bought. To walk out of that room and say, that was a great pitch meeting, and then they pass on your project, what does that do?
So, here's some key reminder points from a top production executive at a major motion picture company:

• Pitching Etiquette - be on time and be prepared to wait.

• Impress your audience - you're hoping to start a business relationship. So, dress appropriately, prepare your presentation, and look for any pitching aids, like photographs.

• See if you can read your audience.

• Things to expect and anticipate - the executive on the other side of the desk taking phone calls during your pitch, or having several other execs in the room, etc.).

• First impressions...what's the best way to handle the introduction (including the all-important pitch on who you are, and what your background is).

• Improvisation - what do you do when you fumble the pitch - how do you recover? .

• When the exec's eyes glaze over, are you ready to move to "Plan B." Or, "What else do you have?"

• "The leave behind" - a one or two page summary - setting up the follow up time to call....
To summarize: The executive looks for a "great idea." Think about the passion and manner of your presentation. Your writing ability always comes in second. Everybody's a buyer and seller in Hollywood. It is the Town of Sell, built on a foundation of hype, fear, greed, insecurity and ego. Pitching something just because you think it's commercial is a real trap. The trick is to find a commercial idea that you really want to write; not because it's commercial, but because you love the idea.

Yes, pitching is an art. How well you do it depends upon two things: the idea behind your screenplay and how well you present it.

Good luck.

Jumaat, 22 Mei 2009