Proposal

Film Synopsis
The film I intend to create is centered around music, whats behind the scenes, what the life is like outside of being on stage and what happens after the lime light is off the celebrity. It shows their struggles, their highs, their lows and it shows how they converse as a band and a family. It also shows the struggles that you possibly didn't know existed, such as the fear an artist faces about living up to their past music or past appearances in the press, building a certain reputation that can be hard to break in later years. I intend to show the making, recording and preforming of the music being made for the project.

The Logline
My film captures the struggle of a washed up band member that is despised by the other band members as well as himself. He battles with drug and alcohol addiction have pushed away anyone willing to help him. But once he discovers he has only months to live, he decides its time for a show, one last show.
Beady Eye is a music driven drama centered around a washed up band from the 1990s, they set the world on fire when they announce a reunion, but the reunion may not be for innocent reasons 

Screenplay Structure
Act 1
As a washed up front man, Tom Anderson has nothing and no one left, but he is presented with a piece of life changing news
Act 2
He contacts his old band and after some persuasion they agree to one final show, the band then begin rehearsing
Act 3

They preform the final gig, but Tom collapses on stage and the credits begin to roll

Film Treatment

Tom Anderson (40) a washed up former front man from a 1990s band still reeling from a failed solo attempt has wasted his last chance ten times over, he's perfectly happy in his way of life. His family and friends all think that if he isn't already dead, he will be soon. The only person that he has regular contact with is his dealer, he's his best customer by far. 

His dead end life is disrupted however when he begins to suffer fainting spells and visits a doctor, he receives news that he has a terminal illness and won't see the end of the year, this sparks a change in him. He gets clean and tries to contact his band, the only people that will hear him out.

The band meet and Tom keeps his reasons to himself, the band are not happy to see him due to past actions and arguments, but agree to meet none the less, after some convincing that is. They discus the reunion and don't think its necessary or even possible, but over all they agree after a heated exchange to do it for the fans.

They begin to preform and quickly pick up where they left off, none will admit it but they have mussed playing as a group and a family. Its almost as if they never broke up, their music is improving and they are beginning to get along.

However, just as things are beginning to look up, his lifestyle catches up to him. His test results come back and the doctor informs him he has even less time to live, and he won't be able to preform ever again, let alone on a gig as big as that has been blocked for the bands grand reunion since it has been announced in the media and press coverage.

He slips back into his old ways, drugs and alcohol. His band members come looking for him and find him passed out, they demand an expiation and he gives one, he tells them of his illness and how long he has. They begin to feel sorry for him and ask to continue with the gig, he does not tell them that if he does so it was vastly speed up the process of his illness.

They preform the gig, it is flawless, it is already being held as the best gig in recent history, but before its through, Tom collapses on stage. Credits begin t roll.

Characters

The characters in this picture are few in number, there is a lead character played by Tom, a secondary character played by Rob, the rest of the band played by Josh Pool and a doctor played by Luke Taylor. Tom is dressed in designer clothing, but isn't making an effort at all in his appearance due to his drug addicted life style, but is still however trying to hold onto a past part of himself. 

Josh wears sports equipment due to his lifestyle, instead of going solo like Toms failed effort he began playing professional american football.

Rob is the most level headed of the band, with a wife and child he always has someone to think about other than himself. He dresses in casual clothing and is well groomed.

Target Audience
The target audience for my chosen project would be younger male teenagers, due to the type of music and clothing worn and preformed throughout the film. As well as this the TA would also be people that were around during the rise of Oasis in the 1990s. 

Beady Eye Script (final draft)

'Beady Eye'

By

Joseph Simmons

Script

Final Draft 

11 April 2019

FADE IN:

1                                                  

                                                         INT.  STUDIO. MORNING 

                                          In a dusty, creaky home studio. TOM ANDERSON, a slim,

                                          broad shouldered young man with brown hair wearing

                                         a tailored jumper and slim fit jeans stands straight and 

                                          tall, and then sits in an old dusty chair.

TOM (V.O.)

(Nervously)

I need a break, there's nothing left for me to turn 

to, they'll agree, they have too.

2           

EXT. ROAD. DAY

We see TOM walking along a path located

next to a road

AUDIO

Cars wiz past TOM, we hear them get louder

and faster

TOM walks quickly and forcefully toward his destination, 

that could be anywhere, but his is determined to get there

3

INT. STUDIO NIGHT

TOM stares at old vintage equipment, it still plays tunes in his 

head sometimes, he remembers, fondly of the time spent with 

his band members.
there is a distressed bass guitar in a pale red colour, as well as an electric and acoustic
guitar, these are slightly better looked after, but however are missing certain strings
the drums are in terrible condition after years of abuse 

He then reaches for something in his left pocket

4

CONT

INT. STUDIO. NIGHT

We see a phone screen, it is a black phone, brand new, this is done
to indicate the illusion of wealth even after all these years, even if just to himself
 it's light is blinding and it takes 

time for the camera to adjust, we then see contacts shown

to not have been contacted in some time

AUDIO

We then hear a dial tone 

It goes on for what feels like minutes

TOM (V.O.)

(Irritated) 

Pick up, you owe me that

The phone is answered abruptly and the scene

CUT TO BLACK

5

INT. STUDIO. NIGHT

We see a room of gathered band members,

we don't know why they are there 

They all look somewhat displeased

LUKE, a skinny eighteen year old 

student with short black hair and skinny jeans, JOSH, a strapping, tall and broad 

eighteen year old student with shoulder length blond hair

and ROB, a tall skinny teenager with short black hair and beard 

TOM

Thank you all for coming

LUKE

We owed you that much, but why are we here

TOM

It's time that it happened 

JOSH

(angrily)

It?

TOM

We need to reform 

ROB

No, you need us to reform 

ALL(at once)

R This always happens 

T It isn't like that 

J Of course it is 

L You promised you'd stop this Tom

TOM

(loudly)

ENOUGH!

TOM

I brought you here out of nostalgia, this needs to happen, I need it to happen, 

please 

ALL

Alright Tom, for them, not for you 

6

INT. CAR. DAY

An interior of a car is shown,it is new and low budget, it is shown to be moving quickly somewhere 

it gives no indication where, or why, the interior of the car is well looked after and tidy
it is a distressed grey colour with few chips or marks of any kind
the car itself is not one that you would imagine a former rock star to be driving
this would confuse the audience and help to gain their attention and hold their
curiosity  

7

INT. STUDIO. DAY

The band members are shown playing instruments, by the end of the scene they are well

rehearsed and play as a band, just like years earlier, there is ROB on bass, JOSH on drums,
LUKE on guitar and TOM on lead vocals, they all look focused, determined, they are all
second only to TOM

8

INT. TABLE. DAY

A newspaper is shown landing on a table, it reads 'Beady Eye Reunite', the table is
brown and wooden, brand new and hardly stressed, the news
paper itself, much like the table is fresh and clean,
there aren't an creases or folds, this metaphor is used to
specify the new Beady Eye

9

EXT. STAGE. DAY

People are gathered, a large crowd, loud, restless and out of control

the band then emerges on stage, the crowds cries then become deafening

AUDIO
Screams, cheers and bellows of crowds of people
in this scene we see TOM preform a recurring action of grabbing at his throat almost in pain  

10

INT. DOCTOR'S OFFICE. DAY

we see a white clean space, a guess could be made that it has been used for medical practices
it is pristine and new, we see a desk with a plethora of papers and information
we also see two chairs, one, on the receiving end of the desk and the other at the siting
we see a well dressed doctor, wearing smart dessert boot shoes as well as a white coat and various medical equipment
we see TOM wearing the same clothes as in the previous scene, he wears a pair of black slim fit jeans as well as a green jumper
AUDIO
we do not hear any spoken words, we hear a high pitched noise that blocks out what the characters are saying, but we see by TOMS reaction that it is devastating news

11

INT. ROOM. DAY

we see a medium shot of TOM's back, the shot is shaky and unstable, much like TOM in his current situation 

we see an array of alcohol and recreational drugs in-front of him, his clothes are dirty and unkempt as if he hasn't eaten or slept, his hair is messy and unkempt 

we see him using and drinking drugs and alcohol 

in a state of depression   

12

INT. ROOM. DAY

ROB enters the room
he is wearing all black as to avoid photographers
he approaches TOM and sits beside him, we see his face change as he sees the pile of drugs and alcohol

ROB
(softly)
what happened mate, tell me

TOM
(whimpering)
its my voice Rob, they say I'll loose all speech within the week

ROB
I'm sorry, but things aren't over just yet

TOM
I don't understand

ROB
We still have one more show, but the rest of the band needs to know

TOM
You're right, it's time

13

INT. ROOM. DAY

the band sit in a mirrored shot of the one prior, all sat in a circle of chairs

we do not hear their conversation

Audio 

calming sounds such as chimes and wind 

14

INT. STUDIO. DAY

The studio is the same as previously described, however the band is determined and unstoppable

\TOM looks tired and weary, he suddenly feels faint and needs to sit down, the band then 

rushes to help him and he refuses their help and continues to preform, it isn't as good as his previous 

performances

15

INT. STUDIO. DAY

a close up of TOM is shown, this is done to better show the viewer his facial expressions and mood

he looks nervous and unprepared

his clothes however are well tailored and well put together 

16

INT. WALKWAY. DAY

 TOM is shown walking towards a stage (tracking shot)

this is done to build tension and anticipation for the up coming scene

he is shown walking towards the stage with confidence in himself and in his band mates 

17

EXT. STAGE. DAY

the band is shown playing the gig, the crowd is large, is winds all of the stadium 

the band are shown to be tired and well worked 

it is shown that the crowd is in love with the band and this gig 

it will later be called their best 

TOM is a shell of his former self, his is in tune, well timed and confident 

TOM is seen to be struggling to stand, the screen then goes black as we catch a glimpse of his band mates running to catch him

 AUDIO

Beady Eye's Flick of the finger 

18

credits roll

FADE OUT

THE END 

Master Scene Script

The first element of a master scene script is the scene heading, often called the slug line. All screen plays written in the master scene format are broken into individual scenes, not cuts. Each scene heading is written in all caps and begins with EXT or INT meaning either interior or exterior. This is followed by the name of the location designation of day or night.
The second element is the action portion of the script. This is written in present tense and should only include what can be seen or heard. In other words, you cannot writer about characters thoughts - it needs to be written as a film not a novel. Sound effects that are key to the story but  heard off screen need to be written in all caps as well as a characters name the first time he or she is introduced.
The next element is the character name. This goes on its own line in all caps, if the character is off screen or delivering a voice over you can designate it so with an O.S or a V.O.
Underneeth the character name  are Parenthetical that shade the meaning of the dialogue delivery. Remember the key to a master scene script is readability, so only include Parenthetical's that are absolute necessary to the key story.
Then there are the dialogue blocks which are written in their section off set from everything else.
The final element is the scene transaction. This is a holdover from the continuity script days. These go on the far right of the script and explain the transition between scenes. Again, the purpose of this format is Readability so only include transitional elements when they are absolutely important to the story you’re trying to tell.
Timing, it is a customary assumption in the movie industry that 1 page of screenplays equals 1 minute of screen time. This makes planning easier, since the average feature is one hundred and twenty minutes. The average script should be about one hundred and twenty pages long.
Because of this convention, description passages should cover as many pages as the scene is expected  to run in real time. For example, if you sense that an action scene will take a minute of screen time, it should be written to cover one page, rather than one line.
Dialogue blocks, also called 'speeches' are composed of three parts: character names, wrylies and dialogue as illustrated below.
Character names are written in upper case wrylies are written in lower case inside parenthesis, and dialogue is written in normal sentence format.
A Wryly indicates how a line should be said, it was named after all the novice screen writers who's characters say things in a 'wry' way. Wrylies should only be used if the subject of the dialogue is unclear. They should be kept to a bare minimum. I.e.:

Rose 

(in fear)

The figure moved closer 

Some of the conventions of master scene scripts are as follows: the font size is always twelve along with the format being courier, slug lines and character names are written in capital letters. Voice overs and off screen are written as V.O and V.S, footers at the bottom right of the page say continued, this is only applicable if a scene carries over from one page to another, in not cont is written at the bottom left.
Some things to avoid when writing a master scene script are obvious where as some are more eluding, such as using page numbers, this is not needed, camera angles do not need to be recorded, page footers are not always required (however only in specific scripts), sound effects written in capital letters do not need to be recorded, characters names do not always need to be written in capital letters in narrative description, except when they first appear and finally the use of 'we', such as when a character is being tracked in their person.
Shooting scripts 
Shooting scripts are scripts that are used during production of the film. They are written with much more detail than spec scripts and may include amount other things, scene numbers, editing transitions and camera angles.
Since shooting scripts are used in production, they are formatted to include any useful information that the director may require. They are not used for selling purposes. This is due to the scripts being difficult to read and having the possibility of turning off potential investors.
This approach is used when the script is going directly into proportion.
In broader terms, the main noticeable difference between the screenplay and the shooting script is that the screenplay is a selling tool, where as the shooting script is a production tool.
Scene numbers are added, these remain present throughout any revision(which are printed on colored paper). Techniques are included to help the crew shoot on set, these can include camera composition, movement and editing.
Radio scripts
Radio scripts differ largely from that of film, this is due to the fact that story cannot be told visually. This then means that they rely much more on dialogue.
'OFF' is the audio equivalent of off screen in film scripts, the presenter should speak away from the microphone.
'VO', voice over indicates a character who is narrating over sound, music or dialogue.
'D', distort indicates a character who is speaking via a mechanical device such as a radio or telephone.
'LOW', this technique has a charter speaking low, at almost the level of a whisper.
'CLOSE', this technique indicates that the actor should be in close proximity to their individual microphone, this gives an intimate feel to the dialogue.
Videogame Scripts 
Videogame scripts are nothing alike to either radio or film scripts, this is due to the fact that they often exist in world that are multiple choice and are interactive to the player.
These scripts are often branching - which means that option can be optional, and may or may not have impact later in the story, depend on prior decisions or cause total script split into two or more entirely  different realities.
These scripts come in two parts, The flowchart:
This documents every major decision the player faces, and the results of the decisions he makes. It should consist of text boxes with arrows to indicate what happens when an action is performed. If there are multiple decisions the player faces, "yes" and "no," "left" and "right," etc. can be used to indicate where the chart branches.
The script:
Once all choices have been defined writers must compose scripts to take into account that variables their world have created.
This can be incredibly detailed and time consuming depending on the depth and complexity of the interactive world.
These scripts often follow a similar format to film scripts, however the variety in gameplay means there is no onset as there is within the movie industry. 
Games may simply and often employ simple dialogue sheets that instruct a voice actor of exact phrases to say, and how they should be projected.

Roles of a Scriptwriter

Job roles
Commissioning editors are the senior employee of the broadcaster, they are responsible for selecting program ideas, allocating funds and they also specialize in a specific genre, and finally they have creative input and over see the writing process throughout production.
Producers oversee all aspects of the production that doesn't fall under the job role of director such as financial, legal and admin responsibilities. When writers are on 'staff' a producer may originate a project a pitching organize and finance and then attach it to a particular writer to develop. Producers are usually employed by a production company, if  not they would be an independent company. Producers plan and coordinate various aspects of the film production such as editing selecting the script, directing itself and finances.
The director is responsible for taking the ideas from the script and making the scriptwriters vision come true how ever they see fit. They provide the overall creative vision from which technicians and editors work from, as well as this they intemperate the script how they see fit, a writer has little to no control over this.
A script editors role as part of the production is too provide a critical overview of the scriptwriting process. They have many responsibilities such as finding new script writers, developing storylines and series ideas with writers, and finally ensuring scripts are suitable for production. They use keen analysis skills to clearly identify problems, they don't however create the solutions. And finally they help strengthen and develop screenplays.
Agnets, find work for their clients, they find the most suited job for their client, they only exist due to the fact that actors cannot represent themselves. An agent is someone that knows the legal ramifications of the business. They do this by knowing members of the hiring comity. They do not get paid unless they are finding work for their client. They organize contracts, negoteate appropriate deals  and finally support and guide writers careers.
Writers, who hold the responsibilitys of research are one of if not the most important jobs in the businesses. They are also responsible for developing an emgaging narrative and a deep and emostional impact on the audicnce. They do this within the screenplay that was writen to meet the breif in the appropriate format of filming. The vast majority are freelance, which means they do not answer to a company. However some writers are empoyed as part of a company, these are claaed writing teams. However, this way of writing(writing to a formualr that hasnt been set yet) is not the most efficent way of writing a film or TV show.

Commissioning Bodies




Courperations such as the BBC sometimes publish scripts of up and coming writers, giving them achance to make it in the world of TV. They do this by uploading the scripts sent by writers to the BBC website and making them available to download to the public, they then monitor the feedback. Almost all of the pitching of ideas for big courperations (e.g.Fox,Sony,Disney and Universal) goes through established relationships, this provides a more viable and realisitic option of already known names who have already worked for big courperations, indies or agents. These companies are part of large conglomerates, this is due to them having complete owener ship of all stages of production(funding, production, marketing,distribution and in some cases exhaibition). 
In the US, there are whats called 'pilots seasons' around the time of March - May each year where alot of commissioning networks run competitions to get your screenplay noticed by bigger corperations.
There are hundreds of Independant Production Companies all around Britan, they strike deals with other companies to produce materials, this could be for a broadcast on a network, once finished writers may submit work directly to IPC's. Differant companies are known for differant genres and work to varyify budgetary capabilities.
There are also a number of organisations that are set up to assist prospective writers to help kick start careers in media. Such as: BBC writers room, Good In a Room and BFI film Academy. The writers Guild Of Great Britan supports writers across media including film, online, radio, theature, TV and Videogames. 
There are numerous screenwriting competitions available for entry with cash prizes. Winning screenplay contests is not an automatic ticket to sucsess, but your work is more likely to be read by potential managers, agents and producers. For example, the Academy Nicholl Fellowships in Screenwriting and Austin Screenwriting Competition - there is a proven track record of writers who have sold scripts, gotten representation and launched their careers based on winning these screenwriting contests. 
In the UK FilmFreeway run three competitons, with all winners since 2013 being in pre - production or production, with some winning awards.

In order to be a script writer there are many legal reproductions that need to be taken into account, such as copywriter entanglements. Carful planning and script editing goes into writing a final script, which can in some cases involve multiple writers. 







This itself is typical to the writing process, in order to control the process, the writer himself is not involved in the process once its gone into production. Once in production it then moves to shooting format. If it is approved it is then assigned numbers for simplicity sake. It is then handed to the department heads, it is then moves to what is called page lock down, this is so that if chances are made they can be easily tracked. When changes are made they are recorded onto what is called revision pages.
Every writer must consider legal and ethical decisions when writing and publishing a script. Some of these include conflict of interest and bias. The legal ramifications include copyright claims, libel and censorship.
Writer must properly copywriter their work or they run the risk of having their ideas stolen by other artists. The copy write warning must be clearly visible on the manuscript otherwise the writer in question would be creating a possible loophole.
For censorship, writers are restricted in using sex or violence. It is doubtful to release a film that shows real sexism and racial intolerance. However, some will argue that this content is good for showing these issues in a positive way. It will demonstrate that the writer followed the social values beyond what the censorship board controls. 
Out of all the legal problems that could arise libel is one of the most threatening. This because it is possibly a career ending issue. This issue affects fiction and non fiction actors alike. Producing a professional script with information based on real life is seen as libelous. If it was about a real person, it must be made with care or that person will be harmed. 
Plagiarism is the failure to give credit to another author’s work or ideas, when it is used in the publication. It is the obligation of the editor of the journal to ensure the article does not contain any plagiarism before it is published. If a publication which has already been published is proven to contain plagiarism, then the editor of the journal can proceed to have the article retracted.
Publication bias occurs when the publication is one-sided or “prejudiced against results”. In best practice, an author should try to include information from all parties involved, or affected by the topic. If an author is prejudiced against certain results, then it can “lead to erroneous conclusions being drawn.”
Watersheds is one of Ofcoms most important responsibilities, this act involves protecting young children from harmful material. Codes set standards for radio and TV and these codes must be matched. There are strict rules that must be followed about what can be shown before nine o'clock on television, such as: no violence, no profanity and no sexual scenes or references. The name watershed refers to the crest dividing two drainage basins, a broadcasting watershed generally serves as a dividing line in a schedule between family-oriented programs, and programs aimed at or suitable for a more adult audience, such as those containing objectionable content.

Agent Representation 
An agent is someone that looks after the sales and work load of a client for a fee, this would be someone that knows all the legal and ethical propitious of the media business. The amount of pay they receive is all dependent on their ability to find their client work, but first they agree on a fixed amount, in most cases it is around 15% to 25%. The agent will then take that percentage from all of their clients pay checks. The agents job is to sell their client, they will  negotiate the sale to publishers, theatrical producers and film producers as well as TV. The more your agent knows and the more people know them is a large advantage as they will already have contacts to sell their client too.
Time Management
During the process of script writing it is very important to keep up with deadlines and schedules. If time is wasted it can cause scripts to remind unfinished, for as long as decades. If this becomes the case it can enter a place called 'limbo', this means that its spent so long in post production so long the the writer can loose interest and give up. Time management is even more vital when a whole team is working on your script as a commission. If deadlines are not met in this situation it can put strain on relationships with other writers, agents and producers. If the writer is behind schedule it can cause everyone to fall behind which would cost the team money.
Communication 
Scriptwriters need to be able to communicate between each other to properly understand each others ideas when pitching a product, when communicating to their audience via their written work.
Collaborative Skills
Writers will often have to work with other professionals in order to produce a project, this could be with other writers on a script, or even with producers and directors if they have been asked to produce specific material.
Research Skills 
TV and film actors may have to ensure accuracy in their portraits for example historical roles such as Brad Pitt in Troy. Where as factual film makers need carful fact checking, such as documentaries.