It's ALIVE! Two Day Horror Screenwriting

Paul Butler Lennox

Dublin Business School Balfe Street

STEPHEN CLEARY’S IT'S ALIVE! 2-DAY HORROR WORKSHOPABOUT STEPHEN:Stephen Cleary has been a film and television professional for over twenty years, working in Europe, North America and Australasia, with occasional forays into Asia. He has worked as a feature producer, television producer/director, educator and screenwriter. He has developed many feature films from inception to production, and many have won international festival prizes. In recent years he developed the Venice Golden Lion winning feature Sweet Country from conception to production, and was lead consultant on the Emmy Award winning feature documentary What Happened Miss Simone?Stephen was Head of Development at the UK’s national film Agency, British Screen, for five years and has developed over 60 produced feature films including Before the Rain (Milcho Manchevski, Academy Award nominee for best foreign film, winner Golden Lion, Venice Film Festival), Rob Roy (Michael Caton-Jones), Butterfly Kiss (Michael Winterbottom), Love and Death on Long Island (Richard Kwietniowski) and Photographing Fairies (Nick Willing). His most recently developed films include Cast Me If You Can (Atsushi Ogata), The Hunter (Daniel Nettheim) and Buddha’s Little Finger (Tony Pemberton), which he co-wrote. He was also the co-screenwriter of the feature, Alexandria, in 2002.With the South Australian Film Corporation, Stephen co-conceived and ran Filmlab, a program designed to develop a base of local production companies. The initiative resulted in five low budget locally generated features, all of which secured domestic distribution. Two premiered at the Sundance film festival, one at the Berlin film festival, one at SXSW. Three of the features secured a US theatrical release. Filmlab filmmakers won best international director at Sundance 2014, the Crystal Bear at the Berlin Film Festival and other international awards.From 2016 to 2017 he ran a TV drama series development initiative for Canal Plus Europe, developing series from conception to final bible and pilot episodes with selected writers and producers from across Europe. And from 2015 to 2017 he was senior consultant of the Danish Film Institute and Nordic Film Fund’s Polar Bear initiative, developing TV drama series with TV professionals from Scandinavia.Previously he ran Arista, Europe’s largest private story development agency for 11 years, providing a range of short and long training courses in all aspects of film and TV writing and development. Arista was designated a “Centre of Excellence” by the European Commission. Currently he is adjunct professor at the film school of the Victoria College of the Arts, Melbourne, lecturing and running seminars for students four weeks a year. He is a regular lecturer at the Danish Film School, the National Film School of the UK and AFTRS. All on aspects of story development. He is also a story consultant and occasional screenwriter.The Gruesome event:Of the story genres we have, Horror was probably the first to settle down to a form that even now, looking back thousands of years, we would recognize. It has deep roots, but it regenerates constantly. Horros was there at the birth of the movel. Horror powered the rise of commercial theatre in the 19th century, The first great moving picture, George Melies’ Trip to the Moon, was a phantasmagoric tale of Horror. And the rise of TV drama surfs a Horror wave, from Buffy the Vampire Slayer to Stranger Things and everything in between.This workshop lays out what a writer, director, producer or developer needs to know about the Horror genre, from precisely how the writer scares their audience, to the common internal structure of most horror stories, to the nightmarish gallery of horror antagonists and how they resemble or differ from each other. Plus an in-depth dive into the enduring fascination of the ghost story.It looks at cinema and TV equally, has lots of clips, discussions and 50 pages of notes to take away with you at the end.It is human nature to be fascinated by the horrible, the forbidden. We seek it out and we challenge it. Horror is unique because it is a shared involvement; the audience feels common emotions. Ultimately, it's a test of ourselves: 'Can I stand what I'm about to see? Will I make it through this?' Of course, deep down, they know they're safe and the experience gives the audience a tremendous release of tension and anxiety. - John Carpenter

It's ALIVE! Two Day Horror Screenwriting

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It's ALIVE! Two Day Horror Screenwriting

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