RTF 367P

Fall 15

p. 1

RTF 367P: ADVANCED PRODUCING

Anatomy of a Motion Picture
Fall '15 Syllabus & Schedule
Instructor: Scott Rice
phone: 512.797.4141
scottricefilms@gmail.com

Office Hours:
CMA 6.102
Tues 1-2pm, 5-7pm

TA: Shelby Hadden

phone: 315.727.5826
sghadden5@gmail.com

Office Hours:
by appointment

Unique #: 08860
Class Time: Tuesday 2:00 5:00, BMC 4.212

COURSE DESCRIPTION
Advanced Producing takes students behind the scenes of the 2016 film THE FREE STATE OF
JONES written and directed by Gary Ross (SEABISCUIT), executive produced by Diana
Alvarez (THE HUNGER GAMES), and starring Oscar winner Matthew McConaughey
(INTERSTELLAR). By studying the scripts development, shot lists, storyboards, shooting
schedule, preliminary VFX, and even exclusive behind the scenes footage, students will garner
insight into the production of a major Hollywood feature. In addition, students will view various
cuts of a scene chosen by the director as the film moves toward picture lock over the course of
the semester. This class also gives students practical instruction on producing their own projects
including web series, shorts, commercials and indie features. From guidance on fundraising to
the ins and outs of founding a production company, Advanced Producing is an essential howto for students who are serious about a career in production.

REQUIRED READING
The Complete Film Production Handbook (4th Edition)
by Eve Light Honthaner
Available a the University Co-op under RTF 367P, 08860
The State of Jones: The Small Southern County that Seceded from the Confederacy
by Sally Jenkins and John Stauffer
Available on Amazon
The Free State of Jones (Script)
By Gary Ross

RTF 367P

Fall 15

p. 2

ANATOMY OF A MOTION PICTURE

Welcome to Advanced Producing! This class was born out of a genuine desire to give students a
behind-the-scenes look at the gritty reality of producing films. The course will be up-close and
personal, exposing you to genuine production documents, exclusive behind the scenes footage,
and preliminary scene edits (non-disclosure agreement required). It will be a truly unique
learning experience.
Matthew McConaughey, Gary Ross and Diana Alvarez have generously invited us into their
process of making THE FREE STATE OF JONES a full 7 months before the films release. The
production of this historical drama will be the backbone of our course. Moving through the
production process in chronological order, from development to distribution, students will be
asked to declare their take on the material the story they would develop from the history the
film is based on, the budget they would submit, the script changes they would order, etc. After
pitching their creative directions, students will then see the decisions the filmmakers made. So,
get creative, get bold and embrace your crazy ideas. This class is not about the right answer.
Its about your answer.
Over the course of the semester, students will develop insight into the sheer enormity of creating
a major motion picture. However, the filmmaking and business principles gleaned from THE
FREE STATE OF JONES will also be applied to the production of smaller films as well as the
foundation of fledgling production companies. From producing commercials to web series to TV
shows, students will learn how to survive as an independent producer.
Finally, this course will encourage you to develop your own personal producing style, much the
same way a director finds his or her own voice as a visual storyteller. From clarifying your
filmmaking goals to how you prefer to network, students will sharpen their own natural talent as
producers. Thus, students are encouraged to choose a final project that fits their needs and
passions, whether it be starting an LLC, creating a proposal for a web series, applying for a
grant, or producing a thesis film.

NON-DISCLOSURE AGREEMENT
For the privilege of reading the material in this class associated with THE FREE STATE OF
JONE, you are required to sign an NDA from the studio. Take this contract seriously. The film is
highly anticipated and confidentiality is a must. Breaches in the contract will be dealt with
swiftly and severely. Be professional. Carefully guard your script copies. Do not photograph or
scan them. Do not discuss the film with friends, roommates or family members. Do not discuss
the film or script in any way on social media. There will be plenty of time to discuss the movie in
the classroom.
Take pride in the secrecy youre legally bound to. This is how its done on major studio pictures.
Welcome to the big leagues. Additionally, Gary Ross has personally authorized the release of
this material. Lets honor his trust and protect his movie.

RTF 367P

Fall 15

p. 3

PROJECTS
You will pick TWO of the four below projects to undertake this semester. In lieu of one of these,
you may pitch doing a project from your own imagination (subject to instructors approval).
Also, you may do a third project for 5 points extra credit (a half a letter grade).
STORY APPROACH: THE STATE OF JONES (BOOK)
The development of THE FREE STATE OF JONES into a film story was one of the first major
steps (beyond research) the producers took to get it made. How would you weave the true history
of Newton Knight into a viable Hollywood feature? What is the general story arc? What events,
characters and themes do you keep? Why is this story relevant today? The assignment requires
that you write one single-spaced page of notes, print and bring to class. There will be a 10minute pitch in front of the class. Dont worry. A pitch is oftentimes a conversation, so your
instructor will help you through it. Speak for a good two minutes about your thoughts, and then
questions from the instructor and the class will carry you through the rest of the time.
SCRIPT NOTES: THE FREE STATE OF JONES
Imagine you have only one draft left before the script must be locked for shooting. Pitch the
notes you would give to the writer. Turn a marked script in to the instructor and pitch your
broadest notes to the class (10 minutes). This assignment requires that you write one singlespaced page of notes (they can be bullet points) to help you clarify the ideas you will verbalize in
class. Print and turn that in to your instructor during your presentation. Note: Hard copy scripts
must be returned to the instructor on September 15 in class or there will be a 10-point penalty -a full letter grade.
DRAMATIC SCENE STUDY: VOTING (SCENE 237 242)
From historical notes provided by Gary Ross, create a shot list and storyboard for a dramatic
scene in the film and present it to the class (10 minutes). Print out and bring to class, or show a
digital copy. Once presented, compare and contrast your work to Gary Ross shot list. Then
delve into the scenes shooting plan through exclusive behind the scenes footage of Gary Ross
and Matthew McConaughey at work. Finally, view several cuts of the finished scene.
ACTION SCENE STUDY: OPENING BATTLE (SCENE 3)
You will develop a shot list and storyboards for the films rousing opening battle scene. After
you present a hard or digital copy of your approach to the scene (10 minutes) we will see Gary
Ross shot list, boards and previs for the action scene. Preliminary VFX work by Digital Domain
will also be explored.
NOTE: Even though you are only doing two of these projects, you are still required to read all
the course material.

RTF 367P

Fall 15

p. 4

FINAL PROJECT
Everyone must do a final project. The sky is the limit, within reason. Your instructor will
determine if your proposal is significant enough in scope. Ideally, the project you choose should
further your chosen career goals. You will present the final project to the class. Suggestions:

Create a look book and/or rippo reel for a feature youd like to produce and/or direct.
Create a production budget/schedule for a feature or short film.
Create an original business plan (not the one from last semester) for an actual project
youd like to produce (can be a short, doc, feature, or tv/web series).
Write a documentary proposal and treatment.
Write a Roy W. Dean Fall Film Grant ($30K) proposal Deadline Sept. 30th.
Write an AFS Grant Proposal.
Develop a Beat Sheet and 10-minute pitch for an indie feature, web series, or TV pilot.
Write and budget several spec commercials.
Research and write a green light sheet for Arcos Films, a local production company.
Produce a thesis or pre-thesis film (required: production journal and director evaluation).
Start your own LLC, create a brand, positioning statement and reel. Speak to your
instructor about alternate requirements (like creating a chart of accounts, balance sheet,
client list, website, opening a business checking account, etc).

PROJECT EXPECTATIONS
My evaluation of your work will be based on these standards:
I expect students to take projects seriously and come prepared. Yes, we will have fun, but the
best kind of fun is the kind that goes with hard work. Written material should be properly
formatted and include your name. Good producers are good writers because they need to be.
Their job depends on it. So put your best foot forward. Write. Rewrite. Proofread. Thats how the
process works in the film world.
Presentations should be well prepared and thoughtful. You can work from notes, but dont read
your presentation. Get used to speaking extemporaneously in front of people. Its no big deal.
You can be nervous. You can stumble. Its okay. No pressure. The exercise of presenting before
class is less about performance and more about getting comfortable doing it. Producing (as well
as directing) requires pitching your ideas in front of people on a regular basis. The more you
practice, the sooner it will feel second nature. Be ready to answer questions from the class and
the instructor, so come with more ideas than what youve written.
Producer/directors: You are welcome to choose the more visual projects and embrace them.
Producers are responsible for creating presentations, often visual, so dont shy away from the
more art-driven assignments like storyboarding, look books, branding, etc. Like Gary Ross,
many of you will go on to write, direct and produce, so you are welcome to do that in this class.

RTF 367P

Fall 15

p. 5

PARTICIPATION
Because of the workshop nature of this course, attendance in class is mandatory (see grading).
You are expected to engage in class discussion. Your feedback is essential to helping your peers
grow as filmmakers.
Do the assigned reading. You cannot engage in class discussion properly without knowing the
material. Bring your textbook to class. Sentences should be highlighted. Notes scribbled. This is
the raw material for the questions and points you will offer the class.
During presentations or guest speakers, you are expected to ask questions and engage. Be verbal.
If you are a talker, please be respectful of other students and allow them to get some questions
and comments in as well. Please be respectful of students who are presenting material. Be polite
during disagreements. If you have critique, please make it constructive.

GRADES
Students earn 100 points in this class. There is a final exam that will be administered on the last
day. It will cover basic concepts and important anecdotes. If you are present for all class
meetings and paying attention, you should do fine on the exam.
Final grades will be assigned as follows:
92 - 100 = A
90 - 91 = A88 - 89 = B+
82 - 87 = B
80 - 81 = B78 - 79 = C+
72 - 77 = C
70 - 71 = C68 - 69 = D+
62 - 67 = D
60 - 61 = D< 60 = F
ABSENSES / TARDINESS
Attendance is graded separately and handled in a subtractive fashion. You are only allowed one
unexcused absence from required class time. For each unexcused absence after that, students lose
half a letter grade (5 points). There are no exceptions.
If you must be absent, provide a legitimate excuse to the instructor in advance, even if you are
uncertain about the legitimacy of the excuse. If you are more than 10 minutes late to class, you
will be penalized 2.5 points (minus a legitimate excuse, speak to the instructor at the break). You
are given only one freebie. Please be on time.

RTF 367P

Fall 15

p. 6

100 POINT BREAKDOWN

15 Project 1
15 Project 2
20 Final Project
20 Participation in Class (discussion/critique, completion of readings)
10 Overall Attitude (constructive thought, listening ability, growth)
20 Exam
Deadlines must be met to ensure full credit on presentations. 2 points will be deducted per week
on presentations/materials that are late without informing the instructor two days in advance.
THE UNIVERSITY OF TEXAS HONOR CODE
The core values of The University of Texas at Austin are learning, discovery, freedom, leadership,
individual opportunity, and responsibility. Each member of the University is expected to uphold these
values through integrity, honesty, trust, fairness, and respect toward peers and community.
SCHOLASTIC DISHONESTY
The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration,
falsifying academic records, and any act designed to avoid participating honestly in the learning process.
Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to
receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially
the same written assignment for two courses without the prior permission of the instructor. By accepting
this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonest damages
both the students learning experience and readiness for the future demands of a work-career. Students
who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the
possibility of failure in the course and/or dismissal from the University. For more information on
scholastic
dishonesty,
please
visit
the
Student
Judicial
services
Web
site
at
http://deanofstudents.utexas.edu/sjs
UNDERGRADUATE WRITING CENTER
The Undergraduate Writing Center, located in the FAC 211, phone 471-6222,
http://www.utexas.edu/cola/centers/uwc/ offers individualized assistance to students who want to improve
their writing skills. There is no charge, and students may come in on a drop-in or appointment basis.
SERVICES FOR STUDENTS WITH DISABILITIES
The University of Texas at Austin provides upon request appropriate academic accommodations for
qualified students with disabilities. For more information, contact the Office of the Dean of Students at
471-6259, 471-4641 TTY.

RTF 367P

Fall 15

p. 7

RELIGIOUS HOLIDAYS
Religious holy days sometimes conflict with class and examination schedules. If you miss a work
assignment or other project due to the observance of a religious holy day you will be given an opportunity
to complete the work missed within a reasonable time after the absence. It is the policy of the University
of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes
scheduled on dates you will be absent to observe a religious holy day.
UNIVERSITY ELECTRONIC MAIL NOTIFICATION POLICY
All students should become familiar with the Universitys official e-mail student notification policy. It is
the students responsibility to keep the University informed as to changes in his or her e-mail address.
Students are expected to check e-mail on a frequent and regular basis in order to stay current with
University-related communications, recognizing that certain communications may be time-critical. It is
recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this
policy
and
instructions
for
updating
your
e-mail
address
are
available
at
http://www.utexas.edu/its/policies/emailnotify.html. In this course e-mail will be used as a means of
communication with students. You will be responsible for checking your e-mail regularly for class work
and announcements.
CAMPUS SAFETY
Please note the following recommendations regarding emergency evacuation from the Office of Campus
Safety and Security, 512-471-5767, http://www.utexas.edu/safety/ Occupants of buildings on The
University of Texas at Austin campus are required to evacuate buildings when a fire alarm is activated.
Alarm activation or announcement requires exiting and assembling outside. Familiarize yourself with all
exit doors of each classroom and building you may occupy. Remember that the nearest exit door may not
be the one you used when entering the building. Students requiring assistance in evacuation shall inform
their instructor in writing during the first week of class. In the event of an evacuation, follow the
instruction of faculty or class instructors. Do not re-enter a building unless given instructions by the
following: Austin Fire Department, The University of Texas at Austin Police Department, or Fire
Prevention Services office.
Behavior Concerns Advice Line
BCAL: 232-5050
COPYRIGHT AND FAIR USE
You may find the need to use copyrighted material this semester: music, photographs, movie clips, or any
other expression. For many of your uses, you need to find the copyright holder and negotiate a license.
You own the copyright to the work you produce in this class. As a copyright holder yourself, you
understand the importance of copyright ownership. It is your responsibility to secure music and archival
footage licenses as well as artwork, location and personal releases. You will find release templates on the
RTF website.
For some uses, however, neither you nor anyone else needs to license copyrighted material. This is
because copyright law exists to encourage and support creativity. Copyright law recognizes that creativity
doesnt arise in a vacuum. As creators, we all stand on the shoulders of giants. New works of art (such as
films, books, poems, paintings) all make use of what has gone before. Thus, copyright law not only
protects authors with a copyright that lets them decide who can use their works, but also offers

RTF 367P

Fall 15

p. 8

exemptions from the authors control. For filmmakers, the most important exemption is the doctrine of
fair use. You can rely on fair use, where appropriate, in the film and video projects you undertake for this
course. If you are making a documentary film, consult the influential Documentary Filmmakers Statement
of Best Practices in Fair Use (PDF) which was created by a group of national filmmaker organizations,
has been endorsed by the University Film and Video Association, and is now relied on by film festivals,
insurers, cablecasters, distributors and public broadcasters. Fair use also applies in the fiction film
environment, but not necessarily to the same extent or in the same way. As always, the central question is
whether the new use is "transformative" -- i.e., whether it adds significant value by modifying or
recontextualizing the original. For more information, visit http://www.centerforsocialmedia.org/
RTF SAFETY POLICY
Special safety precautions for your crew, actors and others in the area are required if you are undertaking
any hazardous activities while filming, including but not limited to ANY driving or horseback/livestock
shots, shooting in or around water or heights, or if you are using stunts, flames, pyrotechnics, squibs or
simulated weapons (real weapons of any kind are never permitted). In addition, you must follow all
federal, state and local laws and the rules of any venue or location at which you are filming regarding
hazardous activities, including University of Texas at Austin rules if filming is done on campus.
Student filmmakers must submit a detailed safety plan to their course instructor and the RTF Technical
Facilities Manager if a script or project involves driving or horseback/livestock shots, shooting in or
around water or heights, stunts, flames, pyrotechnics, squibs, weapons or any other hazardous activities
(this requirement applies to all shoots, including documentary projects, but please see the special
guidelines for documentary driving shots below). It is the responsibility of the student to hire experts in
the field and budget at least $600/day for expert consultation and on-set supervision if, in the judgment of
the class instructor and the Technical Facilities Manager, such expert consultation or supervision is
necessary.
Students should understand that driving while filming will be permitted only in strictly limited
circumstances, such as on a private road or drive. In most circumstances, students who wish to undertake
driving shots will be required to arrange for a police escort and a city permit. Monitors inside the vehicle
will NOT be allowed while filming in a vehicle. Filming from the back of trucks is not considered safe
and is not permitted under any circumstances.
Documentary filming of an interview while the interview subject is driving is only permitted if the
cameraperson is secured in a seat belt and is not directing the driver of the car in any way, besides
engaging in a conversation in which the driver/interviewee has been informed not to look at the camera or
the interviewer at all during the interview. In addition, any filming from a vehicle, for drive-by B-roll,
must be done by a cameraperson secured in a seat belt, where the driver is not being directed in any way
by the director, so that they are driving as they normally would. As noted above, any documentary student
planning on filming in any vehicle must submit a safety plan to their course instructor and the RTF
Technical Facilities Manager.
Students who fail to comply with this policy will receive a failing grade in this class and will be barred
from future access to RTF production and post-production equipment and facilities.

RTF 367P

Fall 15

p. 9

CLASS SCHEDULE
WEEK 1
September 1 (class):
Syllabus and Schedule Overview
Description of Projects & the Textbook
Introductions
Presentations: Story Approach: THE STATE OF JONES (book)
Topic: Production Types, Producer Types, Industry Survival Tips
Sign NDA
FOR NEXT WEEK:
1. Purchase textbook
2. Finish Reading: THE STATE OF JONES (book)
3. Assignment: Write/Prep Presentation Story Approach: THE STATE
OF JONES (book)
4. Read: Writers Guild of America (p. 205)
5. Prep questions for guest speaker
WEEK 2
September 8 (class):
Presentations: Story Approach: THE STATE OF JONES (book)
Topic: Development Part 1 The Script
Guest Speaker:
o Bradley Jackson, writer-director-producer (BALLS OUT)
Receive THE FREE STATE OF JONES (script) one week to read
FOR NEXT WEEK:
1. Read: THE FREE STATE OF JONES (script)
2. Assignment: Write/Prep Presentation Script Notes: THE FREE
STATE OF JONES
3. Read: Ch. 25 Independent Filmmaking (pp. 405 412), Ch. 26
Practical Low-Budget Filmmaking (pp. 415 419, stop on 419)
4. Prep questions for guest speakers
WEEK 3
September 15 (class):
Presentations: Script Notes: THE FREE STATE OF JONES
Collect Shooting Scripts
Topic: Development Part 2 The Business
Guest Speakers: TBD
Receive: MY MONSTER business plan and budget/schedule

RTF 367P

Fall 15

p. 10

FOR NEXT WEEK:

1. Assignment: Write/Prep Presentation Script Notes: THE FREE
STATE OF JONES (for those who are going next week)
2. Read: Ch. 4 - From Script to Schedule (pp. 79 87)
3. Read: MY MONSTER business plan and Budget/Schedule, write notes
4. Decide on Two Projects (if you havent yet); think about final project
5. Prep questions for guest speaker
WEEK 4
September 22 (class):
Presentations: Script Notes: THE FREE STATE OF JONES (cont.)
Critique: MY MONSTER business plan and budget/schedule
Topic: Budget and Schedule
Receive: THE FREE STATE OF JONES schedule
Guest Speakers: TBD
FOR NEXT WEEK:
1. Read: Production Schedule FSOJ
2. Read: Ch. 9 Building Strong Relationships (pp. 181 188), Ch. 10
Deal Memos (pp. 189 190), Ch. 11 Unions and Guilds (pp. 199
207), Ch. 12 Principal Talent (pp. 209 218), Ch. 13 Background
Talent (pp. 261 266), NOTE: This is only 31 pages.
3. Prep questions for guest speaker
WEEK 5
September 29 (class):
Critique: Production Schedule: THE FREE STATE OF JONES
Discuss: Reading
Topic: Pre-Production Part 1
Guest Speaker: TBD
FOR NEXT WEEK:
1. Read: Ch. 6 Pre-Production (pp. 95 118), Ch. 5 Incentive (pp. 89
93), Ch. 7 Insurance Requirements (pp. 125 135), Ch. 18
Locations (pp. 323 329)
WEEK 6
October 6 (class):
Discuss: Reading
Topic: Pre-Production Part 2
Guest Speaker: TBD
Receive: Sides for Voting Scene (Scene 237 242) + Notes/Emails Voting Scene

RTF 367P

Fall 15

p. 11

FOR NEXT WEEK:

1.
2.
3.
4.

Read: Voting Scene Script, Historical Notes/Emails

Assignment: Dramatic Scene Study: Voting (scene 237 242)
Read: Ch. 8 During the Shoot (pp. 157 164)
Decide on final project

WEEK 7
October 13 (class):
Presentations: Dramatic Scene Study: Voting
Review: Call Sheet, Location Pics, Production Design Material, Shot List (Voting)
View: Behind the Scenes Footage Part 1 (scene 237 239)
Discuss: Behind the Scenes Footage
Topic: Production Part 1
FOR NEXT WEEK:
1. Read: Ch. 15 Clearances and Releases (pp. 273 275, stop on 275),
Ch. 17 Safety (pp. 311 317)
2. Prep Questions for Guest Speaker
WEEK 8
October 20 (class):
View: Behind the Scenes Footage Part 2 (scene 240 242)
View: Three Edit Versions of Voting Scene, Discuss
Guest Speaker: TBD
Topic: Production Part 2
Receive: Sides for Opening Battle Scene (Scene 3)
FOR NEXT WEEK:
1.
2.
3.
4.

Prep Shot List / Boards Opening Battle (Scene 3)

Read: Ch. 23 Effects (pp. 389 392), Ch. 29 Wrap (pp. 449 456)
Prep Questions for Guest Speaker
Assignment: Research Matthew McConaughey, Gary Ross, Diana
Alvarez, STX Entertainment
WEEK 9

October 27 (class):

Catch Up: Behind the Scenes footage, Edits of Voting Scene

Presentations: Shot List / Boards Opening Battle (Scene 3)
Receive: Shot List, Storyboards and Previs Opening Battle
Topic: Wrap and Effects
Guest Speakers: TBD

RTF 367P

Fall 15

p. 12

FOR SATURDAY:
1. Prep Questions for Gary Ross
October 31 (special class meeting, location TBD):
Guest Speaker:
o Gary Ross, Writer-Director-Producer (THE FREE STATE OF JONES)
FOR NEXT WEEK:
1. Prep Questions for Diana Alvarez
WEEK 10
November 3 (class):
Guest Speaker:
o Diana Alvarez, Executive Producer (THE FREE STATE OF JONES)
Review: FSOJ Marketing Material, Post Schedule
FOR NEXT WEEK:
1. Read: Ch. 30 Post Production Overview (pp. 463 481), Ch. 16 A
Guide to Music Clearance (pp. 303 310), Ch. 15 Clearances and
Releases, continued (pp. 277 281)
2. Prep Questions for Guest Speakers
WEEK 11
November 10 (class):
Topic: Post-Production
Review: FSOJ Spotting Notes, Sound Design/Mix Notes
Guest Speakers: TBD
FOR NEXT WEEK:
1. Assignment: Complete Final Projects (some of you)
2. Prep Questions for Guest Speakers
WEEK 12
November 17 (class):
Presentations: Final Project
Topic: Distribution, Starting and Maintaining Your Own Company
Guest Speakers: TBD
FOR NEXT WEEK:
1. Assignment: Complete Final Projects (some of you)
2. Read: Ch. 24 Specifically Television (pp. 395 402), Ch. 28 Commercial Production (pp. 443 447), Ch. 27 New Media (pp. 437
440)

RTF 367P

Fall 15
WEEK 13

November 24 (class):
Presentations: Final Project
Topic: Television, Commercials and New Media
Guest Speakers: TBD
FOR NEXT WEEK:
1. Assignment: Complete Final Projects
2. Assignment: Study for Exam
WEEK 14
December 1 (class):
Presentations: Final Project
Exam
Semester Wrap-Up
Course Evaluations

p. 13