How to read analyze and prepare a screenplay for the rehearsal of actors and direction of the crew. How to shift from literary thinking to dramatic thinking. How events dictate creative choices. (It is recommended that screenwriters who want to direct attend all six of Jim's classes as Jim has been known to spontaneously integrate material from one session into another.)

How to create storyboards and blocking diagrams. How to stage and shoot a scene in one shot in the style of Orson Wells and William Wyler. (It is recommended that screenwriters who want to direct attend all six of Jim's classes as Jim has been known to spontaneously integrate material from one session into another.)

We will again interview Guest Of Honor Shane Black, and then throw the session open to audience questions. Ask away about the next Lethal Weapon, his his upcoming Cold Warriors, his most recent film Kiss-Kiss Bang-Bang, how to break into action feature writing, or any other question you can think of!

How to see through lenses; how and when to move the camera; how and when to experience the scene from a character's direct point of view. (It is recommended that screenwriters who want to direct attend all six of Jim's classes as Jim has been known to spontaneously integrate material from one session into another.)

JOHN AUGUST is the acclaimed writer of Tim Burton's Big Fish and the indie hit Go. August has also collaborated with Burton on Charlie and the Chocolate Factory, the animated film Corpse Bride, and the 2011 Disney release Frankenweenie. August has also delved into action screenwriting by having a hand in both Charlie's Angels films. His last project was the lauded film The Nines, on which he made his directorial debut.

How to collaborate and achieve optimum performance from your crew and actors. (It is recommended that screenwriters who want to direct attend all six of Jim's classes as Jim has been known to spontaneously integrate material from one session into another.)

Continuity cutting to create a powerful dream-like experience for the audience. Concepts important to a director's understanding of editing and collaborating with the editor. (It is recommended that screenwriters who want to direct attend all six of Jim's classes as Jim has been known to spontaneously integrate material from one session into another.)

How to see light and how to find visual and auditory metaphors for your films. (It is recommended that screenwriters who want to direct attend all six of Jim's classes as Jim has been known to spontaneously integrate material from one session into another.)