A) Adapt a scene from a movie, television show, comic book, or video game into a FIVE page podcast script. If you want to use correct audio script format, feel free (and see #3 on Assignment Page), but proper format is NOT required.
a scene that presents some narrative challenges (after the visual
information is eliminated), and/or offers a variety of acoustic
opportunities (i.e. don't just pick a scene in which two characters are
talking in a empty room). In a fictional podcast, narration is often
considered a crutch (though it's much more acceptable here than in
film); unless it's something that already contains lots of
narration/voice over, shoot for as little narration as possible.
free to massage/revise the dialogue to include/articulate information
that is removed with the visuals. For instance, in the light saber fight
at the end of NPR's audio version of The Empire Strikes Back, Luke
additionally yells, "My hand! My hand!" and Vader responds, "Yes, your
sword hand, you can't fight without it!"
you're semi-obsessed with, as you're next assignment will be to write a
fan fic podcast script from your source material.
Sometimes something that is indelibly visual, Jaws, for instance, or, as
I suggested in class, Empire Strikes Back, will surprise you with it's
audial vitality. Jaws is all about sounds. The famous Duh Nuh that
signals the shark’s arrival is easily as effective, maybe even more so,
than the mechanical maw itself. Williams’ two note signature is, of
course, hugely important, but so is the light lapping of water against a
In the opening scene, ALL the noises—musical and
atmospheric—create a sense of isolation well before the low pulse of
strings creep in. And even prior to Chrissie Watkins' fateful flailing,
she’s sitting around a bonfire with friends, enveloped by the sound of
aimless conversation, acoustic guitar, and crackling firewood. Jaws was
made to be a radio drama. Empire, too. Empire is highly visual of
course, but think of the all the distinct sounds: from the Imperial
March and Vader's labored breathing to R2D2's chirping and Chewie's
incredible range of grunts and growls, which, at various times, were one
of three different bears, a badger, a lion, a seal, and a walrus from
Long Beach (or some combination of all five).
Post script below as a google.doc (or e-mail it to me at email@example.com)
Students MUST post reactions ( minimum 250 words) to the reading/listening linked below. Students are encouraged (but not required) to additionally respond to other student reactions.
A Brief History of NPR’s Star Wars: In 1981, NPR affiliate station KUSC, based at George Lucas’ alma mater,
the University of Southern California, hatched a bold plan to adapt
Lucas’ Star Wars for radio.
Easily the most visual film of the past decade, Star Wars as a listening experience seemed like an unlikely idea, but Lucas sold NPR and KUSC the rights to adapt the hit movie for one dollar, and opened the Lucasfilm vaults to the show’s producers: the Star Wars sound effects would be available to them in their raw form, along with
every note of John Williams’ music, including selections that had yet to
appear on an album.The somewhat unenviable task of translating a
visual-effects-heavy blockbuster to the spoken word was given to writer
Click heading to read the rest of the article.