SCI Story Ecosystem
Like visual development (aka pre-viz), pre-writing allows the writer to design content goals that provide
a rigging for the story property. By crafting an argument that considers moral choice and social context,
Hollywood can leverage the familiarity of genre, making escape films more relevant to our social progress.
Another component of Rated-S is to make films more actionable
SEQUENCE FROM INCLEMENT WEATHER
PROJECT: TEDDY RUXPIN
ROLE: WRITER/CHARACTER DEVELOPMENT
SYNOPSIS: An old teddy bear, reluctant to do his job telling stories, must face the outside
world after being replaced by a new toy. Donated to a rehab center for dogs
with anger management issues, he makes friends with other children's toys,
whose daily lives have been reduced to surviving violent and aggressive animal
behavior. Almost ripped apart by a cute little dog, Teddy remembers his dream
"to go be in a story," where he finds his missing owner, a little girl he helped raise.
But the outside world is no place for a toy, especially a toy without his own story.
At various stages...
PROJECT: THE CUPLESS KING OF VIDÉO (Based on Original Children's Fable)
ROLE: WRITER/AUTHOR
CONCEPT: A rebellious prince discovers a kingdom and the character of its people, while
searching for a young man ejected by his father due to a lack of virtue. Sensing
there is more outside the kingdom walls, he wagers his privilege for knowledge, on a
journey that leads to long suffering and struggle, that might enable him to fill his cup.
Social Cinema Initiative and Rated-S
My first experience with film noir led me to believe that there must be a way to tell
stories that reflect a more affirmative side of human nature. This imprint stayed
with me after undergraduate studies and took on the form of a ratings design, rather
than a genre.
In studying the MPAA, it appeared that generational ratings creep was in essence
a greater tolerance for moral ambiguity, which became codified in the PG-13 hybrid
of Rated-G and Rated-R. With more permissible content a movie could appeal to a broader audience base, categorized as a tolerance for mild rather than strong
depictions of drugs, language, sexuality and violence.
This affirmed my premise, that a new ratings design might be needed, to accomplish
my goal of defining a humanistic cinema with actionable social goals that a development platform for forward looking storytellers. Withholding
judgement against the increasingly ambiguous morality evident in Hollywood productions,
I considered that a Rated-S film could be either categorical, a full Rated-S, or scaled, like
a Silver, Gold or Platinum LEED building. tansposed, narrative design criteria could be contained as sustainable, social and spectacular rating levels, with an "-S" added to any other designated MPAA rating (e.g. PG13-S). A description of Rated-S standards and protocols, i.e. narrative design criteria, to propose and launch a Social Cinema Initiatives, but having met Curtis Clark who pioneered ACES, and studied t
The role of DCI in the transition of Hollywood to a digital cinema workflow, forecasts a parallax between a medium-based technology and a content-based technology that is suggested by a paradigm shift for content development potentiated by SCI standards and protocols, with new business models supporting augmented development workflows.
there is already an industry climate focused on disruptive innovation and paradigm shifts that impact business models.
A description of Rated-S standards and protocols, i.e. narrative design criteria, to propose and launch a Social Cinema Initiatives, but having met Curtis Clark who pioneered ACES, and studied t
Screenplay Excerpt
WEBSITE
SPACE WEATHER ODYSSEY
PROJECT: TEDDY RUXPIN
ROLE: WRITER/CHARACTER DEVELOPMENT
SYNOPSIS: An old teddy bear, reluctant to do his job telling stories, must face the outside
world after being replaced by a new toy. Donated to a rehab center for dogs
with anger management issues, he makes friends with other children's toys,
whose daily lives have been reduced to surviving violent and aggressive animal
behavior. Almost ripped apart by a cute little dog, Teddy remembers his dream
"to go be in a story," where he finds his missing owner, a little girl he helped raise.
But the outside world is no place for a toy, especially a toy without his own story.
PROJECT: TOONED
ROLE: WRITER/CARTOONIST/CHARACTER AND STORYWORLD DEVELOPMENT
CONCEPT: An allegory investigating the eminence of convergence and demands of diversity,
framed as an origin story for The Startoons, introducing Kik and Snowflake, a brother and sister duo, whose special powers of invention and discovery help save a cartoon universe on the brink of an unprecedented "inside-television" storyworld catastrophe.
Process FLOW (3pp.)
Screenplay (5pp.)
Just like a film is written three times – before greenlighting, during principle photography,
and during post-production – I articulate three phases of writing practice: 1) pre-writing,
2) writing, and 3) re-writing.
Pre-writing is architectural. It involves crafting an argument that can be presented through
character, plot, and other storyworld assets. For a screenwriter this is akin to visual development
or storyboarding, but in concepts and words.
A title, genre, tagline, logline, premise, synopsis, beat sheet, step outline, and other storyworld
research, collectively shape a treatment that can be used to build an IP, a unique narrative property
able to impact viewers.
The next two phases, writing and re-writing are non-linear in the sense that they primarly occur after pre-writing
ideas are shared through art how cinematic stories communicatebecame narrative design criteria
for achieving a ratings design.
WRitten PITCH (1p.)
Screenplay Excerpt
Screenplay (10pp.)
PROJECT: THE CUPLESS KING OF VIDÉO (Based on Original Children's Fable)
ROLE: WRITER/AUTHOR
CONCEPT: A rebellious prince discovers a kingdom and the character of its people, while
searching for a young man ejected by his father due to a lack of virtue. Sensing
there is more outside the kingdom walls, he wagers his privilege for knowledge, on a
journey that leads to long suffering and struggle, that might enable him to fill his cup.
Essay (5pp.)
WRitten PITCH (1p.)
Screenplay (5pp.)
js@jaredsuarez.com
ORIGINAL CARTOON w/ IP MASHUP
Social Media Campaign
Short Film Research
PROJECT: TOONED
ROLE: WRITER/CARTOONIST/CHARACTER AND STORYWORLD DEVELOPMENT
CONCEPT: An allegory investigating the eminence of convergence and demands of diversity,
framed as an origin story for The Startoons, introducing Kik and Snowflake, a brother and sister duo, whose special powers of invention and discovery help save a cartoon universe on the brink of an unprecedented "inside-television" storyworld catastrophe.
CHARACTER INTERVIEW (+ BrainSports)
Screenplay (10pp.)
Short Film One Sheet
NEW MPAA RATINGS DESIGN
"NARRATIVE DESIGN"
TREATMENTS
Screenplay (5pp.)
LOGLINE: An experimental group home takes in homeless youth, and helps them restructure by gaining cognitive skills. At the "Experience Academy for Young Poets" language and ideas are as real as engines, weather systems and making friends.
SIDECAR ARGUMENT FOR #MeToo