JEFFREY MICHAEL BAYS      Workshop Presenter

Saturday 10:AM-Noon  Driftwood Room  Hotel Boulderado

Film is a unique medium because it can move its cameras and characters through large expanses of geography. Learn how to harness the power of ‘scene tectonics,’ a new storytelling craft developed by Jeffrey Michael Bays which focuses on dramatic collisions from one scene to the next. Scene Tectonics offers a top-down perspective on the emotional landscape of narrative structure, in the ways that a film’s scenes, sequences, and acts fit together dramatically. Discover how emotions, moods, tension, and release, as well as other rhythmic properties of feature films can prompt your audience to feel the story on a deeper level. By focusing on the emotions of their audience, screenwriters and directors can learn to reshape their cinematic choices to enhance the impact of their work.  Scene Tectonics is a new approach, looking at the ways the bigger puzzle pieces of scene, sequences, and acts fit together into the emotional landscape. (Workshop seating is limited to 25)


Jeffrey Michael Bays has written two books, produced one award-winning radio play, directed one feature film, has two academic degrees, and is continually churning out new creations.  He is most widely known for writing and producing XM Satellite Radio’s groundbreaking satire Not From Space (2003) recently listed by Time Out magazine as among the top five essential radio plays of all time. This two-hour epic pioneered the practice of recording voice actors through the Internet, receiving both the Mark Time Award and the Communicator Award of Excellence. He is a contributor to MovieMaker Magazine and his article Scene Tectonics, is featured in the current issue. 

Jeffrey continues to be a pioneer with his new book Between the Scenes, opening up an entirely new way of thinking about directing and screenwriting – a study he calls scene tectonics.  He is also a leading Alfred Hitchcock scholar with an emphasis on suspense techniques, author of the popular How to Turn Your Boring Movie into a Hitchcock Thriller