Mamet: “Now, we have two plans here. Which is simpler? Always do things the least interesting way, and you make a better movie. This is my experience. Always do things the least interesting way, the most blunt way. Because then you will not stand the risk of falling afoul of the objective in the scene by being interesting, which will always bore the audience, who are collectively much smarter than you and me and have already gotten up to the punch line. How do we keep their attention? Certainly not by giving them more information but, on the contrary, by withholding information-- by withholding all information except that information the absence of which would make the progress of the story incomprehensible. This is the kiss rule. K. I. S. S. Keep it simple, stupid.” (p. 20)
Search The Internet Movie Database Enter the name of a movie, TV show, or person and then
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If you read Concept page, you know that there are stories for film and other great stories which are not going to work on the screen. Remember that Aristotle had three categories under STRUCTURE: PLOT, CHARACTER, IDEA. Well, film is about ACTION (plot-oriented). The trick is the plot must be expressed in cinematic ways; the idea of the film is film itself.
Try storyboarding your story right away! Make sure that all your major plot's events are represented visually.
Think about "screen events" -- how to express your story events in stages (shot): visualization = dramatization!
A story should have a beginning, a middle, and an end... but not necessarily in that order. - Jean-Luc Godard
The Film Structure:
Plot is the working out of the story of a film, comprising a causally connected series of motivated incidents; structure refers to the way in which the events of the plot are ordered and integrated. The two, therefore, are not quite synonymous; yet depending on whether the film is narrative or documentary, the word "plot" is used to describe the story arrangement of the former, and the word "structure" to describe the idea arrangement of the latter. Most important, the essence of structure is the arrangement of the various story or idea units so that the whole can be effectively understood. Structure is the blueprint, the skeleton, the design, that binds a film together and represents the thought progression of the film-maker. It is found universally in all artistic works, whether it be the physical armature under a modeling, or the progression of movements in a sonata. In the case of the film, it is the skewer that pierces and binds the actions and the ideas into a coherent unit.
You have to have MANY of them, you have to be full of STORIES!
They, the stories, must compete for their lives in your brain, they should try to make you fall in love with them ...
But how to know if you got a film idea and not the play idea, or novel, or short-story. I use the silent movies test -- can you tell your story with them talking at all? Or the "foreign movie" test. Will I be able to follow without know the language. The extreme case of this principle -- action movies (or the "karate" one).
But how come we recognize and value the hero above all? Is the second Aristotle's principle?
Hero is another film "illusion" -- camera must do the acting for the central character. As a matter of fact, the whole story is the hero's narrative one way or another. POV? The main POV.
One-paragraph description (sample): The Fugitive - "I, uh, had an argument with my wife. I went out of the house. I drove around for a while. When I came back, she was dead. There was no way to prove that I wasn't there at the time. Witnesses had heard us arguing. On my way to death row, I managed to get away. The police have been after me ever since. And I've been after the man that murdered my wife."
Two ways to help yourself with the story development
Intro, Expo (sample): THE BIG LEBOWSKI by Ethan Coen & Joel Coen
We are floating up a steep scrubby slope. We hear male voices gently singing "Tumbling Tumbleweeds" and a deep, affable, Western-accented voice--Sam Elliot's, perhaps:
VOICE-OVER
A way out west there was a fella,
fella I want to tell you about, fella
by the name of Jeff Lebowski. At
least, that was the handle his lovin'
parents gave him, but he never had
much use for it himself. This
Lebowski, he called himself the Dude.
Now, Dude, that's a name no one would
self-apply where I come from. But
then, there was a lot about the Dude
that didn't make a whole lot of sense
to me. And a lot about where he
lived, like- wise. But then again,
maybe that's why I found the place
s'durned innarestin'.
We top the rise and the smoggy vastness of Los Angeles at
twilight stretches out before us.
VOICE-OVER
They call Los Angeles the City of
Angels. I didn't find it to be that
exactly, but I'll allow as there are
some nice folks there. 'Course, I
can't say I seen London, and I never
been to France, and I ain't never
seen no queen in her damn undies as
the fella says. But I'll tell you
what, after seeing Los Angeles and
thisahere story I'm about to unfold--
wal, I guess I seen somethin' ever'
bit as stupefyin' as ya'd see in any
a those other places, and in English
too, so I can die with a smile on my
face without feelin' like the good
Lord gypped me.
INTERIOR RALPH'S
It is late, the supermarket all but deserted. We are tracking in on a fortyish man in Bermuda shorts and sunglasses at the dairy case. He is the Dude. His rumpled look and relaxed
manner suggest a man in whom casualness runs deep.
He is feeling quarts of milk for coldness and examining their
expiration dates.
VOICE-OVER
Now this story I'm about to unfold
took place back in the early nineties--
just about the time of our conflict
with Sad'm and the Eye-rackies. I
only mention it 'cause some- times
there's a man--I won't say a hee-ro,
'cause what's a hee-ro?--but sometimes
there's a man.
The Dude glances furtively about and then opens a quart of milk. He sticks his nose in the spout and sniffs.
VOICE-OVER
And I'm talkin' about the Dude here--
sometimes there's a man who, wal,
he's the man for his time'n place,
he fits right in there--and that's
the Dude, in Los Angeles.
CHECKOUT GIRL
She waits, arms folded. A small black-and white TV next to
her register shows George Bush on the White House lawn with
helicopter rotors spinning behind him.
GEORGE BUSH
This aggression will not stand. . .
This will not stand!
The Dude, peeking over his shades, scribbles something at the little customer's lectern. Milk beads his mustache.
VOICE-OVER
...and even if he's a lazy man, and
the Dude was certainly that--quite
possibly the laziest in Los Angeles
County.
Summary
Dramatic composition: your story must have 1-2-3 (exposition, climax, resolution).
Questions
Remember the last (6) principle in the Poetics (Spectacle). How it is represented in your story?
Homework
Write one page proposal.
Notes
Post your story in the online class and give earch other feedback.
TOPICS: drama + comedy + postmodern + time + space +
Artistic ID * Style * Story, Form & Genre * Screen Language * Projects * Script * Translation to the Screen * Directing the Frame * Subject Size * Angle * Perspective * Composition * Look * Movement * Continuity * Coverage * mise-en-scene * Casting * Rehearsal * Directing Actors * Audience * Expectation * Suspense * Surprise * Violence * Humor * Dynamic Dialogue Scenes * Static Dialogue Scenes * Group Dialogue Scenes * Tips * Documentaries & Experimental * scripts *
Okay, okay, okay... So I had
this frog. Named him Froggy.
And I didn't really have friends,
right, so Froggy was my friend...
(a little
embarrassed)
... I used to kiss him.
Like in the fairy tales, the girl
kisses the frog, and it turns
into a prince? Since I was a
boy, I figured maybe it'd turn
into a princess. Then she could
be my... I didn't have a mom
growing up, y'know? She went,
y'know, away or whatever. And
dad was no Crackerjack prize...
Anyway, Froggy didn't turn into
anything, just stayed a frog, but
was still my best friend, and
one day I was carrying his
box in my bike basket, and he
jumped out. My back wheel ran
over him. And he died... I
was heartbroken... I'd never
love another living thing ever
again... Then, about a year
later, the mentally slow guy
in the next apartment, Iggy,
his dog has puppies, and he has
to get rid of 'em, and he asks
me to take the one that didn't
sell. So I do... Pretty soon,
it's my new best friend. I
named him Froggy the Second...
It wasn't that he was a better
pet. Just a different one...
Anyway, I thought maybe it
was relevant.
[ Lethal Weapon 4 by Channing Gibson, Story by Jonathan Lemkin and Alfred Gough & Miles Millar, Based on characters created by Shane Black 1998 * http://www.dailyscript.com/movie.html ]
INT DAY: DON'S OFFICE (SUMMER 1945)
The PARAMOUNT Logo is presented austerely over a black
background. There is a moment's hesitation, and then the
simple words in white lettering:
THE GODFATHER
While this remains, we hear: "I believe in America."
Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a
man of sixty, dressed in a black suit, on the verge of great
emotion.
BONASERA
America has made my fortune.
As he speaks, THE VIEW imperceptibly begins to loosen.
BONASERA
I raised my daughter in the American
fashion; I gave her freedom, but
taught her never to dishonor her
family. She found a boy friend,
not an Italian. She went to the
movies with him, stayed out late.
Two months ago he took her for a
drive, with another boy friend.
They made her drink whiskey and
then they tried to take advantage
of her. She resisted; she kept her
honor. So they beat her like an
animal. When I went to the hospital
her nose was broken, her jaw was
shattered and held together by
wire, and she could not even weep
because of the pain.
He can barely speak; he is weeping now.
BONASERA
I went to the Police like a good
American. These two boys were
arrested and brought to trial. The
judge sentenced them to three years
in prison, and suspended the
sentence. Suspended sentence!
They went free that very day. I
stood in the courtroom like a fool,
and those bastards, they smiled at
me. Then I said to my wife, for
Justice, we must go to The Godfather.
By now, THE VIEW is full, and we see Don Corleone's office
in his home.
The blinds are closed, and so the room is dark, and with
patterned shadows. We are watching BONASERA over the
shoulder of DON CORLEONE. TOM HAGEN sits near a small
table, examining some paperwork, and SONNY CORLEONE stands
impatiently by the window nearest his father, sipping from a
glass of wine. We can HEAR music, and the laughter and
voices of many people outside.
DON CORLEONE
Bonasera, we know each other for
years, but this is the first time
you come to me for help. I don't
remember the last time you invited
me to your house for coffee...even
though our wives are friends.
BONASERA
What do you want of me? I'll give
you anything you want, but do what
I ask!
DON CORLEONE
And what is that Bonasera?
BONASERA whispers into the DON's ear.
DON CORLEONE
No. You ask for too much.
BONASERA
I ask for Justice.
DON CORLEONE
The Court gave you justice.
BONASERA
An eye for an eye!
DON CORLEONE
But your daughter is still alive.
BONASERA
Then make them suffer as she
suffers. How much shall I pay you.
Both HAGEN and SONNY react.
DON CORLEONE
You never think to protect yourself
with real friends. You think it's
enough to be an American. All
right, the Police protects you,
there are Courts of Law, so you
don't need a friend like me.
But now you come to me and say Don
Corleone, you must give me justice.
And you don't ask in respect or
friendship. And you don't think to
call me Godfather; instead you come
to my house on the day my daughter
is to be married and you ask me to
do murder...for money.
BONASERA
America has been good to me...
DON CORLEONE
Then take the justice from the
judge, the bitter with the sweet,
Bonasera. But if you come to me
with your friendship, your loyalty,
then your enemies become my enemies,
and then, believe me, they would
fear you...
Slowly, Bonasera bows his head and murmurs.
BONASERA
Be my friend.
DON CORLEONE
Good. From me you'll get Justice.
BONASERA
Godfather.
DON CORLEONE
Some day, and that day may never
come, I would like to call upon you
to do me a service in return.
[ godfather ]
INT. HALLWAY - LATE AFTERNOON
Bromden is squatting, leaning against the wall near the
security gate to the visitors' room, when a KEY HITS THE
LOCK. He looks up expectantly. This time it is McMurphy. Or
what was McMurphy, for his head is bandaged, and his tongue
hangs out of his mouth as he is led across the visitors' room
by an ATTENDANT.
McMurphy shows Bromden no sign of recognition, which Bromden
pays no attention to, thinking McMurphy is putting on the
same act he did when he came back from Electro-Shock Therapy.
Bromden joyously turns and runs down the hallway to the day
room.
INT. DAY ROOM - LATE AFTERNOON
as Bromden crosses into the day room, gets a seat, and sits
facing the hallway, bursting with expectation.
A long beat, then the Attendant appears with McMurphy and
taps at the side door to the nurses' station.
The Acutes break off their card game and look at McMurphy;
their faces hang open at his appearance.
Big Nurse crosses to the side door, opens it, and steps out
into the day room. To the Attendant as she takes McMurphy by
the arm:
BIG NURSE
Thank you...
ATTENDANT
Yes, ma'am...
The Attendant exits.
BIG NURSE
(to McMurphy)
Now, let's find you a place to sit,
shall we, Mister McMurphy?
Big Nurse gently guides McMurphy to a seat on the Chronics'
side of the room.
Bromden can hardly contain himself as he waits for McMurphy
to go into his act.
The Acutes have already absorbed the reality of McMurphy's
condition as they exchange looks with each other.
FREDRICKSON
(whispering)
Lobotomy...
HARDING
Yeah...
SCANLON
Yeah, that Gary Blinker is fulla
shit...
The Acutes turn back to their card game as Harding shuffles
and deals the cards out.
Bromden keeps his eyes glued to Big Nurse and McMurphy.
BIG NURSE
(sitting McMurphy down)
Here now, you sit here... That's
it...
Big Nurse pats McMurphy's face and crosses back to the
nurses' station.
McMurphy just sits there, his head lolling to one side.
Bromden waits for McMurphy to go into his routine.
McMurphy just sits there.
Bromden snaps his fingers and slaps his thigh, then waits for
McMurphy to follow suit.
McMurphy just sits there slobbering.
Bromden slaps his thigh again.
No response from McMurphy.
The MUSIC PLAYS ON.
DISSOLVE TO:
INT. MEN'S DORM - DAYBREAK
as Bromden stands by the window looking out. A long beat,
then he turns into the room and looks around.
BROMDEN'S POV
The patients are all asleep. The new night attendant is fast
asleep in the nurses' station.
Bromden quietly takes his pillow and goes to McMurphy's bed,
where he kneels and puts his head very close to McMurphy's. A
long beat as Bromden studies McMurphy's face.
BROMDEN
(whispering in McMurphy's
ear)
When I first came here I was so
scared of being lost I had to
holler so they could track me... I
figured anything was better than
being lost...
On the last word, Bromden places his pillow over McMurphy's
face and begins to suffocate him. McMurphy starts thrashing
and Bromden lies full length on McMurphy. A long beat, then
the thrashing ends. Bromden gets off McMurphy, replaces his
pillow, and crosses down the aisle toward the day room.
INT. DAY ROOM - DAYBREAK
The night attendant continues to sleep as Bromden passes the
nurses' station, heading for the tub room.
INT. TUB ROOM - DAWN
as Bromden crosses to the heavy machine which McMurphy had
once tried to lift, sizes it up, then bends over and takes
hold and heaves. The GRINDING WEIGHT is HEARD as Bromden
exerts all his strength, slowly lifts the machine off the
floor, balances it above his shoulders, then crosses out of
the tub room.
INT. DAY ROOM - DAWN
as Bromden comes around the corner and past the sleeping
night attendant in the nurses' station.
Bromden lines himself up with the window across the room,
then starts toward it, picking up speed as he goes. Then, at
the last moment, he stops and, with an enormous effort, he
hurls the machine through the security screen and the window.
A LOUD CRASH.
In the nurses' station, the night attendant starts awake and
looks around. Too late as Bromden vaults through the window.
CAMERA HOLDS on window as Bromden runs across the grounds and
disappears into the pine trees.
INT. DAY ROOM - DAWN
as the night attendant comes out of the nurses' station and
looks confusedly around. Then he spots the shattered window.
EXT. COUNTRYSIDE - EXTREME LONG SHOT - SUNRISE
Rolling hills, forests and distant mountains, bathed in
sunlight, as Bromden runs across a far-off meadow.
CREDITS OVER.
THE END
