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)
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KEY TERMS: Glossary
Method for Directors?
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA
Story vs. Plot (what is the difference?)
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!
MUST HAVE THE OUTLINE for your story!
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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.
[ The Film-Maker's Art ]
You have to have MANY of them, you have to be full of STORIES![ hyperlink ]
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.
Character page from METHOD Acting directory.
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 development1. Number your episodes!
2. Give each episode your own name!
3. Several steps: outline, treatment and etc.
Testing Your Story1. On Plot
2. On Character (main hero)
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:
We top the rise and the smoggy vastness of Los Angeles at twilight stretches out before us.
VOICE-OVERA 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'.
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.The Dude glances furtively about and then opens a quart of milk. He sticks his nose in the spout and sniffs.
VOICE-OVERNow 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.CHECKOUT GIRL VOICE-OVERAnd 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.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 BUSHThis 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.
SummaryDramatic composition: your story must have 1-2-3 (exposition, climax, resolution).
QuestionsRemember the last (6) principle in the Poetics (Spectacle). How it is represented in your story?
HomeworkWrite one page proposal.
NotesPost your story in the online class and give earch other feedback.
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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 *
Story & CharacterLEO: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 ]
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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 ]
* home * about * guide * classes * advertise * sponsors * faq * contact * news * forums * mailing list * bookstore * ebooks * search me * calendar * games * polls * submit your link * web * shop * All scripts and texts on this site are intended for educational purposes only * images : photobucket.com/cinema & photobucket.com/film [ in addition to picasa and flickr ] * my.times * igoogle * my.yahoo * my spaces *ENDing [ One Flew Over The Cuckoo's Nest by Bo Goldman, Lawrence Hauben & Ken Kesey 1975 ]
http://www.dailyscript.com/scripts/oneflewover.htmlINT. 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
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