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Search The Internet Movie Database
Enter the name of a movie, TV show, or person and then click "Go" to get more information about it/them from imdb.com.

forum : eClass -- must read, if you are in my class (online).

06 Notes: to collect all "service pages" in appendix or/and FAQ?

* 2004 forms downloads *

Spring 2005 Screen Directing class for Oedipus * (projects)

Andrey Tarkovsky: Sculpting in Time : Reflections on the Cinema
Paperback: 254 pages * Publisher: University of Texas Press; Reprint edition (April 1, 1989) The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences -- cut away the inessential words and seconds and pieces. This book is an introduction to the rules that Tarkovsky set for himself in achieving this goal.

[ books recommended + biblio ]

script format:

(1) Scene settings and camera angles start at left margin and are in all caps.

(2) For scene descriptions set left margin at 20 and go to 70 on the right (the right margin).

(3) For character name set left margin at 40 and put in all caps.

(4) For parenthetical descriptions use left margin of 35 and right margin of 50.

(5) For dialogue use left margin of 30 and right margin of 65. It begins directly under the character's name.

The page number at the top right of the page should be about six lines from the top of the page and extend to the right margin (75).

Scripts are done in pica type without right margin justification. Triple space for a new scene setting. In episodic television the acts generally three or (more recently) four are numbered. In screenplays the acts are not indicated.

Note that things we HEAR and SEE are typically capitalized in film scripts. Also, the first time actors appear in the script their names are capitalized. The master scene style film script is similar to the above except that shots are not numbered and described. Only general scene descriptions are provided. The latter approach gives the director more latitude in deciding on shots.

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2006 --
I still didn't figure out how to make the forms online, so I have to redirect you my old Forms page. Also, Floor Plan exercises.

script formats -- here is "playscript" style:

( part 1. script )

                 REBEL WITHOUT A CAUSE


                     Stewart Stern

                     CAST OF CHARACTERS

                        JIM'S FAMILY

JIM'S GRANDMA: A chic, domineering woman in her sixties who
      has made her son Frank dependent upon her for every
      breath he takes.  She is the irritant in the
      household--the silent ruler--the silent enemy of
      Frank's marriage.

JIM'S FATHER: Frank is an unfeathered man who has never been
      able to have fun.  He is anxious to be a real father
      to Jim, but has never learned how.

JIM'S MOTHER: Tense and immature, she has never found the
      husband she married.  Upset by the presence of her
      mother-in-law, mated with an ineffectual and joyless
      man, she takes out her disappointment on him and on
      her son.

JIM: The angry victim and the result.  At seventeen he is
     filled with confusion about his role in life.  Because
     of his "nowhere" father, he does not know how to be a
     man.  Because of his wounding mother, he anticipates
     destruction in all women.  And yet he wants to find a
     girl who will be willing to receive his tenderness.

                        JUDY'S FAMILY

JUDY'S FATHER: a junior partner in a law firm.  Boyish,
       attractive and debonair.  Because he is frightened by
       the adolescence of his daughter, Judy, his only
       recourse is to criticize her.

JUDY'S MOTHER: Self-centered and frightened by the coming of
       middle-age.  She feels that Judy's blossoming youth
       is threatening her wifely position as the desirable
       object of the husband's attentions.

JUDY: The victim and the result.  At sixteen, she is in a
      panic of frustration regarding her father--needing his
      love and suffering when it is denied.  This forces her
      to invite the attention of other men in order to
      punish him.

BEAU: Judy's brother.  Because he is very young he is a
      danger to nobody and thus will grow up happily--
      certain of the love of his father who feels comfortable
      in giving it.

PLATO: Son of a divided family--an absent father and a
       traveling mother--he feels himself the target of
       desertion. At fifteen he wants to find a substitute
       family for himself so that he need no longer feel
       cold, and especially a friend who will supply the fatherly
       protection and warmth he needs and cannot find.

BUZZ: A sado-masochistic boy of seventeen, who acts out
      aggressively his idea of what a man should be in order
      to hide his real sensitivities and needs.  He was
      probably rejected by both parents and must constantly
      court danger and must constantly court danger in order
      to achieve any sense of prestige or personal worth.

                          THE KIDS

       searching for recognition in the only way available
       to them; all suffering from unfulfilled hungers at
       home; all creating an outside world of chaos in order
       to bear the chaos they feel inside.  They are
       soldiers in search of an enemy.


Stage Manager (SM) forms

Mise-en-Scene forms (floor plans) to post! See Storyboard for examples!

More in class. ...


The production forms -- where?



The shooting script (three-ring-folder) -- file

@2001-2003- film-north NEXT: textbooks *

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Another way to start (format) your script:

		  The Breakfast Club

				written and directed by
					   John Hughes

			[ transcribed by

	Against Black, TITLE CARD:
		"...and these children that you spit on,
		as they try to change their worlds are
		immune to your consultations.  They're
	quite aware of what they're going through... - David Bowie"

	The Blank Screen and Title Card SHATTER to reveal...


	During Brian's monologue, we see various views of
	inside the school including Bender's locker.

					BRIAN (VO)
			Saturday...March 24, 1984.  Shermer
			High School, Shermer, Illinois.
			60062.  Dear Mr. Vernon...we accept
			the fact that we had to sacrifice a
			whole Saturday in detention for
			whatever it was that we did wrong,
			what we did was wrong.  But we think
			you're crazy to make us write this
			essay telling you who we think we
			are, what do you care?  You see us
			as you want to see us...in the
			simplest terms and the most
			convenient definitions.  You see us
			as a brain, an athelete, a basket
			case, a princess and a criminal.
			Correct?  That's the way we saw each
			other at seven o'clock this morning.
			We were brainwashed...
										CUT TO:

.... [ togther with DVD in class? ]

[ other examples ]


2007 An online course supplement * Film-North * Anatoly Antohin. * eCitations *
2005 by vtheatre.net. Permission to link to this site is granted. Film DIRECTING amazon film-north blog

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