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Four Points:

1. Learn how to tell a story (most important)

2. Learn how to write a script (very important)

3. Learn how the "business" works (very important)

4. Follow their rules (critical)

...


FILM directing * Film Glossary: Click to View or Add Text.


subjects : direct * concept * script * analysis * camera * shot * cut * edit * light * sound * color * montage * semiotics * movies * films * books *

Mamet: “Dumbo is an example of a perfect movie. Cartoons are ... much better to watch, for people who want to direct, than movies. In the old cartoons, the artists realized the essence of the theory of montage ... Everything was based on the imagination. The shot we see in the film is the shot the artist saw in his imagination. So, if you watch cartoons, you can learn a great deal about how to choose shots, how to tell the story in pictures, and how to cut.” (p. 80)

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POV
Part One eats at least a month of the class time, even if we do not use all the scripts and script ideas for the shooting in class. In Stage Directing I assign the scenes and we can get to the directing issues right away, but how to do it in film directing class without losing the heart of the filmmaking? Besides, what's the point to teach directing without teaching how to recognize (make) good script?

For the basics of the dramatic composition see 200X files

Some samples (my students): Kyle (screenplay formats)

I have to add more files to Part One:

Style, Cinema, Concept, Analysis!

facts: The script of Pulp Fiction, for example, sold over 50,000 copies. Amarcord from Amazon.com

INITIAL OUTLINE: Write an initial scene-by-scene outline of your story. Describe the action and characters briefly. (This is an exercise more for you than other readers) Look at the flow of action. Evaluate what additional scenes you might need by each ACT.

TREATMENT EXERCISE: You are to write a minimum 4 page narrative prose treatment for a feature-length screenplay. Follow Field's suggestions for describing the action of your screenplay by each act (see p.51). Identify the narrative actions that would serve as the "plot points" or turning points for ACT I and II.

STEP OUTLINE: Expand your initial outline and treatment. Number each scene an use sluglines (INT-HOUSE-DAY). Describe the action for each scene.

Fairy Tales & Drama Analysis *

Mindstar has released a free script writing software package. The Cinergy Script Editor is available as a standalone program, or built-in to the larger Cinergy Motion Picture Production System. The script editor creates industry standard formatting for motion picture scripts. Scripts created with the Cinergy Script Editor are immediately compatible with the production management features of Cinergy Version 5. The free download at cinergy

Bergman: 7th Seal (script) *

"Î ôîðìå ñöåíàðèÿ", 1929 (about screenplay -- ru)

Ñöåíàðèé, ïî ñóùåñòâó, åñòü íå îôîðìëåíèå ìàòåðèàëà, à ñòàäèÿ ñîñòîÿíèÿ ìàòåðèàëà íà ïóòÿõ ìåæäó òåìïåðàìåíòíîé êîíöåïöèåé âûáðàííîé òåìû è åå îïòè÷åñêèì âîïëîùåíèåì.
Ñöåíàðèé íå äðàìà. Äðàìà - ñàìîñòîÿòåëüíàÿ öåííîñòü è âíå åå äåéñòâåííîãî òåàòðàëüíîãî îôîðìëåíèÿ.
Ñöåíàðèé æå - ýòî òîëüêî ñòåíîãðàììà ýìîöèîíàëüíîãî ïîðûâà, ñòðåìÿùåãîñÿ âîïëîòèòüñÿ â íàãðîìîæäåíèå çðèòåëüíûõ îáðàçîâ.
Ñöåíàðèé - ýòî êîëîäêà, óäåðæèâàþùàÿ ôîðìó áîòèíêà íà âðåìÿ, ïîêà â íåãî íå âñòóïèò æèâàÿ íîãà.
Ñöåíàðèé - ýòî áóòûëêà, íóæíàÿ òîëüêî äëÿ òîãî, ÷òîáû âçîðâàòüñÿ ïðîáêå è ïåíîé õëûíóòü òåìïåðàìåíòó âèíà â æàäíûå ãëîòêè âîñïðèíèìàþùèõ.
Ñöåíàðèé - ýòî øèôð. Øèôð, ïåðåäàâàåìûé îäíèì òåìïåðàìåíòîì - äðóãîìó.

Ñîàâòîð ñâîèìè ñðåäñòâàìè çàïå÷àòëåâàåò â ñöåíàðèè ðèòì ñâîåé êîíöåïöèè. Ïðèõîäèò ðåæèññåð è ïåðåâîäèò ðèòì ýòîé êîíöåïöèÿ íà ñâîé ÿçûê, íà êèíîÿçûê; íàõîäèò êèíåìàòîãðàôè÷åñêèé ýêâèâàëåíò ëèòåðàòóðíîìó âûñêàçûâàíèþ.  ýòîì êîðåíü äåëà. À âîâñå íå â ïåðåëîæåíèè â öåïü êàðòèí, àíåêäîòè÷åñêîé öåïè ñîáûòèé ñöåíàðèÿ.

Èíîãäà íàì ÷èñòî ëèòåðàòóðíàÿ ðàññòàíîâêà ñëîâ â ñöåíàðèè çíà÷èò áîëüøå, ÷åì äîòîøíîå ïðîòîêîëèðîâàíèå âûðàæåíèÿ ëèö ïðîòîêîëèñòîì. " âîçäóõå ïîâèñëà ìåðòâàÿ òèøèíà". ×òî â ýòîì âûðàæåíèè îáùåãî ñ êîíêðåòíîé îñÿçàåìîñòüþ çðèòåëüíîãî ÿâëåíèÿ? Ãäå êðþê â òîì âîçäóõå, íà êîòîðûé íàäëåæèò ïîâåñèòü òèøèíó? À ìåæäó òåì ýòî - ôðàçà, âåðíåå, ñòàðàíèÿ ýêðàííî âîïëîòèòü ýòó ôðàçó. [...] Ñöåíàðèé ñòàâèò ýìîöèîíàëüíûå òðåáîâàíèÿ. Åãî çðèòåëüíîå ðàçðåøåíèå äàåò ðåæèññåð. È ñöåíàðèñò âïðàâå ñòàâèòü åãî ñâîèì ÿçûêîì. Èáî, ÷åì ïîëíåå áóäåò âûðàæåíî åãî íàìåðåíèå, òåì áîëåå ñîâåðøåííûì áóäåò ñëîâåñíîå îáîçíà÷åíèå. [ Eisenstein ] (translation?)

screen:

stage:

sourcebook:

first play:

television:

about film:

story:

formats:

selling:

Two script samples (left) = see forms directory @ film.vtheatre.net

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Part One -- Script

It starts with the writer--it's a familiar dictum, but somehow it keeps getting forgotten along the way. No film-maker, irrespective of his electronic bag of tricks, can ever afford to forget his commitment to the written word. ~ Steven Spielberg
I have to make "the cycles of making films" more transparent; after the scripting, comes part 2 -- Preproduction (do not go for it, if you do not have a script ready, only REWRITES are for preproduction).

Part 3. Production -- oh, you better be ready for it, folks!

They say that most of the independent filmmakers fail on the next stage -- Part 4. Postproduction, they run out of money!

All right, here is the list for SCRIPTING:

Concept

Dramatic Analysis or the basics -- 200X files (art, theatre, music through film)!

SCRIPT

Dramatic Analysis

structure (3 Principles)

1. story and Plot
2. character (hero)
3. idea

Texture (3 Principles)

1. Language
2. music
3. spectacle

123Composition

1. Exposition
2. Climax
Resolution


In film, we measure everything against the last #6 principle -- spectacle!

Concept
Style
Cinema

* NEWS: * Digital Filmmaking 101: An Essential Guide to Producing Low Budget Movies (Paperback) 0941188337 *
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action-script

Summary

Let me say it again: thinking about YOUR film takes years!

Script Evaluation Card:

Excellent Good Average Fair Poor
Originality
Plot and Plausibility
Structure and Pacing
Characters
Format
Writing Style
Dialogue
Marketability

Questions

What is so special about the concept of the film v. play or short-story?

A P O C A L Y P S E   N O W 



	Original screenplay by John Milius.

	Inspired by Joseph Conrad's "HEART OF DARKNESS".

	This draft by Francis Ford Coppola.

	December 3, 1975.

	This is an early version of the screenplay. It's quite
	different from the final version but very interesting
	anyway. It includes f ex The French plantation
	scene, which was actually filmed, but later cut
	from the movie.


1  PRIMEVAL SWAMP - EARLY DAWN

It is very early in the dawn - blue light filters through 
the jungle and across a foul swamp. A mist clings to the 
trees. This could be the jungle of a million years ago.

Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to 
the tepid water. A small bubble rises to the surface;
then another. Suddenly, but quietly, a form begins to 
emerge; a helmet. Water and mud pour off revealing a set 
of beady eyes just above the mud. Printed on a helmet, 
in a psychedelic  hand, are the words: "Gook Killer." 
The head emerges revealing that the tough-looking soldier 
beneath has  exceptionally long hair and beard; he has no 
shirt on, only bandoliers of ammunition - his body is
painted in an odd camouflage pattern. He looks to the 
right; he looks to the left; he looks INTO CAMERA, and
slowly sinks back into the swamp, disapperaring completely.

Our VIEW HOLDS, We begin to HEAR natural, though 
unrecognizable JUNGLE SOUNDS, far off in the distance.
We PAN TO REVEAL a clump of logs half submerged in the
swamp; and part of what seems to be a Falstaff beer can
in the mud. A hand reaches out, and the beer can disappears.
As we TILT UP, we NOTICE that the log is hollow 
and houses the rear of a M-60 machine gun, hand painted
in a paisley design.

Now the VIEW MOVES AWAY, ACROSS the ancient growth, PAST
the glimmer of what seems to be another soldier hiding in
ambush, wearing an exotic hat made from birds and bushes.
ACROSS to a dark trail where the legs of those in black
pajamas move silently across our ever TIGHTENING VIEW.
Their feet, boots and sandals leave no impression; make
no sound. A slight flicker of light reveals a pair of
eyes in the foliage across the path, waiting and watching.

The VIEW PUSHES ALONG WITH the Vietnamese, MOVING FASTER
AND FASTER WITH them, until suddenly, directly in front
about ten feet away, an enormous AMERICAN clad in rags
and bushes and holding a 12 gauge automatic shotgun
casually at his side, steps in front of them. He smiles
laconically, and BLASTS OUT FIVE SHOTS that rip THROUGH
US. By the second shot, the whole jungle blazes out 
with AUTOMATIC FIRE.

Out VIEW TURNS as the men around us are thrown and torn,
screaming and scattering into the jungle. More AMERICANS
appear; unexplainably, out of the growth. It is now that
we fully SEE the bizarre manner in which they are dressed.
Some wear helmets, others wear strange hats made from
feathers and parts of animals. Some of them have long
savage-looking hair; other crew-cut or completely shaved;
they wear bandoliers, flak jackets, shorts and little else.
They wear Montagnard sandals or no shoes at all, and their
bodies and faces are painted in bizarre camouflage patterns.
They appear one with the jungle and mist, FIRING INTO US
as they move.

The soldier we saw earlier emerges from the swamp, dripping
mud, his MACHINE GUN BLASTING FIRE.

We begin to move quickly with one Vietnamese, breathlessly
running for his life; we MOVE INTO the jungle with him,
only to be impaled on a large spear of a smiling AMERICAN
painted and wearing feathers like an Indian. OUR VIEW
FALLS WITH him to the ground, STARING UPWARDS, as FLAME
and EXPLODING MUD scatter above us. Men scream and die
around us. The screams amid the GUNFIRE and EXPLOSIONS
are piercing and terrible, as though the jungle itself is
frightened.

An AMERICAN wearing a jungle hat with a large Peace Sign
on it, wearing war paint, bends TOWARD US, reaching down
TOWARD US with a large knife, preparing to scalp the
dead.

OUR VIEW MOVES AWAY, along with the running sandals of a
Vietnamese soldier, MOVING FASTER AND FASTER, only to be
stopped by still another of the savage-looking AMERICANS
with primitive ornamentation, wearing only a loin-cloth
and green beret. He opens his flame-thrower directly ON US
and the NVA soldier and we are incinerated in flame,
bright psychedelic orange-red flame. Outrageous, loud,
electric ROCK MUSIC OVERWHELMS the SOUNDTRACK :

	MAIN TITLE : APOCALYPSE NOW

Homework

One page story proposal. See ONLINE archives.

Theatre UAF: Pinter * Playscript Analysis * diigo it

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Read it!

Notes

Interesting. When you rewrite, remember the EDITING -- this is the same process in two different stages! You are writing the MOVIE, not the script!

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title page (sample) "Days of Heaven"

SETTING

The story is set in Texas just before the First World War

CAST OF CHARACTERS

BILL:  A young man from Chicago following the harvest.
ABBY:  The beautiful young woman he loves.
CHUCK:  The owner of a vast wheat ranch (“bonanza”) in the Texas Panhandle.
URSULA:  Abby’s younger sister, a reckless child of 14.
BENSON:  The bonanza foreman, an enemy of the newcomers.
MISS CARTER:  Chief domestic at the Belvedere, Chuck’s home.
McLEAN:  Chuck’s accountant.
GEORGE:  A young pilot who interests Ursula. 
A PREACHER, A DOCTOR, AN ORGANIST, VARIOUS HARVEST HANDS, LAWMEN, VAUDEVILLIANS, etc.

“Troops of nomads swept over the country at harvest time like a visitation of locusts, reckless young fellows, handsome, profane, licentious, given to drink, powerful but inconstant workmen, quarrelsome and difficult to manage at all times. They came in the season when work was plenty and wages high. They dressed well, in their own peculiar fashion, and made much of their freedom to come and go.”

“They told of the city, and sinister and poisonous jungles all cities seemed in their stories. They were scarred with battles. They came from the far-away and unknown, and passed on to the north, mysterious as the flight of locusts, leaving the people of Sun Prairie quite as ignorant of their real names and characters as upon the first day of their coming.”
Hamlin Garland, Boy Life on the Prairie (1899)

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Preproduction? If you are a poet, your entire life is "preproduction" for a single poem.


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