Introduction To Screenplay

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Introduction To Screenplay

  1. 1. THE ART AND TECHNIQUES OF STORYTELLING
  2. 2. <ul><li>THERE ARE NO RULES . THERE ARE AS MANY WAYS TO MAKE A FILM </li></ul>
  3. 3. <ul><li>DISREGARD THE “RULES” THAT YOU ARE PRESENTLY READING AND INSTEAD CONSIDER THEM “NOTES” TO SELF. </li></ul>
  4. 4. <ul><li>WRITING IS </li></ul><ul><li>HARD </li></ul>
  5. 5. <ul><li>DON’T BE AFRAID TO MAKE MISTAKES </li></ul>
  6. 6. <ul><li>STORY </li></ul><ul><li>CATALYSTS </li></ul>
  7. 7. <ul><li>ARTS </li></ul><ul><li>MUSIC </li></ul><ul><li>PEOPLE </li></ul><ul><li>LIFE EXPERIENCES </li></ul>
  8. 8. <ul><li>INSPIRATION </li></ul><ul><li>IMAGINATION </li></ul><ul><li>PERSPIRATION </li></ul>
  9. 9. <ul><li>TRUST THE </li></ul><ul><li>PROCESS. </li></ul><ul><li>NEVER DOUBT </li></ul>
  10. 10. <ul><li>GETTING STARTED: </li></ul><ul><li>CHARACTER </li></ul>
  11. 11. <ul><li>CHARACTER SKETCHING: </li></ul><ul><li>SLUMBOOK CHEESE </li></ul>
  12. 12. <ul><li>WHAT ARE THEY TRYING TO SAY? </li></ul><ul><li>WHAT DO THEY WANT ? </li></ul><ul><li>WHAT DO THEY NEED , AND HOW WILL THEY GET IT? </li></ul>
  13. 13. <ul><li>2 TYPES OF CHARACTERS: </li></ul><ul><li>“ PROTAGONIST” </li></ul><ul><li>“ ANTAGONIST” </li></ul>
  14. 14. <ul><li>DEVELOPING YOUR CHARACTERS: </li></ul><ul><li>PLANT AND PAY-OFF </li></ul><ul><li>REWARD AND PUNISHMENT </li></ul>
  15. 15. <ul><li>QUICKLY GO BEHIND YOUR CHARACTER, AND </li></ul><ul><li>SET UP THE </li></ul><ul><li>DILEMMA </li></ul>
  16. 16. <ul><li>CREATE THE </li></ul><ul><li>CHARACTER’S </li></ul><ul><li>ENVIRONMENT </li></ul><ul><li>TIME-SPACE STORY FORMULA </li></ul>
  17. 17. <ul><li>THE “NORMAL” STORY STRUCTURE: </li></ul><ul><li>B-M-E </li></ul><ul><li>BEGINNING-MIDDLE-END </li></ul>
  18. 18. <ul><li>WRITER’S </li></ul><ul><li>BLOCK? </li></ul><ul><li>DRINK PLENTY OF WATER, KID! </li></ul>
  19. 19. <ul><li>SERIOUSLY, </li></ul><ul><li>YOU CAN ALWAYS START IN THE MIDDLE OF THE SCENE, YOU DON’T HAVE TO INTRODUCE EVERYONE IMMEDIATELY; THE AUDIENCE IS SMART ENOUGH; THEY CAN CATCH UP. </li></ul>
  20. 20. <ul><li>WRITER’S </li></ul><ul><li>BLOCK AGAIN? </li></ul><ul><li>EAT FRUITS AND VEGETABLES! </li></ul>
  21. 21. <ul><li>AGAIN SERIOUSLY, </li></ul><ul><li>LET’S TRY TO PUT IT THIS WAY: </li></ul><ul><li>NOTHING IS ORIGINAL. </li></ul><ul><li>STEAL FROM ANYWHERE THAT RESONATES WITH INSPIRATIONS OR FUELS YOUR IMAGINATION. </li></ul>
  22. 22. <ul><li>SELECT ONLY THINGS TO STEAL FROM THAT SPEAK DIRECTLY TO YOUR SOUL. IF YOU DO THIS, YOUR WORK (AND THEFT) WILL BE AUTHENTIC. </li></ul>
  23. 23. <ul><li>AUTHENTICITY IS INVALUABLE; ORIGINALITY IS NONEXISTENT. </li></ul><ul><li>AND DON’T BOTHER CONCEALING YOUR THIEVERY- CELEBRATE IF YOU FEEL LIKE IT. </li></ul>
  24. 24. <ul><li>ELEMENTS </li></ul><ul><li>OF A SCREENPLAY </li></ul>
  25. 25. <ul><li>DIALOGUE </li></ul><ul><li>CAMERA DIRECTION </li></ul><ul><li>LOCATION </li></ul><ul><li>TIME </li></ul><ul><li>SET DESCRIPTION </li></ul><ul><li>PROPS </li></ul><ul><li>COSTUMES </li></ul>
  26. 26. <ul><li>A SCRIPT IS NOT ONLY A STORYTELLING TOOL; IT’S ALSO A </li></ul><ul><li>PLANNING TOOL </li></ul>
  27. 27. <ul><li>A SCRIPT IS NOT ONLY A STORYTELLING TOOL; IT’S ALSO A </li></ul><ul><li>PLANNING TOOL </li></ul>
  28. 28. <ul><li>BOTTOMLINE: </li></ul><ul><li>PAY ATTENTION </li></ul><ul><li>TO DETAILS </li></ul>
  29. 29. <ul><li>THE </li></ul><ul><li>SCRIPT </li></ul>
  30. 30. <ul><li>SLUGLINE </li></ul><ul><li>ACTION LINE / DESCRIPTION LINE </li></ul><ul><li>CHARACTER HEADING </li></ul><ul><li>DIALOGUE </li></ul><ul><li>TRANSITION LINE </li></ul>
  31. 34. <ul><li>A TESTED SCRIPT FORMULA: </li></ul><ul><li>PAGE MARGINS: 1.0” WITH 1.5” LEFT </li></ul><ul><li>FONT: 11-12 POINT COURIER NEW </li></ul><ul><li>1 PAGE = 1 MINUTE OF FILM </li></ul>
  32. 35. <ul><li>YOU CAN MAKE A BAD FILM </li></ul><ul><li>FROM A GOOD SCRIPT , BUT </li></ul><ul><li>YOU CAN’T MAKE A GOOD FILM </li></ul><ul><li>FROM A BAD SCRIPT </li></ul>
  33. 36. <ul><li>BIG IDEA; </li></ul><ul><li>THINK OUTSIDE THE BOX </li></ul>

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