Screenplay: Foundations of Screenwriting Free
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Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama
Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama John Fraim John Fraim 189 Keswick Drive New Albany, OH 43054 760-844-2595 [email protected] www.midnightoilstudios.org www.symbolism.org www.desertscreenwritersgroup.com www.greathousestories.com © 2017 – John Fraim FRAIM / SS 1 “Eternal truth needs a human language that varies with the spirit of the times. The primordial images undergo ceaseless transformation and yet remain ever the same, but only in a new form can they be understood anew. Always they require a new interpretation if, as each formulation becomes obsolete, they are not to lose their spellbinding power.” Carl Jung The Psychology of Transference The endless cycle of idea and action, Endless invention, endless experiment, Brings knowledge of motion, but not of stillness; Knowledge of speech, but not of silence; Knowledge of words, and ignorance of the Word. T.S. Eliot The Rock “The essential problem is to know what is revealed to us not by any particular version of a symbol, but by the whole of symbolism.” Mercea Eliade The Rites and Symbols of Initiation “Francis Bacon never tired of contrasting hot and cool prose. Writing in ‘methods’ or complete packages, he contrasted with writing in aphorisms, or single observations such as ‘Revenge is a kind of wild justice. The passive consumer wants packages, but those, he suggested, who are concerned in pursuing knowledge and in seeking causes will resort to aphorisms, just because they are incomplete and require participation in depth.” Marshall McLuhan Understanding Media FRAIM / SS 2 To Eric McLuhan Relentless provocateur over the years FRAIM / SS 3 Contents Preface 8 Introduction 10 I. -
Aurora Advisors 2010 Syd Field
AURORA ADVISORS 2010 SYD FIELD Acclaimed as the “guru of all screenwriters” by CNN, and “the most sought after screenwriting teacher in the world,” by the Hollywood Reporter, Syd Field is the internationally celebrated author of six books on screenwriting. His classic Screenplay, considered “the Bible” of the film industry, and The Screenwriter’s Workbook are now in their 40th printing, published in 26 languages and used in more than 400 colleges and universities across the country. His book The Screenwriter’s Problem Solver has become an integral part of the Final Draft software program. He is a faculty member at the prestigious Masters of Professional Writing program at University of Southern California and has taught at USC, UCLA, AFI, UC Berkeley, Harvard, Yale, Columbia, among others and has conducted screenwriting workshops all over the world. He has led The Art of Storytelling Workshops for: the Disney Studios, 20th Century Fox, Landmark Education, and The Nike Corporation and conducted Catalyst Workshops for the scientists of JPL, NASA, the National Science Foundation, and the National Academy of Engineers. A screenplay consultant for 20th Century Fox, Touchstone Pictures, TriStar Pictures and Universal Studios, he has worked intimately with several prominent filmmakers such as: Judd Apatow, (40 year old Virgin, Knocked Up), Alfonso Cuaron (Harry Potter: The Prisoner of Azkaban, Y Tu Mama Tambien,), Gary Marshall (Princess Diaries), Luis Mandoki (When a Man Loves a Woman, White Palace), Laura Esquivel (Like Water for Chocolate), Roland Joffe (The Mission, City of Joy), James L. Brooks (Broadcast News, As Good As It Gets), Michael Haneke (The Piano Teacher; 3 time winner of Palm D’Or, at Cannes,), Tony Kaye (American History X, Black Water Transit) and Rakeysh Mehra (Rang De Besanti) nominated for Best Foreign Film, 2206 BAFTA awards. -
CATALOG, POLICIES, and GUIDELINES
6 LOS ANGELES PERFORMING ARTS CONSERVATORY CATALOG, POLICIES, and GUIDELINES 2016 1404-08 Third Street Promenade Santa Monica, California 90401 310-656-8070 (Phone) 310-656-8069 (Fax) www.laconservatory.com (All classes held at the above address.) 1 MISSION, PURPOSE & OBJECTIVES OF THE LOS ANGELES PERFORMING ARTS CONSERVATORY “To be an exceptional artist, you must first know and be yourself.” Since the inception of the Los Angeles Performing Arts Conservatory the above quotation has expressed the quintessential element of individuality on which the guiding philosophy of the Conservatory is based. The Promenade Conservatory, Inc. is the parent organization of the Los Angeles Performing Arts Conservatory, a for profit private entity. The Los Angeles Performing Arts Conservatory was created to deliver higher education via two degree programs: Associate of Occupational Science in Fine Arts/Screenwriting; and Associate of Occupational Science in Fine Arts/Acting. The Los Angeles Performing Arts Conservatory also offers five non-degree programs: English as a Second Language (ESL), Acting, Screenwriting, Directing, and Acting Post Degree. These programs are designed to meet the career and skill needs of those not seeking a degree. All degree and certificate programs are issued under the authority of the Bureau of Private Post Secondary Education, State of California. The overarching goal of the Conservatory is to go beyond the mundane and obvious, to train and challenge the actor, screenwriter, and director to develop all of the emotional colors that exist within a character’s inner life. The Conservatory also helps refine international student English language skills, necessary for an education and career in the performing arts in the United States. -
1 Can I Help You Get an Agent? Can I Help You Sell a Script? Can I Help
CERRITOS COLLEGE ENGLISH 241: SCREENWRITING FALL 2019 (SECTION 20692) IF I TAKE THIS SCREENWRITING CLASS, HOW CAN YOU HELP ME? Can I help you get an agent? Can I help you sell a script? Can I help you find financing for a film? No, no, and no – at least, not directly. So how can I help you? As someone who has studied screenwriting at both the undergraduate and graduate levels, I can help you to craft screenplays with dramatic structures that create conflicts, with actions that reveal characters, with characters that drive stories – the sorts of stories that, with a lot of work and a lot of luck, could conceivably help you get an agent, sell a script, or find financing for a film. Also, as Syd Field points out in our textbook for this semester, there are two activities that anyone who wants to become a screenwriter should do: watch motion pictures and read screenplays. As a former professional film critic, I can help you to analyze produced pictures and published scripts – to see them as a source of not only entertainment, but also education. WAIT: WHO ARE YOU? ARE YOU REALLY A FORMER PROFESSIONAL FILM CRITIC? My name is Chad Greene, and – yes – I am really a former professional film critic. (For you fact-checkers out there, about one hundred of my movie reviews are archived on Rotten Tomatoes.) It was while majoring in English and minoring in Film at the University of Minnesota that I first started to study screenwriting with Thomas Pope (Hammett) and to write movie reviews for the Minnesota Daily. -
Screenwriting
Screenwriting Main article: Filmmaking 1 Types See also: Screenwriter Screenwriting, also called script-writing, is the art and The act of screenwriting takes many forms across the en- tertainment industry. Often, multiple writers work on the same script at different stages of development with dif- ferent tasks. Over the course of a successful career, a screenwriter might be hired to write in a wide variety of roles. Some of the most common forms of screenwriting jobs include: 1.1 Spec script writing Spec scripts are feature film or television show scripts written on speculation, without the commission of a film studio, production company, or TV network. The con- tent is usually invented solely by the screenwriter, though spec screenplays can also be based on established works, or real people and events.[1] The spec script is a Holly- wood sales tool. The vast majority of scripts written each year are spec scripts, but only a small percentage make it to the screen.[2] A spec script is usually a wholly original work, but can also be an adaptation. In television writing, a spec script is a sample teleplay written to demonstrate the writer’s knowledge of a show and ability to imitate its style and conventions. It is sub- Example of a page from a screenplay formatted for feature mitted to the show’s producers in hopes of being hired to length film. This is an excerpt from the original script of Natural write future episodes of the show. Budding screenwriters Born Killers by Quentin Tarantino. attempting to break into the business generally begin by writing one or more spec scripts. -
Design Your Library Video Like a Hollywood Blockbuster: Using Screenplay Structure to Engage Viewers by Leo S. Lo
Design Your Library Video Like a Hollywood Blockbuster: Using Screenplay Structure to Engage Viewers By Leo S. Lo ibrary instruction has moved beyond a problem and needs to find solutions. The the traditional classroom based, purpose of the video is to demonstrate the L face-to-face model of delivery, to the answers to the problems. The advantage of “any place, any time” model. Our users expect this type of video is the viewer can easily to have access to information in formats identify with the protagonist. The non- convenient to them. One of these formats is dramatized types are typically lecture style video delivered over the internet. The popular videos, where the viewers tend not to identify video sharing website, Youtube, even dedicates with any “character” in the video. This article a section of their site to educational institutions focuses on the dramatized type of videos, but - youtube.com/edu. Librarians have begun many of the principles can be applied to both producing videos to promote their services and types of video. A dramatized video could be to provide information literacy instructions. a fictional short film, or it could be an Adobe The dynamic medium of online video offers a Captivate type video demonstration, or it could multitude of possibilities in instructional design. be a straightforward slide presentation. What However, a research conducted by TubeMogul makes a dramatized video is the presence of (2008) reveals that viewers of web videos have a story. Any movie you see at the theaters, extremely short attention spans, and “most whether they are fictional or documentaries, online video viewers watch mere seconds, have stories. -
Introduction
INTRODUCTION What we need today is no less than a revolution. We need to do vio lence to the cliche, create havoc with the tried, the tired, arid tested. Larry Gelbart Producers who murder screenwriters. Screenwriters who spend their lives "pitching" rather than writing. Studios that endlessly recycle films that unimaginatively copy previous movies. Such is the stuff of Michael Tolkin's devilishly accurate satire of The Industry, The Player, which delighted and horrified audiences in 1992. Tolkin's script provided director Robert Altman with a new opportunity to do what he had done years ago for a whole generation in his earlier films: he took on American cliches and destroyed them by placing them before us in such exaggerated or perhaps not exaggerated detail that we could laugh out loud and see beyond the cliches. The destruction of cliches in character, story, and structure is at the center of this study. More specifically we are interested here in creating stronger, more vivid, and challenging characters in screenplays that go beyond what Larry Gel bart calls the "tried, tired, and tested." I am speaking of films such as Casablanca, It Happened One Night, The Quiet Man, High Noon, The Treasure of the Sierra Madre, Mildred Pierce, On the Waterfront, The Return of the Secaucus Seven, Thelma & Louise, Down by Law, The Silence of the Lambs, sex, lies and video tape, Boyz N the Hood, Unforgiven or, from abroad, The Crying Game, Wild Strawberries, The Bicycle Thief, Closely Watched Trains, Tokyo Story, Rules of the Game, Breathless, 400 Blows, The Loneliness of the Long Distance Runner, Cinema Paradiso, Europa Europa, The Gods Must Be Crazy, The Time of the Gypsies, Little Vera, or My Life as a Dog. -
El Secreto Del Exito
Dedicación DEDICATORIA DE DONALD J. TRUMP A mis padres, Fred y Mary Trump, a mi hermano Fred Trump Jr., a mis hermanas Judge Maryanne Trump Barry y Elizabeth Trump Grau, a mi hermano Robert Trump, a mis hijos Donald Jr., Ivanka, Eric, Tiffany y Barron, y a mi hermosísima esposa, Melania. DEDICATORIA DE BILL ZANKER Este libro está dedicado a mi amada esposa Debbie y a mis hijos Ediva, Dylan y Vera, quienes siempre me han apoyado para soñar en grande. Agradezco también a todos los empleados de The Learning Annex que utilizan EL SECRETO DEL ÉXITO todos los días. Tabla de contenidos Página de título Dedicación Prólogo Introducción - De Pequeño A Grande 1 - ¿Tienes Lo Que Se Necesita? Explicación De Las Preguntas: ¿Qué Nos Dice Zanker? 2 - ¡Pasión, Pasión, Pasión! Encuentra Tu Pasión Sé Un Hacedor, No Un Soñador Maneja La Presión Haz Lo Que Te Haga Sentir Bien Aprende De Tus Errores La Fórmula Del Conocimiento Nunca Te Rindas Abandona Lo Cómodo Actúa ¿Qué Nos Dice Zanker? 3 - Instintos Básicos Tu Palabra Es Sagrada Algunas Cosas Funcionan Porque No Sabes Que Son Imposibles Cuando La Acción Es Mejor Que La Información El Momento Oportuno Lo Es Todo ¿Qué Nos Dice Zanker? 4 - Crea Tu Suerte Crea Tu Propia Suerte La Buena Suerte Llega Cuando La Oportunidad Y La Preparación Se Encuentran No Temas Arriesgarte Desarrolla Un Vigor Positivo El Poder Del Pensamiento Negativo ¿Qué Nos Dice Zanker? 5 - El Factor Miedo Tan Pronto Tengas Éxito Te Perseguirán Cuídate Y Escucha Haz Que La Gente Te Respete No Confíes En Nadie Todo El Mundo Merece Una Segunda -
Editing Theory
Editing Theory BFM7121 Basic Editing Fall 2016 Instructor: Tarmo Rajaleid [email protected] Beginning, Middle and End n Frame - the smallest unit in film n Shot – from one cut to the other n Scene – unity of place n Episode – unity of theme n 8 Sequences – unique unit to film medium n 3 Acts n Film The Greek Legacy: 3-Act Story Structure n We have inherited the 3-act structural paradigm of drama from the Greeks. n In 321 B.C., Aristotle laid down the principles of dramatic structure which we still adhere to, in his book Poetics. n French New Wave filmmaker Jean-Luc Godard said “All stories have a beginning, middle and end, but not necessarily in that order” Velikovsky, J. T. A Guide to Feature Film Writing: A Screenwriter’s Workbook The Premise n Premise in feature films generally follows this structure: n A certain type of person has a certain goal, and encounters obstacles that have changed him/her when finally they do (or do not) achieve that goal. n Namely, the structure is composed of: n 1) The Exposition (or SETUP) n 2) The Confrontation (or DEVELOPMENT) n 3) The Resolution (or DENOUEMENT) of the dramatic problem posed by the story... n Or more simply: in Act One you get a person up a tree, in Act Two you throw rocks at them, and in Act Three you get them down again. The Premise n The key philosophy behind a film Premise is: "Somebody want something badly and is having difficulty getting it." Syd Field’s Paradigm n Syd Field, author of Screenplay and The Screen Writer's Workbook, has outlined a paradigm that most screenplays follow.