Basics Film-Making, Volume 2: Screenwriting by John Marland, Robert Edgar-Hunt PDF

By John Marland, Robert Edgar-Hunt

ISBN-10: 2940373892

ISBN-13: 9782940373895

Fundamentals Film-Making: Screenwriting is the second one within the fundamentals Film-Making sequence and is aimed either at scholars on movie construction classes, in addition to these wishing to jot down a brief movie. The ebook teaches the major parts of screenwriting via interpreting parts akin to discussion, sound, environment, pictures and constitution. It additionally presents suggestion to new film-makers on how one can industry their productions.

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Sample text

Short films allow for far more experimentation than features, especially in terms of structure. It is possible to construct a short with a three-act structure but, very often, the first and third act become very attenuated. Sometimes it is impossible to discern a conventional structure at all. If you look at either draft of A Nice Cup of Tea (pages 174 and 186), you will see that the first act is extremely short. The story is about a man’s quest for a nice cup of tea and how his failure to obtain one illuminates all the other things that are wrong with his life.

In The Terminator (1984), we see the Terminator and Kyle Reese arrive in present time. We meet Sarah Connor, the heroine, learn about her day-to-day existence and discover that her life is under threat. In Jaws (1975), we see there’s a very big shark out there, and we’re introduced to the town and to Chief Brodie. At the end of act one, plot point one occurs. Plot point one Plot point one is where the story of the film actually starts, and should define what the story is about. Concept/Treatment/Pitch In The Terminator, it’s easy to spot.

No matter how slight, as long as the idea – character, scenario, image – is strong enough to hold your attention, it can provide a launch pad to who knows where. 34–35 The idea This is the stage where you can let rip – unfettered by practical considerations. If you are planning a short film script, you must, of course, make sure the idea ‘fits the space’, but in every other respect you are free. Coming up with the right story line – the right atmosphere, the right degree of complexity – is difficult, but almost infinite resources surround you.

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Basics Film-Making, Volume 2: Screenwriting by John Marland, Robert Edgar-Hunt


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