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