We have been talking about screenwriting, character development and a little bit about narrative structure (movie paradigm).
Once this is all figured out, then we are into a new period.
This is called DEVELOPMENT and in many cases, it can take years.
Trivia - the movie Frozen just came out but began life in 1943
movies always take a long time to start and get onscreen
Development
screenwriter
producer
studio or production company
different countries have different development structures
Somebody writes a screenplay - it has the elements we’ve discussed
There needs to be a producer
What the heck is this?
A producer is a person who knows how to use the entertainment business to get things done that can put a movie together - bringing money and artists and companies and corporations together into a combined business venture
Gets a script, pays for it, pays to have it rewritten (often multiple times), hires and brings on staff, casts, hooks up a studio, finds distribution and works on marketing.
The most powerful producers right now are often the most powerful actors and directors.
However, there is one producer you all have heard of Jerry Bruckheimer.
It is a very risky, very stomach churning job.
You pay first and get paid LAST.
Literally, you get paid when the movie’s over. Released. Successful. Or. Not.
The basic thing the producer has to build is called a PACKAGE.
Script + Director + Actors (Talent) = studio and company interest
Directors
What do they do?
They get to decide if they want to do the movie or not. They are sometimes the first people to get.
Rewrite the script. And rewrite the script.
Usually actors decide on movies based on the director + script. When an actor comes in, that means rewrites.
If they get studio, there are always rewrites.
For our screenwriting project, you are going to be without notes, you’ll be your own directors and your own producers.
Design that character.
Come up with a concept for a movie that is interesting and fun (originality is good)
Think about a problem for that character.
Think about a “something” that a movie could be about.
Come up with a First Act - plan out the set up to a movie.
You only need to write a plan, a character design (sheet I handed out) and a step outline of the set up - however you decide to do it.
Who would direct this?
Who would star?
Why them?
Who would the audience be?
Why them?
Why would this movie be successful?
The very last assignment you will do in the class is to shoot a sequence from someone’s script.
Write and shoot a sequence (or a trailer) that takes all of the elements we’ve discussed (and will discuss) into consideration and make it good.
Development and Pre-production
Production
Post-production
Pre-Production Continued:
Once you have your elements (script, director, actor(s), then you have to get serious.
Break the script down into:
locations - every place that you have something happen needs to be planned and scouted and completely figured out
sometimes you already know the cool place and can you put one of your scenes there?
is there power? are all the logistics in place in that place?
is there a place to go the bathroom? get food? keep warm? store stuff? stay dry?
list those locations IN ORDER from the script and then decide on shooting order AFTER
shoot all the locations in smart order, out of story order if that’s how it works
characters - which means actors needed
have your actors loaded up in the right times, places, order, etc
the most people you need for any particular day would be lumped together
plan your days around the actors you can get in whatever pattern
props - what stuff do we need? go through the script and pull out every single thing you will need - put it in a separate list and have someone deal with that
break your script into shots - this is the director’s key pre-pro job
look at the script and turn it into a comic book version of the movie - at first, you will be doing that in your head, especially if you’re the director
some people actually draw the storyboards
What does a director do with Actors?
POWER - actresses and actors alike respond to directors because directors have power over the actor’s sense of self-esteem, their bodies and their words and their emotions!
Actors are naked, disturbed, weak-minded(?), interestingly unconfident people
The director’s job is to be able to make the actor do ANYTHING on command. (based upon the story, the script, the character)
Okay, is there an easier way to look at this?
The director tunes the performance.
“Try it like this.” “Imagine this.” George Lucas: “Faster and more intense.”
What about with cameras? Lighting?
Hire some brilliant Cinematographer and let him/her go to it.
Sound -
When you make a video, your sound WILL be bad.
This is pretty much guaranteed.
Camera Mics are NO GOOD.
When you shoot your “whatever” - close ups you can mic
Wide shots, not so much
Script Pages Breakdown - Doing Tomorrow in Class
shots and storyboards if poss
lighting ideas
stunt descriptions if any
character descriptions (wardrobe, etc too)
casting
props
locations
special effects ideas
anything else that you think will make it clear how you approach those pages
Does this look realistic?
Cool? Awesome? Saleable? Impressive? Big enough? Decisions smart? Is there creativity? Originality? Detailed. Thoughtful. Complete vision.
Thursday, December 12, 2013
Friday, December 6, 2013
December 6, 2013
We have been talking about screenwriting, character development and a little bit about narrative structure (movie paradigm).
Once this is all figured out, then we are into a new period.
This is called DEVELOPMENT and in many cases, it can take years.
Trivia - the movie Frozen just came out but began life in 1943
movies always take a long time to start and get onscreen
Development
screenwriter
producer
studio or production company
different countries have different development structures
Somebody writes a screenplay - it has the elements we’ve discussed
There needs to be a producer
What the heck is this?
A producer is a person who knows how to use the entertainment business to get things done that can put a movie together - bringing money and artists and companies and corporations together into a combined business venture
Gets a script, pays for it, pays to have it rewritten (often multiple times), hires and brings on staff, casts, hooks up a studio, finds distribution and works on marketing.
The most powerful producers right now are often the most powerful actors and directors.
However, there is one producer you all have heard of Jerry Bruckheimer.
It is a very risky, very stomach churning job.
You pay first and get paid LAST.
Literally, you get paid when the movie’s over. Released. Successful. Or. Not.
The basic thing the producer has to build is called a PACKAGE.
Script + Director + Actors (Talent) = studio and company interest
Directors
What do they do?
They get to decide if they want to do the movie or not. They are sometimes the first people to get.
Rewrite the script. And rewrite the script.
Usually actors decide on movies based on the director + script. When an actor comes in, that means rewrites.
If they get studio, there are always rewrites.
For our screenwriting project, you are going to be without notes, you’ll be your own directors and your own producers.
Design that character.
Come up with a concept for a movie that is interesting and fun (originality is good)
Think about a problem for that character.
Think about a “something” that a movie could be about.
Come up with a First Act - plan out the set up to a movie.
You only need to write a plan, a character design (sheet I handed out) and a step outline of the set up - however you decide to do it.
Who would direct this?
Who would star?
Why them?
Who would the audience be?
Why them?
Why would this movie be successful?
The very last assignment you will do in the class is to shoot a sequence from someone’s script.
Write and shoot a sequence (or a trailer) that takes all of the elements we’ve discussed (and will discuss) into consideration and make it good.
Development and Pre-production
Production
Post-production
Pre-Production Continued:
Once you have your elements (script, director, actor(s), then you have to get serious.
Break the script down into:
locations - every place that you have something happen needs to be planned and scouted and completely figured out
sometimes you already know the cool place and can you put one of your scenes there?
is there power? are all the logistics in place in that place?
is there a place to go the bathroom? get food? keep warm? store stuff? stay dry?
list those locations IN ORDER from the script and then decide on shooting order AFTER
shoot all the locations in smart order, out of story order if that’s how it works
characters - which means actors needed
have your actors loaded up in the right times, places, order, etc
the most people you need for any particular day would be lumped together
plan your days around the actors you can get in whatever pattern
props - what stuff do we need? go through the script and pull out every single thing you will need - put it in a separate list and have someone deal with that
break your script into shots - this is the director’s key pre-pro job
look at the script and turn it into a comic book version of the movie - at first, you will be doing that in your head, especially if you’re the director
some people actually draw the storyboards
What does a director do with Actors?
POWER - actresses and actors alike respond to directors because directors have power over the actor’s sense of self-esteem, their bodies and their words and their emotions!
Actors are naked, disturbed, weak-minded(?), interestingly unconfident people
The director’s job is to be able to make the actor do ANYTHING on command. (based upon the story, the script, the character)
Okay, is there an easier way to look at this?
The director tunes the performance.
“Try it like this.” “Imagine this.” George Lucas: “Faster and more intense.”
What about with cameras? Lighting?
Hire some brilliant Cinematographer and let him/her go to it.
Sound -
When you make a video, your sound WILL be bad.
This is pretty much guaranteed.
Camera Mics are NO GOOD.
When you shoot your “whatever” - close ups you can mic
Wide shots, not so much
Script Pages Breakdown - Doing Tomorrow in Class
Once this is all figured out, then we are into a new period.
This is called DEVELOPMENT and in many cases, it can take years.
Trivia - the movie Frozen just came out but began life in 1943
movies always take a long time to start and get onscreen
Development
screenwriter
producer
studio or production company
different countries have different development structures
Somebody writes a screenplay - it has the elements we’ve discussed
There needs to be a producer
What the heck is this?
A producer is a person who knows how to use the entertainment business to get things done that can put a movie together - bringing money and artists and companies and corporations together into a combined business venture
Gets a script, pays for it, pays to have it rewritten (often multiple times), hires and brings on staff, casts, hooks up a studio, finds distribution and works on marketing.
The most powerful producers right now are often the most powerful actors and directors.
However, there is one producer you all have heard of Jerry Bruckheimer.
It is a very risky, very stomach churning job.
You pay first and get paid LAST.
Literally, you get paid when the movie’s over. Released. Successful. Or. Not.
The basic thing the producer has to build is called a PACKAGE.
Script + Director + Actors (Talent) = studio and company interest
Directors
What do they do?
They get to decide if they want to do the movie or not. They are sometimes the first people to get.
Rewrite the script. And rewrite the script.
Usually actors decide on movies based on the director + script. When an actor comes in, that means rewrites.
If they get studio, there are always rewrites.
For our screenwriting project, you are going to be without notes, you’ll be your own directors and your own producers.
Design that character.
Come up with a concept for a movie that is interesting and fun (originality is good)
Think about a problem for that character.
Think about a “something” that a movie could be about.
Come up with a First Act - plan out the set up to a movie.
You only need to write a plan, a character design (sheet I handed out) and a step outline of the set up - however you decide to do it.
Who would direct this?
Who would star?
Why them?
Who would the audience be?
Why them?
Why would this movie be successful?
The very last assignment you will do in the class is to shoot a sequence from someone’s script.
Write and shoot a sequence (or a trailer) that takes all of the elements we’ve discussed (and will discuss) into consideration and make it good.
Development and Pre-production
Production
Post-production
Pre-Production Continued:
Once you have your elements (script, director, actor(s), then you have to get serious.
Break the script down into:
locations - every place that you have something happen needs to be planned and scouted and completely figured out
sometimes you already know the cool place and can you put one of your scenes there?
is there power? are all the logistics in place in that place?
is there a place to go the bathroom? get food? keep warm? store stuff? stay dry?
list those locations IN ORDER from the script and then decide on shooting order AFTER
shoot all the locations in smart order, out of story order if that’s how it works
characters - which means actors needed
have your actors loaded up in the right times, places, order, etc
the most people you need for any particular day would be lumped together
plan your days around the actors you can get in whatever pattern
props - what stuff do we need? go through the script and pull out every single thing you will need - put it in a separate list and have someone deal with that
break your script into shots - this is the director’s key pre-pro job
look at the script and turn it into a comic book version of the movie - at first, you will be doing that in your head, especially if you’re the director
some people actually draw the storyboards
What does a director do with Actors?
POWER - actresses and actors alike respond to directors because directors have power over the actor’s sense of self-esteem, their bodies and their words and their emotions!
Actors are naked, disturbed, weak-minded(?), interestingly unconfident people
The director’s job is to be able to make the actor do ANYTHING on command. (based upon the story, the script, the character)
Okay, is there an easier way to look at this?
The director tunes the performance.
“Try it like this.” “Imagine this.” George Lucas: “Faster and more intense.”
What about with cameras? Lighting?
Hire some brilliant Cinematographer and let him/her go to it.
Sound -
When you make a video, your sound WILL be bad.
This is pretty much guaranteed.
Camera Mics are NO GOOD.
When you shoot your “whatever” - close ups you can mic
Wide shots, not so much
Script Pages Breakdown - Doing Tomorrow in Class
Wednesday, November 27, 2013
November 27, 2013
Character and Story Based Movie Review
- Describe the main character.
(think of all those things that would be pertinent) - problem, attributes, relatable or not, how did he/she win over the audience?, what change has to happen, how does the change occur? (good hero for a movie, why or why not? give reasoning for your answers) etc
- Antagonist - same for the villain (as per our discussion)(same as above)
- Secondary characters (just a few) - what do they do? What purpose do they serve? How does this movie make them interesting or not?
- Story Structure - apply the screenplay paradigm to the movie you watch - note the elements that fit at those specific times
5. Discuss originality in general - of story and character - Were you surprised at any point, what worked, what didn’t, what was enjoyable, etc (from a story perspective)
Wednesday, November 20, 2013
November 20, 2013
Screenplay structure (story structure)
Hero stuff
Villain stuff
Opening pages
Presentation on a movie genre - ie sci-fi, R comedy, fantasy book adaptation, Twilight zone rip off movies,
Check out the first chunk of a movie you wouldn’t watch
Check out a screenplay and report on the first 20 pages
Focusing on creating our own opening 5 pages or so (HOOK)
Reviewing in detail one entire movie like a bawss
Rushmore
Silence of the Lambs
L.A. Confidential
Mean Girls
Saving Private Ryan
Hero stuff
Villain stuff
Opening pages
Presentation on a movie genre - ie sci-fi, R comedy, fantasy book adaptation, Twilight zone rip off movies,
Check out the first chunk of a movie you wouldn’t watch
Check out a screenplay and report on the first 20 pages
Focusing on creating our own opening 5 pages or so (HOOK)
Reviewing in detail one entire movie like a bawss
Rushmore
Silence of the Lambs
L.A. Confidential
Mean Girls
Saving Private Ryan
Tuesday, November 19, 2013
November 19, 2013
The Villain
many movies don’t have a villain, but there always has to be opposing energy
this could be a wolf, a bear, an ocean, a desert, a dessert, almost anything that tested and challenged the main character and STOPPED him/her from moving forward with his/her goals
classic movie structure - a bad character, a competitor, an enemy to hunt, search for, beat, etc.
the idea is that a movie is only as strong as the hero?
sometimes it’s the negative character that makes the movie
good negatives have certain characteristics
Believable
if we can believe in the negative energy or character, it is MUCH more effective
stupid negatives equal stupid responses (ie punch fighting the wolf in The Grey), which makes the challenge ridiculous - ridiculousness is the kiss of death in a movie villain
Loki - Thor movie - ridiculous? The Avengers - he “plans” to get caught
Skyfall - ridiculous bad guy? He plans to get caught
Man of Steel - ridiculous? too strong, too tough, too dangerous - way past believable
The Dark Knight - Joker - WHAT!? he plans to get caught!? *except* The Joker actually fits the plan a little better - he’s completely crazy - the ridiculous fades
Consistent in his/her actions
Inglourious Basterds - the Nazi in that is awesome - consistent and ridiculous, but it fits because he’s always over the top in charming, etc.
Layers of Depth and Interesting Behaviours - the more unusual and interesting and layered the bad character, the better the movie - some actors ALWAYS want to play bad guys
the details of weirdness and strangeness can make a bad character WAY more fun to watch than a hero
most movies will try to create a very interesting villain
The Villain is separated from everything else - every other character, the real world, etc
the bottom line of the villain is usually that he/she is unloved and alone and this is the source of his/her negative energy
The Villain has some core belief that is actually, if you think about, not ridiculous and not a bad idea - that belief makes some kind of sense and it could, if you get into their mindset, explain his/her actions - the Villain’s perspective is TOTALLY LOGICAL, or, on the other hand, BUGNUTS CRAZY (or, better, BOTH)
The actual role of the Villain in a movie is the act as the FORCE to push the Hero towards positive change.
Without the negative, the hero would NEVER change, never grow and never progress to the ending that is awesome and good.
The Villain is actually a force for good (in a way) when it comes to the character.
This whole thing is in our psychology and in our religion and everywhere.
Dialectics - thesis + antithesis = synthesis
many movies don’t have a villain, but there always has to be opposing energy
this could be a wolf, a bear, an ocean, a desert, a dessert, almost anything that tested and challenged the main character and STOPPED him/her from moving forward with his/her goals
classic movie structure - a bad character, a competitor, an enemy to hunt, search for, beat, etc.
the idea is that a movie is only as strong as the hero?
sometimes it’s the negative character that makes the movie
good negatives have certain characteristics
Believable
if we can believe in the negative energy or character, it is MUCH more effective
stupid negatives equal stupid responses (ie punch fighting the wolf in The Grey), which makes the challenge ridiculous - ridiculousness is the kiss of death in a movie villain
Loki - Thor movie - ridiculous? The Avengers - he “plans” to get caught
Skyfall - ridiculous bad guy? He plans to get caught
Man of Steel - ridiculous? too strong, too tough, too dangerous - way past believable
The Dark Knight - Joker - WHAT!? he plans to get caught!? *except* The Joker actually fits the plan a little better - he’s completely crazy - the ridiculous fades
Consistent in his/her actions
Inglourious Basterds - the Nazi in that is awesome - consistent and ridiculous, but it fits because he’s always over the top in charming, etc.
Layers of Depth and Interesting Behaviours - the more unusual and interesting and layered the bad character, the better the movie - some actors ALWAYS want to play bad guys
the details of weirdness and strangeness can make a bad character WAY more fun to watch than a hero
most movies will try to create a very interesting villain
The Villain is separated from everything else - every other character, the real world, etc
the bottom line of the villain is usually that he/she is unloved and alone and this is the source of his/her negative energy
The Villain has some core belief that is actually, if you think about, not ridiculous and not a bad idea - that belief makes some kind of sense and it could, if you get into their mindset, explain his/her actions - the Villain’s perspective is TOTALLY LOGICAL, or, on the other hand, BUGNUTS CRAZY (or, better, BOTH)
The actual role of the Villain in a movie is the act as the FORCE to push the Hero towards positive change.
Without the negative, the hero would NEVER change, never grow and never progress to the ending that is awesome and good.
The Villain is actually a force for good (in a way) when it comes to the character.
This whole thing is in our psychology and in our religion and everywhere.
Dialectics - thesis + antithesis = synthesis
November 18, 2013
The lead character - the hero
The best movie heroes have a few different characteristics:
they have powers that separate them from the average people
Billy Madison - super rich
Happy Gilmour - crazy rage slapshot
Seth (Jonah Hill in Superbad) - his love for his best friend
etc...
The idea to this is that the hero can’t be normal, or why would we watch?
they have to be relatable - HUGE in Hollywood movies
the hero has to be someone that the audience KNOWS, understands and can feel like they could be, or be with - the hero has to have problems and issues that make sense to viewers
even SpiderMan starts by being bullied -
we need to be able to associate with their problems and their fears and their hopes
they need to have problems and issues that cripple their lives
every hero has to be in trouble - we automatically want to watch when that character is up against the odds
often, they are facing things that are common phobias (Indiana Jones and snakes)
they have to be involved in something that is exciting and OUTSIDE of the norm
we want heroes who are ASPIRATIONAL - doing things we wish we could do
Save the Cat moment - the hero usually does something in the first few pages that makes him/her look “nice” a moment that shows heart -
Skyfall - Bond wanted to save the other agent rather than chase the bad guy
The hero is also in a bad place mentally and needs change - this change is the change that will make the hero fit in where they live (or change where they live)
this problem is a problem of CHARACTER - it’s internal
Mulan is a girl in a male-dominated culture and she refuses to “act properly”
The best movie heroes have a few different characteristics:
they have powers that separate them from the average people
Billy Madison - super rich
Happy Gilmour - crazy rage slapshot
Seth (Jonah Hill in Superbad) - his love for his best friend
etc...
The idea to this is that the hero can’t be normal, or why would we watch?
they have to be relatable - HUGE in Hollywood movies
the hero has to be someone that the audience KNOWS, understands and can feel like they could be, or be with - the hero has to have problems and issues that make sense to viewers
even SpiderMan starts by being bullied -
we need to be able to associate with their problems and their fears and their hopes
they need to have problems and issues that cripple their lives
every hero has to be in trouble - we automatically want to watch when that character is up against the odds
often, they are facing things that are common phobias (Indiana Jones and snakes)
they have to be involved in something that is exciting and OUTSIDE of the norm
we want heroes who are ASPIRATIONAL - doing things we wish we could do
Save the Cat moment - the hero usually does something in the first few pages that makes him/her look “nice” a moment that shows heart -
Skyfall - Bond wanted to save the other agent rather than chase the bad guy
The hero is also in a bad place mentally and needs change - this change is the change that will make the hero fit in where they live (or change where they live)
this problem is a problem of CHARACTER - it’s internal
Mulan is a girl in a male-dominated culture and she refuses to “act properly”
Friday, November 15, 2013
November 15, 2013
Screenplay Reading Ass.
- Read the first 20 pages. (feel free to read more if you like)
- Google the writer - anything on him/her? Brief info paragraph
- Summarize briefly the section you read.
- Brief description of the main character. Is he/she likable? Does he/she have any special abilities/awesome characteristics, etc? Does he/she have an obvious problem?
- Brief description of the setting. Where, when? Why do you think the writer chose this particular time and place?
- Fill in some of those paradigm elements as you see them: hook, set up of character, etc - show how that script fulfills its job
- Do you want to see this movie? Why/why not?
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