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

By John Marland, Robert Edgar-Hunt

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 put in writing a quick movie. The publication teaches the main parts of screenwriting via studying components akin to discussion, sound, atmosphere, pictures and constitution. It additionally presents suggestion to new film-makers on how you can industry their productions.

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Extra info for Basics Film-Making, Volume 2: Screenwriting

Example text

Baxter in unkind and disparaging terms, but this only makes us feel more for Baxter, rather than siding with the people who are speaking. Your audience should think they are free to judge what the story is saying to them; in reality, you have positioned them without them realising. This is done primarily through character. Developing your concept – what is your starting point? Concept/Treatment/Pitch Consider which of these three images would form the basis of your idea. Is it the image that focuses on character?

Read your work aloud. You are writing for the voice – your words are meant to be heard. Finding your ideas Every film starts life as a pretty flimsy idea. The fact that something so fleeting and insubstantial can give rise to so much magic and mayhem – not to mention money – is one of the alarming things about the movie business. New screenwriters often fret over story ideas, as if they were hard to come by. They aren’t. They are everywhere. We are saturated in stories – morning, noon and night.

We assemble these impressions very quickly and make an instant judgement. Later we may change or modify this judgement. This process is mirrored in films – but feature films have the luxury of time in which to explore the characters. Shorts don’t. Even if you spend the whole of your film developing and revealing a character, you will still have less time than a feature film spends on the first act. You sell a screenplay like you sell a car. If somebody drives it off a cliff, that’s it.

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