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U64022 SCREENWRITING ADVANCED
WEEK 4
Seminar: 7-BEAT MODEL IN ROMCOMs
SCREENPLAY STANDARDS (3)
FILM GENRES (2) Crime thriller/noir
HOMEWORK FOR SEMINAR
• Watch:
- Four Weddings and a Funeral (set 1)
- Notting Hill (set 2)
- Pretty Woman (set 3)
• Write a scene breakdown of the narrative structure and identify the 7-step pattern (including sections building up to each step)
• Bring along your analysis for seminar discussion in week 4. Use a memory stick and be ready to illustrate your analysis in class.
ROMANTIC COMEDIES – 7 BEATS
1. Setup
2. Catalyst
3. Sexy complication
4. Hook
5. Swivel
6. Dark moment
7. Joyful defeat
U64022 Screenwriting: Advanced Level
1 2
3
4 (+)
5
6 7
SCREENPLAY STANDARDS
Master draft, production drafts, shooting script
Drafts and revisions
SCRIPT DRAFTS & PRE-PRODUCTION
Master draftNo dates, no draft number, no copyright logo, no SCENE
NUMBERS, no CONTINUEDs at tops and bottoms of pages
Production draftsOnce a script officially enters pre-production:
• Scene numbers added (both sides of every scene heading, beginning with 1)
• CONTINUEDs added - (CONTINUED) and CONTINUED: (n)
Note: only when a scene is broken between pages, with addition of scene number
• Once the script is “boarded”, it becomes LOCKED (i.e. no more changes to scene numbers) and official “First Draft” (date is added on cover page)
SCRIPT DRAFTS & PRE-PRODUCTION
Production draftsAfter completion of each draft, the script is revised
Every revised line (and relevant slug line) add * (right-hand margin)
Deleted scenes OMITTED (relevant pages will remain short)
Added scenes scene number + A, B, C... (e.g. 35A)
Runs of pages (with changes) new material will flow onto following pages. Add an extra “A” page after the last page of the run, before the first following page left unchanged.
SCRIPT DRAFTS & PRE-PRODUCTION
Production draftsRevisions and polishes
• Every single round of revisions of the same draft is colour-coded
• Date and (colour) of each set of revision added on top right of title page
• Date and colour of latest revision added on top of each revised page
Colours: white, blue, pink, yellow, green, goldenrod, buff, salmon, cherry, tan
If too many changes, a new draft is written (all revision colours for this draft will start from white again)
FILM GENRES
Types of genres
Crime thriller / noir
Krevolin’s 15-step model
GENRES Macrocategories – comedy, tragedy, and
romance
Genres narrative conventions identify the story FORM
Genre determines some “constants”: Nature of the struggle/conflict (protagonist VS
antagonist) Role of character(s) Role of structure (dramatic shape)
Genre creates expectations in the audience
U64022 Screenwriting: Advanced Level
TYPES OF GENRES
Based on what they tell us (the audience) about (ie. Nature of conflict/struggle):
Wish fulfillment Between wish fulfillment and realism
Realism Between realism and fear
Fear
U64022 Screenwriting: Advanced Level
GENRES OF WISH FULFILLMENT
Always plot-intensive + main character as hero who achieves great feats
Western Action-adventure Science-fiction Historical film Musical
U64022 Screenwriting: Advanced Level
GENRES OF REALISM
Characters in real-life situations.
Police/detective/crime story Thriller
Gangster film War film Situation comedy
U64022 Screenwriting: Advanced Level
GENRES OF FEAR
Where fears and fantasies meet and we (the audience) anticipate the worst
Film noir Screwball comedy Horror
U64022 Screenwriting: Advanced Level
GENRES BETWEEN WISH FULFILLMENT AND REALISM
Romantic comedy Melodrama Biopic Sports film
U64022 Screenwriting: Advanced Level
GENRES BETWEEN REALISM AND FEAR
Farce Satire Moral fable
U64022 Screenwriting: Advanced Level
ROLE OF CHARACTER
Genre presentation of main character VS antagonist
Goal differs based on genres and are related to themes
U64022 Screenwriting: Advanced Level
ROLE OF CHARACTER
All wish fulfillment genres Main character = knight (set of ideals, values) Antagonist = opposing forces Goal = restore order
Ex. Crime story Main character = detective or
investigator Goal = apprehension of the perpetrator
of the crime Theme = crime cannot go unpunished
U64022 Screenwriting: Advanced Level
ROLE OF STRUCTURE
Three acts (related to type of genre and role of characters)
COMEDY CRIME/DETECTIVE1- Meet Crime
2- Lose Investigation
3- Get Apprehension
U64022 Screenwriting: Advanced Level
3-ACTS & STORY ELEMENTS (Krevolin)
U64022 Screenwriting: Advanced Level
ACT 1 (lean and tight)
1-10 Setup establish theme and tone. What’s the film about? (p.7)
11-25 Story established dramatic problem / stakes up audience’s emotional involvement
26-29 Plot/turning point #1 reversal/twist NEW direction (p.29)
i) decision to act
ii) changes the protagonist’s life
iii) related to plot A first, failed confrontation w/antagonist force
3-ACTS & STORY ELEMENTS (Krevolin)
U64022 Screenwriting: Advanced Level
ACT 2 (longest, explore characters and relationships)
30-45 Subplots (B, C, D stories etc. established and intertwined)i) affect love interest, best friends, parentsii)related to plot A but not driving force
46-60 Complications on the road to achieve goalNever let up, a “pinch” every 5-10 pages (up and downs, fast and slow)
60 Midpoint. Breather after big confrontation (high point), but won’t last (soon leads to lowest point)
61-87 The world starts to crumblei) subplots come into play or play themselves outii) pushing down protagonist
88-90 Plot/turning point #2 Lowest point (all is lost)i) revelation (epiphany) / realization (catharsis) further decision, (re)action driving force for changeii) affects rest of protagonist’s life (for better of for worse)
3-ACTS & STORY ELEMENTS (Krevolin)
U64022 Screenwriting: Advanced Level
ACT 3 (ties up all loose ends, always building, very tight)
91-109 Build up of tension
i) chase or battle scenes
ii) resolution of many subplots
110-115) Big Climax
i) final danger (dead or alive) VS antagonist
ii) final resolution (of dramatic question)
116-119) Epilogue, hero rewarded (money, love)
120) THE END
GENRESRealism: Characters in real-life situations.
Police/detective/crime story Thriller
Gangster film War film Situation comedy
Fear: Where fears and fantasies meet and we (the audience) anticipate the worst
Film noir Screwball comedy Horror
U64022 Screenwriting: Advanced Level
Summary: ROLE OF CHARACTER AND STRUCTURE
Crime story
Main character = detective or investigator
Goal = apprehension of the perpetrator of the crime
Theme = crime cannot go unpunished
COMEDY CRIME/DETECTIVE1- Meet Crime2- Lose Investigation3- Get Apprehension
U64022 Screenwriting: Advanced Level
HOMEWORK FOR WEEK 5
• Watch: Se7en
• Analyse structure:a) Write a scene breakdown b) Identify Krevolin’s 15-step patternc) Identify roles of characters, main conflict, subplots, internal patterns
• Bring along your analysis for seminar discussion in week 5. Use a memory stick and be ready to illustrate your analysis in class.
TUTORIAL
Developing ideas
Dramatize ideas into a short story outline
COURSEWORK - OUTLINE
Develop YOUR OWN story (i.e. no adaptations or remakes)
Structure of 2-page outline• Title (must be captivating to create
expectations) MANDATORY• Written by NAME+SURNAME• Premise (a short statement, 25-30 words
max)• Plot synopsis.
- Include all 3 act breaks- Each act must consist of short paragraphs, each corresponding to a main narrative step in the story.
PREMISES
A short, one to three sentences statement (25-28 words), which captures the essential elements of the screenplay
• Introduce characters (names, job, function)• Introduce main antagonist, conflict and goal• Overriding themes• Set the scene (where and when)• Evoke colour, taste and smell
SHORT SYNOPSIS
• Use present tense.• Style must be fluent and crisp. Use short
sentences, focus on dramatic action (what happens).
• No walls of blahs, write short paragraphs.
• Do not numbered paragraphs.• Event structure of your story (NOT a
scene breakdown: i.e. one-liners).• Events will become sequences of scenes in
the final screenplay.
SHORT SYNOPSIS• Split into 3 acts (indicate) and include
all the essential plot points and story elements.
• Act 1: 4-6 blocks, Act 2: 8-10 block, Act 3: 3-5 blocks
• Synopsis = PLOT (no lengthy descriptions, no explanations, no unnecessary details)
• Keep characters’ description to a minimum (only essential traits when they first appear; no need for physical traits if not essential)
• Specific indications of locations and time must be concise.
SYNOPSIS - SAMPLE
First paragraph from the outline ofWhen Harry Met Sally
1977. Harry Burns and Sally Albright share a long car ride from the University ofChicago to their new, post graduation livesin NYC. En route, they discuss whether a manand a woman can be friends, without sexgetting in the way. Concluding that theycannot be friends, they part ways upon theirarrival.
SYNOPSIS – SAMPLE ANALYSIS
From When Harry Met Sally
1.1977. Harry Burns and Sally Albright 2.Share a long car ride from Chicago 3.En route, they discuss whether a man
and a woman can be friends, without sex getting in the way.
4.In NYC, concluding that they cannot be friends, they part ways.
1 paragraph in synopsis = 4 sequences in script
COURSEWORK ASSIGNMENT 1
Write 2-page story outline Follow guidelines (e.g. apply a model, and
suggestions from tutorial) Choose a genres: either RomCom or Crime-Thriller Stick to instructions in handbook (pp. 10-11) Deadline: Wednesday 2 November Submit: i) printed copy (hand in at start of class);
ii) DOC file (via email, see instructions)