Lesson 11 (15 July 2009)

Importance of Format

–    why do we need special format for scripts?
–    Ultimate goal is to make the script easy to read
–    Intended as a blueprint for production – must meet the needs of the various departments
–    Format has been designed so that the flow of the story is not interrupted by extraneous details on the page
–    Only use Courier 12 point type

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Dos and Don’ts

– Only print on one side of the page. Only use plain, white paper
– Put the page numbers, followed by a period in the upper right hand corner
– For class we will number individual scenes, but it is not professional standard
– Don’t use correction fluid, don’t draw arrows, smiley faces etc. on the paper

– 1″ Left and Right Margin
– Slug Lines [EXT/INT – LOCATION – TIME (all caps)]
– Action Description (Describes what can be ssen on screen – Stretches across the entire page)
– Characters first appearance in CAPS (WAYNE etc), all other appearances normal (Wayne etc.)
– Character Dialogue — Name in CAPs, Left margin at 3.5″ for the edge of the page
– Dialogue 2.5″ margin

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Writing Style

–  Action Description is always in Narrative Style, 3rd person and present tense
– “What can be seen” includes actions as well as description
–  It is a good idea to suggest shot sizes and content through the writing but best to leave out specific shot references (CU, WS, Push In, etc.)
> This is the Director’s job

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Others

– The character name followed by (V.O.) indicates Voice Over – Luke Skywalker (V.O.)
> May or may not see the character on screen
> My name is Earl, Desperate Housewives etc.

– The character name followed by (O.S.) indicates Off Screen – Han Solo (O.S.)
> hear the person talking on the other line (phone) etc.

– A parenthetical appears in dialogue to give specific description of movement, gesture, or method of delivery
> (sarcastically) or (waving)

Website reference: dailyscript.com

Writing Software: Celtx

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Things to Do For Next Week’s Online Lecture

– Comment using Writer’s Bible
– Post final draft on Discussion Board (Use Writer’s Bible for Final Draft)
– Comment of WF script
– Comment on 3 classmates (T1B1) + 2 other people from T1B2

-NOTE: Final Draft is due on the ***22 July, 9am***

Lesson 10 (8 July 2009)

Week 12 :

INTERACTIVE LOCATION

WHAT IS A LOCATION?

– Physical place/address

OR

A World created by writer (A World the characters live and interact in)

– The place in your story where events occur and characters interact

– Siberia, Adilah’s Mom’s House, Void deck where Jordus had his first kiss etc.

– Examples of movie locations:

1. Planet of the Apes (Location: A planet ruled by Apes/Humans are slaves)

2. Witness (Location: Amish Society)

3. Billy Elliot (Location: UK)

4. Jurassic Park (Location: Jurassic Park is a zoo/amusement park located on an island off the coast of Central America (Interactive Location: The island is completed isolated, and anyone on in will be trapped until assistance from the mainland arrives)

– When you think of a location, we must consider the:

1. Rules (Spoken/Unspoken)

2. Address (Must be specific)

3. *Other elements that reside within the location

– An Interactive Location is a setting and surrounding that interacts with the characters of the film by adding importance (the characters that is planted in the locations trigger a reaction/response from the people/environment) to their actions

– It is also an environment which impacts the action and heightens the stakes (Harper’s island, Day After Tomorrow etc.)

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Video Screenings

1. Lou Lou Lives Here (2003 – Drama) DIRECTOR: Hazel G.

2. Godfather 2

Lesson 9 (1 July 2009)

REVIEW EXERCISE 3: Dialogue

>>Purpose of the exercise

– We write best what we know well

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DYNAMIC ACTION

<<Story is Action>>

– Action encompasses any kind of movement, activity and interaction between the characters and also between the characters and also between the characters and their surroundings.

– Characters react with environment, action and other characters

– Talking about how one feels is not as powerful as illustratin why one feels the way they do through action

<<Film is Behaviour>>

– Action is the manifestation of behaviour

– The complexity of the human psyche and interaction is better understood when it is possible to watch the actions, nuances and reactioins of the charactesrs

<<Dynamic Action>>

– Has the potential to enrich the experience of the audience by heightening the stakes and increasing the tension

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MOVING PICTURES

– The power of any story lies in the narrator’s ability to project a mental picture for the audience

>> Purpose of the exercise

– Translating emotional responses into action

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Steve Pavolsky’s INJA (Australia 2007)

Inja means dog.

COMMENTS:

The boss taught the dog who the master is by cruel means. Boss felt insecure and jealous because the dog was not loyal to him. Rage blinds you. What he did at the start worked against him at the end of the story. Leaves the audience to decide what the ending is.

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HOMEWORK

2nd Draft of story due 15 July 2009

Printed copy in class

Format: Courier 12, single spacing.

Lesson 8 (10 June 09)

Elements of Dialogue

– Dialogue reveals character

– A character will talk about himself and other people will talk about him

– Dialogue establishes relationships between characters (casual in tone – comfortable enough… use of vulgarities etc., being rude… child shouting at parents or vice versa/ parents who do not dare scold their child) 

– Once you have established your main character’s POV, you can use dialogue with other characters to show that they have other attitudes, creating opposite/alternative POVs. 

– This helps to create and sustain the element of CONFLICT between characters (Dialogue between characters can be a source of conflict)

– Good effective dialogue will MOVE THE STORY FORWARD (trying to trace a phone call – have to stretch the conversations etc.)

– Dialogue communicates faces and information to the audience (Audience must find out something new)

> conveys essential exposition (Lesson No.1: DO NOT REVEAL EVERYTHING in the conversation. Make the audience THINK)

> Characters will talk about what happened, establishing the storyline

– Dialogue comments on the action (DO NOT do it like a sport commentary)

– Dialogue ties the script together

> it is one of the devices that YOU as a writer can use to expand and enlarge your characters

– “if you can see it or hear it, don’t write it.” – Neville Smith

– Dialogue should be used sparingly (Best to use action)  

– Never tell the audience what they can see for themselves!!!

<<DIALOGUE IS NO SUBSTITUTE FOR ACTION>>

 

– In Hollywood, when they look at a page and it’s got too much  black, too much ink on the paper, they say:

“Shit! It’s FREEZE the camera TIME!!!”

– COMMON MISTAKE

> Students sometimes never achieve a level of competence as they tend to reproduce conventional spoken language, long statements of “REAL TALKING”, and defend their decision by telling us that: “It’s how the character speaks.”

>Students tend to create radio shows with images

 

– Dialogue is affected by:
1. Age (e.g. speed of speech… Seniors tend to speak slower than youngsters/ how young kids are unable to complete their sentence – but this is stereotypical)

– speed can also tell how busy the person is

2. Gender 

3. Social status (linked to one’s educational qualification)

4. Race (pace at which they speak) 

 

– Good Dialogue is not somebody’s ability to write authentic speech as heard in real life

> If that was all there is to it, you can just push a button on the tape recorder and then go collect your Oscar

– Good dialogue is the illusion of reality

>You’ve got to know how to edit what people say without losing any of the spirit

<<FILM IS A VISUAL MEDIUM>>

A SCREENPLAY IS A STORY TOLD IN PICTURES

 

– Note: How to tell if a dialogue is good in a movie?

1. If the dialogue sounds real/believable

2. Relatively short dialogue

 Bad dialogue?

1. Not concise  (long winded)

2. Too real (can be boring)

3. Cheesy lines (Cliche lines etc.)

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EXERCISE: WRITING DIALOGUE

The Scenario:

– A middle-aged man returns home from work

– He had stopped for a few drinks with his friends and forgot to phone his wife to tell her he’ll be late

– The dinner is ruined

> Write a short scene composed of dialogue between husband and wife <

ROLE-PLAY:

– 2 students to play the roles from their stories

THE REAL EXPERIENCE:

– Repeat “THE EXPERIMENT” but:

Husband and Wife are YOUR own parents

Get two people to read the dialogue

> Record the reading <

> Post it to your blog (using Youtube, Multiply etc.) <

start the scene – he comes home, ending scene – we decide

Put subtitles 

Lesson 7 (3 June 2009)

Review Exercise: True/False

– A true story is not necessarily a good story
– Good stories hae to be worked and re-worked
– True life stories do not offer neat and relevant endings
– Life is unpredictable
– When life is predictable, it’s boring because we can anticipate what is going to happen every time
– In a story, we can and must control the events and sequences so that it gives the appearance of being life like
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Characterization: Defining the character

– every story starts with a character
– The character is the hear, the soul, and nervous system of your story
– It is through your characters that the viewers experience emotions
– Without a character, there is no action
– Without action, you have to conflict
– WIthout conflict, you have no story
– Without a story, you have no screenplay
– Note: We can relate to characters which are animals because they have human traits
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Developing characters

– When developing a character, ask yourself…
1. who is your character?
2. what does he want? (needs a goal/aim)
3. what is his quest? (something big/blown up)
4. what drives him to the resolution of the story? (character must be motivated/determined)

– Establish your main character
>Characters should have a 3 dimensional structure

a) Physiology (sex/age/height/weight/colour of hair, eyes and skin/ posture/ appearance/ defects/ abnormalities/ deformities/ birth marks/ diseases/ heredity)

b) Sociology (class – lower, middle or upper/occupation: type of work, hours of work, income, condition of work, attitude towards organization, suitability for work/ Education: amount, kind of schools, marks, favourite subjects, poorest subjects, aptitudes/ home life: parents living, earning power, orphan, parents seperated or divorced, parents’ habits, parents’ mental development, parents’ vices, neglect, character’s marital status/ background – makes the character believable at the same time & the way the character carries himself/presented)

c) Psychology (religion/ race/ nationality. place in the community; leader among friends, clubs, sports/ politcal affiliations/ amusements: hobbies, books, newspapers, magazines he or she reads/ sex life/ moral standards/ personal premise/ ambition/ frustrations/ chief disappointments/ temperament: choleric, easy-going, pessimistic, optimistic/ attitude towards life: resigned, militant, defeatist/ complexes: obsessions, inhibitions, superstitions, phobias/ personality: extrovert, introvert/ Abilities: language, talents/ Qualities: imagination, judgement, taste, poise/ I.Q./ E.Q./ What is the deep and personal secret this charcter has which he si desperate to protect/ hide?/ thinks)

– Separate the components of his life into 2 basic categories:
a) interior
b) exterior

> Interior (The interior life takes place from birth until the moment the story begins)
>> It is a process that forms character. (when you start formulating your character from birth, you see your character build in body and form)

>>> how old is he when the story begins?
>>> where does he live?
>>> does he have siblings?
>>> what kind of childhood did he have?
>>> what was his relationship to his parents
>>> what kind of child was he?
>>> is he married, single, widowed, separated or divorced?

> exterior (The exterior life takes place
>> It is a process that reveals character

>>> who are they and what do they do?
>>> are they sad or happy with their life?
>>> do they wish their life was different? Another job, another wife?

– You must create your characters in relationship to other people (hates or loves) or things

-All dramatic characters interact in 3 WAYS:
1. they experience conflict in achieving their dramatic need (e.g. Need money – rob bank/store/person)
2. They interact with other charcters (Either in an antagonistic, friendly or indifferent way)
3. They interact with themselves (e.g. he overcame his fear of being caught by pulling of the robbery successfully)

– How do you invent characters?
> Try turning them upside down (e.g. A monk who is devoted to his religion… but is a football fanatic/ A serial killer… whose obsession is to kill other serial killers/ A common sreet rat.. who loves to eat and cook only fine food)
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Movie Screening:
1. Taxi Driver
– actor is robert dinero
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Revisions Notes:

Voice over narration – big fish and pushing daisies
Passive VS Active Narration
Passive – shows emotion, sad etc.
Active – shows action,

What Aristotle is famous for: 3 Act Structure
Act 1: Introduction
Act 2: Obstacles
Act 3: Resolution (can be an open ending – sequel)
e.g. freedom writers

Lesson 6 (27 May 09)

>>> Purpose of the Exercise <<<

– The letter is a practical, personal example of how a character – YOU – undergo an inevitable process of change

– This process of change is an essential ingredient of any story

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Storytelling Tool 2: Experience:

– A storyteller should be concerned with the potential of every experience.

– Everything about you – where you were born, what food you eat, the bump on your forehead – your experiences are unique and irreplaceable.

– Many of your experiences are universal and translatable and can be used in any location.

– Tip: If you don’t know what to do with a character, make him yourself for a while.

– See how he relates to the world he has been thrown into>>>>Plunder your own personal background!

The things that happen to you as you grow up and the things that are currently happening to you make terrific story sources.

– All people have fragments of stories

– These potential ideas prompt your desire to know more.

– Respond emotionally and intellectually to what you heard

– Good stories are born in the heart, not the head.

– Remember the role of an audience

– After all, you ARE the audience.

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Universal Themes

– Friendship

– Hope

– Family

– Death

– Love

– Betrayal

– Loneliness

– Hardship

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Translatable (Jack Neo’s Film ‘Home Run’, an adaption from another movie/ Slumdog Millionaire – could be set in the olden days of Singapore, but not in the present time)

– Setting

– Characters

– Language

– Culture

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Storytelling Tool 3: Memory:

– Your memory is a wonderful cabinet of past incidents which you have experienced or been told.

– TIP: Write what you do not know because you will find some part of you that does know.

– These memories are points of reference to your own past existence

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An Experience is TRUE

A Memory can be manufactured (can be false/true)

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Assignment (True Or False)

Write 2 short stories

– One true, One false

Only the author know which is which!

– Post by 3rd of june.

– After posting your story, visit 3 classmates below you on the blogroll and vote for which  story you think is true and which is false.

Lesson 5 (20 May 09)

Screening:

The Shawshank Redemption

“hope is a good thing… and no good thing ever dies…”

Note:

Death is the beginning of the tradgedy

Tragedy occurs when the character makes a choice/placed in a situation (shows the flaw in the character)

Assignment:

– Letter to the past

– Select a  person that meant something to you in you past, but whom you no longer speak to

– Then write a letter which expresses all the things you wish you could asy to the person but you can’t

– Dead or Alive

– Communicate the memories of important moments you had together in the past, and how your time spent together has made you a different person now than you were before

– Write it from the heart, non-fictional

Lesson 4 (13 May 2009)

Aristotle’s Presentation

Group A: YC, Peter, Rachel

Group B: Matthew, Kuan Yi, Melissa

Group C: Wayne, Igbal, Emily

Group D: Cas, Winona, Rahman

Group E: Bia, Ken, Wan Fong

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Visual Trigger Assignment:
Find an image and tell a story that comes to your mind as you see it
Pictures should not be taken for this purpose
Use only pictures you can find

There must be some form of tragedy

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Principles Of Tragedy

Incorporate principles of tragedy into your writing!

What Is Tragedy?

Tragedy doesn’t mean that something bad happens and the story ends

It means something bad happens as a result of a flaw in your character, and you show how this tragic fall forces your charcter to learn something about herself or himself.

Lesson 3 (6 May 09)

Review Exercise 2: 50 words stories

– Restraints help you to get to the point quickly

– Some constraints professional writers face:

1. Deadlines

2. Plagiarism

3. Casting (Difficulty fitting in a particular actor into a role)

4. Director (May change the storyline/script and turns out as something you did not have in mind initially)

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Storytelling Tool 1: Observation

– Observe in a conscious way (awareness – pays attention to details).

1. Dressing

2. the way one carries him or herself

> eye contact

> speech (fast, slow, mumbles etc.)

> tendencies (a groupy person or lone ranger, hangs on to the phone often – fear of being alone etc.)

> expressions, body language and gestures (How do you show boredom? – yawning, the way they sit, resting your head on your hand/table etc.)

– Train yourself to see and record:

1. Movements (Body language)

2. Physical characteristics >>> Important

>Is his hair always neat? Is his hair messy? etc.

3. Settings (How people behave in places)

4. Is that person aggressive or assertive?

– Adopt a keen eye

– Develop a natural sense of curiousity, but not intrusive, offensive or disrespectful

> An observed event, when subject to simple questions, can set up a sequence of possibilities that will develop into a story worth telling (e.g. when you observe a couple having a meat yet totally not talking… What questions come to mind? However, it is important to consider the age. Young people tend to talk more than elderlies. Or perhaps it is a comfortable/awkward silence)

– Think about:

1. Whom I am writing about?

> A girl’s point of view? A man’s point of view? etc. (Best to ask your friends how they would react to make the story authentic)

2. Who is my character?

3. What is he/she/it like?

> Hobby etc.

4. What does he/she/it do?

> Job etc.

5. What happens to him/her/it in the story?

– Mindless observation VS True observation

-Observe in a conscious way

– Develop the ability to see and record people:

1. Their movements

2. Their physical characteristics

3. The setting/places they’re in

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Exercise: Awareness Level

– People rarely observe familiar people or things closely

– Most people pass through the day with 20%-30% awareness

What to do?

1. Walk into the canteen/library/any crowded place etc. and watch people pass by

2. Eventually, one will catch your attention

3. Write down as many details as possible through observation

4. Repeat steps 1-3 for a second character

5. Transcribe all these details into the “people-watch” page that ou will create on your blog

6. Reflections

Requirements:

– different gender (One Female, One Male)

– different setting

– different age

– photo

– What Happened

Lesson 2 (29 April 2009)

Conflict
–    Definition: It is the interaction of opposing ideas, interests, or wills that creates the plot
–    Opposition of persons or forces
–    Can result internally or externally
–    A serious/not so serious disagreement
–    Hostile encounter
–    Mental/Emotional/Physical struggle
–    Examples:
Shrek – Prince wants to marry the princess. Shrek wants the public to live his ‘home’. Both the princess and Shrek falls in love (the princess is to marry the prince).
Bride Wars – Two best friends share the same wedding day in the same hotel
Hitch – Matchmaker has difficulty helping his clients get the girl & he himself tries to woo a girl he likes

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Types of Conflict
–    Dramatic conflict is the protagonist’s struggle against something or someone
➢    Man VS Man
➢    Man VS Environment
➢    Man VS System
➢    Man against self
– Variations of conflict can arise from gender, age, religion and culture

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Causes & Effects of Conflict

– Conflict arises when there is CHANGE

– Changes may be major or minor

– While cahnge is universal and common, it is not always accepted

– Examples of changes:

Seasons, lives, relationships, feelings, bodies, locations, technologies

– Conflict arises when people resist changes

– The intensisity of conflict depends on how people react to the change

– People must learn to cope with change if they want to survive

Think, how animals cope with change? Hibernation etc.

– The action in drama depends on conflict (a lot – relatives, friends etc.)

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Importance of Conflict

– Plot cannot be contructed without conflict

– Central feature of the screenplay

– As our characters attempt to reach their goals, they come into conflct with each other

– The end of the story nears when the protagonist and antagonist (not always a person, could be a flight of stairs to someone who is wheelchair bound) approach their goals and the conflict arises to generate maximum suspense and excitement

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Writing for an Audience

– Screenwriter = Storyteller

> The cinematic experience is not just made up of text on paper, but the audiences’ emotional reaction to that information (Write stories that provoke the thoughts of the audience)

– When you write the story, it’s about people to people, it is not about Director to People, Writer to People or Camera to People

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What is the Writer’s purpose?

– To connect the audiences:

> Themselves

> Their unique vision

> The material/issue

> The drama

> Others

– Audiences want to be transported by a screenplay (They want movies that show something they’ve not seen before)

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Where do you look for a story or inspiration to create characters?

– Within yourself eg. experiences, memories, emotions

– Practice observing, ‘listening’ (eavesdropping) and reading body language of people

– Figure how to connect your viewers to your story through emotions, characters etc. being displayed in the movie

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Two Short Movie Screenings

1. The Call Home – 2001 (Directed by Han Yew Kwang)

 

2. The Secret Heaven – 2002 (Written and Directed by Sun Koh)