Movie script writing

What is the first chapter of the movie script?

In this chapter we will introduce examples of drama structure

What is the movie script, is a guide or profile of a story film? Is it a blueprint? ? Is it a chart? Is a series of images, scenes, paragraphs, etc. in a series, are it like a string of landscape? What is the collection of some ideas? What is the movie script? First of all, it is not a novel, of course it is definitely not a drama. If you look at a novel and try to determine its basic feature, you will find that dramatic behavior, storyline, etc., often happening in the mind of the main character. We (readers) are things, feelings, words, behavioral movements, memories, dreams, hope, ambitions, insights, and more. If another person appears, the storyline changes as the perspective, but often returns to the original main figure. In the novel, all behavioral movements occur in the minds of the characters - in the "mind" in dramatic behavior. In the drama (stage drama), behavioral movements and storylines happen on the stage under the stage front arch, and the audience is the fourth wall, and the secrets of stealing stage characters. The characters talk to their hopes, dreams, past and future plans to discuss their needs, desires, fear and contradictions. In this way, behavior movements in the drama are generated in the white language of the drama, which itself is the text that is explained orally. Movies is different. The movie is a visual medium that dramatically dramatically, a basic storyline. It is dealing with images, pictures, a small piece and a piece of film; one hour is moving on the drop, a window is opening, a person is watching, two guys are laughing, a car is turning on the curve A phone bell is ringing, etc. A movie script is the story that is described by the picture, as well as language and description, and these contents occur in its dramatic structure. A movie script is a story that is told by the picture. It is like a noun - refers to a person or a few people, in a place or several places, going to do his or her. All movie scripts have implemented this basic premise. A story film is a visual medium, which is dramatically with a basic storyline. As with all the stories, it has a clear start, middle section and end. If we take a movie script, hang it on the wall like a picture, then it looks like the chart below.

The first side of the second curtain, the third end of the Middle, the middle section (end) │ │ ─ ─ ─ ─ ──────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────────── │ SETUP Agreement (Resolution) 1st to 30 Page 30 ~ 90 # 90-120 West Point I (Plot Point) Point II Lead Point II Lead Page 25-85-90 page

All movie scripts include this basic linear structure. We call the pattern of this movie script (paradigm) 1. It is a model, a model, a concept plan. The example in the table is like a table: a desktop plus (usually) four legs. Within this example, there are tables, long tables, round tables, high tables, short tables, rectangular tables, adjustable tables, and more. With this example, we can make a variety of tables at will - anyway, a desktop plus (usually) four legs. This example is undoubtedly determined. The above chart is an example of a movie script. Below we will decompose: the first curtain, or the opening of a standard movie script is approximately 120 pages, or for two hours. Regardless of your script, you can calculate it by one minute. The rule is constant - one of the movie scripts is equal to the screen time for one minute. The first scene is the beginning, the SETUP section can be seen because you have to build (determinate) your story with a written paper on 30 pages. If you go to the movie, you will always make a judgment when you feel consciously or unconsciously - do you like this movie. When you watch a movie in the future, please pay attention, how long do you need to make a decision you like this film. It is generally about ten minutes. It is also equivalent to the first ten pages of the movie script you write. You should grab your readers in time. You should use the circumference of about ten pages to make readers to understand who is your main figure, what is the premise of the story, what is the situation of the story. Take "Chinatown" as an example: The first page lets us know Jack Gittis (Jack Nikolson Jack Nicholson) is a private detective in the regional investigation. In the fifth page we met a Mermare (Di Anna Leed Di-ane Ladd). She wants to hire Jack Gittis to investigate "My husband and who are chaotic". This is the main issue of this movie script, and it provides a drama that leads to the final solution. There is a feeling point at the end of the first scene. The so-called situation is a matter or event, which is tightly woven into the story and turns the story to the other direction. This event generally appears between pages 25 to 27. In the "Tangren Street", when the newspaper, I claimed that Mr. Melley was caught in the "love nest", the real Merle Dunna Waye Dunaway and her lawyer Come to the firm, intimidate, telling the lawsuit. Is she really Merlem, who hired Jack Nikolson 2? Who is hire a person to pretend Mrs. Melle? Why is this all? This event attracted the story to another: Jack Nikolson as an event survivor must figure out who is in order to put him, and for what. The second curtain, or the second scene is the main part of your story. Generally, on page 30 to 90 of the script. It is called the confrontation part of the movie script, because all dramatic foundations are conflicy. Once you give yourself a demand (NEED), that is, what is his goal in the script, what is his goal, you can set an obstacle for this need, which creates a conflict. Among the detective stories of "Chinatown", the second scene is that Jack Nicolson has conflict with some forces. These forces are reluctant to let him investigate who should be responsible for Mr. Merley and the scandals. Jack Nicolson needs to overcome the dramatic action of this story. The situation at the end of the second scene generally occurs between pages 85 to 90. In "Chinatown", the episode of the end of the second scene is: Jack Nikolson found a pair of glasses in the pool of Mr. Merley, and knowing that it is not Melle, which belongs to that murder. . This introduces the story into the ending section.

The third scene, or the third scene of the ending usually happens between pp. 90 to 120, is the ending of the story. How is the story end? How is the owner? Is he still alive or dead? Is he successful or failed? and many more. Your story needs to have a powerful end to make people understand and have complete. That kind of ambiguity, the meaning of the meaning, and it is too late. All movie scripts have implemented this basic linear structure. The dramatic structure can be specified as: a series of inter-related things, plots or events, linear arrangements, leading to a dramatic ending. How to arrange these structures components and determine your movie. Take "Anne Hall" as an example, it is a story that is narrative by flashback, but there is also a clear start, medium or end. "Annee Derniere a marienbad is also the same. This is true of "citizen kane", "Hiroshima Mon Amour" and "Midnight Cowboy". So this example is active. The second scene of the first side of the first curtain │ │ ─ ─ ─ ─ ─────────────││ │ Building a countercome

Personal IPression II II

I II

It is a model, a model, a concept of conception; a tip of the high-top movie script is like this. It provides us with a summary of the structure of the movie script. If you make it clear that it is like this, you can simply "loading" in your story. Are all good movie scripts in accordance with this example? It is definitely. But you don't have to blindly believe in me. You use it as a tool to use it; in question, study it, and think about it. Maybe someone does not believe it. May not believe what the beginning, middle section and end. You may say: The art is like life, it is charged, but it is nothing to end in a huge middle part of the "important moment" that occasionally happened. There is no end. It is as stated in Kurt Vonnegut, which is "a series of casual moments." I don't agree with the above view. Excuse me: One is born, living to death, is it not like starting, middle and end? I want to think about the rise and decline of great civilization, such as: ancient Egypt, ancient Greece, ancient Roman Empire, they are bud from a small community, develop to the power of power, and then decline until destruction. I want to think about a star birth and demise, or the beginning of the universe, according to most scientists have agreed the theory of "big unity", if the universe has its start, it must have an end. Think about our body's cells! How do they use how much time from supplementation, recovery to regeneration this cycle cycle? As long as the seven years - in the seven years, some cells in our body must die, other cells should reproduce, activities, death, and then regenerate. I want to know the first day of a new job! You have to meet with the new colleagues, you have to bear some new duties until you decide, retire, or dismiss. The movie script has no exception. They have their own clear start, middle and ends. This is the foundation of dramatic structure. If you don't believe this example, then do one test, come to prove that I am wrong. Please look at a film or look at a few movies, see if they meet this example. If you are interested in the movie script, you should do this like this. Every film you see can be your learning materials, helping you understand what is a story film, what is not a story film. You should also read the movie script as much as possible so that you understand the form and structure of the script. Many movie scripts are now printed, sold in many bookstores. There are also some scripts that have been released, but you can go to your own book, or leave from the library of the Drama Arts Department in the University. I have let my students read and study some movie scripts, such as "Tangren Street", "Network", "Rocky", "Three Days of the Vulture", " "Hastler" (Hastler) (three scripts "," three scripts ", now out of print)," Anne Hall "," Harold and Mad "(Harold and Maude" )Wait. These scripts are very good textbooks. If you can't find them, you will read any movie scripts you can see, the more you read it. Examples are useful. It is the foundation of all good movie scripts.

Exercise: Go to the cinema to watch movies. When the cinema light is dim, then, please ask how much time you need to make "like" or "don't like" this movie. Once you make a decision, look at the watch, write down. If you find a movie you really appreciate, you may wish to see it again. Look at whether this film is really in line with this example. Look at it, you can see if you can break out, find out its start, middle and end. Make a note: How much time you need to start, how much time you need to know what this film is talking, or if you are attracted by this film, or have been dragged into the movie story. Then I find out the situation of the first scene and the end of the second scene, see how they lead to the end. Chapter 2 Master

In this chapter we will explore the nature of theme

What is your movie script? What does it tell? Remember a movie script is like a noun - refers to something that a person is going to do his (her) in a place. This person is the protagonist, and the thing that does him (she) is action (Action). When we talk about the theme of the movie script, we actually talk about the movements and characters in the script. The action is what happened, and the characters are people who encounter this thing. Each movie script is dramatically dramatically. You must know who your film is talking about, and he (she) is encountered. This is the basic concept of writing. If you want to write three guys to rob the Cai Zis Manhattan Bank, you should show it dramatically, which means that your focus should be concentrated in the character (three guys) and movements (robbery Bank of Manhattan] Every movie script has a topic. Take "Bonnie and Clyde" (Bonnie and Clyde) as an example, it is the Great Depression, Clyde Barbaro helped in the US Central and Western Regions robbery and they finally fall the story. Actions and characters, which makes your general idea become a special drama premise. This is the starting point for movie script. Every story has a clear start, Mid-section and end. In "Bonni and Clyde", the beginning of the Bonnie with Clyde, and they settled to the drama. The middle section describes how many banks robbed, the police are chasing them. At the end At the office, they are uniform and killed. There are buildings, confrontation, and ending. When you can use actions and characters, you will start to extend to form and structural elements. Maybe just start, you have to use a few sheets of paper to narrow the story, but you can't grasp the basic points, you will not compress a complex story into simple one, two sentences. Don't worry! Just insist Do it, you gradually and clearly explain your own thoughts. This is your responsibility. If you don't know what your story is saying, do you know? Is it a reader or a viewer? If even You don't know what you want to write, how can you expect others to know? The play is to choose and perform responsibilities when deciding how to dramatically dramatically, choose and responsibility - these two words in this book It will appear repeatedly. Each creative decision comes from the selection rather than strong. Your owner has come out of a bank, this is a story; if he ran out a bank, it is another story. Some people have some I am going to write it into the movie script. There are also some people. How do you find a topic? An idea provided by newspapers or TV news, or some of your friends or relatives may become The theme of a film. It is like a film before the film is filmed. When you look for a topic, the topic is also looking for you. You may be in a certain place, somewhere ─ 没 准 儿 儿 是 你 你 它 它 了 了 的 自 自 的 自 自 自 自 自 自 自 自 自 自 自 自 自 自 自 自 自 自 自 自 的 自 自 自 自 自 的 的 的 的 自 的 自 的 的 的 的 的 的A Los Angeles is developed. "Shampoo) is developed by several incidents encountered by a famous Hollywood hairstyle designer." Taxi Driver " The story of the loneliness of the taxi in New York City. And "Bonni and Clyde", "Sale of the Peanut Cassy and the Young Dance" (Butch Cassidy and Sundance Ki) D) and "All the President's Men" is developed by real people. Your theme will find you, as long as you try to find it.

This is simple! Please believe in yourself. Start from looking for a movement and a person! When you can express your idea through action and character, you can use the name to indicate it - my story is this person, in this place, when you do this (her), "things", You are already preparing for your movie script writing. The next step is to expand your topic. Give the action in the script with flesh, focus on the characters in the play, so that the storyline and highlight details are expanded. To find ways to collect material. This is very beneficial to you. Some people have doubts about the value and necessity of investigating research. Seeing my opinion, investigation and research work is absolutely necessary. All writing must have a survey study, and investigating research means collecting intelligence. Remember: The hardest thing about writing is that the author should know what to know. Through the investigation -, you can get information from text materials such as books, magazines or newspapers, or individual interviews. These intelligence you collected makes you can handle them from the perspective of choice and responsibility. You can choose some of the materials you collected, or you can use it, or simmer yourself. But this depends on your story. Don't use them, because you have no rooms, or they always have a violation with you. Many people have only ambiguous unclear in their minds, and they started a pen when they have not fully formed ideas. As a result, it often wrote the big cross 30 pages, can't write. I don't know what to write below, or where to develop, so I will get angry, I don't know what it is, and I even feel discouraged, and finally give up, declaration failed. If you must or may be able to interview, you will accidentally discover: Most people are very happy to help you, and they often let go of their hands to help you find accurate information. Individual interviews have other benefits: they will provide more direct and more natural perspectives than any book, newspapers and magazines. For you, personal interview is the second good thing to experience you personally experienced. Remember: You know, the more you can convey. And when you make a creative decision, you must stand on the height of the selection and responsibility. I have recently had a chance to write such a story related to Craig Breedlove. He used to be the highest speed of the ground, the world record creator and holder. He is also the first to drive four hundred miles, five hundred miles and six hundred miles every hour. Krag has invented a rocket car, and he ran a quarter mile from four hundred miles per hour. This rocket system is the rocket system that carries the moon. This story I want to write is about a driving rocket boat breaks the world's water surface speed record. However, the rocket boat does not exist, and at least have not yet existed. So I need to do a variety of investigative research work for this subject. Such as: What is the highest speed of water? How can I break this record? Can I break this record with a rocket? How to regulate the speed of the ship? Can a ship on the water exceed the high speed of 400 miles per hour? From a series of conversations, I understand the rocket system, the highest speed in the water, and how to design and build a rowing boat. And from these conversations, an action and a person are generated, as well as how to combine facts with fiction into a dramatic storyline. This rule is worth repeating: You know, the more you can convey. The investigation and research work is the specific elements of the film script writing. Once you have chosen a topic, you can start a preliminary research when you express it in one or two sentences. Decide what you should go to enrich the knowledge of your theme. Paul Schrader, the author of the "taxi driver", who once wanted to write a film that happened on the train. So he took the train from Los Angeles to New York. When he walked down from the train, he realized that he did not find something story. He did not find a story at all.

It doesn't matter, choose one topic. Schred was written in "confusion". COLIN HIGGINS - "Harold and Mod" dramatisers wrote a story "Silver STREAK) that happened on the train. Richard Brox (Ri-Chard Brooks) was used in a whole for eight months before writing a "Bite the Bullet). He did not write the next word on the paper paper during this. . This is also true when he wrote "Profssio-Nals" and "Cold Blood", although the latter is adapted from a very study of Truman Capote. Waldo Salt wrote a movie script called "Home Coming" in Jane Fonda. His survey studies include talking to twenty six vectors in the Vietnam War, all of the conversations of the conversation of 200 hours. If you want to write a bicycle athlete, you have to consider what kind of athletes do he are? Is it a short-range speed athlete or a long-distance racing? Where is the bicycle race? Where do you want to arrange your story? In which city? Is there no other different forms of competition or cycle? What kind of associations and clubs are there? How many times will be held each year? How is the international competition? Is this competition related to your story? Who is the character? What type of bicycle is they ride? How can I become a bicycle athlete and so on. These issues need to be carefully answered before you wrote. The investigation and research will give you some ideas, which makes you know about people, situations and stories. It can also give you a certain degree of confidence, so that you can always be higher than your theme, let you stand in the selection height rather than strikingly or ignorance. Please start from the topic first. When you think the subject, you have to think of action and characters. If we draw a chart, then it is like this:

Theme | ┏┏━━━━━━┓ Active People | | ┏┏━┓ ┓┏━━┓┓ Typeful emotions The demand action is to list two actions in the character table: tangible Action and emotional action. Tangible action, such as the robbery bank in "Sanshi Day"; "Bullet" or "French Relations" (French Relations "(French" (Roller Ball) races, competition or play, etc. The movement of emotions is another film's drama center. Such as "Love Story", "Alice no longer lives here" and Antonioni's masterpiece "etching" about an illusion (L'eclisse), etc. Most films have both actions. "Tangren Street" created a subtle balance between shape actions and emotional movements: When Jack Nikolson exposed the potential scandal, his movements were associated with his feelings of fever Dunnavi. In the "Taxi Driver", Waer Schred wants to dramall loneliness. So he chose a taxi driver as his screen image. Taxi is like a boat in the sea, from a port to another port, I have gone another way. In his movie script, the car as a dramatic metaphor, it has no feelings, there is no dependence, there is no connection in the city without any contact, is a solemn existence. When you write a pen, ask what you want to write. Is it a movie of an outdoor thrilling action or a movie that describes the complex relationship? Once you decide which action you want to write, you can consider the characters in the play. First, you have to clarify your needs (NEED). What is your protagonist? What is his needs? What is driving the ending of him to the story? In "Chinatown", Jack Nikolson's demand is to figure out who is in place, and why. In the "Three Days of the Vulture", Robert Redford needs to know who wants to kill him, and why. You must clarify your needs: What do he want? In the "three-day afternoon", Al Pacino robbed banks in order to change gender surgery for his male lovers. This is his needs. If your figure wants to invent a set of things to win on the gambling table of Las Vegas City, then how much does he have to win? Can you figure out whether his approach is effective? The needs of the characters in your play provide a goal, a purpose and one end to your story. How your character has reached or does not reach this goal, it becomes your story. Every drama is conflict. If you have clear your needs, you can set all the obstacles to overcome this demand. How to overcome these obstacles has become your story itself. Conflict, struggle, overcome obstacles this is the basic component of all drama. Comedy is also true. The responsibility of dramatists is to create enough conflicts to make your audience or readers. The story is always growing forward until it is solved. The above is everything you should understand about the topic. If you have already clear your movements and characters in your movie script, you can set a need for your character and then set various obstacles to achieve this need. Three guys rob that the dramatic needs of the Bank of the Bank of Cai Sin Manhattan are directly related to their robbery. There is a conflict in the barriers of this demand, such as: all kinds of warning systems, insurance bars, door locks, and their security measures to overcome them to escape. (Without a guy to grab banks and hope that you are caught!) The figure should plan how to start, which means that you need extensive observation and research before they achieve robbery, prepare a precision action plan.

As "Bonnie and Clyde", the day of the bank forced robbery was not returned. Jon Voight in "Midnight Cowherd" is a woman who wants to find a woman in New York. This is his needs, that is, his dream! He feels that he will get a lot of money and meet many women. What is the obstacle of his face? He was played by Dustin Hoffman, and the money is also spent, there is no job and no work, and Women in New York have ignored his existence. Everything is a dream! His demand and the cold reality of New York City have lived directly. This is the conflict! There is no drama without conflict. No need, there is no character. There is no action without a person. Writer Judt • F. Scott F-Itzgeralde wrote in his work "The last general of the De Chuanfu": "Action is a character!" A person's behavior is not his speech. It shows what kind of person he is. When you start exploring the theme, you will find everything in your script is related to each other. Nothing is incorporated, or it is only incorporated because it is cute. Shao Sabia has a famous saying: "Even if a sparrow is dead, there is also a special sense of merit." The natural law of the universe is: Each force has a counter force in the opposite direction. This law also applies to your story. This is the theme of your movie script. To understand your theme! Exercise: Choose a topic for the movie script you want to write. Then use a few sentences with a few sentences through the actions and characters.

Note: Introduction to the main movie works mentioned in this book is as follows: "Tangren Street" screenwriter: Robert Tanga, Director: Roman Polanski. In 1974, sent Laun Movie Company, won the Best Script Award of the 1974 Oscar Jam. The film is background with the Los Angeles Curable Shui Event in the 1930s, exposing the unlike the upper class, and the shameless nature of the map and the ridiculous proclamation. "Teachers" screenwriter: Mario Pizzas, Flem Schkopola, Director: Francis Kobeola. In 1972, the Paul Movie company has produced the best film, the best screenwriter, the best male protagonist in 1972. The film describes the struggle between the United States New York's mafia joints. "Taxi Driver" screenwriter: Paul Schred, Director: Martin Scorsesese. In 1976, he was filmed and won the award of 1976 French Cannes International Film Festival. Through a young taxi driver, the film reflects the pain and turbulent life of people under the next social people, but at the same time, it has promoted violent behavior. "Bonni and Clyde" screenwriter: Robert Ben-Ton, David Newman, director: Arthur Penn. 1967 products. I have won the best screenwriter and the best actress in the United States in the United States in the United States. The film is based on a true story in the US 30th Economic Great Depression: a couple of husband and wife to fight the bank, and being chased by the police, and finally the stories of the tragic death. This story has been filmed into a film. "Alice is no longer living here" screenwriter: David Sas Cande, Director: Martin Schwiez. He has won the 1974 US Oscar Jam Award Award Award, and won the best film, the best screenwriter, the best heroine, the best female supporting award. The film shows a woman who is difficult to live and love frustration after the husband. "The Three Days of the Vulture" screenwriter: Larangzo Schinger, David Raffier, Director: West Polecolak. Shoot in 1977. The film showed the story of the inhabitant angle of the US Central Intelligence Agency. "President's Class" screenwriter: William Gordan, Production and Director: Roberts Ladford. Shot in 1976. This is a background with "Water Events" as a background, exposing US Presidential Campaign.

Close Encounters of The Third Kind, Screens, St. Terberg, Production and Director: George Lucas. This is a high-cost scientific fantasy piece with UFO (UFO).

Chapter III

In this chapter we have to discuss the creation of characters

How to create people? What is a character? How to decide your character is a car, over the cycling? How to stipulate your character, his action is related to the story you talk about? The characters are the fundamental foundation of your movie script, which is your story of the heart, soul and nervous system. Before you write, you have to know your character. Please understand your character! Who is your main figure? Who are you talking about? If your story is about the three guys robbed Manhattan Bank, which one is the main figure? You must choose a person as the main figure. Who is the major figure in "Sale of the Kassi and the Young Man Dance"? Selling peanuts is. He is a person who makes decisions. In the film, there is a large parade with a large line to jump the bozing of the solar guild. At this time, Robert Reford (the young man who played the sun) silently looked at Paul Newman (playing peanuts), and then left. Newman belongs to the voice: "Only I have a vision, the rest of the world is myopia!" In the movie script, Kasidi selling peanuts is indeed the main figure - he is a planned person, people taking action. By selling peanuts, the young guy who jumped the sun. It is the outcome of selling peanuts to South America. He knows that the days they are unhappy have become numbered. If you want to escape the law and death, they have to leave. He persuaded the young guys and Eta Prab eye left. The guy who jumped the solar dance is an important person, but it is not the main figure. Once you have identified the main characters, you can explore a variety of ways to create a stereo figure with blood meat. There are several ways in character character, all of which are valued, but you must choose a better way for yourself. The following is a brief introduction, you can choose to use when developing your own characters - you can use this method or not. First, make sure your main characters. Then, divide him (her) the content of life into two basic categories: inner life and external life. The inherent life of the characters occur from his birth to the film. This is the process of forming character character. The external life of the characters occur from the beginning of the film to the story of the story. This is the process of revealing character character. Movies are a visual medium. You must try to reveal the contradiction between the characters visually. You can't reveal what you don't know. The above is to understand the difference between your character and disclose him or she disclose him on the paper. (The available chart is expressed, see the figure below) The figure is ━━━━━━━━ (starting from birth to the film) (starting from the film until the end) inner ........................... ━━━ ━━━ 人 示 人 即 即 即 人 人 要求 要求 要求 要求 要求 人 是 是 是 是 是 是 是 是 是

Start with the inner life. Is your character a male or female? If it is a male, how many old ages do he start in the story? Where did he live? Is living in urban or rural? Then - where is he born? Is he a mono child, or a brothers and sisters? He experienced a childhood career, is happiness, or unfortunate? What is the relationship between his parents? What kind of child is he is a cheerful, outgoing child, or a serious, personality in the person? If you are using your characters from birth, you will see a person with blood, meat is formed in front of him. Next, you have to live back to his student life until you enter the university. Then ask, he is married, or is it single, widowed, separated or divorced? If he has gone married, how long is he married and who married? Is it a lovers of Qingmei bamboo horse or a meeting? Is it a long time, still didn't fall in love? Writing must have the ability to ask questions and find the ability to find the answer. That's why I call the development of the characters as creative research. You actually put forward some problems and look for answers. Once you determine the inner life of the characters in the biography method of characters, you can enter the external part of the story. The external part of the character occurs between the beginning of the movie script to the final fade. Check out all kinds of relationships in various character life. Who are they and what they do? Their life or lifestyle is happiness or misfortune? Do they want their lives to be different? I hope to do another kind of job, there is another wife, or hope that I am another kind of person? How to reveal your characters on paper? First, you have to analyze the various factors or individual components of their lives one by one. You should create your characters through the relationship between characters and others or events. All dramatic characters are interacting in three aspects: 1) Conflicts experienced in their dramatic demand. For example, they need money to buy the instruments you need to rob the Manhattan bank. How do they get these money? Is it a stealing or relied on robbery or robbery? 2) They interact with other characters, hostile, friendly, or indifferent. Remember: The drama is conflict. French famous movie director lets Jean Renoir have told me: describing a bastard is more dramatic effect. This is worth thinking about it. 3) They inherent interactions. Our protagonist is to overcome the fear of self-defeating, in order to successfully rob. At this time, fear is an emotional factor, and it must be explicitly proposed to overcome it. People who have become "victims" that have become this emotions know what the fear is taste! How do you make your character true and multi-side? First, the life of your character is divided into three basic components - profession (Personal) living part, private life (private). 1 Occupational life part: What is your character for your life? Where did he work? Is he a deputy manager of a bank? Is it a construction worker? Is it a tramp? Is it a scientist? Is it a pulling strip? and many more.

What is he or she? If your character works in the office, what is his work in the office? What is his relationship with his colleague? Are they harmonious? Have each other? Do you trust each other? After get off work, do they exchange? How is he getting along with the boss? Is it good to have a relationship, or because of work, or too small? If you can determine and dig out the relationship between major characters and other characters in his life, then you are creating character character and perspective. And these are the starting point of shaping the characters. Personal life part: Your protagonist is single alone, widow, or married? Is it separated or divorced? If it is married, then who is married? When is it married? What is their husband and wife relationship? Are they like social or deep hurts? Is there a lot of friends and social activities, or very little friends? Their marriage relationship is strong, or the protagonist is considering or have a male and female relationship outside the marriage? If he is alone, what is his single life? Is he divorced? A person who has been married is something like a lot of drama. When you have doubts about your own characters, then look at your life. Ask yourself - if you are in that case, how do you do it as the person? The relationship between your characters is specified. Private life part: What did he do when your character is alone? Is it watching TV or exercise in physical exercise, such as walking, cycling, etc. Have you loved live? What kind of love animal is it? Is he 集 邮 or what else is there? Briefly, this includes the part of life in character life! What is your needs of your character? In your movie script, he or she asked? To clarify your needs. If your story is about 500 kilometers of car race in Indianapolis, he asked to win in this game. This is his needs. Warrenbeatty's demand in "Shampoo" is to open a hairdressing store. This requirement pushes his actions throughout the script. In "Rocky", Rocky's demand is to finish the fifteen rounds with Apollo Crete, they still don't fall. Once you have determined the needs of the characters, you can set barriers to these needs. The drama is conflict. You must figure out the needs of your character, and then set obstacles to demand. This gives you the story with a DR-Amatic Tension, which is often lacking in the script of beginners. If the concept of the character is graphically, it is as follows:

Character ━━━ ┏━━━━━── - forming the figure outside- revealing the person font biography ┏┏━━━┓ ┓ ┓ 需 需 求 即 即 人 人 人 人 ┏ 是 ┏ 是━━┳┳━━━━━ ┓ 个 个 个 私 私 私 私 工作 实 实 实 实 实 实 实 实 是 是 是 是 是 是 是 是 是 是 是 动 动 动 动 动 动 动 动 动 动 动Your characters are actually what he did. The movie is a visual medium, and the dramatic responsibility is to choose a visual image or picture, which makes his characters in the way. You can arrange a conversation scene in a hot hotel in the small room, or arrange this scene on the beach. The previous one is visually enclosed, and the latter is visually open and dynamic. This is your story, you choose yourself. Remember: A movie script is a story that is described by the picture. This is like the Rod Stewart singing "......... Every picture is talking about a story." Various pictures and images reveal all aspects of the characters. In the classic work of Robert Rosen, "illegal earning money", a flesh's defect symbolizes an aspect of the character. The girl who played by Pi-Per Laurie is a lame; she walks from the road to a turn; she is also a lame in her feelings: she alcohol, there is no life. The lame of the flesh - from visual - the spiritual characteristics of the spirit. Sam Peckinpah is also doing this in "The Wild Bunch). The characters played by William Holden walked to a turn, this is the consequence of the end of the robbery a few years ago. It represents a certain aspect of Holton's characters, showing his "no change in the land", - this is one of the themes that Leather Kimbach is a late birthday. More than ten years of people, an uncomfortable person. In "Chinatown", Nikolson's nose was scratched, because he as a detective, a person who likes "Dong Wen Western Sniffness". The disability on the body - as an aspect of the characters - is the old set of the drama, history for a long time. It can be thought of "Richard three" investigations 2, or those who have been hit by tuberculosis or sexually transmitted diseases in the drama of Idon. From the biography of creative characters, you will have a character, then, then reveal the characters through their actions and reasonable body characteristics! The action is the character! What is the conversation? Dialogue is a function of characters. If you know your character, the conversation is easy to pass down with the story of the story. But there are many people who are talking about, and I am worried that the dialogue will be feet and do. This is exactly possible. So what should I do? Write a conversation is also a learning process and is a coordinated action. The more you write, it is getting easier. There will be a paradise everywhere in the first sixty pages of your first draft. This is nothing. Don't worry about it, it will be smooth and roared in the next 60 pages. The more you write, the easier it it is. At this time, you can come back to modify the dialogue in your movie script in your movie script. What is the function of dialogue? Dialogue is the needs of your character, and his hopes to contact with your dreams. What role should the dialogue? Dialogue must convey your story or the facts to the audience. It must drive the story forward. It must prompt people. Dialogue must exhibit conflicts between characters and internal contradictions, as well as uniqueness of human feelings and character. Dialogue comes from characters. Please understand your character

Exercise: Determine an action and the subject of the characters. Choose your main figure and select two to three important people. Write a three-page to ten pages, if necessary, write a few pages. From the birth of the characters, I have been writing now until your story begins. If you like, this is also suitable for scripts that write in the past. In the entire movie, based on the occupation, individual and private life, three living parts (referred to as three P), create all kinds of relationships of your main characters. Think your character. Chapter 4 makes up the character

This chapter details the process of constituting the characters

We have already talked about the basis of human biographies and people to study the character's relationship from three aspects. What should I do now? How can you become a living, blood, meat, how can you change the zero and messy idea of ​​a person? How can I turn him into a person you can with? How do you "injection into life"? How to make your character? This is a problem that the poets, philosophers, writers, artists, scientists and priests have repeatedly think about the poets, philosophers, writers, artists, scientists and priests. There is no exact answer to this day. It is an important factor in the creative process and magic. The keyword is "process". There is a way to implement it. First, create a context. Then inject the content into it. Logong Deng and Content - These abstract principles are precious tools during your creation. They make up a concept. The book will be used often. This is the dragon debro: such as an empty cup. Looking into the cup, the cup is a space. This space is covered with coffee, tea, milk, water, heat, beer or other liquid. These liquids are the contents of the cup. This cup is full of coffee. The space of the cup in the cup is to come to the dragon. Thinking of this, let's talk about this concept. Let us explore the process of constituent the character from the perspective of the dragon. First, determine the needs of the characters. In the process of script, what is your character wants to achieve something or what? Want to have a million yuan? Robbery Manhattan Bank? Do you want to break the above racing record? Want to go to New York like Joe Voit to become "Midnight Cowherd"? It is like "Alice no longer lives here" Elys to achieve a long-term dream of Monterea, California? It is like Richard Dreyfuss to figure out what happened in the "Third Category" "" What happened? " These all are the needs of characters. Can ask yourself - what is your needs? Then, make the biography of the characters. As suggested earlier, you write three to ten pages, write more, find whom you are. In order to have a clear picture, you may want to write from the grandfather of the characters. Don't write a few pages, this process you start continuing to grow and develop in the preparation stage of the creation. Character biography is written for you, and does not need to be placed in the script. It is just a tool for you to create characters. After the character is completed, you can enter the external life of the characters. You have to consider the occupations of characters, individuals and private life. Waiting for the dragon - this is the starting point. Let us now discuss what is the problem. What is the character? What is people in common? We are all the same, you and me - we all have the same needs, the same desire, the same fear and insecurity. We all hope to be loved, hope to get people's like, hoping to succeed, happiness and health. We are in nature. Some things are associated with us. But what do you distinguish between us? It is our point to distinguish our view - how do we view the world? Everyone has its own point of view. The characters are the view - that is, we look to the world. This is a kind of dragon debro. Your character can be parental, so there is a "parent" point of view. He can be a student, then use "student's" point of view to look at the world. Your characters can be a political activist, just like Vanessa Redgrave in Julia (Julia). That is her point of view, she is dedicated to it. The housewife has its own special point. Criminals, terrorists, police, doctors, lawyers, rich people, poor, women - liberated or counter-all show personal and unique perspectives.

What is your point of view? Is your character of the Liberal or keep the party? His (her) is an environmentalist? Is it still humanitarian? Or Is the racist? Is it a person who believes in fate, days or astrology? Is it a person who believes in doctors, lawyers, "Wall Street Journal" or "New York Times"? Or is it to believe in the "Times Week", "People's News" and "News Week"? What is your character to hold your own work? What about marriage? Does he like music? Which kind of music is you liked? What kind of music is it? These factors become the unique and organic components of your characters. We all have some point of view - to ensure that your characters have personal and unique views. You have created a come to the dragon, and the content is coming. For example, the view of your character may be that it is a moral mistake to think that it is a moral error. He supports this view by donating, providing volunteer services, participating in the rally, participating in the demonstration petition, wearing a sweatshirt such as "rescue whales and dolphins". Whales and dolphins are two kinds of animals with the highest level of intelligence on earth. Some scientists speculate that they may "more savvy than people." Scientific data proves any member of the dolphin from unscrupulous or attacked. There are also many pilots and seafers from the Dolphin Protect the Second World War, from the fierce attacks of sharks. There must be a way to save these intelligence developed life forms. Your characters may protest against commercial fishermen in the abuse of whales and dolphins with rejecting tuna. To find ways to make your character to support your own views and dramatically. What is the character still? Characters are still an attitude. This is also a way to go to the dragon, which is a way of showing the opinion of the character's view. Is the attitude of the character? Still humble? Is a positive person? Still on the back? Optimistic or pessimistic? Is it enthusiastic about life and work? The drama is conflict. It is necessary to stay: You can clearly determine the needs of the characters, the easier it is to create obstacles to these needs. This creates a conflict. This helps you create a tense and dramatic story clue. This is also a fruitful law in the comedy. Nell Simon's characters generally have a simple need to stimulate contradictions. In the "The Goodbye Girl", Richard Delfos played an actor from Chicago, he rented a New York apartment suite from a friend, when he was there I found that the room was taken by the guests of the same room (Martha Mason Marsba Mason) and her young daughter (Quane Cooks Qui-Nn Cammings). He wants to live, but she does not move. She claims that this suite is her, possessed in the legal always accounted for the wind. This conflict is the beginning of their relationship. It is based on both parties that they are "right". "Adam's Rib" is another situation. In this script written in Garson Kanin and Ruth Gordon, Spencer Tracy starred in two lawyers. They are couples, and they are the opponents in court. Quase prosecuted a woman who was charged with the husband (Jude Holly Holli Holliday), and Hepburn defended her. This is an excellent comedy spot on the basic problem of men and women "rights equal". This film takes in 1949, which indicates that the feminist struggle is still a classic American comedy movie. Determine the needs of the characters and then make obstacles for this demand. The more you know your character, the wider the scale created in the story structure. What is the character still? Characters are still individual. Each person is visually displayed a personality.

Is your character cheerful? Happiness,, wit, orientation? Still serious? shy? introverted? Is it cute, it is still difficult to get close, 邋遢, dead, dull, or lack of humor? What kind of person is your character? She is a cold talk, fierce, or a prank? These are all personality features of the characters. They all reflect people. Characters still act. The essence of the characters is the action - what kind of people do things. Behavior is actions. For example, a person walks down from a high-end sedan, and the road is locked through the road. He saw a nickel currency in the roadside ditch - what do he do? If he looks at it, seeing no one looks at it and picks up the nickel coins. This behavior reveals some of this person's personality. If he looks at it, seeing someone looked at him, he did not pick up that nickel. This also reveals some aspects of this character personality. His behavior plays this character. If you are in a dramatic situation to set your character's behavior, you may guide the reader and the audience to explore your life in depth. The behavior reveals a lot of things to you. A friend who flew to New York in New York. Don't go, her mood is complicated. It is a job that I want to do, but she is unresolved, but she is determined to move to New York. She struggled for this week, and finally decided. She packed up the road to drive to the airport, but she stopped the car in the airport, "accidentally" lock the key in the car, and the engine was still open. This is a perfect example of behavioral movement to show people. This thing reveals her in the heart that she always understands - she doesn't want to go to New York. Such a scenario can illustrate a lot of things. Are you angry with your people? He is like MAR-LON BRANDO, is it lifted in the "Desi Street Car" (A Streetcar Named Desi-RE)? Or is it like Malone, Branda in "Godfather" That way, although the fire is burning, it is just a cheerful and laughing, does not show it? Your figure is always late, early or on time? Your character's response is like Woody Allen in "Anne Hall" in the police's driver's driver's license? Each action and discourse built on the unique personality feature can expand our understanding and understanding of your character. If you don't know how your character is doing in this situation, then go to your life. See what you will do if you are in a similar situation. You itself is the best source of material. Exercise well. Since you put forward a problem, you can solve it. The same is true in our daily life. Everything depends on your understanding of the characters. What is your figure to achieve in the development of the plot? What drives him to achieve the purpose? Or didn't you reach? What is your needs or purpose in your story? Why are they there? What do they have to get? What is the reader and the audience feel about your character? This is your task as a writer - creates a real person in a real environment. What is the character still? The characters are still my so-called revelation. In the story process, we understand some of the characters. For example, in the "Three Days of the Vulture", Robert Reford is called lunch in a neighboring restaurant. We know that he has culture and is a writer who has collected the most complete returning letter in the world. Then, we have an attitude that he has accepted his adaptation to the new situation. This new situation is that someone wants to kill him, and he doesn't know who and why. The compact scripts of Lorenzo Semple and David Rayfiel show us some things in Robert Reford. The duties of the play is to show the different aspects of the characters to the readers and the audience. We must understand your characters. In the progress of plots, characters often learn from the audience to the dilemma of his story.

Such characters look for the situation that supports drama moves with the audience. The identity is also an aspect of the character. "He is like someone I know", this identification factor is the greatest praise that writers can get. The action is the character! What is a person, not his speech, indicating what kind of person he is. All of the above characteristics - view, personality, attitude, behavior - are associated with each other in the process of constituting the character and will overlap each other. This way you have the rest of the choice; you can use all or part of these personality features, or you can do it entirely. But I know what they are, you will be able to master the process of constituening characters. It all comes from the biography of characters. From the past, you can draw views, individuality, attitude, behavior, demand and purpose. Write to twentieth to fifty sheets during the writing process. You will find that the characters start talking to you, telling you what they want, what. Once you have contact with them, contact with the characters, they are self-sufficient. Let them do what they want to do. To believe that you have the ability to choose action and direction during the "white paper black word". Sometimes your characters may change the story clues, and you may also take unordered your mind to make them do. Then you will let them do it and see what will happen. The worst, but you spent a few days to realize that I have made a mistake. It is also important to make mistakes. Accident, making mistakes will also bring unexpected gains. If you make a mistake, just override this part, everything will return to the right track. One of my students came to me. He told me that he was writing a play. This play must be unfortunately "tragic" end. But when the third scene started, his character began to become "funny". Continuously in the interrogation of the interrogation, and the ending also became funny, not serious. Whenever he sits down and writes, humor keeps emerging; he can't stop. He became discouraged, and finally gave up due to disappointment. He is almost looking for me to admit it. He explained that he was explained that he had helped his hand. I suggest him sit down and write. Let the words and conversations to write it naturally. If it is funny, let it be funny. Then he can see the result written. If it has been funny, he doesn't like it, and it is over to lock it into the drawer. Then I turn it back to rewrite the third scene according to his earliest idea. He was taken, and he really had a good test. He threw away the comedy plan for the third scene, and then wrote a draft according to his preliminary plan. This comedy is he had to write; but it must be gone. This is a way that he avoids the "completion" script. The writer often insisted on writing without writing at a work close to the completion. What else do you have after completing? Have you read a book without reading it? We have all been there. As long as it is a natural phenomenon, it is not necessary to worry about it. If you encounter this, how do you want to write, see how the results. Writing is always risky, you are hard to know how the results. The worst is just that you spend a few days to override things that you can't do! Just don't expect your character to start with you from the first page. This is not possible. If you make a creative research work, you are familiar with you, then you will experience some resistance, and then you can break through, contact your character. The final result of your work, research, preparation, and thinking time will be the true character of true, vivid, trusted characters - real estate. This is our common purpose. Exercise:

Write your character biography, design a unique point of view for your main characters and three important people. Creating an attitude, considering certain behaviors or individual characteristics of the characters, considering the dragon denseness and content. In the following chapters, you have to encounter these problems.

Chapter 5 Creating Characters

We have to create a character in this chapter, and there are two ways to make a story. One is an idea first, then in accordance with this idea to create people. "Three guys plan to grab the Manhattan Bank" is this example. You have an idea first, and then "put" in. "Rocky" is a chance to get a poor boxing boxer gets the world's heavyweight boxing championship. "The afternoon of the three days" is a man who is going to make money in order to make gender conversion surgery. "Competition" is a person who wants to break the water race record. Creating people should be suitable for you. Another way to write scripts is to create a person; from the characters, there will be demand, action and stories. "Alice is no longer living here" Alice is this example. Jane Fonda thought of a person in a situation, she told it to the partner. So "returning home" was born. The turriten is produced from the two characters (from Xiuli • Mac Shirley Mac Lai-Ne and Anne Bang Croofd Anne Bancroft). from. Create a person, you can create a story. One of my favorite schematic classes in the Sherwood Ocs Experimental College is "Character Creation" class. We designed a character, male or female, providing an idea for the script. Everyone participates, and I'm going to make ideas and suggestions. This gradually forms a character, so we have begun to form a story. It is a few hours to spend a few hours, we can always make a solid figure, sometimes it can make a good movie concept. We have to benefit a lot, which makes us learn the creative process of creating the creative experience of creative experience. Creating a person is a process. Before achieving this process and gets the experience, you are completely like a big mist. How do you create people? We started from the beginning. I propose a series of issues to let students answer. I use these answers to form a character. In this way, a story will appear from this person. Sometimes this is going well. We have a fun and dramatic movie premise. Sometimes it will not work. But from a limited class and the status of the classmates in the class, this is quite good. Below is a brief situation of a better lesson. The problem is from general to special, from the dragon to the content. When you read, you can also replace our own answer, so that you can form your own story. I said to the whole class: "Now everyone will participate in the practice of a person's creation. I have given a question. You provide an answer." They consented. I said: "Okay, where are we started?" "Boston," Joe shouted in the last row of the classroom. "Boston?" "Yes, he is Boston!" He said. "No! She is Boston!" A few girls shouted. "I have no opinion." I ask everyone, they agree. "Well." Our object is a Boston woman. This is our starting point. "How old is she?" I asked. "Twenty-four years old." There are several people agree. I said: "No." When you write a script, you are writing for someone, writing for a actor star. This person should be "Bank will invest". It is feet Dunnavi, Jane, Diane Keaton, Candel Welk, Candice Burg (Candice Berg), Mi Afaro (Mia Farrow), Xioli Mac, or Jilgkberg. We finally decided that she was twenty-seven, eight years old. We don't want to get too specific. If we write, Diankton will reject it. Let's say: "What is her name?" I thought "Sara" name, we used this name. "What is the Sarah?" I decided to use Sara Tang Sande. The name is the name.

Twenty-seven-year-old Boston Woman Sara • Tang Shande became our starting point, she is our topic. Then we created the dragon. Let us have to imagine her own history. For the sake of brevity, I will have an answer to the question mentioned. Some answers have been made in the class, I only use one. You can do not agree with our answer, and make your own answer, create your own character and story. I asked: "What is her parents? Who is her father?" We decided he was a doctor. Her mother? She is a doctor's wife. What is your father? Leonier Tang Sande. What is your life experience? We have made many ideas around this issue. Finally, this is determined: Leonier Tang Sande is the upper part of the Boston society. He is rich, careful, and conserved. During the Second World War, he interrupted his studies in the Boston University Medical College. After the war, he went home to get married and completed the medical studies. How about the mother of Sara? What is she doing before the wife of a doctor? It is a teacher. Some people say, "Her name is Elizabeth." Well. Elizabeth may have been teaching in aware of Leonier. She is still teaching in primary school before Leonier's Medical. After he started medical practice, she would no longer teach the housewife. "When is Sara's parents get married?" I asked again. If Sara is now twenty-seven, eight years old, then her parents must be married after the war, which is the end of the forties. They got married for more than 30 years. Someone asked: "How do you count?" I replied: "Decree." How is the relationship between parents? " It is stable and may be general. No matter if it is useless, I added it again, Sarah's mother is a Capricorn palace, her father belongs to the Libra. When is Sara born? In April 1954, it was Tieyang Palace. Does she still have brothers and sisters? No, she is the only child. Remember, this is a process. There are many answers to each question. If you don't agree with these answers, you will change your own characters. What is her childhood? Best woman. She hopes to have a brothers and sisters. Most of her time is alone. She may have always been a good relationship with my mother until the age of 10. Then, as in general, the relationship between parents and children becomes a mess. What is the relationship between Sara and her father? Very good, but some awkward. He always wants a son. In order to discuss the father's favorite, Sara became a fake kid. This of course makes her mother feel disgusted. Maybe Sala always wants to ask his father to like and win his caress. When a fake kid solves this problem, but it has become a person who is constant with her mother. This will be reflected in her relationship with men. Sara's family is like all of the family, but we will outline delicate conflicts as much as possible for dramatic purposes. We began to capture the movements of Tang Sande. So far, there is not much no way, we will continue to explore the 来 龙 去 龙 龙 龙 龙. I pointed out that many young women are studying their father or finding a father's image in a lifetime. It is very interesting to use this as the foundation of the characters. Just like many men, they are also looking for their mother in the middle of their women. This is not always, but it really happened. So we realize this, it may be advantageous to use it. There are still many discussions about this issue. I explain that when creating a person, you must pay attention to the details of the Rustries. This way you can decide or use them. I told the classmates that this practice is based on attempts and mistakes. We have to eliminate those useless, only effective. When Sarah, it might show that it is a doctor like a father, and her mother opposed, reminding her: "Young girl, especially the young girl of Boston is improper, as a social worker, teacher, nurses, secretary or The housewife is okay. "Is this this in the 1950s and 1960s? Let's take a look, what is the high school life in Sara? She is active, love crossing and naughty. She can get a good grade without having a lot of effort.

She has paid a lot of friends and is the rebellment of the constraints against the school. Most young people have rebelled, and Sara is no exception. After graduating her secondary school, she decided to go to the University of Rad Klif, which makes the mother are very happy. But she maintained political science, which made her mother uneasy. Sara is very positive about social activities. She has a relationship with a graduate student in learning political science and participated in the quiet and protests of the 1960s. These actions taken by her rebellious nature become part of her personality - viewpoint, attitude. She has a degree in political science in graduating from University of Radclifv. How is it now? She moved to New York to find a job. Her father supported her and agreed to her actions. Her mother is worried, I don't agree with her. Sara didn't do it as the hope of the mother - as married as a "a Boston is a woman". Remember, I will say it again, the drama is conflict. The relationship between the mother and daughter may be used in the script or not. Watch it effectively before we make a decision. Writers are always working from the perspective of choice and responsibility. Sarah came to New York as an important crossroads in our characters. To this end, we have always focused on the ruins of Sara Tang Sande. Now we have to create content. -------------- 1 three words are starting with letter P, so it is referred to as three P.

2 "Richard III) is one of Shakespeare's famous historical drama. In 1956, I was adapted to the Movie in the UK, and the famous film artist Luns Olville is dominated.

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1 Original Paradigm This book is translated as "example". However, the practical significance of this word is more extensive extensive exemplary in the examples we understand. In the grammatics, this word is specifically referred to as a variant table of verbs, nouns. The author uses this word to refer to the changes in the structure of the movie script. In order to unify, this book translates this term "example".

2 The author of this article analyzes the movie script and movies, habits to mix the drama people and players together.