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VIP2 MOVIE CLUB pt.2


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http://vimeo.com/12729158

Watched this in our screenwriting class tonight, thought it was really good and does the job.

screenwriting class?

tell me more, I have always wanted to pen a script based on ideas I have had but never knew what direction to go in. My time is limited at the moment so doubt I could get onto a course but would be nice to know what's happening...

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http://vimeo.com/12729158

Watched this in our screenwriting class tonight, thought it was really good and does the job.

screenwriting class?

tell me more, I have always wanted to pen a script based on ideas I have had but never knew what direction to go in. My time is limited at the moment so doubt I could get onto a course but would be nice to know what's happening...

Well, lucky for me it is part of my degree. So far we've learnt about how to structure a film in terms of its Acts I, II & III, what an inciting incident is, the dramatic needs, characters. A beat-sheet, treatment etc

My tutor was saying the problem with some classes are the teachers come from a creative writing background when it's something totally different to penning a script.

If you have ideas just jot them down and allow your mind to create something YOU want with no budget constraints etc. I completed my 2 minute scene piece last night which I'm rather happy about. Next is a scene by scene breakdown of an original film, giving not too much detail as to what is going on during the scene. For me it's a silent ronin samurai, means a fair amount of research on Kurosawa's samurai films to find out the meanings to certain things.

First thing you need is the 'Inciting Incident'

The Inciting Incident

The inciting incident, also known as the catalyst, marks the film's first turning point. It tilts the story from order to chaos, from complacency to combat. It's the point of no return. In this moment, you answer two questions:

  • What do your characters want?

  • What might prevent them from getting it?

Together, these queries make up the film's premise, or what it's ultimately about. In Lord of the Rings,one hobbit wants to rid Middle Earth of an evil force. The Dark Lord and human greed stand in his way. In both Ordinary People and Good Will Hunting, young men struggle to forgive and forget their tortuous past. Personal demons and unsympathetic adults stand in their way. A strong premise clearly defines a need and an impediment. As soon as an audience senses these details, you can pose the central question:

Will your protagonist(s) succeed?

If the answer is yes, you may have a happy ending; if it's no, a tragedy is in the works. Your inciting incident isn't complete until you pose this question. Until then, audiences wait. They wait for action; they wait for intent; they wait to be told what they're waiting for.

An inciting incident generally occurs in one of the following ways:

  • An action plunges the characters into conflict.

  • A piece of critical information arrives.

  • A sequence of small events prepares an audience for the story.

In Jaws, a shark attacks a young woman, an action that begins the hunt. In American Beauty, Lester Burnham receives word that his job is in jeopardy, a piece of information that sends him over the edge. In the final method, the inciting incident takes the form of several events and is, therefore, the most subtle of the three. The film Zorro is a clear example of this technique. Two brothers witness Zorro attempting to thwart an execution. They save his life in the process, and he rewards them with a silver medallion. Government troops then invade his house, kill his wife, abduct his child, and throw him in jail. Years pass before he escapes. Meanwhile, the brothers, now grown up, also flee government soldiers. When one of them is killed, the other falls into a great depression and would risk his life avenging the death, if he wasn't first intercepted by (who else?) Zorro. All these events prepare an audience for the real story, which involves the training of a new masked hero. This preparation obviously takes longer than ten pages, but the result is the same.

Here are a few links for workshops or some courses;

http://www.lfs.org.uk/courses/workshops/index.php

http://www.bbk.ac.uk/study/all_courses/screenwriting.html - Where I am studying right now

http://www.scriptfactory.co.uk/

Couple pieces of software to use;

Final Draft

Celtex

Also use www.ismdb.com to get familiar with the structure of scripts and what is needed. Never expect your first piece to be a masterpiece, keep writing and even re-working over what you have done.

If you do want to know anymore just drop me a PM and I'll help you out in anyway possible.

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Just working on my top 10 of 2011.

Here is what I found in Sight & Sound magazine

  1. The Tree Of Life (USA)
  2. A Separation (Iran)
  3. The Kid With A Bike (Belgium/France/Italy)
  4. Melancholia (Denmark/Sweden/Belgium/France/Italy)
  5. The Artist (France)
  6. The Turin House (Hungary/Switzerland/Germany/France/USA)
  7. Once Upon A Time In Anatolia (Turkey/Bosnia and Herzegovina)
  8. We Need To Talk About Kevin (UK/USA)
  9. Le Quattro Volte (Italy/Germany/Switzerland)
  10. This Is Not A Film (Iran)
  11. Tinkor Tailor Soldier Spy (UK/France/Germany)

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Had to rewatch the Assassination of Jessie James by the Coward Robert Ford since watching it couple weeks ago...

Film is too much..goes in my top 10 of all time[Kanye Voice]

MV5BMTY2NDI2MTc2NV5BMl5BanBnXkFtZTcwNjA2NTQzMw@@._V1._SY317_CR0,0,214,317_.jpg

The Cinematography

The Score...the fucking score was brilliant,downloaded the OST

The Acting...Casey Affleck plays the cowardly role very well..Brad Pitt,Jeremy Renner,Sam Rockwell all were sick too...One of Brad Pitts best performance in film.

The Narration...

This scene alone is fucking epic,the way its shot..had to reload it couple times when i first watched it :| lol

http://www.youtube.com/watch?v=HWvvnn68iB8

I highly recommend :Y:

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