Just a reminder: for the next class, I'd like to concentrate on those sections of the screenplay that didn't make it to the final film. We'll look at how these sections tried to retain some elements of the book, and also how they served (in the screenwriter's mind) to create backstory, move the plot along, etc.
Someone just posted on YouTube the first science fiction extravaganza, George Melies' A Voyage to the Moon, with a new hip soundtrack. Well worth watching (all of ten minutes long) though I'm not sure if the sound really works.
Tuesday, February 27, 2007
Sunday, February 25, 2007
Thursday, February 22, 2007
Ratings System
Well worth reading is the Motion Picture Association of America film rating system entry on Wikipedia:
http://en.wikipedia.org/wiki/MPAA_film_rating_system
The Motion Picture Rating System entry has information on these codes as used in different countries:
http://en.wikipedia.org/wiki/Motion_picture_rating_system
http://en.wikipedia.org/wiki/MPAA_film_rating_system
The Motion Picture Rating System entry has information on these codes as used in different countries:
http://en.wikipedia.org/wiki/Motion_picture_rating_system
Fixed Blade Runner Screenplay
I've fixed the Blade Runner screenplay:
http://www.arras.net/screenplays_stockton/
Remember that you don't have to print this out if you are willing to bring your laptop to class. You can also read a friend's copy provided you can share in class.
http://www.arras.net/screenplays_stockton/
Remember that you don't have to print this out if you are willing to bring your laptop to class. You can also read a friend's copy provided you can share in class.
Freewrite Assignment #2
As I mentioned in class, you have three options for the next freewrite assignment, due on Wednesday, February 28.
Option 1:
Write this assignment according to the same guidelines as you wrote the last one. You can review those guidelines in the Class Policies:
http://2007stocktonscreenplay.blogspot.com/2007/01/class-policies.html
Since the film differs greatly from the book, don’t just list the changes but be sure to ask questions of genre transformations and tonal shifts, since that contributes to the decision making process.
This should be roughly 3-4 pages in the format outlined on the syllabus (1.5 spacing, Times or other serif font, etc.)
Option 2:
Construct a new scene for Blade Runner (the movie, not the screenplay) that fits seamlessly into the story. You don’t have to construct one sequence that takes place at one moment of the movie but can scatter your scenes throughout the film. You can also change bits of the story to fit your new scenes if you have to, but nothing more than a few details. Don’t rewrite any of the movie, and sure to base some of your material on unused portions of Androids.
This has to be in proper screenplay form – review these matters in the Syd Field book and in use our print-outs as reference. Review all materials concerning scene/sequence construction in Screenplay as well, especially regarding context/content and how much information a scene provides. Remember that scenes can be incredibly short – a simple long shot, for example, of a person walking down the street.
Remember that your scenes must also conform to the three act structure. I.e. scenes in the first act must contribute to the set-up, scenes in the second to the series of conflicts that the characters undergo, and scenes in the third act to the resolution of the conflicts.
Also, characters that appear in your scene who are also in the movie must share the same speaking style – i.e. if your character is prone to witty, dark humor, then you have to write new lines that fit stylistically (though, of course, you should also introduce new elements to the character, telling us a little more about them).
This should be roughly 5-7 pages of material, but can be longer if you need that amount.
Option 3:
Write a new three-act structure for a new feature film that uses material in Androids that does not appear in the film. Use Isidore as the main character, though you can of course include as major characters figures that appear in the film (Deckard, Rachel, Roy Batty, etc.) However, these characters must be transformed accordingly for your new story.
As I noted with “The Nose” assignment, your third acts seemed to be the weakest to the degree that the conflicts set-up in the earlier parts of your films were not resolved. Major characters simply dropped away, or you rushed to get to the “message” of you film without really ending the story. So be clear in your mind how you want your characters lives to have been changed by the events of the films – every strong character must have some identifiable transformation to have occurred. What do you want the audience to walk away feeling?
Also, remember other issues such as backstory, the context of the events, the genre of the film, etc. Don't worry about budget and that other stuff, this is not a production group assignment.
This should be roughly 3-4 pages in the format outlined on the syllabus (1.5 spacing, Times or other serif font, etc.)
Option 1:
Write this assignment according to the same guidelines as you wrote the last one. You can review those guidelines in the Class Policies:
http://2007stocktonscreenplay.blogspot.com/2007/01/class-policies.html
Since the film differs greatly from the book, don’t just list the changes but be sure to ask questions of genre transformations and tonal shifts, since that contributes to the decision making process.
This should be roughly 3-4 pages in the format outlined on the syllabus (1.5 spacing, Times or other serif font, etc.)
Option 2:
Construct a new scene for Blade Runner (the movie, not the screenplay) that fits seamlessly into the story. You don’t have to construct one sequence that takes place at one moment of the movie but can scatter your scenes throughout the film. You can also change bits of the story to fit your new scenes if you have to, but nothing more than a few details. Don’t rewrite any of the movie, and sure to base some of your material on unused portions of Androids.
This has to be in proper screenplay form – review these matters in the Syd Field book and in use our print-outs as reference. Review all materials concerning scene/sequence construction in Screenplay as well, especially regarding context/content and how much information a scene provides. Remember that scenes can be incredibly short – a simple long shot, for example, of a person walking down the street.
Remember that your scenes must also conform to the three act structure. I.e. scenes in the first act must contribute to the set-up, scenes in the second to the series of conflicts that the characters undergo, and scenes in the third act to the resolution of the conflicts.
Also, characters that appear in your scene who are also in the movie must share the same speaking style – i.e. if your character is prone to witty, dark humor, then you have to write new lines that fit stylistically (though, of course, you should also introduce new elements to the character, telling us a little more about them).
This should be roughly 5-7 pages of material, but can be longer if you need that amount.
Option 3:
Write a new three-act structure for a new feature film that uses material in Androids that does not appear in the film. Use Isidore as the main character, though you can of course include as major characters figures that appear in the film (Deckard, Rachel, Roy Batty, etc.) However, these characters must be transformed accordingly for your new story.
As I noted with “The Nose” assignment, your third acts seemed to be the weakest to the degree that the conflicts set-up in the earlier parts of your films were not resolved. Major characters simply dropped away, or you rushed to get to the “message” of you film without really ending the story. So be clear in your mind how you want your characters lives to have been changed by the events of the films – every strong character must have some identifiable transformation to have occurred. What do you want the audience to walk away feeling?
Also, remember other issues such as backstory, the context of the events, the genre of the film, etc. Don't worry about budget and that other stuff, this is not a production group assignment.
This should be roughly 3-4 pages in the format outlined on the syllabus (1.5 spacing, Times or other serif font, etc.)
Wednesday, February 21, 2007
Notes from Class
Either moves story forward or
Reveals something about the character
Scene can be as long or shot
INT. LIVING ROOM – DAY
Every change of place/time is a new scene
Scene gives just one piece of information
Two types of scenes
Action scene; dialogue scene
A to B type of action occurs in every scene
(either character moves, or story moves)
First you develop context then content
Must have conflict
You don’t always need to show the entire scene.
Synergy: the study of systems
Visual aid.
Sequence: one single idea, with a beginning, middle and end.
One or two word phrase sums it up.
Context holds the content.
Montage
Reveals something about the character
Scene can be as long or shot
INT. LIVING ROOM – DAY
Every change of place/time is a new scene
Scene gives just one piece of information
Two types of scenes
Action scene; dialogue scene
A to B type of action occurs in every scene
(either character moves, or story moves)
First you develop context then content
Must have conflict
You don’t always need to show the entire scene.
Synergy: the study of systems
Visual aid.
Sequence: one single idea, with a beginning, middle and end.
One or two word phrase sums it up.
Context holds the content.
Montage
Sunday, February 18, 2007
Fight Club Wrap Up
I'd like to wrap up Fight Club on Wednesday. I'd like everyone to write a page on one sequence in the screenplay (not the movie) listing out the various elements that Syd Field describes in the chapter on sequences. Also, isolate one scene within the sequence and list out those qualities of the scene that Field describes.
These include issues such as the following:
- what does the scene/sequence reveal about the character or how does it move the story forward?
- how do the scenes add up to build the sequence (is it linear or nonlinear? close to the book or departing from it?)
- what is the context/content/purpose of the scene and what piece of information does it provide?
- what is the context/content/purpose of the sequence and what is its central idea?
- does the scene show "the entire scene" (see page 181 of Screenplay) and if not, what do you suspect is missing?
- are there "visual aids" in the sequence (like the goat leg in Jurrasic Park)?
- are there poetic moments in the descriptive (non-dialogue) parts of the screenplay worth noting?
This seems like a lot to answer, but you don't have to write that much -- one or two sentences answering the above. But of course, make it clear to me what you mean.
I'll be collecting these at the beginning of class to look over and base our class discussion on. Please also have Androids read by Wednesday.
Monday, February 12, 2007
Vikki King's Screenplay Outline
1: set the scene, tone/pace, style of filmmaking
3: what it’s about – central question
10: by page ten, you have to have your audience hooked
30: first main plot point
45: “small scene with symbolic overtones,” clue to resolution
60: hero commits even more to the goal
Just after page 60: lighter scene that shows hero is changing
75: hero looks like he’s going to lose his goal
90: plot point 2, event that “educates” the hero
120: resolution
3: what it’s about – central question
10: by page ten, you have to have your audience hooked
30: first main plot point
45: “small scene with symbolic overtones,” clue to resolution
60: hero commits even more to the goal
Just after page 60: lighter scene that shows hero is changing
75: hero looks like he’s going to lose his goal
90: plot point 2, event that “educates” the hero
120: resolution
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