junho 01, 2005

Isto sim é uma critica, nada de pancadinhas nas costas

(Critica ao meu argumento do professor da UCLA. Assim aprende-se o que se fez mal)

The story is becoming fuller, but there is still work to be done, especially in your scene development. Many of your scenes are very underdeveloped, and in a treatment, they should be rather complete. One of the reasons they're not fully developed is you haven't worked with the basics - a scene is constructed the same way a complete script is. Here's a summary of what's expected in a scene:

Just in case I haven’t mentioned it sufficiently, let me underline it again: The element most new (and many experienced) screenwriters leave out of their scenes is conflict. Without conflict, there is no drama. Without drama (even in a comedy), there is no story. Without conflict, there is no movement. No change. Conflict is the key element of the scene.

The central characteristic, the one element that every scene needs, is conflict.

Just as there are barriers (conflict) for the protagonist to overcome over the length of the film, so, too, there are smaller conflicts in each scene. In the beginning of a scene, somebody wants something. Somebody else either tries to prevent him from getting that, or wants something in opposition. The scene, then, is about the struggle. Learning what each one (or more) wants is the beginning of the scene. The struggle to get it is the middle. One or the other wins the struggle. That’s the end of the scene. Somebody’s got to win, somebody’s got to lose. Even in a comedy. Especially in a comedy.

Every major player in a scene has an objective – he/she wants something. Usually, each character wants something different. Hence the conflict. We must also know what the emotion of that character is at the beginning of the scene, what his/her attitude is, what’s his long term goal. There’s a helluva difference between a scene that starts off with everyone pissed off at each other from the get go and one that starts with laughter. If you know your characters, you’ll know what their emotions are at the beginning of the scene – are they happy, sad, angry – and what will happen to them during the scene. Unless they have cause to change (they may or may not), they should maintain that emotion throughout the scene. Actors look at scenes this way (or the good ones do), and they look for hints the writer has given them.

We also need to know what the subject and purpose of the scene is. Yes, it’s to move the story forward, first and foremost. But it may also be to shed some light on a character, to reveal information, to provide an obstacle. Know what you want to get across with your scene.

Also, I'd like to see Michael working towards his goal in every scene. If you can make each scene interesting, make each one move the story, and each one develop Michael just a little more, you'll have a great story.


At 05 março, 2007 02:49, Anonymous Anónimo said...

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At 17 março, 2007 11:16, Anonymous Anónimo said...

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