Basics Film-Making, Volume 2: Screenwriting

Basics Film-Making, Volume 2: Screenwriting

John Marland, Robert Edgar-Hunt

Language: English

Pages: 210

ISBN: 2:00287024

Format: PDF / Kindle (mobi) / ePub


Basics Film-Making: Screenwriting is the second in the Basics Film-Making series and is aimed both at students on film production courses, as well as those wishing to write a short film. The book teaches the key elements of screenwriting through examining areas such as dialogue, sound, setting, shots and structure. It also provides advice to new film-makers on how to market their productions.

Horror Films of the 1970s

The Sound of Music Companion

The Cineaste: Poems

On the Waterfront: A Novel

Film in the Post-Media Age

 

 

 

 

 

 

 

 

 

 

 

alternating rhythm of suspense and stillness. Is the action believable? This is not necessarily a matter of realism. As long as characters act with internal consistency and do not step outside the limits of the fictional world they inhabit, then almost anything can be believed. We readily accept that Superman can save Lois Lane by flying at incredible speed around the earth, and turning back time. If he were suddenly to reveal he had built a time machine in his basement, our ability to suspend

Normally 15 minutes or less. They are usually intended for festival screening rather than mass distribution. The criteria of the festival or the funding agency will often dictate length and sometimes form and content. Step treatments Often called step outlines, this is a more detailed form of the treatment, that breaks down the structure and causal relationships of the story idea. Structuralism The name given to a grouping of theorists and theories that analyse how various media (including film)

papers in the in-tray has diminished. The pile in the outtray has increased. The clock is ticking towards 10.45. Keith massages his temples, winces and then rubs sore eyes. He looks at the clock longingly. The minute hand touches the nine. Keith is sickened by the sight of a cat openly urinating in a corner. It isn’t discreet. You can hear it. The door opens. A TEA LADY enters, pushing a tea trolley. A vision in white and silver. The light becomes warmer – as though the sun has just come out.

he looks at the café. He opens his brown envelope. There’s quite a lot of cash inside. He turns back. Denise smiles apologetically. She pours a tea and takes it into Harris’s office. The door closes. There is a general frisson of disquiet round the office – but no-one quite knows what to say. It is as though time has frozen. EXT. CAFÉ ENTRANCE. DAY. The clock is now at ten past. There is now a definite restlessness in the office. First draft s are open as Keith as he reaches them. A Nice Cup

the room. CUT TO The Elderly Woman is passing him a cup. But it’s from a tray with a filthy looking and chipped teapot, a half-empty milk bottle and a sugar bowl full of tea-stained clumps of sugar. As for the cup he’s being handed... First draft > Second draft > Final draft It may be china, but it’s very hard to tell; the rim is too furry, plastered with cat hairs. He tentatively wipes part of the rim, hairs mat on his fingertip. No. He can’t. He blows on it to gain time. Second draft She

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