WRITING THE SHORT FILM (Third Edition)
WRITING THE SHORT FILM (Third Edition)
... from the Aristotelian con- cerns of their predecessors. Consequently, the relevance of these books to the writing of the short film posits an analogy between the structure of the short film and ... character. There is no time in the short film for the kind of pauses for elabo- ration of character so often deployed in the long film. The freedom of short fi...
Writing the short film 3th - Part 9
... follows the climax 3 ; it is the point at which the protagonist realizes where the dramatic action has taken him or her through the course of the events that have made up the 48 Writing the Short Film ... Beginning of the Script? The shorter the film or video is to be, the more license is given the scriptwriter to plunge right into the middle of things. In...
Writing the short film 3th - Part 10
... perch
on the open parapets. Imagine a pile of the feathers he’s gathered and the
ways he invents to play with them—trying to make them float, keeping
them up with his breath, pasting them onto ... briefly describes a full scene—ideally a scene that furthers
the action.
56 Writing the Short Film
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The writing of a story outline often begins...
Writing the short film 3th - Part 11
... under close guard. Therefore, the prison
and his captors are the antagonists.
What is the protagonist’s situation at the beginning of the script? The time is
1862, early in the Civil War. Dedalus ... to the climax? The
ending? During the two men’s descent down the high outside wall of the
mansion, footsteps can be heard approaching in the yard below. The
youth lose...
Writing the short film 3th - Part 12
... a short script
by Pat Cooper, one of the coauthors of this book, in first-draft and then in
rewrite form. The script is called “Annie’s Flight,” and its protagonist is a
70 Writing the Short Film ... her, huh?
68 Writing the Short Film
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THOMAS
Uh, not yet.
Chuck faces Thomas.
CHUCK
Fupper, you’ve got to take the bull by the balls.
H...
Writing the short film 3th - Part 13
... THE RATIONALE BEHIND THE CHANGES
The father’s inner action is to get the mother to tell the child about the divorce
without his having to be present, while the mother’s is to ensure that they ... specific
74 Writing the Short Film
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and authentic story material, rather than the lifeless copies of copies that
make for hackwork. To write...
Writing the short film 3th - Part 14
... 81
Mark the crises, ending with the climax. Cut out each of these episodes,
however short. Lay the pieces out in their current order on a table or the
floor, and then begin to shuffle them about. ... it, and introduce details as the audience would come upon them in
viewing the film.
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In Sob Story, Matthew Gold...
Writing the short film 3th - Part 15
... the role of the enemy.
As we have observed, the more forceful the antagonist in a story, the
greater the struggle of the protagonist. If the goal of the story is to portray
heroic behavior, the ... 91
Whether the character succeeds in the conflict, as in The Tortoise and the
Hare,” or fails, as in The Snows of Kilimanjaro,” it is the struggle to overcome
the ba...
Writing the short film 3th - Part 16
... assume that the woman is our main charac-
ter. We needn’t see the march itself but can confine the film to the prepara-
tions for the march and the aftermath. The scenes should clarify the
relationship ... near home. The closer the spies, the more
intense the story will be.
We can distract the audience from the true nature of the neighbor by mak-
ing the neig...
Writing the short film 3th - Part 17
... does not achieve
his or her goal. The success of one character and the failure of the other links
directly to the advancement of the plot.
106 Writing the Short Film
Ch09.qxd 9/27/04 6:07 PM ... people. The visual we see
is the bread knife in the hand of the main character. On the sound track we
lose the gossip and hear only the word “knife.” Here, sound and...
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