Tài liệu Writing the short film 3th - Part 51 pptx

Amanda stands alone on her front porch with the last few years of her life thrown at her feet. Ever so gently, she crouches down and reaches for the precious papers. Her eyes well up as she’s left to collect her innermost thoughts. CUT TO: INT. DEAD LETTER OFFICE—NEXT MORNING Thomas lays amongst bags of letters, sound asleep. Sunlight streams into the office. Particles of dust highlighted like crystal. He pries each eye open with some difficulty, rolls his head to one side, and scuttles backwards. He quickly smoothes over his eyebrows. Amanda sits on a pile of letters, calmly watching him. Thomas’s bike is parked behind her. They say nothing, merely contemplating each other’s presence. Thomas opens his mouth but Amanda speaks first. AMANDA I followed you. From my house. Silence. THOMAS It was an accident. Everything that happened was a mistake. AMANDA How did you get my letters? THOMAS I work here . . . in the office. I didn’t mean any harm. Everything just happened so quick, I wasn’t ready. AMANDA Who are you? THOMAS My name’s Thomas. 340 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 340 AMANDA OK, Thomas. Tell me, what’s happening? Thomas lets his hands drop. THOMAS It went all wrong. They didn’t understand. I just wanted to give them something to believe in. AMANDA It was you. THOMAS I was giving it to them. Everybody needed something and . . . it was all I had to give you. AMANDA What does that have to do with me? Thomas shifts in his pile of letters and looks down. THOMAS I’ve always had this dream, and it’s ridiculous because it’s a direct rip-off of an old Fred Astaire film, but it’s mine . . . because you’re there. We’re dancing in the sunlight of a snowstorm. And, I, I couldn’t let that die. Amanda timidly looks at his face. AMANDA How do you know me? THOMAS I used to deliver to your house. I tried so hard to speak with you, but when I saw what he did to you. Amanda looks away. THOMAS I hated coming there; I hated not doing anything when I saw him hurting you. But when I left, you started writing. Short Screenplays 341 App-B.qxd 9/27/04 6:02 PM Page 341 AMANDA You were reading them. THOMAS It was the only way I could know you. I wanted to give you your miracle. But they didn’t understand what it was supposed to be. Amanda crawls over and removes Thomas’s beard and hat. AMANDA My husband didn’t die. He took everything and disappeared. A letter shoots out of the duct and soars into the air. THOMAS I know. The faint strings of an instrument. AMANDA He took my life. Five more letters fly into the air. In seconds, hundreds of letters are shooting out of the duct. CLASSICAL WALTZ MUSIC slowly fades in. THOMAS I just want to try. AMANDA I don’t know how to start. THOMAS You already have. Amanda takes Thomas’s hand. He inhales her clean scent. They slowly embrace. Letters fly everywhere, like snowflakes. 342 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 342 Step by step, they begin to waltz across the floor like Ginger Rogers and Fred Astaire. Two people who have never known love just found it. In the background, the sound of POLICE SIRENS can be heard. THE END Short Screenplays 343 App-B.qxd 9/27/04 6:02 PM Page 343 App-B.qxd 9/27/04 6:02 PM Page 344 Actuality in docudrama, 172 Adaptation myth and fairy tale, 49–50, 62–63 structuring, 50–51 Aftermath, 93 Age, 143 L’Age d’Or (Buñuel), 117 Aguirre: The Wrath of God (Herzog), 188, 191 Alien 3, 102 All About Eve (Mankiewicz), 153, 154 All Boys are Called Patrick (Godard), 3 All That’s Left: Speculations on a Lost Life (Hurbis-Cherrier) voice case study in, 218–219 All the President’s Men, 56, 115 Allen, Woody, 11, 162 comedy and, 81 Andersen, Hans Christian, 198 Anderson, Lindsay, 3, 171, 198 Anderson, Paul Thomas, 162 Anecdotes in storytelling, 99–100 Annaud, Jean-Jacques, 117 Annie Hall (Allen), 11 Another Story (Shapiro), 42–43, 200, 257, 259–269 narration in, 146 Ansty, Edgar, 2 Antagonist. See also Characters definition of, 48 dramatic action of, 54 hyperdrama case studies in, 201–202 identifying, 52–53 main character and, 131–132 as motif in docudrama, 175, 177 as motif in experimental narrative, 211, 213 as motif in hyperdrama, 193, 195 as motif in melodrama, 158, 159 polarized characters and, 91 Antonioni, Michaelangelo, 207, 208 Appearances, 43–44 Archetypes, 136 catalysts and, 137 Aristotle, 10, 39 on dramatic action, 48 on recognition, 48–49 Around the Time (Bertelson), 184 The Art of Fiction, 59 Aspects of the Novel (Forster), 9, 127 Author’s voice in docudrama, 174–175 in experimental narrative, 209–210 in hyperdrama, 191–192 Autumn Moon (Law), 212–214, 215 INDEX 345 Index.qxd 9/27/04 6:13 PM Page 345 Autumn Sonata (Bergman), 156 “Bad” (Jackson) music video for, 223 Bailey, George, 192 Bastard Out of Carolina (Huston), 157 Battle at Elderbrush Gulch, 1 The Bear, 117 The Beatles, 207 Beauty and the Beast (Cocteau), 19–20, 76 Before the Rain (Manchevski), 216 Beginnings in dramatic strategy, 123–124 Behavioral characteristics, 132–133 repetition as, 136 Behavioral polarity, 120 Believability in characterization, 135–136 Benton, Robert, 154 Bergman, Ingmar, 120, 156, 200 on images, 26 on revision, 79–80 Bertelson, Phil, 184 Bertolucci, Bernardo, 208 Besfamilny, Helen, 183 The Best of Intentions, 120 Bierce, Ambrose, 92 The Big Sleep, 41 comedy in, 81 Bird, Antonia, 158 Blackmail (Hitchcock), 103 Blaise, Clark, 94 Bonnie and Clyde, 37 Boogie Nights (Anderson), 162 Boorman, John, 189, 190, 192, 198 Borden, Lizzie, 117 Bowery Boys, 1 The Boys of St. Vincent (Smith), 157 Brakhage, Stan, 2 Breaking Away (Yates), 154, 155, 156 Breaking the Waves (Von Trier), 172, 188, 191 Bresson, Robert, 62 on sound, 29 Brest, Martin, 3 Brighton Blues (Besfamilny), 183 Brittania Hospital (Mercer), 117 Brothers Grimm, 198 Brown, Jeffrey D., 11 Buñuel, Luis, 2, 117, 187, 188, 207 Butch Cassidy and the Sundance Kid, 37, 56 Butcher Boy (Jordan), 188 Calendar (Egoyan), 206 motifs in, 210–212 Calvino, Italo on storytelling, 15 Camelot (Logan), 198 Cameras, 102–103 Cameron, James, 153 Camille Claudel (Nuytten), 173 Campion, Jane, 206 The Candidate (Ritchie), 171 Capra, Frank, 192 Carver, Raymond, 92 Cat People (Tourneur), 31 Catalysts, 44–45 archetypes and, 137 in hyperdrama, 199 identifying, 53 as motif in docudrama, 175–176, 177 as motif in experimental narrative, 211, 213 as motif in hyperdrama, 193, 195 as motif in melodrama, 158, 159 “Cathedral” (Carver), 92 Cavalcanti, Alberto, 4 Celebration (Vinterberg), 172 Chabrol, Claude, 4 Champion (Brown), 11–12 Chandler, Raymond on screenwriting, 22, 70 Chaplin, Charlie, 1, 11, 187 Character (Van Diem), 158, 172 motifs in, 159–160 Character qualities, 90 Characterization strategies behavioral, 132–133 believability, 135–136 comedy in, 137–138 complexity, 136–137 dialogue and, 142 346 Index Index.qxd 9/27/04 6:13 PM Page 346 . clean scent. They slowly embrace. Letters fly everywhere, like snowflakes. 342 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 342 Step by step, they. ridiculous because it’s a direct rip-off of an old Fred Astaire film, but it’s mine . . . because you’re there. We’re dancing in the sunlight of a snowstorm.