Part 2 Five (Not So) Easy Screenplays (p61-126)
- The Discovery
- The Decision
- The Boxing Match
- The Improbable connection
- The Long Short Screenplay
The Long Short Screenplay – write a ten page screenplay (p112-113)
- Choose an idea somehow important to you
- Simple story, complex character
- Story must change the character somehow
- Clear surface action with deep character arc
- Make sure the action is specific moments of change
- Explore, develop and weave together conflict and connection
- Make sure its unique and universal (Screenplay Paradox)
- Enjoy the process
- Do not exceed ten pages
- Write the film you want to see
Part 1 Preparing to Write the Short Screenplay (p7-66)
- Connect to purpose
- Connect to self
- Connect to process
- Connect to screenplays
- Connect to collaboration
The Script Format: 5 basic elements
- Sluglines/Scene Headings
- Action Description
The Basic Layout
- Spacing : Double spaced for everything except the dialogue and action description
- Font : 12pt Courier. Emphasise a word with CAPS or underline. Not italics or bold.
- Margins : One and a half inches (the half is for binding) and one inch for top/bottom/right
- Sluglines/Action are on the left margin
- Character name is 2″ from the left margin, 1″ from the right
- Parenthetical is 1.5″ from left and 2″ from right
- Dialogue is 1″ from left and 1.5″ from the right
- Transitions are aligned to the right margin (or 4″ from left)
- Numbering : The page number is in the upper right corner except for cover page
- Act Breaks : each new act = new page
Part 2 Making Your Film(p77-160)
Who’s film is it? What is the circumstance? What do they want?
Directing Notebook: “keep an organised record of all your work on the script, plus all of your ‘musings’ on how you see the film; how you see the characters, the atmosphere, the ‘look’”
Part 1 Learning How To Draw (p3-76)
- Film Grammar has 4 rules: 3 are spatial orientation to draw the audience in to the action.
180° rule – any framed right to left (or left to right) relationship between a character and an object/other character
30° rule – “going form one shot of a character or object to another shot of the same character or object without an intervening shot of something else, the camera angle should change by at least 30°.”
Disobeying this calls attention to the camera but Hitchcock’s The Birds used it for dramatic effect, each shot getting closer to the face.
- Spine – refers to films main action and character(s) main action
- Camera Variables: angle, image size, depth of field, motion, focus and speed.
- Subjective camera shows your character’s perspective
- Draw up a shot list and storyboard. A prose storyboard is also helpful, each sentence describing a shot.