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Text of the page (random words):
ays get feedback on your script and revise before shooting you can revise a script a dozen times but you usually only get to shoot once character continuing with screenwriting terms in week five we discussed character there often isn t a lot of time for complex characterization in short films there are no long character arcs or deep explorations of backstory none the less there are a number things we can consider to keep our characters from becoming one dimensional and boring 1 make them specific imagine your characters not just as a dopey boy or hot girl visualize the little details of appearance dress attitude speech and behavior especially when under pressure that makes them uniquely themselves often all that is needed is a few choice details and behaviors to imply a complex personality 2 make them pertinent ask yourself why them why is this character the perfect person the funniest most interesting most ironic most dramatic to experience the ordeal of the story since you can pick anybody choose the person whose specific characteristics make the events dramatically comically or terrifyingly acute 3 what can we see specific details that reveal character have to be obvious to the viewer they have to be things we can see or hear and understand in an instant 4 choose your best if you could only pick three details to reveal to us everything we need to know about this character in order for the story to have the greatest emotional impact what would they be as per 1 3 they should be specific pertinent and visible in a short film you are likely not to have time for more detail and depth than that class whiteboard furthermore for a reader viewer to truly empathize with a character we have to have a sense of his or her wants needs and motives in other words we have to have a theory of mind about them we have to sense what they are thinking and feeling moment by moment as they struggle towards some sort of objective if we have no idea what a character is doing or why we are liable to lose interest short films of the week there are several problems with many of the short films i have shared on this blog so far popular shorts on the web tend to be dialogue driven comedies with a twist ending and they are often not particularly cinematic several students pointed out that the setup punchline structure gets old very fast since my goal is to help my students develop their craft and expand their vision as filmmakers not just help them make a popular short many of the films i ll explore in upcoming weeks will move beyond what has gone viral on youtube this week i d thought i d stress visual storytelling without dialogue some of the best short films ever produced were filmed in the silent era so this week i am suggesting you watch at least one of three classic silent shorts they are ménilmontant dimitri kirsanoff 1926 sherlock jr buster keaton 1924 un chien andalou salvidor dali and luis buñuel 1929 my guess is that you have not seen at least one of these three and every serious filmmaker should study all of them short film scripts by week five students started writing their short scripts for a project that they will actually shoot the variety of subject matter from narrative films to experimental from comedy to drama was very encouraging some examples of first drafts and there will of course be revisions include american fried rice and unfinished image in american fried rice notice the use of atmosphere and environmental detail to give us a sense of the protagonist entering a new world notice how the title and the opening image are paid off in the climax this short a good example of how plant and payoff can be used to deepen and explore theme in unfinished image notice how the protagonist s wants and needs are explored and how sexual tension see week one is heightened entirely without dialogue characterization is achieved with just behavior and context one of the suggestions i had for this script was for the writer to explore the final aftermath moment a bit more deeply since many of you are going to want to put music in your films check out filmmakers and music rights posted by sean hood at 1 32 pm no comments thursday september 7 2017 writing the short film week three short films are not mini features and some of the screenwriting tools we associate with features three act structure save the cat beat sheets don t necessarily apply to pieces that are 2 7 minutes in length however there are other tools that are powerful and useful at any running time for heightening emotional impact as well as creating unity and cohesion in week three of writing the short film at usc s john wells division of writing for film and television that s our new name btw students are writing short scripts around the prompt preparation for a date or significant event the idea is to explore three concepts plant and payoff in the tools of screenwriting david howard writes a plant is a preparatory device that helps to weave the fabric of the story together it can be a line of dialogue a character s gesture a mannerism a prop a costume or a combination later in the movie when the circumstances have changed there is a payoff in which this line gesture prop whatever is repeated and takes on a new meaning as you write short scripts you should look for opportunities to introduce an object dialogue activity and then bring it back later in a different context infusing it with new a meaning one that tells us s omething essential has changed for the characters some examples an object prop plant and pay off in sideways a wine bottle dated back to 1961 is introduced as one of miles most prized possessions he looks forward to drinking this wine at a special occasion later in the movie after he has been to his ex wife s wedding and realized she will not get back with him miles ends up drinking this prized wine in a mcdonalds by himself from a cheap plastic cup in an example from the short film we saw in week one objects are planted in the lunch date the shopping bag and the boxed salad both of which are possessions that the old woman is worried might be stolen by homeless men near the end both the shopping bag and the salad are paid off creating a new meaning and an emotional punch dialogue plant and pay off in 300 before raping queen gorgo theron says this will not be over quickly you will not enjoy this i am not your king near the end of the movie gorgo speaks the same words back to him as she thrusts a knife into his chest this will not be over quickly you will not enjoy this i am not your queen by way of example in a short film here is a man walks into a bar notice how the film is structured around two conversations one before an event and one after that event notice how the lines of dialogue in the first half have one meaning and context then notice how they come up again in the second half with a different context and meaning preparation and aftermath in screenwriting the sequence approach paul gulino calls a scene of preparation an important tool that can greatly enrich an audience s experience of a film which is explicitly designed to create an expectation in the audience usually hope and fear see week two and the definition of tension these are scenes that can often be cut without affecting the plot but they greatly enhance the emotional impact of an important event in a film later gulino writes that a scene of aftermath provides punctuation in the story lending emphasis to certain important moments they inevitably follow emotionally charged scenes and are usually characterized by little or no dialogue or activity and are heavily atmospheric often enhanced with music a famous screenwriting saying goes tell your audience you re going to do something and afterward tell them how you did it preparation could be anything from the planning before a heist to an athlete practicing to the point of exhaustion before a big match in these cases the aftermath scenes might be the criminals celebrating a successful caper or the athlete facing the disappointment of a loss in general we don t want to jump right into an important event we want to be with our characters as they plan worry dread predict avoid and eagerly await what is coming and afterward we want to see how much this important event has changed them or their surroundings often the audience needs a moment to take in what has happened and to understand the consequences so scenes of preparation heighten the tension by triggering hope and fear in the audience as they imagine a future event going well or going badly scenes of aftermath dissolve tension as the audience catches their breath and comes to terms with an event that may have unfolded in a way they didn t anticipate the long briefing for the osama bin ladin raid in zero dark thirty is an example of a preparation scene the somewhat muted celebration after the team comes from the operation is an example of an aftermath scene in the king s speech king george and logue warming up to the climactic speech is a preparation scene the uproarious success of the speech as the crowds salute king george is an aftermath scene in short films there is often only a single event that occurs near the end of the story most of their running time is spent building anticipation with scenes of preparation for that single coming event here is one example in which a man asks his friend to do something for him and the short builds more and more tension as the time comes for the friend to actually do it the last comic bits of the piece surround the unexpected aftermath in a longer example the short film first match notice the multiple scenes of preparation leading up to a girl s first wrestling match notice how the final scenes of aftermath are handled with minimal dialogue and thick atmosphere repetition with variation many of my students this semester have experience in the arts music painting architecture dance and so on in all the arts establishing a pattern a melody a rhythm a set of movements and so on creates a set of expectations in the audience as that pattern repeats itself the variations can create surprise delight shock and further expectation for the next cycle m c escher the same is true of narrative storytelling in this short film black hole a man reaches into a hole over and over again with various intentions various results and an ultimate consequence another one to watch for repetition with variation is standby by writer director charlotte regan the four minute short is a series of scenes that all take place in the front of the same police car essentially the same shot repeated again and again over time to explore the friendship between two police officers next week i ll be lecturing about character specifically how to create and establish compelling characters in a limited time frame please respond in the comments if you have questions or suggestions for the previous classes check out writing the short film week one writing the short film week two and the subsequent classes writing the short film week four for more on screenwriting and filmmaking in general check out writing the treatment posted by sean hood at 3 08 pm 2 comments wednesday august 30 2017 writing the short film week two in week two of writing the short film at usc s school of cinematic arts students bring in exercises and read them aloud to the class each exercise focuses on a specific memory a secret place they used to go their favorite toy a person who frightened them the idea is to look at story elements environment props character and notice what kind of specific details are vivid and evocative much of rewriting involves moving away from dull generic cliche choices and finding those that are pertinent memorable and unique short films in particular where there is little time for exposition require finding visual and aural details that tell us everything we need to know in an instant moonlight next we discuss the first 32 pages moonlight in light of our definition of story from week one a story is about someone who wants something very badly but is having trouble getting it classroom whiteboard in this first section of the screenplay it is juan s story although the larger movie is about the boy little in three stages of his life we the reader audience experience the first act from juan s point of view as he tries to get the boy to speak tries to find out where he lives teaches him to swim confronts his mother and finally admits to the boy the truth in this first section we feel sympathy for the boy and his troubles but we feel empathy for juan as he tries to help him we are in juan s shoes what does juan want he wants to father to mentor to protect to teach the sensitive child why does juan want this so badly we see the relationship s potential when juan teaches the boy to swim we see what the boy faces without juan in the abusive scenes at home with the boy s mother this sets up the tension see definition below we hope that juan can help and protect the boy but we fear that the boy s home life and street life are too dangerous and abusive what are the primary obstacles juan faces as he attempts to get what he wants well juan is the mother s drug dealer as so he himself is ironically the source of the boy s primary problem juan s attempts to help the boy reach the highest point of tension in the final scene of the act when juan has to answer the boy s direct and unflinching questions am i a fagot do you sell drugs do you sell drugs to my mom it is also the moment of greatest empathy for juan we the reader audience sit with him at that table feeling his struggle to say the right thing we know what juan knows and what the boy doesn t know we feel juan s struggle and heartbreak screenwriting term of the week tension there are many forms of tension in movies but tension always creates anticipation and anxiety about what is going to happen next tension is what makes you turn the page tension keeps the audience in their seats tension is created when the audience can imagine or sense what is might happen next in the story sequence or scene but isn t sure which way it will go the story elements suggest several possible futures we the audience hope for one outcome s but we fear another classroom whiteboard there are many forms of tension cinematic tension can be created by music editing blocking and camera movement mystery tension creates a puzzle whodunnit or intellectual problem for the audience to solve in a feature screenplay there is overall story tension sequence tensions scene tensions and tension within individual beats classroom whiteboard in this class however we will explore comic tension romantic tension suspense fear tension and more generally dramatic tension in all cases the writer leads the reader audience to imagine something funny romantic or scary is about to happen next more importantly while we can imagine hope for a good outcome we can also imagine fear a bad outcome and it is not clear...