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Introduction to Screenwriting and  Film Theory Instructor: Mr. Crisafi
 
The Screenplay ,[object Object],[object Object]
The Screenplay (cont’d) ,[object Object]
Novels vs. Screenplays ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Examples ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Starting Your Screenplay ,[object Object],[object Object],[object Object]
Character ,[object Object],[object Object]
Character (Cont.)
Character (cont’d) ,[object Object],[object Object],[object Object]
Character (cont’d) ,[object Object],[object Object]
Character (cont’d) ,[object Object],[object Object],[object Object]
Character (cont’d) ,[object Object],[object Object]
Character (cont’d) ,[object Object]
Character (cont’d) ,[object Object],[object Object]
Stakes ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Character (cont’d) ,[object Object],[object Object]
Character (cont’d) ,[object Object],[object Object]
Three Act Structure ,[object Object],[object Object]
Three Act Structure (cont’d) ,[object Object],[object Object]
Formatting Your Screenplay ,[object Object],[object Object]
Formatting Your Screenplay (cont’d) ,[object Object],[object Object],[object Object]
Formatting Your Screenplay (cont’d) ,[object Object]
Formatting Your Screenplay (cont’d) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Formatting Your Screenplay (cont’d) ,[object Object],[object Object],[object Object],[object Object]
Formatting Your Screenplay (cont’d) ,[object Object],[object Object],[object Object],[object Object]
Formatting Your Screenplay (cont’d) ,[object Object]
Formatting Your Screenplay (cont’d) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Formatting Your Screenplay (cont’d) ,[object Object]
Formatting Your Screenplay (cont’d) ,[object Object],[object Object],[object Object],[object Object],[object Object]
Film as an Art Form ,[object Object],[object Object]
Through the Following… ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Mise en Scène ,[object Object],[object Object]
Lighting ,[object Object]
[object Object]
[object Object]
Camera Shots ,[object Object],[object Object],[object Object],[object Object],[object Object]
Camera Shots (cont’d) ,[object Object]
Camera Shots (cont’d) ,[object Object]
Camera Shots (cont’d) ,[object Object]
Camera Shots (cont’d)
Camera Shots (cont’d) ,[object Object]
Camera Angles ,[object Object]
Camera Angles (cont’d) ,[object Object]
Camera Angles (cont’d) ,[object Object]
Camera Angles (cont’d) ,[object Object]
Camera Angles (cont’d) ,[object Object]
Colors   ,[object Object]
Colors (cont’d) ,[object Object],[object Object]
Colors (cont’d) ,[object Object],[object Object]
Composition   ,[object Object],[object Object]
Composition (cont’d)

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Intro. to Screenwriting

Editor's Notes

  1. Stream of Consciousness: thought regarded as a succession of ideas and images constantly moving forward in time.
  2. Ordinary People (Judith Guest)
  3. Examples in recent films; How ideas are inspired; be creative (don’t copy other films) but stay realistic (no huge FX sequences)
  4. Allows us insight into who the character is in terms of personality and allows you, the writer, to understand how and why the character behaves the way he/she does.
  5. Begin by talking about characters from BTTF, and then what conflicts they face.
  6. Reference the final action sequence of BTTF.
  7. Cite BTTF – Under the Sea Dance Scene and how it’s George, not Marty (the main character) who decides the fate of his son and the outcome of the story.
  8. Again, cite BTTF final sequence when Marty wakes up at home.
  9. Always capitalized.
  10. Names are always capitalized when they first appear.
  11. Example
  12. Mention negative space.
  13. Talk about equilibrium and imbalance.
  14. Godfather II – In this scene, Al Pacino, the head of his family’s mafia clan, is defied by his spoiled sister as she insists on marrying a sleazy loung lizard. The image is split in half via the fireplace and Pacino dominates his sister (Talia Shire) on the right side of the frame. Her sleazy fiance on the left is isolated by the imprisoning curved fireplace from above and the curved chair on the right, keeping him distanced from Shire. He also symbolically dominates their union, standing in between and above their joined hands.