- Tapa blanda: 248 páginas
- Editor: Bloomsbury Academic Us; Edición: New (1 de abril de 2004)
- Idioma: Inglés
- ISBN-10: 0826415687
- ISBN-13: 978-0826415684
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº293.981 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Screenwriting: The Sequence Approach (Inglés) Tapa blanda – 1 abr 2004
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Descripción del producto
"With a fresh take on the oft-mystifying subject of screenplay structure, Gulino breaks some new ground in what I like to call 'screenwriteology' .the analyses are detailed, clear and insightful .In conclusion, if you're slaving for answers about structure, there's plenty to digest in The Sequence Approach. Bring you appetite, and Chef Gulino will make sure you don't go home with a hungry mind." Dave Trueman, Script, December 2004
Reseña del editor
The great challenge in writing a feature-length screenplay is sustaining audience involvement from the opening sequence to the closing credits. Screenwriting: The Sequence Approach expounds on an often-overlooked tools can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole. The sequence approach has its foundation in early Hollywood cinema (until the 1950s, most screenplays were formatted with sequences explicitly identified), and has been rediscovered and used effectively at such film schools as the University of Southern California, Columbia University and Chapman University. This book explains the concept and then provides a sequence analysis of eleven significant feature films made between 1940 and 2000: The Shop Around the Corner, Double Indemnity, Nights of Cabiria, North by Northwest, Lawrence of Arabia, The Graduate, One Flew Over the Cuckoo's Nest, Toy Story, Air Force One, Being John Malkovich and The Fellowship of the Ring.Ver Descripción del producto
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The book explores the following four tools used to build anticipation and or tension:
- Telegraphing/Pointing/Advertising: Common examples are appointments and deadlines as well as preparations (ex: packing a suitcase). This also serves the important function of helping orient the audience as to where they are in the journey.
- Dangling cause: Expressions of intent in which the effect is not felt until later. Common examples include warnings, treats, statements of hopes or fears, and predictions.
- Dramatic irony: Occurs when the audience knows more than one (or more) of the characters and is waiting to see what happens when the truth is revealed. Can create suspense or comedy.
- Dramatic tension: Occurs when neither the audience nor the characters know how a problem will be resolved.
Other useful tips:
- “Coincidences that hurt a protagonist tend to work in drama, and are viewed suspiciously if they help.”
- “… it must seem as though what the movie is what happens despite what the characters want or expect.”
- “Human nature being what it is, chances are the man will do the easiest thing first, and only if that fails will he try a more difficult course of action.” Often characters have no other choice, or a choice between the lesser of two evils.
- Try to “smuggle” exposition (background information the audience needs to know) as a subtext of underlying action (arguments where people attack and defend, persuasion, seduction, reassurance) and NOT as an explanation
- Create believability through foreshadowing (which the author refers to as the use of motifs that are later paid-off)
- Audiences occasionally need “recapitulation scenes” to review important information they may have missed that sets up future action
- Character arc = In the face of major challenge, the protagonist must give up her (known) want to obtain her (unknown) true need. Only then will she realize the fundamental truth that is the theme of the story.
- Subplots have three main functions: (a) plot function – to help or hinder the protagonist, (b) thematic function – to show variations on the theme by presenting alternative ways of solving problems, and (c) structural function – to retard/delay the main plot and thereby intensify it
A typical film has 8 sequences (2 in Act I, 4 in Act II, and 2 in Act III) serving the following function:
I. Act I
a. Sequence A
- Open with an exterior long shot or interior close up to orient the audience.
- Hook the audience immediately by rousing curiosity with a puzzle
- Give a sense of what the protagonist’s life would be like if the events that led to the story had not interfered. This includes the “rules of the world” so that the audience knows what is possible, what to hope for, and what to be afraid of.
- End with an instability that forces the protagonist to respond to an inciting incident
b. Sequence B
- Whatever solution the protagonist tries to solve the inciting incident from Sequence A should lead to an even bigger problem that frames the dramatic question that shapes the rest of the film
II. Act II
a. Sequence C
- First attempt to solve the problem that arose at the end of Sequence B
- Note that you can either (a) solve the problem but in the process create a new, bigger problem, or (b) make the old problem even worse
- Here, the protagonist often switches from reluctant hero to driven hero (or vice-versa)
b. Sequence D
- Offer a glimpse of the actual resolution of the dramatic question or its mirror opposite. The protagonist may be able to choose freedom, but does not do so for an important reason.
c. Sequence E
- Opportunity to introduce new characters and/or subplots
d. Sequence F
- Often a low point, but could also be a significant reframing of the main tension
III. Act III
a. Sequence G
- Increasingly high stakes, often at a frenzied pace leading to an all hope is lost moment
b. Sequence H
- Final resolution often triggered by a major twist
- All instability must be conclusively settled and all subplots must be closed. This is the “and they lived happily ever after” part. (Or, unhappily ever after).
I enrolled in the Mini-Movie Method class from ScreenwritingU, after reading partially through this book. I dropped the class because the book is much better. The book avoids the incessant hype, the need to tie it to Joseph Campbell's idea of an heroic journey, and the fixed formula of eight mini-movies.
This book treats sequences in a non-dogmatic way. He starts by explaining the idea behind a movie with eight sequences. But the movies he analyzes do not all have eight sequences. Some have fewer. Some have many more sequences.
The idea of breaking a movie into sequences, each with its own story dynamic of tension that relates to the overall story tension is a very helpful way to work on a movie. You don't have to work in a linear fashion. If you get stuck temporarily on one sequence, you can work on another.
What the book misses is more discussion about crafting and rewriting your sequences. The theory discussion in this book is very brief. Maybe a bare 5% of the book. The author briefly summarizes dramatic theory as it relates to audience interest based on telegraphing, dangling clause, dramatic irony, and dramatic tension. Then on to another brief summary. That a description of the eight typical sequences. The rest of the book is analyses of movies. Well-done analyses. But I think There could have been more discussion about how sequences expand a writer's ability to sustain interest. For example, how the classic three act structure for a movie can be applied to each of the sequences could have been discussed more and illustrated with diagrams.
One thing worth noting, though, is that if you buy the paperback edition, you may find the print rather small. It's definitely smaller than the print in most of the dead-tree books I own. It doesn't bother me - I'm still pretty young - but if your eyes give you trouble, you may be better served by the Kindle edition so you can enlarge the text.