SCRIPTWRITING: A STUDENT GUIDE

Now you’re stumped. You’ve skimmed through the books and articles and words of wisdom from wiser people, but all the theories are stretching you askew, pulling you away from the budding idea and towards the daunting prospect of narrative structure, character arcs and dramatic tension. In a fit of determined procrastination, you begin scraping the mold off the walls of your festering student kitchen, and lobotomizing the clock that taunts you with its self-assured ticking. The foreboding, guttural, and now rather ghostly, rhythm continues nonetheless. You proceed to scratch at the mold with the clock edge. Clearly your own narrative verges on ridiculous.

Settling at a desk, you ready yourself with a duvet cape and a teetering stack of snacks. You lament - in a Russian accent, to no one in particular - that this scriptwriting palaver is static and restrictive, and imagining the larger structure only makes your ideas feel smaller. As you are lingering uncertainty in the transitional state between child and adult, it seems irresponsible to expect yourself to be certain about structure, or anything, or to be able to apply order to the raging chaos of your thoughts.

So you don’t.

Lizards knit sofa cushions and nibble brunch on stone balconies, watching, as Swallows catapult golf balls across waterfalls and boastful clocks are dragged into obscure depths, whilst a couple in a Kayak battle over the ore and the navigation, and the last Oreo. Nonsensical scenarios accumulate and overlap, until a plausible tale emerges. Just by writing, you learn how to write. You forget the restraints and remember how to imagine. Structure becomes instinctual.
Perhaps you’re lazy and naïve. Perhaps you can’t think of any sound advice to post on your blog about the key to good scriptwriting. But you’re a student; you’re not supposed to know anything yet. At least until you’re a fully-fledged adult, you doubt you ever will.

Words of Wisdom from Wiser People:

‘You may go the long way round to get something good, but as long as you get something good it doesn’t matter - don’t be too harsh on yourself if it doesn’t come naturally and quickly’ - Jamie Thraves

‘If dialogue doesn’t have natural human patterns, then the freeness and openness of the acting immediately changes’ - Jamie Thraves

‘Forget the three act structure - All the manuals insist on a three act- structure. I think this is a useless model. It’s static’ - Frank Cottrell Boyce http://www.guardian.co.uk/film/2008/jun/30/news.culture1

A book I would recommend for scriptwriters-
http://www.amazon.co.uk/Film-making-Alexander-Mackendrick/dp/0571211259

Tips from a scriptwriting workshop:

·      To build a basic plot, remember GOATS (Goal, Obstacle, Action, Tactics, Stakes)
·      Part of what we respond to in a film is its intelligence about human nature and behavior - if there is an artificial obstacle such as a bomb, the interest lies in how humans react.
·      From the start of a screenplay, rules should be set (about the genre of the film, it’s tone etc.) through the establishing description and dialogue, so that the viewer has expectations and these expectations can be broken.
·      Thinking firstly without dialogue is a good way to get a sense of the character before dialogue gets in the way.

It's always a happily ever after!

And just when you think a Disney movie finally doesn’t have death in it.. you are proven wrong! Not all Disney/cartoons have the theme of death in it but its definitely the one that strikes the most; at least when you are older (I’ve probably already mentioned this). But I dare anyone to watch one and not have your heart broken, otherwise I would say something is deeply wrong with you ahah.

However, I’m not going to discuss this depressing theme, but I’ve recently wanted to review a Disney cartoon and have recently written an exhausting essay upon multiculturalism, I thought I could try and explore it in relation to one of Disney’s latest and ‘innovative’ animations The Princess and the Frog (2009). Well, is not that recent however in terms of it being ‘innovative’ it is one of the very first cartoons to portray a black princess (even though to be correct, an African-America princess) but also she embodies such a determined and strong female character, not the usual type of princess. Taking in consideration Cinderella or Snow White, for example, we see that they in a way are the victims of cruel step parents, more precisely step mothers, who do not come from a ‘poor’ background, even though represented in such. As for Tiana, our African-American princess, her poor and rural background are definitely not missed; although it is a pleasant little area where folks come together while enjoying a nice meal of jambalaya (actually sound tasty).

Disney becomes a ‘melting pot’ of cultures, mmh that’s you would probably think. There are different discourses that various theorists or simply ‘ordinary’ people have taken into account when referring to this film: race, class and gender. I will analyze these concepts in relation to specific articles/posts I have read. 

I’ve read some pretty interesting facts regarding this animation, firstly the image of a post-modern princess, represented by this hard-working, independent and ambitious woman. From my recent analysis there are not many issues concerning the matter of race, in portraying a typical princess as an African-American, even within the film it is not emphasized in particular ways: we see the strong friendship between Tiana and Charlotte which contra poses the image of master and servant.  However there are certain statements which do imply or remind Tiana who and where she is from. Additionally some pin-point the fact that the characters, Tiana and Naveen, are through the story mainly appearing as frogs; which to some extent raises the question of whether this was on purpose. But personally, maybe I’m being naive, I don’t think that there is much of a second scope.

“ […] Which is why a little woman of your background…”

-          Fenner Brothers

There is obviously a distinction between both Tiana and Charlotte in matters of race, the former having to work hard to achieve her goals while the other just simply asks for what she wants; but this matter is not emphasized in a negative way due [as mentioned] by the fact that the two share this strong relationship. However, Charlotte’s character seems to embody simply a spoilt princess, stereotype of the usual princess-like-blonde who simply believes that wishing upon a start will bring her fairy tales to life. Well, in the end it is a fairy tale. This may concern alternatively matters regarding gender, from which I will draw upon in a post which connects in particular Tiana’s figure to the theories of the notable Laura Mulvey. It is actually an insightful piece of work and I will point out the main associates made between the cartoon and Mulvey’s notions.

The first aspects which catch our attention is this obsessive idea that men can feel threaten by woman (fear of castration – like seriously guys get a grip ahah), which within the film is solved by the fact that Tiana is initially introduced as a child and also not taken very seriously when wanting to open her own restaurant: “Tiana's determination and passion for work and her restaurant are treated as a silly hobby, as though she were still a child with a foolish dream”. Alternatively, there is the consideration of Tiana being passive. This is a main concept within Mulvey’s work, she state that Hollywood films tend to portray a certain male gaze to which male characters appear to be active while women are simply a passive objectification  for the pleasure of men (every time I read or write such things I kinda feel degraded).  The fact that Tiana is mocked by other in following what seem absurd dreams and hard work, as if she can try as much as she wants but will not get it, her mother also insists she wants grandchildren (although she is then supportive), etc.

In conclusion, I wanted to briefly draw upon the relation between Tiana and prince Naveen, within the post it is argued that the arrival of Naveen who “takes hold of the reigns”, as if Tiana was some kind of horse. Once ‘prince Charming’ has made his appearance, we know look at Tiana through his eyes, sifting from the initial perspective we had of Tiana’s point-of-view. To some extent it may be true but on the other side it also reminded me of the buck stereotype, used within Hollywood films: the attractive, sexual crazy black character (although Naveen is per se Spanish).

However we construct or analyze the hidden messages, doesn’t change the fact that it was a good Disney movie, something everyone would enjoy!

“Meet my friends from the other side.”

-          Dr. Facilier

AG

 (Apologies - late, last time!)

Readings

http://www.thefword.org.uk/reviews/2012/03/princess_and_frog

http://selfproclaimedmegalomaniac.wordpress.com/2011/08/02/the-princess-and-the-frog-the-tale-of-the-postmodern-princess/

SUBMIT YOUR FILMS - Don't leave it till the last minute!

http://thebirdiesfilmfest.webstarts.com/

It's a 3D world!

After Avatar’s (2009) success many other films have turned to 3D technology, wanting the audience to experience film differently, making you part of the adventure. Nearly experiencing real life situations, feeling the raff of a storm while sailing across the ocean, flying towards the horizon whilst you touch the clouds rushing by. . . But beware of side effects.

That definitely puts you off watching a film: how can movies provide side effects?  I guess they were ‘boat sick’.

According to certain researches and testimonies some don’t enjoy a 3D movie due to effects it may have on our body.

Going through some readings on how to make these technological films, there are so many things you need to take in consideration; I haven’t attempted to make one myself and I don’t think I will. Personally I don’t enjoy 3D movies, not because of the so called side effects, but they don’t bring anything much to a film (for me).

I’m briefly going to introduce some important aspects of 3D film making and eventually draw upon some reviews (and why is every new release in 3D?).

Fist of all, if you want to make a 3D film, as soon as you develop your idea, you need to think of it in terms of 3D film making. Regarding the cinematography, it is important to break down the different factors to work on in order to give your movie a perfect and mind blowing 3D experience.

·         First point to consider is the interocular distance, meaning where to position your camera to regulate the depth of your image; the closer your camera[s] to your subject the more distant your subject will appear on screen, while the further the camera[s] the closer your 3D object will be to the audience. For an amateur 3D, you will use what they call the 3 percent rule: “the interocular can be safely set at 1/30^th of the distance from the camera to the foreground, or 1 inch per 3 feet”.

·         The second point to keep in mind, when dealing with the camera position, is the convergence; which will determine another important effect of your 3D. By positioning the camera[s] on a parallel axis, therefore not converging your focus on one particular point, your 3D effect will be more balanced and literally come out of the screen (curious how one of the “side effects” isn’t a heart attack. . . minor joke LOL).

·         Thirdly, you need to consider your screen, as the dimension of such will determine most aspects of any movie (from color to sound). Additionally to the size of your screen you also need to take in consideration the audience’s position. By doing some mathematical calculation (will leave that to you ahah), you can determine how to determine what size screen you may need whether you are in the theater o at home. As 3D picture are formed by two 2D pictures and need to be in perfect coordination, sitting on the sides of a theater is not the best way to experience a 3D movie due to the fact that the 2D images will seem deformed. The recommend seats would be the last row.

There are so many other aspects to keep in mind when planning to produce a 3D movie (so many and a bit complicated, whether complicated and challenging is your thing). But if making a similar picture is such a huge technological step and in some cases extraordinary [Avatar] then how does one feel sick? The side effects can vary from eye conditions, dizziness, nausea, headaches. . . doesn’t sound very promising. But I guess it is different for everyone, some experience it regarding their body or others simply from a ‘movie making factor’.  Personally, I prefer 2D movies, I think I wasted money and time on Pirates of the Caribbean 4 (2011) and Titanic (1997/2012) in 3D; maybe I wasn’t sitting in the right seat but definitely didn’t experience it as if I was there (which anyone would have loved, considering there was Jack Sparrow and Leonardo Di Caprio). 

AG

(Apologies for late post)

Bibliography

Mendiburu, B. (2009), 3D Moving Making: Stereoscopic Digital Cinema from Script to Screen, Oxford: Focal Press.

Article

http://www.telegraph.co.uk/health/6952352/Do-3D-films-make-you-sick.html  

La Vita E Bella / Life Is Beautiful -- A Must-See Film

“Buongiorno Principessa!”

La Vita E Bella (1997), known by many as its English title of Life Is Beautiful, is an Italian film directed by Roberto Benigni, who also stars as a charming man who uses his humour to both win over the woman of his dreams and save his family from unthinkable tragedy in occupied Italy during the Second World War.  It's an incredibly entertaining and moving film that will have any engaged audience member laughing one minute and close to tears the next.  The film seeks to demonstrate the truth behind its own title, and I will comment on why it is a must-see for any cinema enthusiast without the usual spoiler alert.

Life Is Beautiful is so uniquely memorable because it explores a traditionally touchy subject through an optimistic lens.  Guido, Benigni’s character, appears carefree and free-spirited but is also tenacious and clever.  This loveable protagonist is the victim of terrible circumstance and yet is able to lift his head and live a lively life.  For instance, he gives a speech in front of a bunch of primary school students pretending to be the superintendent – and the topic was one of appraisal for the Aryan race.  Oh, I forgot to mention that Guido is Jewish (this becomes evident quite early on).  This form of boldness has to be humourous – and it is, both for the school kids and the audience.

“What kind of place is this? It's beautiful!  Pigeons fly, women fall from the sky – I’m moving here!”

                                                     -Guido

Apart from Guido’s funny stunts and flirtations with the Princess, the film progresses to demonstrate his strategy for the ominous conflict he faces: he smiles ferociously and laughs even when he shouldn’t.  He makes danger a game solely to comfort and reassure his young son.  An added element of spontaneity due to Guido’s antics tickles and teases audience attention.  But by no means is the film as simple as that.

In terms of film techniques and directorial touch, the dialogue and plot are what really shine through the dark undercurrents.  The camera focus is always on the faces of characters who are shown sometimes together but just as often apart.  The cuts between shots are uncomplicated and, in fact, less frequent that the average film.  This is because the average shot (the point between cuts to different focuses) length of films in general is noticeably shorter than those in Life Is Beautiful.  This was undoubtedly a purposeful choice by Benigni, who wanted to tell an emotional story while using the camera positions to echo Guido’s carefree, less abrupt stance.  The audience was meant to follow him until the end, and we are happy to oblige.

Bartolomeo: They are looking for someone who speaks German, to translate their instructions.

Guido: Me! I'll do it, I'll translate!

Bartolomeo: Do you speak German?

Guido: No!

Other features of the film that add to its cinematic value and entertainment are the original music score, unlikelihood of events and a severely effective batch of dramatic irony.  The music is generally upbeat and opera – the sort that makes one instantly think: ‘Italia!’  The irony needs no introduction beyond the previous explanation of Guido’s identity and the film's historical context.  And that brings us to a conclusion.

Benigni has essentially managed to create a film that truly does wrench the heart and draw many more than a few chuckles simultaneously.  His touch is brilliantly crafted through a clear message: that life is, in itself, beautiful.  The ending is not something that could be easily discussed regardless of the spoiler alert; it is thought-provoking, emotional, impeccable.  One has to believe after watching this film that legacies and stories of love and loyalty will always hold a special place in any human heart.

Guido, you’ve done well.  Benigni, you’re a genius.

Trailer available here:   http://www.youtube.com/watch?v=64ZoO7oiN0s