Writing the Character-Centered Screenplay, Updated and Expanded editionUniversity of California Press, 23.02.2000 г. - 249 страници "We need good screenwriters who understand character." Everywhere Andrew Horton traveled in researching this book—from Hollywood to Hungary—he heard the same refrain. Yet most of the standard how-to books on screenwriting follow the film industry's earlier lead in focusing almost exclusively on plot and formulaic structures. With this book, Horton, a film scholar and successful screenwriter, provides the definitive work on the character-based screenplay. Exceptionally wide-ranging—covering American, international, mainstream, and "off-Hollywood" films, as well as television—the book offers creative strategies and essential practical information. Horton begins by placing screenwriting in the context of the storytelling tradition, arguing through literary and cultural analysis that all great stories revolve around a strong central character. He then suggests specific techniques and concepts to help any writer—whether new or experienced—build more vivid characters and screenplays. Centering his discussion around four film examples—including Thelma & Louise and The Silence of the Lambs—and the television series, Northern Exposure, he takes the reader step-by-step through the screenwriting process, starting with the development of multi-dimensional characters and continuing through to rewrite. Finally, he includes a wealth of information about contests, fellowships, and film festivals. Espousing a new, character-based approach to screenwriting, this engaging, insightful work will prove an essential guide to all of those involved in the writing and development of film scripts. |
Съдържание
Introduction | 1 |
CHARACTER | 23 |
The Feast of Becoming Carnival and Character | 25 |
Varieties of Voices Within Character | 45 |
Five NotSoEast Pieces Analysis of CharacterCentered Scripts | 63 |
NARRATIVE AND STRUCTURE | 89 |
Beyond the Classical Hollywood Structure | 91 |
Developing a CharacterCentered Narrative | 101 |
The FourteenWeek Character Developing Schedule | 130 |
The FourteenWeek Feature Screenplay | 154 |
LAUNCHING YOUR SCRIPT | 177 |
From Rewrite to Screen An Overview of Options | 179 |
Live Writers Talking Screenwriting 2000 and Beyond | 195 |
Coverage | 207 |
SelfCritiques | 209 |
Your Personal Screenwriting and Video Library | 213 |
Pitching | 113 |
WRITING | 121 |
Prelude to a Screenplay | 123 |
At Long Last the Recipe for a Screenwriters Gumbo with Character | 221 |
225 | |
Други издания - Преглед на всички
Writing the Character-Centered Screenplay, Updated and Expanded Edition Andrew Horton Ограничен достъп - 1999 |
Често срещани думи и фрази
acter American film Angeles audience Bakhtin become begin Boyz Buñuel Butch Callie Khouri camera carnival carnivalesque Chaplin character-centered script Chris Cicely Cinema Paradiso Clarice classical Hollywood clearly Coen Brothers comedy course create dialogue documentary embrace Emir Kusturica experience father feel Fiction FILM FESTIVAL filmmakers final Garp genre gumbo Gypsies Hannibal Lecter Hollywood Hood Joel Khouri Kusturica Lambs Lecter lies and videotape lives look Luis Buñuel Maggie main characters minor characters montage movie narrative never Northern Exposure Note novel Orleans Perhan Phone pitch play plot Press Preston Sturges producer protagonist rewrite scene screen screenplay screenwriting sense sequence shot Silence simply Singleton's story storytelling Sturges subplot suggests Sundance tale talk television Thelma & Louise Thelma and Louise Trans University voiceover voices WEEK Woody Allen writing written York young
Популярни откъси
Страница vi - If you start with a real personality, a real character, then something is bound to happen; and you don't have to know what before you begin. In fact it may be better if you don't know what before you begin. You ought to be able to discover something from your stories. If you don't, probably nobody else will.