Summary of Syd Field's Screenplay , livre ebook

Everest Media LLC - Everest Media

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

37 pages

English

Vous pourrez modifier la taille du texte de cet ouvrage

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

A propos
Informations
Extrait

Description

Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The author made a picture of what would happen if a pretty stenographer entered your office. She took off her gloves, opened her purse, and dumped it out on the table. She had two dimes and a nickel, and a cardboard match box. She left the nickel on the desk, put the two dimes back into her purse, and took her black gloves to the stove.
#2 F. Scott Fitzgerald, the author of The Great Gatsby, was a novelist who wrote screenplays for movies. He was always searching for the answer to what made a good screenplay. He was never sure what a screenplay was, and he wondered whether he was doing it right.
#3 The opening section of Fitzgerald’s novel, which focuses on how Rosemary saw the Divers, is more cinematic than novelistic. It’s a great cinematic opening, setting up the characters as others see them, like an establishing shot.
#4 A screenplay is not a novel, a play, or a diagram. It is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.

Sujets

Research

Reference

Informations

Publié par	Everest Media LLC
Date de parution	22 août 2022
Nombre de lectures	0
EAN13	9798350015812
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0200€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Insights on Syd Field's Screenplay
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3 Insights from Chapter 4 Insights from Chapter 5 Insights from Chapter 6 Insights from Chapter 7 Insights from Chapter 8 Insights from Chapter 9 Insights from Chapter 10 Insights from Chapter 11 Insights from Chapter 12 Insights from Chapter 13 Insights from Chapter 14 Insights from Chapter 15 Insights from Chapter 16 Insights from Chapter 17 Insights from Chapter 18 Insights from Chapter 19
Insights from Chapter 1

#1

The author made a picture of what would happen if a pretty stenographer entered your office. She took off her gloves, opened her purse, and dumped it out on the table. She had two dimes and a nickel, and a cardboard match box. She left the nickel on the desk, put the two dimes back into her purse, and took her black gloves to the stove.

#2

F. Scott Fitzgerald, the author of The Great Gatsby, was a novelist who wrote screenplays for movies. He was always searching for the answer to what made a good screenplay. He was never sure what a screenplay was, and he wondered whether he was doing it right.

#3

The opening section of Fitzgerald’s novel, which focuses on how Rosemary saw the Divers, is more cinematic than novelistic. It’s a great cinematic opening, setting up the characters as others see them, like an establishing shot.

#4

A screenplay is not a novel, a play, or a diagram. It is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.

#5

The principle of structure is the relationship between the parts and the whole. The parts are the action, characters, conflicts, scenes, sequences, dialogue, action, Acts I, II, and III, incidents, episodes, events, music, locations, etc. The whole is the story.

#6

The beginning of a screenplay is called Act I. It is a unit of dramatic action that is approximately twenty or thirty pages long and is held together with the dramatic context known as the Set-Up. The screenwriter establishes character, launches the dramatic premise, and creates the relationships between the main character and the other characters who inhabit the landscape of his or her world.

#7

The first ten pages of a screenplay are the most important. They must draw the reader in and keep them hooked. The dramatic premise is what the screenplay is about, and it provides the dramatic thrust that drives the story to its conclusion.

#8

The first ten pages of Witness reveal the world of the Amish in Lancaster County, Pennsylvania. The script follows the funeral of Rachel’s husband, then follows her to Philadelphia, where her child witnesses the murder of an undercover cop.

#9

Act II is a unit of dramatic action that takes place between the end of Act I and the end of Act III, and is held together by the dramatic context known as Confrontation. It is where your character has to deal with surviving the obstacles that you put in front of him or her.

#10

The parts that make up the whole are the beginning, middle, and end of the screenplay. The relationship between these parts is what determines the whole. Plot Points are essential to the screenplay, and they serve an important purpose. They are a major story progression that keeps the story line anchored in place.

#11

The paradigm is the form of a screenplay, what it looks like. It is the structure that holds the story together. The form of a coat or jacket is two arms, a front, and a back, and within that form you can have any variation of style, fabric, color, and size, but the form remains intact.

#12

The paradigm is a model, an example, or a conceptual scheme; it is what a well-structured screenplay looks like. The three-act structure is the foundation of every good screenplay, the foundation of dramatic structure.
Insights from Chapter 2

#1

The subject of a screenplay is an action and a character. Every screenplay dramatizes an action and a character. You, as the screenwriter, must know who your movie is about and what happens to him or her.

#2

The subject of your screenplay is the starting point of writing it. It is the central idea that drives the story. It is about who your character is and what they’re going through.

#3

The beginning, middle, and end of every story are defined by action, character, and setting. When you can articulate your subject in a few sentences, in terms of action and character, you’re ready to begin expanding the elements of structure and story.

#4

When you can express your idea in terms of action and character, you’re beginning the preparation of your screenplay. Expanding your subject by focusing on the action and character broadens the story line and accentuates the details.

#5

There are two types of research. Text research is when you go to the library and pull out books and newspaper and magazine articles to read about a period, people, a profession, or whatever.

Univers
Ebooks
Livres audio
Presse
Podcasts
BD
Documents

Summary of Syd Field's Screenplay , livre ebook

Research

Reference

YouScribe

Le catalogue

Le service

Les conditions