Хичкок
02.03.2009, 01:25
Извините, что на английском. Если есть добровольцы перевести, пжста, переведите для тех, кто не знает английского. Вот текст:
SCREENPLAY STRUCTURE
ACT ONE
FIRST TEN PAGES(who is the s***y about? What is the dramatic premise or what is the s***y about? What is the dramatic situation or the circumstances surrounding the action? This is the “set up.”
Begins with an IMAGE to set place, mood, style, theme, and/or genre. It orients the viewer.
Don’t immediately begin with dialogue.
This is where a METAPHOR would be established that would reoccur throughout the screenplay.
A CATALYST is introduced. Something that sets the s***y in motion. It could be situational, action, or informational.
All the major characters should be introduced or alluded to.
Most important, a CENTRAL QUESTION is asked that will be answered at the climax. Once this question is raised, the set up is complete.
SECOND 10 PAGES (follows the focus of the main character’s actions and reactions. A line of direction develops as he/she makes decisions. We see the symptoms of a problem)
INFORMATION is provided to better orient the s***y.
CHARACTERS are developed through action.
BACKS***Y is provided if necessary.
CENTRAL CONFLICT becomes clearer.
The ANTAGONIST is revealed if not already in the set up.
THIRD 10 PAGES (The problem is developing deeper)
PLOT POINT I (an incident [such as a reversal] that spins the s***y into Act 2. The s***y takes off into its plot)
Raises the central question again. This time the answer appears to be opposite of the answer thought of in the set up.
Main character makes a decision.
Stakes are raised.
Focus shifts.
END OF ACT ONE
ACT TWO
(Confrontation; obstacles for the characters; keep the momentum going strong; subplots develop)
FIRST HALF
Points of actions that demand a reaction. Complications arise that won’t be paid off immediately. Leads to anticipated payoffs.
Barriers that stop the action, prompting characters to go around. The last barrier overcome continues the momentum and development of the plot. Barriers force new decisions.
Reversals. They catapult the s***y in a new direction; new developments. No more than two during the second act.
PINCH POINT I (a key scene, action or dialogue that keeps the s***y on track)
MIDPOINT
establishes a clear sense of direction for the 2nd half
point of no return
SECOND HALF (now the focus is more specific; all actions and reactions must relate to the s***yline)
continues the elements of the first half
PINCH POINT II (another key scene that keeps the s***y on track)
PLOT POINT II (accomplishes the same thing as plot point I except it speeds up the action and makes the following scenes more intense)
Protagonist seems to be defeated and must adjust as the situation changes and becomes more difficult.
Central question is raised again.
END OF ACT TWO
ACT THREE
Continuous action until a climax is reached.
Villain is defeated.
Central question is answered.
RESOLUTION
One to five pages after climax. Ties loose ends.
THE END
NOTES:
In a situational set up, it can take longer to build, 15 min.
Subplots are structured just like the main plot. Often they briefly take over as the main plot, usually during the second act.
View the subplots independently to check for correct structure.
Subplots shouldn’t be their own s***ies, unattached to the main plot.
SCREENPLAY STRUCTURE
ACT ONE
FIRST TEN PAGES(who is the s***y about? What is the dramatic premise or what is the s***y about? What is the dramatic situation or the circumstances surrounding the action? This is the “set up.”
Begins with an IMAGE to set place, mood, style, theme, and/or genre. It orients the viewer.
Don’t immediately begin with dialogue.
This is where a METAPHOR would be established that would reoccur throughout the screenplay.
A CATALYST is introduced. Something that sets the s***y in motion. It could be situational, action, or informational.
All the major characters should be introduced or alluded to.
Most important, a CENTRAL QUESTION is asked that will be answered at the climax. Once this question is raised, the set up is complete.
SECOND 10 PAGES (follows the focus of the main character’s actions and reactions. A line of direction develops as he/she makes decisions. We see the symptoms of a problem)
INFORMATION is provided to better orient the s***y.
CHARACTERS are developed through action.
BACKS***Y is provided if necessary.
CENTRAL CONFLICT becomes clearer.
The ANTAGONIST is revealed if not already in the set up.
THIRD 10 PAGES (The problem is developing deeper)
PLOT POINT I (an incident [such as a reversal] that spins the s***y into Act 2. The s***y takes off into its plot)
Raises the central question again. This time the answer appears to be opposite of the answer thought of in the set up.
Main character makes a decision.
Stakes are raised.
Focus shifts.
END OF ACT ONE
ACT TWO
(Confrontation; obstacles for the characters; keep the momentum going strong; subplots develop)
FIRST HALF
Points of actions that demand a reaction. Complications arise that won’t be paid off immediately. Leads to anticipated payoffs.
Barriers that stop the action, prompting characters to go around. The last barrier overcome continues the momentum and development of the plot. Barriers force new decisions.
Reversals. They catapult the s***y in a new direction; new developments. No more than two during the second act.
PINCH POINT I (a key scene, action or dialogue that keeps the s***y on track)
MIDPOINT
establishes a clear sense of direction for the 2nd half
point of no return
SECOND HALF (now the focus is more specific; all actions and reactions must relate to the s***yline)
continues the elements of the first half
PINCH POINT II (another key scene that keeps the s***y on track)
PLOT POINT II (accomplishes the same thing as plot point I except it speeds up the action and makes the following scenes more intense)
Protagonist seems to be defeated and must adjust as the situation changes and becomes more difficult.
Central question is raised again.
END OF ACT TWO
ACT THREE
Continuous action until a climax is reached.
Villain is defeated.
Central question is answered.
RESOLUTION
One to five pages after climax. Ties loose ends.
THE END
NOTES:
In a situational set up, it can take longer to build, 15 min.
Subplots are structured just like the main plot. Often they briefly take over as the main plot, usually during the second act.
View the subplots independently to check for correct structure.
Subplots shouldn’t be their own s***ies, unattached to the main plot.