101 Things I Learned in Film School
Neil Landau, Matthew Frederick
Format: PDF / Kindle (mobi) / ePub
What are the essentials of screenplay structure? What's the difference between plot, story, and theme? What's the best camera angle to convey inner psychology? How are movie finances structured?
These questions and more are answered in this exquisitely packaged book by Neil Landau, an experienced screenwriter and script consultant to the major movie studios. Presented in the familiar format of the popular 101 THINGS I LEARNED® book series, 101 THINGS I LEARNED IN FILM SCHOOL's two-page, illustrated lessons will engage, inform, and inspire film school students, amateur filmmakers, high school grads, industry professionals, and casual aficionados.
images to evoke deep, holistically grasped meanings. It originated with visionary Russian director Sergei Eisenstein as the idea “that each sequential element is perceived not next to the other, but on top of the other.” A montage expresses the passage of time and the development of character by economically showing the change of seasons, progression of a relationship, pursuit of a new skill, or physical transformation. Montage is particularly effective in revealing a protagonist’s point of
usually seeks to subvert the truth. Often, the protagonist and antagonist fear the same truth. In a romantic comedy, where the antagonist—the protagonist’s romantic interest—is typically friendly, the truth being subverted is a realization or admission of love. 14 Beginning, middle, end. Common three-act structure for feature-length American films Whether working out the broad concept of a new story, figuring out the particulars of a film during production, or editing a story in
your movie idea in a single statement. If you can’t do this, your idea probably isn’t pitch-able. 2 Establish genre, tone, time period, and principal setting. 3 Introduce the protagonist and discuss what makes him or her compelling. 4 Give a lively account of the story’s beginning, middle, and end, emphasizing the emotional conflicts. Don’t worry about telling everything. 5 If you forget something important, be careful about retracing your steps, as your audience may become more confused
scene must reveal new information. A movie presents a problem; its eventual solution requires that new information be made available to both characters and viewers. Every scene consequently must contain a revelation of previously unknown information. It need not be a bombshell, but should be specific; and if not pure, objective information, it can be about how different characters perceive or react to the same information. 34 Every scene must contain conflict. Movies exist because of
filmed from the same distance 9 Underactive actors who recite lines without seeming to inhabit the scene 10 Uneven lighting 11 Poor sound quality 12 Inattention to continuity, resulting in simple transition errors 13 An ending that doesn’t grow naturally or inevitably out of previous events 53 The 180-degree rule In a given scene, keep the camera(s) on the same side of the actors to preserve the viewer’s orientation. Showing the actors from two different sides can lend the erroneous