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Screenwriter's Compass Character As True North

ISBN-10: 0240818075
ISBN-13: 9780240818078
Edition: 2012
Authors: Guy Gallo
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Description: What makes a bad movie? We've all experienced it. Fine production values, fantastic action sequences, stellar cast--and still it sucked. Not worth the popcorn. You come out saying, "I didn't buy it." What's that mean? And how can it apply to such  More...

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Book details

Copyright year: 2012
Publisher: Taylor & Francis Group
Publication date: 3/30/2012
Binding: Paperback
Pages: 214
Size: 6.00" wide x 9.00" long x 0.50" tall
Weight: 0.418
Language: English

What makes a bad movie? We've all experienced it. Fine production values, fantastic action sequences, stellar cast--and still it sucked. Not worth the popcorn. You come out saying, "I didn't buy it." What's that mean? And how can it apply to such wildly different failures? Because "buying it," being compelled by the characters, lies at the heart of our experience of film, indeed of all storytelling. If we don't believe the choices the characters make are important and meaningful, we will not be compelled, we will not care. Most screenwriting books analyze examples of what has worked in the past, extracting formulas and templates, pointing to great movies and saying, in effect, "See? That's how you do that." But these examples don't help fill the blank page. It's as if such books think past success can stand as a guiding map toward future creativity.Screenwriter's Compass will not give you a map. Rather it will give you a compass. It will lay out a set of tools, ways of thinking, practical ideas and applicable concepts to help you discover the particular geography of your imagination, help you navigate the unique problems posed by the struggle to articulate vision, agenda, and story. This book will help you build your own compass to orient yourself in your unique fictional landscape.Here's a taste of Guy Gallo's unique view of the screenplay:* The details of character and scene and gesture must be allowed to change plot and story. * Discover character by putting them in a room and having them behave, not by thinking about them. * "Raising the stakes" means making the reader care more about the character in jeopardy, not upping the jeopardy.

Guy Gallo saw success early when Under the Volcano, his Masters project and a 1986 major feature film was produced. Since then, he's written over a dozen feature screenplays, and had four others produced. His most recent screenplay, The Last Christmas, is currently going into pre-production. He has also taught advanced screenwriting for twenty years at the graduate Film Division of Columbia University's School of the Arts. He's also taught drama at Princeton and New York University. He counts among his students James Mangold (Girl Interrupted, 3:10 to Yuma, Walk the Line), Greg Mottola (Superbad, Adventureland), Jeannine Dominy (Dangerous Beauty), Christopher Zalla (Sundance Grand Jury 2007 for Sangre di mi sangre), and Patrick McGrath (The Grotesque, Spider).

Preface
Acknowledgments
First Things
Screenwriter's Compass
Big Deal�You're Writing a Screenplay
Gear Up
Screenwriting Is Writing
Craftsmanship
Ground Work
Reading Theory
Upsetting Aristotle
Putting Aristotle to Work
Character-Driven versus Plot-Driven
Fable and Construct
Turning Theory to Task
Getting Ready
Master Shot Screenplay
Reading Screenplays
Composition Creates Story
On Outlines
On Character Histories
On Treatments
On Adaptation
First Draft
The Blank Page
Scene and Action Description
Being God
Hearing Voices
Empathy
Thinking of Structure
Breaking a Block
Revision
First Reader
Looking Again for Logic
Questions
Challenges and Pitfalls
On Expectation
Finishing
Wrighting a Screenplay
Screenplay Format
Proofreading
Submission
Getting Ready Again
Passion and Purpose
Happy Accident
Intuition and Analysis
Lessons
Index

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