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Writing the Comedy Blockbuster The Inappropriate Goal

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ISBN-10: 161593085X

ISBN-13: 9781615930852

Edition: 2012

Authors: Keith Giglio

List price: $22.95
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Description:

Dying is easy, comedy is hard. So keep your comedy blockbuster alive and well and buy this book. Comedy has always been the backbone of the film business. In an age of sequels and brand-name movies based on established properties, the original comedy screenplay still delivers high profits.Writing the Comedy Blockbusterguides the writer as they learn what goes into writing the next comedy classic.
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Book details

List price: $22.95
Copyright year: 2012
Publisher: Michael Wiese Productions
Publication date: 2/1/2012
Binding: Paperback
Pages: 229
Size: 6.00" wide x 9.00" long x 0.75" tall
Weight: 0.880
Language: English

Keith Giglio has worked as a screenwriter and producer on such feature and television movies as Joshua, Noah, Return to Halloweentown, Walt Disney's Tarzan, Pizza My Heart, A Cinderella Sto-ry, and Another Cinderella Story. He has written for Paramount Pictures, The Walt Disney Compa-ny, Universal Studios, Warner Bros. Pictures, Spyglass Entertainment, Walden Media, Tokyopop, and Platinum Studios. His book Writing the Comedy Blockbuster was published in 2012. He cur-rently teaches both screenwriting and game writing at Syracuse University.

Dedication and Thank Yous
Introduction
Foreplay, Or How Tina Fey Can Kick Bruce Willis' Ass
How to Use this Book
How to Bust a Gut
Or Comedy College 101
A Criminally Brief History of Film Comedy
Yes, But What Kind of Comedy?
Exercise: Beg, Steal, or Borrow
The Comedic Idea
A.K.A. The Importance of Being Inappropriate A.K.A. The Blues Brothers are Not Role Models
The Inappropriate Goal
The Comedic Logline A.K.A. The Pitch
Uniquely Familiar
Exercise: Twenty Uniquely Familiar Ideas
The Fill-in-the Blanks Elevator Pitch
Exercise: The Poster
Plot Vs. Character: Who Will Win?
Comedic Character
A.K.A. A Fool's Journey A.K.A. I Know A Guy Just Like That
The Importance of Character
A Fool's Journey
Take Your Silliness Seriously
Characters Change
The Rock and Roll School of Screenwriting
Plot vs. Character
Building the Comic Character
Exercise: The Comedic Character Worksheet
What I Really Want To Do Is Direct
Comic Vision
Inappropriate Behavior
Inappropriate Dialogue
Unity of Opposites
Rowing a Sinking Boat
Funny People
Exercise: Character Work
Hilarity and Heart
A.K.A. It's All About the Wolf Pack
The "Classic" and Still Modern Three-Act Structure
Exercise: Question Everything
The Comedic Sequence Approach
Scene Study
Putting Scenes to Work in Events
Exercise: Funny Scenes
The Secret Ingredients of Comedic Scenes
The Comedic Roadmap - The Eight Comic Sequences
Comic Sequence (A)
A.K.A. The Comedic World
A.K.A. Well Begun is Half Done
Setting Up the Comedic World
Exercise: Comedy Calisthenics
What is the Tone of Your Story?
The Prestory
Open With a Hook - First Impressions
Denning Action
Status Quo-Something's Missing
Exposition
Point of Attack - Opportunity Knocks
Exercise: Rewrite Your Favorite Movie
Comic Sequence (B)
Setting up the Inappropriate Goal A.K.A. "You're Going to Do What?" or Why Crashing A Wedding is a Good Idea
What the Hell Happened to Me?
The Buddy
Meet the Bad Guy A.K.A. The Dick
The Dramatic Question - Oh, That's What it's About
End of the First Act - Protagonist and Objective
Exercise: Change the Point of View
Act Two!
A.K.A. Where Scripts Go to Die
Comic Sequence (C)
The Mad, Mad, Mad, Mad World A.K.A. Sometimes Girls Throw up on You
Oh Yes, Oh No!
Start Small and Go Big
The Promise of the Premise
The Main Events of Sequence C
The Mad, Mad, Mad, Mad World
Establish the Initial Goal
Learning New Rules / Taking on Appearances
Friends and Enemies
Subplots
Subplots and Themes
First Attempt Fails - Maybe
Exercise in Conflict: The Agitator
Comic Sequence (D)
It Just Keeps Getting Worse a.k.a. How Much Pain Can Ben Stiller Take?
Five Events to the Midpoint
Anticipation and Reaction Scenes
Reaction Scenes
Ramping Up
Backward from the Midpoint
The Midpoint Hints at the Ending
Importance of Location
Comic Sequence (E)
Love in the Air A.K.A. Why Andy Chooses Love over Sex
Reaction to the Midpoint
Major Character Shift
Develop the Theme
Upping the Stakes
The Jolt
Comic Exercise: The Soundtrack
Comic Sequence (F)
What Was I Thinking? a.k.a. Yes, I'm a Liar But
A Final Push
Good Times Never Last
Expose the Character's Weakness
The Calm Before the Storm
End of Act Two: Bad Things Happen
Other Ways to End Act Two
Act Three
Comic Sequence (G)
Time to Grow Up A.K.A. Why Are Ashton and Natalie So Sad Even Though They Said No Strings Attached?
So What Is Act Three?
What Else Should Happen In My Act Three?
Singing the Blues
Who Am I?
Help from the Mentor
The Last Great Decision
Comic Sequence (H)
The New Me A.K.A. Why Ben Stiller, Jim Carrey, Hugh Grant, Natalie Portman are Running at the End of the Movie
The Battle
Convergence
Sacrifice
Resurrection
Epiphany
The Final Race
The New Me
Take a Breath at the End
A Word About Satisfying Endings
Writing the Screenplay
Writing the Screenplay
Turning the Scriptment into the Script
Why Do Screenplays Fail?
The Writing Begins
Some Words about Dialogue
Trust the Work You Have Done
How Do I Know when It's Done?
The Business of Writing
Funny Is Money
Filmography
About the Author