excerpt from Blake Snyder's famous writer primer.
first What's it about?
The story should be summarized in one, maximum two sentences: What is it about?
The so-pooled story should have a certain irony.
example Die Hard: A policeman comes to LA to visit his wife, with whom he has verstritten, while her office is occupied by terrorists.
Like Proust's Madeleine, we need a mental image that makes the whole story unfold.
Find a title, one starts a real and distinguishes it from others.
Test your idea of strangers. "I'm not afraid that someone might steal my idea. And who has that fear, is an amateur. "
second The same but different
"You can stay in the vicinity of the plate, you can dance around it, you can go up into it, embrace it. But at the last moment you have to turn away, you have to give the matter a twist. "
Snyder gives us 10 film types. One could also say "genre", but they are something brushed against our traditional genre categorization.
first The monster in the house
examples: Jaws, The Exorcist, Panic Room
plays this genre with natural instincts: Do not get eaten!
The rules are simple:
- The "house" must be a clearly defined area: a bathing place, a space ship, etc.
- It is guilty of "sin",
- the monster as a revenge- Angels can appear.
second The Golden Fleece
Examples: The Wizard of Oz, Star Wars, The Magnificent Seven
- Externally, the hero takes a journey, a mission.
- in fact refers to travel instead of inside.
third From the bottle
examples: The Mask, Flubber, and always Groundhog
- The hero wants something desperately, which will meet him pretty quickly.
-Soon, however, shows the darker side of desire. The hero must learn that wishing is not everything.
4th A guy with a problem
Examples: Schindler's List, Terminator, Die Hard
- The hero has a problem.
- This problem should be large in proportion a hero. The villain is so schurkig as possible. (For Bruce Willis, it must have been a terrorist, and not an illegal parking.)
5th Transitional rites
examples: About Schmidt, American Pie
- It's about growing pains when moving from in the next half of life.
- It's about giving up, the acceptance of being human.
6th Buddy Story
Thelma and Louise, Wayne's World, Laurel & Hardy, Alexis Zorbas
- Blake Snyder says these kind of stories were in fact inventions of the film age, caused by the problem that in the film, the inner monologue omitted, issue in the book or on the stage still existed.
- "The secret of a good buddy story is that it is a disguised love story really. And vice versa, all love stories buddy stories with the potential for sex "
. - The heroes need each other. You have to give up their egos to win together.
- often is the real hero of the less presents, the unpleasant, the weaker: Tom Cruise in Rainman , Paul Paul and Paula, Basil in Zorba
7th Whydunit
Citizen Kane, Chinatown, JFK, every crime
- It is not just Whodunit, Why us as much more than those interested. And so
- we take a journey into the dark world of being human.
- Unlike the Golden Fleece does not change the hero, but the audience.
8th The triumphant fool
Examples: Amadeus, Forrest Gump, Harold Lloyd films
- To the outside is the hero of the village idiot. If you look closely, the wisest of us all.
- against all odds to win the all needy fool against powerful institutions
9th Institutionalized
examples: One Flew Over the Cuckoo's Nest, The Godfather, American Beauty
- It's all about pros and Cons of group loyalty.
- often told from the perspective of the outsider or newcomer.
10th Superhero
Examples: Frankenstein, Gladiator, A Beautiful Mind
- This is the opposite of "A guy with a problem": Here again there is an extraordinary person in the ordinary, the mediocre world.
- Ultimately, it's about being different.
- The key here is that we feel a sympathy for the super heroes.
third It's about someone who ...
The what remains abstract, as long as the Who is not clear. The figures serve the content.
You create a hero who
- the sharpest conflict in that situation offers.
- emotional travels a long way.
- demographic most attractive is (read: young, because these steps all young people to the movies..)
(Focusing Blake Snyder's blocked from the box office and the view of interesting subjects and artistic approaches, but that is it should not. note Dan Richter )
In any case it must not only of their own perception, or at least not hold our own perception of the only one. In this context, it tells the story of his father, who sold advertising time on television. He offered to a wealthy clients want a promotional clip on Sunday afternoon. Its answer: "Sunday is no one at home to watch TV. As yet all play polo. "
The hero should have a basic instinct.
rule of thumb: Give me a hero
- with whom I identify can
- by which I learn can
- which I follow mandatory must
- which, I believe that he deserves to win ;
- in which it is about something Original .
4th Let's Beat it Out
This chapter sets its writer-Snyder Stuktur in which he says that they will spare a lot of editing.
Perhaps this is the chapter in which you can copy the most to bring long-form storytelling at the Impro stage.
The Blake Snyder Beat Sheet
(In parentheses the page number of the 110seitigen script. For a long time writer to the proportions.)
first Opening Image (1)
It gives the whole been a mood, a color. And it corresponds with the final image.
second The subject is named (5)
Often the subject is mentioned by way of a supporting role. Each film (including every piece, every story) has something to . Go
third Set Up (1-10)
Each character is introduced in the first pages, with all its quirks. The goal of the hero, the obstacles, all that is already established here. The set-up is the thesis of the heroic world "before".
4th Catalyst (12)
A moment that changed everything: a telegram. would be released. His own wife with someone caught in the other bed.
"life changing moments often appear disguised as bad news."
5th Debate (12-25)
should go his way, the hero or not?
6th The break in two parts (25)
Something big has to happen to the hero of his can make decision. He must meet them alone, and it must not be lured or taken by surprise.
7th The B-Story (30)
The B story gives us a breathing space and the figures, the opportunity to address the main story, without getting entangled in it. She is therefore often a love story.
8th Fun and Games (30-55)
This is the core of the story, which sees what is in the trailers and the posters. That is why I went to the movies.
9th Center (55)
The center is either a high or a low point. The hero has won an apparent victory or suffered an apparent loss.
The center corresponds to the Everything-is-lost-point (Below 11)
10th The evil burst forth (55-75)
straight to the center is an appropriate time for the bad guys to deal with all the power now to establish the real challenge.
11th All is lost (75)
The breath of death. The mentor dies, so that the student can recognize: He wore himself inside itself.
If death is not to be fit, it may be something figurative or symbolic: A flower, a fish.
12th The dark night of the soul
The moment of hopelessness.
13th The break in three parts (85)
A-and B-Story Story merge. The answer is found.
14th Final (85-110)
The hero has learned his lesson. The villains were defeated. A new society is born.
15th Final image (110)
5th Building the Perfect Beast
40 cards for 4 x 10 movie parts. Each scene must be
as a standing for the film.
6th The immutable laws of screenplay physics
first Save the Cat
The hero, who so often is the beginning of his hero's journey a little hesitant, and perhaps even a little stupid, selfish, etc., needs a sympathetic moment for us as viewers sympathize with him, a connection to him can. Such a moment may be a small, minor action, such as rescue a cat from a burning building. It is also possible to polish a negative hero (as Vince in Pulp Fiction), is in the Upper Rogue (Marsellus Wallace) have shown nastier.
second The Pope in the Pool
introductions and explanations are often deserted in the film itself, but unfortunately sometimes necessary. We solve the situation in which we embed the whole in an interesting setting. In an (unrealized?) Screenplay about, the Pope had a back story to be unraveled. Was allowed to bathe him in the pool.
third Double Mumbo Jumbo
tolerate as an audience only one just a piece of magic per film. You can not see aliens land in a UFO, which are then bitten by vampires and aliens now and are undead.
As bad example is given Shyamalan's Signs . Aliens invaded the earth, and it is about Mel Gibson's loss of faith. God and aliens is a shot too much magic.
(And a Double Mumbo Jumbo Pizza will eventually none.)
(Note DR: In June 2010 I saw a parody on the magnetic Theater Improv Theater New York: Aliens who were dressed as vampires, but really zombies, oh no are actually human robot.)
4. Laying Pipe
are meant for ages introductions until we get to the point. Example, "Minority Report" - 40 minutes introduction, until we know what it is about.
(An exception is definitely psychological. But Hitchcock allowed to do that)
5th Black Vet - Too much marzipan
A variant of the Double Mumbo Jumbo. Too many improbable positive are some of the heroes in one place.
6th Watch out, the glacier!
danger must be immediate. If it is so slow as global warming, a volcano that could erupt at some point, it loses impact.
7th The bow
"bow" means change the figures. Each figure will change over the proceedings with the exception of the villains.
8th No press
Once entering the press or mass media in the little story, they destroy their relevance.
(example: What if the press had appeared in "ET"?)
7th Film corrections
The hero takes the lead:
- The hero needs a target.
- It must not be too easy for the hero.
- The hero must be active.
- Rule of thumb: The hero does not ask questions.
act takes
plot - to show rather than explain.
- If you have the space for action figures, they are the best.
Do the evil villain.
- This increases the challenges for the hero.
movement
- The plot runs through not easy, it changes constantly.
No Small Talk
- Each character must speak to its specific way.
rotation on Gefühlsrad
- not stay on an emotional level.
A Limp and an Eye Patch
- both externally and in character, the figure should be special.
Take a step back:
- It is not so much a matter of objective, than about how the hero reached that goal.
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