Alexander MittaCinema between heaven and hellMOVIES IN EYZENSHNEYNU Chekhov, Shakespeare, Kurosawa, Fellini, Hitchcock, Tarkovsky ..PART ONE. Make a cool MOVIESLaughter, pity, horror are the three strings of our imagination, a stunning dramatic magic.PushkinTo amuse, frighten and cause the tears of compassion - this movie does best.Steven SpielbergFrom Shakespeare to TolstoyAll talented people are talented in different ways. If you want to open the way his talent to those who understand and appreciate you, this book will help you.This book is for the person who wants to write a script to make a film and to play a major role in it.And while you're thinking, when to do it, this book will allow you to get more enjoyment out of movies. Agree, if you know the rules of chess, you do not wait like an ignoramus who will win, and have fun while playing. Movies - chess game abruptly. Spectators in it - our partners, and any movie as good as how well we played with you. Learn the rules of the game and have fun.This game always has several levels. Of course, the easiest first, when the viewer slides over the surface.I heard the audience went with the first level of "Hamlet" with the words:- Well, the movie - six corpses at once! ..What's to argue? The dead are actually even more. This viewer himself a pirate. He tears the film rings and drowns himself in his immortal soul.Through us from morning till night flows are 6-10 movies TV channels simultaneously. They did not linger in the minds of one replacing the other, to immediately be pushed to third. The useless cud become good products.But if you get to the second level, many movies you open the doors to its treasury. What I want to give you - this is the key that opens the Door.Not quite usual key: from the entrance to the studio of the artist.Imagine that you are secretly entered the studio of Michelangelo. See Moses and "Night", half hidden in the stone. An exciting adventure? Like it? Then Godspeed!Drama - is the world of ideas. Each scenario push forward dozens of ideas. The basis of every film put hundreds of ideas. But in each case there are few fundamental ideas that underlie everything. This applies to the drama, part of which is a cinema.Once a famous French essayist Paul Valery asked Albert Einstein: "Tell me how you record your ideas? Do you have a notebook or you pounce on your insights starched shirt cuff? "-" Ideas, you know, come rarely. I remember them all, "- said Einstein. For the essayist Paul Valery paradoxical connection between two disparate phenomena is an idea. For Einstein's idea - is something fundamentally explains the principles on which our world operates.The fundamental ideas of our art does not divide it into high art and low entertainment. Ideas of mass entertainment industry were not born in the offices of movie mogul. They are born geniuses - Stanislavski, Eisenstein, Chekhov, and long before them - Shakespeare, Aristotle, and the same giants. These ideas a bit.The entertainment industry uses only and has successfully developed the fundamental ideas of the drama.As one researcher drama: "From the fact that the commercial drama created for specific recipes, do not be that good dramas are other recipes." It is written in English with caution. But we can say more crudely: "Shakespeare and TV series operate under the same basic rules that underlie each of dramatic structure."HOW I WAS BORN THIS BOOKThirty years I lived in a quiet movie working life, and suddenly lightning flashed me success. Most cherished - American. I did in Russia for the English film producer and, as if on purpose, was at a party in New York, preparing to fly away, when I learned that the American Guild of directors chose the movie "Lost in Siberia" for a special display - the maximum an act of respect for the American movie from the rest of the world - from Europe to Australia.I flew two days in Hollywood. The rules of the drama is called "One simple action" - it starts with any competent plot. Arrived - and rolled! I recognize that every night any large company watching the movie, "Paramount", "Universal", "three old", "Disney" ... "This is the first sign of success - closed Watching movies, which everybody says." I was told: "This is your chance - do not miss it!"Here is the message that the film was nominated for "Told Globe" - the second after the "Oscar" award America. In Hollywood, even a nomination, that is, the last selection before the prize - is a lifelong honor. The producer just went crazy with joy. Further -more England puts the film on "Oscar" as the best film of England non-English language. Every day, the "Hollywood Reporter", the "Verayeti" something the film reported. This is despite the fact that all the previous years, I do not exist in this world.According to the rules of drama, I took off up the dramatic vicissitudes of "happiness." I've got an agent, radiating optimism. My name is on dining and meetings. Once I tell at dinner the idea of a new film, and a big Hollywood director admires: "It's the right thing to Hollywood! You should immediately sit down and write down Bashu story! You will certainly get a 'Told Globe "and" Oscar "! You need a script with which you enter on all the doors that open at this moment for you!"I did not know that all Americans are free to emit and fireworks erupt from itself. Of these, pouring streams, waterfalls gratuitous benevolence. That's fine. But it operates strictly on the territory of "Do not touch my money!"I flew in the sky, thrown crowd admirers of the film. And suddenly they all turned and left. And I fell to the ground. We have not won the "Golden Globe". "Oscar," we, too, have not received. And in a moment I forgot. That's what happens in Hollywood. Companies in the evening looking at the previews talent from New Zealand, Uganda and Brazil. I dined alone and had dinner in the "McDonald's". This, according to the rules of drama, called "The drama develops from happiness to unhappiness."But history must be "a turning point." It turned out I won the grand prize novice - I was offered a job! A small company has closely followed my progress and director chose me for his film.And I said to myself: "to explore all the principles on which the industry works, and apply them to the case." It was an act of the protagonist. Drama interested in a character who overcomes the barriers of obstacles, achieving its goal.I began to study these principles and amazed. It turns out, I knew it. Long before I knew Chekhov and Stanislavsky. There was not a single idea, which turned to my idea of ??the drama. Only the classics created their creation as magicians conjuring over a fire. And the industry has simplified magic recipe to McDonald's. And it helps. I wanted a platform where I could combine my knowledge of the old with the new.And then there was the second turning point, which should be competent in every story. In Hamburg, a new film school - improved copy of "Advanced Directing Courses" in Moscow.I was invited to teach a course directors. I had time, and I was eager to check on someone updated information. When I lived all my pain of a dying medium. Get rid of them - it's like to cut at an appendicitis. Another thing - operate with other people's tumors, this can be learned. Hamburg proved my salvation. We worked as a team and for two years wrote and shot 40 films and countless exercises. In the next two years another fifty. The films were mainly 10, 20, 30 minutes - short stories, where the rules are especially tough. And together we examined how the rules work than they help, why them better than without them. How do they stimulate the imagination. And I realized that I could consciously evaluate every element of the film, see it in the development, understand how to use it to tell a story with a beginning, middle and end.Perhaps it would be right to start a business "scenario, the patients I treat." But I chose to write a book on self-medication.I hope you will not disappoint gay character in this book. The fact that I could never finish reading before the end of a single textbook for drama. This is not a theoretical book, and something like a practical guide Behold hammer, nails here - and plug them into the board.WHY Leo Tolstoy hated SHAKESPEAREDid you know that in the spirit of Leo Tolstoy did not take Shakespeare? Chekhov, laughing, said:- He does not like my plays. He said, "You know what I hate Shakespeare. But your play worse. "Let Chekhov, Tolstoy is not only loved and adored. The story "The Darling," he once for one night twice read aloud households (as I understand it!). But the genius of Shakespeare was harsh."... I read" Macbeth "with great attention - Balagan play. Advanced robber Churkin. ""We read ..." Julius Caesar "- a surprisingly bad.""... What a rude, immoral, vulgar and meaningless product of" Hamlet. ""The sooner people are freed from the false glorification of Shakespeare, the better."This hostility seems inexplicable. Literary shrug and say, "This tastes." It's about a genius? How can we doubt that all the literature he could see sharper than we are?Just think, the problem - you might say. But behind this "stuff" is hiding something poznachitelney. Let us look, Sherlock Holmes: A cigarette butt found at first, and then the body in the closet.To clarify the fog, we need to understand what is different from prose drama. It seems both - literature. Actually therebetweenabyss. And a hundred writers well, if there is one good playwright.Writer creates a picture of the world of words, as an artist paint. Text prose is rich in various turns of phrase, style conveys the unspeakable fineness. Writer describes unsteady mood formulates deep and paradoxical thought. Such prose Bunin, Nabokov. The main thing - in a style that creates sculpted phrases.The text of the drama (including script) is different from prose as day from night. Descriptions are faceless and stereotyped. Dialogue functional. The main thing - it's a fascinating story, where the characters get stranded. Poetry lies in the actions of the actors of the drama, whether they play in the theater or the movies, or in the play in the film.This difference is particularly noticeable when you compare the prose and drama of genius, which God gave both gifts. Chekhov stories indescribably exquisite lyrics, and plays only short dialogues and simple remarks. Poetry somewhere inside. (We will analyze where it hides and how to get there.)Few people have the talent storyteller. Tolstoy and Shakespeare both have this gift. But Tolstoy meant to make up a story just the first step. Tolstoy's novel - it is by one man movies, where the exact manner described in each frame. You read in your mind like a huge screen flashed with stereo sound.Tolstoy not only created a great character, he was director of his novels. The sensational sight in his films shocked viewers novelty.Anna Karenina threw herself under a train. Well, what kind of sensation? And the fact that while in Russia the majority of readers had never seen the railroad. On the whole of Russia was only one that was built - from St. Petersburg to Moscow. Threw himself under a steam locomotive - it was like that now burn in space rocket nozzles. Iron fire-breathing devil ate gentle heroine's body - that's what it was for the spectators' theater in the brain ", which is a novel by Tolstoy.A famous scene jump in "Anna Karenina"! For the first time on the screen all the high society of St. Petersburg! Visibly in superfilm.A great scene in prison and hard labor for delivery in the "Resurrection." For the first time on the screen so openly and violently crying Russian lawlessness.Not to mention the huge mass of the Borodino battle scene in "War and Peace", where tens of thousands of people turn to the rightyour eyes to the bloody cannon fodder. And shown in detail, portraits with incredible imagination and precision. In the real cinema still has not removed any scene comparable to Tolstoy's "theater in the brain."Tolstoy novel-movie offers, and the heart of Shakespeare writes history. You take this heart in your hand - and it is three hundred years alive. Shakespeare wrote the play, then gathers artists and says:- Guys, here's the story, let us together will develop it into a spectacle. Let us not waste time on trifles: Plug the scene stick on the plate will write "forest", on the other - a "lock". Let the audience dosochinil, dovoobrazit.Tolstoy is strongly liking. But thousands of filmmakers die of happiness, being able to develop ideas and turn Shakespeare into their own. The Energy kernel Shakespeare sticks are all talented. Everyone will find their own development. For this work and playwright: he writes not for the readers and for artists. Results of work - a play, a movie, TV series.It turns out that compared to the prose, where the writer does everything himself, drama - semi-finished product? No, my friends, the drama - is a genre, it has the potential of deep penetration into the human characters (we still talk). Tolstoy knew it, rest assured. Genius penetrate the essence of things more deeply than we do. Maybe in the depths hidden incomprehensible to us the mystery of incompatibility?Who remembers Shakespeare and Tolstoy grin. He is clear:Tolstoy - a realist, he has everything in life. And all of Shakespeare poetically exaggerated. Between him and Tolstoy - gulf of different views on art. Certainly not!Each has a dramatic history of the skeleton. Pick up the skeleton of some stories of Tolstoy.The most realistic and socially requested by Tolstoy's novel - "Resurrection ''. This bleeding slice of Russian life from the palaces of the aristocracy to the brothels and stinking prisons. Rarely a novel so much influence on people's minds. And what is the basis of the story? What is the skeleton of the novel?Young handsome Earl seduced an innocent maiden and threw. She rolled into the abyss of life. It is wrongly accused of murder. And then the Count, being sworn in court recognizes the killer maiden seduced them. He is shocked, she wants to save her, to marry - in short, to atone. Count throws an empty social life and follows the Katyusha oil-howl, condemned to hard labor in Siberia.Something I had not heard about the life stories of these graphs. Like Count Sheremetev married serf actress. But that's another story of a long and faithful love. And this is - to save the damsel from the brothel, erase my life, estate, career ... There is one place where these graphs grazing herds. And you know it. It reserved the edge tabloid literature.Are we went out on the hunt for the secret contempt of Tolstoy to Shakespeare, accidentally discovered a secret passion for Tolstoy tabloid melodrama?No. We discovered something entirely different. Rest assured, if Tolstoy abruptly took up a story that he once gave to them ten. But better than that, do not come up. This - is the one that is necessary. In a strong dramatic story has always faced extreme: life and death, honor and betrayal, wealth and povertyone despair and hope. The closer to the stinking breath of hell kuscham angelic heaven, the denser they are closed in the story, the deeper drama pierces the soul of the viewer. The collision of contrasts poetic power of drama lies. This story makes not looking to dig into the text. And the author's ideas get stuck in your heart. It's a story underlies the "Resurrection." It turns out that he was a poet, Tolstoy drama? And how! That's what a genius.And what did he then not shared with Shakespeare? Forget. He does not play any role. Much more important is that we have discovered:in the drama are universal laws for all, including the geniuses even such different as Tolstoy and Shakespeare. (Present company excepted!)For the correctness still Depress the question: what happened between Tolstoy and Shakespeare? My opinion is: inventing a story that will grab the audience by the throat, Tolstoy made the right, but the firststep. If it is a story austere play at the Art Theatre of those times, the Stanislavski, the great director and genius of truth, he jumped from his chair and yell at the whole theater, "Do not believe it!" Or maybe even drop a heart attack.The circuit is really tough. And it is necessary not only to simpletons, but also the most demanding viewers believe everything seen the light of truth, and fell to his knees, crying, "I have sinned! Forgive me, Lord! "Speaking terms of drama, the audience should experience a catharsis - purification through compassion the misfortunes of others. To do this, melodramatic fiction turned into a quivering life.Meeting this challenge will require long months of continuous work, it will absorb the thousands of small ideas and discoveries.Amateur believes that emotional experience achieved in documentary facts of life. If so, then you have to read the newspapers and weep. There's a cool facts. But somehow no one was crying. Because the facts of the drama - nothing. The main thing - how we work with these facts. This is what we are going to do.Tolstoy initial plan developed to a great novel-movie, filmed once and forever. In his film, he does everything himself. He is a writer and director, cameraman and artist. And all the characters from the most minor to major, flickering on the horizon, spiritualized and born only of his talent.But Shakespeare is believed that it is necessary to develop a plan so poetically, to the heart of the history of pulsating life and inspired artists to co-creation. His plays - an energy cluster, the heart of the film or play.Anna Karenina can be only one. You're looking at a star in that role and say, "I do not like!" Because Tolstoy created it in the novel as a living, very accurately.And Hamlet can be a thousand, and all different. Even women have played Hamlet - such as Sarah Bernhardt. Hamlet - the heart of the character of genius, the brilliant energy charge role. Two completely different outcome in the creation of history - Shakespeare and Tolstoy. But both came from the universal laws of drama opened by Aristotle (we'll talk about them)."Heart of History" - a figurative expression. It - the emotional center of the structure of the drama. Each drama is rigidly constructed the skeleton structure. This fact - a big disappointment for the fans of free flight of poetic fancy.Structure - is the basis of every drama, from the ancient Greeks to the present day. It monitors the development of the emotions of spectators to the greatest extent possible. And you know from personal experience that no other art can inspire and excite you for half an hour as a good movie or a play. In the heart of the heart beats of history, born playwright and director.So the first piece of advice: start as Shakespeare, and completed as Leo Tolstoy. In other words, start the story, which beats cardiogram between hope and despair. And ends the film with the utmost care in every detail.Pretty advice. It is necessary to clarify how it is - to become Shakespeare? Honestly. Shakespeare you will not. Too thick. But you understand the laws by which the chaotic energy of life turns into a slender building drama.The drama takes place much creative intuition. Many, but note not all. There are rules that do not stifle the imagination, and, fortrafficking, liberate it. Terms of drama elevate your intuition in a clear sky creativity, give you wings and point the way to the goal.COLLECTIVE Leo TolstoyAny work - a dialogue with the world of the artist. It is on one side, all the other - on the other. Single artist before his canvas, the composer at the piano, the writer - to a sheet of paper or computer.And we have always a lot of drama. In the theater, maybe not so much - a dozen or two. And in a movie ?! It's just a Babylon! Look at the end of any film in the long line of titles - it's all one team. You can not take a step without her.The most versatile genius of the movie - Chaplin, he was a producer, writer, director, star, actor, composer, editor, and certainly somebody else. At least we know that he loved the evenings to teach young actresses, ie was a great teacher. But with him on the set worked as a team - the operator, assistants, sound engineers, and many others.Orson Welles - another wagon. He had no money for the movies, all his life he was looking for them. One day, laboring lectures, he arrived in a provincial university and spoke to a half-empty hall: "Ladiesand gentlemen! I am a famous film director, theater director and radiorezhisser. I'm a writer: I write scripts and plays; I'm an actor - play major roles in film and theater. And I do not understand why I was here so much and have so little. "To build audiences for the film, we need agents and distributors, directors of cinema, TV hosts, lawyers ... If you still remember them in the credits, the musical accompaniment for string names will need a three-verse song.The director is quite enough of his team. How can it inspire?I believe in the positive experience of friendship. But in the movie, alas, it is not always the norm. Too bright personality connected a common cause, and too different.At a premiere I saw the usual, generally picture: director and writer joined hands, raised them up and smiling in all directions, bowing to the audience cheering.- Happy - I said a neighbor. - They have everything: talent, success, friendship.- Yes?Now let's go to a banquet, followed by the number of times one of them will come to the next. I know exactly how many. I bet.- How much? - I asked.- Never ...- You're kidding ...- Yes. One of them told me about something else: "They say that I hate him. What nonsense!How can you hate a person who deserves only one thing - contempt ?! I struggle with the desire not to hit him. No! No!I fight only with nausea. The only thing that consoles me is that I have to throw up on him. However, he did not even notice. Because he is vomiting ... All of his ideas have been someone once eaten and digested. " And so on. And now once again look at their smiles.The gloomy picture? Of course.Something I confess I exaggerated. But not too much.Once upon a time I was a student of VGIK. To us he came to visit the famous writer Andre Spaak. Worked with him famous directors, he had successful films.It seemed to us a stranger from some transcendental world where the stars shine and the people swimming in a pool of success. But the writer was sad, shared his experience of failure and eventually gave up, "Oh, the movie is generally this type of cooperation, where each subsequent erases traces of the previous." My memory may fail, but, in my opinion, he quoted the words of his friend Cesare Dzavattini. If the founder of neo-realism, the sacred cow of Italian cinema, Cesare Dzavattini and prosperous European writer thought the same thing, then, for this is a lot of ground.This negative description of a total way, where all participants belong to the film as part of his personality as for self-expression. "Why are you mutilated my baby ?!" - says one another. And everyone is sure that the child is his.Among beginners is often a powerful creator of one stereotype - "genius" who wants to control every last detail. He curses the stupid staff gets back sullen looks and that sad, heart attacks and nervous breakdowns. Sometimes they do a good movie.But more, much more great outcome occurs when a lot of happy people can honestly congratulate each other at the premiere, and everyone has the right to say, at least to his wife or girlfriend, "This is my movie!" Well, the director is, of course, knows that it is his film.But this applies to professional outcome. Sometimes both. Once I was shooting a movie in Africa, Uganda, and saw a picture: a herd of monkeys ran into a tangerine tree. Monkeys grabbed tangerines nadkusyvali and discarded, grabbing new nadkusyvali and discarded. It seemed to them that the next sweeter. A few minutes later a pack fell and ran away. Under the deserted tree lay a bunch of tangerines bitten. It reminds me of a flock of ignorant action "genius" - as it is destructive.Amateur grabs everything and nothing can bring to mind.But there is in the art of something that seems to stand outside literacy. "Fresh Blood", the intuition of a new generation, the belief that you can say something new. It can not be done without professional control over the creation of the film.The problem of generation of directors formulated Fellini:"Director - Columbus is on the ship. He wants to discover America, and the team wants to go home. " How to inspire sailors? This is a big deal.The minimum you should know that only you control. Profession - this is the ability to keep something under control. Not all, but most importantly. On this occasion, the director and writer, whose intelligence I admire David Mammet told the students in the first lecture:- The director should do three things:1). It is necessary to specify the actor what his actions.2). We have to show the operator where to put the camera.3). After this you should smile. Cool said.1. Determine the action actor, developing your plan of the stage, but not control his emotions. Emotions - a territory actor, his talent, his freedom. Help the actor to develop his emotions in action.2. Show the operator the point of view, say that you want to receive- Threat, happiness, cold - and he will shine its light their magical skills.3. Everyone should be sure: Columbus knows how to swim to America, so smile and encouraging.But if you think about it, it's advice that it is easier to give than to perform. He needs the experience of craft.A similar advice, but honestly, gave to young writers Isaac Babel:- The writer on the shelf should be few books. Only ten or fifteen.- What? - Yelling young writers.- Oh! To do this, read thousands of books.In other words, no advice will exclude the path of personal experience.Let us return to Fellini. You are on a ship, a hand on the wheel, and you smile sailors. It's not enough. In the film, not just actors, but all employees should receive your role. What does it mean?Once in his younger years, I was invited to film the legendary sound engineer. He came, but does not do anything heroic. And I say, Rolan Bykov, who advised him: "What does this all say Rabinowitz! Rabinovich! Same extinct, like everybody else ". But Roland says:"Sasha, you lit it? The role he has written? What is it to play on your team? "Write to staff roles. Give them the opportunity to discover their talents. Everyone wants his work to help the great project.There is an example and abruptly. Vadim Yusov - undoubtedly the best operatorstor of a generation. Venice Film Festival awarded him the prize for best cinematography. He has many other awards. But did you know that in his youth after six years of work at "Mosfilm" was fired from the studio of hopelessness and lack of abilities? At this point Andrei Tarkovsky called him, and talent Yusova dazzling fireworks exploded in "Ivan's Childhood" and "Andrei Rublev." Poor talent craftsmen "Mosfilm" could not give Yusov role in his talent. He died in the stifling atmosphere of mediocrity. But Tarkovsky put an impossible task, and found Yusov extraordinary clarity of the solution. I started with them and I am sure: no Yusova talent Tarkovsky would have other dimensions.Jean Vilar, the French reformer of the theater, said: "In the theater, a group of associates can replace the genius. " Cinema - art is more authoritarian than theater, but the thesis Vilar acts.Let us remember: at the beginning of the path in your hand beats the heart of Shakespeare's history. And in the end - a huge collective Leo Tolstoy, having overcome all storms, is a port "movie premiere."Great shade spoke. Received farewell. Now, to business.Engagement strategyAUDIENCE AND FILMTry to sit down for half an hour in front of a wall and looking at it, concentrate on one thing, which is important for you. It will not work, you start pretty quickly distracted, bored and feel a compulsion. This is what happens in the film that you are uninteresting. One does not tend to just go into a state of prolonged concentration.But the filmmakers must be just that. The audience has to immerse themselves in the film.Amateur problem completely absorbed expression. A professional thinking on how to seize the audience's attention. If we want to lead the audience in the right direction, we have to think about it. Half an hour the audience is sitting in a dark room, and if it has not been taken care of, attention to each viewer will wither. You will lose viewers.The film is due to report something that is continuously increases interest of the audience, so that in the final, he peaked. Then the audience happy.The story we tell is to have an energy charging ing audience. In a well-told stories energy increases and is transmitted to the audience. If you're lucky, in the climax, they forget everything. In a state of maximum internal energy of the audience can reach the summit of happiness bestowed art - catharsis. But we can not rely on luck, intuition. We need to calculate the energy and structure of engagement.Well told film - is, above all, the machine is also producing and emitting energy in the room, an unheard-of energy, forcing millions to worry, crying and laughing. The strategy of the professional story is largely - plan that increases this energy. You can use this knowledge to any degree of freedom. But if you are illiterate, Entertainment reject you with friendly scorn, as is the case currently with Russian films in worldwide box office: virtually none of our films on the wide screen world.Meanwhile, the literacy was characteristic Russian art, not mass, and most elite. The novels of Tolstoy and Dostoevsky devoured the entire world. In Chekhov's plays in the first productions of Stanislavsky's Moscow youth weeks to stand in queues thousandths. Once in America, the Moscow Art Theatre, not only stunned the audience and professionals, but also laid the foundation for what today has provided American show business dominance throughout the world. The Americans do not hide. These well-known facts for some reason, decided to treat the exceptionsignificantly as the magic of high art. Oh, no! Tolstoy, Chekhov and Stanislavsky were artists on the market. The ideology of contact with the audience was a natural part of their artistic life. They did not imagine creativity without power over the audience. It is a tradition of world culture."Hamlet", in addition to all the depths of the philosophical understanding of the essence of being, even a detective thriller with intrigue, murder, poisoning and a bunch of corpses in the final. '' Macbeth "- is not only a tragic epic, but a mystical thriller with ghosts, witches, spirits and revived its head cut off. And the" Resurrection "by Leo Tolstoy - not only the most overt social criticism of society, but the romance of the graph, seducer of innocent girls. Because, in the words of George Bernard Shaw, "We do not choose the path that offers the least resistance to us, and one that provides the greatest benefit."The biggest advantage is the drama when it makes the most of the opportunity to arouse the emotions of viewers. The viewer comes to us as cold as a dog's nose, loaded problems. We have to knock him out of his world and plunge into ours. To do this, we need to initiate it emotions emyutsii maintain and develop emotions to the maximum extent.FIRST STEP. CURIOSITY - GATES OF LOVEOnce upon a time, before the war, at the Gorky Studios filmed one of the first sound film, "How Ivan Ivanovich quarreled with Ivan Nikiforovich." In the story of the pig it was to run through a long maze of corridors in the department, to snatch from the hands of the official paper and eat it.The task seemed impossible. Pig is not a dog - how to teach tricks? Of course, the legendary trainer was called all sorts of living creatures, including pigs - Durov. He twisted a staggering amount - it seems 700 rubles. At that time something unprecedented. The director of the film says:- That's impossible! The director yells:- It's art! For Gogol!Do not cover the same movie ... And the director promised to pay. In addition, Durov demanded 5 pigs doubles, two boxes of jam and boxes of brandy. After this I went on for two months, and asked me not to bother.A week before filming director went to the circus to see how things are going. Durov calms: everything will be fine. Brandy is necessary to add the one that gave the whole used. Add another box of cognac. On the eve of filming the director sends the administrator of the machine for pigs. But in the paddock at the Durov, only one pig.- Where are the others? The simple watchman says:- Ate.- Where's the brandy?- Drunk.Director shaking with fear - really shooting goes wrong? They brought to the studio only pig and put valuable animal in the director's office. From it all now depends.On the day of the shooting appears Durov. No special tools he has no - no whips, no poles with hooks. Says:- Show me where the pig run. The director explains:- Here is our scenery. So it will look like mise en scene: the pig out of here, go down the hall, turn, turn again, this desk officer. Hence, it should take a piece of important paper, eat it and run back. How many days do you need to prepare this staging?- Days? - Surprised Durov. - All at once we take off.- You're probably better to rehearse without electricity, the animal used to the new atmosphere? - Asks the operator.- No, I have all rehearsed. Light the lights, turn on the camera. Pig will do.- A test shoot you do not need?- No samples. All done at once.The operator sets the light. Durov with a pig waiting. Everything is ready to shoot, the band tightened, director validol sucks. Durov gets out of the portfolio jar of jam and smears jam floor, through a meter and a half - the whole future path of the pig. Then smears jam the lower edge of an important paper and puts it on the table. After that says:- We are ready!Pig stiffened, her snout twitches and trembles. She is torn from his hands.Directed commands:- Action! Go!Durov produces pig. She runs down the hall, on the run from the floor licking the jam. He runs up to the table where the official is holding an important paper, grabs it, runs back and eats. All filmed.- Another double can be removed? - Asks the director.- At least ten - meets Durov. - While not a pig feels full of jam. And then the director of the film has broken through:- You are a liar! You do not have any five pigs or brandy! I'm not going to pay big money for such a simple trick!- Goodbye! - Says Durov. - You have seen everything. The second double shoot yourself - here's a pig that's jam.And go. Pig grunts. People are confused. The director yells:- Return Durov! Surely he has a secret! It can not be all that easy to work!Durov returned. Sorry. To pay the full fee. He makes five doubles - one to one.Involving the audience into the world of your story has the same simple solution. All the way to the audience smear jam. And the pig would run wherever you want. Varenna is the information that satisfies curiosity. It should be divided into smaller portions - and in a way. Some intellectuals are shocked at this coarse joke. Read Sigmund Freud and Carl Gustav Jung. Where they say on the remuneration to be received by viewers and readers for their emotional force.We must also share all the information we possess, into small pieces. 1 bit = 1 drop of information, stimulating effect.On a superficial level, it is simple. The stupidest TV program where you have to guess the word letter by letter, attracts the attention of millions. Why is that?Man curious. He has a sense of symmetry - he wants to know everything otgadku mystery.Curiosity - the first level of interest. Who killed this respectable lady? Why is it the butler twitches and sweats during the interrogation by the police? At that time she made her charming niece with her boyfriend in the bedroom in the attic? Why not barking dog?The film asks the audience questions, we drop tsedim answers. Each answer contains a new question. C so by controlling the information, we can keep the audience's attention. Question - Answer the question - answer ... Audiences like pieces of information constitute the whole picture.Curiosity makes us all look like to discover something closed. There are some simple rules as to kindle interest of the audience, telling the story.1. Provide information in small portions.2. Each time inform smaller than the audience wants to know. As long as you control the information you are master of the situation.3. Most tidbits of information Conceal until the end.4. Do not just inform, make the characters to fight for every drop of information. The more labor will be invested in the search for information, the more valuable it is for the audience,In the movie "The epidemic of" complete annihilation threatened the city, affected by the epidemic. US President himself ordered the city to lose the atomic bomb, to prevent the development of the epidemic in the country. But at this point, scientists figured out that somewhere nearby is someone, an animal whose blood is a vaccine. Scientists are looking for salvation.First step. Colonel Daniels (played by Dustin Hoffman) deceit seizes helicopter. Under the threat of murder, he takes off for San Francisco.There, he also difficult, are in the list of ships to unload in the port, one does not pass the proper control. The ship was back in the sea.Daniels knows where he is at the moment, and flies to the ship. By the sea mist. Find the ship difficult. But Daniels finds the ship and risk their lives jumping from a helicopter onto the deck.On the ship, overcoming difficulties, he finds a photograph of the monkey, penetrated into America without quarantine.Please note - the entire process of obtaining information is divided into the smallest particles-bits. And each part gets a hero with great difficulty. What the authors are making it? The fact that viewers are introduced to the history, they want to know how it all turns. This process occurs with increasing drama.Daniels with arms breaks on TV and demands that it immediately gave the ether. It displays the photo and monkeys. People who have seen it, know the animal.Now it is necessary to remove the monkey from the forest. It offers us new challenges. Meanwhile, the enemies want to destroy Daniels.When he finally got the monkey and carries it to the laboratory on a small helicopter, being chased two huge military helicopters.See:- Episodes in the laboratory,- At the military base,- In a helicopter,- Marine management in the office,- In the fog over the sea,- On the ship,- On television,- In the woods,- In the mountains, where there is a hunt for a helicopter Daniels.Everything just to find and deliver to a laboratory monkey.Details of each episode concise, visually obtained with difficulty, through conflict and danger. All this is to limit inflames our curiosity.In submitting the information most important moments of a turning point, when the breath of new information turns the whole story in an unexpected new direction. Such rotations determine the class of history. The unusual turns, the fun stories.That tape adventure play secret information, it is not surprising. But serious movies, you say, do not stoop to the little secrets and speculative delays. You think so?Hero Jack Nicholson - Mack Murphy in "Cuckoo" gets to a psychiatric prison hospital. For half an hour of the film takes place a month of real time. It would seem that Mack Murphy should know about the hospital a hundred times more than we do. Nothing like this. Why is that?Because the director wants the audience, learning a new drop by drop, strained all their attention. Mack Murphy suddenly finds out that he is an eternal prisoner of the hospital: the period of compulsory treatment it is unlimited. So, goodbye freedom? This stunning news he received one week before the end of his prison term. Directed by squeezing maximum information from emotions. In a bad story writers rushed to announce this important news. But a skilled storyteller save up tidbits to use them sharply to turn history.STEP TWO - EmpathyI GAMLET- ITNext, a deeper level of emotional involvement in the dramatic story - empathy. It grows out of curiosity.It arises from the audience when the characters are close and clear it when the audience have shared moral values ??with the characters. Empathy creates identity. We kind of live and act together with the hero, are going through with it, it becomes a problem, we close and clear, we wish his victory over the enemy.This level, as it were as clear. But it is worth noting that the identification is largely on a subconscious level. The collective unconscious of our "I" prompts us to feel empathy and care about the characters that are clear and close to us, have shared with us moral values.On this subject, written by the brilliant psychological works, for example, the German scientist Carl Jung. But even without a clear philosophy: clearer than the character, the more clear it worries and problems. Among the rigid rules "well-told stories" is this: first show attractive qualities of the hero, help the audience to love him or to experience empathy, and only then pay attention to the audience its shortcomings.You have shown the script editor. He praised it, and at the end said: '' But I do not feel able to identify themselves with the hero ... "Forget about compliments - your script hacked on the vine. Would you have left another heroine. The editor knows identification - it trump history, because it determines whether the emotions will get the audience a chance to develop or harden all at the point of mere curiosity.What could be farther from us than the problem of medieval boys, and even a prince? He returned from abroad, interrupted the course of study, as my father died. We would his care ... And suddenly it turns out that his father is not dead, and killed. Not someone, and uncle. A mother sleeping with a murderer in the same bed. Friends betray bride with a mad, can not decide to love her prince ... or betray the shadow of his father Prince says - avenge me. A Prince wants to solve this problem in a new way - to gather evidence, ascertaining guilt. Oh, how he did not want to take up the sword of revenge! Therefore But the worldDirt in the betrayal and evil. Someone has to take the side of light and goodness.- If not me, then who ?! - We speak with Hamlet. What will this guy? What interests us is not exhausted curiosity. We are on his side. Around us similar problems. Centuries have passed, and the air was cleansed from the lies, betrayal, blood. We empathize with Hamlet, and our lives become richer by several centuries of cultural contact.There is a surefire way to arouse our sympathy to the character: to put it in a dramatic situation. On afflict human misery that is stronger than the possibilities of his character - we automatically empathize with him. This is against our will. So our body is programmed: if someone is under stress, our brain action currents arise similar stress. It is a scientifically proven fact. Now go ahead - from empathy and identification to the suspense.STEP THREE - SuspenseSuspense - this is the moment in which the involvement of the audience in the film is most complete.Suspense - this is purely an English word. Language Experts say"Voltage" - is inaccurate and incomplete translation. More precisely it means "busy waiting unbearable."Suspense occurs when danger threatens characters who the audience empathizes. When death threatens good guy, which we loved. How much of this is contained in a good suspense film? Today, 95% of the current repertoire of films - is suspense, pure suspense, and nothing but the suspense. Suspense subjugated all the other elements of the film language. So it would be nice to understand this energy initiator of the film. All the more so for the Russian literary and cinematic tradition, until recently, he was not organic.Suspense - is the reaction of the audience to what is happening here and now. It occurs when the audience and the characters have a moral community, if the audience and the nature of the same emotional charge (he was afraid, and I fear for him; he wants to find the killer, and I want to find the killer). If the audience cares the hero - that he did not die, did not suffer a defeat - there is suspense.Suspense - it is an emotional reaction, this excitement, anxiety, worry, despair, fear ... At the same time curiosity, it is a category of intellectual, pushing you to learn what happens to the hero in the next second. And you are being introduced to the history and the intellect and emotions to the fullest extent.So:Step 1 - curiosityStep 2 - empathy,Step 3 - suspense.Suspense - it is something like the exam, which is held before the audience the constructive elements of the structure. If the dramatic situation is good, it creates suspense. If the drama develops properly developed - you will get everything we wanted, plus the suspense in the development. If the event is properly exposed the conflict, suspense will grow with the threat of the hero and unexpected turns of action.The director, who coined the term "suspense" - Alfred Hitchcock. He called suspense "the most intense representation of the dramatic situation that is possible." Hitchcock told me that when he started making films while still an unknown director, he thought: "What would make all the stars wanted to appear in my films? It is necessary to entice their history, in which there is something mysterious and disturbing, it is necessary to awaken in them a sense. " That's what brings the story to the suspense.Hitchcock once said French director Truffaut:-When I write stories, I was most concerned about are not characters, and stairs that creak.- What it is? - Asked Truffaut.- Stairs that creak and may collapse under the hero. I call this "suspense".The hero goes somewhere, and we know that the ladder beneath him to file a villain and could collapse at any moment. That is, we know more than a hero, and worried for him. Guess he? It will have time to pass a dangerous path? It is the most active suspense.The sister of the dead girl secretly enters the house where the murder took place. She does not know that the killer is hiding in the house now. And we know it. It is a situation of "Psycho." Suspense.What to Hitchcock nobody knew about suspense? It can not be. Shakespeare knew about art all the drama and used everything and, of course, suspense. And that is where he is supposed to be - in the moment of greatest tension.Romeo, after learning of the death of Juliet rushes to her grave. He does not know that Juliet just seems dead. And we know it and are full of despair and compassion for Romeo when he dies next to his beloved a moment before its revival.The first impression of suspense I got a child in a children's theater. Zainka a buxom female impersonator jump on the stage and said:- What a beautiful house! In it, I'll hide from the fox. There, she will not eat me!Hare does not see that Fox is already perched on the roof and maliciously klatsat teeth. And the audience in the hall see and experience. They are for the hare, the moral unity with him. The girl in the front row, putting her palm to her mouth, suggests the hare:- Bunny, do not go into the house. On the roof is hiding fox! But the bunny does not hear. He jumps on stage and sings a song about a beautiful house he had found in the forest. Then the number of the fifth pair of boys has loudly warned:- Hey, Bunny! Look up! On the roof!But the bunny does not hear. Now he will go into the house, I have grasped the doorknob. And then next to me jumped up from their seats, freckled boy of about eight, with two teeth on the third, and yells at the whole hall:- Hey, oblique, bitch, channel! Fox on the roof !!That is the suspense. The hero is in danger. We know more than he does, and worried for him. It is open suspense.But there is also an indoor suspense. We know that the danger exists, but do not know where she was hiding, and the hero does not know. He must get to the goal, but could defeat enemies?This, for example, is the suspense of football. We want to make a noble and favorite team is the good guys, for which we are ill, won the championship. And she prevent villains from a hostile team, which con-undertook the bad guys. How much blood spilled, many fights and injuries! All because the suspense leads viewers into a state of extreme excitement. It is - incredible power generator spectators.Michael Corleone went alone into the enemy camp to punish the murderers of his father. We know that in the toilet of the restaurant to hide the gun, which he must use. A murderer does not know. How to turn an event?Michael Corleone found a gun hidden behind the toilet cistern. Now he shot killers. They have something to tell him, he says, the last time makes sure that only by killing enemies, to save the life of his father. But we are concerned not words, but football this scene. As Michael score his two goals in the heads of enemies? Together with Michael go through dangers, threats and complete unpredictability. One can not assume that will happen in the next moment. The threat of acts here and now. The enemies are stronger than the hero. But he has to win! We do want it! This suspense.A little earlier unarmed father Michael visited the wounded in hospital and found that the father is helpless, disarmed. That's the killer will come to him. Michael picks up his coat collar, puts his hands in his pockets, he looks like an armed guard. But we know that he is defenseless and unarmed. The enemies do not know. How did he get out of this situation? At such moments, the film captures and literally pulls us into the screen. We are there, in the body of beloved Michael, we cheer for him as for myself. All this makes us suspense.Secret lovers happy in each other's arms. They do not know that the heroine's husband interrupted his absences, it is close ... close ... he puts the key in the door. The situation of the joke? No, we are not laughing, we tightened. This suspense. He throws the heroine us from happiness to despair.Hero in the enemy's office looking for important documents. A security guard at this time examining room. The suspense is revealed in action.Little Red Riding Hood goes through the woods to grandmother. A wolf because trees watching her, chattering teeth, - suspense. Children's eyes lit with excitement. Grandmother in a cap under a blanket Little Red Riding Hood meets. She does not know that this is not a grandmother and a wolf. And the children know, and tremble with fear, and desire to know what will happen next. This suspense.The legendary success of "17 Moments of Spring" did suspense - the hero all the time in the center of the danger, it is incredibly superior forces. We believe in him, love him, fear him. The stronger the enemy, the more suspense.Suspense - a threat when the pursuer is breathing in the back - one wrong move and you're dead. The threat by phone from another city to the viewer carries a much smaller charge suspense. Tornado on the horizon -lyubopytno, not more. If a tornado rips off the roof of the hero, you get a good suspense.The lower the chances of rescue, the more suspense. You can plan the growth of suspense, reinforcing an alternative factor in the dramatic situation of the hero. Suspense - adjustment factor.You wince: ah, how primitive! No!Suspense - it is something that is at the heart of the poetics of cinema. All the rules and conventions of film language operate it with the utmost conviction.The magic of EisensteinSuspense compress or expand time at our request. Hitchcock warns at a key moment of suspense time must be stretched. Every second can last at least ten times longer. This helps the audience emotionally involved.How does it work?We stretch the time of installation, showing the same moment from different points of view. Hitchcock such scenes in almost every film.But the first time we've seen it's not Hitchcock. It showed in the famous scene Eisenstein "shooting on the Odessa steps" in the film "Battleship" Potemkin. "There were a few moments of time is stretched to 5-6 minutes due to the fact that the shooting was broadcast simultaneously from different points of view. In addition, there were involved and conditional space. The real staircase in 10-12 times shorter than its image on the screen.So, not only the entertainment industry uses aggressive elements of film language. In fact there is no such boundary, the boundary between art and entertainment.Conditional, stretched time I have used many times in the movie "Crew". For example, in an episode of the earthquake, when the plane hurtling on fire lane. The screen to install it looks 10 times longer than it is supposed to be at the technological truth. Nobody notices that the aircraft rolled about twenty kilometers on the road, covered with fire, explosions, floods, and all that can come into the inflamed head director, first greedily to the disaster on the screen. I said stop, it is contrary to common sense, you spend days removing frames that still will be in the basket. "Odessa Steps" longer than I thought, and no mistake: It's up to the last shot went into the final cut.But more surprising, in this sense, the episode, when the avalanche of burning oil rolls from the mountain on the airfield. Judging by the fact that the episode lasts 5-6 minutes, the mountain is not difficult to figure out, should be the height of 10-15 kilometers. But that no one comes to mind. Not to mention such an obvious thing that the oil can not roll with the high mountains, because it is extracted from the bottom of ancient seas.If I shot the usual dramatic scene, certainly any consultant would say: "Why are your oil storage so high?" But thanks to the suspense rushing from the mountain fire looks like a cruel murderer and an enemy that threatens the hero's death. SpectatorTeli worried, they want to be saved or won heroes. Other unimportant.Hero in suspense operates on the "principle of hunting." He catches up and runs away. When he is catching up with him, like a greyhound, running one -dognat gyrus. If you run away, the actions of others, but also lonely gyrus - to escape from the wolf."The principle of hunting" - the great stereotype of the entertainment industry. In "Terminator 1" 19 key scenes are made on the basis of hunting. And it's not boring and never get bored. Thousands and thousands of hunting we have seen and as many more look. Who is the founder? Hitchcock? Certainly not! Shakespeare used the idea before him.Remember the "Mousetrap"? Hunt for the king, who came up with Hamlet to pull out his secret: the recognition of the murder of King Hamlet -ottsa. The most powerful scene of the play, the most ambitious. Someone who knew the power of Shakespeare and laconic. But he also knew the force of suspense, though that term did not yet exist.Suspense or surpriseTypically, in a tense stage director chooses to submit information to the viewer - with the help of surprise or suspense using.For example, the two talk, and under the table ticking time bomb. To impress the audience, the director concealing information about the bomb. The two make plans for a happy life, and suddenly an explosion scattered them. No one, including the audience, this is not expected. And we are in amazement. But this is only one moment of emotion.And if we know in advance that a bomb underneath the table? Heroes do not know they are reaping now and dance, then go up to the room.They think that they are waiting for a night of love. But we know more of them: they were a matter of minutes. The mechanism is ticking, and we worry more and more. This suspense. It operates cooler, but he opposed the surprise, as we know more characters.The greatest effect of the directors seeking, combining suspense and surprise.I remember the first viewing of the film "Jaws", a long time ago, back in the seventies. Hunters under the water looking for the basking shark. She reversal iron cage in which there was a hunter of sharks. Sam Hunter disappeared. His friends carefully peering into a frightening gloom. And suddenly we have bitten off the head rolls. All the women in the audience screamed in unison with fear.Suspense requires that had created an atmosphere of anxiety, and he helps to create this atmosphere. Viewers love these moments. "Make people laugh, to frighten and cause the tears of compassion - this movie does best," - said the great master of suspense Spielberg.If you believe Hitchcock, suspense distinguishes the neglect of the reliability of the story. What is important is the emotional involvement of the audience in the action. Will you spend time on the reliability argument in the story, there may be an emotional hole. Much more important for the audience emotional integrity, a steady increase in excitement. Suspense is to charge viewers of energy - this is important.Hitchcock talked about it like this: "It is ridiculous to demand from the history of reliability. Piece of life - this is what you can get for free in front of the theater. And the drama - that's life, from which cut out all the boring. The only problem is that you put the camera, -this is the maximum force of the impact of the frame. Everything must be sacrificed to the action. History should be an incredible, dramatic and humanity. "Of course, these statements should be understood in the framework of the poetics of cinema. The behavior of actors in every moment is certainly true. Wednesday, which surrounds the action is certainly true. But time and space are relative. They are going to film editing in reality art product.Hitchcock well knew how to identify the power of cameras in suspense, because it is the logic of the camera is the story of when the screen suspense.It is generally believed that the suspense - it is a tool of films of violence and aggression. And what about the "Godfather"? Or with "Terminator 1"? This film - the legend of how the modern Virgin Mary conceived the new savior of mankind. Modern myth contained in the genre fiction thriller. I think that such films will comprise the mythology of the XX century.Do you want to know about the very first suspense? For this we must remember the ancient Greek tragedy "Oedipus". At the beginning of Oedipus wants to save the city from the plague. However, collecting information, he finds out that he is the culprit of the epidemic, since killed his father and married his mother without knowing anything about the evil fate that doomed it to do so. Now relax and have fun. Pretty cool, even for today's movies.So help yourself feel free. This aggressive elements of drama, at least two and a half thousand years. He removed from the heart of the drama - the ancient Greek tragedy.PART TWO. ELEMENTS ENERGY FILMDramatic situationChoose from a hopeless situationLiterature examines the infinite variety of manifestations of human activity: dream, behold, making plans, feel the subtle flavors of life intersects in the imagination of the Millennium and the vast space.Of all types of human activity drama are primarily interested in what is happening here and now in a dramatic situation. What is 'here' and 'now', no need to explain. And what is the "dramatic situation"? This position of the hero, when the pressure surrounding circumstances stronger than the possible nature of the character. Simply put, when a person is in a hopeless situation. Only it really unites all of the filmmakers. The stalemate here and now. This is called a "dramatic situation".She won an absolute victory over all other forms of human activity, although in the literature there are more subtle and complex description of the processes of the mysterious life of the soul. Take for example the "stream of consciousness" in "Ulysses" Joyce. By comparison, the drama seems rough and primitive form of display of the human soul. In prose, dreams and thoughts of the hero tightly fused with his actions, memory instantly takes you back 20 years, to another country, and then to10 years ahead, in the imaginary world of the future. Finer Association weave whimsical pattern of your mind, it is not particularly limited. What can oppose this drama? Simple rough action here and now.But the dramatic situation makes a person act, straining all its possibilities. The character acts, because he has to find a way out of the dramatic situation in which hit. And hemust find the way immediately, otherwise it will be worse, really bad ...All secret qualities of the soul are strained, swell and open for everyone to see. And this:- Firstly, it stimulates the imagination of the author;- Secondly, it stimulates the imagination of the director and the actors;- Thirdly, it makes the audience forget everything, make sure that the characters are chosen from hopeless situations.In Akaky Bashmachkin - hero of the story "The Overcoat" -fully worn old overcoat. Without his overcoat he gets sick and dies. Sew a new overcoat he can not poverty. What will he do?The teenager had witnessed the murder, which involved large and ruthless force. He would be killed if he did not help to solve the crime. What did he take? (Movie '' Client ").In the provincial town came Auditor. The governor of the city is sure - if the auditor becomes aware of illegalities, officials threaten irons Siberian penal servitude. What will the officials?The adjusted life New York Mafia came new people. They understand that they will get what they want if they will kill the old Godfather - Don Corleone - and kill him ... No, he's still alive. What would take his children?School teacher is afraid of everything in this world. He lives as it protects-substituted holster. And suddenly this case is trying to destroy a loving creature - woman, future wife ... that he will take in response?Young landowner Dubrovsky lost all state. He became a thief, revenge scoundrels and suddenly falls in love with the daughter of his sworn enemy. How will he act?Young and happy handsome Romeo fell in love with the beautiful Juliet. And she loves him. But their happiness is impossible. Families Montagues and Capulets - sworn enemies. What will the love?Homeless seamstress living in the dorm students, loves each of his patron, takes care of him. And suddenly her favorite kicks her out of the house. But she has nowhere to go ... ("Annie" by Chekhov.)This list can be infinitely long, and each product is a clear osoderzhitsya dramatic situation. She - a motor that drives all human relations. It makes not speculate, and do things. It requires that the characters immediately, here and now, before our eyes, solve their problems, they were selected out of the abyss into which they are pushing dramatic situation. This applies equally to the tabloids and high literature to the outstanding feats of the heroes of bestsellers and modest research recesses of the human soul invisible little people.Authors popular techniques not stoop to explain why the situation is dramatic works steadily and reliably. Statistically, this works successfully, so it seems self-evident. But for my students in Russia it was not self-evident. They are attracted by the poetic contemplation of the life of the show, limp and sad moods of joy, or the chaos of life in the chaotic forms, or something else, deeply personal. We all, and filmmakers and audiences, it is useful to understand why it will be better if we work with a dramatic situation.Let's start with the end. How careless students, peeped in response to end of the book. The film has already been completed and in the movies. Look at the crowds that fill the halls of cinemas, - in Germany, France, America, it is. Why do not we crowd into art galleries, do not sit up nights in the library - there is also art? No!Every week we are going in the big hall. Extinguish the light, and we are a half or two hours sitting motionless, craning their necks to the flickering screen fabric. What causes us to do that? Canadian psychologist Hans Selye says we all need stress. Cinema meets this need.Stress - is a brilliant invention of God. Ability to stress inherent in the program of each person. It provided what it once a weak, miserable, naked, became king of nature and built this world. Now we live in a civilized way flow of information among the invisible rays and waves. But it all started when people lived in forests and caves, surrounded by wild beasts who had to kill to survive. God could not have imagined all the options reactions to danger. He came up with the stress - the one and only universal reaction to the strengths of irritation, fear, aggression, joy, sorrow ... Scientists call this a "non-specific response of the body." Once in the field of human attention there is something unusual, anxiety, danger to - his attention automatically mobilized. The organism is released into the blood a huge shot of adrenaline, and for a brief moment his strength increased tenfold. He's getting stronger, running faster eye vigilantly sees and hits the target, it will concentrate in a rage or fear. He rushes to the enemy as the hero, or running away from danger with surprising speed.Stress reaction in all people on Earth are identical. It allowed people to unite in flocks, tribes, peoples and survive. It is due to stress the ancient ancestor of every one of us could win the hunt to drag the carcass to the cave killed boar broil. At night, hugging his girlfriend, forgetting about the cold and fear. He loved to give birth, growChildren and, if lucky, do not die on the hunt, and surrounded by his children and grandchildren in old age, completely worn bearded patriarch of years so to 25. Stress exhausting and wearing all his organs.We are now three times as warm, protected by laws, the adjusted measured life. Scientists say that today we use only 5-7 per cent of our potential stress. But the program has not changed the body. The body needs stress. If we do not get servings of stress we suffer distress or sluggish constant stress that wears out our body creates diseases, neuroses and psychoses. Therefore, we are drawn in a situation of stress.What scientists have discovered, investigated moviegoers? It turns out that they have in mind while watching movies there are weak biotoki stress. In hundreds, maybe thousands of times weaker than the stress of reality. But this apparent stress healer. It gives us joy because it relieves stress, eases the soul allows you to fight and win an imaginary pack of television series and refined Drum.What is the best connects viewers to the screen? Man in a dramatic situation. This is in addition to the consciousness. It is incorporated into the program of our behavior. As soon as I see a person in trouble, I find myself in an imaginary stress beside him and with him looking for a way out. Of course, what this man to me closer and clearer, the connection is complete. But in practice, I connect to eachhome who are experiencing stress. My program works without the stress of my willful participation. It laid the herd instinct.On the basis of this base and built all contact with the audience of the drama. Stress - is the foundation of empathy for my characters in a dramatic situation. If the characters are in a dramatic situation, I most fully identify with them.To summarize. The dramatic situation is determined by three factors:1. The person is in a hopeless situation.2. The threat of this situation forces him to seek a way out.3. He seeks out and enters the fight with an antagonist - with those who threaten it.It is not hard to guess that the dramatic situation - this is the beginning of the conflict.The threat that forces act in a dramatic situation, called the alternative factor. It is expressed in the formula: "What would happen if the hero can not cope with the danger?"Romeo pure mischief goes to the ball, which suits the Capulet family, enemies of his family. He was in danger. It would not be so terrible if Romeo had not seen in the center of the hall of dazzling beauty Woman; He approached her and fell in love .... It was like a thunderbolt. Now he's in the middle of danger.This danger increases after Romeo learns that Dzhulet-she - the daughter of the worst enemy of the family of Montague. It kind of Capulet. But no threat can not stop Romeo. At night, he despised the danger Juliet sneaks into the garden. He knows that we love her, but lovers rendezvous threatens family feud. In the garden and on the balcony of a lot more dangerous than the ball.In the morning he was happy, he wants peace with the family of Juliet. But Tybalt, Juliet's brother kills another Romeo - Mercutio. And Romeo kills Tybalt in response. Now he - the worst enemy of the Capulet family.And so the whole play characters move from one dramatic situation right in the next, even more dangerous.In each situation, they are:1. The bay.2. Must find a way out.3. Enter the fight with antagonists.Shakespeare always increases risk factor increases the alternative, even though this danger is not always present in explicit form. It acts as a suggestion to the director: to make a scene so that the audience held their breath.At the ball carrier is a danger of Tybalt. In the garden of the danger it disappeared into the atmosphere. In any case, the author seems to be saying to the director: you get the right set of products, and banquet, please be talented.If the dramatic situation is weak or absent, the current director can appear dangerous tyranny that Depleteextending the overall design of the film. It's all starting to play their game. Until this is often not good brings. The audience loses the sense that it leads to a specific purpose.The dramatic situation - is the core of any dramatic story and all of the inner world of each character drama. Without dramatic situation the actors have nothing to do. Your tact and skill are made to determine the extent to which the dramatic situation in the story is revealed. But the absence of a dramatic situation accurately defines your professional helplessness.All the stories that captivate us on the screen, developed by a dramatic situation to another. As soon as the hero get out of one, it immediately gets to the next, even more intense. And so all of a half hour.The dramatic situation helps to guess what is hiding under the guise of a character. Drama - is in any case the art of explicit and implicit unmasking. Art arises at a time when a character, a closed protective mask, we're guessing the quivering flesh of the living body. Once through the skin, we feel the heart and see the reflection in the eyes of the soul, vyglyanuvshee from under the mask.Do not think that the dramatic situation is only effective in the "low" genres, and is designed for primitive viewers.Not for sensitive viewers, it is also important, because the deep and complex characters are hiding under the protection of complex masks. Mask - this is not a lie, it is a spiritual and social character of each wear. The man himself may not know where the line between the mask and the essence of his character, is the dramatic situation will not force him to act, choosing the path between betrayal and dedication usual lies and barbed truth, saving cowardice and courage dangerous.In life, we prefer compromise and rituals. Drama puts characters in a situation where they have to direct action to protect the family, themselves and their ideals. They must be saved from famine and death, to solve the problems of love and sex ...All of this is similar to our problems. But her we tend to put off and decide to half-heartedly. A drama shows the characters in extreme situations, which pulled out of the depths of the soul all that capable people. To see how this happens, it is extremely interesting. Actually, for this we go to the cinema - to see the characters at the point of reaching the human experience .In short, the dramatic situation of people with tears cover masks and reveals the true essence. Nowhere, except the movies, we do not see that with such fullness and clarity.As an alternative factor increases, the characters are forced to act. If they start to struggle with an antagonist, or will drown in the muck or climb up or rescuing drowning each other - any action to frustrate their mask. And it is not important the words they say. You have to make the characters act. And mind you, you're not in bad company!Prince Hamlet went back home to Denmark. His father died. Mother soon married his uncle, and the bastard freak, and seems happy in his hairy legs. A GhostHamlet's father says that his uncle killed him during sleep. And the mother seem to realize this. If this is not shit up to his neck, then what is it ?! And shit rises higher. Friends betray my girlfriend is going crazy. King plans the murder of Hamlet, he had already given all the orders, waiting for the corpse. But Hamlet is all looking for evidence. He thinks:'' To be or not to be? "But all the shit comes. And Hamlet is already convinced - the king is guilty. And the king is preparing a new murder - Hamlet. We must act ...A rich landowner, a beauty with a gentle, vulnerable soul, open to love, returned to his estate. It will be sold for debts. Give him a pittance, it becomes impoverished. But another source of the existence of the landowner is not. She say: "cut down your cherry orchard, divide the estate into small pieces and take them to rent cottagers."But the cherry orchard is described in the Encyclopedia. It ancestors lived hundreds of years, many generations. For the landowner cut down the garden - is like cutting off an arm or a rent house of ancestors: the top floor of a brothel, and the bottom - a hangout for drug addicts. It can not save themselves in this way, although to his neck in shit. That's her choice, her fate.These terrible words I describe one of the most poeticdramas of world literature - "The Cherry Orchard." At the heart of all the great dramas are rude, horrible dramatic situation. They require that all characters stripped masks, opposed or were killed. The dramatic situation for the author of the drama is the fullest opportunity to reveal the essence of their characters, open the essence of the war, which the characters lead their lives. Shakespeare, Ibsen, Chekhov, Tolstoy, Dostoevsky, Gogol - not bad company.In fact, this company is so much more. And there, among other things, such nice people as the ancient Greek philosopher Aristotle, who first noticed that the hero must confront the necessity - otherwise, the passive acceptance of it, there would be no freedom. And the victory of freedom does not necessarily come as a result of the victory of the hero. The hero may be killed, but as a fighter, not like a puppy shit. If he atones for the loss of his guilt before fate - this is also a victory for freedom.Between the playwright and the audience is directed to the actors. What they mean dramatic situation?Everything! Absolutely everything.They always seek to ensure, to express his character in the drama of action here and now. A dramatic situation is conducive to this. And it is incredibly productive activates the imagination, helps to find an unusual, bright colors for the development of the author's ideas. Here mobilized all reserves nature proposed by the author.The dramatic situation as pain CHARACTERWe understand how the character reacts to external factors. And what's going on inside? As the energy is born of action?When the man got in a dramatic situation, he should get rid of the fact that it prevents or achieve what he has not. The fact that it fills, can be briefly described as pain. Pain - a good definition for this. When something is badly hurt, everything else is less important. All but a retaliatory action ceases to be relevant.Firstly, the right instinct in nature include motivation retaliatory action - short motive. It is light, illuminates the character inside. Motivation breaks or all levels of nature - conscious, subconscious, instinctive. But a conscious level is required.Motivation is converted into intention - a desire to achieve the goal. Intention - this is a conscious decision. It makes the desire to achieve the goal into action. As long as you have not reached the goal and not get rid of a particular pain, dramatic situation is not resolved. We reached the same goal - one free from pain, go to the next dramatic situation.You break a leg. While she was put in a cast, you will not be able to move on.Your car was in an accident - you can not move further without repair it; or throw it on the road and go on foot.The dramatic situation - a barrier that must be overcome in order to move on. The dramatic story of the character is completely focused on one simple task, doing that can go further. Because of very simple elements, we can create very complex picture of life. They will have one clear advantage. They will find an emotional response, the contact with the audience.From one to another dramatic situation we can move, dragging the excited audience, on one condition: they must be clear experiences of the characters, while viewers are able to connect emotionally to the characters.Among all the arguments and intentions that are both live in the mind of the character, we are interested each time a specific motive, which prompts the character to make a concrete step. Wedrama each time need to choose one dominant motivation.In prose, this is not necessary. For multilayered narrative motivation, reflection, vague intentions and desperate situations the characters - this is normal, natural and competently. But the drama of a fundamentally different character, it must act to fight the antagonist, and involve the audience in empathy. Therefore, every time he has to be only one clear motivation for a clear action. A common way can be incredibly difficult. Each step should be easy.Mammet David said on that occasion: '' The character in every action should be only one motivation, otherwise you will look like a student who says: I was late to class because the bus drivers went on strike, and my aunt fell down the stairs and broke her leg " . The abundance of motivation sinks author's idea, the creative will of the actor and the audience interest.HOW TO START THE STORYEvery story begins with a dramatic situation.How quickly it should reveal? Best of all - at once. The first page of the script, you specify the actions of your movie atmosphere. The second is usually caused dramatic situation in which the character was. It is important to note one restriction. The dramatic situation said problems between people. This is a very important limitation. The problems that arise between the hero and the forces of nature, social phenomena or philosophical concepts in the history of working poor. Everything must be brought to a specific collision living.For Romeo problem - not a social confrontation between the two clans, and his love for Juliet. How to become her husband?For Ranevskaya problem - not a withdrawal from the social scene of the nobility of Russia, and concrete life care. How to escape from poverty? How to arrange the normal lives of the children? How to make peace with the scoundrel lover?For Hamlet's problem - how to punish the murderer of his father?Simple, clear vital questions are declared in the drama at once. The character of the drama appears with your problem.That is, he appears with his dramatic situation. Only care about the fight in the actions of our eyes. This is the drama.In prose quite often we slowlyacquainted with the characters, we get an idea of ??their biographies, features, and gradually from the polyphony of life begins prozvanivat theme of the conflict. She seemed revealed itself gradually fills the entire field of the novel, the story. And may be somewhere inside, guess mysteriously remain uncertain ...But a good start is always drama clear and sharp. Characters need to act and the action does not admit uncertainty. You have to do it. You can not postpone your actions. The story occurs because "somebody wants to get something." We wonder "why he can not do."Characters need to act because they face the alternative factor. What is it - an alternative factor? The origins of alternative factor always in reality. The main threat to the alternative factors act from outside. Clearly marked and sooner formulated an alternative factor - a powerful lever that causes the dramatic situation in motion.Conversely, if an alternative factor is not clear, it is not revealed, the character acts as if against their will, but as a puppet in the hands of the author. You need to he shot - he shoots, and could not shoot - nothing forces him to act here and now. Alternative Factor - one of the key motivations of any character drama.Alternatively, the factorIn every dramatic situation must be present an alternative factor. It threatens the hero. He asks the question: "What are you doing in response to my threat?" While you will not find work and can not make an alternative factor dramatic situation devoid of movement. Alternatively, the factor must give a clear answer to the question - what will happen to the hero if he can not cope with dramatic situation? What a terrible alternative awaits him in this case? This alternative should be specific, real action here and now.Alternative Factor - the weapon of the enemy, weapons antagonist. It is the fear of a specific threat, which operates here and now. The vague and distant threat, the less dramatic situation is tense. Nobody is going to go crazy because of the earthquake, which next year will destroy all of Japan. The tooth, which run up to now -nightmare. If it does not pull out now, inflamed jaw. Alternative Factor - a principle that we derive from the immediate threat here and now.In the life of a great many fears and threats, but they are concentrated in seven categories.1. The blow to self-esteem.2. The professional failure.3. Physical harm.4. The threat of death.5. Threat of family life.6. Threat of life of the population.7. The threat to humanity.Theoretically, these factors are arranged to enhance their role in the development of dramatic situation. But almost every factor can produce the maximum stress and maximum effect.IMPACT ON self-esteemChekhov has a tiny story, "Death of an official." Small official Worms theater accidentally sneezed and sprayed his bald head sitting in front of the general. It was someone else's General Office. Chervyakov was safe. Nothing but the loss of self-esteem. He overcame the barriertimidity - apologized. But I do not get adequate forgiveness. He overcame the barrier of higher - apologized again during intermission. The general dismissed, but not simple, as required by the self-esteem Chervyakova - paternal. The new barrier, higher - Worms is the Office of General and again apologized. Gen. already forgotten about yesterday. Forgotten, but not easy. The barrier is raised even higher. Worms again goes to the general. And then the general scandal exploded and drove Chervyakova. Poor officer came home and died. This joke - a classic example of the dramatic situation in danger of losing self-esteem.There are very honored ideology in which the loss of self-respect is paid by death, and there is not time for jokes. For example, the code of honor of the Japanese samurai. Samurai, "losing face" to kill yourself doing hara-kiri, and we know that it is not empty words.The level and form of self-respect in different cultures have an incredible range. German girls did not lose self-esteem, steamed in the sauna naked next to strange men. They consider you an idiot and a male chauvinist, if you take it as something unusual. For Muslim women in the East and the loss of self-esteem shame - slightly open face. If this woman forced to bare, she would go mad with shame.When a woman is subjected to violence, physical harm can be significant. Punish criminals for damage to self-esteem. For the related trauma. And in obedience to the power of primitive society was male norm. Loss of self-esteem is determined by the level and nature of the civilization in which we live.Self-esteem - a factor that is constantly present in our lives and it is the first signals to us about any troubles.What are the words most often says the wife in a dispute with her husband?- You do not respect me!Loss of self-esteem is active in all ages. The first thing that occurs in a child, when he gets on its feet, it's a sense of identity. I heard the conversation of mother with three year old son:- Why are you yelling? You are nobody. Shut up!- No, I who! No, I am someone! - Shouted the boy.We all want to be "someone." We want to be different from others. Many people, especially the young, a sense of belonging to a person replaces the pack. Nothing is more aggressive than the self-esteem of this aggressive personality - swarms, groups, gangs, whatever you call her. It demands to be recognized in its territory. Bite her self -one bared knives and brass knuckles, if not guns.However, within any hierarchy of the pack is valid. Self-esteem of each member depends on the level in the hierarchy. Self-esteem has always personally associated with the specific objectives and concrete threat of loss of self-esteem.There is no person who would be completely devoid of self-esteem. They have each and every self-esteem may threaten falling to a lower level. The hierarchy of self-esteem is not only for people, it is - a common law of nature in any population. This hierarchy is valid in any animal pack. The leader of the pack of baboons will fight to the death for the right ogulivat all the females of the pack. Deprive him of this right, the loss of self-esteem and stress will kill him.Scientists experimented. In one half of the cells are divided by a glass partition, he was the head of the pack in the other - an ordinary baboon.Ordinary members gave bananas to the first and the leader - the second. To the ordinary into the cell allowed a female, and he happily produce offspring in front of a rabid rage leader. Initially, the leader was furious, then fell into a depression. Enough for three days, to the heart of the leader tore a heart attack. What killed him? Loss of self-esteem.In a civilized society, the loss of self-esteem issue is no less important. "The loss of self-esteem," drives the characters in the dramatic situation. Here they are - our production. You want to use the character in the drama? Check it on "loss of self-esteem." You get what you need.Everyone is very sensitive to the threat of self-esteem. The subconscious mind immediately turns on the mechanism of stress. You sometimes can not understand why your relationship cooled with NN. Rummage in memory or ask a girlfriend to help: women are more sensitive. You are sure toYou find some delicate shot, which pierced the self-esteem you NN.Self-esteem - it is a thin film, which we defend ouremotional territory, its own microclimate. And it is for each person.The energy of the "loss of self-esteem" distorts our usual behavior causes people to do extraordinary things. Therefore, in the development of the dramatic situation a threat to self-esteem works as a constructive factor. He makes the hero take a proactive defense and plan retaliation.PROFESSIONAL FAILUREThis, in essence, codenamed blow that knocks you out of the usual rituals and immediately makes to fight for a place in life. You succeeded. All my life you slowly climbed up the hill - and suddenly an avalanche of depression rip you off. Someone next to resist, but not you. You roll down, and you know that will never get a new chance to get up the hill.In such a position is the character of Michael Douglas in the film "I've had enough!". He lost his job, his wife left him. He has no chance to return to his former life. He is alone in the ring. One against all.The threat of professional failure - an incredible amplifier activeof character. When a character asks a question: what would happen if I failed with this case? - Energy action immediately increased.The surgeon, the character of Harrison Ford in the movie "The Fugitive," succeeded, beautiful wife loved and was loved by her. And suddenly, in an instant everything collapsed. Wife killed, the surgeon falsely accused of murder and sentenced to death. The case helped him escape from prison. He is looking for the killers. Who are they? His colleague, the doctor suffered a professional failure to create a new drug, and the surgeon discovered false reports.Professional failure spins conflict, where you have to win at all costs: in this case the millions invested. Corpses falling one by one. All opponents will be destroyed. And we will take this harmful medication if Harrison Ford did not win. Professional failure, regardless of profession, allows emotionally relive the experience of each character.It may seem that this is an exaggeration spectacular bestseller. But life offers us the real story, where the fight is so bloody as any one of the bestsellers of any one of the classic masterpieces of the past.By 1934, Stalin declared the greatest of all great leaders, genius, father of all the children, scholars and athletes, not to mention the workers and peasants, which he sent millions to labor camps. To consolidate his first place, he called the Congress party functionaries, most of which he had brought to power. And these rascals in a secret ballot put Stalin on the 14th place. At first came the fiery and temperamental, he flunky Kirov, the head of the Communists of Leningrad.For Stalin, it was a "professional failure". And he quic