U64022 SCREENWRITING ADVANCED WEEK 4 Seminar: 7-BEAT MODEL IN ROMCOMs SCREENPLAY STANDARDS (3) FILM...

U64022 SCREENWRITING ADVANCED

WEEK 4

Seminar: 7-BEAT MODEL IN ROMCOMs

SCREENPLAY STANDARDS (3)

FILM GENRES (2) Crime thriller/noir

HOMEWORK FOR SEMINAR

• Watch:

- Four Weddings and a Funeral (set 1)

- Notting Hill (set 2)

- Pretty Woman (set 3)

• Write a scene breakdown of the narrative structure and identify the 7-step pattern (including sections building up to each step)

• Bring along your analysis for seminar discussion in week 4. Use a memory stick and be ready to illustrate your analysis in class.

ROMANTIC COMEDIES – 7 BEATS

1. Setup

2. Catalyst

3. Sexy complication

4. Hook

5. Swivel

6. Dark moment

7. Joyful defeat

U64022 Screenwriting: Advanced Level

1 2

3

4 (+)

5

6 7

SCREENPLAY STANDARDS

Master draft, production drafts, shooting script

Drafts and revisions

SCRIPT DRAFTS & PRE-PRODUCTION

Master draftNo dates, no draft number, no copyright logo, no SCENE

NUMBERS, no CONTINUEDs at tops and bottoms of pages

Production draftsOnce a script officially enters pre-production:

• Scene numbers added (both sides of every scene heading, beginning with 1)

• CONTINUEDs added - (CONTINUED) and CONTINUED: (n)

Note: only when a scene is broken between pages, with addition of scene number

• Once the script is “boarded”, it becomes LOCKED (i.e. no more changes to scene numbers) and official “First Draft” (date is added on cover page)


Production draftsAfter completion of each draft, the script is revised

Every revised line (and relevant slug line) add * (right-hand margin)

Deleted scenes OMITTED (relevant pages will remain short)

Added scenes scene number + A, B, C... (e.g. 35A)

Runs of pages (with changes) new material will flow onto following pages. Add an extra “A” page after the last page of the run, before the first following page left unchanged.


Production draftsRevisions and polishes

• Every single round of revisions of the same draft is colour-coded

• Date and (colour) of each set of revision added on top right of title page

• Date and colour of latest revision added on top of each revised page

Colours: white, blue, pink, yellow, green, goldenrod, buff, salmon, cherry, tan

If too many changes, a new draft is written (all revision colours for this draft will start from white again)

FILM GENRES

Types of genres

Crime thriller / noir

Krevolin’s 15-step model

GENRES Macrocategories – comedy, tragedy, and

romance

Genres narrative conventions identify the story FORM

Genre determines some “constants”: Nature of the struggle/conflict (protagonist VS

antagonist) Role of character(s) Role of structure (dramatic shape)

Genre creates expectations in the audience


TYPES OF GENRES

Based on what they tell us (the audience) about (ie. Nature of conflict/struggle):

Wish fulfillment Between wish fulfillment and realism

Realism Between realism and fear

Fear


GENRES OF WISH FULFILLMENT

Always plot-intensive + main character as hero who achieves great feats

Western Action-adventure Science-fiction Historical film Musical


GENRES OF REALISM

Characters in real-life situations.

Police/detective/crime story Thriller

Gangster film War film Situation comedy


GENRES OF FEAR

Where fears and fantasies meet and we (the audience) anticipate the worst

Film noir Screwball comedy Horror


GENRES BETWEEN WISH FULFILLMENT AND REALISM

Romantic comedy Melodrama Biopic Sports film


GENRES BETWEEN REALISM AND FEAR

Farce Satire Moral fable


ROLE OF CHARACTER

Genre presentation of main character VS antagonist

Goal differs based on genres and are related to themes


ROLE OF CHARACTER

All wish fulfillment genres Main character = knight (set of ideals, values) Antagonist = opposing forces Goal = restore order

Ex. Crime story Main character = detective or

investigator Goal = apprehension of the perpetrator

of the crime Theme = crime cannot go unpunished


ROLE OF STRUCTURE

Three acts (related to type of genre and role of characters)

COMEDY CRIME/DETECTIVE1- Meet Crime

2- Lose Investigation

3- Get Apprehension


3-ACTS & STORY ELEMENTS (Krevolin)


ACT 1 (lean and tight)

1-10 Setup establish theme and tone. What’s the film about? (p.7)

11-25 Story established dramatic problem / stakes up audience’s emotional involvement

26-29 Plot/turning point #1 reversal/twist NEW direction (p.29)

i) decision to act

ii) changes the protagonist’s life

iii) related to plot A first, failed confrontation w/antagonist force



ACT 2 (longest, explore characters and relationships)

30-45 Subplots (B, C, D stories etc. established and intertwined)i) affect love interest, best friends, parentsii)related to plot A but not driving force

46-60 Complications on the road to achieve goalNever let up, a “pinch” every 5-10 pages (up and downs, fast and slow)

60 Midpoint. Breather after big confrontation (high point), but won’t last (soon leads to lowest point)

61-87 The world starts to crumblei) subplots come into play or play themselves outii) pushing down protagonist

88-90 Plot/turning point #2 Lowest point (all is lost)i) revelation (epiphany) / realization (catharsis) further decision, (re)action driving force for changeii) affects rest of protagonist’s life (for better of for worse)



ACT 3 (ties up all loose ends, always building, very tight)

91-109 Build up of tension

i) chase or battle scenes

ii) resolution of many subplots

110-115) Big Climax

i) final danger (dead or alive) VS antagonist

ii) final resolution (of dramatic question)

116-119) Epilogue, hero rewarded (money, love)

120) THE END

GENRESRealism: Characters in real-life situations.

Police/detective/crime story Thriller

Gangster film War film Situation comedy

Fear: Where fears and fantasies meet and we (the audience) anticipate the worst

Film noir Screwball comedy Horror


Summary: ROLE OF CHARACTER AND STRUCTURE

Crime story

Main character = detective or investigator

Goal = apprehension of the perpetrator of the crime

Theme = crime cannot go unpunished

COMEDY CRIME/DETECTIVE1- Meet Crime2- Lose Investigation3- Get Apprehension


HOMEWORK FOR WEEK 5

• Watch: Se7en

• Analyse structure:a) Write a scene breakdown b) Identify Krevolin’s 15-step patternc) Identify roles of characters, main conflict, subplots, internal patterns

• Bring along your analysis for seminar discussion in week 5. Use a memory stick and be ready to illustrate your analysis in class.

TUTORIAL

Developing ideas

Dramatize ideas into a short story outline

COURSEWORK - OUTLINE

Develop YOUR OWN story (i.e. no adaptations or remakes)

Structure of 2-page outline• Title (must be captivating to create

expectations) MANDATORY• Written by NAME+SURNAME• Premise (a short statement, 25-30 words

max)• Plot synopsis.

- Include all 3 act breaks- Each act must consist of short paragraphs, each corresponding to a main narrative step in the story.

PREMISES

A short, one to three sentences statement (25-28 words), which captures the essential elements of the screenplay

• Introduce characters (names, job, function)• Introduce main antagonist, conflict and goal• Overriding themes• Set the scene (where and when)• Evoke colour, taste and smell

SHORT SYNOPSIS

• Use present tense.• Style must be fluent and crisp. Use short

sentences, focus on dramatic action (what happens).

• No walls of blahs, write short paragraphs.

• Do not numbered paragraphs.• Event structure of your story (NOT a

scene breakdown: i.e. one-liners).• Events will become sequences of scenes in

the final screenplay.

SHORT SYNOPSIS• Split into 3 acts (indicate) and include

all the essential plot points and story elements.

• Act 1: 4-6 blocks, Act 2: 8-10 block, Act 3: 3-5 blocks

• Synopsis = PLOT (no lengthy descriptions, no explanations, no unnecessary details)

• Keep characters’ description to a minimum (only essential traits when they first appear; no need for physical traits if not essential)

• Specific indications of locations and time must be concise.

SYNOPSIS - SAMPLE

First paragraph from the outline ofWhen Harry Met Sally

1977. Harry Burns and Sally Albright share a long car ride from the University ofChicago to their new, post graduation livesin NYC. En route, they discuss whether a manand a woman can be friends, without sexgetting in the way. Concluding that theycannot be friends, they part ways upon theirarrival.

SYNOPSIS – SAMPLE ANALYSIS

From When Harry Met Sally

1.1977. Harry Burns and Sally Albright 2.Share a long car ride from Chicago 3.En route, they discuss whether a man

and a woman can be friends, without sex getting in the way.

4.In NYC, concluding that they cannot be friends, they part ways.

1 paragraph in synopsis = 4 sequences in script

COURSEWORK ASSIGNMENT 1

Write 2-page story outline Follow guidelines (e.g. apply a model, and

suggestions from tutorial) Choose a genres: either RomCom or Crime-Thriller Stick to instructions in handbook (pp. 10-11) Deadline: Wednesday 2 November Submit: i) printed copy (hand in at start of class);

ii) DOC file (via email, see instructions)

U64022 SCREENWRITING ADVANCED WEEK 4 Seminar: 7-BEAT MODEL IN ROMCOMs SCREENPLAY STANDARDS (3) FILM...

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