Writing the Character-Centered Screenplay, Updated and Expanded editionUniversity of California Press, 23 փտվ, 2000 թ. - 249 էջ "We need good screenwriters who understand character." Everywhere Andrew Horton traveled in researching this book—from Hollywood to Hungary—he heard the same refrain. Yet most of the standard how-to books on screenwriting follow the film industry's earlier lead in focusing almost exclusively on plot and formulaic structures. With this book, Horton, a film scholar and successful screenwriter, provides the definitive work on the character-based screenplay. Exceptionally wide-ranging—covering American, international, mainstream, and "off-Hollywood" films, as well as television—the book offers creative strategies and essential practical information. Horton begins by placing screenwriting in the context of the storytelling tradition, arguing through literary and cultural analysis that all great stories revolve around a strong central character. He then suggests specific techniques and concepts to help any writer—whether new or experienced—build more vivid characters and screenplays. Centering his discussion around four film examples—including Thelma & Louise and The Silence of the Lambs—and the television series, Northern Exposure, he takes the reader step-by-step through the screenwriting process, starting with the development of multi-dimensional characters and continuing through to rewrite. Finally, he includes a wealth of information about contests, fellowships, and film festivals. Espousing a new, character-based approach to screenwriting, this engaging, insightful work will prove an essential guide to all of those involved in the writing and development of film scripts. |
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| 1 | |
CHARACTER | 23 |
The Feast of Becoming Carnival and Character | 25 |
Varieties of Voices Within Character | 45 |
Five NotSoEast Pieces Analysis of CharacterCentered Scripts | 63 |
NARRATIVE AND STRUCTURE | 89 |
Beyond the Classical Hollywood Structure | 91 |
Developing a CharacterCentered Narrative | 101 |
The FourteenWeek Character Developing Schedule | 130 |
The FourteenWeek Feature Screenplay | 154 |
LAUNCHING YOUR SCRIPT | 177 |
From Rewrite to Screen An Overview of Options | 179 |
Live Writers Talking Screenwriting 2000 and Beyond | 195 |
Coverage | 207 |
SelfCritiques | 209 |
Your Personal Screenwriting and Video Library | 213 |
Pitching | 113 |
WRITING | 121 |
Prelude to a Screenplay | 123 |
At Long Last the Recipe for a Screenwriters Gumbo with Character | 221 |
Index | 225 |
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acter American film Angeles audience Bakhtin become begin Boyz Buñuel Butch Callie Khouri camera carnival carnivalesque Chaplin character-centered script Chris Cicely Cinema Paradiso Clarice classical Hollywood clearly Coen Brothers comedy course create dialogue documentary embrace Emir Kusturica experience father feel Fiction FILM FESTIVAL filmmakers final Garp genre gumbo Gypsies Hannibal Lecter Hollywood Hood Joel Khouri Kusturica Lambs Lecter lies and videotape lives look Luis Buñuel Maggie main characters minor characters montage movie narrative never Northern Exposure Note novel Orleans Perhan Phone pitch play plot Press Preston Sturges producer protagonist rewrite scene screen screenplay screenwriting sense sequence shot Silence simply Singleton's story storytelling Sturges subplot suggests Sundance tale talk television Thelma & Louise Thelma and Louise Trans University voiceover voices WEEK Woody Allen writing written York young
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Էջ 139 - Sometimes it is said that man cannot be trusted with the government of himself. Can he, then, be trusted with the government of others? Or have we found angels in the forms of kings to govern him? Let history answer this question.
Էջ 28 - Carnival is not a spectacle seen by the people; they live in it, and everyone participates because its very idea embraces all the people. While carnival lasts, there is no other life outside it. During carnival time life is subject only to its laws, that is, the laws of its own freedom.
Էջ 45 - Self-consciousness, as the artistic dominant3 in the construction of the hero's image, is by itself sufficient to break down the monologic unity of an artistic world - but only on condition that the hero, as self-consciousness, is really represented and not merely expressed, that is, does not fuse with the author, does not become the mouthpiece for his voice; only on condition, consequently, that accents of the hero's self-consciousness are really objectified and that the work itself observes a distance...
Էջ 148 - What a pleasure, what a treasure, What a great delight to me, From the cheese and from the onions And the helmet to be free. For I can't enjoy a battle, But I love to pass my days With my wine and boon companions Round the merry, merry blaze, When the logs are dry and seasoned, And the fire is burning bright, And I roast the pease and chestnuts In the embers all alight, — Flirting too with Thratta When my wife is out of sight. Ah, there's nothing half so sweet as when the seed is in the ground,...
Էջ vi - If you start with a real personality, a real character, then something is bound to happen; and you don't have to know what before you begin. In fact it may be better if you don't know what before you begin. You ought to be able to discover something from your stories. If you don't, probably nobody else will.
Էջ 30 - ... novelistic" layers of literary language, they become dialogized, permeated with laughter, irony, humor, elements of self-parody and finally — this is the most important thing — the novel inserts into these other genres an indeterminacy, a certain semantic open-endedness, a living contact with unfinished, still-evolving contemporary reality (the open-ended present).
Էջ 68 - You know what you look like to me with your good bag and your cheap shoes. You look like a rube. A well-scrubbed, hustling rube. With a little taste. Good nutrition's given you some length of bone, but you're not more than one generation from poor white trash.
Էջ 26 - There is no real end to mythological analysis, no hidden unity to be grasped once the breaking down process has been completed. Themes can be split up ad infinitum. Just when you think you have disentangled and separated them, you realize that they are knitting together again in response to the operation of unexpected affinities.
Էջ 29 - Because no two individuals ever entirely coincide in their experience or belong to precisely the same set of social groups, every act of understanding involves an act of translation and a negotiation of values.
Էջ 54 - No, I am not a god. Why liken me to the immortals? But I am your father, for whose sake you are always grieving as you look for violence from others, and endure hardships.