Research Dossier
After looking at a number of screenplay competitions, such as Scriptapalooza and Bluecat, I have decided to to enter my screenplay into the "Words On Screen" screen play competition. I chose this particular competition as the screenplays are limited to 10 minutes. The competition has 3 sections for fictional screenplays, animated screenplays and an individual student screenplay competition. I intend to enter into both the fictional section and the student competition.
Annotated Script
On the competitions website (http://www.wordsonscreen.org/) they explain the rules and format for the competitions.
Rules
- The script is not currently under a representation, option, or purchase agreement.
- Entries in the screenwriting genre categories must be intended for a broad, studio market.
- Preference may be given to material that has not seen wide circulation.
- The material is entirely original, or you retain the rights to the work submitted and can submit proof of such.
-Screenplays must be limited to 10 minutes long.
Each competition category costs £20 to enter. In the short fiction category, the winner is awarded a £2000 cash prize.
Their screenplay will gain:
- Future development of the into a short film production in collaboration with Charta Productions and Colorbitor Post Production Unit.
- Direct circulation to companies in the 'Words on Screen' industry network/ media partners.
- 1-on-1 consultation sessions for agent representation.
- Distribution of the short film production into international festival circuit.
The deadline for all catergories is the 20th December 2013.
Screenplay Format example:
BBC- Ripper Street- Series 1- Episode 1
Development of Characters
Example: Taxi Driver (Martin Scorsese, US, 1976). Screenplay by Paul Schrader.
Age 26, lean, hard, the consummate loner. On the surface he appears good-looking, even handsome; he has a quiet steady look and a disarming smile which flashes from nowhere, lighting up his whole face. But behind that smile, around his dark eyes, in his gaunt cheeks, one can see the ominous stains caused by a life of private fear, emptiness and loneliness. He seems to have wandered in from a land where it is always cold, a country where the inhabitants seldom speak. The head moves, the expression changes,but the eyes remain ever-fixed,unblinking, piercing empty space.
Key:
- Outer Presence- Red
- Inner Presence- Blue
- Context- Green
Paul Schrader portrays Travis Bickle in an instance, a character who would seem difficult to describe is analyzed and explored in the space of a paragraph. As a reader we learn so much from the character that we begin to build a relationship almost instantly. We learn in the first sentence, his age, that hes a "Loner", "good-looking" and has a "disarming smile". From a readers perspective, were already beginning to try and picture this character in our heads. We then read on to unravel his history, his deep rooted issues that have caused such sadness in his life. Paul Schrader creates a connection with the audience that strength grows stronger as we learn more about him. What makes Travis Bickle so interesting is that as an audience more we examine Travis Bickle, the more we feel towards the character. We begin to feel remorseful and sympathetic for him. Not many films are able to create the strong connections that you have with Travis. Hes a character that you grow fond of and want him to find happiness. Its this connection between an audience and a films characters that can make a film so powerful.
Using Dialogue effectively
Example:
Pulp Fiction - 1994 - Quentin Tarantino
Using Dialogue effectively
Example:
Pulp Fiction - 1994 - Quentin Tarantino
As Brett talks, Jules takes out his gun and SHOOTS Roger
three times in the chest, BLOWING him out of his chair.
Vince smiles to himself. Jules has got style.
Brett has just shit his pants. He's not crying or whimpering,
but he's so full of fear, it's as if his body is imploding.
JULES
(to Brett)
Oh, I'm sorry. Did that break your
concentration? I didn't mean to do
that. Please, continue. I believe
you were saying something about "best
intentions."
Brett can't say a word.
JULES
Whatsamatter? Oh, you were through
anyway. Well, let me retort. Would
you describe for me what Marsellus
Wallace looks like?
Brett still can't speak.
Jules SNAPS, SAVAGELY TIPPING the card table over, removing
the only barrier between himself and Brett. Brett now sits
in a lone chair before Jules like a political prisoner in
front of an interrogator.
JULES
What country you from!
BRETT
(petrified)
What?
JULES
"What" ain't no country I know! Do
they speak English in "What?"
BRETT
(near heart attack)
What?
JULES
English-motherfucker-can-you-speak-
it?
BRETT
Yes.
JULES
Then you understand what I'm sayin'?
BRETT
Yes.
JULES
Now describe what Marsellus Wallace
looks like!
BRETT
(out of fear)
What?
Jules takes his .45 and PRESSES the barrel HARD in Brett's
cheek.
JULES
Say "What" again! C'mon, say "What"
again! I dare ya, I double dare ya
motherfucker, say "What" one more
goddamn time!
Brett is regressing on the spot.
JULES
Now describe to me what Marsellus
Wallace looks like!
Brett does his best.
BRETT
Well he's... he's... black –
JULES
– go on!
BRETT
...and he's... he's... bald –
JULES
– does he look like a bitch?!
BRETT
(without thinking)
What?
Jules' eyes go to Vincent, Vincent smirks, Jules rolls his
eyes and SHOOT Brett in the shoulder.
In this scene Vince and Jules are interrogating a young man, they have just killed his associates and he fears for his life. Vince and Joules are not acting how you would typically imagine an interrogation, they are sarcastic and seem laid back. They are both very intimidating and patronize the terrified man as he struggles to answer Vince and Joules' questions. I found this scene very interesting and superbly written. They fear that both man are able create is incredible. The unfortunate man is so scared he sits paralyzed unable to put together a sentence. Vince and Joules continue to pressure the man, who's in no state to answer the simplest of questions. The man struggles to even understand Joules questions, instead he just replies "what?". It gets to a point were the man has a gun to his head, yet he is still unable to respond to Joules. The scene ultimately ends with both Joules and Vince firing a whole round into the man. The dialogue is key in the scene, we learn a lot about the characters, especially their jobs. The dialogue is also key in creating the fast, and slow pace of the scene. One minute they sit talking about "kahuna burgers" , then they are firing shots into each male. The change of pace creates a dramatic effect that seems to stun you as you watch.
Effective use of scene direction
INT. HENRY'S CAR - NIGHT
Finally on their way, HENRY is driving. JIMMY, in the
passenger's seat, and TOMMY, in the rear seat, embracing
the shovel, are dozing off. The sleepy humming of the wheels
is suddenly interrupted by a thumping sound. At first,
HENRY thinks he has a flat, but the thumping is too
irregular. JIMMY awakens. His eyes are on HENRY. TOMMY
leans forward from the rear seat. Silence. Thump Silence.
EXT. MERRITT PARKWAY - NIGHT
Car pulls off the road onto the grass. HENRY, JIMMY and
TOMMY, still holding the shovel, get out of the car.
TOMMY
Jesus Christ! Miserable bastard!
HENRY opens the trunk and steps back. In the trunk light
WE SEE the mattress cover squirming around. We hear muffled
groans.
TOMMY
(raising the shovel)
Can you believe this no-good fuck?
The prick! He's still alive.
TOMMY suddenly smashes the shovel into the moving, bloody
mattress cover. He smashes it again and again and again.
Cursing BATTS with every swing.
TOMMY
Rat bastard.
(he swings shovel)
No-good, low-life fuck.
TOMMY swings shovel again and again.
Soon the mattress cover stops squirming and TOMMY stops
swinging the shovel. He is exhausted. TOMMY and JIMMY get
back in the car. HENRY is facing the open trunk.
TILT UP and FREEZE ON HENRY'S face slamming the trunk shut.
HENRY (V.O.)
As far back as I can remember, I
always wanted to be a gangster.
I found that this extract from "Goodfellas" to be particularly good in regards to scene direction. One of the reasons I like this scene so much, is due to its simplicity in directing the scene. I've noticed that writers will often over complicate and try to direct a scene with far too much description leaving the reader confused. I found that this extract was written in a simpler, far more effective manner in which we learn a great deal from the characters in such a limited amount of time without us really knowing. The directions are methodical and organised without lacking the creativity and visual effects.
Short Films
Simon Ellis won the International Short Filmmaking Award at Sundance and was nominated for a BAFTA in 2008 with his great short film, Soft. It is the gritty story of a son and father tormented by a gang of vicious youths, but with neither being brave enough to fight back. The short itself is very powerful to watch, it touches on a number of topical issues such as bullying that is commonly affiliated with children. This short focuses on the effects of bullying on an older generation that can be as effected by it than children. The short focuses on the torment that the youths create and the effects that it has on both the son and the father. Its very interesting to see the similarities and differences between the two generations and how they deal with the issues that they are both facing. The short is directed very well with a mixture of original and commonly used camera techniques that create a pleasing balance. The acting is equally as good for a short, which is refreshing to see. However their are moments that you would have to question such as the unusual letterbox scene. The use of alternative camera techniques is also refreshing to see; especially the camera phone shots that helped create that "yobbish" behavior.
The Black Hole, also a British short, shows the fantastical discovery of a portal that allows a typically bored office worker delve into a new and exciting possibility of riches. The office worker is quick to realize the holes potential and begins to steal from the office safe. In his hurried and over eager state, he finds himself falling and trapping himself inside the safe. The short ends focusing on the money laying outside with the office worker knocking from the inside of the safe. The short holds a number of effective elements such as its humor, style, originality and shrewdness. These elements combine to make a visually and comedic effective short. I particularly like how the office worker is portrayed and especially his zombie like behavior, which reminds of "Sean of the Dead".
Theme, Location, Character Research and Similar Existing Media
I have looked into and researched possible locations, the general theme of my short and the type of characters that will feature in the short. The genre of my short, is a story redemption. The story is based around two polar opposite characters who's personalities and connections cause one of the characters to seek revenge against the other. In order to learn more about the type of characters that I would like to portray in my short, I have begun watching a number of films and TV programs that hold similar key aspects such as the characters personalities. One of those films, Arbitrage holds very similar elements as the main character also leads a life of crime, deceit and intimidation. The main difference is that my character Spencer begins to pay the consequences of his actions whereas Robert Miller, played by Richard Gere is able to get away with his life of crime.
Location wise, it is very easy to research as my short is located solely in Spencer office and corridor. To gain a visual understanding of what a typical New York office looks like, I began looking at films based in NY and I also searched the internet for images of actual NY offices so that my own work is as accurate as possible. Even though I don't believe that the location is particularly important it helps to create an effective environment so that characters are more realistic and the short will overall look more professional.
The audience research that I acquired was from a questionnaire that I sent to a wider a range of people as possible. Looking at the research and comparing them to my initial intentions regarding the primary audience. The main target audience are later teens to younger adults. This due to the style and content of the short. The short us something that most teens might not find interesting, however as they get older and begin to find interests in "adult" topics, I feel that the genre will seems more appealing to the young generation of teens about to become adults.
No comments:
Post a Comment