A GUIDE TO FEATURE FILM WRITING
A GUIDE TOFEATURE FILM WRITINGa screenwriter’s workbookby j.t. velikovskywww.joeteevee.com2003This work is intended as a critical review of theory in the field of feature film screenwriting.It is not intended for sale. Wherever possible, please buy and read all the texts referenced within.Guide to Writing Feature Films1
INTRODUCTIONSo, Feature Screenwriting: big field. Twenty years ago, there were two books on thesubject. Now there are hundreds. Where to start? Right here is a good beginning First of all, I should say that this workbook is just an Overview of the field. It is intendedmore as an introduction, than a set of free tools’ for feature film writers it is certainlynot meant to replace the original texts themselves.- It contains various facts and figures about the Australian and world film industries (allcurrent at the time of writing, Jan 2003), and various story templates’, but most usefully- it contains summaries of the most important texts on Writing Feature Scripts.This booklet also contains an Overview’ of all the basic career info you need as a featurescreenwriter, ranging from: contact info for the Writer’s Guild, to getting an Agent, andthe Funding Bodies URL’s - right through to formatting and binding your feature script.Perhaps most usefully, it also has tables and worksheets, where you can fill out your ownfilm’s plot beats and character info’ in preparation for writing your masterpiece.But, for the actual nuts-and-bolts of all these writing theories (and let’s face it, that’s allthey are - there are no magic formulae, or else all writers would always write perfectscripts. But if there is one formula, it’s this: Learn all the rules, the forget ‘em and writefrom the heart.) - I implore you, please buy and read the actual original texts themselves.- I don’t wish to deny the likes of Linda Aronsen, Syd Field, Linda Seger, Viki King,John Truby, or Robert McKee their dues. - Lord knows, they all sweated blood for them.(And this also goes for John Lonie, Ron Blair and Helen Carmichael too, from my days atAFTRS. Thank you to a wonderful, hugely-talented, amazingly generous bunch of bornteachers.)So. Hopefully this Workbook will be useful for you, whether you’re a new, or anexperienced screenwriter.- We need great scripts, and more of them; they make great films, which the world needsmost right now Our film stories are our myths. Our myths are what we live by.And just remember, screenplays are never finished - they are only ever abandoned!But hey, you can sure have a blast in the meantime ; )cheerz,j.t. velikovskyscreenwriterwww.joeteevee.comGuide to Writing Feature Films2
THE AUSTRALIAN WRITERS GUILD . 5AUSTRALIAN BOX OFFICE HITS. 6TOP TEN AUSTRALIAN FILMS OF ALL TIME IN AUSTRALIA . 6THE TOP TEN HIGHEST-GROSSING FILMS OF ALL TIME IN AUSTRALIA: (BOX OFFICEGROSS) . 6TOP 50 FILMS in AUSTRALIA. 7U.S. BOX OFFICE MEGAHITS. 8U.S. BOX OFFICE HITS (INFLATION-ADJUSTED). 9TOP 100 AUSTRALIAN FILMS AT THE AUST. BOX OFFICE,1966 TO 11 JULY 2002 . 10AFI WINNERS for BEST SCREENPLAY. 12OSCAR -WINNING SCREENPLAYS. 13A FEW OTHER FILM CLASSICS. 14ONLINE SOURCES FOR FILM SCREENPLAYS. 15WHAT IS A SCREENPLAY?. 16AN OVERVIEW OF THE PROCESS:. 17WHERE TO START?. 18THEME. 19THE CREATIVE PROCESS. 20THE GREEK LEGACY: 3-ACT STORY STRUCTURE. 20THE PREMISE. 21CREATE A GREAT CHARACTER. 22SCREENPLAY CHARACTER DESCRIPTIONS. 23CHARACTER DESCRIPTION TEMPLATE:. 26EXAMPLE SYNOPSIS:. 27THIS FILM’S PREMISE:. 27THE HOOK – and THE VERBAL PITCH. 28ONE-PAGE PITCH’ CASE STUDY: OMMADAWN. 29CONFLICT IS DRAMA . 31CHARACTER. 32ENNEAGRAMS. 33THE 4 HIPPOCRATIC HUMOURS. 34PHYSICALITY: SOMATYPES. 34JUNG’S PERSONALITY TYPES . 35ASTROLOGICAL STAR SIGNS. 36HERO'S JOURNEY CHARACTER ARCHETYPES . 38SYD FIELD'S CHARACTER TEMPLATE. 393-D CHARACTER PROFILE - STRIKING POINTS. 40CHARACTER ARCS . 41STAKES . 42THE HERO or PROTAGONIST . 43CHARACTER PROFILE WORKSHEETS. 44CHARACTER INTERVIEW . 46CREATE 5 MEMORABLE SCENES . 50A CHARACTER’S BACKSTORY. 51JOHN CARROLL’S “9 CORE THEMES”. 52TOBIAS’ 20 PLOTS . 53POLTI’S THE 36 DRAMATIC SITUATIONS’. 54JOHNSTON/BLAKE’S 9 PLOTS. 55GENRE IN FILMS. 56FILMS PRODUCED (BY GENRE) IN AUSTRALIA since 1990. 57AUSTRALIAN FEATURE FILM GENRES . 58STRUCTURE. 59THE HERO’S JOURNEY. 60ROBERT McKEE’S SCREENWRITING METHOD . 63THE STORY MAP. 63BARRY PEARSON’S STRUCTURE. 64ECO & THE JAMES BOND PLOTS . 65DAVID SIEGEL’S NINE-ACT STRUCTURE. 65RICHARD MICHAELS – MEGAHIT STRUCTURE. 66ON THEMATIC VISUAL METAPHORS. 66Guide to Writing Feature Films3
Viki King's INNER MOVIE METHOD. 67THE SCREENPLAY BEAT SHEET’. 68PLOTS and SUBPLOTS - or A,B and C stories . 69QUESTIONS TO ANSWER BEFORE YOU WRITE:. 70THE 15 COMMANDMENTS’. 71OF FEATURE FILM SCREENWRITING. 71SCENE LENGTH. 72EXPOSITION. 73FEATURE FILM LAYOUT. 74BINDING. 74SCREENPLAY TERMS - GLOSSARY. 75DIALOG. 77SOME OTHER DIALOG RULES’: . 78SUBTEXT. 79FAMOUS LINES from films of the 1990’s . 80MEMORABLE LINES FROM AUSTRALIAN FILMS. 80GREAT MOVIE LINES. 81SCRIPT EDITING QUESTIONS:. 87SCRIPT EDITING: THE SCENE-BY-SCENE ANALYSIS . 88SCRIPT ANALYSIS (by SCRIPT ASSESSORS or READERS) . 89USEFUL SCREENWRITING WEBSITES . 90GOVERNMENT FILM BODIES . 90NATIONAL FILM FUNDING BODIES. 90STATE FUNDING BODIES . 90OTHER SITES . 90NEWS & REVIEWS. 90HOLLYWOOD FILM RUMOURS . 90GENERAL FILM INFO. 90BOOKS ABOUT SCRIPTWRITING. 91SCREENWRITING SOFTWARE. 92KEEPING IT LOW BUDGET . 93RESEARCH YOUR LOW BUDGET MOVIE!. 94THE QUERY LETTER* .101FINDING AGENTS, PRODUCERS, DIRECTORS, ACTORS.102RELEASE FORM.103NON-DISCLOSURE AGREEMENT.105Guide to Writing Feature Films4
ABOUT THE AUSTRALIAN WRITERS GUILDWhat is the AWG? The AWG is the professional association for all performance writers that is, writers for film, television, radio, theatre, video and new media.The AWG was established in 1962, and is recognised throughout the industry in Australiaas being the voice of performance writers. And AWGIE awards are coveted, nation-wide.MEMBERSHIP FEES:Full MembershipYour membership fee is based on your Gross Income as per the following tables:Gross IncomeUnder 25 000 25 000 - 45 000 45 000 - 55 000Above 55 000Annual Membership275.00412.50550.00687.50Half-Yearly Membership154225.50291.50360.25Associate MembershipTermFull YearHalf YearCost137.5082.50Script RegistrationYou've soaked each page of your script with effort and inspiration. Don't let your hard work fallprey to opportunism. AWG registration of a work costs 27.50 and is valid for 10 years.With nearly 10 000 scripts given additional protection, it's no surprise script registration is one ofthe most popular services we offer to writers at all career stages. Each script is assigned a uniquenumber in our electronic registration tracking system, then archived in a document storage vaultfor ten years. By printing this registration number on the front page of your script, you'll make itclear you've taken all the right steps to make sure your work remains protected. Scriptregistration through the AWG is only open to financial Guild members.AWG – in South AustraliaBranch Manager: Gabrielle Aujard187 Rundle Street Adelaide SA 5000Postal Address: PO Box 43 Rundle Mall SA 5000Tel 08 8232 6852 Hours 1pm – 5pm (Tuesday And Thursday)email: sa@awg.com.auSource: http://www.awg.com.auGuide to Writing Feature Films5
AUSTRALIAN BOX OFFICE HITSTop ten highest-grossing films of all time in Australia in 2001 (adjusted for inflation):1. The Sound of Music2. Gone With The Wind3. Crocodile Dundee4. E.T.5. Star Wars6. Titanic7. Jaws8. The Sting9. Dr Zhivago10. GreaseTOP TEN AUSTRALIAN FILMS OF ALL TIME IN AUSTRALIA1. Crocodile Dundee2. Babe3. The Man From Snowy River4. Crocodile Dundee 25. Gallipoli6. Alvin Purple7. Mad Max 28. Strictly Ballroom9. Picnic At Hanging Rock10. They’re A Weird MobSource: Ash, R. (1997), The Top 10 of Everything, 2001, Dorling Kindersley,St Leonards, AustraliaTHE TOP TEN HIGHEST-GROSSING FILMS OF ALL TIME INAUSTRALIA: (BOX OFFICE GROSS)1. Titanic2. Crocodile Dundee3. Lord of the Rings: The Fellowship of the Ring4. Harry Potter and the Philosopher’s Stone5. Star Wars Episode 1: The Phantom Menace6. Babe7. Jurassic Park8. Star Wars Episode 2: Attack of the Clones19. E.T.10. ShrekSource : http://www.afc.gov.au/gtp/wctopalltime.htmlGuide to Writing Feature Films6
TOP 50 FILMS in AUSTRALIARelease date Box office ( )1TitanicFox18 Dec 199757,642,943Crocodile DundeeHoyts30 Apr 198647,707,045Lord of the Rings: The Fellowship of the Ring Roads
Guide to Writing Feature Films 1 A GUIDE TO FEATURE FILM WRITING a screenwriter’s workbook by j.t. velikovsky www.joeteevee.com 2003 This work is intended as a critical review of theory in the field of feature film screenwriting. It is not intended for sale. Wherever possible, please buy and read all the texts referenced within.
Film guide 5 Film is both a powerful communication medium and an art form. The Diploma Programme film course aims to develop students' skills so that they become adept in both interpreting and making film texts. Through the study and analysis of film texts and exercises in film-making, the Diploma Programme film
1920 - Nitrate negative film commonly replaces glass plate negatives. 1923 - Kodak introduces cellulose acetate amateur motion picture film. 1925 - 35mm nitrate still negative film begins to be available and cellulose acetate film becomes much . more common. 1930 - Acetate sheet film, X-ray film, and 35mm roll film become available.
Drying 20 minutes Hang film in film dryer at the notched corner and catch drips with Kim Wipe. Clean-Up As film is drying, wash and dry all graduates and drum for next person to use. Sleeve Film Once the film is done drying, turn dryer off, remove film, and sleeve in negative sleeve. Turn the dryer back on if there are still sheets of film drying.
2. The Rhetoric of Film: Bakhtinian Approaches and Film Ethos Film as Its Own Rhetorical Medium 32 Bakhtinian Perspectives on the Rhetoric of Film 34 Film Ethos 42 3. The Rhetoric of Film: Pathos and Logos in the Movies Pathos in the Movies 55 Film Logos 63 Blade Runner: A Rhetorical Analysis 72 4.
3. Stretch Film 24 Key Findings 24 Stretch Film Demand 25 Stretch Film Production Methods (Cast, Blown) 26 Stretch Film Resins 28 Stretch Film Products 30 Demand by Product 30 Stretch Wrap 31 Stretch Hoods 32 Stretch Sleeve Labels 34 Stretch Film Applications 35 Demand by Application 35 Pallet Unitization (Mach
2a. OCR's A Level in Film Studies (H410) 7 2b. Content of A Level in Film Studies (H410) 8 2c. Content of Film History (01) 10 2d. Content of Critical Approaches to Film (02) 17 2e. Content of non-examined assessment Making Short Film (03/04) 25 2f. Prior knowledge, learning and progression 28 3 Assessment of A Level in Film Studies 29 3a.
4 EuropEan univErsity and film school nEtworks 2012 11 a clEar viEw German film and television academy (dffb), Berlin dE film and tv school of the academy of performing arts (famu), prague cZ london film school (lfs) uk university of theatre and film, Budapest hu pwsftvit - polish national film, television & theater school, lodz pl 12 adaptation for cinEma - a4c
1 Advanced Engineering Mathematics C. Ray Wylie, Louis C. Barrett McGraw-Hill Book Co 6th Edition, 1995 2 Introductory Methods of Numerical Analysis S. S. Sastry Prentice Hall of India 4th Edition 2010 3 Higher Engineering Mathematics B.V. Ramana McGraw-Hill 11th Edition,2010 4 A Text Book of Engineering Mathematics N. P. Baliand ManishGoyal
