Food. Clothing. Shelter.
Each should have those bare things.
Friday, December 28, 2012
Sunday, December 9, 2012
Learn to Listen
Everywhere you go, questions people ask, pictures and words on walls, etc. will connect with your story.
Example:
The unusual first name of my main character is shared by a baseball player in my hometown. A picture of that player was on the wall of the room I was in for work. A room I had never been in before...the owner of this particular production company I was working for that day walked in just as I looked up from the picture and immediately it clicked...this owner had the exact personality I was writing in my character.
Four to five "signs" a day will suggest something in your story.
Example:
The unusual first name of my main character is shared by a baseball player in my hometown. A picture of that player was on the wall of the room I was in for work. A room I had never been in before...the owner of this particular production company I was working for that day walked in just as I looked up from the picture and immediately it clicked...this owner had the exact personality I was writing in my character.
Four to five "signs" a day will suggest something in your story.
Friday, December 7, 2012
Hegel misinterpreted
Thesis - Antithesis - Synthesis
Misinterpreted Example:
Writer - Editor - writer/editor.
Correct interpretation:
Writer - Non writer =
Now why can't we finish the equation?
They cancel each other out.
Just kidding.
Because we need the 'emotional tool' to create the synthesis between the two.
Example
Whore - Prood - Whore who uses Condoms.
Synthesis is a compromise. It is brought about by the use of a tool.
The use of something outside the body.
Remember - We have Rational - Emotional - Physical.
Emotional and Rational can come in any order but through the use of the physical we get synthesis.
And how sin and syn and original sin mix it up together is up to you to C.
Distillation the Relationships
One must distill the relationships of their characters down to its core.
For example,
Story of Jesus Cruxifiction
Story of War of 1812
Story of The Shining
Jewish leaders convince Pilate his throne is in trouble because of Jesus while it is truly the Jewish Leaders who fear dethroning.
British King convinces Native American's their land is in trouble because of the American Revolutionaries while it is truly the British who fear dethroning from America.
Ghost convinces Jack his throne is in trouble because of his own son while it is truly the ghosts who fear the power of the sun...son.
SO...
The core relationship is Character A tricks Character B to do their bidding against Character C.
Once you distill the relationship down to the core you can then interweave many cultural stories, symbols, and metaphors into yours.
NOTE! "tricks" above is the "emotional tool" used in these three examples. So you use whatever emotional tool you have picked to connect the characters.
For example,
Story of Jesus Cruxifiction
Story of War of 1812
Story of The Shining
Jewish leaders convince Pilate his throne is in trouble because of Jesus while it is truly the Jewish Leaders who fear dethroning.
British King convinces Native American's their land is in trouble because of the American Revolutionaries while it is truly the British who fear dethroning from America.
Ghost convinces Jack his throne is in trouble because of his own son while it is truly the ghosts who fear the power of the sun...son.
SO...
The core relationship is Character A tricks Character B to do their bidding against Character C.
Once you distill the relationship down to the core you can then interweave many cultural stories, symbols, and metaphors into yours.
NOTE! "tricks" above is the "emotional tool" used in these three examples. So you use whatever emotional tool you have picked to connect the characters.
Monday, November 26, 2012
The Middle
Just like writing the body of an essay before you write the intro and conclusion....
Start with the second act before you flesh out the beginning and end.
Meaning just start writing until you figure out a sense of what's going on. then add to the front and back.
Start with the second act before you flesh out the beginning and end.
Meaning just start writing until you figure out a sense of what's going on. then add to the front and back.
Friday, November 16, 2012
5 questions for any creation
1) What's the emotional tool?
2) what's the thematic character? What's the goal?
3) thesis 1?
4) thesis 2?
5) how is the emotional tool used in relation to each thesis? What is the final relationship with the thematic character?
2) what's the thematic character? What's the goal?
3) thesis 1?
4) thesis 2?
5) how is the emotional tool used in relation to each thesis? What is the final relationship with the thematic character?
3 Dimensional Character and 4
1) physical - body type
2) intellectual - hard skills, reason
3) emotion - soft skills, irrational
a 4 dimensional character splits the physical into rational and irrational.
working and dancing
gravity and wind
2) intellectual - hard skills, reason
3) emotion - soft skills, irrational
a 4 dimensional character splits the physical into rational and irrational.
working and dancing
gravity and wind
Wednesday, November 7, 2012
How to write.
Three ways.
Outline.
Script format.
Mixed format.
Outline example:
-Tom enters's office building. Drops briefcase. Man helps but pushes into stairs.
-Tom climbs stairs. Frank rushes by and won't answer Tom directly.
-Tom enters office and employees are in groups whispering
Script format - See Final Draft
Mixed format example:
-TOM(65) walks into the lobby. He drops his briefcase and the paper spills everywhere. MAN(43) walks up and helps him gather. Tom-"Thanks." Man shoves the papers into Tom's briefcase. Man-"Garten's coming down in a minute." Tom looks at him. Tom- "Who?" His papers shoved into his briefcase. Man-"Use the stairs." Tom looks confused. The man pushes him toward the stairs.
-In the stairs, Tom climbs. FRANK rushes down them. "Frank." Frank ignores him. Tom- "What the hell's going on?" Frank rushes past, faintly "you don't wanna know."
-Tom's office floor. EMPLOYEES are gathered in groups. Whispering....
Outline.
Script format.
Mixed format.
Outline example:
-Tom enters's office building. Drops briefcase. Man helps but pushes into stairs.
-Tom climbs stairs. Frank rushes by and won't answer Tom directly.
-Tom enters office and employees are in groups whispering
Script format - See Final Draft
Mixed format example:
-TOM(65) walks into the lobby. He drops his briefcase and the paper spills everywhere. MAN(43) walks up and helps him gather. Tom-"Thanks." Man shoves the papers into Tom's briefcase. Man-"Garten's coming down in a minute." Tom looks at him. Tom- "Who?" His papers shoved into his briefcase. Man-"Use the stairs." Tom looks confused. The man pushes him toward the stairs.
-In the stairs, Tom climbs. FRANK rushes down them. "Frank." Frank ignores him. Tom- "What the hell's going on?" Frank rushes past, faintly "you don't wanna know."
-Tom's office floor. EMPLOYEES are gathered in groups. Whispering....
Tuesday, November 6, 2012
Why are endings so tough?
To the conscious mind of the writer an ending has to be big and complex.
To the audience mind, they expect the ending to be big and complex.
True. An ending can feel big emotionally. And feel complex emotionally.
But to the story mind, the unconscious mind, endings are small and simple.
Dramatica - why it doesn't work.
1) Dramatica mismatches and splits their archetypes. At first glance they seem to make sense but look at it this way.
To construct a story you start with a character. To deconstruct you start with a story. You can't take the pieces you pull from one unique story and put them back together to make a new story.
Yes archetypes are general pieces not unique-specific pieces. True. And that is why when you put general pieces back in order with new character names you get a straight forward general story that fails.
Protagonist - Antagonist(dark mentor)
Guardian(Mentor) - Contagonist(Trickster)
Reason(attractor) - Emotion(attractor)
Sidekick - Skeptic(dark Attractor)
Here's the right way.
Protagonist - Contagonist(trickster)
Guardian(mentor) - Antagonist(dark mentor)
Reason(attractor) - Skeptic(dark attractor)
Sidekick - Emotion(dark sidekick)
2) The mind deconstructs stories the opposite way it constructs a story.
To construct a story you start with a character. To deconstruct you start with a story. You can't take the pieces you pull from one unique story and put them back together to make a new story.
Yes archetypes are general pieces not unique-specific pieces. True. And that is why when you put general pieces back in order with new character names you get a straight forward general story that fails.
Monday, November 5, 2012
Theme, thesis, tools, and archetypes in reference to The Great Gatsby
Story type - "Thesis Understanding"
Theme - How to achieve your dreams?
Thesis 1 - studying and working
Thesis 2 - Stealing and Pretending
Tools -
thesis 1: books and work experience and whatever you can afford
thesis 2: bonds and fancy material things
Nick represents thesis 1. He travels east to study and become a bond salesman. He learns how to become one both literally and figuratively. Literally by studying. Figuratively by learning about and seeing the life of Jay Gatsby.
Jay Gatsby represents thesis 2. He sells bonds that he'll never repay and buys lots of nice things in order to achieve his dream of marrying Daisy.
Archetypes:
Protagonist - Nick Carraway
Trickster - Jay Gatsby
Mentor - Tom Buchanan
Dark Mentor - Dan Cody
Attractor - Nick's father
Dark Attractor - Daisy
Sidekick - Finn
Dark Sidekick - Jordan
Metaphors and Symbols and Allegory:
shades of light
shades of color
the interplay between west and east
gold rush
the dutch coming to the new world (was west to them)
Theme - How to achieve your dreams?
Thesis 1 - studying and working
Thesis 2 - Stealing and Pretending
Tools -
thesis 1: books and work experience and whatever you can afford
thesis 2: bonds and fancy material things
Nick represents thesis 1. He travels east to study and become a bond salesman. He learns how to become one both literally and figuratively. Literally by studying. Figuratively by learning about and seeing the life of Jay Gatsby.
Jay Gatsby represents thesis 2. He sells bonds that he'll never repay and buys lots of nice things in order to achieve his dream of marrying Daisy.
Archetypes:
Protagonist - Nick Carraway
Trickster - Jay Gatsby
Mentor - Tom Buchanan
Dark Mentor - Dan Cody
Attractor - Nick's father
Dark Attractor - Daisy
Sidekick - Finn
Dark Sidekick - Jordan
Metaphors and Symbols and Allegory:
shades of light
shades of color
the interplay between west and east
gold rush
the dutch coming to the new world (was west to them)
The point of school - in the general sense
The point of school in the general sense is to show you how to use tools, within the framework of pretend problems.
Never forget. Your problems are yours and yours alone. Your solutions are yours and yours alone. The tools, we share them.
Each student brings their own problems. Each student can share how they use their tools. Each student finds their own solutions.
Never forget. Your problems are yours and yours alone. Your solutions are yours and yours alone. The tools, we share them.
Each student brings their own problems. Each student can share how they use their tools. Each student finds their own solutions.
What's the greatest hook in the world?
?
Emotional hook. Relationship hook.
A question.
What's a question mark look like? ON ITS SIDE.
UPSIDE DOWN ¿
On the surface, it's the tools used in the story that hook the audience. The tools are what we showcase in a movie trailer.
But underneath, it's the theme, it's that question the story sets up, that lingers in the back of your mind, that hooks you.
Emotional hook. Relationship hook.
A question.
What's a question mark look like? ON ITS SIDE.
UPSIDE DOWN ¿
On the surface, it's the tools used in the story that hook the audience. The tools are what we showcase in a movie trailer.
But underneath, it's the theme, it's that question the story sets up, that lingers in the back of your mind, that hooks you.
Triple fucking threat to conquer creation
Tools:
Word processor.
Professional Screenplays.
Apply every single concept you can find towards your writing and other writers screenplays.
a)Screenplay books, blogs, classes...
Cross Reference the writing process and the "general concept" behind a concept with every similar pursuit.
a)Landscape design, book writing, play writing, menu design, food design, architecture, music design, all levels and types of construction....from a piece of paper to the human body. How is it put together? What is similar in the construction throughout all of these fields?
Thesis: A screenplay. Deconstruct other writers screenplays. Deconstruct other constructors works. "How was this sandwich made?" "How was this chair put together?"
Sunday, November 4, 2012
Protagonist and Trickster - Mirror Archetypes
Reiterating my take that protagonist and nemesis, protagonist and antagonist are NOT mirror archetypes as MANY screenwriters have been led to believe.
The Protagonist and Trickster archetypes are mirror archetypes.
Here is an example.
Meet the protagonist. He wants to become a firefighter. But he also wants to makes his wife happy and she does not want him to become a firefighter.
Meet the trickster. He wants to keep being a firefighter.
Both characters want to be a firefighter for the same reason. Let's say it's "to be a savior." The trickster wants the same "general" goal as the protagonist. AND like the protagonist he's not sure how to get it.
The difference: In most stories the trickster does not have what might be labeled as an "internal conflict" or a "personal conflict."
Take Star Wars IV for example.
The theme is "what makes a successful person?"
Both Luke Skywalker and Darth Vader want to be successful at their chosen job occupation. Both want to be a successful Jedi.
The Trickster already has the toys, the tools, etc. but uses them in hindrance to his goal. Death star, light sabers, space jets.
That explains why they can get in the way of the protagonist achieving their goal.
The Trickster says they want the same thing but unconsciously they want the opposite.
The Protagonist and Trickster archetypes are mirror archetypes.
Here is an example.
Meet the protagonist. He wants to become a firefighter. But he also wants to makes his wife happy and she does not want him to become a firefighter.
Meet the trickster. He wants to keep being a firefighter.
Both characters want to be a firefighter for the same reason. Let's say it's "to be a savior." The trickster wants the same "general" goal as the protagonist. AND like the protagonist he's not sure how to get it.
The difference: In most stories the trickster does not have what might be labeled as an "internal conflict" or a "personal conflict."
Take Star Wars IV for example.
The theme is "what makes a successful person?"
Both Luke Skywalker and Darth Vader want to be successful at their chosen job occupation. Both want to be a successful Jedi.
The Trickster already has the toys, the tools, etc. but uses them in hindrance to his goal. Death star, light sabers, space jets.
That explains why they can get in the way of the protagonist achieving their goal.
The Trickster says they want the same thing but unconsciously they want the opposite.
Friday, November 2, 2012
Screenplays are about Tools - Sorta
The tool of a movie is the marketing poster.
It's what everyone thinks the movies about. It's what everyone calls Theme.
It's what a company's Brand is.
It's the thing everyone wants to know how to use to solve their problem.
It's the glue that connects Theme and Thesis.
It's the ornament that connects function and form.
It's an "abstract idea" - a metaphor/symbol AND it's a tool.
Star wars - "trust", the force and light saber, space jet, death star
Shawshank redemption - Hope, hammer
pulp fiction - second chances, sword, bullet, garage and towel
big lebowski - "a dick" and information (dialectic has two)
toy story 3 - love
fisher king - forgiveness
batman begins - fear
sixth sense - the sixth sense
se7ven - the seven deadly sins
indiana jones and the last crusade - the holy grail
Note:
The tool can be expressed both literally and figuratively. And above I'm intermixing, showing one or both.
Take Batman Begins.
The tool:
Literally - the bat suit, the bat toys, the scarecrow mask and drug
figurativelly - Fear
So ask, how is the tool used by the opposing sides in terms of reaching the goal, answering the theme?
A tool: For Christians- It's what the holy spirit and bible is to God and Jesus.
A tool: It's what screenwriting books and their knowledge are to Writer's and screenplays
A tool: It's what blogs are to readers and "doing work."
It's what everyone thinks the movies about. It's what everyone calls Theme.
It's what a company's Brand is.
It's the thing everyone wants to know how to use to solve their problem.
It's the glue that connects Theme and Thesis.
It's the ornament that connects function and form.
It's an "abstract idea" - a metaphor/symbol AND it's a tool.
Star wars - "trust", the force and light saber, space jet, death star
Shawshank redemption - Hope, hammer
pulp fiction - second chances, sword, bullet, garage and towel
big lebowski - "a dick" and information (dialectic has two)
toy story 3 - love
fisher king - forgiveness
batman begins - fear
sixth sense - the sixth sense
se7ven - the seven deadly sins
indiana jones and the last crusade - the holy grail
Note:
The tool can be expressed both literally and figuratively. And above I'm intermixing, showing one or both.
Take Batman Begins.
The tool:
Literally - the bat suit, the bat toys, the scarecrow mask and drug
figurativelly - Fear
So ask, how is the tool used by the opposing sides in terms of reaching the goal, answering the theme?
A tool: For Christians- It's what the holy spirit and bible is to God and Jesus.
A tool: It's what screenwriting books and their knowledge are to Writer's and screenplays
A tool: It's what blogs are to readers and "doing work."
Archetypes in The Shawshank Redemption in conjunction with Theme and Thesis
"They can't ignore me forever." - Andy Dufresne
The Shawshank Redemption is the story of a hopeless character named Red who's relationship with Andy Dufresne leads him to change his mind and heart.
It is also the story of Andy Dufresne who struggles to come to terms with how the hell he ended up in prison.
The movie contains two thematic questions. For Red it is, "Is Red rehabilitated?" And for Andy it is, "Is Andy Guilty?" (From a writer's standpoint these thematic questions are important, while archetypes are useless.)
The main thesis characters for Red's thematic question are Brooks and Andy.
Both Brooks and Andy illustrate two ways to be set free, to be redeemed.
Red remains in the middle until he must choose a thesis at the end.
At the start of the story, Red, from an intellectual stance is rehabilitated but from an emotional stance he is not. He is institutionalized. He needs to be redeemed, i.e. set free.
The Webster dictionary defines redemption as To recover ownership of by paying a specified sum. Red needs to recover ownership of himself. To Redeem means to set free. Andy helps to redeem Red.
He must witness Andy's actions and learn what it is to Hope in order to be rehab'd emotionally. He must witness Brooks, a character who seems like he's rehabilitated(he's a kind old man), he must witness, hear about, Brooks killing himself. He must learn that a rehabilitated man must have hope in order to be truly rehabilitated.
Red has a problem. He's stuck in prison and he's lost all hope. In fact he sees hope as a dangerous thing to have. When put in front of a parole board he "says all the right things." He looks to others for his freedom, his salvation, he looks to others to tell him when to eat, sleep, and piss. He's institutionalized. He needs to be redeemed.
This is an "Observational" Story-type. One in which the main character observes another character, argues with that character and either changes for the better or remains the same and deals with those consequences.
They're story-types that share a concept in which it is as if the main character is saying to you, the audience, "Here's a story about this guy who changed my heart and mind."
Unique to this type of story is that the protagonist and antagonist "battle" it out while the main character witnesses the events.
These story-types make writers confused in terms of who is the protagonist, who is the main character, who is the hero - but don't worry about labels. Labels won't make you a stronger writer. Understanding thematic questions and how they are explored will.
Other stories like this are "The Great Gatsby" and "Au Revoir Les Enfants."
Hero's Journey archetypes don't seem to flesh themselves out as clearly in this type of story. Probably because the observational character is not actively seeking a goal.
Archetypes:
Observational Character - Ellis Boyd "Red" Redding, he's Irish. But really Red is short for REDemption. Ask Steven King.
Protagonist - non-existent in this story. Now if this was a story in which Andy tries to rally the prisoners to breakout and getaway - okay.
Antagonist - non-existent in this story
Shapeshifter - Warden Norton
Mentor - Red - teaches Andy how to get things. How life in the prison works.
Attractor - Andy - teaches Red how to stand up for himself.
Sidekick - Tommy, Heywood
Trickster - Elmo Blatch
Dark Sidekicks - Three sisters, Parole board, Hadley
FUCK you. Fuck all of you!
www.fuckyouandthesearchengineyoucameinon.com
Archetypes in Star Wars IV in conjunction with Theme and Thesis
Theme of Star Wars: "How to be a successful person?"
Embodying theme we have the protagonist and the trickster.
Luke Skywalker and Darth Vader
Both trying to be a successful person but not sure which thesis to decide on.
Thesis one: Allow the force to work through you.
Mentor Obi wan
Attractor Leia
Sidekicks C3PO and R2D2
Attractor Leia
Sidekicks C3PO and R2D2
Thesis two: Force the force to do what you want.
Dark Mentor Emperor(nemisis, shadow)
Dark Attractor Han Solo
Dark sidekicks Storm Troopers
I'm using the word value Dark to differentiate that two sets of characters support opposing theses. It may not help to get hung up on word values like dark, negative, bad, villain, shadow.
Thursday, November 1, 2012
Theme and Thesis in reference to Batman Begins
BATMAN BEGINS lacks a clear evocation of theme and thesis.
Opening argument: "They’re never the same, Bruce.
Justice is about harmony... revenge
is about you making yourself feel
better." - Rachel
Ending belief: "True things. You made me see that
justice is about more than my own
pain and anger." - Bruce Wayne
Did she Bruce? And how did you come to believe that because I don't recall a single action you took to try to prove the opposite. Did you kill anyone and think, "Shit I don't feel better...I feel worse!" NO. Did you seek revenge and fail to find inner peace? NO.
WELL here's a quagmire: If this story is about Justice to create Harmony vs. Revenge to appease personal feelings. Where in Bruce's story are there markers of Bruce's growth?
NEWS FLASH - There aren't any.
The main conflict rests between Bruce(batman) and Ducard(Ra's al ghul) but it's about trying to get rid of criminals vs. destroy the city and kill all the people in order to go back to primitive times. Ducard believes the entire city is corrupt but this belief has nothing to do with Bruce's belief that revenge will appease his soul.
Wait....What's the problem?
Bruce never wanted to destroy the city. So this conflict has nothing to do with the argument he has with Rachel throughout the movie.
There is no visual personal character change for Bruce Wayne. He reaches his general goal of justice...of stopping criminals without emotional struggle. There are no scenes where he "gives up", "questions what he's doing" etc.
Rachel's feelings that maybe Batman shouldn't be allowed to "work" with the cops...they never quite connect with her opening argument.
Why? Because Batman is not acting against the justice system. He's not killing anyone. He's not seeking personal revenge.
WHERE ARE THE SCENES IN WHICH BATMAN SEEKS REVENGE AND REGRETS DOING SO?
Aigh aigh, captain. They don't exist.
At least the story was entertaining.
For all you readers who want to argue that the theme of Batman Begins is Fear.
Blow it out your a- just kidding.
Sure Bruce is afraid of the bats, he's afraid of Chill who killed his parents....but then....show me scenes in which he has to overcome his fears, scenes where he says "Maybe I can't reach my goal because I'm afraid." Scenes where he wears the batman costume but runs in fear of the criminals.
Bruce Wayne is not afraid. Fear may be a Theme as in a MOTIF in this story but it's not the substance of Bruce Wayne's emotional journey. He never argues that "Fear is something you should not embrace." He simply embraces his fear, dresses up in a bat suit, and kicks ass.
How I used to use Theme and Thesis to develop a screenplay
The following information is stupid:
I don't. Well, I don't pick a theme and start because...
Theme...the thematic question....is the goal line for the writer. Once you find your theme. It's time to move on to a new story. So sure you may have a great idea of what it is halfway through writing it but forget about nailing it down.
Theme is like the anti-goal. It's the goal line that let's you know your done but you don't want to reach it before the story is written.
So this is how I start:
I write some scenes with characters talking. Incorporate locations and costumes and build the world. I write till I get a personal goal line. I write until I get a competing personal goal line. Main character wants this but he also wants this. Each goal line supported by another character trying to convince my character to work towards it.
Then I try to figure out what each personal goal means. Meaning, what thesis is each goal line representing. And I label the thesis one word. Like Safe vs. Risk. Hope vs. Fear. etc. Then I write until I get a story goal line. And I write to see which personal goal line is leading to the reaching of the story goal line. Then I turn the story goal line into a theme. A question. then i write the ending. and i'm done.
Here's an example. Luke skywalker wants to be a successful Jedi. So I create two Jedi's. I have darth vader supporting the idea of using the force. And I have Ben supporting the idea of allowing the force to use him.
So I pull back out of those thesis and find the thematic goal "I want to be a successful Jedi."
Theme: "What makes a successful Jedi." No. I don't look for theme at this point. It wouldn't help me. Theme is the goal line for the writer. So getting there at this point, without having written so much...you can see.
At this point I need to allow the creative force to use me. yeah baby.
So i'm writing these scenes...and it's probably no where near the final draft version, right? I probably have scenes with Darth and Luke in the same room. So ideas come and go and blah blah blah.
So I name these two goals. To use the force. To let the force use me. My two thesis.
So i also have scenes with ben illustrating with luke how the force can use him.
so i'm writing scenes with luke using the force and allowing the force to use him.
So I ask myself how do I illustrate in a big way which one of these thesis works better? So luke is training with weapons, probably make a big weapon he can use. or a big weapon he has to stop with another weapon.
Jet fighters. Air fight.
well, if Darth vader represent using the force. Create a big weapon he can showcase that thesis. Death Star. So i go back early in the story and show how the force can be used. Death star blows up planet. Nice illustration of the use of The Force.
Obiwan with blindfold on luke. Nice illustration of the force using Luke.
hmmm. Okay so I get the idea that the death star will be used again. So Luke must choose which thesis he will become and stop the death star.
then i get the idea that he won't choose until the last possible minute. He's working through both thesis up until the last second.
Theme: So what makes a successful jedi?
Thesis:
Writing is a tough journey because you start with nothing and build toward something.
Thesis:
Analysis is easy because you start with everything and deconstruct toward nothing.
Thesis:
It's always easier to destroy.
I don't. Well, I don't pick a theme and start because...
Theme...the thematic question....is the goal line for the writer. Once you find your theme. It's time to move on to a new story. So sure you may have a great idea of what it is halfway through writing it but forget about nailing it down.
Theme is like the anti-goal. It's the goal line that let's you know your done but you don't want to reach it before the story is written.
So this is how I start:
I write some scenes with characters talking. Incorporate locations and costumes and build the world. I write till I get a personal goal line. I write until I get a competing personal goal line. Main character wants this but he also wants this. Each goal line supported by another character trying to convince my character to work towards it.
Then I try to figure out what each personal goal means. Meaning, what thesis is each goal line representing. And I label the thesis one word. Like Safe vs. Risk. Hope vs. Fear. etc. Then I write until I get a story goal line. And I write to see which personal goal line is leading to the reaching of the story goal line. Then I turn the story goal line into a theme. A question. then i write the ending. and i'm done.
Here's an example. Luke skywalker wants to be a successful Jedi. So I create two Jedi's. I have darth vader supporting the idea of using the force. And I have Ben supporting the idea of allowing the force to use him.
So I pull back out of those thesis and find the thematic goal "I want to be a successful Jedi."
Theme: "What makes a successful Jedi." No. I don't look for theme at this point. It wouldn't help me. Theme is the goal line for the writer. So getting there at this point, without having written so much...you can see.
At this point I need to allow the creative force to use me. yeah baby.
So i'm writing these scenes...and it's probably no where near the final draft version, right? I probably have scenes with Darth and Luke in the same room. So ideas come and go and blah blah blah.
So I name these two goals. To use the force. To let the force use me. My two thesis.
So i also have scenes with ben illustrating with luke how the force can use him.
so i'm writing scenes with luke using the force and allowing the force to use him.
So I ask myself how do I illustrate in a big way which one of these thesis works better? So luke is training with weapons, probably make a big weapon he can use. or a big weapon he has to stop with another weapon.
Jet fighters. Air fight.
well, if Darth vader represent using the force. Create a big weapon he can showcase that thesis. Death Star. So i go back early in the story and show how the force can be used. Death star blows up planet. Nice illustration of the use of The Force.
Obiwan with blindfold on luke. Nice illustration of the force using Luke.
hmmm. Okay so I get the idea that the death star will be used again. So Luke must choose which thesis he will become and stop the death star.
then i get the idea that he won't choose until the last possible minute. He's working through both thesis up until the last second.
Theme: So what makes a successful jedi?
Thesis:
Writing is a tough journey because you start with nothing and build toward something.
Thesis:
Analysis is easy because you start with everything and deconstruct toward nothing.
Thesis:
It's always easier to destroy.
Wednesday, October 31, 2012
theme and thesis in reference to True Grit
Theme: Who wins in the end?
Thesis 1: The head
Thesis 2: The heart
No matter how headstrong we become there will always be a time when we can't ignore our hearts.
Who will catch Tom Chaney?
The law
or Maddie
Lebeof embodying the head, the law, who fails time and time again at catching the bad guy.
Maddie embodying the heart, who convinces rooster to come on the trip, who won't give up, whose got to avenge her father's death.
And Rooster who is being won over by this girl. His heart even leads him to take the girl across many miles, losing his horse, and almost his life, for no payment.
While at the start, rooster along with everyone else, tries to take advantage and get money from maddie.
There is the line about "an act that is wrong in itself and an act that is wrong because of the laws and mores of man." This is the argument in other words. What is wrong because we intellectualize and write it down and what is wrong because we just feel it is wrong. We can't put feelings into words sometimes. We just know it.
Maddie's dark revenge is heart, is emotion and it will not stop at anything until it achieves it's goal. While the law will give up, reason with itself, say it's no use. The heart doesn't reason, it drives, it strives, it is the ultimate engine.
Protag - Maddie Trickster - Tom Channey
Mentor
Dark mentor
Attractor -
Dark Attractor -
Sidekick -
Dark Sidekick -
Thesis 1: The head
Thesis 2: The heart
No matter how headstrong we become there will always be a time when we can't ignore our hearts.
Who will catch Tom Chaney?
The law
or Maddie
Lebeof embodying the head, the law, who fails time and time again at catching the bad guy.
Maddie embodying the heart, who convinces rooster to come on the trip, who won't give up, whose got to avenge her father's death.
And Rooster who is being won over by this girl. His heart even leads him to take the girl across many miles, losing his horse, and almost his life, for no payment.
While at the start, rooster along with everyone else, tries to take advantage and get money from maddie.
There is the line about "an act that is wrong in itself and an act that is wrong because of the laws and mores of man." This is the argument in other words. What is wrong because we intellectualize and write it down and what is wrong because we just feel it is wrong. We can't put feelings into words sometimes. We just know it.
Maddie's dark revenge is heart, is emotion and it will not stop at anything until it achieves it's goal. While the law will give up, reason with itself, say it's no use. The heart doesn't reason, it drives, it strives, it is the ultimate engine.
Protag - Maddie Trickster - Tom Channey
Mentor
Dark mentor
Attractor -
Dark Attractor -
Sidekick -
Dark Sidekick -
Tuesday, October 30, 2012
theme and thesis in reference to Schindler's List
Theme: "What's it mean to be a friend?"
Thesis 1: A friend gives
Thesis 2: A friend takes
this is a story in which the main character, Oskar Schindler embodies the THEME instead of a thesis.
thesis 1 is embodied by the jews
thesis 2 is embodied by goeth and his commanders
schindlers goal is to make money, be successful, but overall be a friend
he witnesses jews thanking him and tries to ignore it. they make money for him for nothing,
he witnesses goeth taking money from him, taking his workers from him,
after each thesis is illustrated in relation to his goal, he knows how to be a friend...to give. he becomes a thesis, he gives his money for the jews and gives them their lives and future generations a chance at life.
-------
now compare a story like this in which the main character embodies the theme and transforms into a thesis. with a story like the big lebowski where the main character already embodies a thesis. It's the writer who embodies the theme in this second story. the writer creates two opposing characters both working toward the same goal.
Thesis 1: A friend gives
Thesis 2: A friend takes
this is a story in which the main character, Oskar Schindler embodies the THEME instead of a thesis.
thesis 1 is embodied by the jews
thesis 2 is embodied by goeth and his commanders
schindlers goal is to make money, be successful, but overall be a friend
he witnesses jews thanking him and tries to ignore it. they make money for him for nothing,
he witnesses goeth taking money from him, taking his workers from him,
after each thesis is illustrated in relation to his goal, he knows how to be a friend...to give. he becomes a thesis, he gives his money for the jews and gives them their lives and future generations a chance at life.
-------
now compare a story like this in which the main character embodies the theme and transforms into a thesis. with a story like the big lebowski where the main character already embodies a thesis. It's the writer who embodies the theme in this second story. the writer creates two opposing characters both working toward the same goal.
Thematic Statement - Save the Cat Beat Sheet
The Thematic Statement, in other words, is in reference to a thesis. Thesis being the answer to the theme. The thematic question so to speak.
So like in batman when Alfred say, "Why do we fall? To better learn to pick ourselves up." This is an argument, a belief that supports one of the thesis' being illustrated in the story.
So the thematic Statement is not the Theme. It supports the thesis that couplets with the theme.
Theme in Batman Begins:
What makes a good vigilante?
Thesis: Someone who uses their power to help better the criminal.
Thematic statement: "we fall to learn how to grow so look for that in others as well."
theme and thesis in reference to shawshank redemption
theme: if we put our faith in others, if we put our hope in others, will everything work out for us?
thesis: no, we must rely on ourselves, stand up for ourselves, believe in ourselves.
thematic question "Is Red rehabilitated?" and "Is Andy guilty?"
thesis character andy dufresene works his way up in the prison using his knowledge and skills. he believes in himself to be able to withstand any torture, and knows right away he'll have to escape through the wall.
now, what's interesting is that as andy stays in prison just as long as red, he too starts to "put his faith in the lord". ultimately believing Warden Norton will listen to Tommy's story and help Andy get out of prison. Andy puts his faith in others until that is quickly squashed with the death of Tommy. Once again Andy picks himself back up and reminds himself what he's known all along.
This idea of relying on others, believing in others, to help you, it happens in religion, it happens in this prison, it can be call institutionalization.
now Red, represents the opposite thesis...he is heavily involved in putting his faith in others, hoping others will help him. First scene with Red he is in a room with parole board. they ask him if he's been rehabilitated....he says yes. He's hoping they will set him free. They don't. Interesting enough, the members of the parole board DO NOT put their faith in Red, the same way the judge, jury, and D.A. did not put their faith in Andy. Andy says he didnt kill them....they don't believe him.
On the other end of the spectrum, Brooks is completely reliant on others, even set free he asks manager to go to the bathroom...he doesnt have any belief in himself and kills himself
Norton is strong at first but comes to rely on Andy to do his dirty work....he ultimately puts his faith in Andy, in others, and look what happens...he kills himself.
Tommy puts his faith in the Warden and gets murdered
Once Red decides to lose hope in others and gain hope in himself, to take a stand for himself, to talk fresh to the parole board, he's set free. they see themselves in Red at that moment, a strong personality that doesnt rely on others, that exudes, "i dont give a shit what you think, i know what i know." that personality must be true.
now Theme could be stated, "If I rely on myself, believe in myself will I be set free?"
Thesis: "Yes, relying on others gets you nowhere but dead."
my take is that the theme question can be phrased, stated in many ways. there is no one right word order, it should simply contain the idea of the story. and same goes for thesis.
More info:
http://screenwritingessential.blogspot.com/2012/11/archetypes-in-shawshank-redemption-in.html
thesis: no, we must rely on ourselves, stand up for ourselves, believe in ourselves.
thematic question "Is Red rehabilitated?" and "Is Andy guilty?"
thesis character andy dufresene works his way up in the prison using his knowledge and skills. he believes in himself to be able to withstand any torture, and knows right away he'll have to escape through the wall.
now, what's interesting is that as andy stays in prison just as long as red, he too starts to "put his faith in the lord". ultimately believing Warden Norton will listen to Tommy's story and help Andy get out of prison. Andy puts his faith in others until that is quickly squashed with the death of Tommy. Once again Andy picks himself back up and reminds himself what he's known all along.
This idea of relying on others, believing in others, to help you, it happens in religion, it happens in this prison, it can be call institutionalization.
now Red, represents the opposite thesis...he is heavily involved in putting his faith in others, hoping others will help him. First scene with Red he is in a room with parole board. they ask him if he's been rehabilitated....he says yes. He's hoping they will set him free. They don't. Interesting enough, the members of the parole board DO NOT put their faith in Red, the same way the judge, jury, and D.A. did not put their faith in Andy. Andy says he didnt kill them....they don't believe him.
On the other end of the spectrum, Brooks is completely reliant on others, even set free he asks manager to go to the bathroom...he doesnt have any belief in himself and kills himself
Norton is strong at first but comes to rely on Andy to do his dirty work....he ultimately puts his faith in Andy, in others, and look what happens...he kills himself.
Tommy puts his faith in the Warden and gets murdered
Once Red decides to lose hope in others and gain hope in himself, to take a stand for himself, to talk fresh to the parole board, he's set free. they see themselves in Red at that moment, a strong personality that doesnt rely on others, that exudes, "i dont give a shit what you think, i know what i know." that personality must be true.
now Theme could be stated, "If I rely on myself, believe in myself will I be set free?"
Thesis: "Yes, relying on others gets you nowhere but dead."
my take is that the theme question can be phrased, stated in many ways. there is no one right word order, it should simply contain the idea of the story. and same goes for thesis.
More info:
http://screenwritingessential.blogspot.com/2012/11/archetypes-in-shawshank-redemption-in.html
Monday, October 29, 2012
screenwriting is messy
you've got a thematic question that rides through a story
you've got the thesis answer riding high
and you've got the "external" plot moving along
and you've got many labels for the same thing, protagonist = main character
thesis - It's a very hard thing to explain.
you're main character is illustrating a thesis, illustrating it working and not working
you've got people whispering genre, structure, acts, character types, and all things that take up brain time that don't lead to thesis' storytelling.
the writers that write well don't teach, they do.
and if they did teach theyd have a hell of a time explaining how they do it.
it's simple yet complex.
it is learned by testing and reviewing and testing again.
starting off, i just write scenes, i play, a character who wants something and wants something else, then after rereading and playing in a few drafts, then i keep a thematic word.
you've got the thesis answer riding high
and you've got the "external" plot moving along
and you've got many labels for the same thing, protagonist = main character
thesis - It's a very hard thing to explain.
you're main character is illustrating a thesis, illustrating it working and not working
you've got people whispering genre, structure, acts, character types, and all things that take up brain time that don't lead to thesis' storytelling.
the writers that write well don't teach, they do.
and if they did teach theyd have a hell of a time explaining how they do it.
it's simple yet complex.
it is learned by testing and reviewing and testing again.
starting off, i just write scenes, i play, a character who wants something and wants something else, then after rereading and playing in a few drafts, then i keep a thematic word.
screenplays and essays and thematical creation using the big lebowski as a reference
title - theme
intro - main character
thesis - wants
evidence illustrations - but
close - ends when
First, note the Big Lebowski is a dialectical story type. See Pages for reference.
a) thematic question and goal
b) opposing thesis' concerning goal
c) third thesis, synthesis
big lebowski
a) what makes a man today? and "to be a man"
b) "Take a stand." and "be a pushover, a pacifist"
c) "Take a stand, but as a woman"
this story explores, argues, and illustrates, the gender role reversal that has taken place in the U.S.A. By asking What makes a man today? We are hooked and wonder and are shown how what we thought makes a man today is dying or dead and a new feminine man is here.
intro - this is a man's world - cowboys, gulf war, guns and fights
thesis' - take a stand to get what you want
evidence - taking a stand fails in every scene they try to use force, feminine men, men castrating each other symbolically, powerful female characters
close - maude solves the mystery for the dude, this is a woman's world.
thematic illustration of the feminizing of the former man's world:
bowling balls taking down pins - men throwing bowling balls to take down pins (man castrating himself)
jesus flashing a kid, the way a woman might flash her breasts, and wearing tight feminine clothing
long hair on many characters
donnie - ultimate pushover, (old world behavior of women)
eastern style rugs
porn king jackie treehorn losing production quality because of amateur video, man who makes money objectifying women---losing power
maude taking rug back, having man servants, tricking and taking sperm from The
Dude, giving allowance to her father, rug handed down from mom to daughter
maude short for Matilda - matilda the intelligent girl from the kids books
smokey the long haired bowler telling someone in power instead of fighting
writer of branded being held alive by an iron lung, "man on his last legs"
the dudes landlord - asking for late rent not demanding it, and dancing moderne like a "woman"
the big lebowski not able to walk, on an allowance, being taken advantage of by his trophy wife, instead of wife he has Brandt as partner
the nihilists wearing feminine clothing, threatening castration on fellow man
dreams of castration
going through all this shit for a rug because it tied the room together - (old world man would not give a shit about decorating like today's man)
the bowling alley has taken place of the mythical western saloon. no guns allowed, men don't fight, men dress in feminine styles, men bowl (symbollicaly castrating themselves)
destruction of fancy red sports car and destruction of the dudes car - (destroying manly symbols)(men castrating each other symbolically)
the 60's, the loss and protest of the vietnam war - the beginning of the feminizing of men in the u.s. the rise of feminism at this time.
walter - old world man trying to take a stand but failing like a fool over and over
the doctor playing around with the dudes testicles and the dude not questioning it even though he went in for a head wound.
the dude as "a private dick" - an old world man of strength and grit now confused, weak, being helped along by a powerful woman, maude, to understand.
walter is a bowling ball, and the dude is the bowling pin
-------------
if i were writing this story i would keep this feminine man idea in the back of my head.
i would think okay what does the dude want to do next, how should he react, i would think okay, he wants to take a stand, he wants to be this old world man but he wants to be a pushover. i would keep that conflict top of mind.
_----------___
message of a movie
an argument, a thesis
today's man is a man that embodies traditional feminine qualities
stated by Mr. Lebowski "What makes a man?"
The relationship of Theme and Thesis
Theme is the question: "What makes a man today?"
Thesis is the answer: "Today's man is made up of feminine qualities."
Stories do not show truths. Stories argue a thesis, embodied by a character, but in the end after seeing the story it's still open to debate, whether you agree or not is still up to you.
Stories are opinions.
and theme questions can be stated in many ways. for the big lebowski i chose "what makes a man today?" because Mr. Lebowski says it. I could also say the theme is "Is a man today still the same as the mythical man of before? is today's man still a cowboy type? is today's hero still the shoot, fight, kick ass man of yesterday? is today's man still ruler of the roost, the bread winning dictator of the past?
or even...
is today's woman still the pushover, ignorant, sex pot of the past? is today's woman still the homemaker, husband helper, no nothing?
________________
essays and stories: contrast
in an essay, the theme is stated as the title "Today's Man."
in a story, the theme is stated as a question "What makes a man today?"
in an essay, the thesis is stated "Today's man is made up of feminine qualities."
in a story, the thesis is shown through character traits and behavior. "meet The Dude." The main character embodies and illustrates the thesis. Meet Walter another thesis about man.
in an essay, the road is mapped out, first i will, then i will, and finally i will
in a story, the final point, the goal, is stated. all of the points leading up to the goal may or may not be subtly shown
in an essay, the evidence is presented through anecdotes, statistics, first person interviews, etc.
in an story, the evidence is presented through scenes, the main character striving toward a goal while illustrating the thesis. in this case, the goal is the opposite of the thesis. "the dude strives to be that old world man."
in an essay, the stated thesis in the intro paragraph is referenced throughout the evidence and is what leads us along and connects all of the evidence.
in a story, the main characters goal is what leads us along and connects all of the evidence.
in an essay, the last point is made and the conclusion begins.
in a story, the goal is reached, and how that goal is reached addresses the thesis. "maude solves the mystery the dude has been trying to solve, to the dude it was calculus, to maude it was simple math." the dude reaches the goal but fails to do it in the old way. the goal is simply a point of conclusion. the final point of evidence
in an essay, the conclusion sums it all up, repeating the thesis.
in a story, a character sums it all up, "cowboy intros and outro's in the big lebowski and the final words from our living breathing thesis character, the dude, "the dude abides."
-------------
still wouldn't use this essay analogy to write off the bat, later in the development process i would.
this is stuff i'd use after I'd played around, written lots of scenes, then i'd ask myself what it might be about, what the goal might be about, what thesis the main character is embodying.
it seems backwards but my take is that creation is exploration. that i start with questions and end with answers, that i experiment and find results. that the entertainment comes from exploration. that starting with a thesis would lead towards obvious scenes and bore me and you. unless i started with a question or answer, theme or thesis and admitted to myself i didnt know the other half.
intro - main character
thesis - wants
evidence illustrations - but
close - ends when
First, note the Big Lebowski is a dialectical story type. See Pages for reference.
a) thematic question and goal
b) opposing thesis' concerning goal
c) third thesis, synthesis
big lebowski
a) what makes a man today? and "to be a man"
b) "Take a stand." and "be a pushover, a pacifist"
c) "Take a stand, but as a woman"
this story explores, argues, and illustrates, the gender role reversal that has taken place in the U.S.A. By asking What makes a man today? We are hooked and wonder and are shown how what we thought makes a man today is dying or dead and a new feminine man is here.
intro - this is a man's world - cowboys, gulf war, guns and fights
thesis' - take a stand to get what you want
evidence - taking a stand fails in every scene they try to use force, feminine men, men castrating each other symbolically, powerful female characters
close - maude solves the mystery for the dude, this is a woman's world.
thematic illustration of the feminizing of the former man's world:
bowling balls taking down pins - men throwing bowling balls to take down pins (man castrating himself)
jesus flashing a kid, the way a woman might flash her breasts, and wearing tight feminine clothing
long hair on many characters
donnie - ultimate pushover, (old world behavior of women)
eastern style rugs
porn king jackie treehorn losing production quality because of amateur video, man who makes money objectifying women---losing power
maude taking rug back, having man servants, tricking and taking sperm from The
Dude, giving allowance to her father, rug handed down from mom to daughter
maude short for Matilda - matilda the intelligent girl from the kids books
smokey the long haired bowler telling someone in power instead of fighting
writer of branded being held alive by an iron lung, "man on his last legs"
the dudes landlord - asking for late rent not demanding it, and dancing moderne like a "woman"
the big lebowski not able to walk, on an allowance, being taken advantage of by his trophy wife, instead of wife he has Brandt as partner
the nihilists wearing feminine clothing, threatening castration on fellow man
dreams of castration
going through all this shit for a rug because it tied the room together - (old world man would not give a shit about decorating like today's man)
the bowling alley has taken place of the mythical western saloon. no guns allowed, men don't fight, men dress in feminine styles, men bowl (symbollicaly castrating themselves)
destruction of fancy red sports car and destruction of the dudes car - (destroying manly symbols)(men castrating each other symbolically)
the 60's, the loss and protest of the vietnam war - the beginning of the feminizing of men in the u.s. the rise of feminism at this time.
walter - old world man trying to take a stand but failing like a fool over and over
the doctor playing around with the dudes testicles and the dude not questioning it even though he went in for a head wound.
the dude as "a private dick" - an old world man of strength and grit now confused, weak, being helped along by a powerful woman, maude, to understand.
walter is a bowling ball, and the dude is the bowling pin
-------------
if i were writing this story i would keep this feminine man idea in the back of my head.
i would think okay what does the dude want to do next, how should he react, i would think okay, he wants to take a stand, he wants to be this old world man but he wants to be a pushover. i would keep that conflict top of mind.
_----------___
message of a movie
an argument, a thesis
today's man is a man that embodies traditional feminine qualities
stated by Mr. Lebowski "What makes a man?"
The relationship of Theme and Thesis
Theme is the question: "What makes a man today?"
Thesis is the answer: "Today's man is made up of feminine qualities."
Stories do not show truths. Stories argue a thesis, embodied by a character, but in the end after seeing the story it's still open to debate, whether you agree or not is still up to you.
Stories are opinions.
and theme questions can be stated in many ways. for the big lebowski i chose "what makes a man today?" because Mr. Lebowski says it. I could also say the theme is "Is a man today still the same as the mythical man of before? is today's man still a cowboy type? is today's hero still the shoot, fight, kick ass man of yesterday? is today's man still ruler of the roost, the bread winning dictator of the past?
or even...
is today's woman still the pushover, ignorant, sex pot of the past? is today's woman still the homemaker, husband helper, no nothing?
________________
essays and stories: contrast
in an essay, the theme is stated as the title "Today's Man."
in a story, the theme is stated as a question "What makes a man today?"
in an essay, the thesis is stated "Today's man is made up of feminine qualities."
in a story, the thesis is shown through character traits and behavior. "meet The Dude." The main character embodies and illustrates the thesis. Meet Walter another thesis about man.
in an essay, the road is mapped out, first i will, then i will, and finally i will
in a story, the final point, the goal, is stated. all of the points leading up to the goal may or may not be subtly shown
in an essay, the evidence is presented through anecdotes, statistics, first person interviews, etc.
in an story, the evidence is presented through scenes, the main character striving toward a goal while illustrating the thesis. in this case, the goal is the opposite of the thesis. "the dude strives to be that old world man."
in an essay, the stated thesis in the intro paragraph is referenced throughout the evidence and is what leads us along and connects all of the evidence.
in a story, the main characters goal is what leads us along and connects all of the evidence.
in an essay, the last point is made and the conclusion begins.
in a story, the goal is reached, and how that goal is reached addresses the thesis. "maude solves the mystery the dude has been trying to solve, to the dude it was calculus, to maude it was simple math." the dude reaches the goal but fails to do it in the old way. the goal is simply a point of conclusion. the final point of evidence
in an essay, the conclusion sums it all up, repeating the thesis.
in a story, a character sums it all up, "cowboy intros and outro's in the big lebowski and the final words from our living breathing thesis character, the dude, "the dude abides."
-------------
still wouldn't use this essay analogy to write off the bat, later in the development process i would.
this is stuff i'd use after I'd played around, written lots of scenes, then i'd ask myself what it might be about, what the goal might be about, what thesis the main character is embodying.
it seems backwards but my take is that creation is exploration. that i start with questions and end with answers, that i experiment and find results. that the entertainment comes from exploration. that starting with a thesis would lead towards obvious scenes and bore me and you. unless i started with a question or answer, theme or thesis and admitted to myself i didnt know the other half.
Theme and Thesis
Theme is the goal in question form.
Luke Skywalker - I want to be a Jedi
Theme: What makes a Jedi?
Thesis: skilled warrior who can force weapons
Thesis: warrior who allows the force to use the weapons through him
Thesis is how the goal is achieved.
Thesis 1: Trains and tests himself in fights with weapons
Thesis 2: Trains and allows the force to take control of the weapons
May help to ask "What would the main character want, even if the group goal, story goal, changed?
If the story goal wasn't to stop the death star but to stop some other weapon or to catch darth vader, or to win a space race....what would Luke still want. To be a Jedi.
That's how I parse out theme from all of the goals floating around in a story. I look at the personal goal of the main character. What he would want even if these other events changed.
Luke Skywalker - I want to be a Jedi
Theme: What makes a Jedi?
Thesis: skilled warrior who can force weapons
Thesis: warrior who allows the force to use the weapons through him
Thesis is how the goal is achieved.
Thesis 1: Trains and tests himself in fights with weapons
Thesis 2: Trains and allows the force to take control of the weapons
May help to ask "What would the main character want, even if the group goal, story goal, changed?
If the story goal wasn't to stop the death star but to stop some other weapon or to catch darth vader, or to win a space race....what would Luke still want. To be a Jedi.
That's how I parse out theme from all of the goals floating around in a story. I look at the personal goal of the main character. What he would want even if these other events changed.
Short Films and Medium films
Short films:
An idea - illustrated in the least amount of images cut together.
A concept - illustrated.
Example:
Title: "Variation on Theme"
Man eating pizza in three scenes, Fourth Scene eats sandwich but with similar ingredients.
Example:
Title "Rockhard"
Man strums a guitar and it vibrates throughout the room.
Man stomps his boot on the stage.
Man strums and stomps his boot on the stage.
Illustrating the positive and negative values of a tool.
Example:
Title "Hope"
Man prays that someone will find his missing daughter.
Another man tells another man it's no use, she's gone. The second man keeps looking.
Example:
Title "Hammer"
Hammer puts a nail in a coffin.
Hammer puts a nail in the wall, a baby picture is hung up.
Medium films:
Illustrating the positive and negative values of a thesis.
Example:
Title "Putting it all on red leads to."
Scene losing money at casino
Scene saving a child from a burning building
An idea - illustrated in the least amount of images cut together.
A concept - illustrated.
Example:
Title: "Variation on Theme"
Man eating pizza in three scenes, Fourth Scene eats sandwich but with similar ingredients.
Example:
Title "Rockhard"
Man strums a guitar and it vibrates throughout the room.
Man stomps his boot on the stage.
Man strums and stomps his boot on the stage.
Illustrating the positive and negative values of a tool.
Example:
Title "Hope"
Man prays that someone will find his missing daughter.
Another man tells another man it's no use, she's gone. The second man keeps looking.
Example:
Title "Hammer"
Hammer puts a nail in a coffin.
Hammer puts a nail in the wall, a baby picture is hung up.
Medium films:
Illustrating the positive and negative values of a thesis.
Example:
Title "Putting it all on red leads to."
Scene losing money at casino
Scene saving a child from a burning building
Sunday, October 28, 2012
forget everything you have ever read about screenwriting, storytelling, and what have you
recipe, formula, guidelines:
one character
relationship demand
internal goal
fears that motivates one goal over relationship demand and vice versa
example: The Big Lebowski
one character: The Dude
relationship demand - to be a man, (take a stand)
internal goal - to be a woman (pacifist, pushover)
fear leading him from internal goal to relationship demand: castration
fear leading him from relationship demand to internal goal: getting his ass kicked
one character
relationship demand
internal goal
fears that motivates one goal over relationship demand and vice versa
example: The Big Lebowski
one character: The Dude
relationship demand - to be a man, (take a stand)
internal goal - to be a woman (pacifist, pushover)
fear leading him from internal goal to relationship demand: castration
fear leading him from relationship demand to internal goal: getting his ass kicked
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