Writing a Great Movie: Key Tools for Successful by Jeff Kitchen

By Jeff Kitchen

Serving as a pragmatic guide at the craft of dramatic writing for movie, this booklet specializes in seven crucial instruments for the screenwriter. that includes the construction, improvement and development of an unique screenplay from begin to end, it bargains readers an image of the way to use those instruments all alone scripts.

Learn a suite of strong screenwriting instruments from one among Hollywood's most sensible screenwriting lecturers. partly one of many booklet, Jeff Kitchen totally explains and illustrates his instruments, and partly he makes use of them to create, enhance, and constitution an unique screenplay from scratch, development from a uncooked premise throughout to polished conversation. Jeff has taught screenwriting professionally on account that 1989, and improvement executives from the entire significant Hollywood studios constantly say that he teaches "the such a lot complicated improvement instruments within the movie industry."

Jeff Kitchen labored as a dramaturge at New York’s Playwrights Preview Productions and the Negro Ensemble corporation earlier than commencing to educate playwriting and screenwriting in 1991. He has labored with executives at Miramax, Sony photos, and Walt Disney movies staff. He lives in Santa Monica, California.

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Extra info for Writing a Great Movie: Key Tools for Successful Screenwriting

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In fact, if possible, get one you’ve already seen and enjoyed. Fast forward to any point you choose, and then freeze-frame the image. You are now looking at a single frame of a single shot. What do you notice about its mise-en-scene? Properly speaking, since this is a static image, a single frame, you are being asked to notice elements of its composition rather than the totality of expressive content in an entire shot. Remember what mise-en-scene means: all of the elements placed in front of the camera to be photographed: settings, props, lighting, costumes, makeup, and figure behavior (meaning actors, their gestures, and their facial expressions).

Still, we can clearly see some blue curtains in the center-left of the image, with some bright curved airplane windows on the far right in the background. The curtains match the blue of the seat; the windows, appearing white, match the headrest. The aspect ratio is that of a fairly wide rectangle. There is another man in the image—he is seated in the row behind the man in close-up—but he is the only other person in the image. The man in close-up has a bright light shining on his forehead and nose, but his eyes are notably in shadow, although we can clearly see dark circles under his eyes, indicating tiredness and a lack of sleep.

All the definitions and examples implied that characters and objects move within the frame, but the framing stays the same within each shot. In fact, this is not the case at all. The camera can move from side to side, up and down, backward and forward, all of the above, and more. Editing from shot to shot or scene to scene changes the position of the spectator from shot to shot or scene to scene, but camera movement shifts the spectator’s position within the shot. No other art form is able to accomplish this feat.

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