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Conteúdo fornecido por Stuart Willis and Chas Fisher. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Stuart Willis and Chas Fisher ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.
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DZ-101 Creating Immediacy & Anchoring Action on the Page

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Manage episode 407479447 series 3560984
Conteúdo fornecido por Stuart Willis and Chas Fisher. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Stuart Willis and Chas Fisher ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.

What can we learn by analysing how ‘oners’ are written on the page?

Chas, Stu and Mel reunite to talk about writing the *feel* of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more.

We breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL.

And we do this breakdown by closely reading the actual words on the page. So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

  • 00:00:13 - Cold Open
  • 00:00:23 - ScriptUp Sponsorship
  • 00:00:33 - New Chapter
  • 00:01:58 - Intro: Camerwork on the page
  • 00:09:50 - Contrary Examples: The Bourne Identity and Hereditary
  • 00:13:15 - Narrative Purpose and Oners
  • 00:16:30 - Goodfellas (intro)
  • 00:16:57 - Goodfellas (excerpt)
  • 00:18:22 - Goodfellas (discussion)
  • 00:32:48 - The Adventures of Tintin (intro)
  • 00:34:14 - The Adventures of Tintin (excerpt)
  • 00:37:23 - The Adventures of Tintin (discussion)
  • 00:49:34 - Children of Men (intro)
  • 00:53:38 - Children of Men (excerpt)
  • 01:00:32 - Children of Men (discussion)
  • 01:12:24 - Key Learnings and Wrap Up

SCENE EXCERPTS via

LINKS

LINKS

RELATED EPISODES

This episode brought to you by (drum roll):

And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

  continue reading

100 episódios

Artwork
iconCompartilhar
 
Manage episode 407479447 series 3560984
Conteúdo fornecido por Stuart Willis and Chas Fisher. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Stuart Willis and Chas Fisher ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.

What can we learn by analysing how ‘oners’ are written on the page?

Chas, Stu and Mel reunite to talk about writing the *feel* of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more.

We breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL.

And we do this breakdown by closely reading the actual words on the page. So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

  • 00:00:13 - Cold Open
  • 00:00:23 - ScriptUp Sponsorship
  • 00:00:33 - New Chapter
  • 00:01:58 - Intro: Camerwork on the page
  • 00:09:50 - Contrary Examples: The Bourne Identity and Hereditary
  • 00:13:15 - Narrative Purpose and Oners
  • 00:16:30 - Goodfellas (intro)
  • 00:16:57 - Goodfellas (excerpt)
  • 00:18:22 - Goodfellas (discussion)
  • 00:32:48 - The Adventures of Tintin (intro)
  • 00:34:14 - The Adventures of Tintin (excerpt)
  • 00:37:23 - The Adventures of Tintin (discussion)
  • 00:49:34 - Children of Men (intro)
  • 00:53:38 - Children of Men (excerpt)
  • 01:00:32 - Children of Men (discussion)
  • 01:12:24 - Key Learnings and Wrap Up

SCENE EXCERPTS via

LINKS

LINKS

RELATED EPISODES

This episode brought to you by (drum roll):

And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

  continue reading

100 episódios

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