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Writing the short film 3th - Part 23

Writing the short film 3th - Part 23. Cuốn sách này chủ yếu giúp tham khảo về phương pháp viết kịch bản, phim ảnh, video và các nhà làm phim video - những người đang phải đối mặt với sự cần thiết của việc viết một kịch bản tường thuật ngắn sao cho hay, mạch lạc, nội dung phim được truyền tải hết đến người xem. | 144 Writing the Short Film audience as does the past tense. That is not to say that a reminiscence about the past can t be emotional rather the writer should try to keep the action in the present and in development and that means active present-tense dialogue. The more immediate the dialogue the more emotional and the more surprising the story will be. Remember when dialogue intended to develop plot is separated from character emotion is lost and the dialogue becomes no more than descriptive. For dialogue to be vital to the plot it must be related to the desires of the character as he or she moves through the plot. Dialogue is only dynamic when it forwards the plot. DIALOGUE AS TRANSITION Dialogue can be very useful in providing transitions between scenes. One of the problems the writer faces is the task of collapsing a story that may take place over a long time and in a number of geographical locations into a script less than 30 minutes long. Even the story of one day or one moment as in the case of Enrico s Incident at Owl Creek requires transitions to convince us of the dramatic use of time and place in the script. Changes of time and place occur in the original story An Occurrence at Owl Creek Bridge making it seem to take place over a full day whereas this 30-minute film refers only to the last 5 minutes in the life of the main character. The writer has to convince us of the dramatic time creating a sense of real time by punctuating the end of the action. Writers can facilitate transitions by simply repeating a phrase. In Citizen Kane the repetition of Merry Christmas and Happy New Year allows us to leap 20 years into the future. Of course the time shift can be more modest. Either way the writer can use repetition to alert the viewer that one scene or location is related to the next. A more direct approach is simply to tell the audience in one scene where we will be in the next. When the two climbers in our imaginary film tell us they want to go to the peak of