Writing the short film 3th - Part 8. 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. | Discovering and Exploring a Main Character 39 LOUISE I hope you re packed little sister cause we are outta here tonight. INT. THELMA S KITCHEN MORNING THELMA whispering guiltily Well wait now. I still have to ask Darryl if I can go. LOUISE . You mean you haven t asked him yet For Christ s sake Thelma is he your husband or your father It s just two days. For God s sake Thelma. Don t be a child. Just tell him you re goin with me for cryin out loud. Tell him I m having a nervous breakdown. Meanwhile Thelma is cutting out coupons from a newspaper pinning them onto a bulletin board covered with recipes and more cuttings. Here we get a first glimpse of Thelma s characteristic mode of passive resistance she may feel a little guilty about procrastinating but she ll still do things her own way. At this point and for most of the script the two women s relationship is that of irresponsible little sister and responsible big sister. The tension between them ebbs and flows and the balance of power shifts with changing circumstances. It is one of the more suspenseful and engaging aspects of a very action-oriented script. As for Louise the tone of her speech makes it clear that she has more at stake in their going on this trip than her friend does. Her clipped sentences used here to get the lackadaisical Thelma moving are used elsewhere and characteristically to guard against giving anything away about her private life. MORE ON BEHAVIOR DEFINING CHARACTER In his treatise known as the Poetics Aristotle defines dramatic action as the movement of spirit or psyche that produces a character s behavior. Film and theatre director Elia Kazan in his notebook for A Streetcar Named Desire remarks that finally directing consists of turning psychology into behavior. Substitute the word screenwriting for the word directing and Kazan s statement would still hold true. A character s desires or needs that movement of the psyche to which both Aristotle and Kazan refer can be expressed only by .
