Writing the short film 3th - Part 9. 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. | 46 Writing the Short Film Who are you Why are you here What do you want at this moment Put this away with Exercise 7 and leave both in your portfolio for another 24 hours. At that time go through both exercises underlining the phrases or sentences that best describe your characters and their interaction especially in light of your answers to the questions above. If you already have a catalyst make note of it. If not find one before going on to the next assignment. EIGHTH ASSIGNMENT WRITING A CHARACTER-BASED OPENING You are now going to revise Exercise 8 with the result put in proper screenplay format. Use your thesaurus if necessary to find words that convey what you see in your imagination words that will make your characters come alive for the reader. Once again it would be helpful to have your teacher classmates or knowledgeable friends respond to what you have written essentially the first draft of an opening for a possible short script. NOTES 1. Callie Khouri symposium on Thelma and Louise Writers Guild of America West November 1991 unpublished. 2. Aristotle Poetics ed. Francis Fergusson trans. and introduction by S. H. Butcher New York Hill and Wang 1961 . 3. Callie Khouri Thelma and Louise unpublished screenplay. 4. Robert Towne Chinatown unpublished screenplay. 5. Christian Taylor Lady in Waiting unpublished screenplay. 6. Lisa Wood Shapiro Another Story unpublished screenplay. 7. Karyn Kusuma Sleeping Beauties unpublished screenplay and Susan Emerling The Wounding unpublished screenplay. 8. Anais Granofsky and Michael Swanhaus Dead Letters Don t Lie unpublished screenplay. FILM DISCUSSED IN THIS CHAPTER The Red Balloon directed by Albert Lamorrisse 1955. 5 TELLING THE DRAMATIC STORY You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. ORSON WELLES Orson Welles undoubtedly would have agreed that the images of a .
