Writing the short film 3th - Part 10. 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. | Telling the Dramatic Story 53 4. What Occasion or Event Serves as the Catalyst There will be times you would like to skip this question leaving it until the last and there will be times you ll be able to answer it immediately only to find that the catalyst changes with each draft of the script. Either way you are engaged in discovering what it is that you want to say rather than what you think it is you want to say. Still it is important to realize that a screenplay should not be considered complete until the catalyst is in place. Calling up our image of Icarus trying to occupy himself with the gull feathers in the answer to Question 2 and knowing that the climax must take place during his flight it first seemed to us that the catalyst or agent for change in the script must be the moment when Daedalus conceives of escaping on wings made of feathers and wax. The difficulty was that Daedalus was not our protagonist. Therefore the question became this How could we involve Icarus in this pivotal event We turned to Aristotle who has some very practical advice for dramatists in his Poetics In constructing the plot and working it out . . . the playwright should place the scene as far as possible before his eyes. In this way seeing everything with the utmost vividness as if he were a spectator of the action he will discover what is in keeping with it and be most unlikely to overlook inconsistencies. 4 Close your eyes with us then and imagine a stone chamber at the top of the tower. Imagine Daedalus busy at the only table with his parchment and stylus. Imagine young Icarus restless and bored with little to do and nothing to look at but his father the sea the sky the sun and the gulls that perch on the open parapets. Imagine a pile of the feathers he s gathered and the ways he invents to play with them trying to make them float keeping them up with his breath pasting them onto his skin with water or spit so that he can spread his arms wide and pretend to be a seagull . . . .
